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

Posts Tagged ‘Wali Sahab


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 :

5173 Post No. : 17144

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Blog 10-Year Challenge (2012-2022) – Song No. 92
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This date ten years ago (viz 16 September 2012) saw seven songs from seven different movies getting covered in the blog.

Here are the details:-

Blog post number Song Movie (Year) Remarks
6646 Kitaab e dard mein likha mere gham ka fasaana hai Sultaana(1934) 2 songs covered out of 13 by now
6647 Sapnon mein aane waale Ham Ek Hain (1946) Movie YIPPEED by now
6648 Duniya ne teri duniya waale Deedaar (1951) Movie YIPPEED by now
6649 Dil yoon yoon karta hai Heer Ranjha (1948) 5 songs covered out of 11 by now
6650 Kitni jawaan hai raat koi yaad aa gaya Aazaad (1955) Movie YIPPEED by now
6651 Saathi tere naam ek din jeewan kar jaayenge Ustaadi Ustaad Se(1981) One song covered out of 6
6652 Chaand sifaarish jo karta hamaari Fanaa(2006) 3 songs covered out of 5 by now

One can see that three movies (out of 7) whose songs were covered on this date ten years ago have since been YIPPEED. That leaves us with four movies that are eligible for Blog Ten Year CHallenge today (16 September 2022).

“Heer Ranjha”(1948) is an eligible movie for Blog Ten Year Challenge today.

“Heer Ranjha”(1948) was produced and directed by Wali Sahab for Punjab Film Corporation. The movie had Mumtaz Shanti, Ghulam Mohammad (actor), Gulab, Roop Kamal, Majnu, Ramlal, Gulnar, Malik Amin, Aziz, Minaayi, Neeladevi, Aziz Kashmiri, Nauratavi etc in it.

“Heer Ranjha”(1948) had 11 songs in it. Five songs have been covered by now.

Here is the sixth song from the movie to appear in the blog. The song is sung by Geeta Dutt and G M Durrani. Wali Sahab is the lyricist. Music is composed by Aziz Khan.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio link:

Song-Qafas ki qaid mein (Heer Ranjha)(1948) Singers-Geeta Dutt, G M Durrani, Lyrics-Wali Khan, MD-Aziz Khan
Both

Lyrics(Provided by Prakashchandra)

Qafas ki qaid mein aen
qafas ki qaid mein
hamko o hai yaad-e-aashiyaan baaqi
hai yaad-e-aashiyaan baaqi
abhi hai aansuon mein
muskuraane ke nishaan baaqi
qafas ki qaid mein aen

tumhaara kaarwaan aan
manzil pe jaa pahunchaa
khudaa haafiz
manzil pe jaa pahunchaa khudaa haafiz
tumhara kaarwaan aan aan
manzil pe jaa pahunchaa
khudaa haafiz
jaa pahunchaa khudaa haafiz
tumhaarey bhi ee ee ee
tumhaarey bhi lipatney ko
hai gard-e-kaarwaan baaqi
hai gard-e-kaarwaan baaqi
qafas ki qaid mein aen

jinhein jalnaa hai woh o
jal jal ke bujhte
aur bhi jalte hain
to bujhney par bhi jalte hain
jinhein jalnaa hai woh o o
jal jalke bujhte
aur bhi jalthe hain
to bujhney par bhi jalte hain
ke shammaa bujh chuki hai
ke shammaa bujh chuki hai
aur hai uska dhuaan baaqi
aur hai uskaa dhuaan baaqi
qafas ki qaid mein aen

pahunchne ko pahunch
jaaoonga manzil par
magar us din
pahunch jaaoongaa par us din
ke manzil hogi manzil par r r r r r
ke manzil hogi manzil par
na manzil ka nishaan baaqi
na manzil ka nishaan baaqi

qafas ki qaid mein
hamko o hai yaad-e-aashiyaan baaqi
hai yaad-e-aashiyaan baaqi


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 :

5168 Post No. : 17137

Today’s song is from yet another Historical movie-Padmini-1948. Like the last post, even this film story is connected with Rajasthan, by coincidence.

The film was made by the Punjab Film Corporation, Bombay – owned by the Producer, Director and Lyricist of this film – Wali Sahab. Music Director was Ghulam Haider and the cast consisted of Mumtaz Shanti (wife of the director Wali Sahab), Ashok kumar, Mumtaz Ali, Maya Devi, Neelam, Sultana, A.Shah and others.

Film Padmini-48 was the second Historical movie in which Ashok Kumar had ‘acted’. The first one was ” Humayun”-1945. In that film, according to Isaq Mujawar, author of several books on old films and artistes,” Ashok kumar was ridiculed by the theatre audience for his feminine acting and running with the war gear on the screen. he looked so funny in that attire that whole audience was laughing loudly at him” (book-Screenplay). Obviously, Ashok Kumar, who had an image of a simple romantic Hero in the Bombay Talkies films with Devika Rani and later with Leela Chitnis, was a misfit in the Historical role. Looks like he did not realise this or did not care for it and accepted the second such film again.

Same case was with Ashok Kumar’s Mythological films. The first mythological film that he acted in was ‘ Savitri”-1937 with Devika Rani as Savitri. Ashok Kumar was still a new actor and this was his only 4th film. He had yet to get branded as a Romantic hero, but the Mythological role of Satyawan did not suit him at all. When one sees some photos of this film, one will be confused as to who is Satyawan and who is Savitri. Even in the photos he looked so odd and awkward. In Spite of this, he acted in another Mythological film ” Uttara Abhimanyu “-1946, with Shanta Apte. Here, he was Abhimanyu and did not suit the role at all due to his age, which was 35 years. Shanta Apte as Uttara was also over 30 years old. Thankfully, good sense prevailed and Ashok Kumar did not act in such films in the Hero’s role thereafter !

In the film Padmini-1948, actress Sultana had done a role. Her sisters Zubeida and Shehzadi had quit films in late 30’s after their marriage, but Sultana continued in films. Sultana, also known as Sultana Razaaq, was one of the earliest film actresses from India and acted both in silent movies and later in talkie movies. She was daughter of India’s first female film director, Fatima Begum. Zubeida (leading actress of India’s first talkie film Alam Ara -1931) was the younger sister of Sultana. The youngest sister was Shehzadi-also an actress. Actress Mehtab (Sohrab Modi’s wife), whose real name was Najma, was the step sister of these girls. Najma was the daughter of Marium, one of the wives of Nawab of Sachin.

Sultana was among the few girls who entered films at a time when it was not considered an appropriate profession for girls from respectable families, let alone Royalty. Born in the Surat city of Gujarat in western India, Sultana was a stunningly beautiful Muslim princess, the daughter of Nawab Siddi Ibrahim Muhammad Yakut Khan III of Sachin State and Fatima Begum. She had two sisters, Zubeida and Shehzadi, both actresses. However, there is no record of a marriage or a contract having taken place between the Nawab and Fatima Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. Actually, the Nawab had 3 wedded wives and Fatima was an ‘ outside’ arrangement.

Sultana was a popular actress in the silent movie era, usually cast in romantic roles. She started her career as an actress in Veer Abhimanyu (1922) film in 1920s and later performed in several silent films. Later, she also acted in talkie movies. Sultana did sexy roles in films and earned a name as “Sultry Sultana”. She acted in 20 Silent films. She continued acting after the Talkie films started and worked in 19 Talkie films. Her last film was ‘ Girdhar Gopal ki Meera’-1949.. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !

When India was partitioned in 1947, she migrated to Pakistan with her husband, a wealthy man named Seth Razaaq. Her daughter, Jamila Razaaq, was also encouraged by her to act in Pakistani films and she produced a film in Pakistan, named Hum Ek hain (1961), written by famous scriptwriter, Fayyaz Hashmi. The film was partly shot in colour, which was rare those days, but it failed miserably and Sultana stopped producing any films afterwards.

Sultana’s daughter, Jamila Razaaq, married the well known Pakistani cricketer Waqar Hasan, who is the brother of filmmaker Iqbal Shehzad. He runs a business under the name National Foods at Karachi. (Author’s note- This is based on information collated from the book ‘Asli Nakli Chehere’ by Vithal Pandya, Blog of P.Kamalakar, 1946 Film Directory, pak.mag site and my notes, with thanks to all)

Another unknown name in the cast is A.Shah. Here is some information on him. An actor who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpur and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.

He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs.40 p.m. He acted in ‘Shakuntala’-31 and ‘Gul Bakavli’-32. He had to take a 2 year break, due to an illness. Back in Bombay, he worked in the film ‘Fidai Tohid’-34 as a hero. He gave music to the film ‘Gunehgar’-36. He wrote dialogues for ‘Mother India’-38 and ‘Daughters of India’-39. His first comic role was in Ranjit’s ‘Mirza Sahiban’-35. He became famous with his role in Punjabi film ‘Kurmai’-41.

His best role came in ‘Sharada’-42, as Munshi Udharchand Shikarpuri. This was repeated by him in the film ‘Keemat’-46. Some of his 11 films were, ‘Dhandora’-41, ‘Armaan’-42, ‘Sukh Dukh’-42, ‘Kanoon’-43, ‘Sanjog’-43, ‘Geet’-44 and ‘Ek Din Ka Sultan’-45, and Padmini-48.After 1948, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’-49, ‘Namoona’-49 and ‘Ek Teri Nishani’-49. After this he possibly migrated to Pakistan and we have no further information about him anymore. Baburao Patel of Film India magazine was his fan.( Adapted from Film Directory-46 and pak.mag with thanks.)

Today’s song is from the early career of Geeta Roy when she was new, not very well known and with a fresh melodious voice. The song is very sweet. Music is by Ghulam Haider, who was in a hurry to migrate to Pakistan. He was one of the very few popular and successful MDs in undivided India, who went to Pakistan and did not do that well there. Not only that, he suffered from Cancer and died within 2 years of going to Pakistan. This is in contrast to many other MDs, who were ordinary and not so popular in India, became highly successful, popular and famous in Pakistan Some such examples are Nissar Bazmi, Tufail Faruqi, G.A.Chishti (Babaji) etc etc.

The producer, Director and lyricist of this film was Wali Saheb who also migrated to Pakistan soon after, along with his wife Mumtaz Shanti. Just for information, Mumtaz Shanti’s mother was a Hindu named Shanti and father was a Muslim-Mumtaz Shah. That’s how she called herself Mumtaz Shanti.

I am not giving the story of this film, because the story of beautiful queen Padmini and her Jauhar, along with hundreds of other women, to save their honour from the army of Allauddin khilji is very well known.


Song- Mere angna kaag na boley (Padmini)(1948) Singer- Geeta Roy, Lyricist- Wali Sahab, MD- Ghulam Haider

Lyrics

Mere angna kaag na boley
ke nain mere ae kajle bharey

mere angna kaag na boley ae
mere angna kaag na boley
ke nain mere
ke nain mere kajle bhare ae
kajal bharey
mera dhak dhak jiyra doley
ke nain mere kajle bhare ae
kajle bharey
mere angana kaag na boley

tere nain baan man bhaaye re
tere nain baan man bhaaye re
man piya piya nit gaaye re
man piya piya nit gaaye re
koi piya ko jaa ke bataaye re
ke nain mere
ke nain mere kajle bhare ae
kajle bhare
mere angana kaag na boley
nain mere kajle bhare ae
kajle bharey
mere angna kaag na boley

mere man ke meet harjaai re
mere man ke meet harjaai re
meri gaaon gaaon ruswaai re
meri gaaon gaaon ruswaai re
main to preet kiye pachhtaai re
ke nain mere
ke nain mere kajle bharey ae
kajle bharey
mere angna kaag na boley
nain mere kajle bharey ae
kajle bharey

pehle kar ke pyaar ki batiyaan
haay pehle kar ke pyaar ki batiyaan
paachhe bheji na prem ki patiyaan
paachhe bheji na prem ki patiyaan
maine nainon mein kaati saari ratiyan
ke nain mere
ke nain mere kajle bharey ae
kajle bharey
mere angna kaag na boley ae
mere angana kaag na boley
nain mere kajle bharey ae
kajle bharey
mere angna kaag na boley


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 :

5156 Post No. : 17119

“Ek Din Ka Sultaan”(1945) was produced and directed by Sohrab Modi for Minerva Movietone, Bombay. The “historical” movie had Mehtab, Wasti, Ghulam Mohammed (actor), Sadiq Ali, Shanta Rin, Ghory, Protima devi, Ghulam Hussein, Ghulam Mohiudeen, A Shah, Jilani, Amir Bano etc in it.

“Ek Din Ka Sultaan”(1945) had nine songs in it. Three songs have been covered so far.

Here is the fourth song from the movie to appear in the blog.

The “gareeb” related song is sung by Ameerbai Karnataki. 🙂 . Wali Sahab is the lyricist. Music is composed by Rafiq Ghaznavi.

The song is picturised on Mehtab.

Lyrics of the song were sent to me by Prakashchandra.

Audio

video

Song-Gareebon ki duniyaa jahaan se niraali (Ek Din Ka Sultaan)(1945) Singer-Amirbai Karnataki, Lyrics-Wali Sahab, Md-Rafiq Ghaznavi

Lyrics (Provided by Prakashchandra)

gareebon ki duniyaa aa
gareebon ki duniyaa aa
gareebon ki duniyaa aa aa
gareebon ki duniyaa aan
jahaan se niraalee
niraalee haaayye ae ae
gareebon ki duniyaa
jahaan se niraali ee
na koyi shehanshaah
na koyi sawaalee
na koyi sawaali
gareebon ki duniyaa
jahaan se niraalee ee
gareebon ki duniyaa aan

hain zardaar duniyaa mein aen
zar ke deewaaney ae
hain zardaar duniyaa mein aen
zar ke deewaaney aen
gareebon ke ghar pyaar
ke hain khazaaney aey
gareebon ke ghar pyaar
ke hain khazaaney aey
gareebon ki duniyaa kaa
allah ho waalee
allah ho waali
gareebon ke duniyaa
jahaan se niraalee
gareebon ki duniyaa

jo mehlon mein jaltey hain
ghee ke charaa aag
jo mehlon mein jaltey hain
ghee ke charaa..aag
to kutiyaa mein jaltey hain
seeney ke daa..aag
to kutiyaa mein jaltey hain
seeney ke daag
udhar zar kee surkhee
idhar khoon ki laalee
idhar khoon ki laali ee
gareebon ke duniyaa
jahaan se niraalee ee
gareebon ki duniyaa aa

ameeron ke seeney se ae
rehtaa hai door
ameeron ke seeney se ae
rehtaa hai door
gareebon ke seeney mein allah ka noor
gareebon ke seeney mein allah ka noor
gharoor aur tasavvur(?) se
seenaa hai khaali ee
seenaa hai khaali ee
gareebon ke duniyaa aan
jahaan se niraalee ee
gareebon ki duniyaa aaa


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 :

5119 Post No. : 17067

Today’s song is from the film Ladai ke baad-1943.

This is a very misleading title for a film which was made during the peak period of Second World war. Reading this title, it is natural for anyone to feel that this was a film which was on the matters which will take place after the war is over, or it may be a depiction of the country and the social life going through changes after the war ended. But none of it ! It was simply all about a war (Ladai) between two neighbouring families, caused by the usual Ego clash – though there is a loving couple in both families, hoping to get married. And it was called a Comedy film.

The film was made by Navyug Chitrapat, Poona. There is a little history behind the launch of this film making company. Master Vinayak (father of actress Baby Nanda) had his own film company Hans Pictures, in partnership with half brother Baburao pendharkar and cameraman pandurang Naik. Their first film was Chhaya-36-aq bilingual in marathi and hindi. It was not only a hit film but also it won many awards. Next 2 films, Premveer-37 and Dhrmveer-37 were also successful. Then came the film Jwala-38, a bilingual. Unfortunately this film was a big flop and Vinayak suffered heavy loss. To make it up, he then made 2 more films-Bramhachari-38 and brandy ki botal-39. Although these were successful at the Box office, the loss was not compensated. Even the last attempt with marathi film Ardhangi-40 (Hindi-Ghar ki Rani-40) could not salvage the damage done by jwala and Hans Pictures was dissolved.

He then launched navyug Chitrapat, along with Acharya P.K.Atre as a partner. Navyug was the first film company to offer 100 rupees shares to the common public (Bombay Talkies had given its shares to its Directors initially). The first film made was in Marathi-Lapandav-40. Then came Amrit-41(in Hindi and marathi) and ‘Pahili Mangalagaur’-42 in marathi, wherein Lata Mangeshkar made her Debut. During the making of this film, Vinayak left navyug and started his own ” Prafull Pictures’. After the last film Ladai ke baad-1943, navyug Chitrapat also closed down.

Actually, if one goes through the early marathi Cinema production history, one would know that launching and closing film companies was quite frequent in the Marathi film industry. In the early era, films were made in Poona, Kolhapur and Bombay. Two major communities in Maharashtra, Gujarati and Marathi entered the cinema field. Gujaratis were businessmen and had the money power. They immediately became the owners of film companies, supplied finance and made profits. Marathi people had no money but they had a hard working nature, acting Talent, Music expertise and Technical knowledge. Thus the jobs were automatically divided. Whenever Marathi people owned or launched film companies, they lost the battle due to lack of business sense and clash of false egos among partners. In later years, however, this picture changed.

Film Ladai ke baad-43 was directed by R.S.Junnarkar. Raghunath Shankar junnarkar was born on 19-3-1911 in Bijapur. After matriculation, he joined the film industry as a technician,in 1931, in Zarina pictures. He moved to kohinoor film company and then to United Artistes. Later he joined Kohinoor Cinetone in the capacity of screenplay writer and editor in 1934. master Vinayak Called him to Hans pictures in 1936. He was diligent and hard working. He got his first chance as a director of film sangam (Hindi and Marathi)-1941. Before this, he had jointly directed the film Bahurani in 1940, with actor Mubarak.

For navyug pictures he directed Pahili mangalagaur, Tuzach (Hindi version Main tera hoon) and Pundalik all marathi films. After Vinayak left navyug he completed the film pahili mangalagaur. In this film, there was a kissing scene of Snehaprabha pradhan and Shahu Modak. Lata also debuted in this film with acting and singing for herself.

Junnarkar was excellent as a screenplay writer. he wrote for films Nigahe nafrat -35 (Debut of Shobhana Samarth), Chhaya-36, dharmaveer-37, jwala-38, Neera and nanda-1946(directed also). he also wrote lyrics for film Taqrar-1944, he edited films, premveer, Nigahe nafrat, dharmaveer, Birha ki raat and Baazuband. (Thanks to the book ‘ Marathi Cinema in retrospect’ by Sanjit Narvekar).

Coming back to film Ladai ke baad-43, the songs were written by Wali Saeb.He was the brother of lyricist Nazim Panipati. Wali Saheb was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put on her Burkha again and head straight home, without talking a word with anyone.

It seems her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born in Poona on 10-8- 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan ‘ produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios,Talwar productions, Cine art production etc.He even sang one song in the film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in the mid 50s. ( Thanks to information from Film Directory-46, muVyz, HFGK and my notes.)

I am not giving the film story because it was given along with the film’s first song discussed here in 2016. The music was by Dada Chandekar. Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.

Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.

His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.

Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for a few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.

Today’s song is a duet sung by Snehprabha Pradhan and Govind Kuruvilkar.

Editor’s note. This is the 100th song of Wali sahab as a lyricist in the blog. He becomes 32nd lyricist and 94th artist overall to complete 100 songs in the blog.


Song- Dagar mori chhodo ji (Ladaai Ke Baad)(1943) Singers- Snehprabha Pradhan, Govind Kuruvilkar, Lyricist- Wali Sahab, MD- Dada Chandekar

Lyrics

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
Dagar mori chhodo ji
Dagar mori
chhodo ji

donon haathhon mein mere kabootar
donon haathhon mein mere kabootar
tere sar se bhari hai ye gaagar
tere sar se bhari hai ye gaagar
kaise chhedoonga
naar naveli

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
gaagar mein donon kabootar bithhaakar
gaagar mein donon kabootar bithhaakar
gaagar ko dhhakke se upar uthhaakar
gaagar ko dhhakke se upar uthhaakar
hamse karoge athhkheli
hamse karoge athhkheli
tu ko samjhaye ??
tu ko samjhaye ??

Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli

mujhe baadh liya kaajal ki dori se kyun
mujhe baadh liya
mujhe baadh liya kaajal ki dori se kyun

toone chhedaa thha
toone chhedaa thha
panghat pe chori se kyun
toone chhedaa thha
panghat pe chori se kyun
mose bhool hui
aaj mose bhool hui
naar naveli

kahin dekhe na mori saheli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
agar mori chhodo ji
Dagar mori
chhodo ji


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 :

5089 Post No. : 17015

“Amar Keertan”(1954) was directed by K.C. Pandit for Punjab Film Corporation, Bombay. The movie had Asha Mathur, Shahu Modak, Jayant, Naaz, Rajendra, Sita Bose, S. Prakash, Prem Kumar, Sitaram, Maya Das, Heera Sawant, Kumkum, Lalan, Bansari, Chand Burque etc. Kumari Amita Devi, Kamal Mehra, and Madan Puri made guest appearances in this movie.

The movie had eleven songs in i (including a multiple version song).

Four songs (including the multiple version song) have been covered so far in the blog.

Here is the fifth song from “Amar Keertan”(1954). It is sung by S D Batish. Wali Sahab is the lyricist. Music is composed by S D Batish.

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

Lyrics of the song were sent to me by Prakashchandra.


Song-Nirdhan ki dasha dekh(Amar Keertan)(1954) Singer-S D Batish, Lyrics-Wali Sahab, MD-S D Batish

Lyrics(Provided by Prakashchandra)

maaya ko maaya miley ae ae ae ae
kar kar lambe haath
tulsi das gareeb ki ee ee ee ee
koi na poochhe baat

nirdhan ki dasha dekh
ho nirdhan ki dasha dekh
dhanwaanon ke bhagwan
nirdhan ki dasha dekh
ho nirdhan ki dasha dekh
jeena to raha jeena
jeena to raha jeena
nahin marna bhi aasaan
nirdhan ki dasha dekh
ho nirdhan ki dasha dekh

naiyya hai kinaare pe
kinaara nahin milta
kinaara nahin milta
nirdhan ko to aansoo bhi udhaara nahin milta
udhaara nahi milta
jab tera hi nirbal ko sahaara nahin milta
phir inpe daya kaise karega koi insaan
o dhanwaanon ke bhagwaan
o dhanwaanon ke bhagwaan aan
nirdhan ki dasha dekh
ho nirdhan ki dasha dekh

le dekh ye majboor chita ko hai taraste ae ae ae ae
haaye
nirdhan ke liye band hain marne ke bhi raste
nirdhan ke liye band hain marne ke bhi raste
jalti hai chita aa
jalti hai chita man mein ae ae ae
magar nain barasate ae ae
anjaan nahin phir bhi
banta hai tu anjaan
o dhanwaanon ke bhagwan
o dhanwaanon ke bhagwan
nirdhan ki dasha dekh


This article is written by Avinash Scrapwala, 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 :

5052 Post No. : 16965

Today’s song is from the movie ‘Amar Kirtan-1954’.

The song is ‘Hari Om Tatsat’ sung by Geeta Dutt. I had come across this song in 2014 and had noted it then. However so far it remained to be posted on the blog.

When I had shared this song (lyrics only) earlier in ‘2014’ I was not equipped with HFGK Vol-III (1951-1960). Now, when I was preparing this write-up to present this song, I check the HFGK Vol-III for more information of this movie and the list of its other songs.

I find that there is a ‘part-2’ of this song sung by S.D. Batish and Asha Bhonsle as mentioned in HFGK. However, when I looked for the link of this song I do not find it except that I find a link where both the female & male versions are combined together.
When I listened to it I noted that the male version abruptly ends at one place though after two stanzas (the second one being incomplete). (So we don’t know if this song was in a male and female version or a female and a duet version).

On this combined link of this song we can read a comment from the ‘YouTube’ account ‘Ragmala’. ‘Ragmala’ is the official channel of Batish family.
The comment on this song link says that the tempo of recording in this song is faster and it should be on lower tempo. After reading this comment we can conclude (?), that this song should be a male-female version only. And there is no duet version of this song. The comment doesn’t mention anything about the complete song in it.

“Amar Kirtan-1954” was directed by K.C. Pandit for ‘Punjab Film Corporation, Bombay’.
It had Asha Mathur, Shahu Modak, Jayant, Naaz, Rajendra, Sita Bose, S. Prakash, Prem Kumar, Sitaram, Maya Das, Heera Sawant, Kumkum, Lalan, Bansari, Chand Burq, and others. Kumari Amita Devi, Kamal Mehra, and Madan Puri make a guest appearance in this movie.

This movie was passed by Censor Board on 27.07.1954.

This movie had eleven songs (including two two-part songs) all written by Wali Sahab.

Music for this movie was composed by S.D. Batish.

Here is the list of songs of this movie:-

SNo Song Title Singer/s Posted On
01 Jai gurudeva, jai gurudeva, yug yug yug… S.D. Batish, Others
02 Hari om tatsat, hari om tatsat…(part-1) Geeta Dutt
03 Jaat paat aur oonch neech ko…(part-a) S.D. Batish, Asha Bhonsle
04 Thaare gail chaloon re saanwariya Asha Bhonsle 21.04.2017
05 Prabhu mori pariksha naahi karo S.D. Batish
06 Morey ghar shyam ghataa nahin barsi Geeta Dutt
07 Bhool gaya … panchhi bhool gaya path S.D. Batish 26.08.2017
08 Main to hoon bhagton ka das S.D. Batish
09 Hari om tatsat, hari om tatsat (part-2) S.D. Batish, Asha Bhonsle
10 Jin dhyayo shyam, tin paayo shyam (part-b) Asha Bhonsle
11 Nirdhan ki dasha S.D. Batish

From the above table we can see that, so far, only two songs from this movie ‘Amar Kirtan-1954’ have been posted earlier in ‘2017’ on the blog.

Today’s song is a ‘two-part’ song as mentioned above.

I would request knowledgeable readers to throw more light on this movie and its songs. I would also request readers to provide link of this song in the voice of S.D. Batish if they came across it or are already aware of it.

Let us listen to the today’s song now…

Geeta Dutt version

S D Batish version


Song-Hari Om Tatsat (Amar Keertan)(1954) Singer-Geeta Dutt/ S D Batish, Lyrics-Wali Sahab, MD-S D Batish

Lyrics

————————-
Geeta Dutt version
————————

Hmm mm mm hmm hmm
Hmm hmm hmm
mm mm hmm hmm
hmm mm hmm hmm

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Mahaa neech ban kar
Mahaakal ban kar
Diye dukh jo Raavan ne
Chandaal ban kar
Diye dukh jo Raavan ne chandaal bankar
To ye mantra kaam aa gaya dhaal bankar
To ye mantra kaam aa gaya dhaal bankar
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Dushaasan ne jab haath saari pe daala
Dropadi ke pat ko sabhaa me uchhaala
Dropadi ke pat ko sabhaa me uchhaala
To is mantra ne uske sankat ko taala
To is mantra ne uske sankat ko taala
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

—————————-
S.D. Batish version
—————————-
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Koi kasht sansaar mein tujhko ghere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
To uthhkar Japaa kar
Savere savere
To uthhkar Japaa kar
Savere savere
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat

Mahaa mantra hai ye
Mahaa mantra hai ye


Hari Om tatsat
Hari Om tatsat

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Ubalte huye tel mein
Jabke phenka
To nirdosh prahlad kaise bachaa thha
To nirdosh prahlad kaise bachaa thha
Yahi shabd thhe us ghadi Uske munh par
Yahi shabd thhe us ghadi uske munh par


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 :

4931 Post No. : 16773

“Kurbaani”(1943) was directed by Ram Daryani for Murli Movietone, Bombay. This obscure “social” movie had Durga Khote, Ishwarlal, Vasanti, Kaushalya, Gulab, Kamla, Gope, Majid, Sheikh, Dharpure etc in it.

The movie had nine songs in it.

One song from “Kurbaani”(1943) has been covered in the past.

Here is the second song from “Kurbaani”(1943) to appear in the blog. This song is sung by Kaushalya and Ishwarlal. Wali Sahab is the lyricist. Music is composed by Khemchand Prakash.

Only the audio of this song is available. Seeing that the singers of this song acted in the movie as well, one can assume that the song was picturised on Kaushalya and Ishwarlal themselves.

Like the first song from the movie, this song too is a delightful song to listen to. This song has retained its freshness even today nearly 80 years after the song was created. Clearly a song that deserves to be better known among music lovers.


Song-Aao aao sajan tohe jhoola jhulaaun (Kurbaani)(1943) Singers-Kaushalya, Ishwarlal, Lyrics-Wali Sahab, MD-Khemchand Prakash
Both

Lyrics

aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
saawan saawan manaao
saawan saawan manaao
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

kaajal ki dori ka jhoola banaa ke
kaajal ki dori ka jhoola banaa ke
nainon ki putli mein tohe bithha ke
nainon ki putli mein tohe bithha ke
aasha ki duniya basaaun
aasha ki duniya basaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
jhoolo to main baanh ka jhoola banaaun
jhoolo to main baanh ka jhoola banaaun

tumhen is naye jhoolne mein bithhaaun
tumhen is naye jhuoolne mein bithhaaun

udhar gaao tum
main idhar gungunaaun
udhar gaao tum
main idhar gungunaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao
aao
aao
aao aao
aao aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun

saawan saawan manaaun
saawan saawan manaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun
aao sajan tohe jhoola jhulaaun


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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 :

4922 Post No. : 16753

Today’s song is from the film ‘Dekho Jee’ (1947).

The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.

This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.

Did you ever hear about films ‘Amar Asha’, ‘Angoorbala’, ‘Attention’, ‘Barrister’, ‘But Tarash’, ‘Chalte Chalte’, ‘Chandrahas’, ‘Daghabaaz Dost’, ‘Dehati’, ‘Ek Kadam’, ‘Gaurav’, ‘Giribala’, ‘Heera’, ‘Intezar Ke Baad’, ‘Jhalak’, ‘Jurmana’, ‘Khaufnak Aankhen’, ‘Lalaat’, ‘Mangalsutra’, ‘Moti’, ‘Sewagram’, ‘Stage Girl’, ‘Tohfa’ or ‘Utho Jaago’ ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like ‘Shehnai’, ‘Mirza Sahiban’ and Parwana etc. However by and large the picture was like this only.

Today’s film ‘Dekho ji’ was also one such film. The producer/director,MDs, hero heroine and most actors of this film migrated to Pakistan, one after another in few years’ time. The film was made by The Punjab Film Corporation, Bombay. The Producer/ Director was Wali saheb. There were 2 MDs, namely Tufail Faruqui and Sabir Hussain There were 11 songs in the film but only few songs are available on YouTube. The cast consisted of Mumtaz Shanti, Anjum, A Shah, Haroon, Khatoon, Afzal, Dilshad, Mintobai, Gulnar etc.

When we talk of partition and migration of artistes from one country to another, only the famous and the well known names are taken. There were hundreds of small-time actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who were not known to many and also had migrated for various reasons. The other day I was reading a book, ‘Who’s Who: Music in Pakistan’ written by A Shaikh and M Shaikh. In this book I found several names of singers, composers, lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times, the instrument players, chorus singers and orchestra players had personal attachments and preferences for particular composers and vice versa too. That is why when Ghulam Haider went back to Lahore after partition, he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like he was having a family reunion. He arranged a get together for all those people.

In the Hindi film industry, many partition immigrants came back to dominate and transform the scene here. Filmmakers like Sippy, BR Chopra, Yash Chopra, Ramanand Sagar-all India’s most successful commercial producers were also partition immigrants. Once heavily dominated by Muslim film makers, writers, actors and composers, the Hindi film industry changed drastically after the partition, only to again be dominated after 60-70 years !

Many successful film personalities had gone to Pakistan between 1947 and 1950, including producers like Mehboob, Kardar and Shaukat Hussain Rizvi – who went to Lahore with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Roop K Shorey were forced to sell their studios and properties for a song and flee for their life to India after riots in Pakistan post partition. Some Muslim artistes returned to India after a few years when they realized that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the refugee camps of Delhi where Hindi movies were shown for free for two hours every evening to all. ‘Film India’ magazine commented that there were more than 15,000 refugees from Sindh and Punjab in Bombay. It also suggested that good looking and educated women can be employed in films. Due to polarization, there was much inflammatory writing published in this magazine at that time.

However, as before and always Bombay film industry maintained its secular culture. A big rally, led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947 in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly, to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, film artistes had led a rally in Calcutta at the same time.

The famous Music Historian James McConnachie said, ”As India marched into an uncertain future – in 1947 – film songs offered something unique: they helped creating a sense of belonging to One Nation, something that the divisive extremist right wingers in India, chanting ”Hindustan for Hindus” could never achieve. When Hindi film singers sang, nobody cared that Mohd Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims, much better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The Rough Guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film ‘Kamli’), Fateh Ali Khan (2 films – ‘Aaina’ (1944) and ‘Director’ (1947), Tufail Farooqi (2 films – ‘Sona Chandi’ (1946) and ‘Dekho Jee’ (1947)). Inayat Hussain of course became a legend in Pakistan.

Today we will talk about TUFAIL FAROOQI.

Tufail was born in Taran Taaran, Amritsar, Punjab, on 10-7-1918. After taking musical lessons from Ustad Abdul Waheed Khan for several years, he joined AIR, Lahore. He also worked with many composers. Finally, he got his first film, ‘Sona Chaandi‘ in 1946. Out of 12 songs of the film, he composed 10 songs and 2 were composed by DC Dutt. In this film Tufail gave an opportunity to a young but promising newcomer, who was struggling to get established as a playback singer – Mohammed Rafi. Rafi got 4 songs in this film and he was overjoyed at this break.

Later Tufail gave music to his second film- ‘Dekho Jee’ (1947). Here too he composed 6 songs and the other 5 were composed by composer Sabir Hussain. Actually, Sabir Hussain was his assistant and just to encourage him, Tufail credited these songs to him.

After partition,Tufail migrated to Pakistan along with family, with Sabir Hussain in tow, but had to struggle hard there too. His first film was ‘Barkha’ in 1953. Tufail gave music to 37 films, mostly Punjabi films and less Urdu. His film, ‘Bahadur Kissan’ (1970) had a song – ”Mera Sona Des Kisaan Da”, sung by singer Masood Rana. This tune was a blatant direct copy of the song ”Ye Desh Hai Veer Jawaanon Ka” from ‘Naya Daur’ (1957). The Pakistani song became a tremendous hit, not only with the Punjab farmers but also was played on Radio and TV often.

Tufail Farooqi’s sister was Master Ghulam Haider’s first wife (Umrao Zia Begum was his second wife), from whom he had a son – Saleem Haider. Later Saleem joined Pakistan Army and rose upto the rank of Lt. General. He retired in 2000.

Tufail worked till early 80s. He married the famous Pak singer Pappu Pukhraj in 1953. He died in Lahore on 25-3-1988.

Another actor in the cast, who was quite a popular comedian those days was A Shah aka Aziz Shah. He was born in 1910, at Sialkot. He did not have much schooling, except primary education at Lyallpur and at Islamia High School, Lahore. Due to his rich and sweet voice, he used to recite Holy Quran, on farmaish. He wrote poetry also.

He joined Saroj Movietone in 1930, under Mohan Bhavnani as an artiste at Rs. 40 per month. He acted in ‘Shakuntala’ (1931) and ‘Gul Bakavli’ (1932). He had to take a 2 year break, due to an illness. Back in Bombay, he worked in the film ‘Fidai Tohid’ (1934) as a hero. He gave music to the film ‘Gunehgar’ (1936). He wrote dialogues for ‘Mother India’ (1938) and ‘Daughters of India’ (1939). His first comic role was in Ranjit’s ‘Mirza Sahiban’ (1935). He became famous with his role in Punjabi film ‘Kurmai’ (1941).

His best role came in ‘Sharada’ (1942), as Munshi Udharchand Shikarpuri. This was repeated by him in the film ‘Keemat’ (1946). Some of his 11 films were, ‘Dhandora’ (1941), ‘Armaan’ (1942), ‘Sukh Dukh’ (1942), ‘Kanoon’ (1943), ‘Sanjog’ (1943), ‘Geet’ (1944) and ‘Ek Din Ka Sultan’ (1945). After 1947, he stopped acting and wrote lyrics in films like ‘Raat Ki Rani’ (1949), ‘Namoona’ (1949) and ‘Ek Teri Nishani’ (1949). After this he migrated to Pakistan and we have no further information about him anymore. Baburao Patel of ‘Film India’ magazine was his fan.

We do not know who sang today’s song, since the HFGK does not mention name of the singer.


Song- Mela mela mela jawaani chaar dinon ka mela (Dekho Jee)(1947) Singer- Unknown female singer, Lyricist-Wali Sahib, MD- Tufail Faruqui

Lyrics

mela mela mela
mela mela mela
jawaani chaar dinon ka mela
haaye jawaani chaar dinon ka mela aa aa
haaye jawaani chaar dinon ka mela aa aa
mela mela mela
jawaani chaar dinon ka mela

chaar dinon ke mele mein
kyun phire akelaa
chaar dinon ke mele mein
kyun phire akelaa aa aa aa
haaye jawaani chaar dinon ka mela aa aa
hoye jawaani chaar dinon ka mela aa
mela mela mela
Jawaani chaar dinon ka mela

joban par mat jaiyyo o o
joban par mat jaiyyo
ye harjaai re ae ae
dukh se mat ghabraiyyo
dukh se mat ghabraiyyo
ye parchhaai re
jyon paani ka rela rela rela
mela mela mela
jawaani chaar dinon ka mela

jab tak phool mein rang roop hai
jab tak phool mein rang roop hai
tab tak
tab tak bhanwra doley ae ae
ab tak ambuwan daal hari hai
ab tak ambuwan daal hari hai
tab tak koyal boley
tab tak koyal boley
kaun kisi se khela khela khela
mela mela mela
jawaani chaar dinon ka mela aa
haaye jawaani chaar dinon ka mela aa
hoy jawaani chaar dinon ka mela aa
mela mela mela
jawaani chaar dinon ka mela aa

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

मेला मेला मेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला

चार दिनों के मेले में क्यों फिरे अकेला
चार दिनों के मेले में क्यों फिरे अकेला॰ ॰ ॰
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला

जोबन पर मत जईओ
जोबन पर मत जईओ
ये हरजाई रे
दुख से मत घबरईओ
दुख से मत घबरईओ
ये परछाई रे
ज्यों पानी का रेला रेला रेला
मेला मेला मेला
जवानी चार दिनों का मेला

जब तक फूल पे रंग रूप है
जब तक फूल पे रंग रूप है
तब तक
तब तक भँवरा डोले
जब तक अम्बुवन डाल हरी है
जब तक अम्बुवन डाल हरी है
तब तक कोयल बोले
तब तक कोयल बोले
कौन किसी से खेला खेला खेला
मेला मेला मेला
जवानी चार दिनों का मेला
हाए जवानी चार दिनों का मेला॰ ॰ ॰
ओए जवानी चार दिनों का मेला॰ ॰ ॰
मेला मेला मेला
जवानी चार दिनों का मेला॰ ॰ ॰


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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 :

4907 Post No. : 16716

Remembering Mohammed Rafi Sahab ( 97th birth anniversary )
——————————————————————————–

Aaaaaaa
Aaaaaa
Aaaaaaaaaaa
Aaaaaaaaaaa
Mahal udaas aur galiyaan sooni eee
Mahal udaas aur galiyaan aan
sooni eee
Mahal udaa…aas aur galiyaan aaan sooni eeeee
Mahal udaaaaas
Mahal udaaaaas re…
Ea… ea Mahal udaaaaas………s
Mahal udaaaaas
aur galiyaan so………….oni eeeeeeeee
Mahal udaaaas aur galiyaan sooni eee
Mahal udaaaas aur galiyaan sooni eee
Chup chup hain deewaarien ean
Dil kya ujdaa
Duniyaa ujdi ee
Rootth gayee hain bahaarien
Ham jeewan kaise guzaarien
Ho ooo
Mandir girtaa phir ban jaata aa aaa
Dil ko kaun sambhaale ae oo
Duniya ke rakhwaale
Sun dard bhare mere naale
Sun dard bhare mere naale
O Duniya ke rakhwaale ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae
Rakhwaale ae ae ae ae

So many benchmarks and such milestones, no one has set them better than Rafi sahab. The way he touched the lives of each and every urdu/hindi listeners heart and minds, is unmatched and unprecedented, never to be repeated in human civilization. His voice breached the boundaries of languages and cultures too. And his fans following seems to increase over the decades.

His contribution towards the cohesion and integration of the post independent and partitioned India, is unaccountable. No one can even begin to count and record, how many hearts, his voice and his renditions of patriotic songs, religious songs of different belief systems touched. It is no less than what is the contribution of Lata Mangeshkar of Sachin Tendulkar towards the Indian national identity and our ability to hold our head high in front of the world as Indians. There were visionaries, far sighted leaders that gave direction to this country and it was a recognition of Rafi sahab’s calibre and his potential as a voice, to which the nation could relate to and identify, that made Nehru invite Rafi sahab to sing the song “Bapu ki amar kahaani’ at a time of such national turmoil.

He was the voice of pathos, the hope of values, the epitome of ‘watan parasti’, a cultural mixture of a binary, where he could keep his soul pure and his singing from the heart, in a country, which needed his punjabi large heartedness. And foremost of his qualities, which still oozes out of his resonating voice, singing praises to the hero’s love interest, singing songs of devotion and story-telling, reciting ghazals of classic and modern poets, in his honied sometimes velvety and sometimes silky and yet rustic, when the situation required, is his humbleness, sharaafat and purity of intentions.

During the last one and half year many things have changed in this world. At the peak of these changes, someone thought to make a video of the deserted places of a historical / romantic city of Venice. Its streets canals boats, by-lanes and loggias totally bereft of humans, as a backdrop to Rafi Sahab’s rendition of the final stanza of this iconic song, recorded in a live show. I have seen other live show renditions of the same song, where Rafi Sahab is giving this same unbelievably fantastic performance. The clip was widely shared on whatsapp, where I first saw it. The video is available on youtube, with the title “Mahal udaas aur galiyaan sooni”.

Live show cilps are given below:
Mahal udaas aur galiyaan sooni – live singing
Full song “O duniya ke rakhwaale” live

Both the above renditions and the recording in the doordarshan show, make it clear that, this was definitely a song, which was a regular in the riyaaz list of Rafi sahab. To sing it so consistently with the same dedication and voice for 3 decades is a miracle and yet not a miracle. Also, in the stage shows he is singing this ‘raag darbari’ bhajan maintaining the higher octave through-out, and playing the harmonium at the same time. The special prolonged aria of the last stanza was not part of original film song, but it was made so especially for the live shows on stage. It was the discipline and simplicity, which makes such great artists immortal.

I am giving here a list of some of the iconic songs rendered by Rafi sahab which I find unforgettable.
1. Basti basti parbat parbat gaata jaaye banjara
2. Yeh zindagi ke mele duniya mein kam na honge
3. Ramaiyya wasta waiyya
4. Watan ki raah mein watan ke naujawan shaheed hon
5. Raahi manwa dukh ki chinta kyun sataati hai
6. Zindabaad zindabaad ae muhobbat zindabaad
7. Woh jab yaad aaye bahot yaad aaye
8. Kar chale ham fidaa jaan-o-tan saathiyo
9. Tum jo mil gaye ho to yeh lagtaa hai
10. Na to kaarvaan ki talaash hai
11. Dil ke jharoke mein tujh ko bitthaa kar
12. Nain lad jaiyi hain to manwaa maan kasak hoibe kari
13. Tere mere sapne ab ek rang hain
14. Saathhi na koyi manzil
15. Apni to har aah ek toofan hai
16. Tu ne mera yaad na milaaya
17. Yehan badla wafaa ka bewafaai ke siwa kya hai
18. Tu ganga ki mauj main jamuna ka dhara
19. O duniya ke rakhwale
20. Tu kahan yeh bataa iss nasheeli raat mein
21. Aap ne yaad dilaaya to mujhe yaad aaya
22. Man re tu kaahe na dheer dhare
23. Din dhal jaaye haay raat na jaaye
24. Raha gardishon mein har dam mere ishq ka
25. Baar baar dekho hazaar baar dekho
26. Jiya ho jiya ho jiya kuchh bol do
27. Sar jo teraa chakraaye ya dil dooba jaaye
28. Jinhen naaz hai hind par wo kahaan hain
29. Bichhde sabhi baari baari
30. Chaudhvin ka chaan ho ya aaftaab ho
31. Zindagi bhar nahin bhoolegi wo barsaar ki raat
32. Heuy hain tum pe aashiq ham bhala maano buraa maano
33. Teri zulfon se judaayi to nahin maangi thhi
34. Apni to har aah ek toofan hai
35. Dil ki aawaaz bhi sun mere fasaane pe na jaa
36. Ehsaan tera hogaa mujh par dil chahta hai woh
37. Tum mujhe yoon bhulaa na paaoge
38. Aanchal mein sajaa lenaa kaliyaan zulfon mein sitaare bhar lenaa
39. Taarif karun kya uss ki jis ne tujhe banaaya
40. Nafrat ki duniyaa ko chhod ke pyaar ki duniya mein
41. Kya huaa teraa wadaa woh qasam woh iraada
42. Dar-e-dil dard-e-jigar dil mein jagaaya aap ne
43. Sukh ke sab saathhi dukh mein na koyi
44. Bichhde sabhi baari baari
45. Hai agar dushman dushman zamaana gham nahin
46. Chura liya hai tum ne jo dil ko
47. O haseena zulfon waali jaan-e-jahan
48. Kahaaniyan sunaati hai pawan aati jaati
49. Mera man teraa pyaasa mera man teraa
50. Badi door se aaye hain pyar ka tohfa laaye hain
51. Teri bindiya re aaye haaye teri bindiyaa re
52. Bahaaron phool barsaao mera mehboob aaya hai
53. Jo waada kiyaa wo nibhaana padegaa
54. Aap ke pehloo mein aa kar ro diye
55. Chalo dildaar chalo chaand ke paar chalo
56. Baabul ki duaaen leti jaa jaa tujh ko sukhi sansaar mile
57. Ye des hai veer jawaanon ka albelon ka mastaaon ka
58. Maan mera ehsaan ari naadaan ke main ne tujh se kiya hai pyaar
59. Deewaane hain deewanon ko na dar chahiye
60. Chaahunga main tujhe saanjh savere
61. Koyi jab raah na paaye mere sang aaye
62. Mere dost qissa yeh kya hogayaa
63. Suhaani raat dhal chuki
64. Huye ham jin ke liye barbaad woh ham ko chaahe karenna yaad
65. Meri kahaani bhoolne waale tera jahan aabaad rahe
66. Ek dil ke tukde hazaar huey koyi yehan gira koyi wahan gira
67. Apni aazaadi ko ham hargiz mitaa sakte nahin
68. Sarfroshi ki tamanna ab hamaare dil mein hai
69. Ho ke majboor mujhe uss ne bhulaaya hogaa
70. Rut hai milan ki saathhi mere aa re
71. Tum bin jaaun kahaan ke duniya mein aa ke
72. Patthar ke sanam tujhe ham ne muhobbat ka khudaa jaana
73. Tere bina soone sayan hamaare
74. Chale thhe saathh mil ke chalenge saathh mil ke
75. Aawaaz de ke hamen tum bulaao
76. Aisa mauqa phir kahan milegaa hamaare jaisa dil kahan milegaa
77. Banda parwar thaam lo jigar ban ke pyaar phir aaya hoon
78. Hai duniyaa ussi ki zamaana ussi ka mohobbat mein jo ho gaya ho kisi ka
79. Chhupne waale saamne aa chhup chhup ke mera jee na jalaa
80. Mere mehboob tujhe meri muhobbat ki qasam
81. Khoya khoya chaand khula aasmaan
82. Main zindagi ka saath nibhaata chala gayaa
83. Zara saamne to aao chhaliye chhup chhup chhalne mein kya
84. Kaali ghataa chhaayi prem rut aaye aayi aayi aayi aayi teri yaad aayi
85. Tasveer teri dil mein jis din se utaari hai
86. Chhup gaye saare nazaare oye kya baat ho gayi
87. Jo unn ki tamanna hai barbaad ho jaa
88. Tu hindu banegaa na musalmaan banegaa
89. Ek thha gul aur ek thhi bulbul
90. Dil mein chhupa ke pyar ka toofan le chale
91. Aaj mausam badaa beimaan hai badaa
92. Muhobbat kar ko jee bhar lo aji kis ne roka hai
93. Sun sun sun sun zaalimaa pyar ham ko tum se hogayaa
94. Insaaf ka mandir hai yeh bhagwaan ka ghar hai
95. Rim zhim ke geet saawan gaaye haaye bheegi bheegi raaton mein
96. Dil jo na keh sakaa wohi raaz-e-dil kehne ki raat aayi
97. Ae ji dil par huaa aisa jadoo tabiyat machal machal gayi
98. Udhar tum haseen ho idhar dil jawaan hai
99. Kahaan jaa raha hai tu ae jaane waale
100. Jab bhi yeh dil udaas hota hai jaane kaun aas paas hotaa hai
101. O door ke musaafir ham ko bhi saathh le le re
102. Duniya na bhaaye mohe ab to bulaa le charonon mein
103. Ae dil hai mushkil jeena yehaan zara hat ke zara bach ke yeh hai bambai meri jaan

I have missed scores of my personal favourites in the above list. For example, I have mentioned very few duets and few group songs.

The song I am presenting on this memorial day is from the 1946 film Sona Chandi. Tufail Faarooqui is the music director and Wali Sahab. This is a duet with Shamshad Begum having some conversation and the words in English “I am sorry”. This reminds me of an “once upon a time” famous quote; Angez chale gaye, yeh sorry aur thank you chhod gaye. Quite contrary to this saying, I found on my visit to UK, that the British never left it here, they gifted the etiquette’s (a legacy) to us and continued to make them their ‘takiya kalaam’.

It is true, the denizens of the old blighty are so polite that these words keep falling from their lips, what ever is the situation or occasion. They have kept quite and listened to Shashi Tharoor making those demands. I have every hope that the apology is a given. It’s taking its time, but it should be on the way. More on this topic in another post, as here we have a birthday event to celebrate.

This is short and sweet duet song with the nok-jhonk, which became more prevalent in the 60’s songs. But this is a 40’s song, making clear, the potential of a powerful voice which was to become a backbone of future playback singing.

My list of iconic Rafi songs is incomplete, so the readers and commentators can help me complete the list.


Song-Baithhe hain tere dar pe (Sona Chaandi)(1946) Singers-Rafi, Shamshad Begam, Lyrics-Wali Sahab, MD-Tufail Farooqui
Both

Lyrics

Baithhe hain
tere dar pe
kuchh kar ke uthhenge ae
police uthhaayegi yaa ham
mar ke uthhenge
ya ham
mar ke uthhenge
ya ham
mar ke uthhenge

(knock knock)
Kya hai
Zara didi ko bulaao
Achchha
!

Didi
Woh majnu aaye hain

Arey keh do ham ghar pe nahin hain
Achchha…

Wo kehte hain
ham ghar pe nahin hain

Achchha, yeh baat hai.
Haan haan, yahi baat hai

Teri deewaar pe
Teri deewaar pe
Hasrat ki nazar karte hain
Teri deewaar pe
Hasrat ki nazar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain
Khush raho ehl-e-watan
Ham to safar karte hain

Tumhen kya ho gaya kya pyaare
Tumhen kya ho gaya kya pyaare

Dil ki raftaar balaa ho gayaa
I am sorry
Dil ki raftaar balaa ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry
baithhe bithhlaaye ye kya ho gayaa
I am sorry

Ee ee ee
Main ne to
Aankh machauli hi kari
Thhee eee lekin
Khwaa-ma-khwaa mujh pe fidaa ho gayaa

I am sorry
Khwaa-ma-khwaa mujh pe fidaa ho gayaa
I am sorry
Khwaa-ma-khwaa mujh pe fidaa hogayaa
I am sorry

Haa aaaan
Teri nazron ne kiyaa
Mujh pe yoon kaalaa
haa…aan jaadoo oo
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry
Aadmi se tu gadhaa ho gayaa
I am sorry

Tere chehre pe
?? huaa jaata hai
Tere chehre pe
?? huaa jaata hai

Jaise ke ghat ke diya
Jaise ke ghat ke diya
ho gaya
I am sorry
Jaise ke ghat ke diya ho gaya
I am sorry eee eeee


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 :

4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa


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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 FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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