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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Talat Mehmood


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4068 Post No. : 15204

“Kavi”(1954) was directed by Debki Bose for sunrise Pictures, Bombay. The movie had Bharat Bhushan, Geeta Bali, Nalini Jaywant, Chandrashekhar, B M Vyas, Jankidas, Om Prakash etc in it.

The movie had ten songs in it. Four songs have been discussed in the blog in the past.

Here is the fifth song from “Kavi”(1954) to appear in the blog. This song is sung by Talat Mehmood. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. Talat Mehmood was the main male playback singer in the movie whereas Bharat Bhushan was the lead actor of the movie. So it can be guessed that the song was picturised on Bharat Bhushan. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Teri ik ik ada jhoothhi (Kavita)(1954) Singer-Talat Mehmood, Lyrics-Rajinder Krishan, MD-C Ramchandra

teri ik ik adaa jhoothi
wafaa jhoothi hayaa jhoothi
chalegi ae haseenaa kab talaq
aakhir hawaa jhoothi

maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
tujh mein khushbu dhoondh rahi hai
tujh mein khushbu dhoondh rahi hai
ye duniyaa ki bhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai

tujhe dekh ke laakh bujhaa le
pyaas koi ankhiyan ki ee
tujhe dekh ke laakh bujhaa le
pyaas koi ankhiyan ki
binaa baas kaa phool banegaa
kyaa shobhaa bagiyan ki
daal kaa phool chadhe mandir mein
daal kaa phool chadhe mandir mein
tu raste ki dhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai

binaa jyot kaa deepak hai tu
binaa tel ki baati ee
binaa jyot kaa deepak hai tu
binaa tel ki baati
jab tan ujlaa aur man kaalaa
phir kaahe itraati
shabnam khud ko saagar samjhe
shabnam khud ko saagar samjhe
ye shabnam ki bhool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai
maan kare kyaa rang roop kaa
tu kaaghaz kaa phool hai

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3979 Post No. : 15065

Today’s song is from film ‘Aaj Ki Baat’ (1955).

In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !

Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.

Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !

When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.

It is said that ‘No tree can grow under a Banyan tree’. This is absolutely true and applicable in film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their father and other brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anoop Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure,  Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort  their skill could not come out  & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But  their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan.  Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register  any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .

There were many other actors like him, who got a chance to appear opposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them.  Out of sight is out of mind, it was matter of time when public as well as film industry forgot them.

‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.

Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He  took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes.  Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

Director Amarnath introduced new comer Vijay Kumar in his 1954 offering ‘Alif Laila’ opposite Nimmi and Asha Mathur.  Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards film industry. Helen for the first time got a chance to perform solo in the movie and for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in ‘Holi Aayee Re’ (1970), which was directed by his younger sibling Harsukh Bhatt.  It was pathetic to watch Premendra unsuccessfully trying to show case his imaginary ability in the field of acting .The movie flopped phenomenally and a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma,  Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.

According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.

The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.

White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.

In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!

Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.

All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name  B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-

  • ‘Suhaag Raat’ (1948) – as Snehal
  • ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
  • ‘Thes’ (1949) – as Snehal
  • ‘Sati Ahilya’ (1949) – as VG Bhatkar
  • ‘Pagle’ (1950) – as VG Bhatkar

After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.

He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.

In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar.  As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.

After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.

Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.

Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.

Here is the song by Talat Mehmood from film Aaj ki baat-1955.

(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)

Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar

Lyrics

aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa

pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

———-———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————————

आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss

प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल

हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3809 Post No. : 14805

I am presenting a non-filmi ghazal recorded sometime in the early 1940s which I had heard a few years back. But after a long gap, this ghazal resurfaced when I was looking for information on the music director Chitta Roy in the context of one of the songs, aayi jawaani aayi aayi composed by him. The ghazal is ‘gham-e-zindagi kaa yaa rab na milaa koi kinaaraa’ (1940) sung by Talat Mehmood. Chitta Roy composed the music for this ghazal. The shaayar of this ghazal has been mentioned as I A Minai or Idris A Minai, a name I heard for the first time.

Despite searching extensively on the internet, I could not get even the basic information about Idris A Minai. A Google search on him gave information mostly about Ameer Minai, a well-known classical Urdu poet of the 19th century whom the current generation of fans of ghazals identify with his popular ghazals like ‘sarakati jaaye re rukh se naqaab aahista aahsta’ and ‘jab se bulbul tu ne do tinke liye’. There was, however, one name ‘Khalid Minai’ which appeared on a Google search as a Facebook page. A surprise was in store for me when I opened the page. Khalid Minai was none other than Idris A Minai who had adopted ‘Khalid’ as his nom de plume. The Facebook page, started by his son on the occasion of his 100th birth anniversary has a detailed biography of Idris A Minai. I have majorly edited his biography from the Facebook page – Khalid Minai, to make it concise. The edited version follows as under:

Idris Ahmad ‘Khalid’ Minai (29/08/1916 – 08/02/2008) was the grandson of the great Urdu poet and scholar, Ameer Minai (1827 – 1900) and the son of Mohammad Ahmad Minai and Raees Fatima. He was born in the “Purani Khandsar” quarter of the State of Rampur, (now in Uttar Pradesh) where both Ameer Minai and his son Mohammad Ahmad Minai served as high officials of the State of Rampur. The family who had settled in Rampur since 1858, moved to Hyderabad (India) in 1937 shortly after the death of his father, Mohammad Ahmad Minai.

Idris Minai completed his BA from Allahabad University in 1937, and MA in Economics from Osmania University, Hyderabad, in 1940. After a stint as a journalist for the paper “Payaam”, edited by Qazi Abdul Ghaffar, Idris Minai joined the Hyderabad State Bank (now State Bank of Hyderabad) in 1941, serving as the branch chief in Aurangabad (now in Maharashtra).

After Partition, Idris Minai was the first of the seven Minai brothers to move to Pakistan in 1948. After working in the State Bank of Pakistan for 2 years, he moved to the then newly formed National Bank of Pakistan – Pakistan’s first official commercial bank. Over the next twenty years, he served the bank in various capacities – both in West and the then East Pakistan (now Bangla Desh). He retired from the National Bank of Pakistan as Deputy Managing Director in 1971.

Literature and poetry were a major part of the environment in which Idris Minai grew up. His grandfather, Ameer Minai, was regarded as one of the major poets in the history of Urdu literature, and had succeeded the great poet, Ghalib, as the poetic mentor of the Nawab of Rampur. His father, Mohammad Ahmad Minai, was also a prolific poet, though he gave up the pursuit later in life. It was, therefore, natural for him to express himself in poetry, and, following the common practice, he chose a nom de plume, ‘Khalid’ (meaning, ‘eternal’).

Most of his poetic training occurred informally through interaction with his peers and elders which included Jaleel Manakpuri, the famous Urdu poet and the student of Ameer Minai, Fani Badayuni, Jigar Muradabadi, Hasrat Mohani, Hairat Badayuni, and Qazi Abdul Ghaffar, who gave him his first job. He developed close personal friendships with poets such as Sikandar Ali Vajd, Mahirul Qadri, Saeed Shaheedi, and several others. A notable influence for him was his eldest brother, Ismail Ahmad “Tasneem” Minai, who was himself a distinguished poet and writer. He was also influenced by Allama Iqbal for his universal vision which went beyond the classical poetry.

One of Idris Minai’s early works is an ode on the River Ganga which he wrote based on his experience while he was staying in Allahabad for his graduation. A collection of Idris Minai’s works is in the preparatory stage. In addition to poetry, he also wrote Urdu prose pieces in a language that recalled Oscar Wilde in its stylish beauty

Throughout his active life, Idris Minai participated in literary activities, beginning with mushairas in Allahabad, Hyderabad, Bombay (Mumbai), and elsewhere. After moving to Pakistan, the Minai siblings organised regular poetic events in Karachi and Lahore featuring the leading poets of the time.

Idris Ahmad ‘Khalid’ Minai breathed his last on February 8, 2008 in Karachi.

The ghazal under discussion has two versions. Talat Mehmood sang the original version in 1940 as per the uploader of the video. I could not get information on the internet as to when the original record was released. If the uploader is correct, then this ghazal precedes Talat Mehmood’s first recorded song sab din ek samaan nahin thha (1941). Talat Mehmood re-recorded this ghazal in almost identical orchestration sometime in 1960. I have given videos of both the versions for comparison purpose. My preference is the original version because Talat Mehmood voice was fresh without much of quiver as against the 1960 version.

Audio Clip :

(Original recorded in 1940)
Audio Clip :
\
(Re-recorded in 1960)
Song-Gham e zindagi ka ya rab na milaa koi kinaara (Talat Mehmood NFS)(1940) Singer-Talat Mehmood, Lyrics-Idrees A Minai, MD-Chitta Roy

Lyrics (based on Original recording)

gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
meri fikr-e-bekaraan ne
do jahaan ko chhaan maaraa
meri fikr-e-bekaraan ne

meri aarzoo ko bakhshi
teri har nazar ne rafat
meri aarzoo ko bakhshi
teri har nazar ne rafat
usse bekaraan karegaa
mere shauq kaa sharaaraa
usse bekaraan karegaa

main kabhi ravaan davaan thhaa
kahin dasht-e-bekhudi mein
kisi door ki sadaa ne
mujhe pyaar se pukaaraa
kisi door ki sadaa ne

meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
na sukhan se raaz paidaa
na jabeen se aashkaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi ee ee ee ee eee

———————————–
Meaning of some Urdu words

Yaa rab= Oh God

Fikr-e-bekaraan= Limitless anxiety

Rafat= Elevation

Shararaa= Spark, Flash

Ravaan= Moving

Davaan= Running

Dasht-e-bekhudi= Wilderness of intoxication

Sadaa= Call

Zarf= Capability

Sukhan= Words, News

Jabeen= Forehead

Aashkaaraa= Clear, Visible


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3676 Post No. : 14565

“Aaj Ki Baat” (1955) was produced and directed by Leela Chitnis to launch the career of her son Ajeet Chitnis. The movie had Ajeet Chitnis, Uday, Chitra, Bipin Gupta, Manmohan Krishna, Sunder, Leela Chitnis etc in it.

The movie had eight songs in it. One song has been covered in the past.

Here is the second song from “Aaj Ki Baat” (1955) to appear in the blog. This song is sung by Talat Mehmood. Hasrat Jaipuri is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of the song is available. Seeing that Talat Mehmood was the main male playback singer in the movie (with four songs), it can be safely assumed that he had sung for the lead actor of the movie viz. Ajeet Chitnis. It is a joyous song sung by Talat Mehmood is a rather restrained manner.


Song-Mohabbat bane hain wo din suhaane (Aaj Ki Baat)(1955) Singer-Talat Mehmood, Lyrics-Hasrat Jaipuri, MD-Snehal Bhatkar

Lyrics

mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

shokhi se hansna nigaahen milaana
shokhi se hansna nigaahen milaana
mere saamne unka wo aana jaana

kya kar diya
haaye kya kar diya
unki pahli ada ne
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

wo unki sharaarat
nadiya kinaara
unki sharaarat
nadiya kinaara
thhandi hawaayen sama pyaara pyaara
thhandi hawaayen sama pyaara pyaara
koyal ki taanen wo bulbul ke gaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

chaman mein wo unka mere saath rahna
kabhi dil ki baaten nigaahon se kahna
bhulaaye na bhoolenge
bhulaaye na bhoolenge aise thhikaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3652 Post No. : 14504

ASAD 10th Anniversary Celebrations – 12
———————————————————————

For TEN year old ASAD, my hearty congratulations and happy B-Day to the Musically Singing Blog.

The lion’s share of the congratulations for this celebration goes to Atul ji, for starting and sustaining this blog, and words cannot describe our gratitude for that. The blog has also brought together many music lovers and I have found some real ‘gems’ of friends in them. Atul ji, thanks again for that too.

I wish to celebrate with the members who like real GOOD Music with this RARE jugalbandi of Talat Mehmood and Mukesh.  It is an NFS Gazals and is one a rare set which are classified as ‘ham-radeef ghazalein‘​; which means a pair of ghazals in which a phrase of couple or more words at the end of each she’er is the same, even in when the ghazals are written by different sha’ayars.

I strongly believe – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain“. And so I have included these two ham-radeef ghazals, in this celebration series.  Some members may classify such songs as ‘melancholy‘. (By the way I hate to describe a song by that word. I prefer to call them ‘full of pathos’, instead).  As my personal choice, I enjoy and prefer them to ‘chaalu’ songs.  Recently Arunbhai mentioned on Facebook – “When you are happy, you enjoy the music. But, when you are sad, you understand the lyrics.” Since this is lyrics emphasising presentation, I am justified to present it for an Event Celebration.

Coming back to the ‘ham-radeef‘ ghazals presented today. It is from a really rare album bearing same name from Saregama (or was it ‘HMV’ and then ‘RPG’ as it was called in different periods of time). Great, but less heard music director Murli Manohar Swaroop not only searched out the ‘similar ending words’ ghazals, but also gave melodious and appropriate  tunes to them. The extended play record (called EP, for the knowledge of younger generations) contains four pairs of such ‘ham-radeef’ ghazals.

On this EP, three such pairs are by Talat and Mukesh and one is by Talat and CH Atma. Shri Sadanand Kamath from our group has already presented one Talat-Mukesh ‘ham-radeef‘ pair of ghazals on our musical blog. This is the second one out of those four and ‘Prabhu krupa’ permitting, I shall present them, unless someone beats me in the race.

As you can see, the lyrics have all the she’ers ending with the words “kyun ho“. That is the beauty of ‘Ham-Radeef’ ghazals. Two poets, Ghalib and Daagh Dehlavi, in different time period have written them. Two sweetest voices of OUR music world,  Talat Mehmood and Mukesh have rendered them in different tunes. I call it nothing less than the marvel of the composer Murli Manohar Swaroop.

Meanings and Translation (Provided by Sudhir)
————————————————————

kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho

nawah = lamentations, poems on tragedy of karbala
sanj- = serious, sad, gloomy, depressed; as in sanjeedah / संजीदा
fughaan = lamentations, cry of distress

Once the heart is given to someone else
Why then lament with regret and distress
For, when the heart is given over, and is not in your bosom
How then there be a tongue in your mouth
[The poet is emphasizing that when the heart is given to someone else, then we have lost the right to complain or be regretful. We gave over our heart by our own sweet will. Then where arises the question to be distressed, or to raise a voice of complain.]

jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho

qaaboo = in control; in possession
ruswaa = infamous, disgraced, having a bad reputation
ruswaa e jahaan = having a bad reputation in the society, amongst ones social circle
khalish = irritation, enmity, antagonism
tapish = heat, burning, agitation
qalaq = rgret, pain
fughaan = lamentations, cry of distress

If heart is safe within our own posession
There is no fear of being disgraced, disreputed within one’s social circle
There will be no irritation, no agitation, no regrets, no cries of distress

wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho

wafaa = faithfulness, keeping a promise
sangdil = person with a heart of stone
sang = stone
aastan = abode, threshold (in context of an entrance), दर, दरवाज़ा
sang e aastan = stone step at entrance; an abode made of stone

What be that love, and what good being faithful to such love
If love means breaking one’s head against stone
And if love does mean breaking one’s head against stone
Then why, O stone hearted one
Be that stone of your abode, of the entrance where you be
[The poet’s indication is towards the heart of the person, which is itself being compared to stone; for the heart is where one’s living force is; where one lives.]

bahut niklenge roz e hashr tere jaur ke kwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho

roz = day
hashr = final outcome, the final judgement
roz e hashr = the Day of Judgment; qayaamat; End of the World
jaur = tyranny, oppression, evil deeds
khwaahaan = wishes, desires
sitam = tyranny, injustice
hausalah = courage, capacity
shart = condition
imtihaan = trial, test

On the Day of Judgment
All the mis-deeds and offences of injustice
That you desired, will be exposed
Why then your courage for being cruel and merciless
Be a condition for your trials (today)
[The poet lays his faith on the final Day of Judgment, that an evil doers deeds will be exposed and dealt with accordingly, so why the courage and the capacity of an evil doer to torment and persecute others be a matter of examination today.]

qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho

qafas = cage, place of confinement
roodaad = narrative, story
chaman = garden
roodaad e chaman = a story about (my) garden
aashiaan = abode, nest, home

O my beloved
(I am in (your) imprisonment (confinement))
Fear not narrating to me the description of my garden
Even if that be my nest
The nest that was struck by lightning yesterday

unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho

go = although
ranjish = complaint, unpleasantness
beja = unjustified, unfair
baaham= together, alongwith
shikaayat = complaint, grievance
darmiyaan = middle, in between

My beloved has unfair unjustified complaints of me
But then these complaints are to me and no one else
For complaints only come along with love
[The poet is expressing that because love is, therefore complaints are. One does not complain to them with whom there is no relation of love.]

nikaala chaahta hai kaam kya taanon se tu ghalib
tere be-mehr kehne se wo tujh par mehrbaan kyun ho

taanah (taanon) = taunt, sarcasm
be-mehr = heartless, one without compassion

If you think that by being sarcastic
You will be able to obtain any advantage for yourself
Whyfore will you be showered with favors and love
Just be calling someone heartless and without compassion

jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho

chaarahgar = healer, curer
daagh = wounds, blisters
raa’egaan = useless, waste

O my healer, my curer
The blisters on my heart
Are as dear to me, as is my heart itself
It is a treasure I have accumulated
With great pain and sacrifices
Why then this treasure may allowed to be wasted in vain

 


Song: Kisi Ko Deke Dil Koi / Jo Dil Kaaboo Mein Ho (NFS) Singers: Talat Mehmood / Mukesh, Lyrics: Ghalib / Daagh Dehlavi, Music: Murli Manohar Swaroop

 

Lyrics

kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho
kisi ko de ke dil koi

jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho
khalish kyun ho, tapish kyun ho

wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho
kisi ko de ke dil koi

haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho
khalish kyun ho, tapish kyun ho

qafas mein..ein..ein
haan
qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho
kisi ko de ke dil koi

unhen go ranjish e beja hai lekin hai to hum se hai
unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho
khalish kyun ho, tapish kyun ho

haan..aan..aan..aan
nikaala chaahta hai kaam kya taanon se tu ghalib
haan..aan..aan..aan
tere be-mehr kehne se wo tujh par mehrbaan kyun ho
kisi ko de ke dil koi

aan..aan..aan
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
khalish kyun ho, tapish kyun ho

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

किसी को दे के दिल कोई नौवा-संज ए फुगां क्यों हो
ना हो जब दिल ही सीने में तो फिर मुंह में ज़ुबान क्यों हो
किसी को दे के दिल कोई

जो दिल क़ाबू में हो तो कोई रुसवा ए जहां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो क़लक़ क्यों हो फुगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो

वफा कैसी कहाँ का इश्क़ जब सर फोड़ना ठहरा
तो फिर ए संगदिल तेरा ही संग ए आस्तां क्यों हो
किसी को दे के दिल कोई

हाँ॰॰आँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
हाँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
सितम का हौसला दुनिया में शर्त ए इम्तिहान क्यों हो
ख़लिश क्यों हो तपिश क्यों हो

क़फ़स में॰॰एं॰॰एं
हाँ
क़फ़स में मुझसे रूदाद ए चमन कहते ना डर हमदम
गिरी है जिस पे कल बिजली वो मेरा आशियाँ क्यों हो
किसी को दे के दिल कोई

उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
मोहब्बत गर ना हो बाहम शिकायत दरमियाँ क्यों हो
ख़लिश क्यों हो तपिश क्यों हो

हाँ॰॰आँ॰॰आँ॰॰आँ॰॰आँ
निकाला चाहता है काम क्या तानों से तू ग़ालिब
हाँ॰॰आँ॰॰आँ॰॰आँ
तेरे बे-महर कहने से वो तुझ पर महरबान क्यों हो
किसी को दे के दिल कोई

॰॰आँ॰॰आँ॰॰आँ
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3591 Post No. : 14343

So, the New Year resolution of posting a debutant song daily and a YIPPEE song daily lasted only till the first four months of the year. For the last few weeks, we have struggled to even live up to our name “song a day”.

I was made to take a one week vacation during the last one week. I was unlikely to get any time to post any articles during this time. In fact, it was only then that I realised how much time was needed to publish one simple post.

Though Sudhir Jee manfully tried to singlehandedly hold the flat afloat, but we still ended up with a few (three I think) dot days in the last few weeks. It is the first time in more than one year and more that we had dot days in the blog, otherwise the blog had posts every day continuously for over 400 days. .

When I left, the blog strike rake was just above 4 songs per day. Now it has plunged to just under 4 songs a day. Hopefully we will pick up pace again.

I am still recovering from the jet lag etc and so I was in no condition to publish any post yesterday. Today I am in better shape still it has taken me till laste in the evening before I am able to find time to publish a post and announce that I am back.

This post is a “basic” post but I hope to write some “long” posts in coming days. The fact that weekend is looming large should help my cause.

Coming to the song under discussion, it is from “Shobha”(1954. “Shobha”(1954) was directed by Niren Lahiri for S B Productions, Bombay. The movie had Usha Kiran, Abhi Bhattacharya, Chhabi Biswas, Manju De, Shikha Bagh, Purnendu Mukherji, Rani Bannerji, Rekha Chatterji, Trilochan Jha etc in it.

This movie was based on a story written by Sharat Chandra Chattopadhyay. The movie was also simultaneously made in Bangla as “Shubhada”. That explains the predominance of Bangla artists in the making of this movie.

“Shobha”(1954) had eight songs in it. two songs have been covered in the past.

Here is the third song from “Shobha”(1954) to appear in the blog. The song is sung by Talat Mehmood. Mahendra Pran is the lyricist. Music is composed by Robin Chatterji.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My guess is that this song was picturised on Abhi Bhattacharya.


Song-Aawaaz de gayi hai zindagi (Shobha)(1954) Singer-Talat Mehmood, Lyrics-Mahendra Pran, MD-Robin Chatterji

Lyrics

aawaaz de gayi hai zindagi
aawaaz de gayi hai zindagi
aur bujha charaag jala gayi ee ee
aur bujha charaag jala gayi ee ee
aawaaz de gayi hai zindagi

paaye na paaye mohabbat sila aa
paaye na paaye mohabbat sila
mujhe to nahin hai kisi se gila
junoon par haqeeqat
junoon par haqeeqat
fatah paa gayi
aawaaz de gayi hai zindagi

aankhon ne dil se kahi daastaan
aankhon ne dil se kahi daastaan
zamaane ne dekhi ye kaisi fizaa
ishaaron se har baat
ishaaron se har baat tai paa gayi ee
aawaaz de gayi hai zindagi
aawaaz de gayi hai zindagi


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3580 Post No. : 14332

“Shobha”(1954) was directed by Niren Lahiri for S B Productions, Bombay. The movie had Usha Kiran, Abhi Bhattacharya, Chhabi Biswas, Manju De, Shikha Bagh, Purnendu Mukherji, Rani Bannerji, Rekha Chatterji, Trilochan Jha etc in it.

This movie was based on a story written by Sharat Chandra Chattopadhyay. The movie was also simultaneously made in Bangla as “Shubhada”. That explains the predominance of Bangla artists in the making of this movie.

“Shobha”(1954) had eight songs in it. One song has been covered in the past.

Here is the second song from “Shobha”(1954) to appear in the blog. The song is sung by Talat Mehmood. Kaif Irfani is the lyricist. Music is composed by Robin Chatterji.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song. My guess is that this song was picturised on Abhi Bhattacharya.

This song is an archtypical Talat Mehmood song. I suppose listening to a Talat Mehmood song those days (even today) may have been akin to watching Vijay Merchant bat. 🙂 Serene unhurried batting. Perfect forward defence, occasional singles, and some delicately placed boundaries on some rare occasions. No agricultural shots whatsoever. 🙂


Song-Mohabbat na hoti zamaana na hota (Shobha)(1954) Singer-Talat Mehmood, Lyrics-Kaif Irfani, MD-Robin Chatterji

Lyrics

mohabbat na hoti
zamaana na hota
tadapne ka koi bahaana na hota
bahaana na hota
mohabbat na hoti
zamaana na hota
tadapne ka koi bahaana na hota
bahaana na hota

na hum aahen bharte
na wo aahen bharte
na hum aahen bharte
na wo aahen bharte
agar darmiyaan ye zamaana na hota
agar darmiyaan ye zamaana na hota
mohabbat na hoti
zamaana na hota
tadapne ka koi bahaana na hota
bahaana na hota

kahaan ae falak tu u giraata ye bijli
kahaan ae falak tu u giraata ye bijli ee
hamaara agar aashiyaana na hota
hamaara agar aashiyaana na hota
mohabbat na hoti
zamaana na hota
tadapne ka koi
bahaana na hota
bahaana na hota


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3572 Post No. : 14314

“Sangam”(1954), not to be confused with “Sangam”(1964) was produced by J P Agrawal and directed by Kiran Kumar for Rajhans Pictures, Bombay. This “social” movie had Kamini Kaushal, Shekhar, Shashikala, K N Singh, Murad, Rajrani, Chaman Puri, Ratan, Neera, Jeewan etc in it.

The movie had seven songs in it. Two of these songs have been covered in the past.

Here is the third song from “Sangam”(1954) to appear in the blog. The song is sung by Talat Mehmood and Mubarak Begam. S H Bihari is the lyricist. Music is composed by Ram Ganguly.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Tera bachpan ek kahaani (Sangam)(1954) Singers-Talat Mehmood, Mubarak Begam, Lyrics-S H Bihari, MD-Ram Ganguly
Both

Lyrics

ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho

tera bachpan ek kahaani
tera bachpan ek kahaani
tera bachpan ek kahaani
tera bachpan ek kahaani
bhool na jaana
baalapan ki yaad suhaani
ho ho ho
bachpan ek kahaani

aayegi kaamini aayegi
tujhe aake jhoola jhulaayegi ee
tujhe aake jhoola jhulaayegi
tera nanha nanha jiya bahlayegi
phir kahegi
kya
thhanda thhanda sa mausam
chalen wahaan
hanse chanda jahaan

ho ho ho ho
bachpan ek kahaani

aankh milne lagi
pyaar hone laga aa aa
aankh milne lagi
pyaar hone laga
dil tera mera bekaraar hone laga
haay hone laga
lagi manzil pe aane jawaani ee

ho ho ho ho
bachpan ek kahaani

kahe hans kar ye tasveer
teri jaag uthhi taqdeer
kahe hans kar ye tasveer
teri jaag uthhi taqdeer
teri albeli shaan
dekhe saara jahaan
le tu huaa jawaan

ho ho ho
bachpan ek kahaani
bhool na jaana baalaapan ki yaad suhaani
ho ho ho ho
bachpan ek kahaani
tera bachpan ek kahaani
tera bachpan ek kahaani


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3509 Post No. : 14099

“Deewaali Ki Raat”(1956) was produced by Vishandas Sapru and directed by Deepak Asha for V.A.R.Productions. The movie had Talat Mehmood, Roopmala, Shashikala, Gope, Motisagar, Neeta etc. in it.

Five songs from the movie have been discussed in the past. Here is the sixth song from “Deewaali Ki Raat”(1956) to appear in the blog. This song is sung by Madhubala Jhaweri and Talat Mehmood. Madhukar Rajasthani is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available, but it is clear that this song was picturised on Talat Mehmood himself. I request our knowledgeable readers to tell about the lady who lip syncs the song in Madhubala Jhaveri’s voice.


Song-Kehne ko bahut kuchh kehna thhaa (Deewaali Ki Raat)(1956) Singers-Madhubala Jhaveri, Talat Mehmood, Lyrics-Madhukar Rajasthani, MD-Snehal Bhatkar
Both

kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
takraayi nazar sharma hi gaye
is jhukti nazar ko dekh sanam
hum piye bina lehra hi gaye
hum piye bina lehra hi gaye
kehne ko bahut kuch kehna thha

zulfon ki ghataaon mein chhup kar
zulfon ki ghataaon mein chhup kar
ji bhar ke chala lo teer-e-nazar
ji bhar ke chala lo teer-e-nazar
ulfat ki ada ke deewaane
sau teer jigar par kha hi gaye
sau teer jigar par kha hi gaye
kehne ko bahut kuchh kehna tha

tum raaz-e-mohabbat kya samjho
tum ishq ki baaten kya jaane
tum ishq ki baaten kya jaane
haye ae
kacche dhaage se bandh kar
sarkaar meri tum aa hi gaye
sarkaar meri tum aa hi gaye
kehne ko bahut kuch kehna thha

ae saaz-e-jawaani chhed koi
ae saaz-e-jawaani chhed koi
ek geet suhaana pyaar bhara
ek geet suhaana pyaar bhara
do pyaar bhare dil aaj miley
manzil ko apni pa hi gaye
manzil ko apni pa hi gaye
kehne ko bahut kuchh kehna thha

ae raat yahi par ruk ja tu
ae chaand sitaaron mat dhhalna
ae chaand sitaaron mat dhhalna
andaaz-e-bayaan se jaahir hai
hum un ke dil ko bha hi gaye
kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
kehne ko bahut kuchh kehna thha


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3508 Post No. : 14096

Today, 24th February is the birth anniversary of Talat Mehmood (born 1924).

There are approximately 650 film songs identified, as being sung by him. It is a known fact that during the decade of 1950s, Talat Sb spent more of his energies in trying to establish himself as an actor-singer. He had the presence and the looks of a leading hero, plus a voice that at one time had stolen the hearts of film goers and listeners. But the on-screen combination somehow did never strike a rapport with the audience, getting only a lukewarm reception at the box office. Rising from the mid 1940s along with the other mainstream singers, he allowed his ratings as a playback singer to falter, in his effort to be a singing start. Now, it is just a matter of speculation how the history of Hindi films and Hindi film music could have been different, had some different choices had been made by Talat Sb.

In this context, it is very interesting to note that the decade of 1950 evolved in the manner it did – given that some leading singers made some different choices. The other names that come to mind are Mukesh, and Kishore Kumar. Mukesh also focused his energies on becoming an actor, for a good part of the early half of 1950s. Similarly, Kishore Kumar did not focus on being a dedicated playback singer – he also first went the actor route to establish himself in the industry. It is recognized that he was successful to a great extent to establish himself as an actor of some merit and popular following, with a continuous string of films that mattered. But even for him, his career as an actor eclipsed by mid 1960s, and his decision to come into his own as a playback singer in late 1960s, did wonders of a different type in his career. And so the debate about ‘What if. . .’ applied to these three singers is interesting, but of course a moot exercise. The history of Hindi film music is what it is. The choices had been made.

Today’s song has been sent in by Avinash ji. The film is ‘Samaapti’ from 1949. The film is produced at the Calcutta center, under the banner of Uma Productions, and is directed by Amar Mullick. The star cast of the film is briefly listed in the Geet Kosh as Talat Mehmood, Bharti Devi, Heeralal and Sunder. Given that Talat Mehmood is starring in this film, this song most likely is picturized on himself.

The film has 8 songs listed. Music direction is by Timir Baran. The lyricist name is listed for six of the songs – Pandit Bhushan. Two of these songs, including this one, are solo renderings by Talat Sb, two are solo songs by Suprabha Sarkar, and two are duets of Talat and Suprabha Sarkar. Information about the lyricists and singers of the remaining two songs is not available.

A light hearted song of happiness, that tells about the heart singing like a bird – rendered so effortlessly by Talat Sb. Listen and enjoy.

 


Song – Mann Ki Maina Bol Rahi Hai (Samaapti) (1949) Singer – Talat Mehmood, Lyrics – Pandit Bhushan, MD – Timir Baran

Lyrics(Provided by Avinash Scrapwala)

mann ki maina bol rahi hai
boley mann ki maina
mann ki maina bol rahi hai
boley mann ki maina
uski boli har leti hai
mere mann ka chaina aa
mere mann ka chaina aa aa
bol rahi hai
boley mann ki maina
mann ki maina bol rahi hai
boley mann ki maina aa

desh mein wo jaane ko kehti
jahaan prem ki ganga behti..ee
kaanon mein aa kar ras gholen
kaanon mein aa kar ras gholen
kisi ke meethe baina
bol rahi hai
boley mann ki maina
mann ki maina bol rahi hai
boley mann ki maina

wahaan ek bholi..ee matwaali..ee
sundar nain nachaaye
wahaan ek bholi..ee matwaali..ee
sundar nain nachaaye
koyal ki si pal pal kooke
hans hans phool khilaaye
koyal ki si pal pal kooke
hans hans phool khilaaye
use dekhne ko..o
ab mere
tadap rahe hai naina
bol rahi hai
boley mann ki maina
mann ki maina bol rahi hai
boley mann ki maina

————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
————————————————————————
मन कि मैना बोल रही है
बोले मन कि मैना
मन कि मैना बोल रही है
बोले मन कि मैना
उसकी बोली हर लेती है
मेरे मन का चैना॰॰आ
मेरे मन का चैना॰॰आ
बोल रही है
बोले मन कि मैना
मन कि मैना बोल रही है
बोले मन कि मैना आ

देश में वो जाने को कहती
जहां प्रेम कि गंगा बहती॰॰ई
कानों में आकर रस घोलें
कानों में आकर रस घोलें
किसीके मीठे बैना
बोल रही है
बोले मन कि मैना
मन कि मैना बोल रही है
बोले मन कि मैना

वहाँ एक भोली॰॰ई मतवाली॰॰ई
सुन्दर नैन नचाये
वहाँ एक भोली॰॰ई मतवाली॰॰ई
सुन्दर नैन नचाये
कोयल कि सी पल पल कूके
हंस हंस फूल खिलाये
कोयल कि सी पल पल कूके
हंस हंस फूल खिलाये
उसे देखने को॰॰ओ
अब मेरे
तड़प रहे है नैना
बोल रही है
बोले मन कि मैना
मन कि मैना बोल रही है
बोले मन कि मैना


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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