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Ban thhan ke chali

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“Bhai Bahan” (1950) was produced by Krishna M and directed by Ram Daryani. The movie had Geeta Bali, Nirupa Roy, K N Singh, Prem Adeeb, Bharat Bhushan, Gope, Jeewan, Kukku etc in it.

Three songs from this movie have been discussed in the past.

Here is a song from the movie which is sung by Talat Mehmood. Raja Mehdi Ali Khan is the lyricist. Music is composed by Shyam Sundar

Only the audio of this song is available and it is not known how and on whom this song is picturised. It is clear from the lyrics that it is a bidaai song, and that too one of the oldest bidaai songs in Hindi movies, as far as I can tell.

I request our knowledgeable readers to throw light on the picturisation of this song.

Lyric of this song were sent to me by Nitin Shah.


Song-Ban thhan ke chali (Bhai Bahan)(1950) Singer-Talat Mehmood, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar

Lyrics(Provided by Nitin Shah)

bann thhann ke chali ee
saj dhaj ke chali ee
raani karke haar singaar
dekho chali piya ke dwaar
dekho chali piya ke dwaar
bann thhann ke chali

jinhone naazon se paala thaa
unse juda hai hona aa
jinhone naazon se paala thaa
unse juda hai hona
ek aankh mein hansi bhari hai
ek aankh mein rona
ek aankh mein hansi bhari hai
ek aankh mein rona
hum aake nainon mein aen aen
neer bhaar aaya
doli uthaayen kahaar
dekho chali piya ke dwaar
dekho chali piya ke dwaar
bann thhann ke chali ee
saj dhaj ke chali ee
raani karke haar singaar
dekho chali piya ke dwaar
dekho chali piya ke dwaar
bann thhann ke chali

ab kya vaada baabul raaja aa aa aa aaa
ab kya vaada baabul raaja
ladki hui paraayi
doli ke sang chal diye dulha
peechhe baap aur bhaai
chali naya ek des basaane ae ae ae
chali naya ek des basaane ae ae ae
soona kar gharbaar
dekho chali piya ke dwaar
dekho chali piya ke dwaar
bann thhann ke chali
saj dhaj ke chali ee
raani karke haar singaar
dekho chali piya ke dwaar
dekho chali piya ke dwaar
bann thhann ke chali



Is duniya mein sabse achchi cheez hai kya jee paisa

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“Mehlon Ke Khwaab” (1960) was directed by Muhafiz Haider for Madhubala Pictures. This movie had Madhubala, Kishore Kumar, Pradeep Kumar,K.N.Singh, Chanchal, Praveen Paul,Om Prakash, Pran, Cuckoo, Sulochana Chatterjee, Leela Chitnis, Ram Avtaar, Anoop Sharma, Khataanaa, Balam, Rashid Khan, Parvin Paul, Haroon, Daraaz, Ravi Kant, Uma Dutt, Satish Batra, Ram Lal, Sham Lal etc in it.

Today (14 february 2014) , the valentine day, is the birth anniversary of the one and only Madhubala. On this occasion, here is a song from “Mehlon Ke Khwaab” (1960). this song is sung by Asha Bhonsle and Geeta Dutt. The song is picturised on Madhubala and her sister Chanchal (both looking so similar in appearance). Praveen Paul is also visible in the picturisation.

Raja Mehdi Ali Khan is the lyricist. Music is composed by S Mohinder.

Lyrics of this song were sent to me by Prakashchandra.


Song-Is duniya mein sabse achchi cheez hai kya jee paisa (Mehlon Ke Khwaab)(1960) Singers-Asha Bhonsle, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder
Both

Lyrics(Provided by Prakashchandra)

iss duniyaa mein sabse achchi cheez hai kyaa jee
paisaa
iss duniyaa mein sabse achchi cheez hai kyaa jee paisaa

mister paisse ae ae
mister paisse
iss duniyaa mein huyee nahin tum jaissaa
ho mister paisaa
ho mister paisaa
haayye ae ae
iss duniyaa mein sabse achchi cheez hai kyaa jee paisaa

gali gali tumko dhoondhaa hamne bann ke jaasoos
gali gali tumko dhoondhaa hamne bann ke jasoos
par qismet ne aaj karaayaa tumse introduce
arrey waahh waahh rey
thank you thank you
thank you thank you
hum kadkon par reham kiyaa hai kaissa
ho mister paisaa
ho mister paisaa
iss duniyaa mein sabse achchi cheez hai kyaa jee paisaa

tum ho paas toh dhobi bhaiyye baniye na dhamkaayein
arrey baap rey
tum ho paas toh dhobi bhaiyye baniye na dhamkaayein
aadhaa bill leke ghar mein
dugunaa saudaa de jaayen

aahhaaa..haa haa
thhar thhar kaanpe ae
thhar thhar kaanpe saari duniyaa
teraa roop hai aissa
ho mister paisaa
ho mister paisa
iss duniyaa mein sabse achchi cheez hai kyaa jee paisaa

phenko phati huyee yeh sandal
phenko ab yeh saadhee
kyun
iss liye ke
change huyee hai qismet apni
change ki ho taiyyaari
achchaa yeh baat hai
haan jee
naqad naraayan
naqad naraayan ghar mein ho toh
phir yeh kachraa kaissaa
ho mister paisaa
ho mister paisaa
iss duniyaa mein sabse achchi cheez hai kyaa jee paisaa
ek do teen

be-pende ki luttiyaan phenko
galee sadhee ye chuttiyaan phenko
gadhvi bhi thaali bhi phenko
haan haan ye saalee bhi phenko
yeh bhi phenko
woh bhi phenko

phenko phenko
sab kuchch phenko


Dil naache aur gaaye jawaani

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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 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.

In the early phase of film making, it was difficult to get good looking female actors from educated or respected Indian families for working in films. It was becaused working in movies was considered a job ‘below one’s dignity’ at that time by most Indians. For Silent films, many Anglo Indian and Jew girls became Heroines because for them acting was like any other vocation.

Dadasaheb Phalke had described an incident in his memoirs. While making his first film, he needed a female actor for Taramati’s role. He found it very difficult to get one. Those days, even in stage plays, the female roles were done by handsome(sometimes, not so handsome also) males, but even they were not ready. He became desperate and went finally to a Red light area and talked to some prostitutes. Even they refused to do this ‘lowly’ job. Reluctantly, Dadasaheb settled for Salunke, a male to do this role.

As the Talkie films started, the number of Anglo Indian Girls rapidly went down as most of them did not know Hindi nor could they sing. Only a few hard working Anglo Indian girls survived and progressed from silent to Talkie films, like Savita Devi (Iris Gasper)-who learnt Hindi/Urdu and singing, with efforts, Sulochana (Ruby Myers), Indira Devi(Effie Hippolet), Lalita Devi(Bonnie Bird), Pramila(Esher Abrahams), Seeta Devi(Renee Smith), Madhuri(Beryl Classen), Manorama(Winnie Stewart) etc. Since singing was an important requisite, the field was now open to singing girls from Kothas, Tawayafs and professional singers. Reasonably good looks and singing ability was what made them actresses. These girls, who came from Kothas and professional singer families used the suffix ” Bai” to their names to announce their speciality. Thus you had Jaddan bai, Amir bai, Johrabai, Rattan bai etc etc.

Many young singing girls found Cinema as a place where they could get (catch ? ) a good Husband from a better family background, earning respectability(forget religion). Many starlets married Producers, directors, Actors, Singers and Composers, left acting and settled as respectable Housewives. Some girls got Husbands from Nawabs and the Royalties,as they were patron of Arts. many examples from early era can be cited in this connection like
Gulab bai alias Kamla devi married S.Fatelal-a Director in Prabhat Films.
Jaddanbai marriedUttamchand, a Medical student and a Jaagirdar.
Fatima bai(mother of Alam Ara fame Zubeida) married nawab of Sachin,Guajarat.
Sultana married Yusuf Laljee, Businessman and chief od Bombay Municiple corporation.
actress Sarojini(Roshan) married Nanubhai Vakil-producer/Director (Their daughter was actress AZRA).
actress Indurani (Ishrat)-sister of Sarojini- married Ramniklal Shah-Producer/Director.
actress Shirin bai married Nanabhai Bhatt (Their sons are Mahesh Bhatt and Mukesh Bhatt).
actress Zubeida of Alam Ara married Raja Dhanrajgir of Hyderabad-deccan.
the other actress Zubeida (on whose life, the film Zubeida was made) married Maharaja Hanwant singh of Jodhpur etc.

This trend continued in the industry even after things changed and educated and respected family people began to enter the industry. Now, one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz, Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan-Shaukat Hussain Rizvi, Meena Kumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances were Waheeda Rehman, Kishore Kumar, Asha Bhonsle, Hemant kumar, Manik Verma, Premlata, Geeta Dutt, Rishi Kapoor, Rajesh Khanna, Amitabh Bachhan and Abhishek Bachhan etc.

Among all this,one melodious pair was that of JAGJIT KAUR, the Singer and KHAYYAM, the composer.

Jagjit Kaur was born in Hoshiyarpur. Her family was very wealthy and her father was a Lawyer. He was a music lover and encouraged his daughter to learn singing. Thus, she learnt classical music from experts,from an young age.. She started singing on Lahore Radio, while still in school.

In 1950 she sang her first film song in Punjabi. This enhanced her ambitions and she came to Bombay to seek entry into film singing. According to composer K.Datta (Datta Korgaonkar), he first heard Jagjit in a private function. Impressed with her style of singing,h e gave her a duet in his film ” Gumasta”-1951-with G.M.Durrani. The song was ” Dil naache aur gaaye jawani”,which we will listen today. Two Years later she sang her first solo in film “Khoj”-1953. Her song ” Muhabbat ki dhun, bekaraaron se poochho” from film Dil E Nadaan-53 became very famous and popular.

In 1954, she got introduced to Khayyam and soon they got married in 1954. ( AK ji of songsof yore,wrote in his Blog on Jagjit Kaur-” Born in an affluent Punjabi Zamindar family she must have had a number of wealthy suitors, but she chose a struggling musician Khayyam to marry. When you hear the songs the two created together – most of her songs are composed by Khayyam – you feel the pairing must have been made in the heaven.” I 100% agree with him.) After marriage, she spent next 6 years in raising a family.

From 1961, her second phase of career started with ‘Shola aur Shabnam’-61, but in 1964, a song from film Shagun-64, ‘”Tum apne ranj o ghum, apni pareshani mujhe de do” became extremely popular and this song became her identity in HFM. Somehow,she did not get many opportunities to sing in more films- may be due to her peculiar Punjabi style of singing. She worked as an Assistant Music Director for Khayyam in a few films. She sang many Ghazals and NFS under the baton of Khayyam.

K.Datta or Datta Korgaonkar,who gave her first chance to sing in Hindi films, was known for his loyalty and devotion to singer Noorjehan in making music. He was born in Girgaon, Bombay in 1901. He began singing in Ganesh-melas and private programs since young age. He started his career with Master Vinayak’s ” Mera Haq”-1939 and went on to give music to only 17 films,namely, Alakh Niranjan, Geeta, Yaad, Nadaan, Zameen, Baadshah, Maharathi Karna, Badi Maa-45 (This was the only film in which Noorjehan, Lata and Asha acted in one film and sang 3 songs also), Yateem, Shaahkaar, Rangmahal, Meri Kahaani, Daaman-51 (First duet of Lata and Asha), Gumasta, Rishta,Ajnabi and Harihar Bhakti-66. One Marathi film” Ramgadhcha Raajbandi” also had his music.

He used to live in Navroze Building in Opera House, Bombay with his assistant Sumant( He was a Flute player and at one time he was in demand from almost every composer in the industry. He was brought from Kolhapur by K.Datta). Music Directors like Shyamsunder, Anil Biswas, Naushad, Roshan etc used to assemble there for chatting with Anna-K.Datta. he was an Astrologer and had the horoscopes of most people in the industry.

Here are two anecdotes about K.Datta. One was ,he not only helped Lata in her struggling days by giving her songs in Badi Maa, but he was also the first to admonish her for her faulty Urdu diction (the word was-Paigham). He insisted that Lata must improve her Urdu diction if she wanted to build a singing career in HFM.

Film Daman’s songs were extraordinary. Lata’s ‘Tirulilla, gaaye Lata’,’ Yaad aane lagi’ ‘ chakori ko chanda se pyaar’ and ‘ ye ruku ruki hawayen’ became immortal. During the making of Daman music, once there was a ‘wet’ party on the rooftop of a Juhu Building. Drinks and Chicken was the Menu. Rajendra Krishna came very late to the party. He was already ‘loaded’ and he had brought two Bottles also with him. As soon as he came, Datta started firing him for not giving the song lyrics till then. Rajendra krishna then and there wrote down the lyrics of the song,”ye ruki ruki hawayen” and Datta set it to tune in the next 5 minutes !

Datta was famous as ” Anna” in music circle. He had great respect for Sajjad. Sajjad always cursed Naushad but Naushad always praised Sajjad’s songs. One day after Naushad complained to Anna, he asked Sajjad,’ why do you criticise Naushad always, when he appreciates your music ?”. Sajjad said, ” Anna, Naushad bewaqoof hai, usse music nahin dene aata, iss liye.”

Gumasta-51 was a production of Aina Films and it was produced and Directed by S.M.Yusuf. Yusuf started directing films from Bharat ke Laal-1936 and directed 15 films till Maalik-58. Then he migrated to Pakistan. There he remade his Indian film Mehendi-58, as SAHELI-61 in Pakistan. This film became a Blockbuster in Pakistan and created many records. In Pakistan he directed 13 films till Goonj Uthi Shehnai-76. He died in Lahore, on 17-8-1994.

Let us now enjoy the DEBUT SONG of Jagjit Kaur which is a duet of G M Durrani and Jagjit Kaur. Raja Mehdi Ali Khan is the lyricist.

Lyrics of this song were sent by Nitin Shah.


Song-Dil naache aur gaaye jawaani (Gumaashta)(1951) Singers-G M Durrani, Jagjit Kaur, Lyrics-Raja Mehdi Ali Khan, MD-K Datta

Lyrics(Provided by Nitin Shah)

Dil naache
hoi dil naache
aur gaaye jawaani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

dil naache
dil naache
aur gaaye jawaani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

jhoom jhoom ithlaaye jawaani
gaaye jawaani
jhoom jhoom ithlaaye jawaani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

gushta
gushta

dil naache
haay dil nache
aur gaaye jawani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

angdaayi jo loon sharmaake
dil le jaaun aankh milaake
angdaayi jo loon sharmaake
dil le jaaun aankh milaake
ghoom ghoom lehraaye jawaani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

gushta
gushta

aaaa aaaa aaaa aa
meri aankhen hain do paimaane
peele peele mere deewaane
meri aankhen hain do paimaane
peele peele mere deewaane
rum jhum bal khaaye jawaani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

gushta
gushta

dil naache
haay dil nache
aur gaaye jawani
gaaye jawaani
pantala gushtala gushtala
gushtala gushtala gushtala gushta

gushta
gushta
gushta


Dil ka ye engine seetiyaan maare

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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 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.

Badalte Huye Saathi (Episode 11…LAST SONG)(Lata sings with Chitalkar)

Finally, we have reached the end of this series having just 11 songs. For a theme like BADALTE HUYE SAATHI,11 songs is too less, I know. This subject is so vast that,at best,it can only be represented here, and it is not possible to do full justice to the topic, I agree. When I started this series,I had said that it is not possible to cover all the Major singers or cover the entire period of 1931 to 1960. However, the temptation to write on this topic was so intense that I decided to do it in 10 to 12 episodes, somehow. Utter ” Na- Insaafi “, I am aware of it !

I found, to my pleasure,that some of the readers wanted me to continue this series. This was an indication of the positive acceptance of the series, still, I am helpless and the series must end today.

This was the 13th series, which I have done on this Blogspot. Once I decide on doing a series, lots of spade work goes behind it. Right from finding /coining an appropriate Title, I have to first collect material like identifying the songs, find You Tube links, Lyrics, if available, check my notes for film synopsis, select the topics to be discussed in the individual articles etc. I have to also ensure that the selected songs are not already posted on the Blog earlier by someone (this had happened one or two times and hurriedly, plan ” B ” had to be operated. In some articles, the songs are discussed, in some the composer, in some the film story, or in some the Director is to be discussed. I first collect all the possible, needed material, make a list on paper and then end the proposal to Atul ji. After his approval and a ‘Go Ahead’ message, I start writing my articles. Since most material is ready with me, usually a 10 Episode series is completed on an average of 17 days’ period. With so much preparatory work, it is not possible to extend the series at the last moment. Now, you will realise how much thought goes into presenting a series.

personally, I prefer to finish a series in 10 parts, so that the tempo of the theme is maintained and we can look forward to next interesting series. At this juncture, however, I do not know if there will be another series or what will be the Topic, though, honestly I have some ideas in my mind rolling.

Today’s song is a Duet of Lata and Chitalkar. Most of us know about the relationship they had on personal level. A lot has been written on it ( even by me), so I leave that matter untouched here. Lata Mangeshkar sang a total of 298 songs under C Ramchandra’s baton. Out of this 196 were solo songs and 102 were Duets. Among the Duets, 47 were sung by Chitalkar and Lata and the rest 55 were by Lata and other singers.

C. Ramchandra is one of my most favourite composer and singer. His entire life and career is full of interesting anecdotes. He was one composer who was exactly opposite to Naushad Ali in making Tunes. Naushad is known to be a stickler for lot of rehearsals and for taking at least 10-15 days for working on One song. C Ramchandra,on the contrary was the fastest Tune maker in the Industry.

Two examples are very noteworthy. The first is when he got the lyrics of the great Lorie ” Dheere se aajaa ri”-Albela-51, at 4 pm , when the recording was at 4.30 pm. Those days, recording studios used to be booked well in advance and the timing was also fixed for each booking. At times it used to be difficult to get a Recording studio booking. As soon as he got the song, he started from his Dadar Residence for the studio. Driving with one hand he held the paper in his other hand. By the time he reached the recording studio,the tune was ready. After just one short practice session, the Iconic lorie was recorded. It has remained one of India’s best lories for a long time.(anyway, nowadays,there are no lori tori in Hindi films. Even in the dead of the night 100-200 extras sing a song with the hero heroines as if they are doing a march drill.).

The other incidence is when a South producer S M Naidu came from Madras and met Naushad. he wanted Naushad to score music for his film Azaad-55. Shooting of the film was already on in Pakshiraja studios at Coimbtore( on the same sets-made for the original Tamil Block buster MALAI KALLAN-with MGR and P Bhanumathy.This Tamil film was remade in Hindi, Telugu, Kannada, Malayalam and Sinhalese languages). Mr. Naidu asked Naushad saab, if he could compose all the songs in 14 days. You can imagine Naushad’s anger and irritation. He retorted that his art was not a grocery shop or a Factory. In 14 days, he can not guarantee even ONE song, he stated !

Someone suggested C.Ramchandra’s name and Naidu went to him with the offer. C Ramchandra agreed, but on one condition. He wanted 1 Lakh Rupees for this film. ( This was the amount Naushad commanded those days for one film). Naidu agreed. C Ramchandra gave the last song on his hands on the 14th day and went to the Bank laughing all the way with the cheque of Rs One Lakh !!!. The most astonishing thing was that no one can say that he compromised on the melody or quality of the songs. Just listen to ‘Radha na bole’ in Bageshri or ‘ Jaa ri jaa ri o kari badariya’ by Lata or the evergreen qawwali by Raghunath Jadhav- ‘marna bhi muhabbat meni kisi kaam na aaya’. They were all Gems.

C Ramchandra is best remembered for ‘Anarkali’-53. Producer S Mukherjee wanted Geeta to sing all songs, but C Ramchandra would not compromise with Lata on his side. She too sang her heart out in all the songs. C Ramchandra is also remembered for all those ‘POP’ & ‘PEPPY’ songs like ‘ Sunday ke sunday ‘, Gore gore o banke chhorey’ and ‘ eena Meena Deeka ‘. His ‘Mere piya gaye Rangoon’ and Albela songs became Trendsetters in legitimising fun and frolic in film songs. This proved to be a pre-cursor to YAHOO by Shankar Jaikishan and later all the Rocky tunes by R D Barman in the 70 and 80s.

Once Lata stopped singing for him after their break up and when his Diary (containing 500 tunes for Lata) was stolen at the same time, C Ramchandra almost lost his Talents.( That reminds one of the condition of MD K.Datta, after Noorjehan left India in 1947). C Ramchandra never could come out of this dip. It is not true that Lata was not affected by this break up. A scrutiny of her songs from say, 1958-59 to 63-64 clearly indicates that she was not in her elements, barring few songs during this period. This was also the period when S D Burman had a spat with Lata and she did not get any song from him till 1963 or so. This also gave scope to Asha and Suman Kalyanpur to further their careers.

Lata and C Ramchandra were too bitter about each other, blaming each other for the break up. I would say that the Indian Film songs suffered more than the two of them.. Both realised the strengths of each other after their estrangement. In one Interview to Filmfare, C Ramchandra said,”Lata may not sing for me anymore, but she is the Best. She has no peers. It is true that I did my best music when she was with me. She is still No.1 in India “.

This is what Lata said about him- ” C. Ramchandra is almost an antithesis of Naushadji. After the first rehearsal itself he would say: “It is fine. That is enough.” If the singer or the player asks for another rehearsal, he would reply : “No! if we improve it, it won’t become popular”. But this should not lead you to the belief that he left things to chance. In fact, he is a very hard worker.

C. Ramchandra is a very good singer too. There are two aspects of his approach to music: One, it should be melodious; two, the taal and laya should make the listeners forget themselves. These two are the central points of his compositions.

From the point of view of swar-shilpa his music appears to be simple. Sometimes his tunes have a touch of Gujarati or Marathi folk music. His compositions done with Western style are also quite impressive, but I personally prefer his compositions based on Indian classical music. For instance, ‘na maaro najariya ke baan'(PEHLI JHALAK), ‘kaise jaaon jamuna ke teer’ (DEVTA), ‘dheere se aa ja ri ankhiyan mein'(ALBELA), ‘raadha na bole na bole re'(AZAD), and ‘chandaniya araj kare'(AASHA), are some of his compositions which are evidence of his classical background. “

Lata and C Ramchandra being my favourites, I can go on and on and on, but we must stop here for now. Today we end this series here, but who knows, in future,we MIGHT come back with yet another interesting series….. may be…

Till then enjoy this Lata-C Ramchandra duet from the film- Ustad Pedro-1951. Lyrics of this fun song are written by Raja Mehdi Ali Khan.


Song- Dil ka ye engine seetiyan maare (Ustaad Pedro)(1951) Singers-Lata, Chitalkar, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra
Lata + C Ramchandra + Chorus

Lyrics

Dil ka ye engine seetiyaan maare
aa ja sajan aaja
line clear hai
dil ka ye engine seetiyaan maare
aa ja sajan aaja
line clear hai
aankhon ka signal
karta hai ishaare
aa ja sajan aaja
line clear hai

jawaani ki toofaan mail
chhuk chhuk kare hai
usmein ek gori baithhee
aahen bhare hai
jawaani ki toofaan mail
chhuk chhuk kare hai
usmein ek gori baithhee
aahen bhare hai
keh raha hai dil
armaan bhara re
aa ja sajan aaja
line clear hai
keh raha hai dil
armaan bhara re
aa ja sajan aaja
line clear hai
dil ka ye engine seetiyaan maare
aa ja sajan aaja
line clear hai

guard ka dil gori
tumpe hai aa gaya
mujhko wo daga deke
gate mein chhipa gaya
guard ka dil gori
tumpe hai aa gaya
mujhko wo daga deke
gate mein chhipa gaya

guard ko hamne diya hai bhaga re
aaja sajan aaja
line clear hai
guard ko hamne diya hai bhaga re
aaja sajan aaja
line clear hai
dil ka ye engine seetiyaan maare
aa ja sajan aaja
line clear hai

budgebudge mein kaise kheloon
mathura ka khel
budgebudge mein kaise kheloon
mathura ka khel
gyaarah baje ho jaayega
tere mera mel
gyaarah baje ho jaayega
tere mera mel
dil ki ghadi se tu gyaarah baja re
aa ja sajan aaja
line clear hai
dil se mere dil
tu aankhen mila le
aa ja sajan aaja
line clear hai
dil ka ye engine seetiyaan maare
aa ja sajan aaja
line clear hai


Nain mila lo nain milaa lo

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This article is written by Sudhir, 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 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.

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The Many Colors of Love #13 – The Fears of Love
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And so wrote the scribe. . .

ho raama darr laage apni umariyaa se

Howsoever enchanting and inviting the emotions of love may seem, there are many a heart that fear the onset. As the feelings of youth begin to sprout inside, the heart is at once both eager to savor the flavors of this emotion, and yet nervous and afraid to step into this unfamiliar and unpredictable terrain. The mind recalls many a stories told of the agonies of love and the pains of loss. Or even if one does not become frightened from such tales of sorrow, there still is a fear of the unfamiliar and the unknown.

No wonder that these years of adolescent life are also called ‘kachchi umar’ – the emotions are rearing to go, but the maturity of handling and controlling them is lacking. There is a come-hither titillation that draws the young heart with a promise of a new fascinating world. But accompanying this are apprehensions of the unknown and not as yet experienced events. There are hearts that will be drawn easily. The euphoria and the energy of the new emotions is a powerful driver that nudges the self towards the new experiences. And then there are hearts that are anxious to consider consequences and outcomes, and they will be more restrained in stepping out. The apprehensions will keep a check on the flow of feelings. Sometimes the titillation wins over, and sometimes it is the restraint that has the upper hand.

In the realm of Hindi film songs, all flavors and shades of such emotions are to be found. I present a gem of a fun song from the 1952 film ‘Shrimati ji’. In this song, there is a very interesting exchange happening between two young hearts. They seem to be on the threshold of that emotion called love. The gentleman is making efforts to convince the lady, requesting her for “nain milaa lo” and “dil milaa lo”. And the lady is responding with all kinds of excuses, and expressing her fears for every suggestion that the gentleman is giving. The exchange builds up in a very jovial way, coming to hilarious head, when the gentleman simply gives up in what one may term as frustration, and announces that he will have nothing to do with the lady and the matters of heart with her. And then, right there in a flash, without a pause, without breaking the rhythm and on an even note and scale, the lady does an about turn and starts to sing the lines of the gentleman requesting him for “nain milaa lo” and “dil milaa lo”. It is absolutely mirthful.

Full marks on this song for the arrangement and the composition. There are four singing entities in this song. The male voice, that is Kishore Kumar, the female voice, that is Shamshad Begum, the male chorus and the female chorus. The lines of lyrics is short and quick, and there is such a rapid change of voice between the four entities, that simply has been arranged and managed superbly. The match of wits is played so briskly. The responses fly out so promptly, it leaves no time for the listener to breathe. The delicious surprise is the switch that the lady and her companions make near the end of the song, that is simply seamless, without batting an eyelid, that will take the listener by surprise. I was simply bowled over by the pace of the exchange, and how smoothly the singing voice changes between the performers and two chorus groups. Simply, simply marvelous.

The film ‘Shrimati ji’ (1952) is not new for the visitors of this blog. Four songs of this film are already represented here, and today we bring on the fifth. The film has a total of 10 songs done by three music directors and three poets together. The lyricists are Raja Mehdi Ali Khan, Shailendra and Hasrat Jaipuri. Of the ten songs, RMA Khan has provided the verses for 8 of them, with Shailendra and Hasrat Jaipuri contributing one song each. Interesting to note that the single song contributions by Shailendra and Hasrat are both sentimental, poignant songs, both composed by Jimmy. Of the eight songs written by RMA Khan, only one is a sentimental song, and the remaining seven songs are all songs of fun, joy and happiness in love. The music directors sharing the compositions for this film are S Mohinder, Jimmy and Basant Prakash. This song is tuned by Jimmy. It is also interesting to note that in addition to there being three music directors on this film, the credits also identify a notable assistant music director, with name Ravi Shankar, whom we all are more familiar with as just Ravi.

The film is from the stables of Filmistan, and is directed by IS Johar. The list if actors includes Shyama, Nasir Khan, Ram Singh, Murad, Samson, Vimla, Indira, Prabha, Baldev Mehta, Ram Avtar, Yashwant, Mirazkar, Agha Miraz, Majnu, Johar and others. This last name, Johar, I am sure is IS Johar himself. Given the cast of actors, and the songs of this film, one can easily guess this one to be quite a fun film.

So listen to this fun and amusing exchange, and the kind of fears that the lady is expressing, to keep away from the entanglements of the heart.

It is opportune that the birth anniversary of Shamshad Begum was just yesterday. A timely remembrance of this voice that has put in the color of fun in so many Hindi film songs. Long live in memory.

Listen and enjoy. :)


Song-Nain mila lo nain mila lo (Shrimati Ji)(1952) Singer-Kishore Kumar, Shamshad Begum, Lyrics-Raja Mehdi Ali Khan, MD-Jimmy
Male Chorus, Female Chorus

Lyrics

nain milaa lo
nain milaa lo
pyaar ka darr hai
pyaar to hoga
dil milaa lo
dil milaa lo
dard ka darr hai
dar to hoga

kya hoga ji nain milaa ke
dil milaa ke

haaye dil milaa ke
poochho shamma se yaa parwaane se jaa ke
parwaane se jaa ke
shama bano tum
parwaane hum
jalne ka darr hai
jalnaa to hoga

thhandi thhandi hawaa hai
mausam suhaana

o mausam suhaana
pyaar kar lo
pyaar ka aaya zamaana
aaya zamaana
bijli ho tum
baadal hain hum
toofaan ka darr hai
toofaan to hoga

darte darte beet rahi hai haaye jawaani
haaye jawaani
door chalen aur saath bitaayen zindgaani
bitaayen zindgaani
kahaan chalen
arab chalo
registaan ka darr hai
africa chalo
biyaabaan ka darr hai
kaabul chalo
pathaan ka darr hai
to ghar bulaa lo
abba jaan ka darr hai

ghar mein abba jaan ka darr hai
kaabul mein pathaan ka darr hai
arab mein registaan ka darr
africa mein biyaabaan ka darr hai
aan ka darr hai
jaan ka darr hain
duniya bhar mein
darr hi darr hai

yaane saare jahaan ka darr hai

to jahannum chalo
jahannum chalo
shaitaan ka darr hai
shaitaan to hoga
to hamen bhulaa do

nahin bhulaate
nain milaa lo

nahin milaate
dil milaa lo
nahin milaate
haath milaa lo
nahin milaate
wajeh bataa do
wajeh bataa do

pyaar ka darr hai
pyaar to hoga
nain milaa lo
nain milaa lo
pyaar ka darr hai
pyaar to hoga
dil milaa lo
dil milaa lo
dard ka darr hai
dar to hoga

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Hindi script lyrics (Provided by Sudhir)
———————————————–
नैन मिला लो
नैन मिला लो
प्यार का डर है
प्यार तो होगा
दिल मिला लो
दिल मिला लो
दर्द का डर है
डर तो होगा

क्या होगा जी नैन मिला के
दिल मिला के

हाय दिल मिला के
पूछो शम्मा से या परवाने से जाके
परवाने से जाके
शमा बनो तुम
परवाने हम
जलने का डर है
जलना तो होगा

ठंडी ठंडी हवा है
मौसम सुहाना

ओ मौसम सुहाना
प्यार कर लो प्यार का आया ज़माना
आया ज़माना
बिजली हो तुम
बादल हैं हम
तूफान का डर है
तूफान तो होगा

डरते डरते बीत रही है हाए जवानी
हाए जवानी
दूर चलें और साथ बिताएँ ज़िंदगानी
बिताएँ ज़िंदगानी
कहाँ चलें
अरब चलो
रेगिस्तान का डर है
अफ्रीका चलो
बियाबान का डर है
काबुल चलो
पठान का डर है
तो घर बुला लो
अब्बाजान का डर है

घर में अब्बाजान का डर है
काबुल में पठान का डर है
अरब में रेगिस्तान का डर
अफ्रीका में बियाबान का डर है
आन का डर है
जान का डर है
दुनिया भर में
डर ही डर है

याने सारे जहां का डर है

तो जहन्नुम चलो
जहन्नुम चलो
शैतान का डर है
शैतान तो होगा
तो हमें भुला दो

नहीं भुलाते
नैन मिला लो

नहीं मिलाते
दिल मिला लो
नहीं मिलाते
हाथ मिला लो
नहीं मिलाते
वजह बता दो
वजह बता दो

प्यार का डर है
प्यार तो होगा
नैन मिला लो
नैन मिला लो
प्यार का डर है
प्यार तो होगा
दिल मिला लो
दिल मिला लो
दर्द का डर है
डर तो होगा


Raat lagaa ke aayee chanda ki bindiya

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This article is written by Sudhir, 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 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.

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The Many Colors of Love #17 – The Sleepless Nights of Love
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And so wrote the scribe

neend nigaahon ki
kho jaati hai
kyunki jawaani mein
ho jaati hai
muhabbat muhabbat muhabbat muhabbat

Ah, to be young and to be in love. It is a feeling of bliss that is unmatched by any other emotion or achievement in life. The young heart, stepping into the phase when the budding personality is leaving behind the protection and the security of childhood, is tasting another emotion that is completely new thus far in life. All attachments and relations thus far are pre set and defined by where one is born and is growing up. When adolescence arrives, with it comes an undefined lacuna within the self, and the self wants to seek and explore for a complement outside of the preset and predefined environment.

When this emotion is ignited, then a restless longing takes over. There may or may not be another source of reciprocation, but this restlessness is there. Newer thoughts and newer perspectives of life, emerge and consume a fair share of thoughts and the mind’s waking hours, sometimes all of it.

But then what about the waking hours themselves. Yes, something happens to them. They seem to get extended. The hours of sleep are reduced, and the time spent in this restless longing increases. Sleep goes away from the eyes, and many of sleep hours, sometimes all of them are consumed by the reveries and thoughts that consume the heart and the mind. The dark hours of night are spent sleepless, lost in the thoughts of someone special, writing special things for someone special, pining for and longing for that someone special, desiring for the proximity of that someone special.

As with all aspects of this phenomena of love, the mind of the poet has of course spent its energies on this aspect too – the sleeplessness. And the imagination of the poet, as always runs far and deep. Sleep is a thing of the night. It brings on a lack of awareness of anything else that happens in the night. And so, when the sleeplessness is the subject, then of course, everything else that belongs to the night or happens in the night, now becomes a part of this experience. All the creatures of darkness, all the travelers of the shadows, all those whose activities belong to this sun-less part of day, are now companions in these happenings of sleeplessness.

There is the moon, that quietly shines in the dark skies, causing a host of emotions to rise and fall, like the tides in the ocean. There are the stars that the companions of the moon, mute witnesses to the wily wiles of the transformations of their more brilliant and luminescent partner. These transformations themselves add to the variety of the experience. There are the bright nights, and then there are the completely dark moonless nights, when the starlight is the only recourse. Then there are creatures of the night. Especially the birds that stay awake. Especially the ‘chakor’, who stays sleepless, pining for the unreachable moon, and crying on the nights the moon is not there. And then the clouds intervene sometimes adding more spice and anxiety to the game. There is the watchman – his voice and the voice of his stick is heard even from afar. In the silence, other sounds are amplified that the mind does not even register during the time of day. The creaking wooden doors and panels, sounding as if someone is walking up the steps on the staircase. The whistle and chugging of a train that is suddenly audible for miles around. The mind of a sleepless heart in love now notices and takes in all these things. And the mind of the poet follows.

I remember a she’r. This is part of my childhood radio listening days, and has stuck to my memory since I heard it in some radio program.

ik hook si dil mein uth’ti hai
ik dard jigar mein hota hai
main chupke chupke rota hoon
jab saara aalam sota hai

A throbbing ache rises in the heart
A woeful pain consumes my being
When the world sleeps peacefully
I spent my nights
Awake and silently weeping

One thing is that this verse is very much a part of the experience this write up is about. But I am sharing another very interesting thing here. As I am preparing this article, I remembered this verse, and just to see how well known it is today, I typed it in google. Sure enough, there are thousands of web pages that still carry this memory that is decades old. But the interesting discovery I made is that the web pages that were brought up by google carry such a rich collection of other verses and poems that seem to be the creation of amateur poetical minds in love. And yes, so many of them are about the sleepless nights, the alien shadows, the moon and the stars, and so many other facets of sleepless nights. It is really an amazing travelogue, what so many thousands of hearts in love have penned and then shared online. There is enough online to get lost in.

Ah, but let me pull myself back to the blog and the film song. Expectedly, the topic of sleepless nights is expressed in so many songs across the decades – so many that it can be a very long series all by itself. The most lovely sample in my mind, I have written at the start of this article. And now, to bring on the most lovely song, in my mind, that belongs to this topic. A melody that you have to listen to believe. The tune is very familiar, possibly has been used in other song or songs also. But this tune is from an unreleased film, that was to be produced sometimes in the early 1960s by a banner called Ismail Films. The film name is ‘Hum Hain Raahi Pyaar Ke’. Six songs are recorded for this film. As per Geet Kosh, the recording took place in 1960-61. After that, it seems that the rest of the production plan could not be executed, since no other information about this film is available. Except of course the songs.

The six songs are from the pens of Tanveer Naqvi, Raja Mehdi Ali Khan and Jaan Nissar Akhtar. This song is by Raja Mehdi Ali Khan. And the music – you may guess it when you listen to it. Yes, it is Khaiyyaam Sb. What a pleasing melody he has created, it is just out of this world. The singing voice is that of Lata ji, rendered oh so beautifully well.

Three songs of this unreleased film are already showcased here. Here is the fourth one for you listening pleasure. And just the for this song itself, your heart will surely want to fall in love, all over again. It is so lovely.

Enjoy.


Song-Raat lagaa ke aayi chanda ki bindiya(Hum Hain Raahi Pyaar Ke)(UR)(1960) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Khayyam

Lyrics

raat lagaa ke aayee
chanda ki bindiya
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya
raat lagaa ke aayee
chanda ki bindiya
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya

pyaar mein doobi huyin
thandi hawaayen
aag lagaayen mere jee ko jalaayen
pyaar mein doobi huyin
thandi hawaayen
aag lagaayen mere jee ko jalaayen
jee ko jalaayen
neha lagaa ke main to
ho gayi baawariyaa
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya

seene mein le ke aayee armaan hazaaron
dil mein chhupa ke laayi toofaan hazaaron
seene mein le ke aayee armaan hazaaron
dil mein chhupa ke laayi toofaan hazaaron
toofaan hazaaron
yoon hi tadpaaoge kya
saari umariyaa
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya

ho ke hamaare piya
hum se judaa ho
bade sangdil ho ji
bade bewafaa ho
ho ke hamaare piya
hum se judaa ho
bade sangdil ho ji
bade bewafaa ho
bade bewafaa ho
tumse na boloongi main
jaao saanwariyaa
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya
raat lagaa ke aayee
chanda ki bindiya
le gaye tum meri ankhiyon ki nindiya
le gaye tum meri ankhiyon ki nindiya

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Hindi script lyrics (Provided by Sudhir)
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रात लगा के आई
चंदा की बिंदिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया
रात लगा के आई
चंदा की बिंदिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया

प्यार में डूबी हुईं
ठंडी हवाएँ
आग लगाएँ मेरे जी को जलाएं
प्यार में डूबी हुईं
ठंडी हवाएँ
आग लगाएँ मेरे जी को जलाएं
जी को जलाएं
नेहा लगा के मैं तो
हो गयी बावरिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया

सीने में ले के आई अरमान हजारों
दिल में छुपा के लायी तूफान हजारों
सीने में ले के आई अरमान हजारों
दिल में छुपा के लायी तूफान हजारों
तूफान हजारों
यूं ही तड़पाओगे क्या
सारी उमरिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया

हो के हमारे पिया
हमसे जुदा हो
बड़े संगदिल हो जी बड़े बेवफा हो
हो के हमारे पिया
हमसे जुदा हो
बड़े संगदिल हो जी बड़े बेवफा हो
बड़े बेवफा हो
तुमसे ना बोलूँगी मैं
जाओ साँवरिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया
रात लगा के आई
चंदा की बिंदिया
ले गए तुम मेरी अखियों की निंदिया
ले गए तुम मेरी अखियों की निंदिया


Aji darwaaza to kholo

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“Laadla” (1954) was directed by Suryakumar for Verma Films. The movie had Karan Dewan, Shyama, Agha, Raj Mehra, Krishna Kumari etc in it.

This song is a fun song which is sung by Rafi and Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by Vinod.

Only the audio of this song is available online and that too is a recording from Sri Lanka Broadcasting Corporation. Fortunately the audio of of satisfactory quality.

From the audio, one can guess that the song is a nok-jhonk between husnad and wife. The wife is sore that the husband has gone out of home without informing him and the husband is desperate to get back into the house. Their pet dog Moti,seeing the angry mood of the wife, jumps in the bandwagon and bites the husband.

This movie had another fun song sung by the same singers on the same topic and presumably picturised on the same actors.

I request our knowledgeable readers to throw light on the picturisation of this fun song.


Song-Aji darwaaza to kholo (Laadla)(1954) Singers-Rafi, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Vinod
Both

Lyrics

bow wow wow

haaye re haay re
mar gaya meri maa
moti ne taang pakdi
hi hi hi
aji jaao ji jaao ji bhaag jao
mere haathon mein hai lakdi

aji ara ra ra ra ra
phir se meri moti ne taang pakdi
he he he
ha ha ha
tumhe kaate na kyun moti
main do ghante rahi roti
zara ab tum bhi to ro lo

aji darwaaza to kholo
aeji jaao ji jaao
galiyon mein tum dolo

aji darwaaza to kholo

main matke tod daaloongi
main handiyaa phod daaloongi
ghadi ko phenk doongi main
tipaayi tod daaloongi
main ?? fod daaloongi
main ?? tod daaloongi
meri kismat hi bundle hai
main kismat phod daaloongi
main roungi
main cheekhoongi
main cheekhoongi
main roungi

chale hum khudkushi karne
hamen tum bad-dua dena
hamaari yaad jab aaye
to ik aansoo baha lena
zaroorat ho jo ration ki
to baniye se manga lena

ho jaanewaale baalamwa
laut ke aa
laut ke aa
oye jaanewaale baalamwa
laut ke aa
laut ke aa

na main na tera baalamwa
bewafa bewafa

ae mere dil kahin aur chal
aisi biwi se dil bhar gaya
dhoondh le aur koi ghar naya

oye maan mera ehsaan
are naadaan ki maine
tujhse kiya hai pyaar
ke maine kholey ghar ke dwaar

ki hai tabeeyat saaf
magar ab karde mujhko maaf
gaya thha main bhindi baazaar
ke maine tujhse kiya hai pyaar
prem nagar ji basaayenge ghar mein
chhod ke sab sansaar
prem nagar ji basaayenge ghar mein
chhod ke sab sansaar


Ye hawa ye ghata ye samaa

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“Khoj” (1953) was directed by Balwant Bhatt for Durga Films. The movie had Mahipal, Lalita Kumari, Shammi Kapoor, Shammi, Satish, Kesari, Habib etc in it.

One song from this movie has been discussed in the past. Here is the second song from the movie. This song is sung by Shamshad Begam. Raja Mehdi ali Khan is the lyrics. Music is composed by Nisar Bazmi.

Lyrics of this song were sent to me by Avinash Scrapwala.

Audio

Song-Ye hawa ye ghata ye samaa (Khoj)(1953) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Nisaar Bazmi

Lyrics(Provided by Avinash Scrapwala)

Ye hawaa ye ghataa ye samaa aa
kyun na hon tum pe ham meharbaan
ye hawaa ye ghataa ye samaa aa
kyun na hon tum pe ham meharbaan

phir se bichhde huye dil mile ae
phool phir aarzoo ke khile
phir se bichhde huye dil mile ae
phool phir aarzoo ke khile ae ae
warna ham thhe kahaan
tum kahaan aan
kyun na hon tum pe ham meharbaan
ye hawaa ye ghataa ye samaa aa
kyun na hon tum pe ham meharbaan

beeti ghadiyon ko aawaaz do o
phir mujhe ishq ka saaz do
beeti ghadiyon ko aawaaz do o
phir mujhe ishq ka saaz do o o o
chhed do phir wohi daastaan
kyun na hon tum pe ham meharbaan
ye hawaa ye ghataa ye samaa aa
kyun na hon tum pe ham meharbaan

pyaar se ik nazar dekh lo o o
muskuraa kar idhar dekh lo
pyaar se ik nazar dekh lo o
muskuraa kar idhar dekh lo o o o
dil ki har
aarzoo hai jawaan
kyun na hon tum pe ham meharbaan
ye hawaa ye ghataa ye samaa aa
kyun na hon tum pe ham meharbaan



Jidhar bhi main dekhoon udhar tu hi tu hai

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This article is written by Satyajit Rajurkar, 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.

Two songs from this movie “Tu Hi Meri Zindagi” (1965) have already been discussed in this blog. I would like to present two of my most favourite songs of this movie. The first one is presented here, and am sure the other one (Maayus Na Ho Aye Mere Watan) will be posted in the near future.

“Tu Hi Meri Zindagi” (1965) was produced under the Filmalaya banner by Sashdhar Mukharjee, and directed by his eldest son Rono Mukherjee, who also composed music for this movie.

The movie starred Deb Mukherjee (Rocky), Nivedita (Maria), Salome, Darshan, Lata Sinha, Chhaya Devi, Amar, Gajanan Jagirdar, Paul Sharma, Shetty, Heera Sawant, Uma Khosla, Pradeep Gupta, Sudarshan, Devraj, Jaffar, Raj Bakshi, Mohan Sharma, Master Akhtar, Rummy, Tingo, Shyam Chatterji, etc.,

I have checked the first two posts and it does not provide any story info. So here goes (as per IMDB).

FREEDOM IS MY BIRTH RIGHT shouted one of the glorious sons of the motherland and he would not rest until he cut all the shackles of bondage.
This was the spirit which inspired our hero who belonged to the masses. Rocky, the last unsung patriot in the Gomes family which was well known for its tradition of having sacrificed everything for the cause of liberation of Goa, was unlike his ancestors because his grandmother, the only survivor of the family had very cautiously kept away Rocky from the influence of politics and revolutionary movement. But he was born to be the liberator of Goa and all circumstances worked up to provide him a field so that he could become immortal.
The happy go lucky Rocky turned into a maniac when his love was frustrated with the death of his beloved Maria who fell a victim to Portuguese atrocities. Rocky avenged her death by killing Portuguese tyrants. Then by force of circumstances, Rocky was dragged into the revolutionary movement and he identified himself with the ideal of his country’s freedom. Thus he found an opportunity and an altar to pour out all his suppressed attachment and love for his country providing his people a life of honour and grace.
His sacrifices kindled a fire of freedom in each hear which was enough to burn down the malicious designs of those who do not honour the people right to be free to govern themselves.

This is a bar song and Asha Bhosle’s voice is lip synced by Salome, AKA Salome Roy Kapur nee Aaron, Miss India 1972 (Eve’s Weekly) who did modelling, acted in this film, before becoming a film choreographer, known for choreographing the song, “Main Shaayar Toh Nahin” in Bobby (1973). She married a Punjabi businessman and bore him three sons – Siddharth Roy Kapur (who recently married noted Bollywood actress Vidya Balan), Kunaal Roy Kapur and Aditya Roy Kapur.

Her father-in-law was Raghupat Roy Kapur, who acquired the pseudonym G Rakesh and produced by his first film, Shahenshah Akbar (1943), with K.N. Singh as the lead. Soon his wife and children joined him and he went on to produce films like Zanjeer (1947), and even directed films like Lekh (1949), with Motilal and Suraiya and Banwra (1950) with Raj Kapoor and Nimmi. Salome’s parents, Sam and Ruby Aaron were qualified dance teachers, who introduced the Sama dance form to India, and also taught actor Bhagwan for film Albela (1951).

This song, a duet by Asha Bhosle and Mohd. Rafi is penned by Raja Mehndi Ali Khan and as mentioned above, composed by Ronodeb Mukherjee.


Song-Jidhar bhi main dekhoon udhar tu hi tu hai (Tu Hi Meri Zindagi)(1965) Singers-Asha Bhonsle, Rafi, Lyrics-Raja Mehdi Ali Khan, MD-Ronodeb Mukherji
Both

Lyrics

Jidhar bhi main dekhoon
udhar tu hi tu hai ae
udhar tu hi tu hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai
ye meri kahaani
meri zindgani
meri kahaani meri zindgaani
teri aarzoo hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai

mohabbat pe aayi ye kaisi tabaahi ee
kaisi tabaahi ee ee
mohabbat pe aayi ye kaisi tabaahi ee
kaisi tabaahi
qayaamat se pehle qayaamat ye aayi
qayaamat se pehle qayaamat ye aayi
qayaamat se pehle qayaamat ye aayi
jo tujhko pukaare
wo kiska lahoo hai ae ae
kiska lahoo hai
ye meri kahaani
meri zindgani
meri kahaani meri zindgani
teri aarzoo hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai
udhar tu hi tu hai

Maria Maria aa
Maariyaa

mohabbat ka dushman zamaana hua hai ae
zamaana hua hai ae
mohabbat ka dushman
zamaana hua hai
zamaana hua hai
koi aaj hampe deewaana hua hai
koi aaj hampe deewana hua hai
koi aaj hampe deewaana hua hai
deewaane ko hardum
teri justzu hai
teri justzu hai
ye meri kahaani
meri zindgaani
ye meri kahaani meri zindgani
teri aarzu hai ae ae
jidhar bhi mai dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai

ye kisne mohabbat ka
khoon kar diya hai
khoon kar diya hai ae
ye kisne mohabbat ka
khoon kar diya hai
khoon kar diya hai
zameen ro rahi
aasmaan ro raha hai
zameen ro rahi
aasmaan ro raha hai
zameen ro rahi
aasmaan ro raha hai
ye kis begunaah ki luti aabroo hai ae
Luti aabroo hai
ye meri kahaani meri zindgaani
meri kahaani meri zindgaani
teri aarzoo hai
jidhar bhi main dekhoon
udhar tu hi tu hai
udhar tu hi tu hai


Dhadkanon ke saaz par kya gaa rahi hai zindagi

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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.

The pen whose first creations mesmerized everyone with the magic of “Mera Sunder Sapna Beet Gayaa” and “Yaad Karoge Yaad Karoge Ik Din Humko Yaad Karoge”. A dream debut that most artists just think about. He was introduced to Shashadhar Mukherjee, then still with Filmistan, and got the assignment to write for the 1947 film ‘Do Bhai’. Sachin Da took the words and wove a musical magic around them, and gave them to the voice of Geeta Rai (later Geeta Dutt). It need not even be mentioned that the rest is history.

Remembering Raja Mehdi Ali Khan on the anniversary of his passing away (on 29th July). And we couple the remembrance with a celebration – reaching the 200 songs milestone on our blog.

Maybe the introduction carried weight because of his pedigree. As a child, his education and learning happened under the oversight of a family well wisher, none other than the famous poet and author, Dr. Allama Iqbal. And maybe his talent with words and verses also has the genesis under the same umbrella.

Raja Sb was born in 1928 in Kareemabad, now in Pakistan. He lost his father at the tender age of four. Dr. Iqbal was a family friend, and that is how the child Raja came within his care. As he grew up, so surfaced his talent with the pen, and his became known for his fluent and impressive verses. Destiny brought him to Bombay in 1946, and to Filmistan Studios where he would get his maiden opportunity to write for Hindi films.

The environment was rife with tensions, as 1947 saw the unfortunate divide happen. Raja Sb and his wife Tahira made a conscious choice not to return to their home town, now in the newly formed nation of Pakistan. The decision assumes a remarkable significance, considering that he was a ward and a protégé of Dr. Iqbal, one of the advocates of the formation of Pakistan.

After ‘Do Bhai’ in 1947, his next film is ‘Shaheed’ in 1948, also from the banner of Filmistan. Raja Sb’s contribution is the timeless and iconic “Watan Ki Raah Mein Watan Ke Naujawaan Shaheed Ho” . Another notable episode, as the music director of this iconic song, Ghulam Haider Sb, made a choice to migrate to Pakistan. But Raja Sb chose his destiny to be in India.

A very non-impressive life style and a non-assuming personality, he shunned any kind of press and publicity. There is really nothing much that one can gather about his life, from the various known sources. Most information available in print or online, base their content simply on his work and the songs that he created. And what an impressive legacy and body of work that is. Two decades, a little over a hundred films and nearly four hundred songs that he wrote for Hindi films. Songs like “Meri Yaad Mein Tum Na Aansoo Bahaana” (‘Madhosh’, 1951), “Tujhe O Bewafaa Hum Zindagi Ka Aasra Samjhe” (‘Ziddi’, 1948), “Preetam Meri Duniya Mein Do Din To Rahe Hotey”(‘Adaa’, 1951), “Bahaaron Ne Chhede Khushi Ke Taraane, Magar Tu Kahaa” (‘Baghdad’, 1952), “Roti Huyi Aankhon Mein Hai Tasweer Kisi Ki” (‘Saloni’,1952), “Kahin Door Koyaliya Gaaye Re, Mera Chhota Saa Dil Ghabraaye Re” (‘Baraati’,1954), “Ek Baar Bhulaati Hoon To Yaad Aate Ho Sau Baar” (‘Toote Khilaune’, 1954), “Chhup-Chhup Ke Dil Ki Dhadkanon Mein Gaa Rahe Hain Wo” (‘Mohini’, 1957), “Humein Haale-Dil Tumse Kehna Hai, Kahiye”(‘Chaubees Ghante’, 1958), “Raat Sard Sard Hai, Chaand Zard Zard Hai” (‘Jaali Note’, 1960) – and then on to films like ‘Masoom’, ‘Mitti Mein Sona’ and ‘Mehlon Ke Khwaab’ in 1960, ‘Reshmi Roomal’ in 1961, ‘Anpadh’ and ‘Ek Musafir Ek Hasina’ in 1962, ‘Aap Ki Parchhaiyaan’ and ‘Who Kaun Thi’ in 1964, ‘Neela Akaash’ and ‘Tu Hi Meri Zindagi’ in 1965, ‘Mera Saaya’ and ‘Dulhan Ek Raat Ki’ in 1966, ‘Anita’ and ‘Jab Yaad Kisi Ki Aati Hai’ in 1967. . .

But he was, just 38 when he passed away on 29th July 1966 – unsung and unmerited as a person. But oh so well known through his songs, that no selection of favorites will be complete without including some of his creations.

This wonderful song would probably be one of his last creations. The film it belongs to, ‘Kaun Ho Tum’ was released in 1970, four years after his passing away. Music director Usha Khanna composed the slow paced, almost haunting music for this and Mukesh breathed in a soul into this song with his voice. A fabulous gem so beautiful that I was myself taken by surprise to note that this is still waiting in the wings to come on to our blog. A song that is going to steal your heart away.

Listen and enjoy.

Part 1

Part 2

Song-Dhadkanon ke saaz par kya gaa rahi hai zindagi (Kaun Ho Tum)(1970) Singer-Mukesh, Lyrics-Raja Mehdi Ali Khan, MD-Usha Khanna

Lyrics

Part 1
————————
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi ee
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

gardishen shaam o sehar
kuchh bhi nahin ek khwaab hai
gardishen shaam o sehar
kuchh bhi nahin ek khwaab hai
kyun khilaunon
se hamen
behlaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi ee
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

ek taraf shabnam ke aansoo
ek taraf gul ki hansi
ek taraf shabnam ke aansoo
ek taraf gul ki hansi
har chaman mein
ro rahi muskaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

———————————
Part 2
———————————

dhadhkanon ke
saaz par kya
gaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

thhak gaya raahi
mila ab tak na manzil ka nishaan
thhak gaya raahi
mila ab tak na manzil ka nishaan
koi ye poochhe
kahaan le jaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi ee
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

naakhuda ojhal
shikastaa naao aur hum bekhabar
naakhuda ojhal
shikastaa naao aur hum bekhabar
har kadam par
sau jhakole
khaa rahi hai zindagi
kaarwaan ban kar guzarti
jaa rahi hai zindagi ee
dhadhkanon ke
saaz par kya
gaa rahi hai zindagi

——————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————–
भाग १
——————————

धड़कनों के
साज पर क्या
गा रही है ज़िंदगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी

गर्दिशें शाम ओ सहर
कुछ भी नहीं इक ख्वाब है
गर्दिशें शाम ओ सहर
कुछ भी नहीं इक ख्वाब है
क्यों खिलौनों से हमें
बहला रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी

एक तरफ शबनम के आँसू
एक तरफ गुल की हंसी
एक तरफ शबनम के आँसू
एक तरफ गुल की हंसी
हर चमन में
रो रही मुस्का रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी

————————
भाग २
————————

धड़कनों के
साज पर क्या
गा रही है ज़िंदगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी

थक गया राही
मिला अब तक ना मंज़िल का निशां
थक गया राही
मिला अब तक ना मंज़िल का निशां
कोई ये पूछे
कहाँ ले जा रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी

नाखुदा ओझल
शिकस्ता नाव और हम बेखबर
नाखुदा ओझल
शिकस्ता नाव और हम बेखबर
हर कदम पर
सौ झकोले
खा रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी
कारवां बन कर गुज़रती
जा रही है ज़िन्दगी
धड़कनों के
साज पर क्या
गा रही है ज़िन्दगी


Ambuwaa ki daali pe koyal boley

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“Do Bhai” (1947) was directed by Munshi Dil for Filmistan. The movie had Kamini Kaushal, Ulhas, Rajan Haksar, Paro, Rajendra Singh, Nayampalli, Abdul Mazid, Kanta Kumari, Vikram Kapoor, Baby Tara, Radha, Afghan Sandow, Tiwari etc in it.

Seven songs (out of 9) from this movie have been discussed in the past. This movie is known for Geeta Dutt’s debut song “Mera Sundar sapna beet gaya”. She had sung six songs in it and Rafi had sung one song. But this movie had a few songs sung by oldtimers as well. K S Ragi and G M Durrani had sung one song each. Paro Devi was the second most prolific singer in the movie after Geeta Dutt. She sang two songs in the movie.

Here is a song sung by Paro Devi. Going by the title of the song I thought that I was familiar with the song, but I was wrong. The songs of similar mukhdas that I was familiar with were Ambuwa pe koyal boley (Moorti)(1945) sung by Khursheed Bano and Ambuwaa ki daari boley kaari koyaliyaa (NFS)(1960) sung by Asha Bhonsle.

I heard this song for the first time only just now. What a remarkable song. Today appears to be the day when I am discovering the singing prowess of Paro Devi. It is the second Paro devi gem that I have come across today.

Here is this superb song which is written by Raja Mehdi Ali Khan. Music is composed by S D Burman.

The song ends with a flourish (doley doley doley re…) which reminds you of Kishore Kumar. I recall Kishore Kumar copying this style of singing in one of his comedy songs, but I am unable to recall which song that is.

What a lovely song. listening to this song is bound to make your day.


Song-Ambuwaa ki daali pe koyal boley (Do Bhai)(1947) Singer-Paro Devi,Lyrics-Raja Mehdi Ali Khan, MD-S D Burman

Lyrics

ambuwa ki daali pe
koyal boley
koyal boley re
koyal boley
prem ki nadi mein
man ki naiyya
dagmag doley re
dagmag doley
ambuwa ki daali pe
koyal boley
koyal boley re
koyal boley

kisi ne dil ko mere
kya kar diya
kya kar diya
haay
kya kar diya
kisi ne
kisi ne
kisi ne dil ko mere
kya kar diya
kya kar diya
haay
kya kar diya

man ka papeeha boley piya piya
piya piya
haay piya piya
kisi ke jaal mein phans gaye re
nainon ke panchhi boley boley
ambuwa ki daali pe
koyal boley
koyal boley re
koyal boley

praanon mein mere lagi prem ki aag re
prem ki aag re
prem ki aag
das gaye
das gaye
das gaye
nainon ke naag re
nainon ke naag re
nainon ke naag
preet unse badhtee jaaye
hauley hauley
hauley hauley re
hauley hauley
ambuwa ki daali pe
koyal boley
koyal boley re
koyal boley

sooni atariya ka deepak roye
deepak roye re
deepak roye
main to jaagoon
meri kismat soye
kismat soye soye
kismat soye
aake pardes piya ghoonghat khole
ghoonghat khole re
ghoonghat khole
ho
ambuwa ki daali pe
koyal boley
koyal boley re
koyal boley
prem ki nadi mein
man ki naiyya
dagmag doley re
dagmag doley re naiyya
doley doley doley re


Mere dil ki kothariya pe

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This article is written by Sudhir, 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 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.

= = = = = = = = == = = =
Rare Performances – Things Unique and Unexpected #8
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
The protagonist of this latest episode in this series that chronicles some really rare and unexpected performances, is John Chacha. The gentleman for whom the refrain of the kids in ‘Boot Polish’ (1953) is

john cha cha tum kitne achhe
tumhe pyaar karte sab bachhe


Yes, David, the eternal ‘taklaa’ of Hindi films. Gosh, for whenever and howsoever far back I can think of him, every image is a bald pate and a crescent rim of hair. This image is so well rooted in the history and the psyche of the industry, that even a special line was included in a song for him. Folks who remember the film ‘Ek Phool Do Maali’, will recall the fun and parody song “Chal Chal Re Naujawaan” . The whole side story behind this song is quite detailed. Suffice to say that a young man (role played by Gurnam) is being encouraged by his wife (role played by Shabnam) and his parents in law (roles played by David and Manorama) to climb a mountain to go visit a sage who will give him some jadi-booti to help with (well, you know what; that which the mothers in law think is wrong with their sons in law :) ). The song itself tells a complete story. In the midst, Manorama picks up her sandal and wants to hit Gurnam. Shabnam holds her hand, with the lines

joote ko rehne do
joota na utthaao
joota jo uthh gayaa to
yeh bhi ho jaayegaa

And David joins in at this point, takes off his hat, and sings

meri tarah ganjaa
meri tarah ganjaa
meri tarah ganjaa
meri tarah ganjaa

In the four lines that he repeats, the camera takes a full circle of his shining baldness up from the forehead to his neck and then from ear to ear. The gleam of his bare and polished pate can be seen, giving a lie to the shining moon.

And yes, another opportune celebration – it is David’s birth anniversary today, (21st June).

The memories of the films that I have seen as a child in the 1960s and 1970s during my school years, all carry this image of a short in height, symmetrically rotund, clear and shining baldness, mostly never serious. For kids in that age, the effect of David entering the scene on screen was the same as when Tun Tun would make an entry. The mind would immediately be on the alert that something comical and hilarious is in the offing. The instinctive expectation and reactions were so fine tuned that their mere sight on the screen would make me start giggling – ah, some fun is afoot.

Imagine my astounding disbelief when many years later I would see the iconic film ‘Kismet’ (1943) on Doordarshan for the first time, and see this short and thin and sharp crooked shopkeeper who is the receiver of stolen goods. On screen he dons that marwaari topi that typically businessmen wear, so I am still not able to ascertain whether he was bald even then. But the surprise to see him so lean and thin almost made me fall out of the chair. In the back of my mind, I always was convinced that he was even born as it is. :) (That is how some long standing beliefs are shattered).

But apart from that, John Chacha, remained the most loveable character artist in the industry, for almost five decades. And watching the reruns show that he still is. Journalists and film writers refer to him as the superstar amongst character artists.

Descending from the Jewish families that came and settled on the west coast population center that is now called Bombay (or Mumbai), in the fifteenth century, David was born this day, in 1909. At the age of five, he lost his father, and he was brought up by his elder brother. At school, the young David was very good in studies as well as sports. Cricket, weightlifting and wrestling were his favorites. At the age of eleven, he had another introduction. A stage play was performed in his school. After the play was over, his brother took him to meet the lead actor in the play, Joseph David, a very famous stage artist of that time. The play seemed to have done something to the young boy’s mind. When Joseph asked him, what he would like to be when grown up, the response from this child of eleven was – an actor.

In 1930, he completed his bachelor’s degree in English Literature, from Wilson College, University of Bombay. In 1931, through some friends, he squirmed into a role in a silent film ‘Toofaani Taruni’ aka ‘Cycle Girl’ and faced the camera for the first time at Saagar Film Co.. Yakub, the comedian was also in this film. The film was a flop. And Yakub’s advise to the young aspirant was to pursue law. (As it is stated in humor often, study of law is meant for those who are not able to make a mark at anything else. (No offense intended ) :) ).

For the next six years he did two things. He searched for employment and he pursued a course in law. But then fate was destined to take him someplace in the tinsel town. He got no employment, and had to make do with a monthly pocket allowance of ten rupees. At the ‘akhaada’ (gymnasium) that he used to frequent (being also a wrestler and weight lifter), he became friends with actor SB Nayampalli, who in turn referred him to film producer Mohan Bhavnani. This was in January 1937. The ‘drought’ and the ‘kadki’ in young David’s life came to an end finally when he got his employment letter, at seventy five rupees a month, to work in the film ‘Zimbo, The Ape Man’ (1937). The association continued, and in the subsequent years, David handled all kinds of tasks on the studio floor, both on front of the camera and behind it. He was the light boy, the clapper boy, production manager, continuity manager, clerk, assistant director, and yes, writer. His BA in English and his flair for writing brought him recognition also, and in 1940, he collaborated with KA Abbas to write the story and screenplay for the film ‘Naya Sansaar’. David also acted in this film and his performance caught the attention of the industry. By the time ‘Kismet’ was released in 1943, David was earning a handsome three hundred rupees per month. This was now the time that his career as a character artist really took off. And by the way, 1940 was also the year when he completed his law course.

But being in the film is not all that happened in his life. In the 1940s, he was also an active member of the Congress party and took part in the freedom movement. And his interest in sports brought him many other occupations. He was the president of the Maharashtra Weightlifting Association for 30 years. He has also been a cricket commentator, a referee at the Asian Games, and a member of the jury at the Olympic Games. Folks who have seen some of the Filmfare awards functions in the 1960s and 1970s will recall him, on stage with mike in hand, as the anchor person for the then premier awards program in the industry, for many years. It was not just for the award functions. David was the compere and anchor person for many industry level and national level programs. In fact at one such function, Jawaharlal Nehru, the Prime Minister had commented that no function will ever be complete without the presence of David and a speech by him.

And yes, he was a professional legal advisor. Quite a colorful and multi faceted persona. He speaks about himself in an interview given in 1956 – a very interesting set of observations about himself in his typical fun manner that can be read here on Cineplot. He never married. During mid 1970s, he moved to Canada to be with his extended family. In 1981, he passed away in Toronto.

The song item that I present today is an unlisted, unknown and a rare piece of music that is recorded in David’s own voice, for the film ‘Actress’ (1948). The film is from the renowned banner of ‘Filmistan’, directed by Nazam Naqvi. The cast of actors includes Rehana, Prem Adeeb, Meena, David, Mukri, Mishra, Mohammed Abbas, Jamaal Amrohi, Zaidi etc. The ten songs in this film are written by PL Santoshi, Nakshab and Raja Mehdi Ali Khan. Music is by Shyam Sunder.

This song, of course being unlisted, has no known credits for the lyricist. The male singing voice is David, and I request help from other friends and readers to help identify the female singing voice. The situation is a practice session for a stage play. David and a lady actress (I think this is Meena) are on stage, while Rehana is watching from the audience area. As we see the first part of this scene, the instrumental musicians can be seen with their backs to the camera. Worth noting is the movements of the tabla player.

So, wonderful memories to carry on – the smile, the jokes delivered with utter seriousness, the summations at the end of the film, and ah yes, the bald pate. And listen to this very rare recording of a short song in David’s own voice.

Love you very much, John Chacha.

[Footnote about the song: As I listened to this song, my mind immediately reminded me of a very popular number from later years, that has the exact same intent – “My Name Is Anthony Gonsalves”, and its lines

dil bhi hai khaali
ghar bhi hai khaali

Where as in 1948, the lady being propositioned is immediately concerned about the possible reaction from her in laws, thirty years later in 1977, there is no such considerations. :D) ]


Song-Mere dil ki kothariya pe To LET ka board (Actress)(1948) Singers-David, Female Voice, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar

Lyrics

mere dil ki kothariya pe
mere dil ki kothariya pe to-let ka board
gori jaldi se taala lagaaye le
o gori jaldi se taala lagaaye le
poochha bhi maa baap se
ya tum aa gaye apne aap
poochha bhi maa baap se
ya tum aa gaye apne aap
kal ko main jaaun wo keh den
chhori rastaa naap
nikal ja chhori rastaa naap

main hi apni maan hun gori
main hi apna baap
gori mat ho udaas
teri koi nahin hai saas
gori mat ho udaas
teri koi nahin hai saas
main akela hoon
main akela hoon
mujh akele ke mann ko basaaye le
mujh akele ke mann ko basaaye le

——————————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————————–
मेरे दिल की कोठरिया पे
मेरे दिल की कोठरिया पे टू-लेट का बोर्ड
गोरी जल्दी से ताला लगाए दे
ओ गोरी जल्दी से ताला लगाए दे

पूछा भी माँ बाप से
या तुम आ गए अपने आप
पूछा भी माँ बाप से
या तुम आ गए अपने आप
कल को मैं जाऊँ वो कह दें
छोरी रास्ता नाप
निकल जा छोरी रास्ता नाप

मैं ही अपनी माँ हूँ गोरी
मैं ही अपना बाप
गोरी मत हो उदास
तेरी कोई नहीं है सास
गोरी मत हो उदास
तेरी कोई नहीं है सास
मैं अकेला हूँ
मैं अकेला हूँ
मुझ अकेले के मन को बसाये ले
मुझ अकेले के मन को बसाये ले


Ho morey aangna baalam ka murga boley

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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.

“Actress” (1948) was directed by Najam Naqvi for Filmistan. The movie had Rehana, Prem Adib, Meena Shorey, David, Mishra, Mukri, Jamal Amrohi, Mohammad Abbas, Zaidi etc in it.

Here is a song from “Actress” (1948). This song is sung by Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by Shyam Sundar.

Only thae audio of this song is avaialable. I have seen the video of other songs of the movie that are sung by Shamshad Begam. Going by those picturisation, my guess is that this song is picturised as a stage performace song on Rehana. I request our knowledgeable readers to throw light on the picturisation of this song.

Audio

Song-Ho more aangna baalam ka murga boley (Actress)(1948) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar

Lyrics

ho morey aangna
ho morey aangna
baalam ka murga boley
saajan ka murga boley
ho mori murgi ka nanha sa jiya doley
ho mori murgi ka nanha sa jiya doley
ho morey aangna
ho morey aangna

kukdoo koon ki taanen lagaa ke
kahe murgi se dadbe pe aake ae ae
kahe murgi se dadbe pe aake ae
kyaa
ho murgi mohey bangle ke baahar milna
ho murgi mohey bangle ke baahar milna
tohe biscuit khilaaun
tohe coco pilaaun
tohey biscuit khilaaun
tohey coco pilaaun
apne saahab ke sofe pe tujhko bithhaaun
mohey bangley ke baahar milna
mohey bangley ke baahar milna
ho murgi mohey bangley ke baahar milna

ho morey aangna
ho morey aangna
baalam ka murga boley
saajan ka murga boley
ho mori murgi ka nanha sa jiya doley
ho mori murgi ka nanha sa jiya doley
ho morey aangna
hoye ho aangna

thhi khafa murgi us bewafa se
thhi khafa murgi us bewafa se
boli apne paron ko phula ke ae
boli apne paron ko phula ke ae
kya
wo tera galiyon mein jaana
murgiyon se aankh ladaana
mujhse aankh chura kar jaana
ho mujhe yaad hai
mujhe yaad hai
ja tu na mera baalamwa
haan haan haan haan haan haan
ja tu na mera baalamwa
haan haan haan haaan hhaan haan haan

ho morey aangna
ho morey aangna
baalam ka murga boley
saajan ka murga boley
ho mori murgi ka nanha sa jiya doley
ho mori murgi ka nanha sa jiya doley
ho more aangna
hoye ho aangna

murgi ithhla ke chal di wahaan se
murgi ithhla ke chal di wahaan se
bola murga ye panja badha ke ae
bola murga ye panja badha ke ae
kya
jaaogi jaane na doona
main rasta rok loonga
jaaogi jaane na doona
main rasta rok loonga
haan pyaari ke painyya pad jaaunga
ro ke kahoonga
haan pyaari ke painyya pad jaaunga
ro ke kahoonga
rongte dikha ke
daana mera khaa ke
chali nahin jaana
ho chali nahin jaana
ho ho chali nahin jaana

ho more aangna
ho more aangna
baalam ka murga boley
saajan ka murga boley
ho mori murgi ka nanha sa jiya doley
ho mori murgi ka nanha sa jiya doley
ho morey aangna
hoye hoy aangna

murga bola kasam uski khaake
dil main laaya hoon apna chhupaa ke
murgiyon ki nazar se bacha ke ae
murgiyon ki nazar se bacha ke ae
mere dil ki kothariya pe
mere dil ki kothariya pe
to let ka board
murgi jaldi se taala lagaaye le
ho murgi jaldi se taala lagaaye le
ho zara jaldi se
jaldi se
jaldi se


Bharat na sahi England hi sahi…o usey dhoondh hi lenge kahin na kahin

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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.

I can imagine in my mind’s eye. Atul ji getting interviewed on some online forum. The interviewer asks about what he does. Atul ji tells him that he is managing this Atul Song A Day blog. The interviewer asks Atul ji to describe this blog, what prompted him to set this up and tell about its specialties. Atul ji starts telling about the blog, its origins and its features. Near the end of the interview, the interviewer asks so tell what is new on the blog today. Atul ji raises one hand to cover a yawn, then remarks – “nothing much, the usual stuff, we just clocked another 100 songs today.” :D :D

Pardon the xtra-lite intro. I am sure the day we hit a century milestone, Atul ji is anything but yawning. The day is usually too busy with specific target to be reached, songs to be posted, tables to be updated, and of course, waiting for the century guest post to come, from someone who is usually not on time. ;)

Welcome, it the season to be ten thousand three hundred today. Chugging along, regular like the morning sun and the daily newspaper, every day. Well, yes, almost ;) Sometimes I just wonder, just wonder at the intrinsic influence of this phenomena. Scores of people from various corners of this planet, working together. It is simply marvelous.

The collection is getting richer and more varied. With the effort of such wonderful team, this repository is now taking shape of something unique, something that does not exist anywhere on this planet. The team is scouring and scouting for the known and the unknown, for the popular and obscure, for the famous hits and one of a kind wonders. Such a collection with such an astounding depth of information and breadth of selection, possibly does not exist anywhere else.

To put a context to the above, let me narrate an experience from just yesterday. In a tele-conversation, Bakhshish ji informed me about a program at the India International Center in Delhi. Pankaj Raag ji, famous for his seminal work ‘Dhunon Ki Yatra’, was giving a presentation on ‘Lesser Known Music Directors of Hindi Films’. We attended that program together. Pankaj Raag has been the director of NFAI at Pune, in one of his past assignments. Plus he has a deep passion for this music. The program was interesting. Later, when Bakhshish ji and I were discussing, I expressed that the directors that were discussed by Pankaj ji in the program, were not all that ‘lesser known’. Rather I could reel out names of even more obscure composers whose music is simply astounding.

The presenter touched upon names like Lachhiram, Dada Chandekar, Robin Bannerji, Daan Singh and Lala Asar Sattar. During the program, and after it, I was thinking – these are not lesser known. These are people who have a significance attached to their names, and hence are rather well known. To talk about ‘lesser known’ music directors, we will have to walk the side lanes where one finds names like BS Thakur, BN Bali, Hoogan, Hari Prasanna Das, Vedpal, Jagdish Khanna, Anupam Ghatak etc. I felt I could reel out more obscure names than the ones being discussed. And then I realized – I am talking from my experience of working with this blog. Most others in the audience would be quite satisfied with getting to know about the names discussed, as ‘Lesser Known’. Not me. I would categorize them as familiar, and then go on to list many more that would be real ‘lesser known’. That is the familiarity and experience I have on account of working with the data and the content of this blog. And that – is getting to be a wonder, day by day.

So, congratulations, to all team members, and to dear readers and friends. Another milestone passed today. And we are going to go “. . Jahaan Tak Ghataa Chale” .

The special song for this special post turns out be really a special specialty, that was waiting for this special post to come about. Two singing stalwarts also celebrate century milestones today. Quite interestingly coincidental that it comes about this way. Two singers, almost contemporaries. The younger of the two coming on the scene when the elder was an established name. The younger adored and idolized the elder as his idol and guru. Quickly, in a matter of three or four years, the younger one overtook his idol, in terms of the singing proficiency, in terms of popular appeal, in the eyes of the producers and distributors as the more profitable option. All of this happened, probably because of the illustrious personality and human being the younger one turned out to be. The stature of the younger one so vastly overshadowed the elder, that there came a time when the elder is on the screen, performing a song that has been playback sung by the younger.

I am sure many in the reader audience would have by now guessed the identities of this pair of artists. Yes, I am talking about GM Durrani and Mohammed Rafi. GM Durrani, who ruled the Hindi film music as a singer in the 1940s – was in fact instrumental in getting some significant breaks for his then protégé, young Rafi. Before he came into films, GM Durrani was a successful singer on radio and in non-film arena. His first outing as a singer in films is in Sohrab Modi’s film ‘Saeed e Hawas’ in 1936. He sang the ghazal “Maston Ka Aen Farz Hai Peena Sharaab Ka”, under the baton of Buniyaad Hussain Khan. He had performed it on screen also. The film, and its music, did not make any impressions. Then, as per records, the next we hear of GM Durrani in a film is when Naushad brought him into his 1941 film ‘Darshan’. This was followed by ‘Nai Duniya’ and ‘Sharda’ in 1942, both under the music direction of Naushad. And then in 1943, Shyam Sunder called for him for his film ‘Nai Kahaani’ and got him to sing “Neend Hamaari Khwaab Tumhaare, Kitne Meethe Kitne Pyaare” . The success of this song made GM Durrani the much sought after singer, and his popularity rose.

Rafi Sb started his career in films in 1944, albeit not in Bombay. His debut was with the Punjabi film ‘Gul Baloch’ in 1944 in which music director Shyam Sunder got him to sing a duet with Zeenat Begum. The attraction of this voice reached Bombay before Rafi Sb himself. He sang his first song in Hindi films, under the music direction of Shyam Sunder, in the film ‘Village Girl’ (1944). The song is a duet – “Aji Dil Ho Qaaboo Mein To Dildaar Ki Aisi Taisi” . And his debut companion – GM Durrani. In fact, it was GM Durrani who insisted that the young Rafi should join him in this song, which was originally conceptualized as a solo to be sung by GM Durrani himself. And in the next year, for the film ‘Anmol Ghadi’, he convinced Naushad Sb to have Rafi sing in his place, the now famous solo – “Tera Khilona Toota Baalak”.

The range of voice of the protégé Rafi turned out to be immense. GM Durrani could not sing higher notes. With the coming of Rafi on the Hindi film music scene, this need was addressed. By the time the 1950s got going, the crop of new singers, namely Rafi Sb, Mukesh, Talat and Manna Dey started to make significant inroads into the arena of the erstwhile established singers. And the demand for GM Durrani’s voice quickly got eclipsed.

The significant thing about this song is the singer combination. As per the records, the two have sung only three songs together. The first one is the song from ‘Village Girl’ mentioned above. The second is the duet from ‘Hum Sab Chor Hai’ in 1956, under the music direction of OP Nayyar – “Hamko Hanste Dekh Zamaana Jalta Hai” . And the third is this song under discussion.

Both Rafi Sb and GM Durrani are completing century milestones today. For the latter, it is his hundredth song on the blog, whereas Rafi Sb completes 2300 songs. And for the occasion, we present this eminently important third and the final duet of the two singers together. The film is ‘Anand Bhavan’ from 1953. Music is composed by Vasant Desai and the lyrics are from the pen of Raja Mehdi Ali Khan. The song is about two friends discussing the immensely important topic of selecting a bride. It appears that a proposal has come for one of them. The song starts with the speculation of what kind of a person this proposed alliance will bring. It moves on to the expression of what is the type of life companion required. The song progresses through a series of hilarious exchanges between the two friends, on this topic.

There is one more important aspect of this song. It is recorded on two sides of a 78 rpm record, making this a song of a little more than 6 minutes. That should make this song one if its kind. An eminent song for an occasion that is so eminent, and so very unique from more than one considerations.

Listen and enjoy.


Song-Bharat na sahi England hi sahi usey dhoondh hi lenge kahin na kahin(Anand Bhawan)(1953) Singers-Rafi, G M Durrani, Lyrics-Raja Mehdi Ali Khan, MD-Vasant Desai
Unknown voice
Rafi + G M Durrani

Lyrics

wo jo aa rahi hai. .ai ghar mein
naa jaane wo kaisi hai ae ae
kya wo hai ikdum ganvariyaa aa aa aa aa aa
ya wo apne jaisi hai
khair
bhaarat na sahi ee ee
england hi sahi ee ee ee ee
ho usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
bhaarat chhod ke tum saahab ji
england mein kyun jaate ho
is kitaab mein sab kuchh hai
kaahe ko shor machaate ho
aji safaa ek naa sahi ee
safaa do hi sahi ee

o usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin

aisi biwi ek aankh bhi hamko nahin bhaaye
harmonium aur piano chhod ke.. ..ae..ae ae
jo mandir mein gaaye
raama
jo mandir mein gaaye
pati ko bhool jaaye
aur bhagwaan ko sataaye
hamko to fashion–able aur
chanchal naari bhaaye
mandir na sahi ee ee
cenima hi sahi ee ee ee ee
ho usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin

waah pati ki pooja karne waali
hindi naari sabse pyaari

hai teri
shauhar ki
khushaamad karne waali
lugaai
tu kabhi hamen naa bhaai
hum to maange aisi biwi
hamen jo baandhe tie
hum baahar jaayen to boley
ta ta
ta ta

bye bye
saahab ji
aisi joru kahaan milegi
saahab ji
aisi joru kahaan milegi

arre
juhu na sahi.. ..ee..ee
chowpatty sahi.. ..ee..ee..ee..ee
o usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin

achhaa ji
to miss laajwanti ke darshan kijiye aa..aa..aap

arrr rrrr
miss laajwanti teri laaj ne
kar diya apna takhtaa
eeeshq ki estudent bhaaga
baandh ke dil ka bastaa
sharmilee aurat duniya mein
ek museebat hai
kahaan chhupi hai wo o o o o
kahaan chhupi hai wo
mere dil ko jiski zaroorat hai
aji kholi naa sahi ee
banglaa hi sahi ee

he he he
arre waah beta
oye usey dhoondh hi lenge kahin na kahin
o usey dhoondh hi lenge kahin na kahin

achhaa ji ab dekhiye
ye nakhron bhari bandook

wo to thi miss laajwanti
(aaye aaye haaye)
aur ye hai miss behayaa
(o ho ho)
jo inke palle padaa
wo to kaam se gayaa
o baandho boriya bistar
o baandho boriya bistar
arrr rrrr
aji kyun
kyun
kyun

arre munna
UP na sahi ee ee
punjab sahi ee ee ee ee ee
o hum dono chalenge kahin na kahin
o hum dono chalenge kahin na kahin

mil gayi mujhko
mil gayi apne sapnon ki rani
aa haa
mil gayi re
mil gayi re

tadap rahi thi jiske liye
meri nazren deewaani
aa haa
mil gayi re
mil gayi re

kahaan ho tum
kis des ki ho
zaraa apna pataa likhwaa do
shaadi huyi hai yaa nahin
haaye haaye
bas
haaye
itna hamen bataa do
saahab ji
ye jahaan miley
baahon ke haar pehna do
aji saahab ji
ye jahaan miley
baahon ke haar pehna do

hunh
arre chaacha meri bhi sun le
haan bhatija sunaao
bhaarat na sahi
england hi sahi.. ..ee..ee
isey dhoondh hi lenge kahin na kahin
o isey dhoondh hi lenge kahin na kahin
o isey dhoondh hi lenge kahin na kahin

———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————–
वो जो आ रही है॰॰ ॰॰ऐ घर में
ना जाने वो कैसी है ऐ ऐ
क्या वो है इकदम गवारिया॰॰ ॰॰आ॰॰आ
या वो अपने जैसी है

खैर
भारत न सही॰॰ ॰॰ई॰॰ई
इंग्लैंड ही सही॰॰ ॰॰ई॰॰ई
हो उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं

भारत छोड़ के तुम साहब जी
इंग्लैंड में क्यूँ जाते हो
इस किताब में सब कुछ है
काहे को शोर मचाते हो
अजी सफा एक ना सही
सफा दो ही सही

ओ उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं

ऐसी बीवी एक आँख भी हमको नहीं भाए
हारमोनिउम और पियानो छोड़ के॰॰ ॰॰ए॰॰ए
जो मंदिर में जाये
रामा
जो मंदिर में जाये
पति को भूल जाये
और भगवान को सताये
हमको तो फ़ैशन—एबल और
चंचल नारी भाए
मंदिर न सही
सेनीमा ही सही
हो उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं

वाह पति की पूजा करने वाली
हिन्दी नारी सबसे प्यारी

है तेरी
शौहर की
खुशामद करने वाली
लुगाई
तू हमें कभी ना भाई
हम तो मांगे ऐसी बीवी
हमें जो बांधे टाइ
हम बाहर जाएँ तो बोले
टा टा
टा टा

बाइ बाइ
साहब जी
ऐसी जोरू कहाँ मिलेगी
साहब जी
ऐसी जोरू कहाँ मिलेगी

अरे
जुहू ना सही॰॰ ॰॰ई॰॰ई
चौपाटी सही॰॰ ॰॰ई॰॰ई॰॰ई
ओ उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं

अच्छा जी
तो मिस लाजवंती के दर्शन कीजिये आ॰॰आ॰॰आप

अररर्र ररर्र
मिस लाजवंती तेरी लाज ने
कर दिया अपना तख़्ता
ई॰॰इश्क़ का इस्टूडेंट भागा
बांध के दिल का बस्ता
शर्मीली औरत दुनिया में
एक मुसीबत है
कहाँ छुपी है वो॰॰ओ॰॰ओ॰॰ओ
कहाँ छुपी है वो
मेरे दिल को जिसकी ज़रूरत है
अजी खोली ना सही
बंगला ही सही

अररे वाह बेटा
ओए उसे ढूंढ ही लेंगे कहीं ना कहीं
ओ उसे ढूंढ ही लेंगे कहीं ना कहीं

अच्छा जी अब देखिये
ये नखरों भरी बंदूक

वो तो थी मिस लाजवंती
(आए हाए हाए)
और ये है मिस बेहया
(ओ हो हो)
जो इनके पल्ले पड़ा
वो तो काम से गया
ओ बांधो बोरिया बिस्तर
ओ बांधो बोरिया बिस्तर
अररर्र ररर्र
अजी क्यों
क्यों
क्यों

अररे मुन्ना
यूपी न सही
पंजाब सही
ओ हम दोनों चलेंगे कहीं ना कहीं
ओ हम दोनों चलेंगे कहीं ना कहीं

मिल गयी मुझको
मिल गयी अपने सपनों की रानी
आ हा
मिल गई रे
मिल गई रे

तड़प रहीं थी जिसके लिए
मेरी नज़रें दीवानी
आ हा
मिल गई रे
मिल गई रे

कहाँ हो तुम
किस देस की हो
ज़रा अपना पता लिखवा दो
शादी हुई है या नहीं
हाए हाए
बस
हाए
इतना हमें बता दो
साहब जी
ये जहां मिले
बाहों के हार पहना दो
अजी साहब जी
ये जहां मिले
बाहों के हार पहना दो

हन्ह
अररे चाचा मेरी भी सुन ले
हाँ भतीजा सुनाओ
भारत न सही॰॰ई
इंग्लैंड ही सही॰॰ ॰॰ई॰॰ई
इसे ढूंढ ही लेंगे कहीं ना कहीं
ओ इसे ढूंढ ही लेंगे कहीं ना कहीं
ओ इसे ढूंढ ही लेंगे कहीं ना कहीं


O meri bulbul e baghdaad

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“Naya Paisa”(1958) was produced and directed by Aspi Irani for Super Pictures, Bombay. The movie had Johny Walker, Chaand Usmani, Agha, Krishna Kumari, Shammi, Tuntun, Indira Bansal, Manohar Deepak, Kanchanmala, Arun, Babu Raje, Mumtaz Ali, H Prakash, Uma Dutt, Mohan Sandow, Dalpu, Kamal Mohan, Ashok, Farida, Rukhsana, Abdul Kareem Khan, Bagla, Miss Bilkis with Nadira in guest appearance.

Two songs from this movie have been discussed in the past. Here is the third song from the movie. This song is sung by Rafi and Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by S Mohinder.

Only the audio of this song is available. Rafi excel sheet mentions this song as picturised on Johny Walker but that is silent about the acresss lip syncing in Asha Bhonsle’s voice. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Nitin Shah.


Song-O meri bulbul e baghdaad (Naya Paisa)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder

Lyrics(Provided by Nitin Shah)

o meri bulbul e baghdaad
le ke dil mein teri yaad
main barbaad ho gaya
main barbaad ho gaya
main hoon chhoti si ik bulbul
macha doongi chaman mein gul
ke tu saiyaad ho gaya
haaye saiyaad ho gaya

main barbaad ho gaya
main barbaad ho gaya

ghoor ghoor dekhta hai
mujhko ghadi ghadi ee
mushqil hai aa padi

dekh tera qaidi laaya
pyaar ki ye hathhkadi ee
o meri phuljhadi
hmm
kisi ki le bahaane se
sharam ke jailkhaane se
kyun aazaad ho gaya
kyun aazaad ho gaya

main barbaad ho gaya
tu saiyad ho gaya

hato jaao tum to mere
peechhe hi padd gaye
baaton pe add gaye

teri aarzoo ke jhande
iss dil mein gadd gaye
ham to peele padd gaye
hatt
padenge sar per jab dande
to bhaagoge lekar jhande
ke main barbaad ho gaya
haaye naashaad ho gaya

main barbaad ho gaya
main barbaad ho gaya

mehandi ban ke lag jaaunga
gori tere paanv mein
paayal ki chhaaon mein
dekho chali jaaungi main
apne hi gaanv mein
khushiyon ki chhaanv mein

haaye kahaan jaaoge o malika
tumhaare ghar ka har rasta
mujhe ab yaad ho gaya
mujhe ab yaad ho gaya
main hoon chhoti si ik bulbul
macha doongi chaman mein gul
ke tu saiyaad ho gaya

main barbaad ho gaya
tu saiyaad ho gaya
main barbaad ho gaya
tu saiyaad ho gaya
main barbaad ho gaya



Main tere dil ki duniya mein aa ke rahoongi

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“Naya Paisa”(1958) was produced and directed by Aspi Irani for Super Pictures, Bombay. The movie had Johny Walker, Chaand Usmani, Agha, Krishna Kumari, Shammi, Tuntun, Indira Bansal, Manohar Deepak, Kanchanmala, Arun, Babu Raje, Mumtaz Ali, H Prakash, Uma Dutt, Mohan Sandow, Dalpu, Kamal Mohan, Ashok, Farida, Rukhsana, Abdul Kareem Khan, Bagla, Miss Bilkis with Nadira in guest appearance.

Three songs from this movie have been discussed in the past. Here is thefourth song from the movie.

This song is sung by Geeta Dutt and Surendra according to HFGK. Raja Mehdi Ali Khan is the lyricist. Music is composed by S Mohinder.

On listening to the song, I found it to be sung by Geeta Dutt alone with some Kishore Kumar like yodeling in a Kishore Kumar like voice. If this voice is that of Surendra as mentioned in HFGK then I am sure that it cannot be the actor-singer Surendra of 1940s, but some other singer of the same name. I request our knowledgeable readers to throw light on this singer called Surendra. Personally I find the voice uncannnily like that of Kishore Kumar.

Lyrics of this song were sent to me by Nitin Shah.


Song-Main tere dil ki duniya mein aa ke rahoongi (Naya Paisa)(1958) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder
Unknown male voice

Lyrics(Provided by Nitin Shah)

aeeeeee

main tere dil ki duniya mein aake rahoongi
main tere dil ki duniya mein aake rahoongi
sharaab e mohabbat pila ke rahoongi
main tere dil ki duniya mein aake rahoongi

tadapti hain nazren machalta hai dil
muhabbat ke sholon pe jalta hai dil
u lula lei
u lula lei

tadapti hain nazre machalta hai dil
muhabbat ke sholo mein jalta hai dil
tujhe bhi ye shole laga ke rahoongi
sharaab e muhabbat pila ke rahoongi
main tere dil ki duniya mein aake rahoongi

jo lipte hain daaman se wo aag hoon
jo deewana kar de main wo raag hoon
ul lula lei
ul lula lei
ul lula lei

jo lipte hai daaman ye wo aag hoon
jo diwaana kar de main wo raag hoon
main kya hoon tujhe ye bataa ke rahoogni
sharaab e muhabbat pilaa ke rahoongi
main tere dil ki duniya mein aake rahoongi

agar aarzoo meri barbaad ki
ul lula lei
ul lula lei
ul lula lei
lei lei ei

agar aarzoo meri barbaad ki
qasam mujhko shirin ki farhaad ki
main deewaana tujhko bana ke rahoongi
sharaab e muhabbat pila ke rahoongi
main tere dil ki duniya mein aake rahoongi


Tere ghunghroo jo chham chham baaje

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“Naya Paisa”(1958) was produced and directed by Aspi Irani for Super Pictures, Bombay. The movie had Johny Walker, Chaand Usmani, Agha, Krishna Kumari, Shammi, Tuntun, Indira Bansal, Manohar Deepak, Kanchanmala, Arun, Babu Raje, Mumtaz Ali, H Prakash, Uma Dutt, Mohan Sandow, Dalpu, Kamal Mohan, Ashok, Farida, Rukhsana, Abdul Kareem Khan, Bagla, Miss Bilkis with Nadira in guest appearance.

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie.

This song is sung by Rafi and Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by S Mohinder.

The music is quite O P Nayyar like. The reason being that S Mohinder was a long time assistant of O P Nayyar.

Only the audio of this song is avaialble. It can be guessed from the song that it is picturised as a dance song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Tere ghunghroo jo chham chham baaje (Naya Paisa)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder
Male chorus
Male + Female chorus

Lyrics

Tere ghunghroo
o tere ghunghroo
tere ghunghroo
jo chham chham baajen
o gori mera dil dhadke
sadqe
sadqe
tujhe main chheenoonga qismat se
hoye
hoye
hoye
hoye

o jiya dhadke
o jiya dhadke
jiya dhadke
nazar jhuk jaaye
na chhedo bedardi ladke
o ladke
ke main to baaj aayi ulfat se

he he
ho ho ho ho ho
hmm hmm hmm hmm hmm

kaliyon ki tarah tu mehke
kaliyon ki tarah tu mehke
bulbul ki tarah tu chehke
kya tu pi ke aaya hai
tere bol hain behke behke

o teri ankhiyon ne
o teri ankhiyon ne
teri ankhiyon ne aisi pilaa di
ke ham to sharaabi ho gaye
sadqe
sadqe
tujhe main chheenoonga qismat se
he he
ho ho ho ho
hmm hmm hmm hmm hmm

tujhe haar galey ka kar loon
tujhe haar galey ka kar loon
tujhe apne dil mein dhar loon
kahin aisa na ho o majnoon
thhaane mein rapat main kar doon

teri galiyaan
o teri galiyaan
teri galiyaan na chhoodoonga raani
ke chaahe mujhe jail ho jaaye
sadqe
sadqe tujhe main chheenoonga qismat se
hoye
hoye
hoye
hoye

o jiya dhadke
o jiya dhadke
jiya dhadke
nazar jhuk jaaye
na chhedo bedardi ladke
o ladke
ke main to baaz aayi ulfat se

he he
ho ho ho ho
hmm hmm hmm hmm hmm


Dil na lagaana

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“Miss Mala”(1954) was produced and directed by Jayant Desai. The movie had Kishore Kumar, Vyjyanti Mala, Jeewan, Bipin Gupta, Satyanarayan, Samson, Umakant, Shakuntala Bai, Neera, with guest appearances by Agha and Manhar Desai.

Two songs from this movie have been discussed in the past. here is the third song from “Miss Mala”(1954). This song is sung by Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by Chitragupta.

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

Lyrics of this song were sent to me by Nitin Shah.


Song-Dil na lagaana (Miss Mala)(1954) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics(Provided by Nitin Shah)

dil na lagaana
dil ka lagaana
bahut bura
dil na lagaana
dil ka lagaana
bahut bura
peechhe pade pachhtana
dil ko zara samjhaana
dil na lagana
dil ka lagana
bahut bura
peechhe pade pachhtana
dil ko zara samjhaana

hoooohooo hooo
nazron ke khaamosh ishare
hansti hui ye aankhen
o o
hansti hui ye aankhe
nazron ke khamosh ishare
hansti hui ye aankhen
naagan banke dass le sharam se
jhukti hui ye aankhe
nagin banke das le sharam se
jhukti hui ye aankhen
jhukti hui ye aankhen
nazar bachaana inka nishaana bahut bura
nazar bachaana inka nishaana bahut bura
peechhe pade pachhtaana
dil ko zara samjhaana

hooohoohoo
ho o o
achha hai aaghaaz e muhabbat
tu anjaaam na jaane ho o
tu anjaam na jaane
achha hai aaghaz e mohabbat
tu anjaaam na jaane
dekh shama ki god mein naadaan
jalte hue parwaane
dekh shama ki god mein naadaa
jalte hue parwaane
jalte hue parwaane
kahe zamaana pyaar diwaana bahut bura
kahe zamaana pyaar diwaana bahut bura
peeche pade pachhtana
dil ko zara samjhaana
dil na lagaana dil ka lagaana bahut bura
peechhe pade pachhtana
dil ko zara samjhaana


Mere husn ke charche aam huye hain gali gali

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“Ustaad Pedro”(1951) was produced by Sheikh Mukhtar and directed by Harish for Omar Khayyaam Films, Bombay. The movie had Begam Para, Sheikh Mukhtaar, Sapru, Mukri, N A Ansari, Shammi, Sunalini Devi, Chaman Puri, Vaskar, Arvind Kumar, Uma Dutt, Agha Miraz, Nawab Kardari, Kamal Mohan, Sayyad Jaan etc in it.

Three songs from this movie have been discussed in the past. Here is the fourth song from “Ustaad Pedro”(1951). It is sung by Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is avaialble. Going by the audio, it appears to be mujra song. I request our knowledgeable readers to throw light on the picturisation of this song.

I am unable to get one word in the lyrics of this song in the last stanza. I request our readers with keener ears to tell us what word it could be.


Song-Mere husn ke charche aam huye hain gali gali (Ustaad Pedro)(1951) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra

Lyrics

mere husn ke charche aam
huye hain gali gali
hain gali gali
mere husn ke charche aam
huye hain gali gali
hain gali gali
dil waalon ke dil neelaam
huye hain gali gali
hain gali gali

thhumak thhumak jab chali sadak pe
laakhon ke dil dhhadke ae ae
laakhon hi ne jaan ganwaa li
mere peechhe pad ke
thhumak thhumak jab chali sadak pe
laakhon ke dil dhhadke ae ae
laakhon hi ne jaan ganwaa li
mere peechhe pad ke

mashoor bahut se naam
huye hain gali gali
hain gali gali
mashoor bahut se naam
huye hain gali gali
hain gali gali
mere husn ke charche aam
huye hain gali gali
hain gali gali

nagar nagar mera naam jubaan pe
gali gali mere charche ae ae
dil waalon ne raah pe meri
likh likh phenke parchhe
nagar nagar mera naam jubaan pe
gali gali mere charche ae ae
dil waalon ne raah pe meri
likh likh phenke parchhe
yahaan bade bade badnaam
huye hain gali gali
hain gali gali
yahaan bade bade badnaam
huye hain gali gali
hain gali gali
mere husn ke charche aam
huye hain gali gali
hain gali gali


Dekho na dekho hamen maare guroor ke

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“Miss Mala”(1954) was produced and directed by Jayant Desai. The movie had Kishore Kumar, Vyjyanti Mala, Jeewan, Bipin Gupta, Satyanarayana, Samson, Umakant, Shakuntala Bai, Neera, with Agha and Manhar Desai in guest roles.

Three songs from this movie have been discussed in the past. Here is the fourth song from this movie. It is sung by Kishore Kumar and Vyjyanti Mala and it is picturised on Kishore Kumar and Vyjyanti Mala.

Raja Mehdi Ali Khan is the lyricist. Music is composed by Chitragupta.

HFGK mentions this song as a duet by Kishore Kumar and Geeta Dutt, but this song has a Kishore Kumar solo version too, which in fact precedes the duet version in the movie. Both version have identical lyrics in them.

All online sources that copy blindly from HFGK (and that too without acknowledgement) also carry this same information that this song is a Kishore Kumar and Geeta Dutt duet song and they do not carry the information about the Kishore Kumar solo version of the song.

Lyrics of this song were sent to me by Nitin Shah.

Kishore Kumar version

Geeta Dutt and Kishore Kumar version

Song-Dekho na dekho hamen maare guroor ke (Miss Maala)(1954) Singer-Kishore Kumar, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics(Provided by Nitin Shah)

———————————————
Kishore Kumar solo version
———————————————
dekho na dekho hamen maare guroor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke
dekho na dekho hamen maare guroor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

aankhen wo chor hain jo dil mera le gayin
meethi si bekaraari nazron ko de gayin
aankhen wo chor hain jo dil mera le gayin
meethi si bekaraari nazron ko de gayin
yoon to na dekhiye kisi ko ghoor ghoor ke ae
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

kya kya jagaaye jaadu teri awaaz ne
chhede khaamosh naghme iss dil ke saaz ne
kya kya jagaaye jaadu teri awaaz ne
chhede khaamosh naghme iss dil ke saaz ne
jhoomne lage hain nazaare door door ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

gulshan ki zindagi ho bann ki bahaar ho
pehli nazar hi mein kyon tumse na pyaar ho
gulshan ki zindagi ho bann ki bahaar ho
pehli nazar hi mein kyon tumse na pyaar ho
bigde huye hain kyun mizaaj ye huzoor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke
dekho na dekho hamen maare guroor ke ae
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

——————————————–
Kishore Kumar Geeta Dutt duet version
——————————————–
dekho na dekho hamen maare guroor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke
dekho na dekho hamen maare guroor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

aankhen wo chor hain jo dil mera le gayin
meethi si bekaraari nazron ko de gayin
aankhen wo chor hain jo dil mera le gayin
meethi si bekaraari nazron ko de gayin
yoon to na dekhiye kisi ko ghoor ghoor ke ae
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

kya kya jagaaye jaadu teri awaaz ne
chhede khaamosh naghme iss dil ke saaz ne
kya kya jagaaye jaadu teri awaaz ne
chhede khaamosh naghme iss dil ke saaz ne
jhoomne lage hain nazaare door door ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke

gulshan ki zindagi ho bann ki bahaar ho
pehli nazar hi mein kyon tumse na pyaar ho
gulshan ki zindagi ho bann ki bahaar ho
pehli nazar hi mein kyon tumse na pyaar ho
bigde huye hain kyun mizaaj ye huzoor ke
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke
dekho na dekho hamen maare guroor ke ae
dil bhi huzoor ka hai ham bhi huzoor ke ae
ham bhi huzoor ke


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