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.

“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.

Seven songs from this movie have been discussed in the past. Here is the eighth and final song from “Miss Mala”(1954).

This last song from the movie is a delightful song to listen to and watch. The song is picturised as a stage song and it shows depits two bahus (one good- and therefore dressed in white) and the other bad (suitably dressed in black) :). Vyjyanti mala plays both the bahus in this song who are married to two brothers and live in the same joint family. Agha plays the husband of the bad bahu. I am unable to identify the man playing the husband of the good bahu.

The stage performance is watched by a houseful audience and Kishore Kumar is part of the audience.

This song is sung by Shamshad Begam and Trilok Kapoor. Raja Mehdi Ali is the lyricist of this superb song. Music is composed by Chitragupta.

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

With this wonderful song, “Miss Mala” (1954) joins the list of movies that have all their songs covered in the blog.

Song-Kaisi bahu ghar mein aayi waah ri bahu waah (Miss Mala)(1954) Singer-Shamshad Begam, Trilok Kapoor, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta
Chorus

Lyrics(Provided by Nitin Shah)

kaisi bahu ghar mein aayi
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah
sab pukaaren
yeh to saare ghar pe gayi chha aa
waah ri bahu waah
waah ri bahu waah

o bahu
o bahu

bak bak bak bak bak bak
jhik jhik jhik jhik jhik jhik
din bhar bak bak
din bhar jhik jhik
sar mera chakraaye
o bahu raani
mere liye kya chaawal nahin pakaaye
chaawal waawal kuchh nahin hai
khaale ye pathhar
pathhar se na pet bhare to
khaale mera sar
ye pathhar mera sar
ye pathhar

lathiya leke thummak thummak phirti hai ghar ghar
lathiya leke thummak thummak phirti hai ghar ghar
teri lathiya ko main deti hoon gira
waah ri bahu waah
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah

saasu ji
o saasu ji
bahu ji bolo bahu ji
poori bhi taiyaar hai
kheer mazedaar hai
daal mein baghaar hai
aam ka aachar hai
aalu hai kachalu hai
?? hai ?? hai
chalo chalo saasu ji
khaana sab taiyaar hai
aise bahu sabko miley
badi samajhdaar bahu
badi samajhdaar hai

tum garam garam khha lo o o
pankha main jhaloongi
tumko o pankha main jhaloongi
aisi bahu ko main rakhoongi galey se laga
waah ri bahu waah
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah

daftar mujhe hai jaana
o chai to banaa de
chai to banaa de
neeche gali mein hai hotel
neeche gali mein hai hotel
wahin se mangwa le
wahin se mangwa le
shaadi meri hotel se hui thhi
ya hui thhi tujhse ae
shaadi teri chai se hui thhi
ya hui thhi mujhse
saara saara din
saara saara din
laatsahab ki bachhi naache
chhum chhum chhum
laat sahab ke bachhe hoge tum tum tum
arre tum tum tum
tum tum tum
arre tum tum tum
aaaaaan
chai pilaaye bina main jaane na aa doongi
khaalo cake bas ek
tumhen meri qasam
khaalo cake bas ek
tumhen meri kasam
badi bholi badi nek
tu hai meri qasam
badi bholi badi nek
tu hai meri qasam
khaalo cake
pehle tum
hmmm hmmm
pehle tum
hmmm hmmm
pehle tum
khalo chupke se
nahin to main hoongi khafa
waah ri bahu waah
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah

tere bhai ne mujhko chor kaha
tujhko dhhor kaha
mujhko chor kaha
aanye
iss ghar mein ya mai rahoonga ya rahoge tum
arre kya samajhte ho
tumhaare hosh karoonga gum

kya karte ho hosh mein aao
ghar ko tabaahi se bachaao
tum sabko maska lagaao
jootiyaan khaao galiya khaao
phir bhi in sabke gunn gaao
tum raho iss ghar mein
main rahi hoon ja
thehro
apne ghar ko chhodna ratti nahin shaan
apne ghar ko chhodna ratti nahin shaan
ghar ki shobha bann ke raho tum
bano nahin naadaan
aao ji ham dono milke ghar ko swarg bana den
ghar ko swarg bana den
ghar ko swarg bana den
saare gaao ke labon pe ho ek hi ??
waah ri bahu waah
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah
sab pukaaren yeh to saare ghar pe gayi chha aa
waah ri bahu waah
waah ri bahu waah
kaisi bahu ghar mein aayi
waah ri bahu waah
sab pukaaren yeh to saare ghar pe gayi chha aa
waah ri bahu waah
waah ri bahu waah

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

MEHLON KE KHWAAB (1960) was a romantic comedy film produced by Madhubala under the banner of Madhubala Pvt. Ltd. The film was directed by Muhafiz Hyder. The star cast included Madhubala, Pradeep Kumar, Kishore Kumar, Chanchal, Pran, K N Singh, Om Prakash, Praveen Paul, Rashid Khan, Sulochana Chaterjee, Cuckoo etc. The full film is available on the internet albeit with the average video quality.

Asha (Madhubala) and Bela (Chanchal) work as junior artists in Hindi films. They are dreaming of becoming lead stars one day to enjoy the luxuries of life. However, one of the character actresses in the film (Leela Chitnis) cautions them about the vagaries of filmy carrier giving example of her own carrier. Both Asha and Bela see truth in the advice. They return home to overhear the conversation between Asha’s Aunt (Praveen Paul), Uncle (Rashid Khan) and an old man Ratilal who owns a jewellery shop. The deal is that Asha would be married to Ratilal for Rs.10000/-. Asha was about to tell Bela of her impending marriage with Ratilal, the jeweller when a postman delivers a letter to Bela. The letter is an intimation of her winning Rs.15000/- in a crossword puzzle. With that kind of money, both Asha and Bela plan to buy good cloths and jewelleries and go on a holiday to Kashmir. They feel that wealthy men come on holiday in Kashmir and that will facilitate finding husbands for both of them.

Asha and Bela go for shopping. In a jewelers’ shop, they like a diamond studded necklace costing a lakh of rupees. Since the necklace is costly, they settled for an imitation necklace of the same type and leave the real one in the tray. The real one is found stolen and a police report is filed by the jeweller’s shop. After shopping, Asha and Bela run away from home and reach the railway station to catch a train to Pathankot on their way to Kashmir for holiday. In the meanwhile, the thief (Pran), a history sheeter who has stolen the necklace is also at the railway station to run way but seeing a contingent of police forces on the station, he deposits the necklace in the suitcase of Asha. There is one more person (K N Singh) who has been keenly observing the happenings in the railway station. So Asha, Bela, the thief and K N Singh board the train to Pathankot.

As the train starts, Rajan (Kishore Kumar), a vagabond, boards the running train and by mistake he lands himself in the coupe in which Asha and Bela are travelling. Both of them think that Rajan is the thief to pick up their bag full of currency notes. However, Rajan convinces them that he accidentally boarded the train. He then advises both of them to shift to another compartment so that they can travel together safely without any suspicion. In the new compartment, there are already two passengers, one of them being K N Singh. In the night when all are asleep, the thief makes an attempt to pick up the suitcase in which he had earlier deposited the necklace but fails as Bela is awakened by the sound. The thief runs away. However, Rajan is suspicious of the fellow passenger K N Singh who might have tried to steal the suitcase.

All of them– Asha, Bela, Rajan, the thief and K N Singh reach Kashmir and check in a hotel owned by Om Prakash. Chander (Pradeep Kumar) who is a wealthy man works in the hotel disguising himself as a waiter. Later on, he disguises himself as a driver of a businessman. His intention is to find a true life partner who is not influenced by his wealth in marrying him. During their stay in the hotel, while Pran and K N Singh make attempt to steal Asha’s suitcase, Asha and Bela are trying to assess Chandar and Rajan as their prospective husbands. Over a period of time, Bela and Rajan started liking each other. In a way, Bela has found her husband.

One day, Asha suddenly finds the diamond studded necklace in her suitcase. Since this necklace has been the source of all problems including being branded as thief, Bela throws the necklace out of the window of their room. The necklace is picked up by Chandar (this scene is cut in the video version but can be deduced from the later scenes). One day, Asha, Bela and Rajan go for sightseeing in a car driven by Chandar. While, Rajan and Bela visit some other place, Asha and Chandar are left alone. Asha started liking Chandar for his helpfulness and saving her from falling in the gorge etc. Besides, she also learns that he is a graduate but not finding employment in the office, he had to become a driver. During their subsequent meeting, Chandar presents her the necklace as a gift which he had picked up outside the hotel. So, it is back to square one for Asha and Bela.

While Pran is after the necklace to be retrieved from Asha’s suitcase and K N Singh is in search of the same necklace, both Asha and Bela are trying to get rid of the necklace. In the meanwhile, Asha’s Uncle and Aunty publish an advertisement in newspapers of reward of Rs.3000/- for finding Asha. Pran comes across the advertisement. Now he had got a handle to blackmail Asha. So he comes to Asha and Bela’s hotel room and declares himself to be an police inspector who has come to search her room in connection with the lost necklace. Even Asha’s uncle and aunt reach her hotel room. Chandar, who had agreed to marry Asha, misunderstands her to be a thief and is about to break the alliance. However, as it often happens in Hindi films, K N Singh who is a real police inspector in disguise, catches Pran red handed and is arrested. This is not the end of the film.

In the meanwhile, Rajan has checked out from the hotel without the knowledge of Asha and Bela as he feels guilty of presenting himself as a rich man to Bela which he is not. So a car chase by Chandar supported by local villagers catch hold of Rajan who reveals his true status to Bela. But Bela has no problem with Rajan as she loves him. In any case, she is also not a princess which she had pretended to Rajan all these days. The film ends with both Asha and Bela finding their husbands during their Kashmir holiday as they had planned.

In this film, even though Pradeep Kumar has been given the top billing in the credit title as the main cast along with Madhubala, it is Kishore Kumar, Madhubala, and Chanchal who had more footage in the film than Pradeep Kumar. In fact, Pradeep Kumar first appears in the screen almost at the half way mark in the film. His role in this film is akin to what is now known as ‘guest appearance’.

The film had 7 songs of which 4 songs have been covered in the Blog. I am presenting the 5th song ‘gar tum bura na maano’, a duet sung by Subir Sen and Asha Bhonsle. The lyrics were written by Raja Mehdi Ali Khan which were set to music by S Mohinder. The background to the song in the picture is a visualisation of Pradeep Kumar as to how he would reveal his love for Madhubala and how she would respond.

Enjoy this lovely and popular song of yesteryear.

Song-Gar tum bura na maano to main tumse pyaar kar loon (Mehlon Ke Khwaab)(1960)Singers-Subir Sen, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder
Both

Lyrics

gar tum bura na maano
to main tumse pyaar kar loon oon
mujhe tum daga na doge
kaho aitbaar kar loon
gar tum bura na maano
to main tumse pyaar kar loon
mujhe tum daga na doge
kaho aitbaar kar loon
gar tum bura na maano

aa haa haa
haa haa haa
haa haa haaa haa

jo nazar ki aarzoo hai
bade shauk se kaho tum
ae bahaar zindgaani
mere saamne raho tum
main tumhaare har jhalak par
dil o jaan nisaar kar loon oon
aa aa aa
mujhe tum daga na doge
kaho aitbaar kar loon
gar tum bura na maano

mera dil bhi jaan bhi haazir
aa haa haaa
jo chalaaye teer aankhen
aa aa aaa
huyi mere dil ki dushman
o ho ho
teri ye shaareer aankhen
ho ho ho
tu nazar ke teer barsaa
ho ho ho
main jigar ke paar kar loon oon
mujhe tum daga na doge
kaho aitbaar kar loon
gar tum bura na maano

aa haa haa
haa haa haa
haa haa haaa
aa

meri har? rooh? ko tune
aa haa haa
diya pyaar kaa sahara
hmm hmm hmm
teri ek hansi ke khaatir
aa haa haaa
mujhe kya nahin ganwaara
hmm hmm hmm
tera gham bhi ho usko
main galey ka haar kar loon oon
mujhe tum daga na doge
kaho aitbaar kar loon
gar tum bura na maano
to main tumse pyaar kar loon oon
mujhe tum daga na doge
kaho aitbaar kar loon
hmm hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
(aaa aah aaa aah aaa aah)
hmm hmm hmm hmm hmm
(la la laa la la la la la laa)
hmm hmm hmm hmm hmm
(aah aaa aah aaa aah aaa)
hmm hmm hmm hmm hmm
(ho ho ho ho ho ho ho)
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
(la la laa la la la lala laa)

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.

“Bahaadur” (1953) was a Ranjit Film Company Production. It was directed by Ratibhai Punatkar. The movie had Suresh, Shyama, Roopmala, Amarnath, Anwar Hussein, Shammi etc in it.

This movie had eight songs in it that were written by six lyricists and the songs had five voices in them.

Here is the fifth song from “Bahaadur”(1953) to appear in the blog.

This song is sung by Rajkumari. Raja Mehdi Ali Khan is the lyricist. Music is composed by S Mohinder.

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

Song-Kagwa re jaa balma ke deswa (Bahaadur)(1953) Singer-Rajkumari, Lyrics-Raja Mehdi Ali Khan, MD-S Mohinder

Lyrics

kagwa re jaa
balma ke deswa
kagwa re jaa
man ko suna
unka sandeswa
man ko suna
unka sandeswa
man ko suna
unka sandeswa
balma ke deswa
kagwa re jaa
balma ke deswa
kagwa re jaa

door koyaliya bol rahi hai
door koyaliya bol rahi hai
pawan ghoonghat pat khol rahi hai
pawan ghoonghat pat khol rahi hai
preet ki naiyya dol rahi hai
preet ki naiyya dol rahi hai
dil ro raha
kismat khafa
wo hain judaa
kaagwa re jaa
ja ja ja aa
kaagwa re jaa
balma ke deswa
kagwa re jaa

pankh jo hotey
main ud jaati
pankh jo hotey
main ud jaati
nirmohi ko main aap manaati
nirmohi ko main aap manaati
ro ro seene se lag jaati
ro ro seene se lag jaati
kehti bata
meri khata
jaalim piya
kagwa re jaa
ja ja ja aa
balma ke deswa
kagwa re jaa
man ko suna
unka sandeswa
man ko suna
unka sandeswa
man ko suna
unka sandeswa
balma ke deswa
kagwa re jaa
ja ja ja aa
kagwa re ja
balma ke deswa
kagwa re ja

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.

According to HFGK, there are ten songs in it, but we in this blog discovered another song in the movie which was not listed in HFGK. This song has been discussed in the blog in the past.

On going through the list of songs, it appears that the above unlisted song, sung by David and an unknown female voice was the second part of another song from the movie. This song was just over one minute long and its records were apparently not made.

That unlisted song was the second part of a better known song from the movie ( duly listed in HFGK). This song, which is of the proper length, is sung by Shamshad Begam and Geeta Dutt. This song is picturised as a stage performance song on Rehana (lip syncng in Shamshad Begam’s voice and playing the role of a male) and Meena Shorey.

Raja Mehdi Ali Khan is the lyricist of this light hearted song. Music is composed by Shyam Sundar.

Song-Ho gori tera baanka chhora(Actress)(1948) Singers- Shamshad Begam, Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar
Both

Lyrics

o gori
ho
ho gori tera baanka chhaila
jeet ke aaya jung
ho gori tera baanka chhaila
jeet ke aaya jung
baahar jaakar dil na lagaaya
kisi chhori ke sang
mere dil ki kuthariya pe
mere dil ki kuthariya pe
to let ka board
gori jaldi se taala lagaay le
gori jaldi se taala lagaay le

koi sundar si naar
khol kar dil ke dwaar
kahin kabza na apna jamaay le
kahin kabza na apna jamaay le
ho zara jaldi se taala lagaay le
ho gori jaldi se taala lagaay le

dil ki kuthariya main naahin loongi
dil ki kuthariya main naahin loongi
tu maangega pagdi
tu mangega pagdi
jab tak chaahe rah le gori
loonga ek na damdi
tujhse loonga ek na damdi
mai hoon tera gulaam
tu likhaa le staamp
kore kaagaz pe anghutha lagwaile
kore kaagaz pe anghutha lagwaile
zara jaldi se taala lagaay le
mere dil ki kuthariya pe
mere dil ki kuthariya pe
to let ka board
gori jaldi se taala lagaay le

na baaba
main nahin aaun nahin aaun
na baba
main naahin aaun naahin aaun
lega tu ghar ka kaam
dega tu ghar ka naam

chhi chhi chhi chhi
kya kehti hai
le raam ka naam
pahan kar coat pant aur boot
tujhe main marunga salute
tujhe main marunga salute
gori chal mere saath
dede haathon mein hath
jara jaldi se tala lagai le
mere dil ki kuthariya pe
mere dil ki kuthariya pe
to let ka board
gori jaldi se taala lagai le
ho gori jaldi se jaldi se
jaldi se

din mein sau baar aata hai tera khayaal
left right left right karte huye
teri dhun mein bigad jaati hai meri chaal
left right left right karte huye
major maare hai laat
kare gaali se baat
major mare hai laat
kare gaali se baat
maine major ke boot sahe ae
ho gori tere liye
major ke boot sahe

gori kar na hairaan
baandh apna saamaan
gori kar na hairaan
baandh apna saamaan
mere dil ki kuthariya pe
mere dil ki kuthariya pe
to let ka board
zara jaldi se taala lagaai le
ho gori
ho chaila
ho gori
ho chhaila
jaldi se taala lagaay le
zara jaldi se taala lagaay le

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.

Today is 26 january 2015 which is an important day in the history of India. Today we are celebrating the 66th year of India becoming a republic. It is a historical day indeed, because it was on this day that people of India began to be governed by a constitution. This constitution, for the first time in the history of India, declared that all Indians, irrespective of their caste, creed and other factors were equal and that the country was going to be governed by People’s representatives elected through elections.

Sixtysix year hence, that tiny sapling has taken firm roots and Indian Republic had become firmly entrenched. It is a miracle of modern times and something that we can be quite proud of.

The country has made progress though not quite to our satisfaction. Our elected representatives have often let us down.

For all that, thigs are looking up for India and we are cautiously optimistic about the future of India as a nation. The fact that we have a democracy and we have a constitution to govern us is something that calls for a year round celebration and in fact we do it daily , albeit without fanfare.

It is during 26 january that we celebrate the occasion with fanfare. And the main celebration takes place in New Delhi. By now the modus operandi of celebration of the republic day (and also Independence day) have become settled. The republic day sees a parade on New Delhi’s Rajpath whereas Independence day sees an address to the nation by the Prime Misnister for Lal Qila, Old Delhi.

The republic day celebration also has set a tradition whereby a foreign head of state/ Government is invited as the Chief Guest for the celebration. This year’s republic day celebration sees the President of USA as the chief guest on the occasion. These are early days yet, but this occasion could well turn out to be a landmark occasion in the History of the Indian republic. Let us cross out fingers and wait and watch.

This 66th republic day (26 january 2015) is the seventh republic day for the blog. We have seen an equal number of Independence days as well. We use such occasion to discuss patriotic songs in the blog.

Here is a song from “Maasoom”(1960) on the occasion. This sonng is sung by Asha Bhonsle and chorus. The song is picturised as a song where a school teacher is exhorting young school kids to become “desh ka pyaara sab ka sahaara” once they grow up and tiny tots respond enthusiastically.

This song is 55 years old now. The tiny tots seen in the picturisation must be senior citizens by now or they may be on their ways to become one. :) How time has flown.

Here is this nice song with a patriotic message. Raja Mehdi Ali Khan is the lyricist. Music is composed by Robin Bannerji.

I take this occasion to wish everyone a happy Republic day.

Song-Desh ka pyaara sabka sahaara kaun banega (Maasoom)(1960) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Robin Bannerji
Chorus

Lyrics

desh ka pyaara sabka sahaara kaun banega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi
saare jag mein prem ujiyaara kaun karega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi

baapu ka ye desh hai bachchon
sab deshon se pyaara
isi desh ke khaatir usne
apna sab kuchh haara
baapu ka ye desh hai bachchon
sab deshon se pyaara
isi desh ke khaatir usne
apna sab kuchh haara
?? ki dhaara ab rakhwaala kaun banega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi
saare jag mein prem ujiyaara kaun karega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi

pyaare bachchon kaun ho tum
ham bharat ki santaan
bharat mata ke charnon mein
rakh den dil aur jaan
pyaare bachchon kaun ho tum
ham bharat ki santaan
bharat mata ke charnon mein
rakh den dil aur jaan
mushqil tay ho
desh ki jay ho
kaun kahega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi
saare jag mein prem ujiyaara kaun karega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi

lalala o o o
hm hmm hmm hm hm hmm
jahaan jahaan andhiyara dekhen
ham ujiyaara kar den
kadam kadam per desh ka daaman
ham khushiyon se bhar den
jahaan jahaan andhiyara dekhen
ham ujiyaara kar den
kadam kadam per desh ka daaman
ham khushiyon se bhar den
kaam ye pyaara himmat waala kaun karega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi
saare jag mein prem ujiyaara kaun karega
ham didi
desh ka pyaara sabka sahaara kaun banega
ham didi

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.

“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.

Eight 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 second song sung by Paro Devi. This is a delightful song which is picturised on Paro devi herself.

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

With this song, “Do Bhai”(1947) joins the list of movies that have all their songs covered in the blog.

Audio

Video (Longer song)

Song-Kabhi bhoole se na poochhi man ki baat rasiya (Do Bhai)(1947) Singer-Paro Devi, Lyrics-Raja Mehdi Ali Khan, MD-S D Burman

Lyrics

kabhi bhoole se na
ho kabhi bhoole se na poochhi man ki baat rasiya
kabhi bhoole se na
taare gin gin beete birha ki har raat rasiya
taare gin gin beete birha ki har raat rasiya
kabhi bhoole se na poochhi man ki baat rasiya
kabhi bhoole se na

meri chanchal mast jawaani
tumpe ho gayi deewaani
meri chanchal mast jawaani
tumpe ho gayi deewaani
tumpe ho gayi deewaani
haay main kya karoon
haay haay main kya karoon
tum bin kaise beeetegi meri barsaat rasiya
tum bin kaise beeetegi meri barsaat rasiya
kabhi bhoole se na poochhi man ki baat rasiya
kabhi bhoole se na

tera phool sa mukhda tak tak
badhhti jaaye dil ki dhhak dhhak
tera phool sa mukhda tak tak
badhhti jaaye dil ki dhhak dhhak
badhhti jaaye dil ki dhhak dhhak
haay main kya karoon
haay haay main kya karoon
tera dhyaan na chhodoon
din ho ya ho raat rasiya
tera dhyaan na chhodoon
din ho ya ho raat rasiya
kabhi bhoole se na poochhi man ki baat rasiya
kabhi bhoole se na

dekhoon din mein bhi tumhre sapne
hote nahin ho phir bhi apne
dekhoon din mein bhi tumhre sapne
hote nahin ho phir bhi apne
hote nahin ho phir bhi apne
haay main kya karoon
haay haay main kya karoon
apne haathhon mein kab loge mera haath rasiya
apne haathhon mein kab loge mera haath rasiya
kabhi bhoole se na poochhi man ki baat rasiya
taare gin gin beete birha ki har raat rasiya
taare gin gin beete birha ki har raat rasiya
kabhi bhoole se na
kabhi bhoole se na poochhi man ki baat rasiya

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.

“Neela Aakaash”(1965) was directed by Rajendra Bhatia for Kiran Productions. The movie had Mala Sinha, Dharmendra, Shashikala, Raj Mehra, Sulochana, Madan Puri, Mumtaz Begum, Sabita Chatterjee, Manorama, Mehmood, Hari Shivdasani, Madhvi etc in it.

Six songs from this movie have been discussed in the past. Here is the seventh song from the movie. This song is a dance song. It is sung by Asha Bhonsle and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by Madan Mohan.

The song is picturised as an open air dance song which is witnessed by a good crowd including the lead actors of the movie. I am unable to identify the lead dancer who lip syncs in Asha Bhonsle’s voice. I request our knowledgeable readers to help identify her.

I am unable to decipher some of the lyrics of the song which is sung b the chorus. I request our readers with keener ears to tell us what the missing/correct words are.

Song-Preet basi hai nas nas mein(Neela Aakaash)(1965) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Madan Mohan
Male chorus
Female chorus

Lyrics

ho ho ho
aa aa aa
ho ho ho
aa aa aa aa aa aa aa
aa aa aa
ho ho
aa aa aa
ho ho ho
aa aa aa

it it tu aa
?? jayiyo na
??
hansi khel ??
ho ho ho ho
ho tero mero saath ho meri chhaila
it it bhaagi ???
ho meri chhaila
tu aa re
meri chaila
tu aa ho

hui hui
hui hui

hui hui hui
hui hui hui

preet basi hai meri nas nas mein
tan bhi ye man bhi tumhaare bas mein
tohse laagi lagan man mitwa
o man mitwa aa aa aa
preet basi hai meri nas nas mein
tan bhi ye man bhi tumhaare bas mein
tohse laagi lagan man mitwa
ho man mitwa aa aa aa

hui
hui hui

phir aaye
na aaye
kabhi aisi rain matwaari
ho
meri chaila
tu aare mero chaila
phir aaye
na aaye
kabhi aisi rain matwaari
rasiya se ye boley ae
meri preet laaj ki maari
yoonhi sang tumhaare beete umariya saari
preet basi hai meri nas nas mein ae
tan bhi ye man bhi tumhare bas mein
tohse lagi lagan man mitwa
ho man mitwa aa aa aa

jeewan ki raahon mein
meri jisne thhaam li bainyaa
ho
meri chhaila
tu aa re mero chhaila
jeewan ki raho mein
meri jisne thhaam li bainyaan
kya boloon
wohi pagla
wohi pyaara laage mora sainya
jaane kaahe lagoon pagle ko main itni pyaari
preet basi hai meri nas nas mein
tan bhi ye man bhi tumhaare bas mein
tohse lagi lagan man mitwa
ho man mitwa aa aa
preet basi hai meri nas nas mein ae
tan bhi ye man bhi tumhaare bas mein
tohse lagi lagan man mitwa
ho man mitwa
aa aa aa

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.

“Neela Aakaash”(1965) was directed by Rajendra Bhatia for Kiran Productions. The movie had Mala Sinha, Dharmendra, Shashikala, Raj Mehra, Sulochana, Madan Puri, Mumtaz Begum, Sabita Chatterjee, Manorama, Mehmood, Hari Shivdasani, Madhvi etc in it.

Seven songs from this movie have been discussed in the past. Here is the eighth song from the movie. The song is sung by Asha Bhonsle and chorus. This song is lip synced by Mala Sinha. Picturisation of this song shows Mala Sinha and her sahelis in a garden (enjoying picnic I suppose) while Dharmendra and Mehmood (looking surprisingly sedate) are initially seated in their car and then they join the ladies. This song is addressed at them and they are in fact being jeered at in this song.

Raja Mehdi Ali Khan is the lyricist. Music is composed by Madan Mohan.

With this song, “Neela Aakaash”(1965) joins the list of movies that have all their songs covered in the blog.

Audio

Video

Song-In aakhon se nazar ka teer chal jaata to kya hota(Neela Aakaash)(1965) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Madan Mohan
Chorus

Lyrics

bade naadaan ho
uljhe ho tum aakar haseenon se
bina soche ladaai tumne aankhen naazneenon se
in aankhon se nazar ka
in aankhon se nazar ka
teer chal jaata to kya hota
ji chal jaata to kya hota
ji chal jaata to kya hota
zara socho
tumhaara dam nikal jaata to kya hota
nikal jaata to kya hota
nikal jaata to kya hota
jee

aji ab tum yahaan kya karne aaye
kyun
bhala kya karne aaye
aji kehdo
ke aahen bharne aaye
haaye
ke aahen bharne aaye
ghani zulfon ki chaanv mein bechaare marne aaye
haaye
bechaare marne aaye
na jaane kitne dhokhe
tumne aankhon mein chhipaaye hain
buton par tumne aakar
teer ulfat ke chalaaye hain
jo bhoole se hamaara
jo bhoole se hamaara haath chal jaata ho kya hota
ji chal jaata ho kya hota
ji chal jaata ho kya hota
zara socho tumhaara dam
nikal jaata to kya hota
nikal jaata to kya hota
haha
jee

jhuki aankhen
nigaahen neechi neechi
hmm nigaahen neechi neechi
jee honthon par hansi hai pheeki pheeki
hai
hansi hai phheeki pheei
huye thhande suni baaten hame seekhi seekhi
jee ki baaten teekhi teekhi
hamaare saamne tumne dil apne door se phenke
na ye socha
koi mehandi rache in shokh kadmon se
tumhaare dil ko yoon yoon yoon
tumhaare dil ko yoon yoon yoon
masal jaata to kya hota
masal jaata to kya hota
masal jaata to kya hota
in aankhon se nazar ka teer
chal jaata to kya hota
ji chal jaata to kya hota
zara socho tumhaara dam
nikal jaata to kya hota
nikal jaata to kya hota
jee

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 month of January, I had visited Hyderabad-my home town after a gap of about 6 years and I was quite excited about meeting close relatives and school/college friends. I had been in touch with them from Mumbai. They contacted me when I reached Hyderabad and settled down. We decided to meet for Lunch at an appointed day at one of our favourite clubs-Fateh Maidan Club. It was going to be a reunion for 6 friends, including me. Everyone was excited about this meeting. On the appointed day I reached the club at about 12.30 pm. All my fiends-5 of them- were waiting for me. After embracing each other, they all sprang a surprise on me and there appeared my 6th friend, who was not in the pre decided list. He too was from our group, but had settled down in US. He had come to Hyderabad just the previous day and he was invited to meet me . We met after about 20 years and were extremely happy to revive nostalgic memories.

Many of you might have experienced such nostalgic surprises in your life. And you know how happy one can become. Similar experience came to me here in Mumbai, about 10 days back. No, not any long lost friend,but……

I was casually browsing though the HFGK, for the 50’s decade and looking at film songs already posted on the Blog. Suddenly, my eyes fell on a song which was very melodious with a catchy tune. It was a song that was quite popular in those days. I was surprised to find that this was not yet posted on the Blog. I played that song and believe me,I truly enjoyed all the nostalgia the song generated-old time memories, viz. how I bunked school to see this film. If this song was not posted, I thought,there could be some more such old time Gems still remaining ‘ Un posted ‘. With this thought, I started going through all the film songs one by one. Lo and Behold ! Believe me,actually I found more than 25 such songs,which were famous, melodious, special songs and songs with some significance. Somehow these songs had escaped the searching eyes of our contributors(including Atul ji,of course) and me too ! Finding these songs brought back forgotten memories and joys.

We are starting a New Series from today- “MISSING GEMS FROM THE GOLDEN 50s “, presenting to you some of these ‘Un posted’ beauties. I am sure Some of you will feel nostalgia with some songs and really enjoy them once again.

The first song in this series is a very peppy dance item performed by Shyama in the film ‘ SHRIMATI JI-1952 ‘. For the film industry, 1952 was a notable year, because it was from this this year that the regional censor boards were abolished and only one central board was to operate for India. The industry was facing various challenges like too many flops causing a slump in the finance for films. Music played a saviour for films made on weak storylines, like ” Daag” for example. Good story unsupported by popular music did not save films like ‘Aandhiyan’ or ‘Mr. Sampat'(made on R K Narayan’s story.),whereas good music alone gave a Golden Jubilee run to ‘Aan’ and a Diamond Jubilee to ‘Baiju Bawra’. 1952 also saw films like Yatrik, Ratnadeep, Vidyasagar and Chhoti Maa from the Eastern sector. It was during this year that Bimal Roy shifted to Bombay to start his own production company.

Thus music became the soul of a film in those days. Excellent and melodious music from flop films did not get that much attention, ulike ordinary songs from successful films. But what is Good is Good for ever, wherever it is. In this series, we will discuss and enjoy a few such Gems.

Today’s song is sung by Shamshad Begum and it is composed by Jimmy. He is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. he was a Christian Sikh from Ludhiana. He was educated in Delhi. He started his career in Hindi films as a singer in Chorus. he could play many western instruments, especially all types of Guitars. When he failed as a singer, he became assistant to many composers.He finally got his chance to compose a few songs for film ‘Muqaddar-50′.Khemchand Prakash and Bhola Shreshtha were the other composers of this movie. He composed two duets of Asha and Kishore. The credit of teaching ” Yodelling ” to Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ for the first time in this film.

Jimmy then gave music to 12 more films like, Shrimati ji, Smuggler, Awara Shehzadi, Sher e Baghdad, Nek Khatoon, Pathan, Miss chaalbaz ,Tarzan and Gorilla, Duniya hai dilwalon ki, Tarzan in fairy land, Khoon aur sazaa and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of severeal genres, Jimmy never came upto A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard, Jimmy’s name will be remembered. In today’s song also, Jimmy has done the Yodelling. Note the similarity with Kishore’s yodelling.

The cast of Shrimati ji was Nasir Khan, Shyama, Ram Singh, Murad, Vimla, Indira, Prabha, Johar, Majnu etc. This was a film by Filmistan and was directed by I.S.Johar, who wrote the story and screenplay also with Rama Johar, wife of I S Johar at that time and who became famous as Rama Bains- the fitness expert and TV personality later on.

In 1949, Ek Thi Ladki was also written by Johar with screenplay too. That was the time when Johar and Majnu acted together for the first time. The film and the pair’s acting became so famous that not only Roop K Shorey but also Johar lived through rest of their lives using the same basic story with alterations here and there. Shorey considered the pair of Johar and Majnu as his Mascot and featured them in almost every film he made after that.

I S Johar wanted to become a famous pair with Majnu on the lines of Bob Hope and Bing Crosby. Johar-Majnu usually copied their costumes and styles in films. What’s more this pair even copied the ‘Yogi dance’ of Hope-Crosby in the movie Hum sab chor hain’-56. Johar produced a series of “Road films”- Johar Mehmood in Goa, Johar in Kashmir, Johar in Bombay, Johar mehmood in Hong kong. Senior readers will probably remember the Bob Hope-Bing Crosby film series of ” Road to Singapore, to Zanzibar, to Morocco, to Utopia, to Rio, to Bali and Road to Hong kong ” all films from 1940 to 1962. So much for Johar’s ‘originality’ !
Majnu-original name- Harold Lewis- was a successful comedian Hero in Lahore before Partition. Along with Shorey, Vinod and others, he too migrated to India and worked with Shorey till his end.

Johar’s story was a One Line one-‘ an innocent beautiful damsel in distress is first cheated and later saved by a pair of crooks.’ This formula was used even in Shrimati ji with some variations. This was SHYAMA’s first film as a Heroine. The story of Shrimati ji-52 was..

Beautiful Indira is an orphan. This chubby, smiling girl looks innocent but is street smart. She and her 3 friends named Fatty, Shorty and Tally, try several ways to earn money but fail every time and keep running further into debts. They want to earn honestly and be independent. Indira tries her luck even in a village, but fails. While returning to Bombay she meets a crook, Jeewan who not only gives her a lift, but also takes her to a Hotel for dinner. There is a Police raid on the hotel and to save her from police, Jeewan introduces her as his wife. He takes out some photos also. Later in the night Indira resists his advances and escapes from there, only to fall prey to a pair of crooks dealing in counterfeit notes. She manages to wriggle out.
Finally she and her friends get a job in a hotel as dancers. She meets Rajesh and his three friends who also worked there earlier. They fall in love and decide to get married. He takes her to his house. To her horror she recognises the place as the same Hotel where Jeewan had brought her and the ‘Hotel manager’ is none other than Rajesh’s father.

Agitated,Indira tells Rajesh everything, but he does not believe her. He leaves her and to forget her, he joins the secret service of Army. He is sent to Burma border where he has to bust the efforts of a gang who would pass on secret maps to enemy. Madam Chitra and her troupe is there to help them. Rajesh recognises that Chitra is Indira. He is caught by the enemy, but Indira and her friends rescue him. Together they bust the gang and arrest them. The gang leader in Jeewan,who is caught red handed.

Rajesh-Indira and their three friends too get married happily in the end.

Enjoy this missing gem from 1952.

Song-Ae baabu o baabu ji main na karoon teri naukri (Shrimatiji)(1952) Singer-Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-James Singh
Chorus
James Singh

Lyrics

deera dora dum dum dum dum
deera dora dum dum dum dum

ae baabu o baabuji
main na karoon teri naukri
ae baabu o baabuji
main na karoon teri naukri
kis kis ko main raazi karoon
bhajan sunaaun
ya ghazal sunaaun
ya geet sunaaun
ya main mar jaaun
ae baabu o baabuji
main na karoon teri naukri

chhoti badi (?) maine gaaya
haaye inhone shor machaaya
kaaya ka pinjra dulaaya
inko taras na aaya
balma ko jhoola jhulaaya
inhone humko bhagaaya
sharam nahin aaya
aaya ja
ae baabu o baabuji
main na karu teri naukri

theatre mein tere baithhe hain budhhe
(cough cough)
theatre mein tere baithe hain budhhe
khaanse aur chillaayen
kahen haath mein maala lekar
jap lo jap lo
ae ji jap lo jap lo
seeta raam seeta raam raadhe shyaam raadhe shyaam
seeta raam seeta raam raadhe shyaam raadhe shyaam
seeta raam seeta raam raadhe shyaam raadhe shyaam
mar gayi raam mar gayi raam
mujhe bacha lo seeta raam
kis kis ko main raazi karoon
bhajan sunaaun
ya ghazal sunaaun
ya geet sunaaun
ya main mar jaaun
ae baabu o baabuji
main na karoon teri naukri

theatre mein tere baithhe jawaan
haath mein cigarette
theatre mein tere baithhe jawaan
haath mein cigarette
munh mein paan
kehte hain
suno suno
suno meri jaan
ban jaao tamancha jaan
sanwariya ne haaye mohe bada dukh deena
sanwariya ne haaye mohe bada dukh deena

pankh jo hote to main udd kar jaati
pankh jo hote haaye
pankh jo hote to main udd kar jaati
theatre mein tere babuwa
kabhi bhi na aati
sanwariya ne haaye mohe bada dukh deena
sanwariya ne haaye mohe bada dukh deena

mera naam tamancha jaan
kalkatte waali

kis kis ko main raazi karoon
bhajan sunaaun
ya ghajal sunaaun
ya geet sunaaun
ya main mar jaaun
ae baabu o baabuji
main na karoon teri naukri

theatre mein tere genlteman
baithhe hain hokar bechain
wo maangta hai ramba samba
ramba samba samba
hum jaanta hai ramba samba
ramba samba samba

laung ilaichi ?? chhalle
ilaichi ne mara jhuppi
laungng bechara rone laga
haye ilaichi dubbi
od layi ee
lai
od leiyyi ee
od laiyyee ee
laiyye

kis kis ko main raazi karoon
ghazal sunaaun
ya geet sunaaun
ya bhajan sunaaun
ya main mar jaaun
ae baabu o baabuji
main na karoon teri naukri
yeah ae baabu o baabuji
main na karoon teri naukri
yeah
ae baabu o baabuji
main na karoon teri naukri
yeah
ae baabu o baabuji
main na karoon teri naukri

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.

Ok so now we know – प्यार किसे कहते हैं। (what is this thing we call love). Explained quite lucidly in this song.

jabse mili teri meethi mohabbat
chocolate ka khaana chhod diya

Discovering your sweet love
Have forsaken even chocolate 

Aah, what a sublime sacrifice, forsaking the delicious trappings of this world, all for having found love.  Nothing, no other sacrifice could be more convincing.

But that is not all.  The song contains many more such forfeitures that the new lovers are promising to each other.  I am not sure whether the die hard fans of Hindi film music would dare to cross that bridge, but in this song the lovers are promising that the cinema and the film songs have been forsaken too, now that they are seeing each other, and are listening to the songs sung by the other.

dekhi hai jab se surat tumhari
cinema bhi jaana chhod diya
jabse suney hain tere ye gaane
filmon ka gaana chhod diya

I simply had too much fun uploading this song and scripting the lyrics.  Quite an epitome of hilarity.

The film is ‘Naya Raasta’ from 1953. Produced and directed by Jayant Desai for his own production company, the cast of actors for this film is Nirupa Roy, Agha, Manhar Desai, Bipin Gupta, Satya Narayan, Surya Kumari, Umakant, Babu Raje, Charu Bala, Gulab, Master Prem Kumar, Krishna Kumari.  Sadly, the video is not available – I would have loved to see who is performing this song on screen.  I request other knowledgeable readers and friends to please add more information about the film and the song.

The eight songs of this film come from the pens of three song writers – Raja Mehdi Ali Khan, Anjum Jaipuri and Saraswati Kumar ‘Deepak’.  This song is written by Raja Mehdi Ali Khan.  Music is by Chitragupt.  The singing voices are those of Chitragupt himself and Shamshad Begum.  One song from this film is already on board, and this is the second song to find its place here today.

A fun tour into the hearts of a pair of new love birds.  Listen and enjoy.

Song – Dekhin Hain Jabse Teri Ye Aankhen (Naya Raasta) (1953) Singers – Chitragupt, Shamshad Begum, Lyrics – Raja Mehdi Ali Khan, MD – Chitragupt
Both

Lyrics

dekhin hain jabse
teri ye aankhen
aankhen ladaana chhod diya
dekhin hain jabse
teri ye aankhen
aankhen ladaana chhod diya
aankhen ladaana
sadkon pe jaana
chashma lagaana
chhod diya
ae ji dekhin hain jabse
nazren tumhari
nazren churaana chhod diya
dekhin hain jabse
nazren tumhari
nazren churaana chhod diya
nazren churaana
tumse lajaana
mukhda chhupaana chhod diya
o ji dekhin hain jabse
teri ye aankhen
aankhen ladaana chhod diya

oo ooo oo ooo
hum bhi hain raazi
qaazi bhi raazi
kheli hai aisi mohabbat ki baazi
reson mein jaana
paise gawaana
ghode fasaana chhod diya
ae ji dekhin hain jabse
nazren tumhari
nazren churaana chhod diya

oo ooo oo oo
dil jitna bhi naache
utna hi kam hai
fashion ki duniya mein pehla kadam hai
chauke mein jaana
roti pakaana
belan chalaana chhod diya
dekhin hain jabse
nazren tumhari
nazren churaana chhod diya. . .aa. . .

ae ji chhod diya
chhod diya
chhod diya
ae ji chhod diya
chhod diya
chhod diya

ae jabse basey tum
nainon mein mere
surma lagaana chhod diya
ae dekhi hai jab se
surat tumhari
cinema bhi jaana chhod diya
jabse suney hain
tere ye gaane
filmon ka gaana chhod diya
jabse mili teri meethi mohabbat
chocolate ka khaana chhod diya

ae ji dekhin hain jabse
nazren tumhari
o ji dekhin hain jabse
teri ye aankhen
nazren churaana
aankhen ladaana
chhod diya
chhod diya
chhod diya. .aa. .aa

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

देखीं हैं जबसे
तेरी ये आँखें
आँखें लड़ाना छोड़ दिया
देखीं हैं जबसे
तेरी ये आँखें
आँखें लड़ाना छोड़ दिया
आँखें लड़ाना
सड़कों पे जाना
चश्मा लगाना छोड़ दिया
ए जी देखीं हैं जबसे
नज़रें तुम्हारी
नज़रें चुराना छोड़ दिया
देखीं हैं जबसे
नज़रें तुम्हारी
नज़रें चुराना छोड़ दिया
नज़रें चुराना
तुमसे लजाना
मुखड़ा छुपाना छोड़ दिया
ओ जी देखीं हैं जबसे
तेरी ये आँखें
आँखें लड़ाना छोड़ दिया

ओ ओ ओ ओ
हम भी हैं राज़ी
क़ाज़ी भी राज़ी
खेली है ऐसी मोहब्बत की बाज़ी
रेसों में जाना
पैसे गवाना
घोड़े फसाना छोड़ दिया
ए जी देखीं हैं जबसे
नज़रें तुम्हारी
नज़रें चुराना छोड़ दिया

ओ ओ ओ ओ
दिल जितना भी नाचे
उतना ही कम है
फ़ैशन की दुनिया में पहला कदम है
चौके में जाना
रोटी पकाना
बेलन चलाना छोड़ दिया
देखीं हैं जबसे
तेरी ये आँखें
आँखें लड़ाना छोड़ दिया॰ ॰आss

ए जी छोड़ दिया
छोड़ दिया
छोड़ दिया
ए जी छोड़ दिया
छोड़ दिया
छोड़ दिया

ए जबसे बसे तुम
नैनों में मेरे
सुरमा लगाना छोड़ दिया
ए देखी है जबसे
सूरत तुम्हारी
सिनेमा भी जाना छोड़ दिया
जबसे सुने हैं
तेरे ये गाने
फिल्मों का गाना छोड़ दिया
जबसे मिली तेरी मीठी मोहब्बत
चाकलेट का खाना छोड़ दिया

ए जी देखीं हैं जबसे
नज़रें तुम्हारी
ए जी देखीं हैं जबसे
तेरी ये आँखें
नज़रें चुराना
आँखें लड़ाना
छोड़ दिया
छोड़ दिया
छोड़ दिया॰ ॰आs॰ ॰आs

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.

‘. . . given a chance, I’d choose to be an actress all over again.’ Closing words in an interview that she gave ten years before she passed away in 2000.  She is the recipient of the very first Filmfare award for best female supporting role – she won it for her portrayal of a young fisherwoman, Mohnia, in the film ‘Baadban’ (1954).

Remembering Usha Kiran, on the anniversary of her birth today (22^nd April).

Her debut in films is best described by herself, in the interview.  I briefly quote the following passages.

Coming from a very simple middle-class Maharashtrian Brahmin family, I was the second of five children. My father was an extremely ambitious man. He wanted us children to do great things for the family. That was the reason he pushed my elder sister and me towards the theatre. In the beginning, I hated it and was reluctant to even do simple stage shows. All I wanted was to marry, have a few kids and settle into oblivion. But destiny had other things in store for me. During a stage performance at the now Excelsior Theatre, the great Udayshankar spotted me. He hauled me off to Madras with my father, where I was to play a big part in his feature film Kalpana. My father was thrilled, even though it was such a small role.

Once in Madras however, catastrophe took place. I was thrown out of the film and sent packing back to Bombay. It was just a misunderstanding, coupled with Udayji’s mercurial temperament and my militant naiveté. For a dance sequence, I had to wear a transparent Manipuri costume. Since I was conscious of it, I wore a white slip underneath. Mrs. Uday Shankar asked me to remove it for the shot, since it would have looked very awkward. I didn’t pay heed to it. So later, Udayji noticed it and bellowed at his wife for not taking care of the costumes. She in turn screamed at me. After that incident, I used to hang around the set with a permanent sulky expression. This used to get on Udayji’s nerves and one day he bellowed once again. ‘Don’t you know how to smile?’ I in turn, replied hotly, ‘No! You teach me how to smile! ‘ And that was the end. In retrospect, I would still credit him with shaping my inherent talent, more than any one else. He is an education in acting and dancing for any actress.

(You can read the complete interview on Cineplot here .)

But after this ‘Kalpana’ debacle, she came into her own with a string of memorable performances in significant films like ‘Daagh’ (1952), ‘Patita’ (1953), ‘Dost’ and ‘Baadban’ in 1954, ‘Adhikar’ (also 1954), ‘Musafir’ (1957), ‘Kabuliwala’ (1961), and more.

I have selected this song from the film ‘Adhikar’.  This is one of the earliest films that I recall seeing as a child on Doordarshan. Of course the thing that stuck to my mind is the ‘Tikdambaazi’ song that is sung and performed on screen by Kishore Kumar. The storyline of this film revolves around the rights and empowerment of women.  Shekhar (Kishore Kumar) is a young widower with a baby daughter.  Shekhar stays in Bombay on account of his work, and the child stays with her maternal grandparents. He meets Usha (Usha Kiran), the two fall in love, and get married.  All this while, Shekhar has not told the truth about his past to her.  When it is revealed, she is broken hearted and angry, and leaves Shekhar. Twists of events brings together the baby daughter and Usha, who accepts her and takes her into her home as her daughter. Usha and Shekhar meet again, Usha agrees to return to her matrimonial home, and makes Shekhar accept that ‘her’ daughter will stay with them. Shekhar grudgingly accepts, not recognizing his own daughter, whom he has not seen for some years.

As the daily life progresses, Shekhar becomes more and more intolerant of Usha’s ‘daughter’. One day the two fight again, and Usha insists that she be accorded the same right and recognition as Shekhar had expected – i.e. his insistence that Usha should accept his daughter as their child.  Shekhar refuses, Usha storms out of the house, leaving the child behind.  There is a keepsake necklace with photos of Shekar’s earlier family, which she leaves with the child.  Shekhar expends his anger on the child, hits her and throws her out of the house.  Then he discovers the necklace that has fallen on the floor in all this exchange.  Realization dawns, and he rushes out to retrieve both his new wife and the child. And uppity tale of idealism, that is somewhat feeble in the ending moments – that Shekhar accepts the child only after coming to know that it is his own child.  Not too convincing.

The film has a total of eight songs. Of these, two songs are the same, in that it is the same song “Ek Dharti Hai Ek Hai Gagan”, that appears twice in the film.  The Geet Kosh lists the two versions being sung by Meena Kapoor and Asha Bhosle.  However, checking the film itself, it seems to be clear that on both occasions in the film, the song is in the voice of Meena Kapoor.  Whatever that decision may be, it brings this song to this blog, as the final song of this film.  ‘Adhikar’ now joins the list of films with all songs posted.

The music for the film is by Avinash Vyas.  The lyrics of the seven (eight) songs are shared between Raja Mehandi Ali Khan, Saraswati Kumar (Deepak), Neelkanth Tiwari, Prem Dhawan.  This song is from the pen of Raja Mehdi Ali Khan.  The singing voice is that of Asha Bhosle.  On screen, the song is performed by Usha Kiran.

A lovely mellifluous song, with words that have a hidden meaning that Usha is trying to communicate to Shekhar, but the gentleman is in a huff, and refuses to listen between the lines.  A delightful performance by Usha Kiran.
View, listen and enjoy.

Song – Zindagi Haseen Hai Zindagi Se Pyaar Kar (Adhikar) (1954) Singer – Asha Bhosle, Lyrics – Raja Mehdi Ali Khan, MD – Avinash Vyas

Lyrics

zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

kitni haseen hai dekh le
ujde chamn ki ye kali
kitni haseen hai dekh le
ujde chamn ki ye kali
mere chaman mein aa khili
tere chaman ki ye kali
chaahti hoon main isey
tu bhi isko pyaar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

tu to mere saajan ki
chhoti si tasveer hai
tu aankhon ki roshni
tu meri taqdeer hai
preet meri baar baar
kehti hai pukar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

main ne tumhaare pyaar ko
aaj aazmaa liya
hans ke ik raaz ko
seene mein chhipa liya
tum na galey lagaa sakey
maine galey lagaa liya
tum na galey lagaa sakey
maine galey lagaa liya
meri jeet ho gayi
aaj tumse haar kar
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar
zindagi haseen hai
ye zindagi haseen hai
zindagi se pyaar kar
main hoon teri zindagi
mujh pe aitbaar kar
mujh pe aitbaar kar

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

ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

कितनी हसीं है देख ले
उजड़े चमन की ये काली
कितनी हसीं है देख ले
उजड़े चमन की ये काली
मेरे चमन में आ खिली
तेरे चमन की ये कली
चाहती हूँ मैं इसे
तू भी इसको प्यार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

तू तो मेरे साजन की
छोटी सी तस्वीर है
तू आँखों की रोशनी
तू मेरी तक़दीर है
प्रीत मेरी बार बार
कहती है पुकार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

मैंने तुम्हारे प्यार को
आज आज़मा लिया
हस के इक राज़ को
सीने में छिपा लिया
तुम ना गले लगा सके
मैंने गले लगा लिया
तुम ना गले लगा सके
मैंने गले लगा लिया
मेरी जीत हो गई
आज तुमसे हार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
मुझ पे एतबार कर
ज़िंदगी हसीन है
ये ज़िंदगी हसीन है
ज़िंदगी से प्यार कर
मैं हूँ तेरी ज़िंदगी
मुझ पे एतबार कर
मुझ पे एतबार कर

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.

Hearty greetings to all friends and readers for the gracious festival of Id today.

The days of fasting and penance have ended, and now comes the grand celebration of Id.  Today is the first day of the month of Shawwal.  Today is the day when festive spirit is at its most cheerful, the attire of the people is the finest, and more than anything, the bonhomie and the bonds of friendship are at their best.  It is the time to leave behind any differences and the memories of any past offenses, to forgive and to forget the resentments. As the lines of this celebratory song emphasize,

ye wo din hai ke hans hans kar giley shiqwe bhula dena
agar dushman bhi aa jaaye to ye keh kar manaa lena
id ki shaam hai

Today is the day to forget the resentments with a smile
Even if an enemy comes face to face
Give a hug and reconcile, and say
It is the day of Id today

Yesterday evening, Arvinder Sharma ji and I were at Zafar Bhai’s place, for the ‘iftar’ get together, the ceremonial breaking of the fast at the end of the fasting day.  His place is very close to the Jama Masjid in the old part of Delhi (made famous by the film ‘Delhi 6’ (2009)).  While we were there, we heard the loud report of the ‘tope’ (gun) that is fired from the Jama Masjid, to make the announcement of the sighting of the new moon on the last evening of Ramzaan. This heralds in the new month of Shawwal, and the next day, i.e. today, is deemed as the day of Id.  On hearing the sound, there was an immediate cheer that went around all the people gathered.  Everyone immediately took to their mobile phones, and called up their near and dear ones, congratulating each other on the sighting of ‘Id Ka Chaand’, the new moon that brings the festival of Id.

The song presented today celebrates that very spirit – the sighting of the new moon and the onset of the festivities.  This song is created by pen of Raja Mehdi Ali Khan and the music of Bipin.  Bipin is the same as Bipin Dutta, and is one of the pair of music directors we are familiar with – Bipin-Babul.  The singing voice is that of Asha Bhosle.  On screen, the song is performed by Madhumati.  I hope my identification is correct.  If not, I request other friends readers to please correct me.

The film is from 1964 – ‘Baaghi Shehzaada’.  The singing voice is that of Asha Bhosle.  An obscure but a wonderful song from a film that has been forgotten.  The video clip of the song appears to end abruptly, and another sequence starts.  However, two stanzas of the song are completed before this discontinuity happens in the clip.

Once again, with warm and cheerful greetings for a very happy celebration of Id, to all friends.

Song – Hans Rahi Zindagi, Har Taraf Hai Khushi, Id Ki Shaam Hai (Baaghi Shehzaada)) (1964) Singer – Asha Bhosle, Lyrics – Raja Mehdi Ali Khan, MD – Bipin

Lyrics

falak par chaand nikla hai
mere mehboob aa jaao
ke meri id ke tum chaand ho
mujhko nazar aao

hans rahi zindagi
har taraf hai khushi
id ki shaam hai
hans rahi zindagi
har taraf hai khushi
id ki shaam hai
hans rahi zindagi
har taraf hai khushi

nigaahen dhoodhti hain
ae mere roothe sanam tujhko
nigaahen dhoodhti hain
ae mere roothe sanam tujhko
arre zaalim chalaa bhi aa
na tadpa is tareh mujhko
id ki shaam hai
hans rahi zindagi
har taraf hai khushi
id ki shaam hai
hans rahi zindagi
har taraf hai khushi

ye wo din hai
ke hans hans kar
giley shiqwe bhula dena
ye wo din hai
ke hans hans kar
giley shiqwe bhula dena
agar dushman bhi aa jaaye
to ye keh kar manaa lena
id ki shaam hai
. . . .
. . . .
. . . .

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

फ़लक पर चंद निकला है
मेरे महबूब आ जाओ
के मेरी ईद के तुम चाँद हो
मुझको नज़र आओ

हंस रही ज़िंदगी
हर तरफ है खुशी
ईद की शाम है
हंस रही ज़िंदगी
हर तरफ है खुशी
ईद की शाम है
हंस रही ज़िंदगी
हर तरफ है खुशी

निगाहें ढूंढती हैं
ए मेरे रूठे सनम तुझको
निगाहें ढूंढती हैं
ए मेरे रूठे सनम तुझको
अरे ज़ालिम चला भी आ
ना तड़पा इस तरह मुझको
ईद की शाम है
हंस रही ज़िंदगी
हर तरफ है खुशी
ईद की शाम है
हंस रही ज़िंदगी
हर तरफ है खुशी

ये वो दिन है
के हंस हंस कर
गिले शिकवे भुला देना
ये वो दिन है
के हंस हंस कर
गिले शिकवे भुला देना
अगर दुश्मन भी आ जाये
तो ये कह कर माना लेना
ईद की शाम है
॰ ॰ ॰ ॰
॰ ॰ ॰ ॰
॰ ॰ ॰ ॰
॰ ॰ ॰ ॰

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

We will discuss today a song from film Daaman-51. This song happens to be one of Lata’s favourite songs and also a Milestone song in her early career, when she was getting settled in her playback singing career. I am pleasantly surprised to note that this song still remained undiscussed here so far,thus giving me the opportunity to discuss this song now.

In the early phase of her career, Lata badly needed help in her attempt of making a place for herself amongst the playback singers. More than that it was a question of her survival, as she was looking after a family of 7 people, being the sole earner of her family. In this difficult period, a Triumvirate of “Datta s ” came to her help. But for the help of these 3 Dattas, Lata probably would not have survived those difficult times.

The first was composer Datta Davjekar ( 15-11-1915 to 19-9-2007 ). He first gave Lata an opportunity to sing in his 3 Marathi films-
1. Chimukala Sansaar-43
2. Majhe BaaL-43 and
3. Gajabhau-44 ( Marathi song-Chala chala navbala and Hindi song- Mata ke sapoot ki)

In 1945, Datta Davjekar joined H.M.V.. He recorded many private Bhaavgeets of Lata, so that she could earn some money. One of those songs “Tuj swapni paahile re Gopala” is popular even today.

Then comes the second Datta. K.Datta or Datta Korgaonkar gave Lata an opportunity to sing with Noorjehan in a chorus song, in the film “Badi Maa”- 45. In this film Lata and Asha acted and sang with Noorjehan.

The third Datta who helped her was D.C.Datta, composer of the film “Sona Chaandi”-46. The history of this film is that this film was first censored in 1946, but was not released for whatever reasons. After Independence, two more songs composed by D.C.Datta ( the original composer Tuffail Faruqi had migrated to Pakistan after Partition) were added to the film and it was censored again in April 1948. One of these songs was of Lata and the other was by Saroj Borkar.

In 1947, meanwhile,it was Datta Davjekar again who gave Lata her FIRST ever solo playback song “Pa laagoon kar jori” in the film “Aap ki sewa mein”-1947.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan region on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq, followed by Alakh Niranjan-40, Geeta-40 ( in Hinndi and Marathi) and Yaad-42.

he first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. he composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in the film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. It was only on the ‘re-issue’ records of this movie that his name finally found mention.

His other films were Yateem-45, Shaahkaar-47, Rangmahal-48, Meri Kahaani-48, Daaman-51, Gumaasta-51, Rishta-54, Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave music independently in just 17 films, plus one film Badmash-44, with Khan Mastana. His marathi films were 12 in number from 1938 to 1965. After retirement in 1965, he spent his time in Bhakti, Pooja and Asrology. he used to have special pooja on every Thursday, when Bhajans werof Annasaheb. he died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. It was by hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”).

K Datta used to play “”Ek anokha gham ek anokhi musibat ho gayi”” on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

Film Daaman-51 had 9 songs. It had the first duet of Lata and Asha. It also had a song, “Tirulilla” sung by Lata, in which there were words “Gaaye Lata Gaaye Lata”. This is probably the only song in the HFM history where the singer sings her own name in it. Today’s song is the 5th song to be posted. The cast of the film was Nigar, Ajit, Pran, Yashodhara katju, Agha,Hiralal etc . The story of the film was…..

Daman is the noble story of a young girl who sacrifices her love and happiness in order to vindicate the solemn traditions and dignity of her parents and her family.

Ramesh ever since his father’s death, lived with Rai Bahadur Dinanath a retired judge, and his only daughter Sheela. Sheela and Ramesh, since child-hood, lived and played together. Rai Bahadur, though liberal and progressive minded preferred Indian ways of life and culture to those of Western. He brought up and educated Ramesh like his own son and sent his daughter to England for higher studies.

On her return, the association of two grown ups developed into love, and both of them decided to marry each-other. But to disclose their intentions to Rai Bahadur who was ignorant about the affair became a knotty problem. Sheela assured Ramesh that her father would agree to their proposal and insisted that he should go to her father and explain to him everything. But Ramesh always felt himself to be under a debt of gratitude to Sheela’s father and this prevented him from mustering enough courage to go to Rai Bahadur. In the meantime Ramesh got a job of a professor in the University of Allahabad. Informing Sheela not to worry as he would write to her father and explain, he left.

Now Sheela became the first concern of her father as she was of marriageable age. Without feeling the necessity of consulting her Rai Bahadur got her engaged to be married soon to Suresh, the only son of a military Doctor, who happened, to be his friend. By that time he received a letter from Ramesh in which he had written about his love for Sheeela and their desire to get married. He was shocked and felt sorry for what he had done. He called on Sheela and explained to her the position which he was put. To undo the pledge amounted to a set back to the prestige of the family. And moreover he feared a public scandal. Sheela knew well the predicament her father was in, and sacrificing her love to maintain the dignity and honour of her family, decided to marry whom her father had engaged her to. But he received the decision of his daughter with mixed feelings of pleasure and pain as he knew well that it would wreck the happiness of his daughter.

Sheela’s decision rocked the world of Ramesh to pieces. He got heart broken when he thought of Suresh-the spoilt son of the doctor as the life partner of Sheela, his love. He could do nothing as the ways of fate were much stronger. Sheela now married, left the house to live with Suresh and a few months passed happily. She loved her husband like a true Indian wife and saw her own happiness in the happiness of her husband. Now things took a different turn. Suresh’s father called back on duty. He had loved Sheela as his own daughter. He left Suresh and the entire house in her care.

Daulat, who was a friend of Suresh with evil designs on his money succeeds in taking away Suresh from his happy domestic life and getting him entangled into the clutches of one Padma, a dancing girl of objectionable repute. Sheela though shocked by the indifference meted out to her, did not lose hope of bringing Suresh to his senses, and making him secure from the evil designs of his friend Daulat. . Rai Bahadur had grown old and was at his death-bed when he called Sheela and Ramesh, gave half of his property to Sheela and half to Ramesh and told them to live like sister and brother and breathed his last.

Suresh received the news at Padmas house He took lightly and did nothing to console Sheela at her loss. Sheela got tired of the humiliation in every day life and left her house to stay with Ramesh as his sister throughout her life. After learning about this, Ramesh insisted upon her to go to her own house and even took her in his car there, at the dead of night. But as ill luck would have it the car got disabled on the way.

Suresh while passing that way saw Sheela and Ramesh together and doubted their intentions. Hot words followed, Suresh got furious and taking his revolver, fired at Ramesh who fell down. Suresh leaving Sheela at the ghastly site, drove away. He went to Daulat and told everything. Daulat took advantage of this and asked him to hide in the house. Meanwhile Sheela took Ramesh to Hospital and treatment started. Daulat told to Suresh that Ramesh has died,but he can save him if he gives all his property on his name.

Meanwhile Sheela comes to know about this. She tells Ramesh. Ramesh is ok by now. He takes the police with him and goes to Daulat’s house,where they see and hear all his conspiracy. Daulat and Padma are arrested,Suresh rescued. This opens his eyes,but before he embraces Ramesh, Daulat fires on Suresh which Ramesh takes it and dies to save Suresh,Sheela’s husband.

Here is this Lata song from “Daaman”(1953). It is penned by Raja Mehdi Ali Khan and it is composed by K Datta.

Song-Chakori ka chanda se pyaar (Daaman)(1951) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-K Datta

Lyrics

chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar

pyaari pyaari aankhon pe aankhen nisaar
aankhen nisaar
aankhen nisaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar

ho o o
ye raaten suhaani
ye pyaaraa samaa
haan
ye raaten suhaani ye pyaaraa samaa
haan
muhabbat deewaani
umangen jawaan
aa aa aaaa
muhabbat deewaani
umangen jawaan
aa aa aaaa
chheen liyaa aankhon ne dil kaa qaraar
dil kaa qaraar
dil kaa qaraar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar

lagan se teri hoke main choor choor
aa aa aa
aa aa aa
jaloon apni hi aag mein door door
door door
ho o o
chhote se dil mein mere armaan hazaar
armaan hazaar
armaan hazaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar

ho o o
vafaa tum karoge na maanenge ham
ho o
hamaare ho tum kaho khaake qasam
aa aa aa
haseenon ke vaadon kaa kyaa aitbaar
kyaa aitbaar
kyaa aitbaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar
chakori kaa chandaa se pyaar

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.

Songs to Tickle Your Memory – 24
– – – – – – – – – – – – – – – – – –

It is not that Arvinder ji has requested this song loong back. His request is fairly recent. But he has been so consistently persistent that he has been reminding me at least twice a day (somedays even more than twice) to post this song. A song that has been in the memory for oh so long. But he could not find it anywhere on the internet and YouTube. When he checked with me a few days ago, I confirmed to him that yes, I have it. Then last week, it so happened that he was riding with me in my car, and I had the very CD in the player, that contains this song. When the song played, wow, the excitement on his face was something that has to be seen to be believed.

And so his persistence with reminders became even more acute. I could have given him the song on a pen drive or a CD. But for him, the primary listening mode is his own playlist on YouTube, which he accesses from his smartphone, and listens to his favorites, whenever and wherever. And so his continuous demand that this song be uploaded on the YouTube. [As he tells me, he does not know how to use a PC.  And so. . .]

Of course, besides and inspite of the consistent persistent pestering, I have to thank Arvinder ji for bringing back to memory one of those memorable songs that we heard the radio. The lilting and catchy tune of this song made me immediately sit up, when I pulled it out and heard it after Arvinder ji reminded me. What a wonderful melody this one is.

The film is ‘Bekhabar’ from 1965. Words are from the pen of Raja Mehdi Ali Khan. Music comes from the mind of S Mohinder, and the singing voice is that of Suman Kalyanpur. Goodness, this song is waiting to be found. . . no, this song should not have been waiting to be found.

Ah but, enough said. Click the play button and listen to this charming quick paced folk style. And enjoy.

Song – . . . Ke Meethi Meethi Karejwaa Mein Peer Hoye Re (Bekhabar) (1965) Singer – Suman Kalyanpur, Lyrics – Raja Mehdi Ali Khan, MD – S Mohinder
Chorus

Lyrics

khadi thi bagiya mein hairaan
ke aa gaye sainyyaan beimaan
kuchh aisa kas ke maara baan
ke meethi meethi
o meethi karejwaa mein peer hoye re
meethi karejwaa mein peer hoye re
hum to jaane deewani tu kaahe ko roye re
o meethi karejwaa mein peer hoye re

sharam sainyyaan se mohe laagi
haaye. . .
sharam sainyyaan se mohe laagi
chhuda ke haath wahaan se bhaagi
main birhan saari raina jaagi
ke meethi meethi
o meethi karejwaa mein peer hoye re
hum to jaane deewani tu kaahe ko roye re
o meethi karejwaa mein peer hoye re

subeh sainyyaan aaye ghabrai ke
haaye. . .
subeh sainyyaan aaye ghabrai ke
tabiyat poochhan laage a’ee ke
to main boli ghunghat sarkai ke
ke meethi meethi
o meethi karejwaa mein peer hoye re
hum to jaane deewani tu kaahe ko roye re
o meethi karejwaa mein peer hoye re

piya bole nadiya le jaaun
haaye. . .
piya bole nadiya le jaaun
main tera kanchan jee behlaaun
main boli u’ee mein kaise jaaun
ke meethi meethi
o meethi karejwaa mein peer hoye re
hum to jaane deewani tu kaahe ko roye re
o meethi karejwaa mein peer hoye re

piya ne meri ek naa maani
haaye. . .
piya ne meri ek naa maani
pakad kar peehar lai gaye jaani
main na na karti rahi deewaani
ke meethi meethi
o meethi karejwaa mein peer hoye re
hum to jaane deewani tu kaahe ko roye re
o meethi karejwaa mein peer hoye re

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

खड़ी थी बगिया में हैरान
के आ गए सैंय्यां बेईमान
कुछ ऐसा कस के मारा बान
के मीठी मीठी
ओ मीठी मीठी करेजवा में पीर होय रे
मीठी मीठी करेजवा में पीर होय रे
हम तो जानें दीवानी तू काहे को रोये रे
ओ मीठी मीठी करेजवा में पीर होय रे

शरम सैंय्यां से मोहे लागि
हाए॰ ॰ ॰
शरम सैंय्यां से मोहे लागि
छुड़ा के हाथ वहाँ से भागी
मैं बिरहन सारी रैना जागी
के मीठी मीठी
ओ मीठी मीठी करेजवा में पीर होय रे
हम तो जानें दीवानी तू काहे को रोये रे
ओ मीठी मीठी करेजवा में पीर होय रे

सुबह सैंय्यां आए घबरई के
हाए॰ ॰ ॰
सुबह सैंय्यां आए घबरई के
तबीयत पूछन लागे अई के
तो मैं बोली घूँघट सरकइ के
के मीठी मीठी
ओ मीठी मीठी करेजवा में पीर होय रे
हम तो जानें दीवानी तू काहे को रोये रे
ओ मीठी मीठी करेजवा में पीर होय रे

पिया बोले नदिया ले जाऊँ
हाए॰ ॰ ॰
पिया बोले नदिया ले जाऊँ
मैं तेरा कंचन जी बहलाऊँ
मैं बोली ऊई मैं कैसे जाऊँ
के मीठी मीठी
ओ मीठी मीठी करेजवा में पीर होय रे
हम तो जानें दीवानी तू काहे को रोये रे
ओ मीठी मीठी करेजवा में पीर होय रे

पिया ने मेरी एक ना मानी
हाए॰ ॰ ॰
पिया ने मेरी एक ना मानी
पकड़ कर पीहर लै गए जानी
मैं ना ना करती रही दीवानी
के मीठी मीठी
ओ मीठी मीठी करेजवा में पीर होय रे
हम तो जानें दीवानी तू काहे को रोये रे
ओ मीठी मीठी करेजवा में पीर होय रे

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 decade of the 50s and the 60s clearly belonged to Johnny Walker. From 1951 to 1969, JW worked in 142 films – an average of 6 films per year. This means, every 2 months a JW film was released. This is a very high average, which I feel many leading stars also must have found difficult to achieve for successive years. There must be very few to get this number. In the year 1955 alone his 17 films were running at a time in theatres ! In the period 1970 to 1989 he did only 42 films, which averages to almost just 2 films a year.

Though Mehmood took over from where Johnny Walker left off, I consider Johnny the last comedian, who gave us clean and restrained comedy. Nowhere would you find double meaning dialogues in the comedy of Johnny. He personally used to keep an eye on his dialogues, because as he said once – he wanted a comedy which the family has no hesitation to enjoy together,without getting embarrassed. At the time of Mehmood, the standard of comedy had plummeted too low. Mehmood is not entirely responsible for this. The overall level of film making was going down. What with the heroes doing the comedy part themselves, the role of exclusive comedians became redundant.

In earlier films of suspense, crime and murder in the 50s and the 60s, the main villain used to have 2 or 3 cronies – smaller villains – as his gang members. Similarly, in the films of 70s and onward, the heroes became the main comedians and had 1 or two assistant comedians who had no major roles in the film. The system of giving songs to comedians also disappeared, because all the songs of the film were hogged by the lead pairs. Songs for any other character in a film became a rarity.

Earlier, out of an average of 8 songs in a film, at least 3 to 4 songs were filmed on comedians / other characters. But when the hero/heroine became dominant, the songs became the exclusive preserves of the lead actors, and no one else got them. At the most – that too rarely – a song was allowed in the background.

Today’s song is from a film ‘Zara Bach Ke’ (1959). This song is picturized on Johnny Walker, Shammi and Tony Walker. One can also see the film’s hero Suresh in the video clip. This film had music by Naashaad and it was directed by NA Ansari .

Nisar Ahmed Ansari (NA Ansari) was born on 29-8-1917 at Jhansi. His father Amir Ahmed Ansari was a medical doctor with the army. After retirement, he practiced in Jhansi for another 40 years. Nisar passed his matriculation in 1933 and graduated in 1939 from Bombay University. His father died in 1938. After graduation Nisar started making round of film studios for work. He was an expert actor, without stage fear, as he had acted in many dramas while in college.

Director Mehboob gave him his first break in film ‘Asara’ (1941), made by National Studios. From the beginning, he played a typical book type villain, with black goggles, felt hat and a cane in hand. In later years, instead of cane he got a pistol in his hands. He worked in several ‘cloak and dagger’ type films.

Unlike actors in the film line, he was very punctual and true to his words. He worked as an actor in 76 films. He directed 11 films and produced 2 of them. As a director, his first film was ‘Mangu’ (1954) and last was ‘Zurm Aur Sazaa’ (19740. The name A Ansari is also found in the cast of film ‘Bhedi Trishool’ (1938). We are not sure if he is the same person. His last film as an actor released in 1995 – ‘Jai Vikraant’.

NA Ansari passed away on 12-1-1994 in Canada.

(Thanks to Shri Harish Raghuvanshi ji for this brief biosketch.)

The cast of the film ‘Zara Bachke’ is Suresh, Nanda, NA Ansari, Shammi, Anwar Hussain, Johnny Walker,Tony Walker, Helen, Murad, S Banerjee etc.

Actor Suresh (real name Nazir Ahmed) was born on 13-11-1928 at Gurdaspur, East Punjab. Suresh started his career as a child artist in Bombay Talkies films, including ‘Anjaan’ (1941), ‘Naya Sansar’ (1941) and ‘Basant’ (1942).

Suresh, now a forgotten name, had his time of glory in the 1950s, when AR Kardar patronized him. Like a doting father, he allowed Suresh to choose the best heroines in the Hindi film industry. Geeta Bali / Madhubala in ‘Dulari’ (1949), Surraiya / Sumitra Devi in ‘Deewana’ (1952), Nalini Jaywant in ‘Jadoo’ (1951), Vijayantimala in ‘Yasmin’ (1955). He also appeared, with Padmini, Shashi Kala, Nanda, Vijaya Chowdhri, and Azra.

His career started to go downhill after the mid 1950s, when he was mostly seen in B/C grade films including ‘Wazir-e-Azam’ (1961), ‘Sher Afghan’ (1966) etc. He committed a big blunder in the 1970s when he decided to become a producer. He produced ‘Ganga Aur Suraj’ under the banner of N.A. Suresh. The movie had Anwar Hussain as the main villain. After considerable shooting, Anwar Hussain suffered a paralysis stroke and was replaced by Kader Khan. The budget of the film went out of control and the film was eventually released in 1980 and bombed at the box-office. Suresh died almost penniless under miserable conditions. Suresh also appeared in two Pakistani films ‘Do Kinaare’ (1950) and ‘Eid’ (1951).

There are 6 songs in the film. Today’s song will be the 5th song on the blog (that also means there will be only ONE song remaining for yippee). This song is sung by Rafi, Durrani and Nirmala. It is filmed on Johnny Walker,Tony Walker and Shammi. One can see hero Suresh also in the clip. The lyricist is Raja Mehdi Ali Khan. The story of the film was given on 26-6-15, along with the earlier song “Gori Phans Nahin Jaana Kahin Jaal Mein“, so I am not repeating it.

Song – Ae Ishq Isey Barbaad Na Kar (Zara Bachke) (1959) Singers – Nirmala Devi, Mohammed Rafi, GM Durrani, Lyrics – Raja Mehdi Ali Khan, MD – Nashaad
Nirmala Devi + Rafi + GM Durrani

Lyrics

aaaa aaaaa aaaaaaaaa
aaaaa aaaaa aaaaa

ishq ka bhoot chada
jis pe wo deewaana hua
ke jisko ye rog laga
wo kabhi achhaa na hua

aa gaya teri tabaahi ka zamaana beta
chhod de chhod de ab dil ka lagaana beta

ae
ae ishq ise barbaad na kar
ae ishq ise barbaad na kar
is moorakh ko farhaad na kar
ae ishq ise barbaad na kar

kaase ko tod na dena.. aa.. aa.. aa..
kaase ko tod na dena
tujhe majnu ki kasam
isey sheeri se mohabat
mujhe laila ka hai gham
kya
kaase ko tod na dena
tujhe majnu ki kasam
isey shiri se mohabat
mujhe laila ka hai gham
haaye haaye
ae meri jaan e jigar
ae meri jaan e jigar
dekh to le ek nazar
buri haalat hai idhar
buri haalat hai idhar
buri haalat hai idhar
jalne lagaa mera jigar
mujhe itna to bataa
mere kyon peechhe pada
main hoon deewana tera
baat aage na badha
maan le mera kaha
mujhko sooli na chadha
haaye
maan le mera kaha
mujhko sooli na chada
aisi nazren hain meri
jaan le lengi teri
muft me jaan na le
muft me jaan na le
muft me jaan na le
apni nigaahon ki kasam
ye maa ka ek hi beta hai
haaye
is moorakh ko farhaad na kar
ae ishq ise barbaad na kar
is moorakh ko farhaad na kar
ae ishq ise barbaad na kar

soch mein ghar jaaoge pachhtaaoge beta
wahaan pathar bhi padenge
bhaiya joote bhi padenge
ullu ki tarah raat ko fariyaad karoge
bhaiya
ullu ki tarah raat ko fariyaad karoge
bemaut maroge
bhai agar ishq karoge

ae sun mere bhaai sun
suna bhai suna
sun mere bhai

sun mere bhai
nahin ye tarike achhe
ishq wo khel nahin hai jise khele bachche
achha ji
haaye
bhaiya romiyo ki kasam
bhabhi juliet ki kasam
bhaiya romiyo ki kasam
o bhabhi juliet ki kasam
tujhe kanghi
tujhe kainchi
tujhe razor ki kasam
majnu uncle ki kasam
auntie laila ki kasam
majnu uncle ki kasam
o auntie laila ki kasam
tujhe sukhia ki kasam
tujhe bhola ki kasam
meri aankhon ki kasam
tujhe sister
tujhe mather
tujhe father
ye apne baap ka beta hai
haaye
majnu ki isey aulaad na kar
hoye
majnu ki isey aulaad na kar
is moorakh ko farhaad na kar
ae. . .
ishq ise barbaad na kar

yeah
ahaaa
haa
haa

yeah
ahaaa

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

आssss आsssss आsssssss
आssss आsss आsss

इश्क़ का भूत चढ़ा
जिस पे वो दीवाना हुआ
के जिसको ये रोग लगा
वोकभी अच्छा ना हुआ

आ गया तेरी तबाही का ज़माना बेटा
छोड़ दे छोड़ दे अब दिल का लगाना बेटा

ऐ
ऐ इश्क़ इसे बर्बाद ना कर
ऐ इश्क़ इसे बर्बाद ना कर
इस मूरख को फरहाद ना कर
ऐ इश्क़ इसे बर्बाद ना कर

कासे को तोड़ ना देना
कासे को तोड़ ना देना
तुझे मजनूँ की कसम
इसे शीरी से मोहब्बत है
मुझे लैला का है ग़म
क्या
कासे को तोड़ ना देना
तुझे मजनूँ की कसम
इसे शीरी से मोहब्बत है
मुझे लैला का है ग़म
हाये हाये
ऐ मेरी जाने जिगर
ऐ मेरी जाने जिगर
देख ले एक नज़र
बुरी हालत है इधर
बुरी हालत है इधर
बुरी हालत है इधर
जलने लगा मेरा जिगर
मुझे इतना तो बता
मेरे क्यों पीछे पड़ा
मैं हूँ दीवाना तेरा
बात आगे ना बढ़ा
मान ले मेरा कहा
मुझको सूली ना चढ़ा
हाये
मान ले मेरा कहा
मुझको सूली ना चढ़ा
ऐसी नज़रें हैं मेरी
जान ले लेंगी तेरी
मुफ्त में जान ना ले
मुफ्त में जान ना ले
मुफ्त में जान ना ले
अपनी निगाहों की कसम
ये माँ का एक ही बेटा है
इस मूरख को फरहाद ना कर
ऐ इश्क़ इसे बर्बाद ना कर
इस मूरख को फरहाद ना कर
ऐ इश्क़ इसे बर्बाद ना कर

सोच में घर जाओगे पछताओगे बेटा
वहाँ पत्थर भी पड़ेंगे
भईय्या जूते भी पड़ेंगे
उल्लू की तरह रात को फरियाद करोगे
भईय्या
उल्लू की तरह रात को फरियाद करोगे
बेमौत मरोगे
भई अगर इश्क़ करोगे

ऐ सुन मेरे भाई सुन
सुना भई सुना
सुन मेरे भाई

सुन मेरे भाई
नहीं ये तरीके अच्छे
इश्क़ वो खेल नहीं है जिसे खेलें बच्चे
अच्छा जी
हाये
भईय्या रोमियो की कसम
भाभी जूलिएट की कसम
भईय्या रोमियो की कसम
ओ भाभी जूलिएट की कसम
तुझे कंघी
तुझे कैंची
तुझे रेज़र की कसम
मजनूँ अंकल की कसम
आंटी लैला की कसम
मजनूँ अंकल की कसम
ओ आंटी लैला की कसम
तुझे सुखिया की कसम
तुझे भोला की कसम
मेरी आँखों की कसम
तुझे सिस्टर
तुझे मादर
तुझे फादर की कसम
ये अपने बाप का बेटा है
हाये
मजनूँ की इसे औलाद ना कर
होए
मजनूँ की इसे औलाद ना कर
इस मूरख को फरहाड़ ना कर
ऐ॰ ॰ ॰
इश्क़ इसे बर्बाद ना कर

येआह
अ हा
हा
हा

येआह
अ हा

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.

Two important birthdays coming together today – 8^th September.  One is music director S Mohinder and the second is Asha Bhosle.  These two have created a number of songs together. Some memorable, and others, like this one, need to be rediscovered for their sheer beauty and simplicity of pleasure. During our visit to Bombay last month, Bakshi ji and I had the good fortune to spend a whole afternoon with S Mohinder ji.  A session that lasted almost four hours – it was a wonderful trip down the memory lane, for him, as well as for us.  That meeting itself is a detailed writeup that is waiting in the drafts list.  For this occasion, I am quoting two episodes where S Mohinder ji remembered Asha ji very fondly.

S Mohinder ji is living in the US these days. He occasionally visits India, and stays in Lokhandwala area in Bombay, with his daughter and her family.  On one of his previous visits, he remembers Asha ji coming to visit him. She rang the doorbell, and as the door was opened for her, she entered singing the song “Phool Muskuraye Kyon, Chand Jagmagaye Kyon. . .” from the film ‘Sarfarosh’ (1964).  She was almost like prancing happily, like a young school girl.

Another episode that he recalled with emotion relates to the song “Mere Saahib, Mere Saahib” from the Punjabi film ‘Nanak Naam Jahaaz Hai’ (1969).  This song, a bhajan (shabad) from Sri Guru Granth Sahib ji, was composed by him in raag Kalawati.  It was sometime after the film was released.  Asha ji called him at his residence.  It was 2 am in the morning.  She was calling from Sydney. She was in happy and elated emotions; saying that she had just complete a concert in Sydney. She had sung this ‘shabad’ – and the amount of applause and appreciation that she got from the audience was unprecedented in her experience.  Then she said one more thing, that was even more wonderful.  She said that the pleasure that she is getting telling him about this, is much more than the pleasure she experienced when she was hearing the applause on the stage.  And he became silent for a moment, apparently a lump in the throat, as he reminisced that episode in his mind.

Today’s song is one of those unfamiliar and forgotten songs – items of wonderful beauty and pleasure that are lurking in the shadows, waiting to be heard again.  An exquisite and simple creation in the semi classical mould, the song appears to be a dance song, as one can make out from the musical interludes – a jugal bandi of the string and percussion instruments, accompanied with the clinking sounds of ghungroos.  A wonderful listening experience, that seems too short as it comes to an end, and the mind wants to listen to more of it.

The words are from the pen of Raja Mehdi Ali Khan. Asha ji’s voice is accompanied with chorus singing.  Simple, and full of pleasure – the words and the voice tell of the pining in the heart, as the lady likens the lightning in the clouds with the smile of her beloved.  Enchanting, charming. Listen and enjoy.

Song – Kyun Chamke Bijuriya Saawan Ki (Bekhabar) (1965) Singer – Asha Bhosle, Lyrics – Raja Mehdi Ali Khan, MD – S Mohinder
Chorus

Lyrics

aaaa aaaaaa aaaa
aaaaaaa aaaaaaaaaa
aaaa aaaaaa aaaaaaaaa
aaaaa aaaaaaa aaaaa

kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

main to kho gayi prem ki raahon mein
piya thaam le apni baahon mein
main to kho gayi prem ki raahon mein
piya thaam le apni baahon mein
piya thaam le apni baahon mein
main hosh mein ab nahin aawan ki
main hosh mein ab nahin aawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

kaahe ke kaliyon se liptun ghabraa kar
kaahe phoolon ko choomun sharma kar
kaahe ke kaliyon se liptun ghabraa kar
kaahe phoolon ko choomun sharma kar
kaahe phoolon ko choomun sharma kar
ye baat nahin batlaawan ki
ye baat nahin batlaawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

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

आss आssss आss
आsssss आssssssss
आss आssss आsssssss
आsss आsssss आsss

क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

मैं तो खो गई प्रेम की राहों में
पिया थाम ले अपनी बाहों में
मैं तो खो गई प्रेम की राहों में
पिया थाम ले अपनी बाहों में
पिया थाम ले अपनी बाहों में
मैं होश मैं अब नहीं आवन की
मैं होश मैं अब नहीं आवन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

काहे कलियों से लिपटूँ घबरा कर
काहे फूलों को चूमूँ शर्मा कर
काहे कलियों से लिपटूँ घबरा कर
काहे फूलों को चूमूँ शर्मा कर
काहे फूलों को चूमूँ शर्मा कर
ये बात नहीं बतलावन की
ये बात नहीं बतलावन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

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 have mentioned it in the past that one can often make guesses about me from the number of posts appearing in the blog in a day and also from the length of posts made by me.

Most of the articles posted during the last few days have been guest posts, which indicates that I may have been preoccupied in activities that prevented me from blogging. For instance, I travelled eastward on the first day of the last week. After returning back, I was required to travel westward for two days towards the end of the week on a very short notice.

My westward travel during the end of the week on this short notice brought me to Delhi. I boarded a train on the early hours of friday and arrived at Delhi station in the morning some five hours later. Yes, these days I am located 250 km west of Delhi and 250 km east of Lucknoow, so both these places are at five
hours journey away for me.

I had come to Delhi to attend a two days official seminar. On arriving at the venue (Vigyan Bhawan), I met some old acquaintances who had arrived from various places and I met some of them for the first time in well over two decades or so. On enquiring from the organisers (three decades old colleagues all) informed me that the second day programme would be only till lunch hour and not a full day affair as planned earlier. The first day was going to be a full day seminar, followed by dinner at another venue.

Whenever I come to Delhi, I make it a point to meet Sudhir ji. I mostly come to Delhi for two days (like on this occasion) and the second day is spent on worrying about catching the return train. So my meetings with Sudhir jee takes place on the first day of my stay at Delhi and it takes place in the evening.

It was at about 4 PM in the seminar hall that I realised that the seminar for the day may be over by six o clock and that may give me time to meet Sudhir Jee, provided I give the dinner invitation a miss (which I mostly do). So I sent Sudhir Jee an SMS informing him that I was in Delhi. I received his call after sometime. It was decided that I would inform him my whereabouts after I was done for the day.

I got free a bit later than I anticipated. It was nearly 7 PM by the time I arrived back where I was staying and wondered if it was not too late for meeting with Sudhir Jee. Sudhir Jee arrived nevertheless and we had over one hour of discussion at my place of stay itself. I kept coming across several of my old acquaintances all ready to go to the dinner and I kept telling them that I was not going there. It was not that I only met my acquaintances. even Sudhir Jee came across an old school friend of his there.

We held “important” discussion about HFM where we expressed concern about the official apathy towards preserving this art form as well as their disinclination towards recognising and honouring those private individuals who were contributing their mite in this field. We also discussed matters related to the blog.

Our deliberations lasted a little over one hour. I told him that the seminar was likely to get over by lunch time the next day and I was planning to catch an afternoon train that would take me to my place by evening. Sudhir Jee informed me that the next day was saturday and it was during saturday afternoon that several HFM lovers of Delhi would assemble at a coffee house and hold HFM related discussions. He invited me to join that meeting. I immediately jumped at the offer and decided to catch my return train at night as planned originally. Sudhir Jee phoned some of the regulars about next days meeting and informed them that I was also joining the get together. At least one or two originally reluctant participants decided to make it to the meeting.

The seminar was over the next day at 1 PM itself, well ahead of the time of 2 PM when HFM lovers of Delhi were scheduled to gather at the appointed coffee house. I had been to this coffee house once with Sudhir Jee and there we were met by Bakshish Singh jee. So I knew the place. I was informed by Sudhir Jee that this place was at Baba Khadak Singh Marg in Connaught Place.

I gave the address to my taxi driver. He took me to Baba Khadak Singh marg and showed me a coffee house. I got down and went there. But this coffee house was not the one where I had been to in the past. I walked to nearby places and I located another coffee house in an interior lane that appeared to be the coffee house where I had been before. I kept convincing myself that this was indeed the place but even I was having my doubts.

How was I going to know if the participants to the meet had arrived or not ? I only knew Sudhir Ji and Bakshish Jee by appearance, and I had no option but to wait for them. I entered inside the coffee house and tried to locate some people who looked like HFM lovers, but I drew a blank. There were some ladies too inside the coffee shop and I wondered if any of them were HFM lovers. :) I realised that we do not have any regular blog visitor among females from Delhi. Our nearest female blog regular was located hundred of miles away from there and she was not there in the coffee house, of course. :)

I was reminded that apart from Sudhir Jee and Bakshish Jee, I also knew Srinivas Ganti, who was also scheduled to join. And soon enough, I saw a person who was unmistakably Srinivas Ganti. So I went over to him and he too recognised me. We had met once during our Mumbai gangout of december 2014.

Has anyone else arrived, he asked. I told him that I would not know because I only knew Sudhir Jee and Bakshish jee and they had yet to arrive. Srinivas Ganti entered the coffee house with me, looked around and declared that Jawed jee was already there. We went up to that table. I recognised Jawed Habib as I have seen his photographs in several meets of HFM lovers held in Delhi.

Bakshish Jee arrived next.

Srinivas Ganti had a tiny speaker with him and he would play songs on it from his mobile. I wondered how he did that. I thought of asking him but I forgot to ask him.

Bakshish jee revealed how he came to know about the presence of S Mohinder in Mumbai during his and Sudhir Jee’s visit to Mumbai in connection with the blog gangout in August 2015. He phoned people to get the phone number of S Mohindra and got an appointment to meet him. He alongwith Sudhir Jee and another HFM enthusiast met him and they had an extremely fruitful four hours long chat with him. The other HFM enthusiast, viz Shishir Kumar Sharma later conducted another interview with S Mohindra the next day and posted it in his blog “Beete Hue Din”. Sudhir Jee too had planned to write an article about the meeting with S Mohindra, but that article, as also the second part of his report on that Mumbai gangout are still pending. :)

Ravindra Jain had passed away the previous day (9 october 2015). Jawed jee, who is into HFM of 1960s and before wondered about Ravindra Jain’s music. I informed him that Ravindra Jain was the regular music director of Rajshree Productions movies and all these movies were remembered mainly for their music. Ravindra Jain composed music for Rajshree Productions movies like “Geet Gaata Chal”(1975), “Chitchor”(1975), “Dulhan Wahi Jo Piya Man Bhaaye”(1977), “Paheli”(1977),”Ankhiyon Ke Jharokhon se”(1978), “Naiyya”(1979, “Sunayana”(1979), “Nadiya Ke Paar”(1982) etc. Ravindra Jain’s music reminded Srinivas Ganti of S D Burman’s music though I did not think so.

We discussed songs from three movies called “Dada” that were released in 1978, 1966 and 1949. Usha Khanna had composed music for the movies released in 1966 and 1978 and I wondered whether these two movies had the same story line.

Sudhir Jee turned up rather late. He had with him another HFM enthusiast namely Arvinder Sharma, a name that I was quite familiar with from facebook. That completed the list of participants for the day.

Discussions on many HFM related topics took place. Arvinder Sharma fished out a piece of paper meant for Sudhir Jee. The list contained certain rare songs that he was looking for and which were not available on YT. Sudhir Jee would search into his two portable hard disks, each containing around sixth thousands or so songs of all types in them. He would plug the portable hard disks into his laptop and then play the songs on Srinivas Ganti’s tiny speaker.

“”No bhajan without bhojan” is an (impromptu) hindi saying and so Sudhir Jee had brought a packet of sweet which was described as “Ajmeri barfi” or so (as I recall incorrectly) but later Srinivas Ganti described it as chaandni Chowk barfi on FB. No matter what its name, it was very sweet as the bard has said(Ajmeri barfi by any name is just as sweet). :)

I think it was Arvinder Sharma, or perhaps Jawed Habib, who wondered if I was running short of songs to discuss in the song blog. I told him that we had only discussed around 11000 plus songs whereas the total number of HFM songs that were created till 1970s stood at around 44,000. We also discussed songs of 1970s and so in all we had a total of around 60000 songs that we needed to cover. Seeing that we have covered less than 20 % of all these songs, we are likely to remain busy for a long long time.

I was told that there were some four or five groups of HFM enthusiasts in Delhi and they tended to have their gatherings at the residence of one of the members of the group. This coffee house gathering was a weekly affair that took place every saturday afternoon. Sudhir jee informed us that when he phoned Arvinder Sharma the previous evening and told him that I was also coming for this gathering, Arvinder Sharma jee enquired “Squarecut waale Atul ?”. Yes, indeed, Sudhir Jee had replied. As it is, I am known in facebook as Squarecut Atul and this facebook ID is derived from “squarecut” which usd to be my ID in cricket forums where I was active before discovering blogging.

Though all of us (with the exception of Sudhir Jee) were active on FB, whatsapp etc, we all condemned them as evil things. :) So we all have the makings of successful politicians. :)

Bakshish Jee condemned whatsapp as evil because he got happy birthday greeting on an incorrect day on it. :) I told him that he had mentioned his own name while greeting another person and that had caused the confusion. Bakshish Jee was in fact greeting Ava Suri and he typed something like “Bakshish Singh, happy birthday Ava Suri”, and that created the confusion. Bakshish jee informed us that he knew Ava (he pronounced the name as Abha) since 1980. She was the daughter of one of his relatives, he told us though Ava herself was not aware of this fact till recently.

We discussed some fellow HFM lovers. It was informed that Gajendra Khanna, a Bangalore based HFM enthusiast was scheduled to arrive Delhi soon and they had planned to meet him accordingly. He incidentally is also going to be a participant in the blog gangout that is planned on 7th november 2015 at Bangalore.

We also discussed AK of “Songsofyore” fame whom a few of us (I, Sudhir Jee and Arvinder Sharma jee) have met in the past. That blog has published articles recently where (I was told) Naushad has been given better marks than C Ramchandra when it comes to creating great songs with Lata. Arvinder Sharma jee is looking for songs to argue the case on behalf of C Ramchandra. :) And he sought the help of Sudhir Jee in this connection. :) Sudhir Jee played a few Lata songs of C Ramchandra from “”Anarkali” (1953) and Arvinder Sharma jee went “”waah waah” as befitting a C Ramchandra fan. :)

I saw a notice in the coffee house mentioning “No Official meetings allowed in the coffee house.” I took this to mean that unofficial meetings were allowed, and our meeting was strictly unofficial and informal, of course. :)

At about 4:30 PM, Sri Ganti wanted to leave stating that he had another pressing engagement coming up at 4:30. Others claimed that the time was just 4:00 PM and so Sri Ganti was denied leave by 4-1 majority vote(with I abstaining from voting). Sri Ganti subsequetly managed to get away a few minutes later. Bakshish Jee was the next to leave. Then came the turn of Arvinder Sharma and Jawed Habib. It was at 5:50 PM that I too left as I had to catch a train from OLd Delhi Railway station that was to leave at 7:50 PM. I thought that two hours was enough margin and I would arrive the station well ahead of time. But the traffic was such that I found myself moving at snail’s pace and I actually began worrying that I would miss my train. Fortunately, I managed o arrive at the station at 7:30 PM and managed to reach the designated platform and the coach just in the nick of time and heaved a sigh of relief after finally boarding the train.

I was wondering what song to discuss with this writeup. I was reminded that Bakshish Jee had mentioned a singer called Devendra during our meeting. On being asked, he told us that Devendra had mostly worked with Hansraj Bahl and he may have sung around 15-16 songs in Hindi movies.

So when I searched for songs sung by Devendra, I came across a few. Most were composed by Hansraj Bahl as was mentioned by Bakshish jee, but one song that really caught my attention was composed by K Datta.

Here is this superb light hearted comedy song from “Daaman”(1951). This song is sung by Rajkumari and Devendra Mohan. Raja Mehdi Ali Khan is the lyricist. Music is composed by K Datta, as mentioned above.

Here is this fantastic song from “Daaman” (1951) for the listening pleasure of the readers.

Song-Tu Jo Dil Leke Mere Peechhe Peeechhe Aayega (Daaman)(1951) Singers-Rajkumari, Devendra Mohan, Lyrics-Raja Mehdi Ali Khan, MD-K Datta

Lyrics

tu jo dil leke mere peechhe peechhe aayega
tu jo dil leke mere peechhe peechhe aayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna
tu jo dil leke mere peechhe peechhe aayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna

oy kya karoon main laage tera mukh bada
khoob re
khoob re
mukh bada khoob re
o main kya jaanoon
jaake kisi baawdi mein
doob re
doob re
baawdi mein doob re
baawdi ka paani matiyaala ho jaayega
baawdi ka paani matiyaala ho jaayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna
tu jo dil leke mere peechhe peechhe aayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna

tum jo mere ghar aaye to doongi main gaali
tum jo mere ghar aaye to doongi main gaali
daro mere bhaai se wo bada hai mawaali
tera bhai
tera bhai
wo to mera saala ho jaayega
tera bhai
wo to mera saala ho jaayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna

hota hai to hone de muhalle mein ghotaala
saali ko bula la chaahe saale ko bula la
nakhre mein
nakhre mein sabke masaala ho jaayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna

shaadi mujhse karni hai to mujhe na bataao
jaake meri maiyya ko baaton mein phansaao
sau rupaiye pagaar ho to do sau bataao
haan aan
ghar mein mere aane se ujaala ho jaayega
ghar mein mere aane se ujaala ho jaayega
mere maa aur baap ka deewaala ho jaayega
dekhna
oye oye dekhna
tu jo dil leke mere peechhe peechhe aayega
dekhna muhalle mein ghotaala ho jaayega
dekhna
oye oye dekhna

This article is written by K Satish Shenoy, 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.

With ASAD covering 11K + songs till date, finding a new song to present, also having a link/sound track to attach, becomes more and more involved/difficult task for a contributor. I am sure one of the simple joys for the contributors must be (I am only a new entrant to the tribe) to locate one. And, if it happens to be a popular song it is an icing on the cake.

Here I am with such a joyful find. Like others have expressed it at times: “How come this song has escaped being presented?”

This one is from Hatim Tai (1956). Three songs of this movie are covered already. As a matter of fact, when I looked at those posts covering ‘Hatim Tai’ songs, I found that in the response section, Nasir Bhai had drawn the attention to this romantic song. But it remained at that. This is certainly the sweetest song of the movie and it was a very popular song during its time. I fairly remember it being played on Binaca Geetmala for many weeks. It is even today as enjoyable as it was then. Smooth as silk.

The story of this movie has been dealt with in earlier posts. It may have been referred to as a B/C grade movie, probably going by the star cast. It was certainly a successful movie at Box office, and was a huge draw in smaller towns, and with children. I watched it as a school going kid and was thrilled. Its success is also due to its music.

Here is this song which is sung by Rafi and Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by S N Tripathi. The song is picturised on Jairaj and Shakila.

Audio

Video (female singer wrongly mentioned as Shamshad Begum )

Song-Jhoomti hai nazar jhoomta hai pyaar (Hatim Tai)(1956) Singers-Rafi, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-S N Tripathi

Lyrics

Jhoomti hai nazar
jhoomta hai pyaar
Jhoomti hai nazar
jhoomta hai pyaar
Ye nazar chheen kar le gayi karaar
Ye nazar chheen kar le gayi karaar
Jhoomti hai nazar
jhoomta hai pyaar

Hum hain aazaad panchhi fizaaon ke
Haath na aa saken hum hawaaon ke
Waade karte nahin hum wafaaon ke
Phir bhi kyun janoon dil tum pe hai nisaar
Ye nazar chhin kar le gayi karar
Jhoomti hai nazar jhoomta hai pyaar

Main tere husn ke geet gaaunga
Ishq ki aarzu lab pe laaunga
Main tujhe dhadkanon mein basaaunga
ik hai dil jisme hai hasraten hazaar
Ye nazar chheen kar le gayi karaar
Jhoomti hai nazar jhoomta hai pyaar

Meri har saans mein tera pyaar hai
Meri har saans mein tera pyaar hai
Tu mere baag e dil ki bahaar hai
ae ae ae
Tu mere baag e dil ki bahaar hai
Tu meri Zindagi ka singaar hai
oh sanam tu meri dil ki hai pukaar
Ye nazar chheen kar le gayi karaar
Jhoomti hai nazar
jhoomta hai pyaar

Tum humen hum tumhen dekhte rahen
Tum humen hum tumhen dekhte rahen
Haal e dil ho haya lab na kuchh kahen
aen aen aen
Haal e dil ho haya lab na kuch kahe
Milke ham pyaar ki maujon mein bahen
Aa zara chhed de dil se dil ke taar
Ye nazar chheen kar le gayi karaar
Jhoomti hai nazar
jhoomta hai pyaar

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.

“Kamal”(1949) was directed by Surya Kumar for Hind Kamal Chitra, Bombay. The movie had Surendra, Nayantara, Jeevan, Madan Puri, Mahendra, Lalita Rao, Munshi Khanjar, Bibi Bai, Yashoda Nandan Joshi, Mohna etc. in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from “Kamal”(1949) to appear in the blog. This song is sung by Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by S D Burman.

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

Song-Meri kashti ko mohabbat ka kinaara mil gaya (Kamal)(1949) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-S D Burman

Lyrics

meri kashti ko mohabbat ka kinaara mil gaya
dhoondhhti thhi jisko aankhen
wo sahaara mil gaya aa aa
mil gaya haaye mil gaya
meri kashti ko mohabbat ka kinaara mil gaya

dil ki duniya par mohabbat ki ghata chhaane lagi
aa haa haa haa haa
dil ki duniya par mohabbat ki ghata chhaane lagi
zindagi ke saaz par ummeed phir gaane lagi
ummeed phir gaane lagi
jo khazaana kho chuka thha
wo dobaara mil gaya aa
mil gaya haaye mil gaya aa
meri kashti ko mohabbat ka kinaara mil gaya

main tadapti thhi kabhi apne piya se door door
dil ka sheesha dard gham se
ho gaya thha choor choor
aji chupke chupke
aji chupke chupke
chaand se aake sitaara mil gaya aa
mil gaya haaye mil gaya aa
meri kashti ko mohabbat ka kinaara mil gaya

o piya aa aa aa
o piya aa aa aa
o piya ab chhod ke
tujhko na jaaungi kabhi
ab na jaaungi kabhi
ab na tadpoongi
na ab aansu bahaaugi kabhi
ab na jaaungi kabhi
mere dil ko teri nazron ka sahaara mil gaya aa
mil gaya
haaye mil gaya
meri kashti ko mohabbat ka kinaara mil gaya

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“Kamal”(1949) was directed by Surya Kumar for Hind Kamal Chitra, Bombay. The movie had Surendra, Nayantara, Jeevan, Madan Puri, Mahendra, Lalita Rao, Munshi Khanjar, Bibi Bai, Yashoda Nandan Joshi, Mohna etc. in it.

Eight songs from this movie have been discussed in the past. Here is the ninth song from “Kamal”(1949) to appear in the blog. This song is a rare song. It is sung by Geeta Dutt. Raja Mehdi Ali is the lyricist. Music is composed by S D Burman.

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

I have not been able to get one word in the lyrics towards the end of the song (and who knows a few more words too). I request our readers with keener ears to tell us what word that could be.

Song-Ik roz bichhadne waalon ka (Kamal)(1949) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-S D Burman

Lyrics

Ik roz bichhadne waalon ka aa aa
Ik roz bichhadne waalon ka
kab tak hil mil kar guzar chale ae ae
ik din se miley
ik din bichhde
wo udhar chaley
ham idhar chaley

wo bhool gaye beeti baaten
beeti raaten hain yaad hamen
wo bhool gaye beeti baaten
beeti raaten hain yaad hamen
ham unse nazar mila kar bhi
unki nazron se utar chaley
wo udhar chaley
ham idhar chaley

munh dikhla kar
munh mod gaye
dil lekar dil hi tod gaye
munh dikhla kar
munh mod gaye
dil lekar dil hi tod gaye
aabaad rahen unki galiyaan
aabaad rahen unki galiyaan
ham ro kar apni dagar chaley
wo udhar chaley
ham idhar chaley

jab aas gayi aasraa gaya
jeene ki tamanna rahi nahin
rahi nahin
kuchh aas rahe kuchh saans rahe ae
kuchh aas rahe kuchh saans rahe
per inhen bhi unki nazar chaley
wo udhar chaley
ham idhar chaley ae