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Tera wo raasta mera wo raasta

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

“Shakka”(1981) was produced by Kailash chopra and directed by Shyam Ralhan for Roop Enterprise. The movie had Jeetendra, Simple Kapadia, Zaheera, Om Shivpuri, Nirupa Roy, Satyen Kappoo, Helen, Pinchoo Kapoor, Paintal, Kunwar Ajit, Virendra Sharma, Sheetal, Birbal, Chandrashekhar, Momin Khan, Jagdish Raj, Kanchan Mattoo, Ram Mohan, Dolly Banerjee, Gurcharan,Sunil, Suman, Hangama, Soman, Master Tito, Baby Shalu, Changu, Lucky, Kamaldeep, R.S.Chopra, Harish Magon, Kirti Kumar, C.S.Aasie, Balraj, Jugnu, Mona Rajput, Ajitaab, Kavita Seth, Snehprabha, Ramesh, Bali, Kader Khan, Prem Chopra etc in it.

Today (7 april 2015) is the birth anniversary of Ravi Kapoor, better known as Jeetendra. Here is a song from “Shakka”(1981) on this occasion.

This song is sung by Asha Bhonsle and Rafi. Verma Malik is the lyricist. Music is composed by Rajesh Roshan.

The song is picturised as a party/ get together song where Simple Kapadiya and Jeetendra lip sync this song. Satyen Kappu, Zaheera, Prem Chopra are among those present in the occasion.

Lyrics of this song were sent to me by Prakashchandra.

Audio

Video

Song-Tera wo raastaa mera wo raasta (Shakka)(1981) Singers-Asha Bhonsle, Rafi, Lyrics-Verma Malik, MD-Rajesh Roshan

Lyrics(Audio version)(Provided by Prakashchandra)

sachchaai se kahaani ka
nayee se puraani ka
deewaane se jawani ka hai kyaa vaasta
tera woh raasta
mera woh raasta
tera woh raasta
mera woh raastaa

sunn basre ki hoor
tera nahin hai qusoor
hai jawaani ka guroor
zara bol aahistaa
tera jo hai raasta
mera wohi raastaa
tera jo hai raasta
mera wohi raastaa

hijr mein koyee
deewanaa na rotaa
husn agar duniya mein na hota
mehfil mein koyee jaam na hotaa
ye milnaa har shaam na hota
khizaan se bahaar ka
jeet se haar ka
dushmani se pyaar ka hai kyaa waasta
tera woh raasta
mera woh raasta
tera woh raasta
mera woh raastaa

sun basre ki hoor
tera nahin hai qusoor
hai jawaani ka guroor
zara bol aahista
tera jo hai raasta
mera wohi raasta
tera jo hai raasta
mera wohi raastaa

honthon pe koyee naam na hotaa
aankhon mein paighaam na hotaa
husn ka koyee naam na hotaa
ishq agar badnaam na hotaa
naaz bhari naazneen
o haseenon ki haseen
kar mujhpe yaqeen
zara bol aahista
tera jo hai raasta
mera wohi raasta
tera jo hai raasta
mera wohi raastaa

sachchaai se kahani kaa
nayee se puraani ka
diwaane se jawaani kaa hai kyaa vaastaa
tera woh raasta
mera woh raasta
tera woh raasta
mera woh raastaa

tumhein dil chaahiye
dildaar chaahiye
iqraar chaahiye inkaar chaahiye
taqaraar chaahiye mera pyaar chaahiye
le le mujhse jo mere sarkaar chaahiye

mujhe zindagi mein aish-o-bahaar chaahiye ae
ek apnaa alag sansaar chaahiye ae
mujhe sone aur chaandi ka ambaar chaahiye ae
mujhe chaahiye toh tere jaisa haar chaahiye
mujhe chaahiye toh tere jaisa haar chaahiye
mujhe chaahiye toh tere jaisa haar chaahiye
hurraaaa ahh
ki tik din
kkithhikk dinn



Tum jaano tum jaano ya ham jaanen

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

“Kaalicharan”(1976) was produced by N N Sippy and directed by Subhash Ghai. Subhash Ghai made his debut as a director with this movie. And this movie became a big hit at the box office.

There used to be a stylish left handed diminutive West Indian batsman called Kaalicharan those day. Most people those days had no doubt in their minds that the name of the movie was inspired by the name of the cricketer. This belief was further reinforced when Subhash Ghai’s next movie was called “Vishwanath” (1979), which was the name of a stylish right handed diminutive Indian batsman called Vishwanath. This team too turned out to be a big hit.

Subhash Ghai apparently ran out of names of suitable cricketers. His next movie was called “Gautam Govinda”(1979). People suggested that the name of Govinda was inspired from hockey player B P Govinda who would always lose possession of the hockey ball after taking the ball inside the opposition D. :) Many many years later, he would make another movie called “Yuvraj”(2008) but by that time I was no longer interested in watching Hindi movies.

“Kaalicharan”(1976) had four songs in it. Three of the songs have already been discussed in the past. Here is the fourth song from “Kaalicharan”(1976). This song is sung by Rafi and Asha Bhonsle alongwith chorus. Ravindra Jain is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a dance song on Shatrughan Sinha, Reena Roy and others. Ajit (log hamen LOIN ke naam se jaante hain) is the chief guest. After one stanza of the song, it starts raining and LOIN leaves the place without even taking leave of the organisers. Then the second stanza of the song becomes a rain song sung by Asha Bhonsle and lip synced by Reena Roy.

With this song, “Kaalicharan”(1976) joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Tum jaano tum jaano ya ham jaanen (Kaalicharan)(1976) Singers-Rafi, Asha Bhonsle, Lyrics-Ravindra Jain, MD-Kalyanji Anandji
All chorus
Male chorus
Female Chorus

Lyrics

hey
hey
hey
hey

arrey baar baar
o baar baar tumko hum sabka pranaam
hum sabka pranaam
o baar baar tumko hum sabka pranaam
tum kitne bade ho haan kitne mahaan
haan haan kitne mahaan
ye log bhala kya pehchaanen
tum jaano tum jaano ya hum jaanen
ye
tum jaano tum jaano ya hum jaanen

tumko bhole naath kahen
haan haan haan
tumko bhole naath kahen
ya bolen chakkardhaari
bolo
bolen chakkardhaari
hey
tere chakkar
tu hi jaane
kya jaane ye janta bechaari
jai jai gowardhan girdhaari
jai jai gowardhan girdhaari
hey maari gayi janta bechaari
jai jai maakhan chor muraari
tere roop hain hazaar
zyaada kehna hai bekaar
kyun hai teri jai jai kaar
ye log bhala kya pahchaanen
tum jaano tum jano ya hum jaanen
tum jaano tum jaano ya hum jaanen
tum jaano tum jaano ya hum jaanen

ho o o
o o o
o o
ho o o
o jhoom jhoom
jhoom jhoom aayi dekho barkha bahaar

dekho barkha bahaar
ho kaun kaun kis pe gaya hai dil haar
haan gaya hai dil haar
ye log bhala kya pehchaanen
tum jaano tum jaano ya hum jaanen
tum jaano tum jaano ya hum jaanen

ho o o
main hoon teri
ee ee ee
tu hai mera
main hoon teri
pyaasi dharti
geet hai tu saawan ka aa
geet hai tu saawan ka
tere prem ka rang barse to
rang badle jeewan ka
teri meri mulaakaat
nahin kal ki ye baat
ye to sadiyon ka saath
ye log bhala kya pehchaanen
tum jaano tum jaano ya hum jaanen
tum jaano tum jaano ya hum jaanen


Kaisa jaadoo daala ma banarasi roomaal waala

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

When I started collecting cassettes in 1985, I was very crazy about purchasing of cassettes at regular intervals; I was always searching for songs of old films (especially of Rajesh Khanna films at that time).

It was my practice, beginning from 8th standard onwards that I would take up some part time job during my vacations which I would give up as classes would resume. I had taken up a part time job during the vacation period after class 12th as well, but unlike the previous years, I did not go back to my classes this time, rather I continued with this job since I was aware that I was going to fail in my exams.

So, I continued with this job and did not join regular studies. At that time I was getting a paltry sum as wages.

***

Looking at my love for music one of my Uncles had given me an old cassette recorder, so I started purchasing cassettes that were within my means at that time.

Earlier it used to be at least one or two cassettes of economy range at a time for me. Later on it became 3 to 4 cassettes on Salary days. Sometimes I would also purchasing blank cassettes of TDK and SONY (which were costly for me then) and I would get my favorite selected songs recorded in them.
I would also make it a point to buy cassettes on special occasions, viz my own birthday, birthdays of my Father, Mother and my younger brothers, days of national importance etc. Then I would put on my signature and date of purchase on the cover of the album. This used to give me immense pleasure and satisfaction.

***
I was always on search for songs that were in my vague memory from my growing up years.

Most of the albums, compilations released would generally contain songs easily available or songs that were more popular in their time.
Some albums in between would have one or two songs that were rare, not heard frequently, or were not easily available in other source.

***
Now what used to happen is that if I was having a particular album or compilation of Singer, Music Director, any particular Actor/Actress or others, and if it had some missing songs in it which I felt should have been included there and they were available in some other sets, I would grab these cassettes as if there would be ‘no tomorrow’. (My boss also had once pointed out this to me – ‘tum to is tarah cassette kharidte ho jaise kal market mein ye sab gaane milenge hi nahin). During this “filling up the missing songs” purchase, I would get 5 or 6 “new” songs that would enable me to have all songs of my previously purchased albums/ compilations.

Sometimes these new cassettes would contain only one stanza of the missing songs sought by me and then I would reluctantly look for yet another additional cassette containing this full song.

If an album previously bought by me would have a a song missing and another album of the same movie contained that missing song then I would go in for buying the same album twice, just for the satisfaction of getting the one song that was missing in my collection.

Building up my music collection in a systematic way gave me a lot of satisfaction and for that matter it still gives me the same satisfaction (now with CD/DVDs).

***
Simultaneously, I would also keep a list of songs missing from my collection and continuing to elude me. I had a special diary (still with me) for this purpose. Then in the sub-section I had this list of ‘songs that bring back memories’ (which I have already discussed in detail in another post).

In this list there were ‘two’ songs which, I do not know why, I always felt that I had heard them on radio in the morning time in the distant past and that too between 09:30 to 10:00 timing.
One song was ‘joode mein gajra mat baandho’ and the other was ‘kaisa jaadu daala ’…

***
For many years I failed to get any audio album containing these songs. After getting into the ‘internet’ age, the habit of getting new audio albums has also slowed down. Moreover I am not getting as much time to listen to the songs on cassette recorder /CD player as I used to get earlier. Nowadays, I listen to such songs (time permitting) on our blog or on YT.

The tale of my search for the song under discussion was very interesting.

I only remembered one line of the song correctly and that was ‘kaisa jaadu daala..’ the other words in the song viz. … mabala teeru dalwaala/teen taalwaala … roomalwala etc etc were just my imagination.

The tune of this song had become permanently embedded in my memory and that too for this mukhda only.

Whenever I searched for it, my search would invariably leads me to the song ‘kaisa jaadu daala re (from the new film ‘Khakee’). Needless to say, I was not even aware of the name of the film either. I did not even know at that time (that I later found out) that it was a ‘duet’. I remembered it (incorrectly) as a solo by Rafi Saab.

When my repeated searches ended in failures, I was very frustrated and began to think that this must be non-filmy song or any other musical creation.

But, on one lucky day, my ‘wild guess searching’ was finally fruitful and I managed to discover this song on YT.

So, here is this special song from the 1968 Film called “Watan Se Door”. It is sung by Rafi Saab and Asha Bhonsle. It is composed by Lala Sattar. Lyrics are by Farooq Kaiser.

The song is picturised on Maruti and (?), I could not recognize the heroine in this song.
I would request our knowledgeable readers to throw more light on the star cast of the movie and on the stars involved in this song.

***

So, I finally managed to re discover this song recently that I had last heard during my childhood and which formed part of my childhood memories. Being reunited with this song after more than four decades was a frustrating, but ultimately successful exercise.

Music lovers like me had to go through lot of searching and running around to get the rare songs, forgotten songs, multiple versions, parts of songs, and other such “missing” songs in the past. Nowadays one can be certain that most such songs nowadays are available at the clicks of a few keys and are available right there on ‘atulsongaday.me’ … the magical blog of our lovely memories and musical journey so far!!!

So, today, when we are celebrating the birthday of this ‘special’ blog, I think it is the right time to share and re-live our individual ‘nostalgia’ and journey with the Hindi film songs in our life and overall getting a ‘new life’ after coming into contact with this fabulous blog …

Happy Birthday ‘atulsongaday’ and thanks for being a part of our lives !!!

Let us now enjoy this wonderful foot tapping ‘Hyderabadi- Hindi’ Song on this occasion!

Audio

Video

Song-Kaisa jaadu daalaa ma banarasi roomaal waala (Watan se Door)(1968) Singers-Asha Bhonsle, Rafi, Lyrics-Farooque Kaiser, MD-Lala Sattar

Lyrics

Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
Jaan tujhpe dega
Ma banaarsi roomaal waala

Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
o Jaan tujhpe dega
Ma banaarsi roomaal waala

Topi toone khidki kane
Topi toone
Topi toone khidki kane
Jaan ko uchhaala
Ma banaarsi roomaal waala
Meri khasam nikal nako
Meri khasam
Meri khasam nikal nako
Odh ko dushaala
Ma banaarsi roomaal waala

Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
O Jaan tujhpe dega
Ma banaarsi roomaal waala

Charminaar ke logaan mujhe
Charminaar ke
Charminaar ke logaan mujhe
Kehte madhubala
Ma banaarsi roomaal waala
Waah
Bibi aisa bol nako
Bibi aisa

Kyun kyun
Bibi aisa bol nako
Peechhe khadi khaala
Ma banaarsi roomaal waala

Haaye haaye
Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
Hoye hoye
Jaan tujhpe dega
Ma banaarsi roomaal waala

khaa ko paan
surmaa daanen
khaa ko paan
khaa ko paan
surmaa daanen
rang kya nikaala
Ma banarasi roomaal waala
dol gaye kadam kadam
dol gaye
dol gaye kadam kadam
hosh kya sambhaala
Ma banaarsi roomaal waala
Hoye
Jaan tujhpe dega
Ma banarasi roomaal waala

haaye kaisa jaadoo daalaa
Ma banaarsi roomaal waala

Kaise karoon pyaar tujhe
Kaise karoon
Kaise karoon pyaar tujhe
Rang hai tera kaala
Ma banaarsi roomaal waala
Rang ko mere ja tu nako
Rang ko mere

hahaaha
Rang ko mere ja tu nako
Dil hai pyaar waala
Ma banaarsi roomaal waala

Oye
Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
Jaan tujhpe dega
Ma banaarsi roomaal waala

Kar ko baataan pyaar ke ji
Kar ko baataan
Kar ko baataan pyaar ke ji
Kya samajh ko taala
Ma banaarsi roomaal waala

Majnu bane maati(?) mile
Majnu bane ae
Haay haay
Majnu bane maati(?) mile
Karko aaye ujaala
Ma banaarsi roomaal waala
O Jaan tujhpe dega
Ma banaarsi roomaal waala

Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
hoy Jaan tujhpe dega
Ma banaarsi roomaal waala

Kaisa jaadoo daalaa
Ma banaarsi roomaal waala
Jaan tujhpe dega
Ma banaarsi roomaal waala


Chhaayi ghataa baaghon mein mor boley

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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 18 # Duet-3 – Asha Bhonsle, Mohd Rafi
————————————————————-

On our blog we already have a film titled ‘Ustaad Pedro-1951’. There was a film titled as only ‘Pedro-1960’ which is yet to make a debut on the blog.

Today we have a song from the film ‘Ustaad Pedro’ which came in 1971. This film was passed by the censor board on 28.09.1971. It had Sheikh Mukhtar, Meena Rai, Jeewan, Padma Khanna, Asha Nadkarni, Kundan, Raka, Shyam Kumar, Helen, Junior Mehmood, Master Dingoo, Sadik, Hamid, Kaku, Fazlu, Bihari, B.A.Bagi and new face Anil Dutt. It was directed by Chand for ‘Time-Life Films, Bombay’. Music for this film was composed by C.Arjun and lyrics were written by Asad Bhopali.

The film had total 06 songs in it.

(As per HFGK there is only one duet song in this film sung by Asha Bhonsle and Mohd Rafi. However HFGK mentions this song as ‘bemurrawat tujhe samjhenge zamaane waale, na chura aankh mere dil ko churaane waale’, which I think must be starting lines for this song. All available YT links suggests this song from the film ‘Ustaad Pedro-1971)

Here is this lovely song, which I think, should have been a part of the ‘Asha-Rafi Duet albums’ released so far.

While noting down the lyrics of this song, I feel that I must have heard it sometime on Radio many years back. I guess that the actor/actress featuring in this song on screen must be Meena Rai and Anil Dutt (knowledgeable readers to share more information on this).

(And last but not the least, there is a good news for ‘Helen Fans’ – yes this movie also has a ‘Helen’ Song :) )

So today, on the occasion of Rafi’s death anniversary, here is this forgotten gem from “Ustaad Pedro”(1971).


Song-Chhaayi ghata baagon mein mor boley (Ustaad Pedro)(1971) Singers-Asha Bhonsle, Rafi, Lyrics-Asad Bhopali, MD-C Arjun

Lyrics

Chhaayi ghataa
Baagon mein mor boley

Chhaayi ghataa
Baagon mein mor boley ae
Chhaayi ghataa
Baagon mein mor boley ae
Phool khilne ka mausam aa gaya
O o o o
Laaj bhari aankhiyon mein pyaar doley ae
Laaj bhari aankhiyon mein pyaar doley
Galey milne ka mausam aa gaya
Sach …

Fizaa kuchh bhi kahe
Lekin
Haaye re majboori
Kis baat ki
Jo tum sang nahin
To phir
Bhaaye nahin rimjhim
Barsaat ki
Sajna ye boonden bhi shole hain shole
Chhaayi ghataa baagon mein mor boley
Phool khilne ka mausam aa gaya
Aa aa aa aa
Laaj bhari ankhiyon mein pyaar doley
Haay
Galey milne ka mausam aa gaya

Chal chal

Aji maine kahaa
Bolo
Dard uthha dil mein
Wo kis liye
Kareeb aaun zaraa
Unh unh
Pyaar hai mushkil mein
Wo kis liye
Dil leke bante ho tum kitne bhole
Haay
Chhaayi ghataa baagon mein mor boley
Phool khilne ka mausam aa gaya
Aa aa aa aa
Laaj bhari ankhiyon mein pyaar doley
Galey milne ka mausam aa gaya
Naa baba naa aa

Suno main to chali
Thhehro
Dekh na le koi
Parwaah nahin
Pehle waada karo

Kaisa
Ham kab milenge
Kal phir yahin
Tum jaise jhoothhon se kya koi boley
Chhaayi ghataa baagon mein mor boley

Phool khilne ka mausam aa gaya
O o o o
Laaj bhari ankhiyon mein pyaar doley

Galey milne ka mausam
Ha ha ha ha
ha ha

————————————
Devnagari Script Lyrics:
————————————

छायी घटा
बागों में मोर बोले

छायी घटा
बागों में मोर बोले ए
छायी घटा
बागों में मोर बोले ए
फूल खिलने का मौसम आ गया
ओ ओ ओ ओ
लाज भरी अंखियों में प्यार डोले
लाज भरी अंखियों में प्यार डोले
गले मिलने का मौसम आ गया
सच …

फिजा कुछ भी कहे
लेकिन
हाय रे मज़बूरी
किस बात की
जो तुम संग नहीं
तो फिर
भाये नहीं रिमझिम
बरसात की
सजना ये बूँदें भी शोले है शोले
छायी घटा
बागों में मोर बोले
फूल खिलने का मौसम आ गया
ओ ओ ओ ओ
लाज भरी अंखियों में प्यार डोले
हाय
गले मिलने का मौसम आ गया

चल चल

अजी मैंने कहा
बोलो
दर्द उठा दिल में
वो किसलिए
करीब आऊँ ज़रा
ऊंह ऊंह
प्यार है मुश्किल में
वो किसलिए
दिल लेके बनते हो तुम कितने भोले
हाय
छायी घटा
बागों में मोर बोले
फूल खिलने का मौसम आ गया
आ आ आ आ
लाज भरी अंखियों में प्यार डोले
गले मिलने का मौसम आ गया
ना बाबा ना आ

सुनो मैं तो चली
ठहरो
देख न ले कोई
परवाह नहीं
पहले वादा करो

कैसा आ
हम कब मिलेंगे
कल फिर यहीं
तुम जैसे झूठों से क्या कोई बोले
छायी घटा
बागों में मोर बोले

फूल खिलने का मौसम आ गया
ओ ओ ओ ओ
लाज भरी अंखियों में प्यार डोले

गले मिलने का मौसम
ह ह ह ह


Qadam badhaaye jaa na dar qadam badhaaye jaa

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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’s song is from the film Badaa Bhai-57, featuting Ajit, Kamini Kaushal, Anant Kumar and Ameeta. Naashad was the music director.

In the period 40s to 70s, Hindi film Heroes had always been under constant threat from two persons. No- not from the Producer or Director, but from the Comedian and the Villain !

There was a time in Hindi films when very popular and powerful comedians were ruling the industry. Comedians like Noor Mohd.Charlie, Yakub, Johnny Walker and finally Mehmood were so popular that they became a ‘Must’ in almost every film in their hey days. Producers and Distributors would insist that they were not only taken, but that some songs too are given to them, irrespective of whosoever was the Hero.

Heroes used to be wary of sharing screen presence with them. Sometimes the best songs of the films were shot on these comedians. Big stars like Dev, Raj and Dilip never allowed any comedian to have an upper hand in their movies, but all others had tough times with them. Over a period, their importance went on diminishing because no new comedians came up after Mehmood came up. Secondly, the comedy part in the film used to be done by the Hero himself. Scripts were written accordingly and slowly, the age of a separate Comedian in a film came to an end.

However, replacement for comedians came in the form of Villains. With the spurt of suspense, crime and murder mystery films in the 50s onwards, villains started becoming prominent. Some of the villains were quite popular. It is quite interesting to see how the rise of the villains came about in the films. In the 1940s when films with social themes were dominating, the mystery films were only very few. Still even in the social or family themes there always was a ‘Bad’ man somewhere. May be a Moneylender, a crooked brother in law, a corrupt manager or an undesirable suitor- all such characters were villains. In the 19*40s Yakub played these roles to the hilt. In many films, he used to be the most hated person.

In the 50s to 70s, the role of Villain was taken over by Pran, K N Singh and Ajit in that order. Pran used to plan takeover of property or money, K N Singh was active in clubs, dens and gangs. When Ajit came on the scene, he changed the entire image of the villain. He created a suave, sophisticated, well dressed and intelligent but cruel smuggler or a villain. All the three villains had such powerful roles that sometimes the audience would remember only them and not the Heroes.

All the villains-Yakub, Pran, K N Singh and Ajit started their career as Heroes.

Yakub made his debut as a Hero in Talaash-E- Haq- 1935. This movie was Jaddanbai’s first movie as a music director.

K N Singh became a Hero for in film Hawai Daku-1936

Pran was Hero from Khandan-42 till 47 in many films. He became a villain from 47 to 91 and He did character roles from 1948 to 2007.

Ajit was Hero for the first time in Janampatri 1949 till 1966. He bacame a villain for the first time in the film Sooraj (1966).

As Villains they were so popular and effective that the audience came to theatres only to see their acting. B and C grade Heroes were scared to share screen space with them. Among all the Villains, I like Ajit the most. He was a sophisticated villain, who was with the times and he did not do any dirty work like murder, dacoity or rape himself. He got it done by his cronies. In a way he was a rich villain. His Dialogue delivery was one of a kind.

Ajit was from Hyderabad. he was educated and was a gentleman in private life.

Hamid Ali Khan (27 January 1922 – 22 October 1998), better known by his stage name Ajit, was a prolific Hindi film actor. He acted in over two hundred movies in almost four decades.

Born Hamid Ali Khan, near the historic place Golconda, Hyderabad, Ajit had his early education in Warangal, studied in Govt. Junior College, Hanamkonda, Warangal district ofTelangana. Hamid was the son of Bashir Ali Khan, who was in the Nizam’s army, and had a younger brother, Wahid Ali Khan. Hamid entered the film industry to become a hero and did quite a few creditable films as lead artiste in Nastik, Bada Bhai, Milan, Baradari, Dholak and later as a second lead in Mughal-e-Azam and Naya Daur. Film director K. Amarnath, who directed him in his film as a Hero, Bekasoor-50, suggested that the actor change his long name of Hamid Ali Khan to something shorter, and Hamid zeroed in on “Ajit”.

Ajit, who ran away from home to Mumbai after selling his college books, started his career in films in the 1940s. Luck did not favour him in the initial stages. He met Govindram Sethi, who gave him a role in the movie Shahe Misra-46, acting with Geeta Bose He also did films such as Sikander-41 , Hatimtai (1947), Aap Beeti -48, Sone Ki Chidiya-48 and Chanda Ki Chandni -48, before becoming a Hero. His Debut film was Janmapatri-49,opposite Sudha Rao. His last film as a Hero was Paic in Baghdad-67. He did most films (15) with Nalini Jaywant. Ajit switched over to play the villain. His first movie as a villain was Suraj-66, followed by films such as Zanjeer and Yaadon Ki Baaraat.

His famous dialogues included the ‘Mona darling’ bit inYaadon Ki Baraat, ‘Lily don’t be silly’ in Zanjeer and the ones about a ‘Lion’ in Kallicharan. Ajit’s other well known films were Naya Daur, Nastik and Shikari to name only a few. In his four decades of film career, Ajit had acted along with the legendary Prithvi Raj Kapoor, Sohrab Modi, Amitabh Bachchan, I S Johar, Dilip Kumar, Dev Anand, Shami Kapoor, Dharmendra and many actress, both young and old.

In the mid-seventies he had acted in over 57 films, mostly as a villain. His dialogue delivery remains popular even to this date. His colleagues in the film industry —leading personalities who have acted with him, grown seeing him in Mumbai — had expressed deep sorrow over the death of the legendary actor.
Writer Javed Akhtar, who scripted Zanjeer, had said: “Like Bachchan, Ajit found a new image as villain after Zanjeer. He started a new innings in his career though he was an established hero in the fifties. His villainy started a new trend. Here was a new villain who was soft-spoken yet forceful. We wanted to give a different image to villainy which matched the hero.” His first marriage with a French girl-Gwen D’Mont- lasted only 5 years. Then he married Shahida Ali. He had three sons- Shahid Ali Khan, Zahid Ali Khan, Abid Ali .

Ajit almost always portrayed the sophisticated, educated, well groomed evil mastermind, albeit heartless villain. Ajit was presented in striking western attire, the “bold” checked suits, matching overcoats, white leather shoes, wide sunglasses, jewellery accessories etc. Given his stature as a senior artist; Ajit was usually the gang leader to second tier villains (such as Jeevan (actor), Prem Chopra, Ranjeet, Kader Khan, Sujit Kumar). He was rarely portrayed (in movie roles) doing any “dirty work” himself, rather relaying on his army of henchmen for the task, with zero tolerance for any failures. He always had a savvy female accomplice, usually named “Mona.” Acting in over 200 films, he specialized in playing suave villains with memorable catch-phrases delivered in now iconic Ajit style nasal drawls such as “Mona, darling”. Ajit also brought to fame the smuggler as the villain. In his movies, he is generally seen smuggling gold biscuits in or out of the country. It has also been noted that most of his gang members had Christian names like Robert, Michael, Peter etc. This also has been used for comic purposes in parodies.

It was the menacing voice he was most famous for. He is still remembered for bringing the most famous villains in the history of Indian cinema to life. His contemporaries include veteran actors like Amrish Puri, Pran, Prem Chopra and Amjad Khan. Some of his popularity in present time is due to the innumerable jokes and parodies made on his famous lines by comedians. (Compiled from Wiki, beete kal ke sitare and my notes.)

Film Badaa Bhai-57 was entirely shot in hyderabad. When the film was released in Hyderabad, hordes of people lined up to see their son of soil in their own land. The film was produced and directed by K. Amarnath, under his own banner. There were 8 songs in the film. Today’s song ( a 2 in 1 ) is the 5th and 6th song on the Blog.

The story of the film is-

Test of courage often endures. Ajit, it appears, was marked by destiny to prove this maxim. Circumstances had reduced him to a poor rickshaw walla but he didn’t accuse God or curse his fate but endured life as it came his way. By pulling rickshaw round the clock, he earned hardly more than what was essential to keep his family going which comprised his wife Lakshmi, daughter Munni and younger brother Prakash who was in the final year of his B.A.

Ajit and his wife curtailed the family budget so such an extent even some of the bare necessities of life had to be abandoned in order to save money for Prakash’s fees for the term. They put some money everyday in an improvised bank made of an empty wooden carton and every time pledged not to use a single pie on any other account. Prakash was conscious of his brothers plight and wanted to share his burden by coaching some students but Ajit didn’t let him deviate himself from his studies. He hoped Prakashs passing with flying colours shall land him in a good job in Public Service and the family shall enjoy a respite from deprivation.

At one time Providence seemed to smile magnificently on the family. Laxmi gave birth to a bonny son and Prakash topped the list of the successful candidates. Besides, Prakash had fallen in love with the daughter of the Police Commissioner, who instead resenting, appeared agreeable to even a matrimonial alliance. He held Ajit in high esteem due to his industry, honesty and truthfulness.

But Umesh, his son and a senior Police Officer, hated the very idea of his sister Uma’s friendship with the brother of a rickshaw walla. He tried to frighten Uma out of wits and argued with his father and when nothing could stop the impending marriage of Uma with Prakash he conspired Ajits murder at the hands of a gang of crooks responsible for every crime committed in the city of Hyderabad.

Ajit was shot at point blank range and was removed to a hospital in a precarious condition and when he recovered he was advised by doctors not to move from the bed for a few weeks but Ajit knew that the family fed on what he earned everyday. He sneaked from the hospital and returned home to discover that during his absence some thief had stolen the bank in which he deposited money for the fees. He despite medical advice being against his returning to work, took part in a rickshaw race and won a reward of 500 rupees and paid up the fees but this trail of courage almost cost him his life.

Prakash with the help of Police Commissioner entered the police department as junior officer and soon his betrothal was arranged with Uma. It appeared for a time that good days were on hand. Police Commissioner one day visited Ajits house to complete the preliminaries but there came a bolt from the blue and Prakash stopped the ceremony in the name of law and searched the house and found out the jewellery belonging to a dancer who was murdered and robbed the previous night. Younger brother Prakash arrested elder brother Ajit on charge of murder and robbery. Neither brotherly affection nor the voice of his conscience could change his course of duty.

Prakash was sure that his brother will never do this. However,the evidence was there. he started his secret investigations with the help of his friends. Soon he came to know that this was the work of umesh who had hidden this proof in their house, when they had come to visit their house. He also found out Umesh had connections with the underworld. Enough proof was collected and Prakash narrated everything to his Commissioner.
Umesh was arrested and Ajit was released with honour.


Song-Qadam badhaaye ja na dar qadam badhaaye jaa (Bada Bhai)(1957) Singers- Asha Bhonsle, Rafi, Lyrics-Ehsan Rizvi, MD-Nashaad
Chorus

Lyrics

qadam badhaaye jaa na dar qadam badhaaye jaa
qadam badhaaye jaa na dar qadam badhaaye jaa
ho paanv tale tere zameen jag pe chhaaye jaa aa
jag pe chhaaye jaa

ye kaun muskura diya ke phool khil gaye
phool khil gaye
ye kaun muskura diya ke phool khil gaye
phool khil gaye
pukaarta hai dil mera
wo mujhko mil gaye
mujhko mil gaye
khayaal mein basaaye ja
nazar milaaye ja aa
nazar milaaye ja
qadam badhaaye jaa
na dar qadam badhaaye jaa
ho paanv tale tere zameen
jag pe chhaaye jaa aa
jag pe chhaaye jaa

zamaane ki hawa lagi to dil ganwa diya aa
dil ganwa diya aa
zamaane ki hawa lagi to dil ganwa diya aa
dil ganwa diya
nazar koi mila gaya
ke man chura gaya
man chura gaya
sipaahi ban ke chor se na maat khaaye jaa aa
maat khaaye jaa
qadam badhaaye jaa
na dar qadam badhaaye jaa
ho paanv tale tere zameen
jag pe chhaaye jaa aa
jag pe chhaaye jaa

—————————————-

kare jo door mushqilen
usi ka naam le
kare jo door mushqilen
usi ka naam le
jo dil mein toone thhaan li
to dil se kaam le
dil se kaam le
kayi naseeb saath hain
unhen jagaaye jaa
unhen jagaaye jaa

jahaan ko peechhe chhod ke ae
jahaan ko peechhe chhod ke
tu daaon jeet le
zamaane ko jhinjhod ke
tu daaon jeet le
daaon jeet le
?? jaa
jagmagaaye jaa
qadam badhaaye ja
na dar
qadam badhaaye jaa
qadam badhaaye jaa aa
qadam badhaaye jaa aa
qadam badhaaye jaa aa aa

—————————————

qadam badhaaye ja na dar
qadam badhaaye jaa
qadam badhaaye jaa
qadam badhaaye jaa

alag na saathiyon se hon
qadam mila ke chal
alag na saathiyon se hon
qadam mila ke chal

andhere chhaaye hon jahaan
diye jala ke chal
diye jala ke chal

nayi zameen pe aasmaan naya banaaye jaa
naya banaaye jaa

qadam badhaaye jaa
na dar
qadam badhaaye ja


Chhoot gayeen sakhiyaan bhar aayeen ankhiyaan

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

Hindi movie music and cricket are two of the biggest pastime of Indians. Statistics play a big role in both.

The statistics of cricket are maintained extremely well. Scorecards of first class matches played more than hundred years ago are still available. That is because cricket evolved in England and the English were good record-keepers and they preserved their history.

Hindi movie music on the other hand was an entirely indigenous enterprise. Unlike Englishmen, Indians could not be bothered to preserve and maintain their history. So, like in most fields, HFM too has suffered from lack of proper preservation and record keeping. The people who have tried to preserve this valuable legacy have been lone warriors. Unlike cricketing statistics, the available statistics of HFM do not fully cover all the movies. There are several movies whose songs (as well as other details about them) are lost for ever due to our indifferent attitude towards them.

Harmandir Singh “Hamraz” with his untiring lifelong zeal has done a job that should have been done by the HFM industry. But even today, almost entire research and preservation work of HFM is being done by private individuals on their own. The first four volumes of HFGK have been compiled by Mr Harmandir Singh “Hamraaz”, with the fifth volume compiled by Mr Biswanath Chatterji of Nagpur. Other geet kosh like Mukesh Geet Kosh, Lata geet kosh etc have also come up/ coming up and they are entirely the labours of love by private individluals. For instance, Mukesh Geetkosh was compiled by Mr Harish Raghuwanshi, who was also actively involved in HFGK and other compilations.

Thanks to all these compilations, we now have some sort of statistics available which are considerable improvements upon the past where verbal claims constitutes statistics. Now we know for sure that the number of songs sungs by major singers run in thousands and not in tens of thousands as was incorrectly believed in the past.

HFGK gives us the name of (almost) all the movies and that gives us an indication of how many movies there are in all that received censor certificates from 1931 to 1980. Knowing the names of the movies and the mukhda of the songs in these movies are the basic data for HFM statistics.

In this blog, we make use of HFGK to check how many songs various movies are. We use the list of moviewise songs to search for all these songs and discuss them. Covering all the songs of a movie is a cause for celebration in this blog and that is quite justified because it means that we no longer need to search for more songs from the movie and that we can can strike the names of these movies from our list.

Movies with all their songs covered in the blog have a name of their own in this blog. We call such movies as YIPPEED movies. :) This is a word that has been coined in this blog and is as present understood only here. But who knows, one day this word may gain wider currency. :)

The originator of this term, Pradeep Raghunathan recently wondered about the number of movies that we have covered in the blog. It was a good suggestion that we should have a count for YIPPEED movie as well as a count for all the movies covered in the blog. So that suggestion has now been implemented in the blog.

The present count shows 689 YIPPEED movies and 3241 movies in the blog.

To put things in perspective, a total of 5664 movies were released between 1931 to 1980 as per HFGK (give or take a few). A few of songs discussed in the blog are from the decades of 1980s, 90, and later decades as well, but their numbers are considerably lower. So we can say that we in this blog are interested mainly in the songs as mentioned in the five volumes of HFGK. One can say that we are interested in songs of 5664 movies plus songs of unreleased movies, NFS and also some songs from later decades after the golden era of HFM. So we can say that we are looking at discussing songs from around 6000 movies in all.

So, one can say that we are about halfway through our target. We have covered 3241 movies in the blog out of about 6000.

Just like we have YIPPEED movies, we need to discuss songs from movies that have so far not been represented in the blog. There are such movies not only in the earlier decades of 1930s and 1940s, but even in the “recent” decades.

Here is a song from a movie of 1970s that was so far unrepresented in the blog. This movie is “Daraar”(1972). This obscure movie was directed by Ved Rahi for Geeta movies (Private) limited, Bombay. The movie had Baldev Khosa, Rohini, Birbal, Lata Arora, Milan Mehta, Ashavalli, Sushma Sharma, Manju Sharma, Kiran Sharma, Satya Rani, Radha Rani, KUmari Inderjeet, Kumari Devender, Kumari Trilochan, Usha Bakshi, Kumari Rekha, Radheshyam, Kamlakar Date, Baby Amita, Vinayak, Pramod, Ratan Dogra, Ratn Sharma, Rakesh, Gopal etc in it.i

Here is the first song from “Daraar”(1972) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Kulwant Jani is the lyricist. Music is composed by Sudhir Phadke.

Only the audio of this song is available. One can guess that the song is a “bidaai” song. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra.


Song-Sapnon ke gaaon mein palkon ki chhaaon mein (Daraar)(1972) Singers-Asha Bhonsle, Rafi, Lyrics-Kulwant Jaani, MD-Sudhir Phadke

Lyrics(Provided by Prakashchandra)

bhej hi denaa thhaa toh baabul
pyaar diyaa kyun itnaa aa aa
kahin nahin mamtaa kaa saagar
maa ke aanchal jitnaa

chhoot gayeen sakhiyaan
bhar aayeen ankhiyaan
chhoot gayeen sakhiyaan
bhar aayeen ankhiyaan
binti hai meri kahaar
ik pal ruk jaanaa aaa aaa aaa
ik pal ruk jaanaa

jitne aansoon
aaj bahaaye
toone baabul ke aangan mein
main utne hi
phool bharoongaa
sajni tere ae daaman mein
sapnon ke gaaon mein
palkon ki chhaaon mein
chal gori chal us paar
kaahe ab ruk jaanaa aaa aaa
kaahe ab ruk jaanaa

heere moti nahin meri chaahat
pyaar teraa sanam maangti hoon
door karnaa naa kadmon se mujhko
sirf itni kasam maangti hoon
chhoot gayeen sakhiyaan
bhar aayeen ankhiyaan
binti hai meri kahaar
ik pal ruk jaanaa aaa aaa aaa
ik pal ruk jaanaa

jab tak hai jeevan ki dhaaraa
rahegaa apnaa ek kinaaraa
ye bandhan naa toot sakegaa
saath kabhi naa aa chhoot sakegaa
sapnon ke gaaon mein
palkon ki chhaaon mein
chal gori chal us paar
kaahe ab ruk jaanaa


Jo Hain Deewaane Pyaar Ke Re

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

Earlier in the morning today, I received an email.  Antaraa Mondal, film journalist and a good friend, sent me a link.  This link is for an interview of Majrooh Sultanpuri by Peeyush Sharma, originally recorded in 1993.  And republished today.  On the anniversary of his birth.  I read through the interview.  I find quite a bit of discussion of Majrooh Sb’s working with another stalwart, music director SD Burman.  Quite a coincidence that it is the birth anniversary of Burman Dada also today.

And then, my mind connected to the email received from Khyati Behn yesterday.  She has forwarded this song for posting today.  Even I was surprised that this song is pending.  It is from the 1962 film ‘Baat Ek Raat Ki’, and don’t know why, but I carried the impression that this was already posted. Khyati Behn’s message alerted us otherwise.  And so, a double celebration, a double dose of memories and a wonderful song that these two exceptional artists worked together to create.

The interview is an interesting journey down the side lanes of memory.  Majrooh Sb is talking about many music directors, but he spends most time on Burman Dada.  I paraphrase some excerpts from the interview (published here) for our friends and readers.

On their working relationship and the mode of working together, Majrooh Sb recalls,

I had a great understanding with Burman Sahab and his son. You can say, it was all a matter of home (ghar ka sa mamla thha). Dada had a good knowledge of shayari too. He may not perhaps get the correct meaning of a particular jumla, but he would very well understand the entire ghazal or nazm or geet. He used to be almost in a trance when making a tune, sitting comfortably, never in a hurry.

He would even say, ‘Muzroo (he called me Muzroo), this line is not fitting into the tune, please change it.’ We used to sit for hours together working and on one song he would end up trying out scores of tunes, sitting right there. Coffee, tea and paan would be in steady supply. He never smoked but his son Pancham indulged in it.

He would reject his own tune. He would say, ‘Chhodo, this is not sounding good.’ Then he would catch another tune and start. Producers and directors would also come and sit with him. He would keep singing in full flow and creating tunes. Whichever tune got selected, he would get Pancham to write the notations right there and then.

On his selection of singers and rehearsals, Majrooh Sb says

Dada used to prepare each singer for each song himself. He would make them rehearse for hours on end, saying do it this way, not that way, bring in this effect. He would teach them by singing himself. Which singer would sing which song and in what kind of style – this was completely in his control and according to his preferences. That Pancham may have had too many add-ons or take-aways in any song in the recording, I don’t think this is really possible. He was very aware of his father’s temperament.

Talash was a film we were working on together. There was a duet in it of Rafi Sahab and Lata ji – ‘Palkon Ke Peechhe Se Kya Tumne Keh Daala Phir Se To Farmaana’. In that song, there is a bit of humming by Rafi Sahab… he starts his with a “hmmmmm” before his line begins. So many times that humming was tried and every time how Rafi is supposed to sing it – four days were spent on perfecting this (humming) alone. He used to pay huge attention to perfection

On the singing expertise of Burman Da

He used to sing very well and with a lot of expertise. There were so many times when he would be singing to train the singer and Lata or Asha or Rafi Sahab were not able to render the song like he did so he would simplify it a little. He would say, here you are, now sing it. There was no one parallel to him in gaayaki.

Let me also mention this here, he used to himself sit on a carpet on the floor and create his compositions. Then we would all sit there. Rafi would rehearse and train with him for hours. He used to say, he (Dada) is a University of music. Whatever you learn here proves to be very useful in every recording. He used to respect Dada a lot. Dada also was very fond of Rafi. And Lata too. Whenever Dada would simplify a tune a little, she would insist on trying it (the tricky composition) once more.

For the Talash song, ‘Khaai Hai Re Hum Ne Kasam Sang Rehne Ki’, Lata was not able to do it correctly the first day. She kept coming for two, three, four days to practice till the time she was able to render it in a a satisfactory manner. Everyone knew Dada was a superior singer and anyone else would find it tough to match up to him.

On his preference for less orchestration, Majrooh Sb says,

He used to be a little nervous about recording and orchestration. He was not fond of too many instruments or musicians. He would be comfortable with as minimal use of instruments as possible. Pancham usually would handle this but when he (SD Burman) would come to the recording, he would sometimes do away with quite a few musicians. He would say, if you load so many ornaments on the song, the song would get hidden. Remove this, reduce violin here, remove two percussion, etc.

Both Burman Dada and Majrooh Sb started their careers in the industry at about the same time – in 1946.  Burman Dada’s debut film is ‘Eight Days’ and Majrooh Sb’s debut is with the film ‘Keemat’. They continued to work in parallel for more than a decade before they came together finally in 1957 for the first time.  The film – Navketan’s ‘Nau Do Gyarah’. From that point onwards, till the passing away of Burman Dada in 1975, both worked together in about a score of films.  Together, they created some wonderful musical bonanzas, as in ‘Nau Do Gyarah’ (1957), ‘Paying Guest’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Kaala Pani’ (1958), ‘Solvan Saal’ (1958), ‘Sujaata’ (1959), ‘Bambai Ka Babu’ (1960), ‘Manzil’ (1960), ‘Teen Deviyan’ (1965), ‘Jewel Thief’ (1967), ‘Talaash’ (1969) and ‘Abhimaan’ (1973).

This song is from the 1962 film ‘Baat Ek Raat Ki’. It is picturized as a roadside tamaasha song. A group of street acrobats and performers are singing and dancing, and yes walking the tightrope too, to make a living.  Walking the tightrope combines so well with the ‘mukhda’ of this song, “Jo Hain Deewaane Pyaar Ke Re, Sadaa Chalen Talwaar Pe”.

The primary performer is  Waheeda Rehman.  I am not able to place the rest of the performers, and I request other friends and readers to please help identify some of the main performers.  I think the bearded person who repeats the line “Guru Ne Theek Kahaa” during the course of this song – he is Nana Palsikar.  But I could be mistaken.

The primary audience is a an elderly gentleman.  The actor is Jagdish Sethi.  In the film, he is a producer of films. As he watches this performance, he is making up his mind about picking the lead dancer from this group, i.e. Waheeda Rehman, as the heroine for his next film.

With this song, this film joins the growing tribe of films that have all their songs showcased on our blog.  So we have a ‘YIPPEEEE’ moment at hand.  I would like to remind the readers that the acronym coined was deciphered just about a year ago, the Regulars Meet at Bangalore.  The complete form of this oft repeated exclamation is ‘Yahoooo In Pentamodal Project of Euphonious and Enchanting Enjoyable Entities’.  I remind, lest others may forget. ;)

Enjoy this fun song based on Marathi folk, and joyfully remember Burman Dada and Majrooh Sb, on the anniversaries of their birth, today.

Acknowledgements and thanks are due to dear Arun ji, for his help to note down a few lines of this song, which are in Marathi.

Song – Jo Hain Deewaane Pyaar Ke Re (Baat Ek Raat Ki) (1962) Singer – Asha Bhosle, Mohammed Rafi, Unidentified Male Voice, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics (Provided by Khyati Bhatt)

haa. . .aa. . .
arre haa haa
arre ho ho
arre he he
arre ha. . .aa. . .

guru ne thheek kaha

agdam bagdam baaje dhol
sambhal pori jaayeel tol
arre sambhal
arre sambhal
are sambhad pori jaayeel tol

haan
aga baai ga

jo hain deewaane pyaar ke re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaaaa aaa
jo hain deewaane pyaar ke re

aa ho
aa ho

aaaa aaaa aa
aaaa aaaa aa
aaaa aa
aaaa aa
ho oo
kabhi kabhi pahunche ye
sajni ke gaon bhi
nahin to hua yahi
kat gaye paaon bhi
ho oooo oooooo
oooo haaye

kabhi kabhi pahunche ye
sajni ke gaon bhi
nahin to hua yahi
kat gaye paaon bhi
paaon kat gaye to phir
sar ke bal chala kiye
sar bhi kat gaya to phir
chal diye wafaa liye
paaon kat gaye to phir
sar ke bal chala kiye
sar bhi kat gaya to phir
chal diye wafaa liye
guru ne thheek kaha
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaaaa aaa
jo hain deewaane pyaar ke re

aaaa aaaa aa
aaaa aaaa aa
aaaa aa
aaaa aa
aaaaa
khinchi talwaar hai
jeevan rain ki
chali chali dhaar hai 
duniya ke nain ki
ho oooo oooooo
oooo haaye
khinchi talwaar hai
jeevan rain ki
chali chali dhaar hai 
duniya ke nain ki
tukde tukde ho jigar
wo chhuri ye pyaar hai
pyaar is ko na kaho
maut ki kataar hai
hoye
tukde tukde ho jigar
wo chhuri ye pyaar hai
pyaar is ko na kaho
maut ki kataar hai
guru ne thheek kaha
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaa aa
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re

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

हा॰॰॰आ॰॰॰
अरे हा हा
अरे हो हो
अरे हे हे
अरे हा॰॰॰आ॰॰॰

गुरु ने ठीक कहा

अग्ड़म बग्ड़म बाजे ढोल
सांभाळ पोरी जाईल तोल
अरे सांभाळ
अरे सांभाळ
सांभाळ पोरी जाईल तोल

हा
अग बाई गा

जो हैं दीवाने प्यार के
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के

आ हो
आ हो

आss आss आ
आss आss आ
आss आ
आss आ
हो ओ
कभी कभी पहुंचे ये
सजनी के गाँव भी
नहीं तो हुआ यही
कट गए पाँव भी
हो ओss ओssssss
ओss हाये
कभी कभी पहुंचे ये
सजनी के गाँव भी
नहीं तो हुआ यही
कट गए पाँव भी
पाँव कट गए तो फिर
सर के बल चला किए
सर भी कट गया तो फिर
चल दिये वफा लिए
पाँव कट गए तो फिर
सर के बल चला किए
सर भी कट गया तो फिर
चल दिये वफा लिए
गुरु ने ठीक कहा
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के

आss आss आ
आss आss आ
आss आ
आss आ
आssss
खिंचि तलवार है
जीवन रैन की
चली चली धार है
दुनिया के नैन की
हो ओss ओssssss
ओss हाये
खिंचि तलवार है
जीवन रैन की
चली चली धार है
दुनिया के नैन की
टुकड़े टुकड़े हो जिगर
वो छुरी ये प्यार है
प्यार इसको ना कहो
मौत की कटार है
होय
टुकड़े टुकड़े हो जिगर
वो छुरी ये प्यार है
प्यार इसको ना कहो
मौत की कटार है
गुरु ने ठीक कहा
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के


Maine kab chaaha ke doolha banoonga

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

‘PANCHAM-RAFI’ Jodi’s Variety Songs – 3
———————————————

In this series of ‘Pancham – Rafi Jodi Songs’ we are discussing songs from various genre of music by this Pancham Da and Rafi Saab.

The original article that this series has been inspired from lists 20 songs from various music ‘genres’.

Out of these 20 songs 09 songs were already on the blog. As one can conclude these songs were popular songs of their time.
These nine songs covered various ‘genre’ viz. Pathos, Folk, Qawwali, Rock n’ Roll, Pop, Jazz, Trendy, Comedy and Fast songs.

As a contributor when I started to share the lyrics of songs in the blog, I shared two songs that were in my memory. Later I shared three more such songs after reading this article.

One song falling in ‘romantic’ genre was contributed by other member thereafter which is ‘chaand mera dil chaandni ho tum’ and this we can say is another popular song.

So, what I wish to point out here is that the remaining songs from this list are the songs which were less popular and less heard. And that way going through these songs and sharing them has been a very exciting and enjoyable experience for me.

Now, we are left with five songs that are yet to be discussed in this series.

But I have a few ‘special songs’ of ‘Pancham-Rafi Jodi’ that I wish to cover in this series. I am sure our readers too will enjoy these songs.

Today’s song is one more exciting song based on ‘Bhangra’. After listening to this song I feel that I must have heard it earlier sometime. But, I was not aware of this film’s name ‘Kehte Hain Mujhko Raja – 1975’ (must not be a ‘successful’ ‘popular’ film of its time).

02 songs from this film have been ‘passionately’ discussed on the blog by our Dear Raja ji and these posts can be read here and >here.

I cannot say much about how this song happens in the film. From the video it is clear that this happens at a community function where Biswajit, Shobhna Samarth are watching, also watching the function are Dharmendra and Hema Malini. Tun Tun is also seen joining the performance.

(I would request our knowledgeable readers to throw light on the picturisation and other details (artists of the movie) of the movie)

Let us enjoy this energetic and exciting song.

This one is a duet by Rafi Saab and Asha Bhonsle. Lyrics for this song are by Majrooh Sultanpuri ji.

Video

Audio

Song-Maine kab chaaha ke doolha banoonga (Kehte Hain Mujhko Raaja)(1975) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Chorus,
Male chorus
Female chorus

Lyrics

O jam ke ae ae ae
nach ni ee ee ee
Soniye
Yahi hai zindagi

Jo na miley aur jo milta hai
Mast malang ko sab chalta hai
Maine kab chaaha ke doolha banoonga
Arrey maine kab chaaha ke doolha banoonga aa
Ban hi gaya to thheek hai ae ae ae
Ban hi gaya to thheek hai ae

o chham se ae nachoongi ee ee ee
Naachungi
tere liye
Rangeele sainyya ji
O jo na miley aur jo milta hai
Tere sang mujhko bhi sab chalta hai
Maine bhi na socha ke tumsa milega
O maine bhi na socha ke tumsa milega
Haan
Mil hi gaya to thheek hai ae ae
Mil hi gaya to thheek hai ae

Hoye
Haan
Mil hi gaya to thheek hai ae
Mil hi gaya to thheek hai

Maine kab chaaha ke doolha banoonga
Hoye
Hoye
Hoye
Hoye
Hoye
Hoye
Hoye

Chaandni ki raat hai
Waah ji kya baat hai
Saamne dildaar hai
Mast mera pyaar hai

Aahaa
Paayaliya hai bolti
O ho
Baajne de dholki
Aahaa
Meri bindiya chamki
Chaandni aur damki

Soniye ae ae ae
Hoye
Hoye
Hoye
Hoye
Hoye
Hoye
Bruurrrrr aah

Tere badan ka shola jo bhadke
Arey patthar ka dil seene mein dhadke
Mujhpe kab chalta thha jaadu kisi ka
Mujhpe kab chalta thha jaadu kisi ka
Haan
Chal hi gaya to thheek hai ae ae ae
Chal hi gaya to thheek hai ae
Ho Maine bhi na socha ke tumsa milega
Aa aa
Maine bhi na socha ke tumsa milega
Aur mil hi gaya to thheek hai ae ae

Mil hi gaya to thheek hai

O o o o
Ho o
O o o o
Ho o
O o o o
Ho o
O o o o
O o o o

Hurrraaah

Dard ke din beete
Preet mein ham jeete

Pyaar kudiye pyaar hai
Jeet hai na haar hai
Aahaa
Main mitti saathiyaa
O ho
Toone sona kar diya
Aahaa
Arey tumko choom loon
Choomke aur jhoom loon
Raanjhiyaa aa aa aa
Hoye
Hoye
Hoye
Hoye
Hoye
Hoye
Bruurrrrr aah

tere sang jhoomoon
Tere sang gaaun
Bainyya pakad ke
Garwaa lagaaun

Main to kab lagta galey se kisi ke
Haan
Main to kab lagta galey se kisi ke
Aur lag hi gaya to thheek hai ae ae ae
Lag hi gaya to thheek hai
Ho maine bhi na socha ke tumsa milega
Maine bhi na socha ke tumsa milega
Aur mil hi gaya to thheek hai ae ae ae
Mil hi gaya to thheek hai ae

Bruurrrrr
Hoye
Hoye
Hoye
Hoye
Hoye
Hoye
Bruurrrrr

Soniya aa aa
Raanjhiyaa aa aa
Hiriya aa aa
Saathiya aa aa

Hoye
Hoye
Hoye
Hoye
Hoye
Hoye

Oye jamke ae ae ae
Nach ni ee ee
Soniye ae
Yahi hai zindagi
Huurrrr aah



Rehne do rehne do chhodo bhi taqraar ki baaten

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

“Rakhwaala”(1971) was produced by S Krishnamoorthy and directed by A Subba Rao. The movie had Dharmendra, Leena Chandavarkar, Jagdeep, Vinod Khanna, Madan Puri, Rajan Haksar, Rakesh Pandey, Pandhribhai etc in it.

Five songs from this movie have been discussed in the past. Here is the sixth and final song from the movie.

This song was quite a catchy and hummable song of its time. It is sung by Rafi and Asha Bhonsle. The song is picturised on Dharmendra and Leena Cahndawarkar. Rajinder Krishan is the lyricist. Music is composed by Kalyanji Anandji.

It is amusing for me to read the comments on the YT video link of this song. One commenter is amazed to realise that Dharmendra was once young ! I am amazed that there are people today who have only seen him as an old man. He was regarded as one of the most handsome man around during his days. Dharmendra and Hema Malini were the top saleable pair in Hindi movies during the whole decade of 1970s.

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

With this song, “Rakhwaala”(1971) joins the list of movies that have all their songs covered in the blog.

Video

Song-Rehne do rehne do chhodo bhi takraar ki baaten (Rakhwaala)(1971) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji

Lyrics(Provided by Avinash Scrapwala)

Rehne do o o
Rehne do

Rehne do o o
rehne do
Rehne do gile shikwe
Chhodo bhi taqraar ki baatein
Chhodo bhi taqraar ki baatein
Jab tak fursat de ye zamaana
Kyun na karein hum pyaar ki baatein
Kehne do o o
Kehne do

Ek to der se ghar ko aana
Uss par jhootha pyaar jataana
Dekho ab na chalega
haan haan ab na chalega

Ek to hum kuchh der se aayen
Ek to hum kuchh der se aayen
Uss par bhi aaaram na paayein
Dil na jalegaa
Bolo dil na jalegaa
Jaao jaao behlaate ho o o
Kyun humein baaton se
Kehne do o o
Kehne do

Rehne do gile shikwe
Chhodo bhi taqraar ki baatein
Chhodo bhi taqraar ki baatein
Jab tak fursat de ye zamaana
Kyun na karein hum pyaar ki baatein
Kehne do o
Mujhe kehne do

Chori aana
Chori jaana
Apnon se hi raaz chhupaana
Bolo dil na jalega
Bolo dil na jalega
Bolo

Maana ke matwaala hoon main
Arre maana ke matwaala hoon main
Phir bhi tera rakhwaala hoon main
Ye to chalega
Bolo ye to chalega
Tauba tauba chha jaate ho o o
Aisi waisi baaton se
Kehne do o
Kuchh to kehne do

Rehne do gile shikwe
Chhodo bhi taqraar ki baatein
Chhodo bhi taqraar ki baatein
Jab tak fursat de ye zamaana
Kyun na karen hum pyaar ki baatein
Kehne do o o
Kehne do

Ab rehne do o o
Rehne do


Jai hey Durga maata

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

HAPPY DASHEHRA TO ALL READERS.

This is a season of Festivals in India. First it was Shri Ganesh ji, now it is Durga mata and soon it will be Deepavali. In between there was an Eid also. Later there will be Christmas, followed by Sankranti,then Holi and then……

In India Festivals do not get exhausted. Throughout the year some or the other Festival is going on in some part of the country. In an unique country of divergent faiths, Religions and cultures, Festivals are unlimited. While there are few Festivals celebrated universally all over the country, Like Holi,Deepavali etc, there are many Festivals which are celebrated in certain regions, like, Bihu in Assam or Chhat Pooja in Bihar. Every state, language or Region has its own exclusive festival. Even the nationally celebrated festivals have their regional variations and specialities like for example, during Navratri,it is Garba Dances in Gujarat and Durga Pooja in Bengal and Eastern parts of India. In Maharashtra,it is also celebrated as Saraswati Pooja.

Durga Pooja is the most important event in Bengal- bigger than even Deepavali. Durga Puja festival is celebrated from the sixth to tenth day of bright lunar fortnight (shukla paksha) in the Hindu Calendar month of Ashvin. This period falling in the fortnight corresponding to the festival is called Devi Paksha, “Fortnight of the Goddess”. Devi Paksha is preceded by Mahalaya, the last day of the previous fortnight Pitri Paksha, “Fortnight of the Forefathers”, and it ends on Kojagori Lokkhi Puja (“Worship of Goddess Lakshmi on Kojagori Full Moon Night”).

Durga Puja festival marks the victory of Goddess Durga over the evil buffalo demon Mahishasur. Thus, Durga Puja festival epitomises the victory of Good over Evil.

Durga Puja is widely celebrated in the Indian states of Assam, Mithila region of Bihar and Nepal, Jharkhand, Manipur, Orissa,Tripura and West Bengal, where it is a five-day annual holiday. In West Bengal, Tripura, which has a majority of Bengali Hindus, it is the biggest festival of the year. In Assam due to presence of huge number of Bengali Hindus and quite a large number of Assamese Hindus of Shakta sect of Hinduism (Assam is predominantly Vaishnavites Hindu populous state), it is one of the biggest religious festivals there. The biggest festival in Assam is Bihu which is secular in nature.

Not only is it the biggest Hindu festival celebrated throughout the stateof Bengal, it is also the most significant socio-cultural event in Bengali Hindu society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Maharashtra, Gujarat, Punjab, Kashmir, Andhra Pradesh, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal where 82% population is Hindu, and in Bangladesh, where 8.5% population is Hindu. Nowadays, many diaspora Assamese and Bengali cultural organisations arrange Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.

The prominence of Durga Puja increased gradually during the British Raj in Bengal and erstwhile Assam. After the Hindu reformists identified Durga with India, she became an icon for the Indian Independence Movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised. After independence, Durga Puja became one of the largest celebrated festivals in the whole world after independence. It is also the largest open Air Art Exhibition in the World.

Durga Puja also includes the worship of Shiva, who is Durga’s consort (Durga is an incarnation of Goddess Parvati) as also the worship of Lakshmi and Saraswati.Ganesha and Kartikeya, who are considered to be Durga’s children, are also worshipped. Worship of Mother Nature is done, through nine types of plant (called “Kala Bou”), including a plantain (banana) tree, which represent nine divine forms of Goddess Durga.

Modern traditions have come to include the display of decorated Pandals and artistically depicted sculptures (Murti) of Durga, exchange of Vijaya greetings and publication of Puja Annuals.( adapted from Wiki)

In consonance with the Festival-mindedness of people of India, Film producers also took advantage and Mythological and Religious films were made to cater to this class of audience. The decade of the 50s was the best period for this Genre of films in India. As many as 120 religious films were produced in these 10 years. This works out to almost one such film per month for 10 years. Clever producers used to release appropriate films during the related festivals. For example, this film Durgapooja-54 was censored on 22-9-1954 was probably released in next month of October, which is the Pooja period, in India.

I have been watching Mythological and religious films since my childhood. I liked the costumes and the Trick scenes in these films. Although, these days religious films with trick scenes are not produced anymore like that era, the SFX ( special Effects) used in modern films are no less than the trick scenes in the Mythological films of the yore. I am sure, even The Gods must have accepted their defeat in doing Tricks looking at these SFXes !

Film Durga Pooja-54 was produced and directed by a stalwart of religious films, Dhirubhai Desai ( 1908-1990 ). He started his career from the silent film era and continued till 1975. In this period he directed about 55 films-Hindi and Gujarati. After the 1940 period,his films were mostly B and C grade,cheap Mythologicals like, Maya Nagari, Bhakta Prahlad, Dev kanya, Satyawadi Harishchandra, Bhakta Pundalik, Jai mahakali, Bhakta pooran, Shuk Rambha, Shiv Kanya, Durga pooja, Sati Anusuya, Jai Bhawani, Kailashpati, Bhakta Dhruv kumar etc etc.

The patently popular pair of Mythological films, namely Trilok Kapoor and Nirupa Roy were in the main roles,assisted by Shahu Modak, Ratnamala, S N Tripathi, Yeshwant Dave etc . Music was by S N Tripathi. There were 10 songs in the film. This film makes its debut in the Blog with this song.

The film story was-

Mahishasoor, the mighty Demon-King had spread a reign of terror in every nook and corner of the world. Blood of innocent people flowed like water. There was no safety of person of property. Religion and chastity of women were in jeopardy, every moment, at the hands of the vulture-like Rakshasas. People were cowed down, as the hands of the beastly tyrant had crushed all opposition. All the vanquished Kings and Princes cowardly accepted his slavery to save their lives.

Prince Shatrughna was the only exception. For not accepting his sovereignty he was ordered to be killed by throwing down from a hill-top. But he excaped bravely. . Saranyu, the beautiful and daring daughter of Mahamuni Twashta had undertaken the task of spreading the spirit of revolt against the oppressive rule of Mahish. But as fate would have it, Mahish happened to see her one day and her charming beauty captured his heart. He proposed to make her his queen and on her declining that offer, tried to molest her. Luckily, however, Prince Shatrughna arrived at the nick of time and saved her honour. Cupids dart struck the young herarts of Saranyu and Shatrughna.

But they preferred to dedicate their lives to the service of the people and some how bring about the destruction of Mahish. . The fragrance of saranyus beauty had reached even the celestial heights of Swarga-lok. And Devraj Indra, personally went to Mahamuni Twashta to request for her hand. But the splendour and riches of even Indra-lok had no attraction for Saranyu. She rejected Indras offer too.

Mahish sent his soldiers to abduct Saranyu forcibly, But before they could succeed, Indra took her away. This enraged Mahish so much that he ordered to invade Swarga, immediately. But Narad Muni advised him to first acquire superior strength than Indra, by performing Tapasya. . When saranyu refused to marry him, Indra tried to fulfil his desire by force-but Shachidevi, Indras wife, interrupted him and sent her back to her fathers Ashram.

Mahish pleased Brahma by his penance, and obtained a boon of virtual immortality from him viz. No one, except a woman, could kill him in the three worlds. Intoxicated by this boon, he proclaimed himself as God-issued a fiat to worship none but him and mercilessly persecuted and put to death thousands of devotees who persisted in worshipping Lord vishnu, shanker and Goddess Adya Shakti, in defiance of his orders.

Suloma, the kind-hearted queen of Mahishasoor several times tried to persuade and prevent Mahish from the path of sin-but to no purpose. He invaded Swarga-lok also, defeated Indra in a war and humiliated him as well as Indrani, by inhuman tortures. In the meantime, Mahamuni Twashta had married Saranyu to prince Shatrughna.

But Mahish had, still, not forgotten Saranyu. He got her kidnapped just on her wedding night. When Saranyu did not yield to his several tactics-mahish blinded Mahamuni Twashta’s eyes with hot iron bars, in her presence and also killed her husband, before her eyes. But the true Sati, as she was, Saranyu remained firm in her pious resolve. . Then from the Lights of all the Gods-Goddess Durga was born. Bhagwati Durga Mata kills the proud Mahishasoor. she revives Sati Saranyu’s husband to life, the blind Mahamuni Twashta regains his lost eyesight and Suloma sacrifices her life for a just and noble cause.

On this auspicious occasion of DASHEHRA, here is a devotional Bhajan of Maa Durga. It is sung by Asha Bhonsle, Rafi and chorus. Saraswati Kumar Deepak is the lyricist. Music is composed by S N Tripathi.


Song-Jai hey durga maata (Durga Pooja)(1954) singers-Asha Bhonsle, Rafi, Lyrics-Saraswati Kumar Deepak, MD-S N Tripathi
Chorus
Asha Bhonsle + Rafi

Lyrics

jai hey durga maata
jai jai hey durga maata
jai hey durga maata
jai jai hey durga maata

saare jag ki paalanhaar
bhawaani bhakton ki aadhaar
tumhaari maaya aprampaar durga maata

jai hey durga maata
jai jai hey durga maata
jai hey durga maata
jai jai hey durga maata

tum ho mahashakti kalyaani
tum ho mahashakti kalyaani
tum se nirbhai jag ke praani
tum se nirbhai jag ke praani
ho o o
o o
tum ho mamta ki avtaar
daya ke bhar do maa bhandaar
tumhen pooje saara sansaar
durga maata
jai hey durga maata
jai jai hey durga maata
jai hey durga maata
jai jai hey durga maata

jai hey ae durge ae
jai hey ambe
jai hey ae durge ae
jai hey ambe
jai durge bhawaani
jagdambe mahaaraani
teri chhavi hai suhaani
nainon mein chha rahi
devi maiyya vardaani
tu hai jagat bakhaani
saari duniya deewaani
tere gun gaa rahi
jai hey durge
jai hey ambe

sinh vaahini
khadag dhaarini
jai hey
jai hey
jai hey
jai hey

paap naashini
vishwa taarini
jai hey
jai hey
jai hey
jai hey

ambe ??
?? ghaatini
ambe ??
?? ghaatini

chandi mahishasur vinaashini
chandi mahishasur vinaashini
kaali mahaakali
tumne kiya daitya sanhaar
tumne kiya daitya sanhaar
saare jag ki paalanhaar
bhawaani bhakton ki aadhaar
tumhaari maaya aprampaar durga maata
jai hey durga maata
jai jai hey durga maata
jai hey durga maata
jai jai hey durga maata


Raste mein do anjaane

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

“Akeli Mat Jaiyyo” (1963) was a Ranjit Film Company production. It was directed by Nandlal Jaswantlal. The movie had Rajendra Kumar, Meena Kumari, Minoo Mumtaz, Agha, Leela Misra, Sulochana, Prem Kumar etc in it.

Six songs from this movie have been discussed. Here is the seventh song from the movie.

This song is a duet which is sung by Rafi and Asha Bhonsle. Majrooh Sultanpuri is the lyricist. Music is composed by Madan Mohan.

The song is picturised on Jubilee Kumar Rajendra Kumar and Tragedy queen Meena Kumari, but even their star presence could not prevent this song from falling flat at the box office.

This was a movie that Raja watched in 2010 for the first time. He had high expectations from this movie, undoubtedly because he had heard the songs of this movie and was expecting the movie to live up to the same high standards. People who are scheduled to meet Raja this weekend will get the opportunity to know more about this movie from him. :)

Since I prefer watching songs of the movie and do not bother much for the non song postions of most movies, I was safe from suffering like Raja. It helped that Raja had specifically warned me about this movie when I had met him in Nagpur in 2010. :)


Song-Raste mein do anjaane (Akeli Mat Jaiyyo)(1963) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Madan Mohan
Both

Lyrics

raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane

jaise ye puraani mulaaqaat ho
milna yoon hi si koi baat ho
jaise ye puraani mulaaqaat ho
milna yoon hi si koi baat ho

do haath badhe
do haath miley
ke mil gaye jaane pehchaane
raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane

peechhe saari duniya ko chhod ke
mil gaye yoon hi ik mod pe
peechhe saari duniya ko chhod ke
mil gaye yoon hi ik mod pe

do nain uthhe
do nain jhhuke
theher gaye jaate zamaane
raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane

chal diye raahon mein jhoom ke
hans padi manzil ghoom ke
chal diye raahon mein jhoom ke
hans padi manzil ghoom ke

machalte huye
sambhalte huye
kidhar chale kaun ye jaane
raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane
aise miley deewaane
jaise nahin begaane
ye pyaar nahin to kya hai
raste mein do anjaane ae ae


Jhoomti hai nazar jhoomta hai pyaar

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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


Socho Ji Socho Ji Zamaana Kya Kehta Hai

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

Missing Films of 1960s – 7
– – – – – – – – – – – – – –

As we are moving into the 1960s, exploring for the films that are yet to be showcased on our blog, I have already introduced 4 films from 1961 and then I had moved into 1962, adding 2 films for that year.  But with today’s post, I revert back to 1961. Clearly, there is one more film from 1961 that I missed. The film is ‘Zamaana Badal Gaya’. Its songs are available, and had not yet been introduced here.  An oversight on my part.

The film is listed as a social drama produced under the banner of Hemlata Pictures, Bombay.  It is directed by Jayant Desai.  The cast of actors is interesting – Chand Usmani, Charlie, Iftekhar, Bhagwan, Helen, Naina, Leela Misra, Narbada Shankar, GM Durrani, Madhu, Anand Joshi, Sukumar,  Yunus Yusuf, Ramesh Kumar Verma, Nazeer Khan, Channu Khan, RS Dubey, Gajendra Singh, Agha, S Zaheer Husain, Kishanlal Sharma, TN Sinha, Sukumar, Munshi Sagar Husain.

Now the lead female actor is easily identifiable, that is Chand Usmani.  But I am not sure about the lead male actor.  The name of Bhagwan appears four names down in the list of actors.  Charlie, if it is the same as the one we are familiar with from the earlier decades, then he would be too old for the lead role.  And from what we know about Iftekhar’s career, it is unlikely that he would have played a lead role in 1961.  The remaining names are also unlikely candidates, and some names sound unfamiliar to comment upon.

This song is a duet by Rafi Sb and Asha ji, and seems to be a light romantic song that would most likely be performed on screen by the lead pair.  I request other knowledgeable friends and readers to please comment and add more information about this film, its artists, and also about this song.

The lyrics are from the pen of Aziz Qaisi and the music composition is by Iqbal Qureshi. The song is a light exchange between young lovers.  The song starts off with one of them professing caution, considering what the world will say.  And the second half responds with a carefree attitude – let them say.  By the time the song comes to a close, both are of the opinion to just let the world be whatever it says. A quick paced lilting melody which I am sure you will enjoy.

A quick look at the numbers for 1961.  A total of 104 films were certified and released in this year. At the start of this exercise, 92 of these films were already present on our blog, and 12 were awaiting entry.  With today’s post we have now added 5 more films from this year.  The remaining seven films are so far completely untraceable in the public domain.  These films are listed below with names of music directors –

Chatrapati Shivaji

Flight to Assam Nashaad
Howrah Express BN Bali
Mahavat R Sudarshan
Mera Suhag Arun Raghavan
Tanhaai Dileep Dholakia
Teen Ustad Usha Khanna

The information one gets for these films is that no gramophone records were issued.  So these films and their songs are probably treasures that are lost forever.  I hope against hope that this is not so.

Song – Socho Ji Socho Ji Zamaana Kya Kehta Hai (Zamaana Badal Gaya) (1961) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Aziz Qaisi, MD – Iqbal Qureshi
Mohammed Rafi + Asha Bhosle

Lyrics

socho ji socho ji zamaana kya kehta hai
kehne do ji
haan
kehne do ji
kehne se kya hota hai
socho ji socho ji zamaana kya kehta hai
kehne do ji
kehne do ji
kehne se kya hota hai
socho ji socho ji zamaana. . .

roko roko
behki ye chaal zara
karna zamaane ka khayaal zara
roko roko
behki ye chaal zara
karna zamaane ka khayaal zara
rokay hamen kisiki majaal nahin
waah
pyaar mein zamaane ka sawaal nahin
rokay hamen kisiki majaal nahin
pyaar mein zamaane ka sawaal nahin
sawaal nahin
sawaal nahin
sawaal nahin
sawaal nahin

socho ji socho ji zamaana kya kehta hai
kehne do ji
kehne do ji
kehne se kya hota hai
socho ji socho ji zamaana. . .

shamma ko
aise na haath laga
arre deewaane zara hosh mein aa
shamma ko
aise na haath laga
arre deewaane zara hosh mein aa
tu ne bulaaya hai to jaane jahaan
tere dewaane ko hosh kahaan
tu ne bulaaya hai to jaane jahaan
tere dewaane ko hosh kahaan
hosh kahaan
hosh kahaan
hosh kahaan
hosh kahaan. . .

chhodo ji chhodo ji zamaana kya kehta hai
kehne do ji
kehne do ji
kehne se kya hota hai
chhodo ji chhodo ji zamaana kya kehta hai
kehne do ji
kehne do ji
kehne se kya hota hai
chhodo ji chhodo ji zamaana. . .

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

सोचो जी सोचो जी ज़माना क्या कहता है
कहने दो जी
हाँ
कहने दो जी
कहने से क्या होता है
सोचो जी सोचो जी ज़माना क्या कहता है
कहने दो जी
कहने दो जी
कहने से क्या होता है
सोचो जी सोचो जी ज़माना॰ ॰ ॰

रोको रोको
बहकी ये चाल ज़रा
करना जमाने का खयाल ज़रा
रोको रोको
बहकी ये चाल ज़रा
करना जमाने का खयाल ज़रा
रोके हमें किसी की मजाल नहीं
वाह
प्यार में जमाने के सवाल नहीं
रोके हमें किसी की मजाल नहीं
प्यार में जमाने के सवाल नहीं
सवाल नहीं
सवाल नहीं
सवाल नहीं
सवाल नहीं
सोचो जी सोचो जी ज़माना क्या कहता है
कहने दो जी
कहने दो जी
कहने से क्या होता है
सोचो जी सोचो जी ज़माना॰ ॰ ॰

शम्मा को ऐसे ना हाथ लगा
अर्रे दीवाने ज़रा होश में आ
शम्मा को ऐसे ना हाथ लगा
अर्रे दीवाने ज़रा होश में आ
तू ने बुलाया है तो जाने जहां
तेरे दीवाने को होश कहाँ
तू ने बुलाया है तो जाने जहां
तेरे दीवाने को होश कहाँ
होश कहाँ
होश कहाँ
होश कहाँ
होश कहाँ॰ ॰ ॰

छोड़ो जी छोड़ो जी ज़माना क्या कहता है
कहने दो जी
कहने दो जी
कहने से क्या होता है
छोड़ो जी छोड़ो जी ज़माना क्या कहता है
कहने दो जी
कहने दो जी
कहने से क्या होता है
छोड़ो जी छोड़ो जी ज़माना॰ ॰ ॰


Hum Se Na Poochho Hum Kahaan Chale

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This article is written by Peevesie’s mom, 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.

Hullo to all in atuldom

So today is a very special day…the Happy Birthday of our collective favourite….. Mohd. Rafi. Is there any one who is not aware of this!

But for people like me who think no-end about themselves and feel that they are the encyclopedia of Hindi fillum music this blog is a learning spot. 1st I came across guru ji and Sudhir ji who knew about all-things recorded in Hindi movie music. Now recently I encountered Shenoy ji and Gajendra ji.

Then I had another jolt last month when I was enjoying music on a TV channel and there was a Shammi Kapoor – Rafi song playing. And what did I note? For some reason I had never thought that the said song was anything but an OP Nayyar output. So it explains the jolt when I discovered that it was Ravi – the person who is called Bombay Ravi in Malayalam movies and Ravi Sharma in Bollywood.

Then I rushed to check on our blog whether what I had learnt recently was correct or some mistake on the part of the said channel in carrying forward some mis-information. Now came the second jolt of the day – we had only 3 songs from the said movie on our blog. So here I am trying in my own small way to rectify the situation and am posting a song from the 1962 movie Chinatown. It is sung by Asha Bhonsle and today’s birthday boy Mohd Rafi. It is written by Majrooh Sultanpuri.

Happy birthday to our dear Rafisaab

Audio

Video

Song – Hum Se Na Poochho Hum Kahaan Chale (Chinatown) (1962) Singers – Mohammed Rafi, Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Ravi
Rafi + Asha

Lyrics

humse na poochho hum kahaan chale
humse na poochho hum kahaan chale
ye dil jahaan le chala wahaan chale
nazaare peechhe peechhe
bahaaren peechhe peechhe
deewanon ka jidhar kaarvaan chale
humse na poochho hum kahaan chale

duniya hai shaher armaanon ka
bikhre bikhre afsaano ka
duniya hai shaher armaanon ka,
bikhre bikhre afsaano ka
fasane se sunaate
chale hai hum gaate
ke jaise nagamon ka kaarvaan chale
humse na poochho hum kahaan chale

sapnon ka chaman hai rang liye,
dharti hai gagan ko sang liye
sapno ka chaman hai rang liye,
dharti hai gagan ko sang liye
daali pe kali jhoole
dhanak jaise phoole,
kadam taley jaise aasmaan chale
humse na poochho hum kahaan chale
humse na poochho hum kahaan chale

oooooooooo
naiyya pe chale jab haule se
paani me dahak gaye shole se
naiyya pe chale jab haule se
paani me dahak gaye shole se
ooooooooo
naiyya pe chale jab haule se
paani me dahak gaye shole se
nazar ko milaaye
jo hum lehraaye
to lehron ne poochha kaho kahaan chale
humse na poochho hum kahaan chale
humse na poochho hum kahaan chale
ye dil jahaan le chala wahaan chale
nazaare peechhe peechhe
bahaaren peechhe peechhe
deewanon ka jidhar kaarvaan chale
humse na poochho hum kahaan chale

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
हमसे ना पूछो हम कहाँ चले
हमसे ना पूछो हम कहाँ चले
ये दिल जहां ले चला वहाँ चले
नज़ारे पीछे पीछे
बहारें पीछे पीछे
दीवानों का जिधर कारवां चले
हमसे ना पूछो हम कहाँ चले

दुनिया है शहर अरमानों का
बिखरे बिखरे अफसानों का
दुनिया है शहर अरमानों का
बिखरे बिखरे अफसानों का
फसाने से सुनाते
चलें हैं हम गाते
के जैसे नगमों का कारवां चले
हमसे ना पूछो हम कहाँ चले

सपनों का चमन है रंग लिए
धरती है गगन को संग लिए
सपनों का चमन है रंग लिए
धरती है गगन को संग लिए
डाली पे कली झूले
धनक जैसे फूले
कदम तले जैसे आसमां चले
हमसे ना पूछो हम कहाँ चले
हमसे ना पूछो हम कहाँ चले

ओsssssssss
नैय्या पे चले जब हौले से
पानी में दहक गए शोले से
नैय्या पे चले जब हौले से
पानी में दहक गए शोले से
ओsssssssss
नैय्या पे चले जब हौले से
पानी में दहक गए शोले से
नज़र को मिलाये
जो हम लहराए
तो लहरों ने पूछा कहो कहाँ चले
हमसे ना पूछो हम कहाँ चले
हमसे ना पूछो हम कहाँ चले
ये दिल जहां ले चला वहाँ चले
नज़ारे पीछे पीछे
बहारें पीछे पीछे
दीवानों का जिधर कारवां चले
हमसे ना पूछो हम कहाँ चले

 


O jhuke jhuke nainon waali aaja mere paas

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

“Chhote Sarkar”(1974) was directed by K Shankar for Pinky Films, Bombay. The movie had Shammi Kapoor, Sadhna, Shashikala, Sulochana, Sunder, Helen, Shammi, Asit Sen, Jagdish Raj, Rashid Khan, Uma Dutt, Rajan Kapoor etc.

The movie had four songs in it. Three of the songs have already been discussed in the past. Here is the fourth and final song from “Chhote Sarkaar”(1974) to appear in the blog.

The song song is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as an “expression of love” genre of song on Shammi Kapoor and Sadhana. This picturisation would have created waves had it been 1960s, but the two of them were no longer the heart throbs of millions that they were just a few years back. They were beginning to look older than the unofficially prescribed age of lead pair in Hindi movies. :) So this movie flopped and even the songs of the movie failed to become popular. Personally I heard this song for the first time only just now.

With this song, “Chhote Sarkaar”(1974) joins the list of movies that have all their songs covered in the blog. This movie becomes the 750th YIPPEED movie in the blog.


Song-O jhuke jhuke nainon waali aaja mere paas(Chhote Sarkaar)(1974) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

o jhuke jhuke nainon waali aaja mere paas
o jhuke jhuke nainon waali aaja mere paas
aaja mere paas ki mera dil hai udaas
aaja mere paas ki mera dil hai udaas
o raaja mere raaja
aaja aaja mere paas
o raaja mere raaja
aaja aaja mere paas
pyaasi teri preet ki bujha de meri pyaas
pyasi teri preet ki bujha de meri pyaas

o jhuke jhuke nainon waali aaja mere paas

o o o
sooni sooni ankhiyon ka ban ja tu sapna
sapna bhi aisa jise samjhoon main apna
haaan
o o o
sooni sooni ankhiyon ka ban ja tu sapna
sapna bhi aisa jise samjhoon main apna
pyaar bhara sapna
rang bhara sapna
aaja bandha de meri tooti huyi aas
aaja bandha de meri tooti huyi aas
o raaja mere raaja
aaja aaja mere paas
o raaja mere raaja
aaja aaja mere paas
pyaasi teri preet ki bujha de meri pyaas

o jhuke jhuke nainon waali aaja mere paas

o o o
toone sanware mere bagiya ke raaste
maange to jaan bhi main de doon tere vaaste
aa aa aa
o o o
toone sanwaare meri bagiya ke raaste
maange to jaan bhi main de doon tere vaaste
dil tere vaaste
haaye jaan tere vaaste
ban ke main chhaaya sada rahoon tere paas
ban ke main chhaaya sada rahoon tere paas

o jhuke jhuke nainon waali aaja mere paas
o jhuke jhuke nainon waali aaja mere paas
aaja mere paas ki mera dil hai udaas
o raaja mere raaja
aaja aaja mere paas



Koi hai koi hai jawaani ko jagaao na

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

“Chaacha Chaudhary” (1953) was directed by Raja Paranjpe for Kardar Production. The movie had Durga Khote, Raja Paranjpe, Shashikala, Kamal Mehra, Rajan, Maruti, Dhumal, Banerji etc in it.

The story of this movie was provided by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia in the past. Here is what he has to say about the movie:

CHACHA CHOWDHARY was a story of twin brothers separated early in life. Keshav(Raja Paranjape) goes to Zanzibar in Africa and becomes a very rich businessman there. Madhav(Raja Paranjape) becomes a wellknown Surgeon in India. Once Dr.Chaudhary has to operate on his own wife and she dies in that operation. Dr.Chowdhary becomes mad and is kept in an Asylum. meanwhile the Zanzibar businessman Keshav traces his distant nephew Annasaheb Chaudhary in Pune and informs him that he intends to return to India and stay with them.

On the day the Zanzibar chaacha comes to Poona, same day Dr.Chaudhary escapes from the asylum and they get mixed up. Police and Hospital staff catch the businessman(due to extreme resemblance) and take him to the asylum disregarding his pleas. Dr.Chaudhary reaches Annasaheb’s house where he is welcomed as the wealthy chaacha from Africa.

Annasaheb’s(S.N.Banerji) house is a madhouse already. His wife Sumati(Durga Khote) is very fond of western culture, fashion and is learning classical music from a Madrasi Teacher(Dhumal) who stays in this house only, the elder son Vasant(Rajan) is fond of Races, Daughter Uma(Shashikala) is learning dance and music from a Dance Master Chandranath(Kamal Mehra), who stays in this house only and finally the youngest son is fond of machines and continuously repairs machines. There is a cook and food is prepared separately for each person. Poor Annasaheb is a sad person.

The story entails how the mad Chaacha Chowdhary brings every member on the right track. Thinking of his wealth, no one opposes him. He drives out the cook, Music Master and the Dance master (who has an affair with his student Shashikala and has made her pregnant). He forces the wife Sumati to cook and do household chores. All these things are very funny. He also helps Vasant to get a job, and gets Shashikala married to the master and puts the younger son in Engineering college.

Meanwhile, the Zanzibar businessman escapes from the mad House and reached Chowdhary’s house. He confronts Dr.Chowdhary. Both recognise each others as lost brothers, but the Police and Hospital staff arrive and take away their patient back to the asylum.

Eight songs from the movie have been discussed in the past. Here is the ninth and final song from “Chaacha Chaudhary”(1953) to appear in the blog.

The song is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.

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

With this song, “Chaacha Chaudhary”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Koi hai koi hai jawaani ko jagaao na (Chaacha Chaudhary)(1953) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Madan Mohan

Lyrics

koi hai koi hai
koi hai koi hai
jawaawi ko jagaao na
jawaani soyi hai ae
jawaani ko jagaao na
jawaani soyi hai

main to soye huye armaan jagaane aaya hoon
main to soye huye armaan jagaane aaya hoon
tumhein dil ki main raani banaane aaya hoon
tumhein dil ki main raani banaane aaya hoon
jaao jaao re bhikaari
abhi raani soyi hai
jaao jaao re bhikaari
abhi raani soyi hai

ho koi hai koi hai
koi hai koi hai
jawaani ko jagaao na
jawaani soyi hai
jawaani ko jagaao na
jawaani soyi hai

mere nainon mein koyi samaaya hua hai
mere nainon mein koyi samaaya hua hai
maine dil to kisi se lagaaya hua hai
maine dil to kisi se lagaaya hua hai
meri ankhiyon mein preet ki kahaani soyi hai
meri ankhiyon mein preet ki kahaani soyi hai

arre koi hai koi hai
koi hai koi hai
jawaani ko jagaao na
jawaani soyi hai ae
jawaani ko jagaao na
jawaani soyi hai

gori ankhiyon se ankhiyaan milaao to zara
ho gori ankhiyon se ankhiyaan milaao to zara
main hoon kaun ye baat bataao to zara
main hoon kaun ye baat bataao to zara
jise dil thha diya aji ye to wahi hai
o jise dil thha diya aji ye to wahi hai

koi hai koi hai
jawaani ko jagaao na
jawaani soyi hai
jawaani ko jagaao na
jawaani soyi hai


Yahi to din hain bahaaron ke

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“Main Bhi Ladki Hoon”(1964) was directed by A C Trilokchandar for A V M Productions, Bombay. According to HFGK, this movie had Meena Kumari, Dharmendra, S V RangaRao, Balraj Sahni, Rajan, Om Prakash, Pushplata, Bhagwan, Manorama, Mohan Choti, Kammo, Umesh Sharma etc. in it.

The movie had five songs in it. Four songs from the movie have already been discussed in the past.

Here is the fifth and final song from the movie. This song is a duet which is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Chitragupta.

The song is picturised as a picnic song on a park. I am unable to identify the actors (who appear to be South Indian actors and could be S V Ranga Rao /Rajan and Pushplata) alongwith others. I request our knowledgeable readers to help identify them. I also request our knowledgeable readers to throw light on the story of this movie.

With this song, “Main Bhi Ladki Hoon”(1964) joins the list of movies that have all their songs covered in the blog.


Song-Yahi to din hain bahaaron ke (Main Bhi Ladki Hoon)(1964) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Chitragupta
Both

Lyrics

yahi to din hain bahaaron ke
dupatton ke nazaaron ke
roomaalon ke ishaaron ke
yahi to
yahi to din hain
yahi to din hain bahaaron ke
dupatton ke nazaaron ke
roomaalon ke ishaaron ke
yahi to
yahi to din hain

yahi to din hain bahaaron ke

jawaani isko kehte hain
ye befikri ka mausam hai
jawaani isko kehte hain
ye befikri ka mausam hai
ye hain jinda dilon ka saaz
deewaanon ki sargum hai

na samjhaao diwano ko
diwaano ka ye kehna hai
yahi to din hain bahaaron ke
dupatton ke nazaaron ke
roomaalon ke ishaaron ke
yahi to
yahi to din hain
yahi to din hain bahaaron ke

jawaan raaten umangon ki
haseen din hain muraadon ke
jawaan raaten umangon ki
haseen din hain muraadon ke

dilon mein roz lagte hain
naye mele iraadon ke
iraade to iraade hain
iraadon ka ye kehna hai

yahi to din hain bahaaron ke
dupatto ke nazaaron ke
roomaalon ke ishaaron ke
yahi to
yahi to din hain
yahi to din hain bahaaron ke

kahaan phir ye mulaakaaten
kahaan ye wadiyaan hongi
kahaan phir ye mulaakaaten
kahaan ye wadiyaan hongi
ye shehzaade kahin honge
kahi shehzaadiyaan hongi

chalo chhedo taraano ko
taraano ka ye kehna hai
yahi to din hain bahaaron ke
dupatton ke nazaaron ke
roomaalon ke ishaaron ke
yahi to
yahi to din hain
yahi to din hain bahaaron ke


Meri jaan meri jaan apne aashiq ko sataana kis’se seekhaa hai

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“Mere Huzoor” (1968) was a Movie Moghul production. It was directed by Vinod Kumar. The movie had Mala Sinha, Raj Kumar, Jeetendra, Indira, Manorama, Parveen Paul, Ram Mohan, Surekha, Zeb Rehman, David Abraham, Johnny Walker, K N Singh, Manju etc in it.

This movie was a treasure trove of great songs that continue to stay evergreen to this day. Five songs from this movie, all timeless classics- have been discussed in the past.

Here is the fifth timeless classic from “Mere Huzoor”to to appear in the blog. This song is a teasing cum romantic duet song which is sung by Rafi and Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised on Johny Walker and Zeb Rehman.


Song-Meri jaan meri jaan apne aashiq ko sataana kis’se seekha hai (Mere Huzoor)(1968) Singer-Rafi, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

meri jaan
meri jaan
meri jaan apne aashiq ko sataana kis’se seekha hai
jo tum par jaan de
usko mitaana kis’se seekha hai

suno ji
sunaao
suno ji
suno ji peechhe peechhe roz aana
kis’se seekha hai
meri galiyon ke chakkar roz lagaana kis’se seekha hai

meri jaan
hatt
meri jaan
chal chal
meri jaan
apne aashiq ko sataana kis’se seekha hai
jo tum par jaan de usko mitaana kis’se seekha hai

ek din majnu mila thha
mujhko peepal gaanv mein
haath pakda aur bithhaaya
mujhko thhandi chaanv mein
hahahaaha
waahwaah
ek din majnu mila thha
mujhko peepal gaanv mein
haath pakda aur bithhaaya
mujhko thhandi chaanv mein
bhar ke thhandi saans bola
yaar ke peechhe raho
mom ho jaayega pathhar
roz jo milte raho
tumhaare
tumhaare
tumhaare ghar ke chakkar roz lagaana us’se seeka hai
tumhaare ghar ke chakkar roz lagaana us’se seekha hai
suno ji
kya
suno ji
waah
suno ji peeche peeche rz aana kis’se seekha hai
meri galiyon ke chakkar roz lagaana kis’se seekha hai

ek din laila mili
mujhko aminaabaad mein
thhaamkar daaman wo boli
chup ho kiski yaad mein
o ho ho ho
ek din laila mili
mujhko aminaabaad mein
thhaamkar daaman wo boli
chup ho kiski yaad mein
tum bhi aashiq ko sataao
baat meri maan lo
jhootha aashiq hai ke sachcha
pyaar uska jaan lo
kasam se
kasam se
kasam se
aap jaison ko sataana us’se seekha hai
kasam se aap jaison ko sataana us’se seekha hai

haaye
meri jaan
meri jaan
jaa jaa
meri ja apne aashiq ko sataana kis’se seekha hai
jo tum par jaan de
usko mitaana kis’se seekha hai


Kaahe Itna Gumaan Chhoriye Ye Mela Do Din Ka

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

The strongest image that remains in the mind is that of the film director Sinha Saab, a bedraggled man in tattered garments, with ruffled grey hair and white beard, a leathery skin on face lined with wrinkles that appeared much before time – a young person who aged too rapidly for his years. With help of a walking stick, he climbs down from the shadows of the scaffolding where he has perched himself, watching the action on the floor below – the same floor where once, not too long ago, he was the ringmaster, and everyone bowed to him. Not anymore. Today, he is a ‘has been’, who lost his touch of Midas, and the same world that once clamored to him, has quickly forgotten and relegated him, literally, to the garbage heap.

With difficulty, he negotiates the narrow ladders that lead down from the scaffolding to the studio floor. Once there, he shuffles to the chair, his chair, in the days of glory; the chair with the word ‘Director’ written across its back. He sits. And then he is immobile, never to get up again, never to wake up.

When the crowd of workers return after lunch, everyone is shocked to see this grimy old man, sitting motionless in the director’s chair. Everyone is known to him, but today no one recognizes him, now that he is gone. None, save one light-boy, who remembers and recognizes his earliest benefactor – Sinha Saab.

The power of these images and these sequences now have a cult following, not only in India but worldwide. Remembering Guru Dutt on his seventy seventh anniversary. (9th July)

Vasant Kumar Shivshankar Padukone spent a good part of his childhood in Bhowanipore, Calcutta. He was strongly influenced by the local culture, so much so that he adopted the name Guru Dutt – the name that lasted for, or rather outlasted, his lifetime. His first employment was with Lever Brothers, as a telephone operator in their factory near Calcutta – a plebian job that would not hold him for long. Then his uncle got him introduced into Prabhat Studios in Poona, where he was hired as, yes, a choreographer. That he would quickly graduate to being an actor and even an assistant director, was a logical follow up for his creative energies.

The image of the rebel, that is strong in his seminal works – ‘Pyaasa’ (1957) and ‘Kaaghaz Ki Phool’ (1959) depicts probably the inner anguish and conflict of his being, a painful cry that arises from the inner depths, seeking an expression, to be heard, to be what he wanted to be – to be free from the entrapments of his own creativity and versatility. ‘Pyaasa’ was a success, but the audiences did not warm up well to ‘Kaaghaz Ke Phool’, and so his mind saw the irony and the contradictions of existence. And maybe then, he let go. He had come in from the stream of ‘Aar Paar’ (1954), ‘Mr & Mrs 55’ (1955) and ‘CID’ (1956),  to present to the world his heart and his emotions. But then after these two searing portrayals of human reality, he returned back into the fold with ‘Chaudhvin Ka Chand’ (1960), ‘Sahib Bibi Aur Ghulam’ (1962), ‘Sautela Bhai’ (1962), ‘Bahurani’ (1963) et al.

From being a suave newspaper reporter (’12 O’Clock’ and ‘Mr and Mrs 55’) and a street smart car mechanic (‘Aar Paar’), he would be the poet (‘Pyaasa’) and the creative film maker (‘Kaaghaz Ke Phool’), but then he would also be the very rural village bumpkin (‘Bharosa’), a mentally retarded adult person (‘Bahurani’), a small time draftsman who fumbles when facing a lady (‘Sahib Bibi Aur Ghulam’), and a friend of friends in the most traditional milieu (‘Chaudhvin Ka Chand’).

His passing away left many unanswered questions. Was that the salvation he was seeking? We don’t know. But we do know that the film and music lovers lost an intensely creative and a versatile genius, much before his time – God only knows what could have been, had he survived that deadly combination of sleeping pills and liquor.

With the word ‘choreographer’ in mind (his first assignment with Prabhat Studios at the start of his career), I present this lilting dance song from the 1963 film ‘Bharosa’. Guru Dutt takes to the screen with Asha Parekh in a group dance happening as part of a village fair. Quick reference to artists – lyrics are by Rajendra Krishan, music direction is by Ravi, and the singing voices are Rafi Sb and Asha Bhosle supported by chorus. So we now know that he could dance as well, maybe not as well as Asha Parekh, but who is comparing.😉

This is Guru Dutt, four years after he laid his ‘Paper Flowers’ – ‘Kaaghaz Ke Phool’ to rest. I do not believe it was a suicide.

Song – Kaahe Itna Gumaan Chhoriye Ye Mela Do Din Ka (Bharosa) (1963) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajinder Krishan, MD – Ravi
Male Chorus
Female Chorus

Lyrics

kaahe itna gumaan chhoriye
ye mela do din ka
kaahe itna gumaan chhoriye
ye mela do din ka
legi kitnon ki jaan chhoriye
ye mela do din ka
kaahe itna gumaan chhoriye
ye mela do din ka

kaahe karta hai pyaar chhoruaa
ye mela do din ka
kaahe karta hai pyaar chhoruaa
ye mela do din ka
ja ja do din ka chhoruaa
ye mela do din ka
kaahe karta hai pyaar chhoruaa
ye mela do din ka
kaahe itna gumaan chhoriye
ye mela do din ka

o zara sun sun
arre ja ja ja
o zara sun sun
arre ja ja ja
chal thumak thumak
zara thumak thumak
aaa aaa aaa aaa aaaaaa aaa
chal thumak thumak
zara thumak thumak
aaa aaa aaa aaa aaaaaa aaa
o zara sun sun
arre ja ja ja
o zara sun sun
arre ja ja ja

teri khaatir khol ke rakha hai dil ka darwaaja
painyaan hum nahin padne waale
marzi hai to aa ja
badaa aaya dildaar chhoruaa
ye mela do din ka
badaa aaya dildaar chhoruaa
ye mela do din ka
ja ja do din ka chhoruaa
ye mela do din ka
kaahe karta hai pyaar chhoruaa
ye mela do din ka
kaahe itna gumaan chhoriye
ye mela do din ka

dekh zara ye kaali kaali zulfon ki zanjeeren
bandhi hui hain in mein
tere jaison ki taqdeeren
achhaa
waah waah
kya samjhe
dekh zara ye kaali kaali zulfon ki zanjeeren
bandhi hui hain in mein
tere jaison ki taqdeeren
lut jaayega jahaan chhoriye
ye mela do din ka
lut jaayega jahaan chhoriye
ye mela do din ka
kaahe karta hai pyaar chhoruaa
ye mela do din ka

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

काहे इतना गुमान छोरिए
ये मेला दो दिन का
काहे इतना गुमान छोरिए
ये मेला दो दिन का
लेगी कितनों की जान छोरिए
ये मेला दो दिन का
काहे इतना गुमान छोरिए
ये मेला दो दिन का

काहे करता है प्यार छोरुआ
ये मेला दो दिन का
काहे करता है प्यार छोरुआ
ये मेला दो दिन का
जा जा दो दिन का छोरुआ
ये मेला दो दिन का
काहे करता है प्यार छोरुआ
ये मेला दो दिन का

ओ ज़रा सुन सुन
अररे जा जा जा
ओ ज़रा सुन सुन
अररे जा जा जा
चल ठुमक ठुमक
ज़रा ठुमक ठुमक
आs आs आs आs आssss आss
चल ठुमक ठुमक
ज़रा ठुमक ठुमक
आs आs आs आs आssss आss
ओ ज़रा सुन सुन
अररे जा जा जा
ओ ज़रा सुन सुन
अररे जा जा जा

तेरी खातिर खोल के रखा है दिल का दरवाजा
पईयां हम नहीं पड़ने वाले
मर्ज़ी है तो आ जा
बड़ा आया दिलदार छोरुआ
ये मेला दो दिन का
बड़ा आया दिलदार छोरुआ
ये मेला दो दिन का
जा जा दो दिन का छोरुआ
ये मेला दो दिन का
काहे करता है प्यार छोरुआ
ये मेला दो दिन का
काहे इतना गुमान छोरिए
ये मेला दो दिन का

देख ज़रा ये काली काली ज़ुल्फों की ज़ंजीरें
बंधी हुई हैं इन में
तेरे जैसों की तक़दीरें
अच्छा
वाह वाह
क्या समझे
देख ज़रा ये काली काली ज़ुल्फों की ज़ंजीरें
बंधी हुई हैं इन में
तेरे जैसों की तक़दीरें
लुट जाएगा जहां छोरिए
ये मेला दो दिन का
लुट जाएगा जहां छोरिए
ये मेला दो दिन का
काहे करता है प्यार छोरुआ
ये मेला दो दिन का


Haaye teri nazar ne kiya kyaa ishaara

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Today (25 july 2016) is the 20th death anniversary of G S Kohli. G S Kohli, a long time assistant to O P Nayyar was an independent music director in movies like “Faulaad”(1963), Shikaari”(1963), “Namasteji”(1965) etc.

This blog has 41 songs composed by G S Kohli. On the occasion f his death anniversary, here is a duet song from “Jaalsaaz”(1969). This song is sung by Rafi and Asha Bhonsle. Farooque Kaiser is the lyricist. Music is composed by G S Kohli, of course.

The song is picturised as a roadside tamasha dance song on Bhagwan and Bela Bose. Others visible in the picturisation are Bambi, Fighter Shetty,Harbans Darshan M.Arora.

Lyrics of this song were sent to me by Prakashchandra.

video link:

audio link:

Song-Haaye teri nazar ne kiya kya ishaaraa (Jaalsaaz)(1969) Singers-Rafi, Asha Bhonsle, Lyrics-Farooque Kaiser, MD-G S Kohli
Both

Lyrics(Provided by Prakashchandra)

mili nigaah tujhse
kaisey mili
kyaa kahiye ae
haaye
ye aaj dekh liyaa hamne
qayaamat kya hai

hoye teri nazar ne kiya kya ishaaraa
haaye dil hamaara raha na hamaara
arrey ye kyaa
arrey ye kya ghazab ho gaya aaa…aaa…aaa

haaye teri nazar ne kiya kyaa ishara
haayye dil hamaara na hamaara
arrey ye kyaa aa
arrey ye kya ghazab ho gyaa aa aa aa aa

teri nazar ne kiya kyaa ishaaraa

ye sehmi sehmi nigaahein aen aen
ye sehmi sehmi nigaahein
ye behki behki kanwaari adaa aa
maathe pe chhalkaa paseenaa aa aa
yaa pyaar ki barsi pehli ghataa o
maathe pe chhalkaa paseenaa aa aa
yaa pyaar ki barsi pehli ghataa
toone kaissi aankh milaayee
kaissey dil mein aag lagaayee
o main toh mar gayee raam duhaayi oyye

maathe se ye ponchh le rey paseenaa
iss pyaar mein hogaa mar mar ke jeenaa
arrey ye kyaa aa aa
arrey ye kya gazab ho gayaaa aa aa aa

haayye teri nazar ne kiya kya ishaaraa aa

dil ko toh kitnaa sambhaalaa aa aa
dil ko toh kitnaa sambhaalaa
lekin chaley zor dil pe kahaan aan aan
yeh umr haaye ye jawaani ee ee
gumraah kis ko na kar de yahaan o
yeh umr haayye ye jawaani ee ee
gumraah kis ko na kar de yahaan
tera roop jiyaa tarsaaye
tera pyaar badaa tadpaaye
haaye chain kahin na aaye ho o
deewaane kya tere dil mein samaayee
toone ye kya meri haalat banaayi

arrey taubaa aa aa
arrey taubaa ghazab ho gayaa aa aa o
teri nazar ne kiya kya ishaara
haaye dil hamara rahaa na hamara
arrey ye kyaa aa aa
arrey ye kya ghazab ho gayaa aa aa aa
teri nazar ne kiya kya ishaaraa


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