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.

“Izzat” (1952) not to be confused with “Apni Izzat”(1952) was directed by Taaimur Behram Shah for Taimur Art Productions, Bombay. The movie had Nirupa Roy, Amarnath, Agha, Jeevan, Manorama, Rajni, Veera, Pesi Patel, Nazira, Baby Kalpana etc. in it.

The movie had eight songs in it. Two songs have been covered in the blog.

Here is the third song from “Izzat” (1952) to appear in the blog. This song is sung by Sandhya Mukherji. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bulo C Rani.

Sandhya Mukherji was the female lead playback singer in this movie and she sang three songs in the movie. So my guess is that this song was picturised on Nirupa Roy. Nevertheless, I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

Song-Kya kya sitam sahe hain do din ki zindagi mein(Izzat)(1952) Singer-Sandhya Mukherji, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani

Lyrics

kya kya sitam sahe hain
do din ki zindagi mein
kya kya sitam sahe hain
do din ki zindagi mein
kismat ne apni duniya aa aa
looti hansi hansi mein
kya kya sitam sahe hain

loota chaman khushi ka
kismat ki aandhiyon ne ae ae
loota chaman khushi ka
kismat ki aandhiyon ne
takte ham aashiyaan(??) ko
ro ro ke bebasi mein
kya kya sitam sahe hain

gham ki chiraag dil mein
ab jhilmilaa rahe hain aen
gham ki chiraag dil mein
ab jhilmilaa rahe hain
ummeed jal rahi hai ae
aankhon ki roshni mein
kya kya sitam sahe hain

phir shaad ham ko kar de
naashaad karne waale ae
naashaad karne waale ae
phir shaad ham ko kar de
naashaad karne waale ae
naashaad karne waale ae
hamne tujhe pukaara
ro ro ke bekasi mein
kya kya sitam sahe hain
do din ki zindagi mein aen
kya kya sitam sahe hain

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.

“Aulaad” (1954) was directed by Mohan Segal for Kuldip Pictures, Bombay. The movie had Balraj Sahni, Usha Kiran, Nirupa Roy, Radhakrishan, Lalita Kumari, Ramesh Kapoor, Prabhu Dayal etc in it.

The movie had six songs in it.

Here is the first song from “Aulaad” (1954) to appear in the blog. This song is sung by Talat Mehmood. Raja Mehdi Ali Khan is the lyricist. Music is composed by Sardar Malik.

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

I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Aulaad” (1954) makes its debut in the blog.

Song-Duniya tasweer hai rote huye insaanon ki (Aulaad)(1954) Singer-Talat Mehmood, Lyrics-Raja Mehdi Ali Khan, MD-Sardar Malik

Lyrics

teri duniya mein har neki ka badla
kyun buraayi hai
arre o aasmaan waale
ye kya duniya banaayi hai

duniya tasveer hai rote huye insaanon ki ee
ek basti hai ye ujde huye armaanon ki ee
duniya tasveer hai
duniya tasveer hai rote huye insaanon ki

tere bandon ko yahaan thokaren khaate dekha
tere bandon ko yahaan thokaren khaate dekha
raah mein teri inhen jaan se jaate dekha
aas har ?? to yahaan udti hai parwaanon ki
duniya tasveer hai
duniya tasveer hai rote huye insaanon ki ee
ek basti hai ye ujde huye armaanon ki
duniya tasveer hai

aa zameen par teri duniya main dikhaaun tujhko o
aa zameen par teri duniya main dikhaaun tujhko
teri tasveer dikhaa kar main rulaaun tujhko
dekh insaanon pe bedaad ye insaanon ki
duniya tasveer hai
duniya tasveer hai rote huye insaanon ki ee
ek basti hai ye ujde huye armaanon ki
duniya tasveer hai
duniya tasveer hai rote huye insaanon ki

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.

“Laadla”(1954) was directed by Surya Kumar (better known as a choreographer) for Verma Films, Bombay. the movie had Shyama, Karan Dewan, Agha, Raj Mehra, Krishna Kumari, S Nazir, Dar Kashmiri 9Jeewan), Dev Kishan, Parvati, Maruti etc, with Sundar credited as a guest artist.

The movie had ten songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Laadla”(1954) to appear in the blog. This song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Vinod.

This song is an uplifting song that contains the message that life is god’s gift and one must enjoy it, rather than waste it in unnecessaily worrying about things.

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 ab few words right in theb lyrics. I request our readers with keenera ears to help fill in the blanks/ suggest corrections as applicable.

[Ed Note: Regarding the line in the song “har aan hans le bol le“, the word “aan” in this context carries the meaning ‘moment’; “har aan” here means ‘every moment’.]

Song-Zindagi do din ki hai naadaan hans le bol le (Laadla)(1954) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Vinod

Lyrics

zindagi do din ki hai ae ae ae
naadaan hans le bol le
o o o o
naadaan hans le bol le
gham se apna dil l l l
gham se apna dil na kar hairaan
hans le bol le
zindagi do din ki hai ae ae ae
naadaan hans le bol le

o o o
o o o
gaa khushi ke geet
dil ki dhadkanon ke saaz par
dhadkanon ke saaz par
rashq khaaye naghma e bulbul
teri aawaaz par
o teri aawaaz par
is haseen mehfil ke o mehmaan
hans le bol le
zindagi do din ki hai ae ae ae
naadaan hans le bol le

zinda ho kar bhi hai tu kyun
zindagi se door door
o o o o
zindagi se door door
kyun hai tera sheesha e dil
dard o gham se choor choor
dard o gham se choor choor
keh rahi hai zindagi
har aan hans le bol le
zindagi do din ki hai ae ae ae
naadaan hans le bol le

aks tera khushnuma
seerat ke aaine mein hai
o o o
seerat ke aaine mein hai
ek nazar dekhe to jaane
kya maza jeene mein hai
kyun na do din ke liye
insaan hans le bol le
zindagi do din ki hai ae ae ae
naadaan hans le bol le
o o o o
naadaan hans le bol le
zindagi do din ki hai ae ae ae
naadaan hans le bol le ae

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

ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले
ओ ओ ओ ओ
नादान हंस ले बोल ले
ग़म से अपना दिल॰॰॰
ग़म से अपना दिल ना कर हैरान
हंस ले बोल ले
ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले

ओ ओ ओ
ओ ओ ओ
गा खुशी के गीत
दिल की धड़कनों के साज पर
धड़कनों के साज पर
रश्क़ खाये नग़मा ए बुलबुल
तेरी आवाज़ पर
ओ तेरी आवाज़ पर
इस हसीं महफिल के ओ मेहमान
हंस ले बोल ले
ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले

ज़िंदाई हो कर भी है तू क्यों
ज़िंदगी से दूर दूर
ओ ओ ओ ओ
ज़िंदगी से दूर दूर
क्यों है तेरा शीशा ए दिल
दर्द ओ ग़म से चूर चूर
दर्द ओ ग़म से चूर चूर
कह रही है ज़िंदगी
हर आन हंस ले बोल ले
ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले

अक्स तेरा खुशनुमा है
सीरत के आईने में है
ओ ओ ओ
सीरत के आईने में है
इक नज़र देखे तो जाने
क्या मज़ा जीने में है
क्या मज़ा जीने में है
क्यों ना दो दिन के लिए
इंसान हंस ले बोल ले
ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले
ओ ओ ओ
नादान हंस ले बोल ले
ज़िंदगी दो दिन की है॰॰॰
नादान हंस ले बोल ले

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.

Saga Of Sleepless Nights – 3
– – – – – – – – – – – – – – –

neend kabhi rehti thi aankhon mein
ab rehte hain saanwariya

Aah, so now we know, the sleep can no longer come to the eyes, for the eyes are already occupied with the images of the beloved. You cannot accommodate two swords in a single scabbard. Or for that matter, two lions in the same cave. So it has to be that sleep will have to wait outside, while the joys of visions of the beloved crowd all the room inside the eyes.

I fall back on Shakespeare, yet once again – this endearing snippet from a sonnet, that tells of why the eyes are without sleep, although the limbs are dreadfully tired. Just read these lines,

weary with toil, i haste me to my bed,
the dear repose for limbs with travel tired;
but then begins a journey in my head
to work my mind, when body’s work’s expired:

for then my thoughts–from far where i abide–
intend a zealous pilgrimage to thee,
and keep my drooping eyelids open wide,
looking on darkness which the blind do see:

save that my soul’s imaginary sight
presents thy shadow to my sightless view,
which, like a jewel hung in ghastly night,
makes black night beauteous, and her old face new.

He is putting the blame on his thoughts; that they are intending to make a pilgrimage to you, and intend to keep the drooping eyelids open wide. And when that sight is reached – “thy shadow to my sightless view”, it is like a bright shining jewel hung in the darkness of the ‘ghastly night’. And the consequential effect – the night becomes ‘beauteous’ and her old tired face seems so new. And this jewel of an image is preferred over the fatigue of the limbs and the sleep that they are demanding.

But even Shakespeare sound somewhat rough around the edges, when we compare his creation to the similar sounding songs of Hindi films. Think of “Neend Kabhi Rehti Thi Aankhon Mein, Ab Rehte Hain Saanwariya” (‘Aasra’, 1966). And my mind would prefer the soft melody of this song. Or the lilting strains of “Meri Aankhon Mein Bas Gaya Koi Re, Mujhe Neend Na Aaye Mein Kya Karoon” (‘Barsaat’, 1949).

Today’s song is somewhat unfamiliar – from the 1950 film ‘Muqaddar’. The singer is Nalini Jaiwant. Lyrics are from the pen of Raja Mehdi Ali Khan, and the music is composed by Khemchand Prakash and Bhola Shreshtha. Yes, the Geet Kosh indicates that the music is composed by the two together. This would be one of the very last films of Kehmchand Prakash, as he passed away on 10^th Aug of 1950. So it is possible that the work begun by him, was completed by Bhola Shreshtha.

Nalini Jaiwant has a small repertoire of songs she has rendered in Hindi films. Her singing in films is clustered in two periods – from 1941 to 1943 and then from 1948 to 1950. One solo film follows in 1955. The films are ‘Bahen’, ‘Nirdosh’, ‘Radhika’ in 1941, ‘Aankh Micholi’ in 1942 and ‘Adaab Arz’ in 1943. Then we have ‘Gunjan’ in 1948, ‘Chakori’ in 1949, and then ‘Hindustan Hamaara’ and ‘Muqaddar’ in 1950. The film in 1955 is ‘Chingaari’. Total songs she has sung in films is 40, as per Geet Kosh listings. On the blog, we already have showcased six songs in her voice. This is her seventh rendering to be represented here.

Listen to this perky rendering, and if in love, prepare for another night without sleep.

And so continues the saga of sleepless nights. . .

Song – Jab Nainon Mein Koi Aan Basey  (Muqaddar) (1950) Singer – Nalini Jaiwant, Lyrics – Raja Mehdi Ali Khan, MD – Khemchand Prakash-Bhola Shreshtha

Lyrics

jab nainon mein koi aan basey
jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
jab dil mein pyaar ki hook uthey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab boley papiha piya piya
jab boley papiha piya piya
thar thar kaanpe haaye mora jiya
thar thar kaanpe haaye mora jiya
jab thandi hawa betaab bahe
jab thandi hawa betaab bahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab prem badariya chhaai ho
jab prem badariya chhaai ho
aur yaad
aur yaad kisi ki aai ho
aur yaad kisi ki aai ho
ik dil ko ik dil yaad kare
ik dil ko ik dil yaad kare
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

kuchh keh gaye aankhon aankhon mein
kuchh keh gaye aankhon aankhon mein. . .
dil le gaye
dil le gaye baaton baaton mein
dil le gaye baaton baaton mein
jab dil na kisi ke paas rahe
jab dil na kisi ke paas rahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जब नैनों में कोई आन बसे
जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ
जब दिल में प्यार की हूक उठे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब बोले पपीहा पिया पिया
जब बोले पपीहा पिया पिया
थर थर काँपे हाए मोरा जिया
थर थर काँपे हाए मोरा जिया
जब ठंडी हवा बेताब बहे
जब ठंडी हवा बेताब बहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब प्रेम बदरिया छाई हो
जब प्रेम बदरिया छाई हो
और याद
और याद किसी की आई हो
और याद किसी की आई हो
इक दिल को इक दिल याद करे
इक दिल को इक दिल याद करे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

कुछ कह गए आँखों आँखों में
कुछ कह गए आँखों आँखों में॰ ॰ ॰
दिल ले गए
दिल ले गए बातों बातों में
दिल ले गए बातों बातों में
जब दिल न किसी के पास रहे
जब दिल न किसी के पास रहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

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 (19 october 2017) is deepaawali, the biggest festival in India.

It may sound unbelievable, but it is the tenth Deepawali for the blog today (19 october 2017) ! The fact that we have lasted this long, and instead of losing steam, we seem to be adding new features to the blog means that we have come quite a long way from the first deepaawali of this blog in 2008.

We have covered 33 deepaawali songs in the blog in the past, and that includes all the well known deepaawali festival songs.

When we look at the deepaawali songs, we find that these songs can be broadly divided into two categories- happy and sad. Happy deepaawali songs exhort us to celebrate the festival, whereas sad deepaawali songs lament the fact the deepaawali may be happy for some but not quite so for others.

That should make us to think. How come the festival brings happiness for some but not for others, when presumably everyone is worshipping the same goddess Laxmi on the occasion !

I have give this matter some thought and I have come to my own conclusions.

I feel that we as Indians try to take short cuts instead of taking the trouble to achieve results the hard way, be it in our normal works, or in worship. So when we worship the goddess Laxmi, we think that doing her chaaploosi (singing her prayers) as well as bribing her (by offering her some chadhhaawa) does the trick. That way, we tend to believe that our gods are like our public officials.

Then people wonder why goddess Laxmi did not favour them. If one thinks about it, Goddess Laxmi does not favour the chaaploos and the bribe givers, rather she favours those who often do not even observe the festival of deepaawali. If we think about it, the richest and most prosperous nations of the world do not even observe deepaawali unlike Indians.

How is it that Americans, Germans, Japanese, South Koreans, people who do not even observe deepaawali are the most prosperous nations in the world ?

To my mind, they are prosperous because they actually worship two other Gods. The first is Goddess Saraswati. No, they do not do it by installing an idol of her on basant panchami, rather they do it by attaching enormous importance to quality education for their people.

A country’s wealth (defined as GDP per capita) is positively associated with its education expenditures. US spends 5.6 % of its GDP on education which amounts to $2600 per capita. India spends 3.3 % of its GDP on education and that adds up to a niggardly $ 50 per capita. So we see that US spends more money on education than the total GDP of India. Little wonder then that US citizens are in general vastly better educated.

After one is educated, that education must be used to build the nation. In other words, worship of goddess Saraswati must be followed by worship of Lord Vishwakarma. In India, manual labour is so looked down upon that blue collar workers, who help build the industry of a nation, are considered of low social status i India. We in India did not even worship Lord Vishwakarma till recently. It is only some one hundred years ago that British rulers introduced Vishwakarma Puja in India. It is the only Indian Puja that is held according to English calendar.

Put simply, we look down upon hands on work. We look down upon honest hard work. Whatever education that we as Indians receive gets wasted as it is not fruitfully employed.

Since we are neither properly educated nor properly trained in various vocations, so the quality of our output is poor. We do not appreciate quality. Little wonder then that our productivity is low which reflects in our abysmal per capita GDP of $ 1600, which is less that what US spends on education per capita.

When we worship goddess Laxmi on the Deepaawali night and hope that the goddess would bless us, how exactly is she going to bless us ? Surely it cannot be through lottery or jackpot. It will be through the same usual source, viz salary for the salaried, and through sales for the shop keeper. On the eve of Deepaawali, some staff earn “bonus” which a few days later end up in the bank accounts of shop keepers. So in effect it is the shop keepers who really get blessed by Goddess Laxmi during Deepaawali.

On the occasion of Deepaawali, here is a song from “Shrimati Jee”(1952). This movie was directed by I S Johar for Filmistan, Bombay. The movie had Shyama, Nasir Khan, Ram Singh, Murad, Samson, Vimla, Indira, Prabha, Baldev Mehta, Ram Avtar, Yashwant, Mirazkar, Agha Miraz, Majnu, Johar etc in it.

There were ten songs in the movie. nine of these songs have been covered in the blog. This tenth and final song from the movie is a deepaawali song where people implore goddess Laxmi to arrive at their residence. Why goddess Laxmi would not favour them with her visit has been explained by me in the writeup above.

The song is sung by Shamshad Begam and chorus. Raja Mehdi Ali is the lyricist. Music is composed by Basant Prakash.

With this rare song, “Shrimati Jee”(1952) joins the list of movies that have all their songs covered in the blog.

I take this opportuity to wish all the contributors, visitors and well wishers of this blog a very happy, prosperous and safe Deepaawali. May Goddess Laxmi REALLY favour you with her blessing.

Lyrics

Kabhi hamaare ghar bhi aao aao jee
ghar aao jee
o nagad narayan jee
ek chhoti si jhhalak dikhlaao dikhlaao dikhlaao jee
ghar aao jee
o nagad narayan jee
nagad narayan
nagad narayan
nagad narayan jee jee
o nagad narayan jee

gairon ke ghar dekh tumhen
ham thhandi aahen bhar lete hain
tum par apna bas nahin chalta
haaye
tum par apna bas nahin chalta
door se darshan kar lete hain aen
door se na mukhdaa dikhaao na dikhaao na dikhaao jee
ghar aao jee
o nagad narayan jee
kabhi hamaare ghar bhi aao aao jee
ghar aao jee
o nagad narayan jee

dhobi kunjde bhaiyye(??) darzi
hamre peechhe laage hain
kayi dafa wo peeche aur ham
haaye
kayi dafa wo peeche aur ham
aage aage bhaage hain aen
in paapiyon se peechha chhudwaao chhudwaao chhudwaao jee
ghar aao jee
O satyanarayan jee
in mujrimon ko qaid karaao jee karaao jee karaao jee
o satyanarayan jee
in zaalimon ko phaansi latkaao latkaao latkaao jee
o satyanarayan jee

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.

“Madhur Milan”(1955) was directed by K G Punwani for Film Show Productions, Bombay. The movie had Nigar Sultana, Mahipal, Roopmala, Kesri, Bhudo advani, Madan Puri etc in it.

This “social” movie had twelve songs in it that were penned by seven lyricists !

Four songs from the movie have been covered in the blog.

Here is the fifth song from “Madhur Milan”(1955) to appear in the blog. This song is sung by Lata. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bulo C Rani.

This is the kind of song that is best heard during summer evenings on a radio playing old songs. In other words, this is the kind of songs that used to get played on Radio Ceylon till 1970s during their evenings programmes at around 7 PM or so. But I must add that I used to find such songs “boring” during those days of 1970s, as these songs were old songs.

These songs were two decades old at that time, and now the same song is six decades old, and guess what ! Now I have begun to like this kind of songs. So one does become wise with age, after all.

Song-Dil pyaar ki mehfil hai dildaar chale aao(Madhur Milan)(1955) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani

Lyrics

dil pyaar ki mehfil hai ae
dildaar chale aao o
dil pyaar ki mehfil hai ae
dildaar chale aao o
ban kar mere sapnon ka sansaar
chale aao
chale aao o
dil pyaar ki mehfil hai ae ae ae

ae jaane bahaar aao
kisne tumhen roka hai ae
ae jaane bahaar aao
kisne tumhen roka hai
kisne tumhen roka hai
sau baar agar chaaho o o o
sau baar agar chaaho o
sau baar chale aao o
dil pyaar ki mehfil hai ae ae ae

roothhi huyi nazron ko nazren ye mana lengin
roothhi huyi nazron ko nazren ye mana lengin
nazron ka takaaza hai ae ae ae
nazron ka takaaza hai ae
ik baar chale aao o
dil pyaar ki mehfil hai ae ae ae

kya dil pe gujarti hai ae
kaise tumhen batlaaun
kya dil pe gujarti hai ae
kaise tumhen batlaaun
veeran hai mohabbat ka gulzaar
chale aao
chale aao o
ban kar mere sapnon ka sansaar
chale aao
chale aao o
dil pyaar ki mehfil hai ae ae ae

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 Dilon Ki Daastaan”(1966) was directed by Raj Khosla for Deep and Pradeep Productions, Bombay, the home prodiction of Pradeep Kumar. The movie had Vyjyanti Mala, Pradeep Kumar, Om Prakash, Shashikala, Rehman, B Nandi, Jagdeep, Nazeer Hussain, Tuntun etc in it.

This “social” movie had eight songs in it. Three of these songs have been covered in the past.

After a gap of some six years, here is the next song from “Do Dilon Ki Daastaan”(1966). This song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by O P Nayyar.

Only the audio of this song is available. The song sounds like an archtypical club dance song. Going by the cast, this song appears tailormade for Shashikala, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.

The first day of the year is drawing to a close and let us enjoy the first evening to the year with this nice club dance song.

Song-Ye machalta samaa (Do Dilon Ki Daastaan)(1966) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-O P Nayyar

Lyrics

aa aa
ye machalta samaaan
aa meri jaan e jaan aa
main jawaan dil jawaaan
aa aa
ye machalta samaan
aa meri jaan e jaan aan
main jawaan dil jawaan
aa aa
ye machalta samaaan aa

mere chehre pe til
mere seene mein dil
meri aankhon mein pyaar
aa bhi ja aa
meri aankhon mein pyaar
aa bhi ja
raat madhosh hai
pyaar behosh hai
ban ke dil ka karaar
aa bhi jaa aa
ban ke dil ka karaar
aa bhi jaa
aa aa
aa aa aa aa
ye machalta samaaan
aa meri jaan e jaan
main jawaan dil jawaan
aa aa
ye machalta samaa aa

chaandni pyaar ki
har taraf chha rahi
nahin tadpa mujhe meri jaan
nahin tadpa mujhe meri jaan
o haseen jaadoogar
main teri hamsafar
mujhko le ja raha tu kahaan aan
mujhko le ja raha tu kahaan
aa aa
aa aa aa aa
ye machalta samaan
aa meri jaan e jaan aan
main jawaan dil jawaan
aa aa
ye machalta samaa

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 Dilon Ki Daastaan”(1966) was directed by Raj Khosla for Deep and Pradeep Productions, Bombay, the home production of Pradeep Kumar. The movie had Vyjyanti Mala, Pradeep Kumar, Om Prakash, Shashikala, Rehman, B Nandi, Jagdeep, Nazeer Hussain, Tuntun etc in it.

This “social” movie had eight songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Do Dilon Ki Daastaan”(1966) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Raja Mehdi Ali Khan is the lyricist. Music is composed by O P Nayyar.

Only the audio of this song is available. My guess is that this song was picturised on the lead pair of the movie viz Vyjyanti Mala and Pradeep Kumar. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.

Song-Aeji pehli mulaaaqaat mein nahin pyaar jataaya karte (Do Dilon Ki Daastaan)(1966) Singers-Asha Bhonsle, Rafi, Lyrics-Raja Mehdi Ali Khan, MD-O P Nayyar

Lyrics

aeji pehli mulakaat mein nahin pyaar jataaya karte
aeji pehli mulaakaat mein nahin pyaar jataaya karte
jab haath diya ho haath mein
nahin haath chhudaaya karte
aeji pehli mulaakaat mein

aur haseen ho jaaogi
gar pehno pyaar ke gehne
aur haseen ho jaaogi
gar pehno pyaar ke gehne
ho o o
pyaar ke gehne pehna kar tum
dil mein lagoge rehne ae ae
pyaar ke gehne pehana kar tum
dil mein lagoge rehne
meri laila
aha
tera chhaila
aha
maange tere dil mein jagah a a
aeji pehli mulaakaat mein

aa aa aa aa
aa aa aa
aa aaa haa haa
kitne haseen aankhon ne dekhe
dil na kisi se behla aa aa
kitne haseen aankhon ne dekhe
dil na kisi se behla
aa aa
ik ladki ka ik ladke se
pyaar hai pehla pehla aa
ik ladki ka ik ladke se
pyaar hai pehla pehla
zaalim harni
aa ha
jadugarni
ho ho
pyaari pyaari ankhen na chhupa
aeji pehli mulaakaat mein

pichhle janam mein shaayad maine
pyaar kiya thha tujhse
pichhle janam mein shaayad maine
pyaar kiya thha tujhse
ho o o
janam janam ke saathi aakhir
aan miley ho mujhse ae
janam janam ke saathi aakhir
aan miley ho mujhse
piya piya
bolo kya
jiya teri baaton pe fida aa aa
aeji pehli mulakaat mein nahin pyaar jataaya karte
jab haathh diya ho haath mein
nahin haathh chhudaaya karte
aeji pehli mulaakaat mein aen

aahaa aa aa aa
aa aa aa aaa

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 Dilon Ki Daastaan”(1966) was directed by Raj Khosla for Deep and Pradeep Productions, Bombay, the home production of Pradeep Kumar. The movie had Vyjyanti Mala, Pradeep Kumar, Om Prakash, Shashikala, Rehman, B Nandi, Jagdeep, Nazeer Hussain, Tuntun etc in it.

This “social” movie had eight songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Do Dilon Ki Daastaan”(1966) to appear in the blog. This song is sung by Rafi. Raja Mehdi Ali Khan is the lyricist. Music is composed by O P Nayyar.

Only the audio of this song is available. My guess is that this song was picturised as a ghoda gaadi song, and the lip syncer is addressing the ghoda in this song. I request our knowledgeable readers to throw light on the picturisation of this song.

Song-Chal beta left chal beta right(Do Dilon Ki Daastaan)(1966) Singer-Rafi, Lyrics-Raja Mehdi Ali Khan, MD-O P Nayyar

Lyrics

hmm
hah
chal beta left
chal beta right
waah waah re teri chaal
kabhi left kabhi right
yaaron ka bura haal
kabhi left kabhi right
wah wah re teri chaal
kabhi left kabhi right
yaron ka bura haal
kabhi left kabhi right

chalta hai kitni shaan se
masti mein jhoomta
baatein hawa se karta hai
baadal ko choomta
chalta hai kitni shaan se
masti mein jhoomta
baatein hawa se karta hai
baadal ko choomta
nahkre bhi hain kamaal
kabhi left kabhi right
yaron ka bura haal
kabhi left kabhi right
waah waah re teri chaal
kabhi left kabhi right
yaaron ka bura haal
kabhi left kabhi right

soorat banaane waale ne
achchi banaai hai
is par aji janaab ka gussa
duhaai hai
soorat banaane waale ne
achchi banaai hai
is par aji janab ka gussa
duhaai hai
hai gaal laal laal
kabhi left kabhi right
kabhi left kabhi right
hai gaal laal laal
kabhi left kabhi right
yaron ka bura haal
kabhi left kabhi right
waah waah re teri chaal
kabhi left kabhi right
yaaron ka bura haal
kabhi left kabhi right

achchi nahin hai raah mein
itni chatak matak
chalna ji dekh bhaal ke
kachchi hai ye sadak
achchi nahin hai raah mein
itni chatak matak
chalna ji dekh bhaal ke
kachchi hai ye sadak
gir jaaye na sambhal
kabhi left kabhi right
yaaron ka bura haal
kabhi left kabhi right
waah waah re teri chaal
kabhi left kabhi right
yaaron ka bura haal
kabhi left kabhi right

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.

3500 – a good number to be. It is divisible by 7. Gives us 500.

Lets take a stock of the major numbers.

We complete 3500 days – unbroken sequence (almost ).
500 weeks.
14,000+ songs.

And, for the ticker watchers, we are just going to touch 10,100,000 visits to this blog.

In terms of artist stats, some very interesting total numbers,

486 – Music Directors + 109 posts with [*Unattributed] MD status
659 – Lyricists + 402 posts with [*Unattributed] Lyricist status
870 – Singers + 93 posts with unidentified singer names

Keeping out the unattributed and the unidentified, we are managing a whopping total of 2015 unique artists

I have written this phrase before. Our blog is history in the making – history of Hindi film music – one song at a time.

In terms if format, in terms of depth of content, in terms of dealing earnestly and critically with the subject matter, this blog is unique and without any peers. We are close to completing 10 years. Even now, we periodically get to see reader’s comments that tell about recently having discovered this hallowed destination on the internet, and what a fantastic treasure they have encountered. In fact, we have one such comment that came in today, just about four and a half hours ago. Paraphrasing from the text of this comment, a new reader Jayant Raleraskar writes that “. . . that’s a Great contribution indeed. In fact I am a new visitor to Atulsong. Of course I am enjoying and getting nice information as well.” Today, 3500 days after its inception, we still continue to get new readers who are impressed enough to leave such a heartening and an encouraging comment.

And the march continues. Ah yes, it is the next coming month also; but I refer to the dogged insistent forward journey that has been in progress for 3500 days today. The pun is on the word March. By the way, are you familiar with the best pun on ‘March’. It is a tiny two liner

“Can February March?
No, but April May.”

Great journey so far. A grand motley crew of loving friends assembled on the bandwagon. And on towards the horizon – many a thousand more stations still to be covered on this beat. Maybe someone may ask us some day – why we do it? Brings to mind a similar incident from the mountaineering past. George Mallory, the famed young British climber who was part of the first three (unsuccessful) expeditions to conquer Mt Everest, in the 1920s. Mallory is famously quoted as having replied to the question “Why did you want to climb Mount Everest?” with the retort “Because it’s there”, which has been called “the most famous three words ever in mountaineering”.

Well, I think our answer may not be limited to these three words. The answer by us would be – “Because it is there, and we love it”. 

And on this journey, we continue to discover, almost on a daily basis, something new and surprising about the Hindi film music.

Take today’s song for example. Yesterday when Atul ji and I exchanged emails about today being the 3500^th daily anniversary of this endeavor, I thought about it, and then started searching for a song with the word ‘hazaar’ in it. After checking out a few examples, I settled on this song for this post today.

ek shama hai mehfil mein
parwaane hazaaron hain

or if I may take some poetic latitude here, I would like to surmise as

ek asad hai internet mein
padhne waale hazaaron hain

And the other reason I picked this song – aah well, I am sure some of you may have already guessed. Going thru the lyrics of this Geeta Dutt beauty from 1952, folks will find a suspicious shadow falling on to another iconic song from three decades later. Yes, I refer to the famous song from ‘Umrao Jaan’ (1981) –

in aankhon ki masti ke
mastaane hazaaron hain

In fact, not just mastaane, but also deewaane and maikhaane. Just take away the music and map the lyrics. I think we may have hit upon the original song that ‘inspired’ the famous hit song of ‘Umrao Jaan’.

The 1952 film ‘Baghdad’ is produced by JB Lulla, under the banner of Falcon Films, Bombay and is directed by Nanabhai Bhatt. The star cast is listed as Ranjan, Bharti, Yashodhara Katju, Anwar, Veera, Kamal, Samson, S Nazeer, Kanta, Nagpal, Anant Prabhu, Bhupen Kapoor, Habib, Sabu (Tattoo), and Bhagwan. The eight songs of this film are penned by Raja Mehdi Ali Khan, and the music is by Bulo C Rani.

Congratulations once again to all – milestones galore. Happy 3500^th to all.

Song – Ek Shama Hai Mehfil Mein Parwaane Hazaaron Hain  (Baghdad) (1952) Singer – Geeta Roy, Lyrics – Raja Mehdi Ali Khan, MD – Bulo C Rani

Lyrics

ek shama hai mehfil mein
parwaane hazaaron hain
parwaane hazaaron hain
wo naina hoon main jiske
wo naina hoon main jiske
deewaane hazaaron hain
ek shama
ek shama

har aankh mein ghar mera
har aankh mein ghar mera
har dil ko talab meri
har dil ko talab meri
har dil ko talab meri
but ek hoon main lekin
but ek hoon main lekin
butkhaane hazaaron hain
butkhaane hazaaron hain
ek shama
ek shama

paimaane mohabbat ke
uth jhoom
uth jhoom jhoom ke pee le
pee le
pee le
in masti bhari aankhon mein
in masti bhari aankhon mein
maikhaane hazaaron hain
maikhaane hazaaron hain
ek shama
ek shama

ek shama hai mehfil mein
parwaane hazaaron hain
parwaane hazaaron hain
ek shama
ek shama
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

एक शमा है महफिल में
परवाने हजारों हैं
परवाने हजारों हैं
वो नैना हूँ मैं जिसके
वो नैना हूँ मैं जिसके
दीवाने हजारों हैं
एक शमा
एक शमा

हर आँख में घर मेरा
हर आँख में घर मेरा
हर दिल को तलब मेरी
हर दिल को तलब मेरी
हर दिल को तलब मेरी
बुत एक हूँ मैं लेकिन
बुत एक हूँ मैं लेकिन
बुतखाने हजारों हैं
बुतखाने हजारों हैं
एक शमा
एक शमा

पैमाने मोहब्बत के
उठ झूम
उठ झूम झूम के पी ले
पी ले
पी ले
इन मस्ती भरी आँखों में
इन मस्ती भरी आँखों में
मैखाने हजारों हैं
मैखाने हजारों हैं
एक शमा
एक शमा

एक शमा है महफिल में
परवाने हजारों हैं
परवाने हजारों हैं
एक शमा
एक शमा

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.

“Inquilaab”(1956) was produced by Kailash Kapoor and J P Sahgal and directed by Kedar Kapoor for W S Films, Bombay. This movie had Ranjan, Shyama, Kuldeep Kaur, Tiwari, Ramesh Sinha, S K Prem, Indu Paul, Praveen, Khairati, Pt Iqbal, Pal Sharma, Khursheed, Bihari, Bakshi, Sando, Bachcha, Sundar etc in it with guest appearances by Helen, Sapru, Bhagwan and Johny Walker.

“Inquilaab”(1956) had eight songs in it. Four songs from the movie have been covered in the past.

Here is the fifth song from “Inquilaab”(1956) to appear in the blog. The song is sung by Geeta Dutt. Raja Mehdi Ali Khan is the lyricist. Music is composed by Hansraj Bahl.

Though the song is sung by one singer, it is lip synced by two ladies. I can identify Shyama but I am unable to identify the other lady. I request our knowledgeable readers to help identify her.

Song-Dilbar se pyaar chhupane mein bada maza hai (Inquilaab)(1956) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Hansraj Bahl

Lyrics

dilbar se pyaar chupaane mein bada maza hai
dilbar se pyaar chupaane mein bada maza hai
kuchh din ye takraar chalegi
shama aur parwaane mein
bada maza hai
dilbar se pyaar chhupaane mein bada maza hai

ummeedon ka gulshan mahke
dil mein shokh tamanna chahke
ae meri manzil saamne aaja
aaj kadam mere bahke bahke
husn ki duniya jhoom rahi hai
laga hai teer nishaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai

wo paas aayen main ghabraaun
sahmoon simtoon aur sharmaaun
kisko diya hai pyaar bhara dil
poochhe bhi to main na bataaun
hoti hai taskeen mohabbat
ban ban ke sharmaane mein
bada maza hai
dilbar se pyaar chupaane mein bada maza hai

dil mera jhoome shaam suhaane
bal khaaye lahraaye jawaani
aaja o tadpaane waale
meri umangen hain deewaani
chhalak rahe hain jaam nazar ke
aankhon ke maykhaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai
kuchh din ye takraar chalegi
shama aur parwaane mein
bada maza hai
dilbar se pyaar chhupane mein bada maza hai

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.

“Inquilaab”(1956) was produced by Kailash Kapoor and J P Sahgal and directed by Kedar Kapoor for W S Films, Bombay. This movie had Ranjan, Shyama, Kuldeep Kaur, Tiwari, Ramesh Sinha, S K Prem, Indu Paul, Praveen, Khairati, Pt Iqbal, Pal Sharma, Khursheed, Bihari, Bakshi, Sando, Bachcha, Sundar etc in it with guest appearances by Helen, Sapru, Bhagwan and Johny Walker.

“Inquilaab”(1956) had eight songs in it. Five songs from the movie have been covered in the past.

Here is the sixth song from “Inquilaab”(1956) to appear in the blog. The song is sung by Sonik and Shamshad Begam. Raja Mehdi Ali Khan is the lyricist. Music is composed by Hansraj Bahl.

This light hearted song is picturised as a “diversion” song to distract some guards as far as I can tell. I am unable to identify the actors lip syncing this song. I request our knowledgeable readers to help identify them and throw light on the picturisation.

Song-Kitna achcha hota maalik agar main ladki hota (Inquilaab)(1956) Singers-Sonik, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Hansraj Bahl

Lyrics

Kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota
kitna achcha hota maalik
agar main ladka hoti
agar main ladka hoti
agar main ladka hoti
arre kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota

ithhla ke
bal khaa khaa ke main
chalti aise aise
ithhla ke
bal khaa khaa ke main
chalti aise aise
haay re allaah
gash kha kha ke
gir gir jaate
aashiq majnu jaise mere
aashiq majnu jaise
main galiyon mein
khhee khhee hansta
he he he
main galiyon mein
khhee khhee hansta
aashiq mera rota rota
kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota
kitna achcha hota maalik
agar main ladka hoti
agar main ladka hoti
agar main ladka hoti

har achchi soorat ke peechhe
bhaagtaa aise aise
har achchi soorat ke peechhe
bhaagtaa aise aise
mere dil mein dard e muhabbat
jaagta aise aise
mere aage peechhe phirti
haseen Khan ki poti
haseen Khan ki poti
hahahaha
kitna achcha hota maalik
agar main ladka hoti
agar main ladka hoti
agar main ladka hoti
haay kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota

jab mere ghar ke baag mein koi
seetee bajaata aake
arre seetee bajaata aake
chilman ke parde ke peechhe
chhup jaati sharma ke haay main
chhup jaati sharma ke
mere baag mein tain tain karta
kisi ke dil ka totaa
o mere baag mein tain tain karta
kisi ke dil ka totaa
totaa totaa
kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota
kitna achcha hota maalik
agar main ladka hoti
agar main ladka hoti
agar main ladka hoti

hoti jo ladka
ham akad ke chalta
moonchhon pe deta taaw
taaw
moonchho pe deta taaw
hoti jo ladka
ham akad ke chalta
moonchhon pe deta taaw
taaw
moonchhon pe deta taaw
har ladki se hans kar kehta
gori dil mein aao
haay
gori dil mein aao
mere dil ke har tukde pe
sau sau ladki roti
roti
kitna achcha hota maalik
agar main ladka hoti
agar main ladka hoti
agar main ladka hoti
haay haay
kitna achcha hota maalik
agar main ladki hota
agar main ladki hota
agar main ladki hota

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

“Inquilaab”(1956) was produced by Kailash Kapoor and J P Sahgal and directed by Kedar Kapoor for W S Films, Bombay. This movie had Ranjan, Shyama, Kuldeep Kaur, Tiwari, Ramesh Sinha, S K Prem, Indu Paul, Praveen, Khairati, Pt Iqbal, Pal Sharma, Khursheed, Bihari, Bakshi, Sando, Bachcha, Sundar etc in it with guest appearances by Helen, Sapru, Bhagwan and Johny Walker.

“Inquilaab”(1956) had eight songs in it. Seven songs from the movie have been covered in the past. Here are the details of the songs of “Inquilaab”(1956) already showcased in the blog:-

Here is the eighth and final song from “Inquilaab”(1956) to appear in the blog. The song is sung by Rafi, Balbir and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by Hansraj Bahl.

The song is picturised as a lighthearted qawwaali lip synced by lots of people including Johny Walker, Sundar etc. Their qawwali is being watched by many people including Shyama and her friend (whom I am unable to identify). There is no clear cut demarcation about who sings in whose voice. we find Johny Walker lipsyncing in Rafi’s voice and also Balbir’s voice. Same is the case with Sundar and a few others.

The qawwaali half jokingly mentions lovers missing their beloved at “raat ke paune teen baje”(at 2:45 AM after midnight)

I thought of posting this writeup at “raat ke paune teen baje” but then thought better of that. Most of us HFM lovers do not miss out beloved at “raat ke paune teen baje”, I am sure.

I request our knowledgeable readers to help identify the actors visible in the picturisation of this song.

With this light hearted qawwaali song, “Inquilaab”(1956) joins the list of movies that have all their songs covered in the blog.

Song-Teri yaad mein ashq bahaate hain (Inquilaab)(1956) Singers-Rafi, Balbir, Lyrics-Raja Mehdi Ali Khan, MD-Hansraj Bahl
Rafi + Balbir
Chorus

Lyrics

aa aa aa
mere kooche mein jaalim
apni galiyaan chhod ke aaja
aa aa aa
tujhe roka hai kisne ae ae
dil ka taala tod ke aaja
aa aa aa aa aa aa
teri
waah bhai waah
o teri yaad me ashq bahaate hain
teri yaad mein ashq bahaate hain
hum raat ke paune teen baje
hum raat ke paune teen baje
hum raat ke paune teen baje

aa aa aa aa aa aa
deewaaron se ser takaraate hain
aa aa aa aa
deewaaron se ser takaraate hain
deewaaron se sar takaraate hain
hum raat ke paune
teen baje
hum raat ke paune teen baje
hum raat ke paune teen baje

aa aa aa aa aa
aa aa aa aa
rah rah ke hume yaad aata hai
kya
haaye jalwa us harjaayi ka
aa aa aa aa
kabhi uthata hai
o ho ho ho
ek kabhi baithata hai
aah
is dil mein dard judaai ka
haan haan
aa aa aa
geedad ki tarah chillaate hain
aa aa aa
geedad ki tarah chillaate hain
geeidad ki tarah chillaate hain
hum raat ke paune
teen teen teen teen baje
hum raat ke paune teen baje
hum raat ke paune teen baje

aa aa aa aa aa
aa aa aa aa aa
armaan humaare raaton ko
murgon ki tarah se ladte hain
murgon ki tarah se ladte hain
murgon ki tarah se ladte hain
ye aankhen pathhraa jaati hain
jab ishq ke daure padte hain
jab ishq ke daure padte hain
jab ishq ke daure padte hain
oho amma amma
aho beta
amma amma chillaate hain
amma amma chillaate hain
amma amma chillaate hain
hum raat ke paune teen teen teen teen teen baje
hum raat ke paune teen baje
hum raat ke paune teen baje

aa aa aa aa aa aa
jab pyar bhari donon aankhen
tere khwaabon mein kho jaati hai
tere khwaabon mein kho jaati hai
tere khwaabon mein kho jaati hai
haay
tere khwaabon mein kho jaati hai
tere baap ki wo lambi moonchhen
rah rah ke humen yaad aati hai
rah rah ke humen yaad aati hai
ye badi badi moonchhen
rah rah ke hume yaad aati hai

khatiya ke tale haaye haaye
khatiya ke tale chhup
aa aa aa
khatiya ke tale chhup jaate hain
khatiya ke tale chhup jaate hain
hum raat ke teen teen teen teen baje baje baje baje
hum raat ke paune teen baje
hum raat ke paune teen baje
aa aa aa aa aa
hum raat ke paune teen baje
hum raat ke paune teen baje
aa aa aa aa aa aa
haaye hum raat ke paune teen baje
hum raat ke paune teen baje
oy oy oy oy oy
hoye hum raat ke paune teen baje
hum raat ke paune teen baje
aa aa aa aa aa
hum raat ke paune teen baje
teen baje teen baje teen baje
teen baje teen baje teen baje

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.

“Rangeeli”(1952) was produced by Gulistan and directed by Najam Naqvi. This “social” movie had Rehana, Raj Kumar (Johny fame, making his debut), Yakoob, Mumtaz ali, Balam, S Nazeer, Eruch Tarapore, Lela Mishra, Cgandabai, Surendra Junior, Baby Sheila, Aggan, Kathana, Bazid Khan, Omkar Devaskar etc in it.

The movie had nine songs in it. Two songs have been covered in the past.

Here is the third song from “Rangeeli”(1952) to appear in the blog. The song is sung by Lata and chorus. Raja Mehdi Ali Khan is the lyricist. The music, which sounds archtypically C Ramchandra like, is composed by Chick Chocolate, who was assistant to C Ramchandra those days.

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

It is a nice hummable song to listen to.

Song-Ham nainon mein laaye hain pyaar (Rangeeli)(1952) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-Chic Chocolate
Chorus

Lyrics

hum nainon mein laaye hain pyaar
kya hai marzi tumhaari sarkaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar
hum nainon mein laaye hain pyaar
kya hai marzi tumhaari sarkaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar

jage hain armaan uthhe hai toofaan
uthhi jawaani pukaare
jawaani pukaare
jeevan ki naiya haaye haaye re daiya
kaise lagegi kinaare
kaise lagegi kinaare
bana ke tumhen khevan haar
karenge jeevan ki naiya paar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar
hum nainon mein laaye hain pyaar
kya hai marzi tumhari sarkaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar

raati suraati dil ne jo dekhi
aankhen ye sapne tumhare ae
aankhen ye sapne tumhaare
sapnon ke raaja aa aa
sapnon ke raaja
khud hi samajh lo
kya hai nazar ke ishaare
kya hai nazar ke ishaare
jab aankhen ye hoti hain chaar
kehti hain nigaahen har baar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar
hum nainon mein laye hai pyaar
kya hai marzi tumhaari sarkaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar

kaise bataayen kya kya hai dil mein
kuchh bhi kaha na jaaye
kaha na jaaye
haaye re kiya hai kaisa ye jaadu
tum bin raha na jaaye
tum bin raha na jaaye
muhabbat kehti hai sarkaar
ab jeena humen hai dushwaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar
hum nainon mein laaye hai pyaar
kya hai marzi tumhaari sarkaar
bolo ji dil loge
kaho ji dil loge
bolo sarkaar

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.

“Nirdosh”(1950) was directed by Najam Naqvi for Filmistan. The movie had Shyam, Rehana, Misra, Om Prakash, K. N. Singh, S. M. Abbas, Kuldip Kaur, S. L. Puri, Mukri etc in it.

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

Here is the second song from “Nirdosh”(1950) to appear in the blog. The song is sung by Meena Kapoor. Raja Mehdi Ali Khan is the lyricist. Music is composed by Shyam Sundar.

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

Song-Dil ke tukde tujhe seene se lagaa loon aaja (Nirdosh)(1950) Singer-Meena Kapoor, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar

Lyrics

dil ke tukde tujhe seene se laga loon
aaja
apni soyi hui taqdeer jaga loon
aaja
dil ke tukde

meri barbaad mohabbat ki nishaani tu hai
meri barbaad mohabbat ki nishaani tu hai
meri beeti hui khushiyon ki kahaani tu hai
dil mein rakh loon
dil mein rakh loon tujhe aankhon mein bitha loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde

ae meri pyaar ki tasveer meri god mein aa
ae meri pyaar ki tasveer meri god mein aa
meri hansti hui taqdeer meri god mein aa
ae mere chaand
ae mere chaand
diye dil ke jala loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde

maa bulaati hai
meri jaan tu aata nahin kyun
maaan bulaati hai
meri jaan tu aata nahin kyun
apni bahon ke mujhe haar pahnata nahi kyun
aag jo dil mein lagi hai wo bujha loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde

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

Today, Jaunuary 5th is 37^th death anniversary of our dear Chitalkar Ramchandra. How can we miss our Anna Saheb today from our musical Blog, ASAD?

So here is a song from 1949 film “Namoona”, sung by the undisputed Gaan Saraswati, Hema Hardikar.

A social film produced by M & T Films, Bombay, (for those who wonder at this name, a little info that the city Mumbai was called ‘Bombaay’ then.) and directed by Heera Singh, the cast included Kamini Kaushal, Dev Aanand, Kishore Sahu, Leela Chitnis, Cuckoo Moray, Gulab, Pratima Devi, Madan Puri, Heera Sinha, Shyama, Shanti Madhok, Sanyal, Narmada Shankar, S Bose, Niranjan, CP Dixit, CL Shah, Gopal Sharma, Madan Shetty, BN Avasthi, Swartha, Malhotra and others.

There were six Lyricist viz, PL Santoshi, Nakhshab, A Shah Shikarpuri, Gulshan Jalalabadi and Raja Mehdi Ali Khan. Music was set by our Anna Saheb Chitalkar Ramchandra. There were nine songs, 4 Hemaji’s solos one duet of Hema-Rafi and 4 songs by Shamshad Begum. Six songs are already present in our Blog.

On the occasion of 37^th remembrance anniversary of C Ramachandra, I have selected a pathos filled song of my liking which is a rare song with GOOD taste. The song is ‘mujh ko sazaayen deke kisi ke gunaah ki’ from Namoona 1949. The song is sung by Hema. The lyrics are penned by Raja Mehdi Ali Khan. The composition is melodious.

Editor note-Those who wonder who Hema Hardikar is, that is the original name of Lata Mangeshkar.

Video (First stanza incomplete)

Audio (Last stanza missing)

Song-Mujhko sazaayen de ke kisi ke gunaah ki (Namoona)(1949) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra

Lyrics (Provided by Sadanand Kamath)

Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

nanhe se ek dil ko diye toone gham pe gham
nanhe se ek dil ko diye toone gham pe gham
is zindagi ki raah mein ab thhak gaye kadam
main dhool bhi na ban saki preetam ke raah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

ab kya kahoon ke dard se main choor choor hoon
ab kya kahoon ke dard se main choor choor hoon
mujhko in aansuon ki kasam bekusoor hoon
tujhko pukaare bebasi meri nigaah ki
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki ee
mujhko sazaayen de ke

duniya mein ab mere liye koi khushi nahin
duniya mein ab mere liye koi khushi nahin
jeene ko jee rahi hoon magar zindagi nahin
ab maut se karoongi main soorat nibaahti(?)
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

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

“Hatimtai”(1956) was produced and directed by Homi Wadia for Basant Pictures, Bombay. This movie had Shakila, Jairaj, Naina, B M Vyas, S N tripathi, Meenakshi, Sheikh, Krishnkumari, Vasantrao Pahalwan, Qamar, Kamal, Dalpat, Wazir Mohammad Khan, Menka, Shree Bhagwan, Sardar Mansoor, Kusum, Poonam, Habib Sandow, Nagpal, Master Pakkoo, Vitha, Manda, Abdullah, Pushpa, Bismillah, M K Hasan, Mitthu Miyaan, Geeta, Chanda etc in it.

The movie had nine songs in it. Five of these songs have been covered in the past.

Here is the sixth song from the movie to appear in the blog. the song is sung by Rafi, Suman Kalyanpur and chorus. Raja Mehdi Ali Khan is the lyricist. Music is composed by S N Tripathi.

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

Song-Jaane waale o jaane waale (Hatim Tai)(1956) Singers-Rafi, Suman Kalyanpur, Lyrics-Raja Mehdi Ali Khan, MD-S N Tripathi
Both
Chorus

Lyrics

jaane waale
o jaane waale
jaane waale khuda ki rahmaton ka tujh pe saaya
jaane waale
khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale
o jaane waale
jaane waale
o jaane waale

?? tera allah ho waali
dil tera ho gham se khali
martaba tera ho aali
ho teri duniya matwaali
ho teri duniya matwaali
pyaar tera allah ho waali
dil tera ho gham se khaali
martaba tera ho aali
ho teri duniya matwaali
ho teri duniya matwaali

ulfat bhare dilon ne jhoom ke ye nagma gaaya
ulfat bhare dilon ne jhoom ke ye nagma gaaya
jaane waale khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale o jaane waale
jaane waale o jaane waale

dushmanon ki haar hui
naav teri paar hui
zindagi bahaar hui
pyaar se gulzaar hui
pyaar se gulzaar hui
dushmanon ki haar hui
naav teri paar hui
zindagi bahaar hui
pyaar se gulzaar hui
pyaar se gulzaar hui
chalte chalte dilon ka kaarwaan manzil pe aaya
chalte chalte dilon ka kaarwaan manzil pe aaya
jaane waale khuda ki rahmaton ka tujh pe saaya
jhoome jhoome khushi se aasmaan
wo din hai aaya
jaane waale o jaane waale
jaane waale o jaane waale

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

Today’s song is from the film Toote Khilaune-54. It is produced by N.Mehta, directed by Nanabhai Bhatt and the music Director is my favourite – Chitragupt. The cast of the film was Shekhar, Purnima, Gulab, Ranjeet Kumari, Master Romi, Babu Raje, a dog called Ginger and Guest artiste Asha Mathur.

This was a typical family film, involving a too much interfering Mother in law, a foster son and a loving step mother. The decade of the 50s was a period when the film makers were trying their best to give something to everyone. Films of almost all Genres were made in this decade. This decade was a Bridge Period between the old style music and the film making and the New Age films and the Music.

Sadly, the melody in Music had died a slow death, along with the phased exit of composers of the 40s and the 50s. Though emergence of New Age music makers kept the country on par with the changing world tastes, the Music, in particular, suffered the demise of melody and sweetness in film music. Earlier too,songs were inspired by foreign tunes, but the new age music based on foreign tunes was more noisy and instrument dominant, rather than the melody of tunes and singing styles. The 1959 film ‘ Dil deke dekho’ heralded loudly the coming of new age music from then on.

One can not blame the music makers alone, because not only the tastes of audience were changing, but also a whole new generation of producers, directors, actors, singers and composers was replacing the older one step by step. No change takes place overnight. One always gets the warning signals well in advance. Change is inevitable. Either accept change or perish !

Music composers from the 40s and 50s did survive in the 60’s decade, but they were relegated to B and C grade films. Very few composers remained A grade even in 60 or the early 70s. Ultimately, they had to give way to new music. This change was seen as the ” end of the Golden Period” of film music.

Cases like that of Chitragupta and others of his ilk were different. They operated long time but never became A grade. However, it was to their credit that even then, they composed melodious songs which delighted lovers of good music. That is why I like Chitragupt songs. Pick them up from any film and you will not be disappointed as far as melody and good tunes are concerned.

Songs of Toote Khilaune-54 are no exception. Songs were very sweet. There were 8 songs (this was another change that took place in the 50s onwards. Now films had songs less than 10 on average- unlike 10 to 15 songs in 40s and 15 to 20 songs in the 30s). 3 songs are already discussed here. Today’s song is 4th song. This is a duet sung by Chitragupt and Shamshad Begum.

From the cast, I have written about Shekhar and Purnima in my earlier posts. The 3 odd names appearing in the cast are Gulab, Ranjeet kumari and Asha Mathur. Ranjeet kumari’s name was Ranjit kaur. She was a sikh from Punjab. She acted in only 8 films, from Matwali Meera-40 to her last film Toote Khilaune-54. She got married to actor Ramsingh and moved with him to his village in U.P. to become and remain a housewife till her last day.

One of the few educated actresses of her times, Asha Mathur (Sohan Singh in real life) studied up to B.A. Both Asha Mathur and Bina Roy were introduced by Kishore Sahu in Kali Ghata (1951). While Bina Roy was relatively more successful among the two and did some memorable movies including Anarkali (1953) and Taj Mahal (1963), Asha Mathur was relegated to obscure mythical and costume films including Alif Laila (1953), Rajyogi Bharthari (1954), Malka-E-Alam Noorjehan (1954), Amar Kirtan (1954) etc because of her lackluster performances. Her most memorable role was in Poonam (1952), as a suffering wife of Ashok Kumar. She married famous director of her times Mohan Sehgal and left films. She acted only in 18 films. Her last film was Taqdeer-58.

Asha Mathur is a forgotten name today except for the few popular songs picturized on her – Humsai na poocho koi pyra kiya hai (Kali Ghata, 1951) and Baanki adayein dekh na ji dekh na(Amanat, 1955).

One of the beauties of old films was Gulab. The First actress form Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

The story of film Toote Khilaune-54 , as found on Cineplot, is…..Pragati Pictures’ “Toote Khilone,” premiered at the Roxy Theatre on March 19th, 1954 is pro­duced by N. Mehta and directed by Nanabhai Bhatt and it is a very good film based on a story-idea whose truth and simplicity invest it with an irresistible appeal.
The deeply moving and very human story, sensitively enacted by Shekhar, Purnima, Asha Mathur and little Romi, tells of a little child and his bewildered sorrow in the midst of do­mestic troubles.

Written by Akhtar Mirza, the story centers on a young married couple and their little son who dotes on his mother’s cousin, Sheela. When the mother dies of cancer, Sheela stays on to look after the little boy and eventually marries his father.

Trouble arrives in the shape of Sheela’s mother who moves into the happy household and builds up in her daughter a resentment against the child. The poisonous insinuations of the older woman turn Sheela into a confused and bitter foster-mother, but kindness and love triumph when the heart-broken child runs away. The film reaches a cleverly presented climax in which Sheela and her husband find the child safe and all three happily return home.

Playing his role with restraint and sym­pathy is Shekhar who puts over a fine perform­ance as the boy’s father. His portrayal of a man who marries a second time so that his child may have a mother is quite flawless.

As the young wife, Purnima is superb. Hers is a natural and convincing performance, done with a fine understanding of the role.

A superb performance comes from Romi, as the little boy caught up in a web of circumst­ances he cannot understand. He is utterly lov­able and, together with the wonderful canine star, Ginger, he walks away with the picture’s honors.

Gulab turns in another one of her brilliant cameos as the interfering mother-in-law, and Asha Mathur gives an appealing and warm in­terpretation of the tragic role of Shekhar’s wife.

The fine supporting cast is headed by Ranjit Kumari and Babu Raje who provide the comedy relief as the kind, devoted servants.

Gay and appealing dances punctuate the story, and the songs, with the music composed by Chitragupta, are melodious.

“Toote Khilone” is a charming film, well directed and acted, with polished production values and excellent sets, decor and photogra­phy.

Let us now enjoy the melodious duet of Chitragupt and Shamshad Begum from film Toote Khilaune-54.

( Thanks to Cineplot, directory of Films-1948 and my notes)

Song- Tere pyar mein huye badnaam hum, lote ki kasam, thali ki kasam (Toote Khilaune)(1954) Singers- Chitragupta, Shamshad Begum, Lyricist- Raja Mehdi Ali Khan, MD- Chitragupta
Both

Lyrics

Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam
Tere pyaar mein huye badnaam hum
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
din raat muhabbat mein teri
choolhe ki tarah hum jalte rahe
haaye jalte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe
hum dil ki kadhaahi mein baalam
tere pyaar ke bhajiye talte rahe
choolhe ki tarah hum jalte rahe
jalte rahe subaho shaam hum
koyle ki kasam lakdi ki kasam
koyle ki kasam lakdi ki kasam
tere pyaar mein huye badnaam hum
lote ki kasam thhaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam

nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake
nainon ki rakaabi mein rakh ke
hum pyaar ki barfi laa na sake
haaye laa na sake
tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
o tera jalwa meethha halwa hai
jee bhar ke ise hum khaa na sake
jee bhar ke ise hum khaa na sake
tum piste aur baadaam hum
pede ki kasam barfi ki kasam
pede ki kasam barfi ki kasam
Tere pyaar mein huye badnam hum
lote ki kasam, thaali ki kasam
lote ki kasam, thaali ki kasam
bhoole ghar ke sab kaam hum
aaloo ki kasam gobhi ki kasam
aaloo ki kasam gobhi ki kasam

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

Today’s song is from film Captain Kishore-1957. It is sung by Geeta Dutt under the baton of the magician of melody-Chitragupt.

Today I am deviating from my usual style of writing, because I am writing on my favourite singer- Geeta Dutt. So, no biography of any artiste and no other details. Only Geeta Dutt !

Long back, in our management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. We were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits,added his own and started reading. The result was Macleans’-8, Kolynos-7, Colgate-7, Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessary always, will lead in all consumer groups. It is a collective total which gives the leader its position.

The same is the case in any other field. Take the case of female playback Singers. From 1950s to 1970s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.

When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song,you feel like tapping or dancing. It seems like as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally dont believe she ever compromised in her performance. Whether she sang for a well known composer,or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain,Pt.Harbanslal or Rajhuns,she put all her soul and skill in rendering the song.

There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jaadu bhare more nain’ were very melodious and became quite popular,the film had flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in the year 1957, Geeta suffered on 2 counts. One,O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed desire to completely stop singing in the year 1957.

In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of Golden Age of HFM for ever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made,it was evident that all the songs will go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehersals were done for”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference fro the Producers or the Directors. Shakti da wanted that song to go to Geeta,as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously,Nayyar accepted the suggestion without a word of protest. May be his conscience was biting him,or may be he too thought on those lines. Whatever be the reason,Geeta was summoned next day and the song was given to her. The rest is History…….as they say !

The Dance Director was A Satyanarayana,who participated in almost every club dance he choreographed. He did an excellent job for this song and the song became the highlight of the film,along with Asha’s ‘Aayiye meherban’. This is my most favourite song for 3 reasons.One-the tune is very catchy, two-Geeta ji’s voice is very seductive here and three-the choreography of the song is just superb !

Now, cut to….

City- Bombay

Date- 20th July 1972
Place- Harkissondas Hospital,Bombay

Few people were standing in the corridor . Anxiety,sorrow,helplessness and a little hope was clearly writ on their faces.They were all quiet.No one was talking to anyone.Their body language gave away their agony and restlessness.

Suddenly,a Doctor came out of a patient’s room.All ran to him and then stopped.The Doctor’s face and the tears in his eyes told them what they were afraid of !
No one said anything.No one asked anything. The Doctor said, ” I am sorry.She is no more.” He left, dragging his heavy feet.

The end of an Angel had come !
Geeta Dutt was gone for ever !!
Only her memories and the inimitable voice was left behind !!!

Born on 23-11-1930 at Idlapur in Fareedkot District of East Bengal,to a big Zamindar,Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music.She learnt Classical Music from Pt.Hirendranath Chaudhury,while studying in an Anglo-Bangla school.

When she was just 12 year old,the family had to run away from East Bengal,to save their lives-leaving all property behind- to Bombay. In Bombay,we all know how Pt. Hanuman Prasad,MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing,he knew instinctively that this was the voice which will make him successful and establish in Bombay.Till then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘-47, he had to convince Chunilal of Filmistan,with great difficulty.

Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in Top league overnight.

Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela, Shehnai and Saajan-47 ( C.Ramchandra), Geet Govind-47 (Gyan Dutt), Actress-48 (Shyamsunder), Chunariya-48 (Hansraj Behl), Padmini-48 (Ghulam Hyder) and Ek thi Larki-49(Vinod).

1950 was Geeta’s year.Many hits came – Banwre nain, Har Har Mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.

Before recording, Geeta used to sit with Lyricist,understand the words and the implied meanings, then hear the tune from the composer and then sing in her own style. Basically, Geeta was very Gifted and hence with just one rehearsal, she could record the song to the entire satisfaction of all concerned. This made her the darling of the Composers.

Now,the newer MDs like,Hemant kumar, Vasant Desai, Madan Mohan and O P Nayyar also vied with each others to take Geeta. While doing Baazi -51, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing,but that time Guru Dutt was not that successful.Some magazines and Papers,said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others,restricting her to only his films.This suffocated her and she rebelled against it,which spoiled their relationship further.

Geeta had a liking and flair for acting. In Calcutta,she had acted as a Heroine in Bangla film-‘ Badhu Baran”. She got many offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘,with Geeta as a Heroine had started,but unfortunately,after few reels,the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming ‘ Gauri” with Geeta as a heroine. However due to reasons well known to all, Geeta gave up this Bangla film, half way. This made the couple more distanced from each others. We all know the story’s end…..

Somewhere in 1971,there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there.Many singers had come there-Rafi, Mukesh, Mahendra kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came,sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Gazal of Shakeel Badayuni. When she finished,there was a clapping louder than what Lata had received,from the Audience-people knew her value !!

Geeta was optimistic even in 1971. She used to say, ‘ If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar turned their backs on her. The Destiny decided to call her back !!!

One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, UmaDevi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician,so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing !

Geeta’s voice was typical Bengali.She sang sad songs most wonderfully. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet sometimes Namkeen. It had a depth. In this case, Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang,’ Baat chalat nayee chunari’, you felt she would have been a better singer- classical singer than Laxmishankar. When she sang,’ Main to Giridhar ke ghar jaoon ‘, you felt Oneness with God,hearing her Bhaktiras dripping voice.

Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every Bhajan.

While singing Club songs, Geeta was a different person. Just recall that ‘Hey hey hey hey before Tadbeer se bigdi hui taqdeer bana le song or listen to O Babu O Lala or Mera naam chin chin chu, then you will realise what I am saying !

One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and female versions of songs and many singers have sung them.While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.

Both Asha and Lata lost on this count.

You will remember Kishore’s ” Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in ” Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of ” Khilte hai gul yahan’.

When it comes to Geeta, she never lost to male versions. C H Atma’s ” Preetam aan milo” is remembered by less people than Geeta’s ” Preetam aan milo” from Mr. and Mrs.55 (same song. Written by Saroj Mohini Nayyar, O.P.’s wife). Geeta’s “Kaise koi jiye (Baadbaan)” is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and ‘ Na ye chand hoga”(Shart). In both songs, Geeta is superior and more popular than Hemant kumar. (There is a story behind the song-Na ye chaand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain, tumhare rahenge, Na ye chand hoga, na tare rahenge, magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).

On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha,Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage, drew Harmonium near her and started singing ‘ Pag ghungaroo bandh…” .

I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Giridhar ke ghar jaoon”………………….

( My thanks to Geet yatri by Madhav Moholkar, Smaranyatra-by Subhash chandra Jadhav, and Hamari yaad aayegi by Arun Puranik, and geetadutt.com ,from which I have used some information for this article.)

Song- Dekho ji dil na todo nahin to main ro doongi (Captain Kishore)(1957) Singer- Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

Dekho ji dil na todo
nahin to main
ro doongi
chhodo jee zidd ye chhodo
nahin to main
ro doongi

dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
necklace mangaa do jee
locket dilwa do jee
tik tik kare jo ghadi
chhoti si wo laa do jee
gahnon se mujhko saja do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
London mein ghoomoongi
Paris mein jhoomoongi
Roos ke laal laal phoolon ko main choomoongi
jaldi se ticket mangwa do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
naghme sunaaoongi
jaadoo jagaaoongi
apne ishaaron pe
main sab ko nachaaungi
yes keh ke mujh ko hansa do
nahin to main
ro doongi
Dekho ji dil na todo
nahin to main
ro doongi

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“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram Singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.

This song, now regarded as a landmark movie, had seven songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Shaheed”(1948) to aappear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) who was then very young. Her fresh and raw voice sounds so refreshing even today !

Raja Mehdi Ali Khan is the lyricist. Music is composed by Ghulam Haider.

The song is lip synced by Kamini Kaushal. Dilip Kumar is also briefly visible in the picturisation. Another lady (or is it Kamini Kaushal herself ?) is also seen. I request our kowledgeable readers to help identify her.

Song-Aaja bedardi baalma koi ro ro pukaare (Shaheed)(1948) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

aaja bedardi baalma
koi ro ro pukaare
aaja bedardi baalma
koi ro ro pukaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

meri duniya bas kar ujad gayi
ujad gayi
meri duniya bas kar ujad gayi
ujad gayi
bulbul thhi
bulbul thhi main
phoolon se bichhad gayi
bichhad gayi
taqdeer ne aaker loot liye armaan hamaare
main to bisaaroon zaalma
mera dil na bisaare

barbaad hoon main
barbaad hai dil
o jaane waale phir aa mil
phir aa mil
o jaane waale phir aa mil
phir aa mil
mere dil ki
mere dil ki bagiya jaaye khil
phir aa mil
haay taras gaye teri ek jhalak ko nain bechaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

main
do din ki mehmaan piya
main
do din ki mehmaan piya
mohe chhod chale hain praan piya
praan piya
mohe chhod chale hain praan piya
praan piya
aaya gham ka
aaya gham ka ik toofaan piya
toofaan piya
haay deepak ban ke
kaanp rahe hain praan hamaare
main to bisaaroon jaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare
aaja aaja