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

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Blog 10-Year Challenge (2010-2020) – Song No. 44
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Ten years back on this day , viz on 28th July 2010, the blog saw as many as six songs being represented as given below;

Out of the six movies represented on the blog on that day five movies viz. ‘Kanyaadaan-1968’, ‘Sehra-1963’, ‘Nau Do Gyaarah-1957’, ‘Mr and Mrs 55-1955’, and ‘Taxi Driver-1954’ all their songs have already been covered and they have already landed in ‘Yipeeeee’ land.

That leaves us only one movie i.e. ‘Khaandaan-1965’ which is still eligible to be considered for the ‘blog ten-year challenge’.

Though I am regularly browsing the blog, I failed to notice that three songs of this movie ‘Khaandaan-1965’ were yet to be covered. This discovery came as a big surprise for me. I had a ‘bigger’ ‘surprise’ waiting for me, But they will be discussed some other time. For the time being, we will come directly to the today’s song and post.

‘Khaandaan-1965’ or ‘Khandan-1965’ was directed by A. Bhim Singh for ‘Vasu Films, Madras’. S. Ramanathan was the associate director of this movie and A. Hussain was his assistant. This movie was produced by Vasu Menon. It had Sunil Dutt, Nutan, Pran, Soodesh Kumar, Manmohan Krishna, Mohan Choti and Om Prakash, supported by Ravikant, Arundev, Mumtaz, Sulochana Chatterjee and Lalita Pawar.

Story of this movie was written by M.S. Solaimalai and dialogues were written by Rajinder Krishan who also wrote the lyrics for the songs in this movie.

A. Bhim Singh who was the director of the movie wrote the screenplay of this movie and he was also the editing supervisor of this movie. A. Pauldoraisingam was the editor of this movie.
N.S. Bedi was the Dialogue Instructor for this movie.

This movie had eight songs written by Rajinder Krishan and music was composed by Ravi. Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Manna Dey and Mohd Rafi had given their voices to the songs in this movie.

So far, the following five songs from “Khaandaan-1965” have been posted on the blog;

Today’s song is the sixth song from this movie being presented on the blog. This enjoyable ‘teasing’ song is sung by Mohd Rafi and Asha Bhonsle and picturised on Sunil Dutt and Nutan in a ‘village fair’ or ‘mela’ set up where many other artists can also be seen participating in the picturization of this song.

Let us now enjoy today’s song …

Video

Audio

Song-Ho balle soch ke mele jaana (Khaandaan)(1965) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Ravi
Male chorus
Female chorus

Lyrics

kahaan chali
kahaan chali
kahaan chali ee
mele
mele
mele
mele
mele ae

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dhare

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dharey ae

dhalke dupatwaa to
lat teri bikhrey ae
jhuk jaaye nainwaa
to roop tera nikhrey ae
dhalke dupatwaa to
lat teri bikhrey ae
jhuk jaaye nainwaa
to roop tera nikhrey ae

ho peechhe padi hai duniyaa saari
bairan laakh jatan kar haari
main to
ab tak rahi kunwaari
koi naam to dharey

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

o o o o o o
o o o o o o
aa aa aa aa aa
aa aa aa aa aa
o o o o o o
o o o o o o
aa aa aa aa aa
aa aa aa aa aa

duniyaa ke aankh mein
jawaani meri khatke
kitnon ke dil hai
nathaniyaa mein atke ae ae
duniyaa ke aankh mein
jawaani meri khatke
kitnon ke dil hai
nathaniyaa mein atke

haay
jab se saal solwaa laagaa
tera ang ang hai jaagaa
peechhe har dilawaala bhaagaa
koyi kaam naa kare ae

ho balle ae
samajh naa mujhko bholi
mera roop zehar ki goli
sun le
deewaanon ki toli
koi naam naa dharey ae

ho ballo
soch ke mele jaanaa
saaraa shahar teraa deewaana
tere roop ko de ke taanaa
badnaam naa karey ae

bruuuu brruu aa
aa a a ayeah

chakchak jhikchak

hadippaa
hadippaa

bruuu he he
hahahahaha

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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo Atuldom

31^st July, was that date in the monsoon of 1980, when the favourite singer of an entire generation left this world without any warning. There are anecdotes about the happenings of that date which keep surfacing now and then. We have heard that he was recording for Laxmikant -Pyarelal that day, a duet with Lata Mangeshkar, and was asked to stay back to record a songlet (if there is such a word) which was to play at the end of the movie and the words of that:

Tere aane ki aas hai dost
shaam phir kyun udhaas hai dost
mehki mehki phiza yeh kehti hain
tu kahin aas paas hai dost
tu kahin aas paas hain dost

seem like written for remembering this legend called Mohammad Rafi.

There is not a single day when a song played over the air-waves or on TV don’t remind us of his wonderful voice. There is not a single day when we don’t hum or sing a song that was a classic because he had sung it. There may be many who try to sing like him but God made only one Mohammad Rafi. Has anyone tried singing “kya hua tera waada, woh kasam woh iraada” in one breath, it is not easy. But when we hear Rafisaab render it, it feels like cakewalk. I will not even throw a challenge to sing “naache mann mora magan dhikna dhik dhik”. But I will definitely ask a Rafi clone to sing “yahoo, chahe koi mujhe junglee kahe” and follow it up with “champi tel maalish”. Both are fun songs abut they need a full-throated voice and range from lower to higher notes. I am not even going to list his soulful songs here; that would be really long and every single one as much on my personal playlist as the ones that I have mentioned here.

I would love to know how he modulated his voice to suit the on-screen actor. He was good for a Mehmood and Rajendra Kumar and sounded different in the same film. He sang for Guru Dutt and Johnny Walker and we could visualize the difference in the characters. No more examples as I have always said, I am not qualified or knowledgeable enough to comment or write about legends.

But I will definitely quote an Amitabh Bachchan song which said:

na phankaar tujh sa tere baad aaya, Mohammad Rafi tu bahut yaad aaya

Getting directly to today’s song. As

rasm e duniyaa bhi hai
maukaa bhi hai
dastoor bhi hai

I will just give the details of the song which is from the 1981 release “Ham Se Badhkar Kaun”. We have thus far, only one song from this movie which is this one. That means we haven’t visited this movie in the last nine years. Atulji has given the gist of this movie in that post in a single line- ‘run of the mill’. I will just add that it also relied on the lost-and-found theme. Today’s duet is Asha Bhonsle with Mohd.Rafi (duet number 533) performed on-screen by Mithun, Ranjeeta, Bhagwan Dada and chorus.

Video

Audio

Song-Dekho logon ye kaisa zamaana (Ham Se Badhkar Kaun)(1981) Singers-Rafi, Asha Bhonsle, Lyrics-Ravindra Rawal, MD-Ram Laxman
Chorus

Lyrics

Oh Tony,
Please leave me alone
I hate you
Oh no dear Tina
I love you

dekho logon
yeh kaisa zamaana
dil churaake bane woh begaana aa
dekho logon yeh kaisa zamaana
dil churaake bane woh begaana
koi roothhe dilbar ko manaana
usse jaakar samhjaana
okay
goriye
aisa chaahne waala toh
milta kismat waalon ko
shut up
dekho logon yeh kaisa zamaana
dil churaake bane woh begaana
dekho logon yeh kaisa zamaana
dil churaake bane wog begaana

iss ki kya sunte ho
yeh deewaana hai
aisa kya
bhanwara hai yeh mat samjho
parwaana hai
haye tauba
iss ki suno na yaaron
ye jhooth hai saraasar
is bewafa ko dekho
pehchhaan lo baraabar
main sachh kehta hoon kasam khaa kar
goriye aashiq ko apne sataao na
ab toh maan jaao na
dekho logon yeh kaisa zamaana
aise jhoothon se daaman bachaana aa
dekho logon yeh kaisa zamaana
aise jhoothon se daaman bachaana
inki har baat bahaana
dhokhe mein na aa jaana
arre yeh
lagta bhola bhala hai
lekin dil ka kaala hai
oh no
dekho logon yeh kaisa zamaana
dil churaa ke bane woh begaana
dekho logon yeh kaisa zamana
dil churaake bane wo begaana

meri bala se chaahe na maano ae jaanaa
arre ja ja ja a
yeh dil toh hai aur kisi ka deewaana
kya kya kya
jaane tamanna meri
sun lo tumse behtar hai
dil pyaar ka khazaana
maasoomiyat zewar hai
yeh ab sab kya chakkar hai
arre woh hamse badhkar kaun hai
dekhoon ik jhalak toh main

dekho logon yeh kaisa zamaana
dil churaake chala woh deewaana
haa aa dekho logon yeh kaisa zamana
dil churaake chala woh deewaana
koi roothhe dilbar ko manaana
usse jaakar samhjaana
yaaron inka puraana taanka hai
khaayaa humne jhaansa hai
la laaa
la la la la la la laaa
la laaa
la la la la laaa
la laaa
la la la la la la laaa
la laaa
la la la la laaa

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

Some years back, I recall having seen for the first time on the internet the photo features of Hindi film stars such as Madhubala, Nalini Jaywant and Begum Para in ‘Life’ magazine. These photographs were taken by the magazine’s well known photographer, James Burke in 1951 who was posted in India.  From the standard of 1951, these photographs would have ranked as bold. But one more actress also featured in that magazine – the featured photos were bolder than those of the stars I mentioned earlier. Subsequently, I had also seen her images appearing in ‘Filmindia’ magazines of 1948 and 1949. The actress in the photoshoot of 1951 was Mohana Cabral.

Today, September 11^th is the 30^th Remembrance Day of Mohana Cabral who died of heart attack this day of the year 1990 in France where she had been staying with her husband and daughter since 1986.

Mohana Cabral (03/02/1929 – 11/09/1990) whose real name was Mona Cabral, was born in Socorro in Bardez taluqa of North Goa in Konkani speaking Christian family. In early 1930s, the family shifted to Bombay (Mumbai) when her father changed his job to Bombay-based Hindustan Construction Company. Mohana did her initial schooling at Victoria High School in Mahim. Later. she was put in a boarding school in Pune where she completed her high school.  In Pune, she joined as a telephone operator in a telephone company. It is through connecting the long distance telephone calls that Mohana got acquainted with some of the film stars of that time including Nargis, Begum Para and Pratima Dasgupta.

Mohana got introduced to Kishore Sahu who offered her a role in his film ‘Saawan Aaya Re’ (1949) which was her debut film though ‘Aag’ (1948) was released first without her name being accredited in the film.  Kishore Sahu changed her name from Mona to screen name, Mohana which got attached with her during the rest of her life not only in films but also in the Konkani plays and singing career.

Sometime in 1948, Mohana got involved with Konkani ‘Tiatr’ in Mumbai. (‘Tiatr’ is a Portuguese word used in Goa for ‘theatre’ for the Konkani dramas encompassing music, dance, and singing. In a way, it is akin to Marathi ‘Sangeet Natak or musical dramas). Her debut Konkani drama was ‘Cortub Avoichem’ (1948) which was directed by the pioneer of Goan Konkani Tiatr, C Alvares, the producer, director, actor, song writer and the singer. In fact, Alvares was instrumental in encouraging girls to play the female roles in his dramas and introduced Mohana and her younger sister, Ophelia. In 1952, Mohana got actively involved with Konkani tiatr in Mumbai, mostly collaborating with C Alvares as an actor-singer and worked in about a dozen plays. Both the sisters were actor-singers in Konkani Tiatr in Mumbai and later in Goa. In fact, in Goa, Mohana is known more as a tiatrist than the Hindi film actress.

In 1951, Mohana met Edward Downing, a Royal Indian Air Force pilot in a hotel where the shooting of her film ‘Sansaar’ (1951) was in progress. They got married in 1951 and had a son, Mark. Unfortunately, her husband died in a plane accident in less than two years of their marriage. In 1955, Mohana got married for the second time with John D’frates who was working for the United Nations and got posted at Beirut.  With this posting, Mohana bid adieu to Hindi film industry. Her last shoot was for the film, ‘Insaaniyat’ (1955).

In Beirut, Mohana learnt Arabic and began producing dance programmes for Television. She also acted in a couple of dramas on Television. After spending many years in Beirut, her husband got posting in Vienna from where he retired in 1986. Post retirement, Mohana and her family settled in France. Mohana was very much interested in Goan Konkani Tiatr. She would regularly visit India on holidays and act in Konkani dramas in Goa. During the period of her visits, she had also cut a few discs of her non-filmy Konkani songs, some with her mentor, C Alvares.

Mohana died of a heart-attack in France on September 11, 1990 when she was 61. [Thanks for the inputs from Shishir Sharma’s Blog, ‘Beete Hue Din’ on Mohana posted on May 13, 2015 and an article in ‘The Navhind Times, Panaji, Goa dated April 6, 2020].

It is interesting to note from her filmography that how quickly Mohana established herself in Hindi film industry. In ‘Aag’ (1948), she had one song role though her first debut film was ‘Saawan Aaya Re’ (1949). In 1949, she had acted in as many as 6 films. 1950 was a blank year for her as probably she got associated with Konkani plays in Mumbai. In 1951 and 1952 she did 5 films each. 1953 and 1954 was again lean years for her. In 1955, she did 4 films before quitting the film industry. In all, she acted in 26 films in her short span of 6 years in the film industry. The full filmography of Mohana is given below:

1948: Aag.
1949: Chaar Din, Jagriti, Kamal, Patanga, Rimjhim, Saawan Aaya Re.
1951: Adaa, Naadaan, Nageena, Sagaai, Sansaar.
1952: Aashiana, Chham Chhama Chham, Najaria, Saloni, Saaqi.
1953: Shole.
1954: Danka, Dost, Shart.
1955: Insaaniyat, Marine Drive, Sau Ka Note, Teerandaz.
1956: Taksaal.

I had noticed in the advertisements of films for which she worked in 1949-50 that  her name was written either in bold or capital letters. That shows that Mohana was popular among the audience of that time and her name mattered for the success of the films. In most of her films, she got roles of a ‘side kick’ to the comedians like Gope, Agha and as a singer-dancer.  Her popularity can be gauged from the fact that in most of her films, Mohana will have at least one song picturised on her. Some of the songs picturised on her for which video clips are available for watching are listed below:

Raat ko ji haay raat ko ji chamke taare – ‘Aag’ (1948)

Pyaar ke jahaan ki niraali sarkaar hai – ‘Patanga’ (1949)

My my my my my dear – ‘Nageena’ (1951)

O baabu kaise dil karoon qaaboo – ‘Sagaai’ (1951)

Lucknow chalo ab raani – ‘Sansaar’ (1951)

Haseena sambhal sambhal ke chal – ‘Saaqi’ (1952)

O madam do se ho gaye ek ham – ‘Aashiana’ (1952)

Dil mera hai deewaana – ‘Shart’ (1954)

Mohana has also rendered two songs on herself in the film ‘Rimjhim’ (1949).

On the occasion of Mohana’s 30^th Remembrance Day, I present a song “Aisi Nainwa Ki Laagi Kataar” from ‘Insaaniyat’ (1955) rendered by Mohammed Rafi and Asha Bhosle. The song is written by Rajinder Krishan which is set to music by C Ramchandra. The song is picturised on Mohana as a part of a ploy to wood wink a soldier to stripe out his uniform to be used for disguising Mangal (Dilip Kumar) as soldier to gain access to the prison to facilitate the release of Bhanupratap (Dev Anand).

In the video clip, there are only two stanzas where as the audio clip contains the full song of four stanzas. This is the 10^th song to appear on the Blog out of 17 songs in ‘Insaaniyat’ (1955).

Video (Partial)

Audio (Complete)

Song – Aisi Nainwaa Ki Laagi Kataar (Insaaniyat) (1955) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – C Ramchandra
Mohammed Rafi + Asha Bhosle

Lyrics (Based on Audio Clip)

aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
na marodo kalaiya hamaar
kangan mora churar murar
haan haan kare churar murar
 
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chhupaay ke
nainon mein lagaaun tohe
nainon mein lagaaun tohe kajara banaay ke
manwa ki dibiya mein rakh loon chaupaay ke
jataao na itna pyaar
ke mann mora surar surar
haan haan kare surar surar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekho na dekho mohe
dekho na dekho mohe tirchi nazar se
darr mohe laage tori patli kamar se
dekhi jab ke suratiya tohaar
kamar mori ghumar ghumar
haan haan kare ghumar ghumar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
 
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
main tori bulbul
main tori bulbul tu mora kaaga
kaage se bulbul ka taanka hai laaga
aa ja chalen ghataaon ke paar
udd jaayen furar furar
haan haan jaayen purur purur
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar
aisi nainwa ki laagi kataar
jiya kare khusar fusar
haan haan kare khusar fusar

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Hindi script lyrics (Provided by Sudhir)
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ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर
ना मरोड़ो कलइयाँ हमार
कंगन मोरा चुरर मुरर
हाँ हाँ करे चुरर मुरर

नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
नैनों में लगाऊँ तोहे
नैनों में लगाऊँ तोहे कजरा बनाय के
मनवा की डिबिया में रख लूँ छुपाय के
जताओ ना इतना प्यार
के मन मोरा सुरर सुरर
हाँ हाँ करे सुरर सुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखो ना देखो मोहे
देखो ना देखो मोहे तिरछी नज़र से
डर मोहे लागे तोरी पतली कमर से
देखी जबसे सुरतिया तोहार
कमर मोरी घुमर घुमर
हाँ हाँ करे घुमर घुमर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
मैं तोरी बुलबुल
मैं तोरी बुलबुल तू मोरा कागा
कागे से बुलबुल का टांका है लागा
आ जा चलें घटाओं के पार
उड़ जाएँ फुरर फुरर
हाँ हाँ जाएँ फुरर फुरर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर
ऐसी नैनवा की लागी कटार
जिया करे खुसर फुसर
हाँ हाँ करे खुसर फुसर

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

Remembrance day of Jaikishan :
———————————–
Today i.e. 12^th September, 2020 is 49^th death anniversary of Jaikishan, a half of Shankar-Jaikishan.

I have just now read the detailed Wikipedia Page of Shankar-Jaikishan, so will reproduce some para’s which are worthy of mention in terms of Jaikishan’s death anniversary.

“Shankar Jaikishan enjoyed an unrivalled position in the Hindi film industry. During their heyday and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promotional material of their films would give them more prominence than anyone else.”

“What can I say… my musical partner in life has gone, what is left of me to say anything more, I had never thought that at such an early age he would leave us all and go; Anyway his good qualities of maintaining goodwill, giving love and receiving love were innate in him and I too don’t have them in me. He used to regularly remind me of my innate quality of being in a boisterous mood all the time and always abrasive with some one or the other and so on and so forthwith…….”
(Shankar on Jaikishan’s death in an interview with AmeenSayani.)

The page also has this to say about Shankar Jaikishan, vis-à-vis different singers :

“Shankar Jaikishan combo worked above all of with Mohd Rafi and secondly Mukesh, and produced numbers of hits and unmatchable gems. Mohd Rafi was their favourite singer despite having good reputation with other playback singers of its time.”

I read somewhere else, that the mukhda of the song “Ye mera prempatra padh kar” from ‘Sangam’ was actually taken from the letter written by Jaikishan to his than fiancée “Priya”. So this could be the instance where Jaikishan unwittingly revealed that he is the composer of the block-buster song. This caused a rift between the two as Jaikishan broke the unwritten agreement between them, of not revealing which of them is the creator of any particular song. Here, Rafi Sahab is said to have intervened and solved the issue between Shankar and Jaikishan, and also later on between Lata Mangeshkar and Shankar in the mid 70’s.

But there is no doubt of the truth here when it is said that “Shankar-Jaikishan, along with other artists, composed “everlasting” and “immortal melodies” in the 1950s, 1960s, and early 1970s.[2] Their best work was noted for being “raga-based and having both lilt and sonority”.

All hindi film music fans agree that they changed the face of hindi film music with “Barsaat” and the success of the film and its music played a big role in this change.

The music I think was versatile and inspiring to new music directors. Theirs was a first of its kind duo, as far as I know who combined their talents and acumen with two lyrcists and made a fearsome foursome. They can also be called fabulous and formidable. They had to be, to be on top of the game for two decades. Shankar-Jaikishan can also be credited for starting the trend of version songs, one male and one female version. Contemporaries and seniors like Naushad and S.D.Burman rarely did it. Naushad in “Mere Mehboob” and S. D. Burman in “Sharmilee” and “Tere Ghar Ke saamne”. But in the later instance, it was both male solos.

I am actually trying to wrap up the long running series on Mohammad Rafi songs, so trying not to look for a Rafi Sahab song for posting on this occasion. But as luck would have it, I found this popular song from ‘Pyaar hi Pyaar’(1969). Moreover this song has a stamp of Shankar-Jaikishan signature style in the orchestration of the music. This is an Asha-Rafi duet, with the fast pace and beat. This is the manifestation of Asha Bhonsle making inroads in the Shankar Jaikishan cap, which started with “Teesri Kasam”. Shankar-Jaikishan were known for Lata only music scores through 50’s and not just for R.K. films. I think the exceptions to this were very rare and few, where Asha, Geeta Dutt or Shamshad Begum got to sing Shankar Jaikishan compositions. Suman Kalyanpur was one such alternative which Shankar Jaikishan tried, in mid- 60’s for duets with Rafi sahab.

I have also tried to find if Shankar Jaikishan ever re-used their own tune to compose songs, but could not find any such songs. Their music was a huge commercial success, so no one else could try and copy their songs.

The song I am presenting in a party song, where Vijayanthi Mala is trying to make Dharmendra jealous, flaunting a dance partner. There are other popular Rafi solos in the film, but this would be the most popular, with the title song of the film ’dekha hai teri aankhon mein pyar hi pyar beshumaar’.

Song-Tu mera main teri duniya jaley to jaley (Pyaar Hi Pyaar)(1969) Singers-Asha Bhonsle, Rafi, Lyrics-Hasrat Jaipuri, MD-Shankar Jaiskishan

Lyrics

Tu mera
main teri
duniya jale to jalay
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
dil teraa
jaan teri
duniya jalay to jalay

jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
rut jawaan
pyaar bhari
ha duniyaa jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe hi
apni qasam
arey waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe
apni qasam
tu meri
ha jal pari
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay

roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baanhon ke sahaare hain
tere hi liye
roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baahon ke sahaare hain
tere hi liye
main tujhi par mari
ha duniya jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ho duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay

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

Today’s song is from the film Husn ka chor-53.

The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.

The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.

The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.

Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.

Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.

In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.

It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.

Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.

In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.

About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.

On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.

Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.

Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.

Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All

Lyrics

ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re

zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re
hoye hoye re hoye re
arre o mareez
khaaya thha kya
teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya
khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya
arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re
hoye hoye re hoye re

main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye

mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein
mohabbat karne waale mein
mohabbat karne waale mein
khuda bakhse bahut si
khoobiyaan ki marne waale mein
aji haan marne waale mein
aji haan marne waale mein ae ae

hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy

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

06/10/2020 – 74^th birth anniversary of Vinod Khanna
——————————————————————————-

This duet song by Mohammed Rafi and Asha Bhonsle is one more song from the 80’s and radio days. This remained in the memory as a very good song from the film ‘Insaan” 1982, starring Vinod Khanna, Jeetendra and Reena Roy. I looked up this song again a few days ago for including in the Rafi series, as there are no duets in the series. But I am not including it there, instead posting it as a anniversary post for Vinod Khanna. The song is sung on screen by Vinod Khanna and Reena Roy.

This is the trivia I found about the song, inadvertently.
“Saathiya Tu Mere Sapnon Ka Meet Hai – This song was based on the 1977 British hit “Angelo” by the pop band Brotherhood of Man.”

I was not looking to add to the short series of inspired/copied songs. But since this falls in the category it is added in the series as the 5^th song. There is only one more song in the series, barring any more inadvertent incidents.

Seeing the filmography of Vinod Khanna, his career started with films “Man ka Meet” and “Nateeja” in 1969. He graduated from bit roles to villan’s role in “Aan Milo Sajana” and small character in Manoj Kumar’s “Purab Paschhim” in 1970. Then came some of those critically acclaimed films like “Reshma aur Shera”, “Mere Apne” in 1971. He was noticed in both these films, especially “Mere Apne” with the main hero there. In “Mera Gaon Mera desh”(1971), he enacted the role of villain “Jabbar Singh”, which was later rehashed in “Sholay” as “Gabbar Singh”.

In “Achaanak” (1973), a movie directed by Gulzar he played an army officer, where he kills his wife and friend, using the methods learnt in training for killing the enemies, than uses the same training to evade arrest. I have seen this movie on TV, but don’t remember how it ends. He gets medals and accolades for same thing in a war, and a conviction for killing his unfaithful wife and deceitful friend. The dilemma was the basis of the film’s story. This is also a once seen, never forgotten sort of film. I would call it the most important film of Vinod Khanna’s film career.

The year 1974 brings more important films like “Imtehaan” and ‘Haathh ki safai”. Major hits start with multi-starrer “Amar Akbar Anthony” (1977), many more films later. Somewhere along the way, Vinod Khanna seems to have been typecast in the role of Daaku in many films, even as a hero.

Come 1980 and there were not so hit “The Burning Train” and super hit “Qurbani”. Feroz Khan’s “Qurbani”, had Vinod Khanna in the meaty title role, the one doing sacrifice.

I almost missed “Muqaddar ka Sikandar” (1978), as it is absent in the list of films at imdb. A few more multi starrters like “Kudrat”(1981) and “Rajput”(1982) later he was still short of a superstar status. Then came the Osho twist in the story and he left everything to join the aashram. He was out of the industry for almost 5 years. He made a very impressive comeback in 1987 with excellent hero oriented films like “Insaaf” and “Satyamev Jayate”. He continued working in many films for three decades till his death in 2017.

He had a stint in politics too like Amitabh Bachchan, was an MP from Punjab.

Some film buffs and Vinod Khanna fans contend that had he not got involved in “Osho” and left the industry at a crucial juncture, his career graph would have been very different. These are of course conjectures, and we will never know what could have been.

So here is the song from “Insaan”, composed by Laxmikant-Pyarelal and written by Anand Bakshi, as a tribute to Vinod Khanna on his 74^th birth anniversary.

Audio : Longer audio (full)

Video :

Song-Saathiyaa tu mere sapnon ka meet hai (Insaan)(1982) Singers-Rafi, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics

Saathhiya
hmmmm mmmm
tu mere sapnon ka meet hai
hmmmm mmm mm mm
tu mere honthon ka geet hai
hmmmm mmmmm
apni janmon ki preet hai
saathhiya
tu mere sapnon ka meet hai
tu mere honthon ka geet hai
apni janmon ki preet hai
khaao qasam
na ho pyaar ye kam
yahi waada karo
yahi reet hai
saathhiyaa
tu mere sapnon ka meet hai
tu mere honthon ka geet hai
apni janmon ki preet hai
khaao qasam
na ho pyaar ye kam
yahi waada karo
yahi reet hai
saathhiyaa
saathhiyaa
saathhiyaa

sitaare jaante hain
nazaare jaante hai
sadaa ke ham saathhi
ye saare jaante hain
sitaare jaante hain
nazaare jaante hain
sadaa ke ham saathhi
ye saare jaante hain
hmmmm mm mmm
saathhiyaa
tu sadiyon se mere saathh hai
barson puraani mulaaquat hai
tu meraa din meri raat hai
khaao qasam
na ho pyaar ye kam
yahi waada karo
yahi reet hai
saathhiyaa
saathhiyaa
saathhiyaa

ye rut mastaani
ye phool ye jawaani
ye sab tujh se hain
o mere dil jaani
ye rut mastaani
ye phool ye jawaani
ye sab tujh se hain
o mere dil jaani
hmmm mm mm
saathhiyaa
o o o
main tere bin kuchh bhi nahin
tu mere bin kucch bhi nahin
ye raat din kuchh bhi nahin
khaao qasam
na ho pyaar ye kam
yahi waada karo
yahi reet hai
saathhiyaa
saathhiyaa
saathhiyaa

bahaaron se ye poochho
ke dhaaron se ye poochho
kahenge yahi saare
hazaaron se ye poochho
bahaaron se ye poochho
ke dhaaron se ye poochho
kahenge yahi saare
hazaaron se ye poochho
hmmm mmm
saathhiyaa
hmm hmm mm mm
tu mera dil meri jaan hai
tu hi meraa armaan hai
tu hi meri pehchaan hai
khaao qasam
na ho pyaar ye kam
yahi waada karo
yahi reet hai
saathhiyaa
saathhiyaa
tu mere sapnon ka meet hai
meet hai
tu mere honthon ka geet hai
geet hai
apni janmon ki preet hai
saathhiyaa
saathhiyaa
tu mere sapnon ka meet hai
meet hai
tu mere honton ka geet hai
geet hai
apni janmon ki preet hai
saathhiyaa

saathhiyaa
saathiyaa

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

Today’s song is from the movie ‘Sachche Ka Bol Baala-1958’. This movie had made its debut on the blog on 15.12.2013 with its song ‘gorey gaal pe til kaala kaala’. For nearly seven years, thi remained the only song from this movie in the blog.

Today we are adding one more song from this movie. this sog isa duet song like the first one. It is sung by Mohd Rafi and Asha Bhonsle.

‘Sachche Ka Bol Baalaa-1958’ was directed by Bhagwan for ‘Unity Films, Madras’. It was produced by Brijmohan. It had Kum Kum, Chandrashekhar, Bhagwan, Radhika, Leela Gandhi, Kukku, Protima Devi, Jeevankala, Baburao, Shyam Kumar, Ramlal, Jani, Shukla, Kesri and others.

This movie was passed by Censor Board on 16.12.1958. So, this movie will also become sixty-two years old within few weeks now.

This movie had eight songs. They were written by Saba Afghaani and composed by Nisar.

Asha Bhonsle, Mohd Rafi and Suman Kalyanpur had given their voices to the songs in this movie as mentioned in the footnote in HFGK. However, the list of songs of this movie as given in HFGK Vol-III (1951-1960) does not mention singers for all eight songs but it mentions the singers’ name for only four songs as given below;

Only audio of this song is available. I would request knowledgeable readers to throw more light on this movie and its songs …

Let us now enjoy this second song from this movie.

Song-Badi mushqil se miley ho (Sachche Ka Bolbaala)(1958) Singers-Asha Bhonsle, Rafi, Lyrics-Saba Afghani, MD-Nisar
Both,
Chorus

Lyrics

Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho o

Badi mushkil se mile ho
Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho o
Badi mushkil se mile ho
Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho o
Badi mushkil se mile ho

Tujhe jaane hi diya pyaare
To kya baat huyi
Phir kya baat huyi
Aaj kismat se
Teri meri mulaaqat huyi
Aaj mulaaqat huyi
O o o o o o
Ye bhi kuchh milnaa hua
Zaraa khush dil na hua
Ye bhi kuchh milnaa hua
Zaraa khush dil na hua
Kaise bhala dil me jale
Aa aa aa aa
Badi mushkil se mile ho
Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho

Khile is dil ki kali
Aisi koi baat karo
Haan koi baat karo
Zulf bikhra ke chalo
Din ko zaraa raat karo
Haan ye
Zaraa raat karo
Ho o o o o o o o
Yaad ye baat rahe
Umr bhar saath rahe
Yaad ye baat rahe
Umr bhar saath rahe
Chaahe sabhi duniya jale
Aa aa aa aa aa

Badi mushkil se mile ho
Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho
Badi mushkil se mile ho
Phir bhi jaane pe tuley ho
Bade zulmi ho sanam
Bade zulmi ho

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

———————————————–————————————
Blog 10-Year Challenge (2010-2020) – Song No. 97
———————————————————————————–

‘Jab Se Tumhe Dekha Hai-1963’ is an eligible movie under the ‘Blog Ten Year Challenge’ today (30 november 2020) as one of its songs was posted on 30.11.2010.

Though one song of this movie was also posted on 18.11.2010, we missed the opportunity of discussing its song on that day ten years later. Our dear Prakash ji had already sent lyrics for two songs to cover these two occasions. Today gives us another opportunity of covering a song from this movie under the “Blog Ten Year Challenge” series.

Following six posts were published this day ten years ago on 30 november 2010:-

Though the blog scored a ‘sixer’ on the last day of the month of that year 2010 it left ‘three balls’ without scoring a single run i.e. 27th, 28th & 29th November’2010 were the ‘dot’ days for the blog. Still it managed to hit a century with this ‘six’ on the last day of the month. Total score of posts of November’2010 is 105. (Things like this happen in Hindi movies or specially in ‘MKD’ movies

Now, in the current month, the blog is still struggling at sixty-one posts till the time of writing of this post.

Let us just take a quick look at how the blog has so far been performing in the month of November in previous years since its ‘inception’;

HFGK Vol-IV mentions the following seven songs in this movie, all written by Shailendra and composed by Datttram.

So far, only three songs from this movie ‘JAB SE TUMHE DEKHA HAI-1963’ have been posted on the blog; (highlighted with their links)

Today’s song is the fourth song from this movie to be presented on the blog. It is sung by Mohd Rafi and Asha Bhonsle.

Let us enjoy today’s lovely nok jhonk song and close November’2020 on a happy note for the ‘Blog Ten Year Challenge’ and move on to December …

If we look at the statistics of the month of November over the years, this will be the first November where number of posts cross fifties and do not not enter nineties. Out of twelve Novembers so far, seven have scored centuries, two closed in the forties, and three in nineties. This, the thirteenth November for the blog seems to be ending in the sixties today …

over to the song now …

Lyrics of this song have been sent by Prakashchandra.

Audio

Song-Arre re re dil kho gaya (Jabse Tumhen Dekha Hai)(1963) Singers-Rafi, Asha Bhonsle, Lyrics-Shailendra, MD-Dattaram

Lyrics(Provided by Prakashchandra)

arrey rey rey rey rey
dil kho gayaa aa..aaa…aaa
dhoondhoon kahaan
dhoondhoon kahaan
ae dilruba
haaye haaye ye kya ho gayaa…aa
haaye haaye ye kya ho gayaa
dekho apni daayeen jeb mein
kya rakha hai is fareb mein
chhodo dhokha baar baar ka
kyon karte ho dhong pyaar ka
dil kho gayaa aa aa…aa aa…aa..hh

haaye haaye
haaye
mushkil ki raat mein
rehta tha saath mein
mera woh dil bholaabhala…aa
ho o o o o
chhootaa kis baat pe
nikla kyon haath se
hoga kahin kuchh ghotaalaa
dum bhar main sapnon mein kho gaya
itne mein dil paar ho gayaa
ye to duniya ka usool hai
chhoti si woh bhool bhool hai
dil kho gayaa aa..aa..aaa
dhoondhoon kahaan
dhoondhoon kahaan
ae dilruba
haaye haaye ye kya ho gayaa

hoye hoye hoye hoye hoye hoye
gham hai din raat ka
itni si baat ka
mera woh dil thha tumhaara aa
ho ho o
mera khayaal hai
mere mizaaz se dar ke chhupa hai bechaaraa
mera bigdaa haal dekhiye
behki behki chaal dekhiye
sheeshaa leke shaql dekhiye
mil jaayein to akal dekhiye
dil kho gayaa aa
dhoondhoon kahaan
dhoondhoon kahaan
ae dilruba
haaye haaye ye kya ho gayaa

ho ho o
anjaani raah par
khud se wo bekhabar
phirta tha aksar aawaaraa
alley alley alley alley alley alley
woh to naadaan thha
jag se anjaan thha
jaataa kahaan besahaaraa aa
shaayad uss ko saath mil gaya
chhupke woh Bambai chal diya
Bambai woh kis liye jaayega
kaun usey actor banaayega
dil kho gayaa aa
dhoondhoon kahaan
dhoondhoon kahaan
ae dilruba
haaye haaye ye kya ho gayaa…aa aa
haaye haaye ye kya ho gayaa
dekho apni daayeen jeb mein
kya rakha hai is fareb mein
chhodo dhokha baar baar ka
kyon karte ho dhong pyaar ka
dil kho gayaa aa aa…aa aa…aaa..hh

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

‘Naach Ghar-1959’ was directed by R.S. Tara for ‘Quality Pictures, Bombay’. R.S. Tara was also the producer of this movie.

It had Ashok Kumar, Shobha Khote, Gopikrishna, Helen, Kamala Laxman, Anup Kumar, Dhumal, Iftekhar, Maya Das, Mirza Musharraf, Jamal, Sujata, Bismillah, Vivek and others.

This movie was passed by the Censor Board on 23.01.1959.

‘Naach Ghar-1959’ had ten songs as listed in HFGK Vol-III (1951-1960) as given below;

*(HFGK mentioned this song as ‘one’ single song only and so the other resources. However, this song is available on internet as ‘part-1’ and ‘part-2’, of which one part has been posted in the comment section by me, and to be updated in main post.
I would request knowledgeable readers to throw more light on this song and other songs of this movie).

All the songs for this movie were written by Sahir Ludhianvi and music was composed by N. Datta.

As mentioned above lyrics are by Sahir Ludhianvi and music is composed by N. Datta.

With this song, all the songs of “Naach Ghar”(1959) are covered and the movie joins the list of movies that have been YIPPEED in the blog.

(audio)
Song-Jaaneman chilman uthha kar dekh le (Naach Ghar)(1959) Singers-Rafi, Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-N Datta
Male chorus
Female chorus

Lyrics

aa aa aa
aa aa aa
aa aa aa aa
jaaneman
jaaneman chilman uthha kar dekh le ae
dekh le ae
diljalon se dil lagaakar dekh le ae
dekh le ae
jaaneman chilman uthhakar dekh le ae
dekh le ae
diljalon se dil lagaa kar dekh le ae
dekh le ae
jaaneman chilman uthhakar dekh le

ishq hai sahib
zabardasti nahin ee ee ee ee ee ee ee ee
kyun koyi ee ee ee ee
kyun koyi
chilman uthhakar dekh le ae
dekh le ae
kyun koyi
chilman uthhakar dekh le ae
dekh le ae
kyun koyi
chilman uthhakar dekh le
dekh le

aazmaaye honge toone saikdon
ab hamen bhi aazmaa kar dekh le ae
dekh le ae
ab hamen bhi aazmaa kar dekh le ae
dekh le ae
ab hamen bhi aazmaa kar dekh le ae
dekh le

mera jalwaa dekhnaa aasaaan nahin
ee ee ee ee ee ee
apnaa munh oon oon
apnaa munh aayeenaa laa kar dekh le ae
dekh le ae
apnaa munh aayeenaa laa kar dekh le ae
dekh le ae
apnaa munh aayeenaa laa kar dekh le ae
dekh le

ye haseen surat hai jab tak saamne ae
kaun uthhe aayeene ko thhaamne ae
aur phir aayeenaa dikhlaayega kya
tere deewaanon ke kaam aayegaa kya
apni soorat se to wahshat hai hamen
tere jalwon se mohabbat hai hamen
jo teri soorat dikhaa de jaaneman
hamko wo aayeenaa laa de jaaneman
taake ye aashiq ye matwaalaa tera aa
muddaton ka chaahnewaalaa tera
muddaton ka chaahnewaalaa tera
tujhko duniya aa aa aa aa
tujhko duniya se chhupaa kar dekh le ae
dekh le ae
tujhko duniya se chhupaakar dekh le ae
dekh le ae
jaaneman chilman uthha kar dekh le ae
dekh le ae
diljalon se dil lagaakar dekh le ae
dekh le ae
(aa aa aa aa aa aa aa aa aa )
jaaneman chilman uthhakar dekh le ae
dekh le ae

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

“Tamanna”(1969) was directed by K P Atma for K S Pictures, Bombay. This “social” movie had Mala Sinha, Biswajeet, Shashikala, Agha, Nazima, Deven Verma, Nazeer Hussain, Sulochana, Sajjan, Achla Sachdev, Asit Sen, Krishn Dhaan, Rasheed Khan, Narbada Shankar, Kesri, Khairaati, Vimal Raj, Moolchand, Radheshyam, Sayyad, Md Ibrahim, Fatima, Santosh etc in it.

The movie had five songs in it. To of these songs have been covered in the past.

Here is the third song from “Tamanna”(1969) to appear in the blog. This song is sung by Asha Bhonsle, Rafi and chorus. Anand Bakshi is the lyricist. The O P Nayyarish Punjabi dance music is composed by Kalyanji Anandji.

The song is picturised as a dance song on Mala Sinha, Biswajeet and others. It is a song that deserved to be better knon, but it ended up as an obscure song from an qually obscure movie.

Unnoticeably, ith this song, Kalyanji Anandji complete their 600^th song in the blog as music directors.

Song-O soniya matwaaliya main jaan gayi dilwaaliyaa(Tamanna)(1969) Singers-Asha Bhonsle, Rafi, Lyrics-Anand Bakshi, MD-Kalyanji Anandji
Female chorus
Male chorus

Lyrics

hoy
ho o o
o o o o
o o o

o soniya matwaaliya
main jaan gayi dilwaaliya
o soniya matwaaliya
main jaan gayi dilwaaliya
akela
akela mohe jaan ke tu raste mein chhedega
akela mohe jaan ke tu raste mein chhedega
o soniya matwaaliya
main jaan gayi dilwaaliya
akela
akela mohe jaan ke tu raste mein chhedega
akela mohe jaan ke tu rashte mein chhedega

hoy hoy hoy hoy
hoy hoy hoy hoy
hoy hoy hoy hoy
hoy hoy hoy hoy

tere saath main o panhaaran teri saari sakhiyaan
tere saath main o panharan teri sari sakhiya
main kaise chhedoonga tujhko
dekhen sabki ankhiyaan
dekhen sabki ankhiyaan ankhiyaan
dekhen sabki ankhiyaan
thhodi der mein paniya bhar ke chal dengi sab sakhiyaan
reh jaaungi jab main akeli
tab hongi ye batiyaan
tab hongi ye batiyaan batiyaan
tab hongi ye batiyaan
tab hongi ye batiyaan batiyaan
tab hongi ye batiyaan(aa aa aa aa aa aa aa)

o peele kurte waliya
main jaan gayi dilwaliya
akela
haay haay
akela mohe jaan ke tu raste mein chhedega
akela mohe jaan ke tu rashte me chhedega

o o o o o
o o o o o

main pardesi
is panghat pe
pyaas bujhaaaane aaya
main pardeshi is panghat pe pyaas bujhaane aaya
pyaas bujhaayi na toone
ulta ilzaam lagaaya
ulta ilzaam lagaaya
ulta ilzaam lagaaya
jab bhi koi pyasa pardesi
panghat pe aaya
lut gayi mar gayi koi gujariya
man ka chain ganwaaya
man ka chain ganwaaya ganwaaya
man ka chain ganwaaya
hoy hoy
man ka chain ganwaya ganwaya
man ka chain ganwaya
o o o o
o bhole mukhde waliya
main jaan gayi dilwaliya akela
akela mohe jaanke
tu rashte mein chhedega
akela mohe jaan ke
tu raste mein chhedega

hoy hoy hoy hoy
hoy hoy hoy hoy
hoy hoy hoy hoy
hoy hoy hoy hoy

na te aaj baisakhi da mela
kudiya na aaj holi
na te aaj baisakhi da mela
kudiya na aaj holi
phir main kaise kheloonga
tere sang aankh michauli
tere sang aankh michauli
tere sang aankh michauli
ab kya aayegi baisakhi
kya aayegi holi
tab tak to tu le jaayega
sajna meri doli ho
sajna meri doli doli
sajna meri doli
hoy hoy
sajna meri doli doli
sajna meri doli
(aa aa aa aa aa aa)

o neeli pagdi waliya
main jaan gayi dilwaliya
akela
aah ri paaniye
akela mohe jaanke tu rashte mein chhedega
akela mohe jaanke tu raste mein chhedega
o soniya matwaliya
main jaan gayi dilwaliya
akela aa
akela mohe jaanke tu rashte mein chhedega
akela mohe jaanke tu raste mein chhedega

hurr

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

“Seema”(1971), a namesake of the better known “Seema”(1955), was directed by Surendra Mohan for Filmnagar, Bombay. The “social” movie had Simi Gareal, Kabir Bedi, Bharti, Rakesh Roshan, Chaand Usmani, Abhi Bhattacharya, Raj Mehra, Yashodhara Katju, V Gopal, Gopal Saigal, Bhola, Brahm Bhardaj, Bunty, Sunil, Rajesh, Kamaldeep, Subal Sarkar, Neta, Geeta, Jaamini, Rohini, Sndeep, Rohit, Dilip, Kanchan, < Sulochana (guest appearance), Padma Khanna (guest appearance) etc in it.

The movie had six songs in it. Five songs have been covered in the blog. Here are the details of the songs covered si far :-

The sixth and final song from the movie is sung by Asha Bhonsle and Rafi. Verma Malik is the lyricist. Music is composed by Shankar Jaikishan. Incidentally, Shanka Jaikishan had composed music for “Seema”(1955) as ell.

The song is picturised as a dance song. I can identify the lady as Padma Khanna. I am unable to identify the male dancer. Their dance performance is being witnessed by a housefull audience. I cannot recall any old Hindi stagae dance song where the hall is anything but jampacked.

The audience also include the lead pair of Kabir Bedi and Simi Garewal.

I request our knowledgeable readers to help identify the actors seen in the picturisation.

ith this song, all the songs of “Seema”(1971) are covered in the blog. The movie thus joins the list of movies that have all their songs covered the movie and the movie “Seema”(1971) thus gets YIPPEED in the blog.

Audio

Video

Song-Kispe hai tera dil (Seema)(1971) Singers-Rafi, Asha Bhonsle, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

kispe hai tera dil
kispe hai tera dil
naam lena mushkil
naam lena mushkil
bol de tu bol de tu bol de
arey par kya boloon
jo bhi baat dil mein hai khol de
na baba
bol de tu bol de tu bol de
un hoon
jo bhi baat dil me hai khol de
na na
kispe hai tera dil
ho kispe hai tera dil
arey naam lena mushkil
haaye naam lena mushkil
lalalalaa
naam lena mushkil

dekho mere dil se
wo dil takra gaya
haaye
mere rang pe wo rang apna chadha gaya
waah waah
dekho mere dil se
wo dil takra gaya
mere rang pe wo rang apna chadha gaya
jaata nahin roz kahoon dil se nikal
dil se nikal
kispe hai tera dil
kispe hai tera dil
arey naam lena mushkil
haaye naam lena mushkil
bol de tu bol de tu bol de
kya
jo bhi baat dil mein hai khol de
un hoon
kispe hai tera dil
ho kispe hai tera dil
arey naam lena
mushkil naam lena mushkil
zu zu zu zu
naam lena mushkil

duniya ke saamne tu thhaam haath uska
achcha
pyaar kar liya hai to phir dar kiska
haan haa
haan
duniya ke saamne tu thhaam haath uska
pyar kar liya hai to phir dar kiska
abhi naam bolegi to abhi jaaye mil
abhi jaaye mil
naam lena mushkil
ho naam lena mushkil
kispe hai tera dil
ho kispe hai tera dil
bol de tu bol de tu bol de
jo bhi baat dil mein hai khol de
naam lena mushkil
arey naam lena mushkil
kispe hai tera dil
kispe hai tera dil
aaha ha ha
naam lena mushkil

aag kya jalaaye
mujhe shole kya daraayenge

sacha pyaar hai to shole phool ban jaayenge

aag kya jalaaye mujhe
shole kya daraayenge
sacha pyar hai to shole phool ban jaayenge
jise maine chaaha mujhe wahi gaya mil
wahi gaya mil
kispe hai tera dil
kispe hai tera dil
hu hu
mera dil
lalala mera dil
tu bol kispe tera dil
ho bol kispe tera dil
tujhpe hai mera dil
haye tujhpe hai mera dil
kispe hai tera dil
ho tujhpe hai mera dil
ha kispe hai tera dil
hoye tujhpe hai mera dil

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

‘Radio days’ are here again for me. My new workplace is around 55 kms from my residential place, so it takes me around one hour or little a more than that, to reach office.

That gives me a good one-hour time in the morning and in the evening to tune in to ‘Vividh Bharati’.

In the morning my day starts normally with ‘Bharat Ki Goonj’, and in the evening it is ‘Shaam Sindoori’, ‘Sangeet Sarita’ and some part of ‘Jailmala’ if the ‘traffic’ on the way is more.

In the past two months I have got to listen many many songs which includes songs of ‘golden era’, new songs (from eighties onwards) and current or latest songs too.

Also, they include songs known to me and songs that I do not remember to have heard earlier. And the very latest songs which are totally new for me

Today I am presenting one song of yesteryears which I liked a lot. This song is from the movie ‘Raaton Ka Raja-1970’. I have not watched this movie and I was not aware of its details. But I liked this duet song (today’s) very much. This song is sung by Asha Bhonsle and Mohd Rafi. I do not remember this song getting included in any of the ‘song compilations’ brought out by HMV on audio cassettes in the eighties and nineties.

After listening to today’s song, I checked its details and watched its video. The song is lip-synced by Dheeraj and Vaishali on screen.

‘Raaton Ka Raja-1970’ was directed by Rajesh Nahta for ‘Ranglok Productions, Bombay’. It had Dheeraj Kumar, Vaishali, Jayshree T., Rajendra Nath, Shatrughan Sinha, Manorama, Harindranath Chatopadhyay, Gajanan Jagirdar, Hercules, Vitthal, Praveen Pal, Shefali, Wajid Khan, Jeevan and others.

‘Raaton Ka Raja-1970’ had seven songs written by Majrooh Sultanpuri and composed by the Rahul Dev Burman.

The details of the songs as listed in HFGK (Vol-IV, 19611-1970) is as given below;

It can be seen from the above table that four songs of this movie ‘Raaton Ka Raja’ have been posted on the blog.
Today’s song is the fifth song from this movie to be posted on the blog.

Let us now enjoy today’s lovely duet song …

Video

Audio

Song-Door se tera deewaana aaya hai ruk jaana (Raaton Ka Raaja)(1970) Singers-Rafi, Asha Bhonsle , Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

door se tera deewaana
aaya hai
ruk jaana
ho o o aa sajan meri aankhon mein
tera hi afsaana
o o o o door se tera deewaana
aaya hai
ruk jaana
ho o o aa sajan meri aankhon mein
tera hi afsaana aa

maaloom hai ae
keh rahaa kya dil
naa naa
saajaniya chal kahin le chal
aji kahaan
kahaan
arey maaloom hai ae
kah rahaa kya dil
arey naa naa
saajaniya chal kahin le chal
aji kahaan
kahaan
pyaar ke mastaane ae
jab chal pade deewaane
manzil kahaan ye kaun jaane ae
ho o o o saath hi rahna sainyyaa
rastaa hai anjaanaa
oo oo oo door se tera deewaana
aaya hai
ruk jaana
ho o o aa sajan meri aankhon mein
tera hi afsaana

jab hamko o chhoo liyaa tumne
o ho o
aji sunte ho o kya kiyaa tumne
aji kaho kaho
jab hamko o chhoo liyaa tumne
arey ho ho o
sunte ho o kya kiyaa tumne
aji kaho kaho
yoon lagey hai milke
tan man mein halke halke
jaise tera khumaar chhalke
ho o o haath jo lag jaayegaa
chhalkegaa paimaanaa
ho o o aa sajan meri aankhon mein
tera hi afsaana
o o o o door se tera deewaana
aaya hai
ruk jaana

ab to hai
haal ye jaani ee
hmm hmm
bin tere ae
main kahin ka nahin
arey nahin nahin
ab to hai
haal ye jaani ee
arey haan haan
bin tere ae
main kahin ka nahin
arey nahin nahin
intezaar karke
tumne to pyaar karke
maara hai beqaraar karke
ho o o
main tumhe behlaaungi
tum mujhko behlaanaa
oo oo door se tera deewaana
aaya hai
ruk jaana
ho o o aa sajan meri aankhon mein
tera hi afsaana
ho o o o door se tera deewaana
aaya hai
ruk jaana
ho o o aa sajan meri aankhon mein
tera hi afsaana aa …

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

———————————————–——————————-
Blog 10-Year Challenge (2011-2021) – Song No. 6
——————————————————————————
As many as six songs from six different movies were covered on this day ten years ago (on 30 January 2011). Here are the details:-

Three movies have since been YIPPEED in the blog. Songs from three movies are eligible for Blog Ten Year Challenge today. One of these movies (Mr John-1959) has already been covered today.

“Paisa Hi Paisa”(1956) is another eligible movie for Blog Ten Year Challenge today. This movie was directed by Mehrish for Mehboob Productions Limited, Bombay. The movie had Kishore Kumar, Shakila, Radhakishan,Muqri,Zul Velani,Murad, Sham Kumar, Amar Kumar, Kumud Tripathi, Mala Sinha, Husn Bano, Haroon, Siddiqui, P.Bali etc in it.

The movie had ten songs in it. Five of these songs (including one multiple version song) have been covered in the blog. Here are the details:-

As part of Blog Ten Year Challenge, here is the sixth song from “Paisa Hi Paisa”(1956). The song is sung by Asha Bhonsle and Rafi. Majrooh Sultanpuri is the lyricist. Music is composed by Anil Biswas.

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

Lyrics of this song were sent to me by Prakashchandra.

Song-Uff na karna (Paisa Hi Paisa)(1956) Singers-Asha Bhonsle, Rafi, Lyrics-Majrooh Sultanpuri, MD-Anil Biswas

Lyrics

uff na karnaa aaa aaa aaa
aaa aaa aaa aaa
tum mohabbat meri badnaam na ho o o o
aaj ulfat ka zamaane mein kahin
aaaa aam na ho o o o o

pee jaa agar aansoo bahey
hotaa hai gham hota rahey
pee jaa agar aansoo bahey
hotaa hai gham hoha rahey ae
honay bhi de honay bhi de honay bhi de
pee jaa agar aansoo bahey ae

o o o o
o o o o
o o o
o o o o o
o oo o o o
ek jaan aur laakhon sitam
betaab hain rone ko hum
ek jaan aur laakhon sitam
betaab hain rone ko hum m
roney bhi de roney bhi de roney bhi de
ek jaan aur laakhon sitam

o o o o
o o o o
(aakshi)
ae balma khisak jaa aaj tu
varnaa lutegi aabroo
balma khisak jaa aaj tu
varnaa lutegi aabroo
lutegi aabroo
balamaa lutegi aabroo
chal de yahaan se uff na kar
aayaa karey munh ko jigar
chal de yaahaan se uff na kar
aayaa kare munh ko jigar r
aaney bhi de aaney bhi de aaney bhi de
chal de yahaan se uff na kar

o o o o
o o o o o
o o o o o o
teraa hi dum bhartaa hoon main
marne se kab dartaa hoon main
teraa hi dum bhartaa hoon main
arrey marne se kab dartaa hoon main
nahin dartaa hoon main
sajaniyaan (haa)nahin dartaa hoon main
dekho idhar ye main chalaa
hatt jaa aree duniyaa zaraa aaa
jaaney bhi de jaaney bhi de jaaney bhi de
dekho idhar ye main chalaa

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

“Samaaj Ko Badal Daalo”(1970) was a “social” movie. It as directed by V Madhusudan Rao for Gemini Arts, Madras. The Movie had Ajay Sahni, Prem Chopra, Aruna Irani, Pran, Mehmood, Sharda, Kanchana, Shammi, Naki Jahaan, Kanhaiyalal, David, Pravin Pal, Jayshree Talpade, Baby Brahmaji, Baby Dolly, Manmohan Krishna, Dhumal, Sunder, Muki etc in it.

The movie had eight songs in it. Six songs have been covered in the past.

Today (7 March 2021) is the ninth remembrance day of Ravi (3 March 1926 – 7 March 2012). Tomorrow is the birth centennary of Sahir Ludhianvi (8 March 1921 – 25 October 1980). As a tribute to both, here is a song from “Samaaj Ko Badal Daalo”(1970). This song is sung by Asha Bhonsle, Rafi and chorus.

Lyrics of the song were sent to me by Avinash Scrapwala. Curiously, HFGK mentions this song as a female duet of Lata and Usha Mangeshkar. Listening to the song, we notice that it is sung by Asha Bhonsle and Rafi, with chorus. This is a Rafi song that does not find mention in the Rafi excel sheet floating online because HFGK (source of that sheet) does not mention it as a Rafi song. That way it is a Rafi song that can be said to be accidentally “discovered” by us.

Only the audio of the song seems to be available. I request our knoledgeable readers to thro light on the picturisation of this song.

Song-Ye mausam ye khuli hawaa (Samaaj Ko Badal Daalo)(1970) Singers-Asha Bhonsle, Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi
Chorus

Lyrics(Provided by Avinash Scrapala)

ye mausam
ye khuli hawaa aa
jhoom ke chal
aur jhoom ke gaa
aaj ka din hai tera
aaj holiday
jollyday ae ae
holiday
ho jollyday ae
ye mausam
ye khuli hawaa aa
jhoom ke chal
aur jhoom ke gaa
aaj ka din hai tera
aaj holiday
holiday ae
jollyday ae ae
jollyday ae
holiday
holiday
ho jollyday ae
jollyday ae

udte baadal
gaate jharne
us par saath jawaani ka aa
haa haa aa
haa haa aa
udte baadal
gaate jharne
us par saath jawaani ka aa
aaj muraadein poori kar le
mausam hai manmaani ka aa
jhoom rahi fizaa aa
aaj holiday
holiday ae
jollyday ae
jollyday ae
holiday
holiday
ho jollyday
jollyday
ye mausam
ye khuli hawaa aa
jhoom ke chal
aur jhoom ke gaa
aaj ka din hai tera
aaj holiday
holiday ae
jollyday ae ae
jollyday ae
holiday
holiday
jollyday
jollyday ae

aa aa aa aa aa aa aa aa aa aa
haa haa haa haa haa haa haa aa
aa aa aa aa aa aa aa aa aa aa
haa haa haa haa haa haa haa aa

aaj ke din kya naataa apnaa
banjar khushq kitaabon se ae
haa haa haa aa
haa haa haa aa
aaj ke din kya naataa apnaa
banjar khushq kitaabon se ae
aaj ke din shaakhon se liptein
khele surkh gulaabon se ae
aaj bahak le zaraa aa
aaj holiday
holiday ae
he jollyday
jollyday ae
holiday
jollyday
ye mausam
ye khuli hawaa aa
jhoom ke chal
aur jhoom ke gaa
aaj ka din hai tera
aaj holiday
holiday ae
jollyday
jollyday ae
holiday
holiday
jollyday
jollyday ae

saanson ki khushboo ko pakdein
nazron ki aawaaz sunen
saanson ki khushboo ko pakdein
nazron ki aawaaz sunen
kisi ko apnaa bhed bataayein
kisi se uskaa raaz sune ae
aaj muaaf hai khataa aa
aaj holiday
holiday ae
he jollyday
jollyday ae
holiday
holiday
jollyday
jollyday
ye mausam
ye khuli hawaa aa
jhoom ke chal
aur jhoom ke gaa
aaj ka din hai tera
aaj holiday
holiday ae
jollyday
jollyday ae
holiday
holiday
jollyday
jollyday ae

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

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 144 # Fifty years of ‘1971’ – 1
———————————————–—————————————-

The year 1971 completes ‘fifty’ years in this year ‘2021’. These days, we are discussing the movies released in the year ‘1971’. In this series today’s song is from the movie ‘Aag Aur Daagh-1971’.

Alphabetically ‘Aag Aur Daagh-1971’ is the first movie of the decade 1971-1980. It was passed by Censor Board on 20.01.1971. The first movie 0f ‘1971’, as per date of certification by censor board, is ‘Johar Mehmood In Hongkong’. It was passed by censor board on 04.01.1971.

Both these movies have been represented on the blog, and both are yet to be Yippeeee’ed and that gives us the opportunity for this post here.

‘Aag Aur Daagh-1971’ was directed by A. Salam for ‘Movie Temple, Bombay’. It was produced by Swarn Singh. It had Joy Mukherji, Komal, Jayant, Madan Puri, I.S. Johar, Helen, Bhagwan, Sudhir, Zeb Rehman, Rajan Haksar, Shetty, Kundan, Shefali, Paro, Majnu, Roopali, Uma Dutt, Shabana, Rajrani, Darshan, Amar, Subhash, Shaloo, Sameena, Master Rodney, Sumeet, Bipin Khosla and others.

This movie was written by Charandas Shokh. Editing of this movie was done by R.V. Shrikhande.

This movie had six songs (including one two-part song) written by Noor Dewasi (one song) and S.H. Bihari (five songs, including one two-part song).

Music for ‘Aag Aur Daagh-1971’ was composed by N. Datta.

Following is the list of songs in this movie as appearing in HFGK Vol-V (1971-1980).

We can see from the above table that, so far, three songs from this movie have been posted on the blog.

Incidentally all the three songs from this movie that have been posted were posted in ‘2012’ only and after that no song from this movie have been posted on the blog.

So, it’s a long gap of more than nine years now to have the next song from this movie here.

Today we will listen to a nice duet sung by Mohd Rafi and Asha Bhonsle from this movie. On screen Joy Mukherji and Komal are seen performing on this song and they are lip syncing in the voices of Mohd Rafi and Asha Bhonsle, respectively.

I have not watched this movie and neither I remember to have listen any songs from this movie.
I like today’s song and I feel it is better heard than watched (however Joy Mukherji is as good as ever in such type of songs, but the actress in this song seems to be performing as ‘unnatural’ as possible

Lyrics for today’s song are by S.H. Bihari and music is composed by N. Dutta.

(Today’s song also seems to have missed the many ‘Asha-Rafi’ duets compilation albums released by HMV in the past).

Let us now listen to the song … I am sure you like it and enjoy the composition …

Video

Audio

Song-Hamse badhkar kaun hoga aap ka deewaana (Aag Aur Daagh)(1971) Singers-Rafi, Asha Bhonsle, Lyrics-S H Bihari, MD-N Datta

Lyrics

hamse badhkar kaun hoga
aapka deewaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa
hunh achchaa
waah waah
ho hamse badhkar kaun hoga
aapka deewaanaa aa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa

chaahe jitney bhi kathin ho
zindagi ke raaste
zindagi saari hai dilbar
aap hi ke waaste ae
kya baat hai
chaahe jitney bhi kathin ho
zindagi ke raaste
zindagi saari hai dilbar
aap hi ke waaste
do kadam chal ke kahin
ruk jaaye naa deewaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa
haan hamse badhkar kaun hoga
aapka deewaanaa aa
hey kitney din ki hai mohabbat
ye zaraa farmaanaa

aaj to vaade bhi hain
kasmein bhi hain
aur pyaar bhi
pyaar ki baazi mein lekin
jeet bhi hai
haar bhi
hunh
chalegaa
aaj to vaade bhi hain
kasmein bhi hain
aur pyaar bhi
pyaar ki baazi mein lekin
jeet bhi hai
haar bhi
aag se dar jaaye jo
main wo nahin parwaanaa
hey kitney din ki hai mohabbat
ye zaraa farmaanaa aa
haan
haan
hamse badhkar kaun hoga
aapka deewaanaa aa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa

kya pataa taqdeer ko
kuchh aur hi manzoor ho
chal pade hain
ab to manzil
chaahe jitni door ho
kya pataa taqdeer ko
kuchh aur hi manzoor hon
chal pade hain
ab to manzil
chaahe jitni door ho
reh nahin saktaa adhooraa
pyaar ka afsaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa

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

Hullo Atuldom

July 31^st. Important date for lovers of Bollywood sangeet. This date-41 years ago- music lovers lost a singer who was a wonderful human being. He went by the name Mohammad Rafi.

We used to have pages and pages written about the greatness of this legend’s voice, singing style, kind-heartedness, etc in the pre-internet era. Then various people took up blogging as a passion and any blog on Bollywood and its music will definitely have atleast a few posts on this great singer. AM I COMPLAINING? NO NOT AT ALL. Because as our very own Rajaji has said in many of his posts ‘one cannot tire of writing or reading about Rafisaab and his persona’.

Similarly, the music channels on satellite television and FM radio will try to outdo each other in playing popular songs sung by Rafisaab. Again, I am stating a statement of fact and not complaining. Because any fan of Bollywood music can never tire of hearing and humming songs sung by this legend who had a smooth and soothing voice.

I have never tried making a personal list of favourite Rafi-songs as I fear that I might miss out on some gem which I have always loved. Maybe my list will start with ‘yaahhooo’, or ‘tel maalish’ on one day and another day may see me start listening from ‘chaand mera dil’ or ‘chura liya hai tumne jo dil ko’. Probably I may add a less heard song like ‘mann mora baawra’, ‘tumne mujhe dekha’, ‘hai duniya usiki zamaana usika’ and by the time I finish listening to all the songs in the list I may have reached ‘kaan mein jhumka taal pe thumka’ and ‘kitna pyaara vaada’ or ‘vaada karle saajna’ with a few soulful numbers in between. I think I should also clarify that the songs that I have mentioned are only a sample of the kind of songs I love to hear and not an exhaustive list.

Now I was looking for a song that would also help me wish a yesteryear actress on turning 74. She was born just as India was gaining Independence from the British rule. She was born in Mumbai to parents of Irani origin. Her sister (Malika) also was an actress and married to Randhawa (brother of Dara Singh); I think these are hints that point towards Mumtaz Askari famous as Mumtaz. Mumtaz’s journey in the movie industry was a tough one starting as a child in 1958, going on to teenage roles in early 60s. As an adult her first role in an A-grade movie was in O P Ralhan’s ‘Gehra Daag’ where she played one of Rajendra Kumar’s sister. Years later, when she was a commercially successful heroine, she was cast as Rajendra Kumar’s heroine in “Taangewala” which released in 1972.

“Taangewala” was a Dimple Films’ presentation and directed by Naresh Kumar meaning it was Rajendra Kumar’s home production. It had songs written by Majrooh Sultanpuri and tuned by Naushad. Mohd. Rafi, Mukesh, Asha Bhonsle and Lata mangeshkar were the playback singers used. The cast included Sujit Kumar, Bhagwan, Kanhaiyalal, Mohan Choti, Kumud Chuggani, I S Johar, Kaamini Kaushal Mehmood Jr. in addition to Mumtaz and Rajendra Kumar.

It had about seven songs of which the blog has four. Today we shall have the fifth one. Unfortunately I have not seen the movie or been able to lay my hands on a video link. My guess is this Asha- Rafi duet is picturised on the lead pair.

Here is Wishing Mumtaz health and happiness (heard that she is a Cancer survivor) and remembering the one and only Rafisaab who could do justice to any song and was sincere towards every composition that he sang making every song a gem.

This should be Rafi- Asha Bhonsle duet number 547.

Song-Aisa phanda maare gori dil pe tera pyaar (Taangewaala)(1972) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Naushad

Lyrics

aisa phanda maare gori dil pe tera pyaar
ke phaansi pe latke jiyara hamaar
ke phaansi pe latke jiyara hamaar
saajan tere nainon se jab naina hue chaar
kaleje mein dans gaye bichhua hazaar
kaleje mein dans gaye bichhua hazaar

din ye judaai ka re sahaa nahin jaaye
raaton ko akele hamse rahaa nahin jaaye
din ye judaai ka re sahaa nahin jaaye
o raaton ko akele hamse rahaa nahin jaaye
jaane kab
jaane kab sunegi tu dil ki pukaar
ke phaansi pe latke jiyara hamaar
o aisa phanda maare gori dil pe tera pyaar
ke phaansi pe latke jiyara hamaar

tere bina bhatke yeh chadhti jawaani
paagal meri bindiya paayaliya deewaani
o tere bina bhatke yeh chadhti jawaani
paagal meri bindiya paayaliya deewaani
aisi bhi kya
arre aisi bhi kya aayi hai jawaani pe bahaar
kaleje mein dans gaye bichhua hazaar
saajan tere nainon se jab naina huye chaar
kaleje mein dans gaye bichhua hazaar

ab to leke chal kahin saathi mere mann ke
chal mere angana dulhan meri ban ke
ho ab to leke chal kahin saathi mere mann ke
o chal mere angana dulhan meri ban ke
doli leke ae ae
doli leke aaja re tu kal mere dwaar
kaleje mein dans gaye bichhua hazaar
ki phaansi pe latke jiyara hamaar
kaleje mein
dans gaye bichhua hazaar
ke phansi pe latke jiyara hamaar

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

Rafi Sahab’s Legendary Associations – 09
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96^th birth anniversary of O. P. Nayyar

Today, finally we arrive at a Rafi-Asha duet on the occasion of 96^th birth anniversary of legendary composer of beautiful songs, OP Nayyar. I am sure, I have long back looked at this duet and saved the link multiple times in different laptops/folders.

I, for one, am most happy that this was somehow missed by all regular contributors to the blog, and not yet posted.  So that I am having a quintessential Rafi-Asha duet by OPN, which is written by Qamar Jalaalabadi.

Qamar Jalaalabadi has already featured in this series.  So, this post in about Rafi Sahab’s association with Asha Bhonsle and OP Nayyar. Film is ‘Basant’ from 1960. The following 10 songs of this film are already posted on the blog:

Baaje Waala Patiyaale Waala
Chori Chori Ik Ishaara Ho Gaya Hai
Duniya Pakki Four Twenty
Hamne Unke Saamne Pehle To Khanjar Rakh Diya
Mere Dil Pe Lagaa De Darling Apne Naam Ki Chit
Mere Lahange Mein Ghunghroo Lagaa De
Nainon Mein Sooraj Ki Kirnen
Peechhe Hat Hat Hat Babu Chhed Naa
Raaste Mein Ik Haseen
Ukkad Dukkad Bamba

To find an OPN-Rafi song, I was just going through the list of songs Music Director-wise page in the blog and I found that right from ‘Baaz’ (1953) which is the third film score for OPN after ‘Aasmaan’ and ‘Chham Chhama Chham’ in 1952, Rafi Sahab is a regular in all his films.  Rafi Sahab has no songs under OPN in the film film ‘Mangu’ (1954).

Significant, popular and hit music scores of OPN-Rafi combination:

This combination gives us a real treat of great songs from mid 50’s to late 60’s. I am getting the feeling that I have missed something in the above list, so it may be worth visiting again.  I have counted 200 plus songs in the excel sheet, so that makes a good sizable portion of all songs composed by OPN in his career.

Total tally of these OPN and Asha Bhonsle songs is as below:

As for Rafi-Asha Bhonsle duets, 547 of these are posted on the blog.  Compare this with 348 Rafi-Lata duets in the blog. At a guess there are around 450 Rafi-Lata duets, as compared to anything between 650-700 Rafi-Asha duet songs. Rafi-Asha duets are too many to go through at short notice.  So I will surmise to say that these two have sung many iconic and classic songs under numerous music directors, like OPN, SDB, RDB, Ravi, Chitragupt, Kalyanji Anandji etc.

So here’s is song, a duet by OPN in the film ‘Basant’ (1960).  The year 1960 is the peak of OPN, but he was to go on to give greater musical treat to Hindi film music in the 60’s, with Rafi and without Rafi in a rare instance.  His association with Asha Bhonsle is a long one, which eliminated the need for more than one female playback singer in a film’s score.  Asha Bhonsle is the most versatile singer to have graced the Hindi film playback field.  No doubt, OPN has a big role to play in shaping Asha’s career, in the face of stiff competition from her sister Lata Mangeshkar, who ruled the field for more than 30 years.

OP Nayyar has the distinction of having succeeded in the film industry music scene, without having Lata Mangeshkar sing a single song for him.  It makes a big statement about OP Nayyar, to have withstood this sort of situation and survived spectacularly, swimming against the tide.

The song must have been filmed on Shammi Kapoor and Nutan, seeing they are the lead pair of the film.  Johnny Walker and Kammo are another pair in the film, but the song is sounding like a Shammi Kapoor song. So this one is also among the last few Rafi songs on Shammi Kapoor.  Rafi-Shammi Association details have to wait for another day.

Song – O Madam Nancy You Are My Fancy (Basant) (1960) Singer – Mohammed Rafi, Asha Bhosle Lyrics – Qamar Jalaalabaadi, MD – OP Nayyar

Lyrics

oooooo
o madam nancy ee eee
you are my fancy ee eee
hmmm hmmm mmm
jis ladki se pyar karoon
woh bole no vancancy ee eeea
o madam nancy ee eee
you are my fancy ee eee
ha haa aaaaa
jis ladki se pyar karoon
wo bole no vancancy ee eeea
o madam nancy ee eee
you are my fancy ee eee

machli hui yeh jawaaniyan
main kya karun
chaaron taraf mastaaniyan
main kya karun oonoon
aaa aaaaaa
machli hui yeh jawaaniyan
aaa aaaaaa
main kya karun
ghoom ghoom ke
jhoom jhoom ke
dil se dil milaa le
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee
ha haa aaaaa
jis ladki se pyar karoon
wo bole no vancancy ee eeea
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee

kar na ishaare saajna
mera dil gayaa aa aa aaaaa
kar na ishaare saajna
mera dil gayaa aa
narm kalejaa zaalima
mera hil gayaa aa aaaa
kar na ishaare saajna
aaaa aaaaaa aaaaaaaa
mera dil gayaa aa
aaaa aaaaaa aaaaaaaa
dil to ek hai
ishq lakh hain
jaa re zaalima jaa
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee
hey ea ea ea
jis ladki se pyar karoon
woh bole no vancancy ee eeea
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee

yoon itraa ke na chalo
dar jaaungaa
yun itthlaa ke na chalo
mar jaaungaa aaa
yoon itraa ke na chalo
ha haa aaaaa
dar jaaungaa
ha haa aaaaa
gol gol hai
kitna bol hai
phool se mukhde kaa
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee
hmmm hmmm mmm
jis ladki se pyar karoon
woh bole no vancancy ee eeea
o madam nancy ee eee
ah ha ha haa aa
you are my fancy ee eee

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

HAPPY REPUBLIC DAY TO ALL READERS !

HEARTY CONGRATULATIONS to Atul ji, for recording a new milestone – 15 million visitors (1 Crore 50 Lakhs) to the Blog. This is the public mandate for the popularity of this Blog, all over the world.(WordPress posts are read in 198 countries of the world). This is an unique example of what one person can achieve by building a team (sustained for years together) with a common interest. The team is continuing because the Magnet is very effective and the Magnet is Atul ji. I wish him and the Blog many more such milestones and may the Blog retain its identity for reliable and credible information, complete lyrics and non-stop service to lovers of HFM. All the best !

Today’s song is from the film Rangeela-1953 – a Bhagwan Art Production film. The Producer and the Director was Master Bhagwan himself. The cast consisted of Bhagwan. Purnima, Baburao, Badri Pershad, Indira, Usha Shukla, Madhav Kale and many others. The Music Director was Jamal Sen. There were 11 songs in the film and today’s song is the 8^th song to be discussed here. Actually this song is one of the best songs of the film and I wonder how this song was left untouched. Maybe for my use !

Jamal Sen. His name is not a famous name, because he gave music in just a few films, but the industry wallahs and lovers of classic music know him too well. He was one of those few ones who had immense capability, but like Sajjad Hussain, he too was stubborn, unbending, egoistic, outspoken and reserved. In an industry full of Chamchaas and cut throat competition, artistes like Jamal or Sajjad were misfits.

Lata Mangeshkar respected him so much that to sing in his films, she sent several feelers and messages to him till she was called by him. Lata sang 10 songs for him in 4 films. 6 were solos, 2 male duets and 2 were Female duets.

If talent were the only criterion for a composer to succeed, Jamal Sen should have been the most successful music director of his time. But he was not.

Jamal Sen’s proficiency in Singing, dancing (Kathak) and poetry, lent a touch of completeness to his musical acumen and set him apart from the run-of-the-mill composers, became a liability for him in an industry which had no value for real class. The result: a composer who gave such brilliant scores as in Shokhiyan and Daaera, died unsung, after a long spell of isolation.

Jamal Sen’s forefather Kesarji who hailed from Sujangarh in Rajasthan, was said to be a disciple of Tansen and was hence called Kesar Sen. Jamal Sen was born on 26th November 1904, at village Churu. The family tradition in music was passed on to Jamal at a very young age by his father Jeevan Sen, a court singer and an acknowledged Ustad. Jamal, who could sing and play various musical instruments was especially good on the dholak, tabla and Pakhawaj.

Jamal Sen had been in Calcutta initially and sang on AIR Calcutta. He met Pankaj Mullick and studied Ravindra Sangeet too. Due to this link, he joined Pankaj Mullick in giving music to film Kasturi-54 also. From there ,he shifted to Lahore in 1938.

While in Lahore, Jamal Sen was introduced by music director Shyam Sunder to Master Ghulam Haider, which marked the beginning of a fruitful association spanning 12 years. Sen’s knowledge of classical and folk music and his mastery over the dholak made him an asset to Ghulam Haider in films from Khazanchi (1941) to Majboor (1948), until Masterji migrated to Pakistan in the wake of Partition.

He shifted to Bombay, after partition. Then a chance meeting with director Kidar Sharma gave him a break in films as a composer, and he proved his virtuosity in his very first film, Shokhiyan in 1951.

The imaginative use of the raag Yaman Kalyan in “Sapana Ban Sajan Aaye” sung by Lata Mangeshkar was a testimony to the composer’s command over classical music. The songs — “Raaton Ki Neend Cheen li” by Suraiya, a ghazal where melody is predominant, and “Aai Barkha Bahar” by Lata, Pramodin & chorus, bore the richness of Rajasthani folk music. A “Door Des Se Aaja re” by Suraiya, Lata is a classic example of folk and classical music intermingling to create an enchanting melodic pattern.

Shokhiyan was followed by Kamal Amrohi’s Daera in 1953. Though a flop, the film is remembered for the perennial appeal of the bhajan, “Devta Tum Ho Mera Sahara, Maine Thama Hai Daman Tumhara” by Rafi, Mubarak Begum, & chorus, in Raag Bhoop. When the situation required, Sen could also compose a Western tune “Sun Sun Meri Kahani” by Rafi for Bhagwan’s ‘Rangeela’

Jamal Sen, who had begun his career as a singer on AIR, Calcutta—he was among the first to sing Vande Mataram on radio—should have stuck to a career in, classical singing. With his talent and lofty ideals, he was a misfit in films. His inability to manipulate and his refusal to compromise, made him a loner, and the mediocre films which he scored music for led to a colossal waste of his rich talent.

Jamal Sen knew Producer Director K.Asif for many years.Once they met somewhere and Asif took Jamal to the sets of Mughal-E Azam. There a dance sequence was to be shot and Gopikrishna was rehearsing the steps. Jamal saw everything but did not comment anything. As Asif knew him well, he suspected something and asked Jamal what was wrong. Jamal told him that the sets are absolutely appropriate but the dance steps and the ‘Bol’ were not commensurate with the period when Akbar was reigning. Asif asked him then and there to make new Dance steps, prepare the ‘Bol’ and make music for that sequence. Jamal Sen did that and Asif was more than happy.

However that piece of Dance and music was not used by Naushad in the film, possibly due to professional jealousy.

Later, when K. Asif announced Sasta Khoon Mehnga Paani, which had a Rajasthani backdrop, he-asked Jamal Sen to be an advisor to bring authenticity to Naushad’s compositions. But luck once again played truant with him and the project never saw the light of day.

A proud and arrogant man, Jamal Sen never went out of his way to grab work. As a result, he was slowly relegated to the periphery of the music scene, and then to oblivion. Shokhiyaan and Daaera were a thing of the past. A commerce-oriented cinema had little use for his talent. Under the circumstances, it was a poor consolation to him that his imaginative score in the documentary,Madhumakhi, won laurels abroad.

Jamal Sen knew his prowess. And was proud of it. Once, after hearing him sing, Ustad Bade Ghulam Ali Khan called him a `Tansen’ and a ‘Sur Ka Bichhu’, Ustad Amir Khan described him as ‘Sangeet Shastri’. Notwithstanding the impressive titles and tributes, Jamal Sen continued to exist in a state of penury, unwanted and uncared for.

Jamal Sen should have been the most successful music director of his time. But he was not. In his last days Sen had but one friend, composer Ghulam Mohammed, who after being afflicted with a serious heart ailment, had shifted to Bombay’s far off suburb, Borivlii, where Sen was living in a dilapidated room.

In his later years, out of sheer frustration, he turned to liquor, and lived on the hope that his sons Shambhu Sen and Madan Sen would carry forward the family’s rich tradition in music. But Madan suddenly died of heart failure at the young age of 40. And he never recovered from the shock. Within a year, on April 12, 1979, he too died.

Jamal Sen composed music for 13 Hindi films.
Filmography:
1. Shokhiyan (1951)
2. Daera (1953)
3. Dharmapatni (1953)
4. Rangeela (1953)
5. Kasturi (1954), with Pankaj Mullick
6. Ritu Bahar (1954)
7. Patit Paawan (1955)
8. Amar Shaheed (1960)
9. Baghdad (1961)
10. Alha Udal (1962)
11. Manchali (1962)
12. Sankalpa (1974)
13. Pehla Kadam (1981)

Actually, Jamal Sen had retired in 1962 itself. When film Pehla kadam-81 was planned, a song which he had composed for film Shokhiyan, but had not used, was utilised in this film-Pehla kadam-81.

The cast consists of an actress Indira. Actually, the film Rangeela-1953 happens to be her Debut Hindi film. Indira is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian. She acted in 24 silent films since 1927, but did only two Talkie films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedian Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamor girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, and felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.”

Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.(Thanks to shri Mike Barnum ji and his blog-cinemajadoo.com).

After the phenomenal success of Albela-51, Master Bhagwan was in the seventh Heaven and floated his own production company,Bhagwan Art Productions and started making films after films, without realising that Albela’s success was mainly due to C.Ramchandra’s music and Geeta Bali. The result was as expected. Slowly but steadily, Bhagwan started going into the trap of huge debts due to unsuccessful films produced by him.

After a while, a day came when Bhagwan had to sell one by one all of his 10 cars, Bungalow etc and at the end of his career, he had to live in a one room tenement in a chawl, on the very street in Dadar named after his own uncle.

RANGEELA-1953 was one of the early failures of Bhagwan, in the series of future flops, beginning the imminent decline in few more years to come. This film was produced and directed by Bhagwan himself.

This was a story of a village boy-Babulal, who is eager to study in school, but due to his wicked step mother, has to do household chores instead. Fed up of this and to try his luck, he runs away to Bombay, where he meets Vidya Devi, a kind and young school teacher, who not only helps him but also starts teaching him, seeing his earnestness. Over a period, to sustain himself, Babulal, who was called Buddu in his village gets educated and also sells Chana, near to his school. Duly, he becomes a successful businessman, owning a shop, house etc. He is under the impression that Vidya Devi is in his love, but he is disillusioned when he hears a conversation between Vidya and her would be husband. Vidya refers to him as a good and honest student only.

Babulal learns that his father is in financial troubles and his house is up for auction. To help father, he collects all his money and is about to leave for village, when he learns that Vidya’s marriage to her fiance is in trouble, as Vidya’s father can not gather that much money.

Babulal is in two minds. Finally. he gives the money to her father for marriage, sells his shop, business and house to collect money and leaves for the village to help father.

The entire story went on predicted lines and did not succeed.

Here is the duet of Rafi and Asha Bhosle, with chorus. Let us enjoy this catchy song.

Song-Diya jale chamke taara (Rangeela)(1953) Singers- Asha Bhonsle, Rafi, Lyricist- Ehsan Rizvi, MD- Jamal Sen
Male chorus
Female chorus
All chorus
Asha Bhonsle + Rafi

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa aa aa
a ha ha ha a ha ha a ha ha
a ha ha aha ha aha ha ha
diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara

piya bina man andhiyaara
ho o o
o o o
piya bina man andhiyaara
chamke taara
chamke taara
diya jale chamke taara
nyaara nyaara chamke taara

nain milaaye neend churaaye ae ae
saari saari rain jagaaye
o o nain milaaye neend churaaye ae ae
saari saari rain jagaaye ae ae
aaya aaya pyaar ka maara
o pyaar ka maara
diya jale chamke taara
nyaara nyaara chamke taara

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye ae ae
ulti seedhi baat banaaye ae ae
jhoothhe tujhe kaun bulaaye
aaya nahin chaand hamaara
chaand hamaara
diya jale chamke taara
nyaara nyaara chamke taara

prem bina jeevan pheeka aa aa
koi nahin meet kisi ka
o o man ka diya yoon na bujhaao o o
raam kare preet nibhaao o o
raam kare preet nibhaao o o
pyaar se hai jag ujiyaara
o ujiyaara
diya jale chamke taara
nyaara nyaara chamke taara
diya jale chamke taara
nyaara nyaara chamke taara

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

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 168 # Missing Films of 1972 – 14#
——————————————

Today’s song is from the movie ‘Rut Rangeeli Aayee’ of the year 1972. This movie is one those still missing movie for the year 1972 on the blog. Today it makes its debut here.

‘Rut Rangeelee Aayee’ was directed by SM Pushkarna for Roshan Films, Bombay. It had Kanan Kaushal, Vijay Sharma, Jayshree T, Bharat Bhushan, Shyama, Brahmachari, Rehman, Nana Palsikar, Ramesh Deo, Madan Puri, Jagdish Malhotra, Bahri, Master Ratan and others. This movie was passed by Censor Board on 07.10.1972.

The film has four songs written by Hasrat Jaipuri and Tajdar Taj – two songs each. Music of this film was composed by Ratnadeep-Hemraj. The list of songs in this movie is as given below (as provided in HFGK).

Today’s song is sung by Mohd Rafi and Asha Bhonsle and on screen it is lip synced by Brahmachari and Jayshree T. The song happens to be a stage drama song. However, since the movie is not available it is difficult to say in what context this song happens in the movie.

‘Rut Rangeelee Aayee’ is an obscure movie of its time. Though video of couple of its song are available. But the movie seems to be unavailable, or I could not find it.

Let us have a look on the list of movies of 1972 alphabetically after adding the today’s movie. For brevity the list given below includes the list of movies missing on the blog and list of all movies from the last post “Aaj To Mera Ho Ja Tu“, from movie ‘Ratna Daaku’ to today’s movie song-post.

Sl. No.	Movie Title	Director	Music Director	Passed by Censor Board	No of Songs on the Blog	No of Songs as per HFGK
1	Aakraant	Girish Vaidya	Jagat Singh	07.12.1972	0	No Information
17	Bachche Mere Saathi	TN Babu	MS Vishwanathan	17.11.1972	Songs Not Available	6
24	Bharat Darshan	Khwaja Ahmed Abbas	Jaidev	04.11.1972	0	No Information
45	Fighter Sheela	Vijay	Not Mentioned	07.10.1972	0	No Information
50	Gunfighter Johny	KSR Das	Aadi Narayan Rao	25.03.1972	Songs Not Available	5
53	Hunterwaali	KS Reddi	Satyam	02.09.1972	Songs Not Available	5
54	Jaadoo Nagari	Vednatham Roghaviya	Aadi Narayan Rao	05.06.1972	0	No Information
65	Kavi Sammelan	Kedar Sharma		18.02.1972	We have to wait	17
68	Lady James Bond	KSR Das	Satyam	11.07.1972	Songs Not Available	5
73	Maayaa Darpan	Kumar T Shahni	Bhaskar Chandavarkar	12.12.1972	0	No Information
81	Miss Chaalbaaz (Tingoo Agent 000)	Ravi	Rajan-Nagendra	27.11.1972	Songs Not Available	4
95	Raajdhaani Express	BJ Patel	L Chakravarty	04.03.1972	Songs Not Available	5
100	Ratnaa Daakoo	KSR Das	Satyam	29.12.1972	1	5
101	Return Of Johnny	N Ramesh	N Dutta	06.09.1972	1	6
102	Rivaaj	T Prakash Rao	Shankar Jaikishan	19.08.1972	5	8
103	Roop Teraa Mastaanaa	Khalid Akhtar	Lakshmikant Pyarelal	04.11.1927	7	7
104	Rut Rangeelee Aayee	MM Pushkarna	Ratnadeep-Hemraj	07.10.1972	Making its debut on the blog today	4

*Notes: –

1. Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johnny’, ‘Hunterwaali’, ‘Lady James Bond’ and ‘Miss Chaalbaaz’ (Tingoo Agent 000) seem to be unavailable as of now.
2. There is no information about the songs in HFGK Vol-V (1971-1980) for the movies – ‘Aakraant’, ‘Bharat Darshan’, ‘Fighter Sheela’, ‘Jaadu Nagari’ and ‘Maaya Darpan’ as mentioned above.

With the today’s song this movie ‘Rut Rangeelee Aayee’ makes its debut on the blog.

Let us now listen to today’s melodious song and welcome ‘Rut Rangeelee Aayee’ on the blog.

Video

Audio

Song – Le Ke Main To Champa Chameli Babu (Rut Rangeeli Aayi) (1972) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Tajdar Taj, MD – Ratandeep Hemraj

Lyrics

champaa chameli motiya leke aayi phoolonwaali
phool le lo o

leke main to champa chameli baabu
leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya

haaye ae
champa ya chameli na man bhaaye
champa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o o

gajrey
kharido gajrey
in bheeni
pyaari kaliyon le
arey chakkar
lagaaye barson
maine sajani
teri galiyon ke
meri galiyon ke na phere karna
rapat likhwa doongi teri warna
leke main to champa
aa ha
aa ha
aa ha
ho leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya

haaye
dil pe
nahin hain kaabu
kaisaa jaadu
tu ne kar daalaa
arey doongi
thhapede kas ke
aayaa majnu
hunh
bada dilwaala
tere sab nakhre hain
thhode din ke
ho loonga saare badle
main gin gin ke
aa ha champa ya chameli
ho o o oye oye oye
champa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o o

rang hai
nasheela jinka aa aa
laayi chunke aise gul boote
haaye haaye
tujh sa
nahin hai koyi
tere aage
saare rang jhhoothhe
tu hai bada pakkaa shikaari rasiya
ke aaj tere aage main haari rasiya
leke main to
aa ha
leke main to champa chameli baabu
raste mein khadi hoon akeli baabu
laga de in kaliyon ke daam
o mere dilbar chhaliya
laga de in kaliyon ke daam
o mere dilbar chhaliya

haan aa
champaa ya chameli na man bhaaye
champaa ya chameli na man bhaaye
gori tera komal badan bhaaye
jawaani kar de mere naam
o meri chhammak chhallo o
jawaani kar de mere naam
o meri chhammak chhallo o

o chhammo
o chhallo
o chhammo
ji chhallo
arey meri chhammak chhallo
zara aa
ahaa ahaa ahaa

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

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 39
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This date ten years ago (viz 2 april 2012) saw as many as seven songs from seven different movies getting covered in the blog. Here are the details:-

It can be seen that six movies (out of 7) whose songs were covered on 2 April 2012 have since been YIPPEED in the blog. That leaves us with only one movie that is still eligible to Blog ten Year challenge today (2 April 2022).

“Ye Dil Kisko Doon”(1963) is that movie. It was produced by B D Kapoor and directed by K Mishra for Bindu Kalamandir. The movie had Shashi Kapoor, Ragini , co-starring Jayashree Gadkar, Jeevan, Anwar, Sajjan, Naazi, Kumar, Agha, Madhumati, Kundan, Asit Sen, Samson, Mirza Musharaf, Kamal Mehra, Khurshid, W.M.Khan , Mirajkar,Mansaram,Vishi,Tiger,etc in it.

The movie had ten songs in it. Eight songs have been covered so far.

Here is the ninth song from “Ye Dil Kisko Doon”(1963) to appear in the blog. The song is sung by Rafi, Asha Bhonsle and chorus. Qamar Jalalabadi is the lyricist. Music is composed by Iqbal Qureshi.

The song is picturised on Shashi Kapoor, Ragini, Aruna, Jeewan and others.

Lyrics of the song were sent to me by Prakashchandra

video link:

Song-Kya hua maine agar ishq ka izhaar kiya (Ye Dil Kisko Doon)(1963)Singers-Rafi, Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-Iqbal Qureshi
Chorus

Lyrics(Provided by Prakashchandra)

kyaa huaa
kyaa huaa
kya huaa maine agar
ishq ka izhaar kiyaa
aapse pyaar kiyaa…aaa
kyaa huaa
kyaa huaa
kya huaa maine agar
ishq ka izhaar kiyaa
aapse pyaar kiyaa…aaa
aapne kyon mujhey ruswaa sar-e-baazaar kiyaa
khoob ye pyaar kiyaa
kyaa huaa
kyaa huaa
kya huaa maine agar
ishq ka izhaar kiyaa
aapse pyaar kiyaa
aapne kyon mujhey ruswaa sar-e-baazaar kiyaa
khoob ye pyaar kiyaa

pyaar hai ek junoon
hamein maaloom na thhaa
ishq mein hothaa hai yoon..oon
hamein maaloom na thhaa
jaadugar tera qusoor(??)
hamein maaloom na thhaa
maar dogey hamein yoon..oon
hamein maaloom na thhaa
hai khataa
hai khataa aap ki
phir husn pe kyon waaar kiyaa
khoob ye pyaar kiyaa
kyaa huaa
kyaa huaa
kya huaa maine agar
ishq ka izhaar kiyaa
aapse pyaar kiyaa…aaa
aapne kyon mujhey ruswaa sar-e-baazaar kiyaa
hh khoob ye pyaar kiyaa

ho gaye tujhpe fidaa..aaa
teri aankhon ki qasam
yehee manzil hai meree
teri zulfon ki qasam
tooney seekhi na wafaa
mere waadon ki qasam
hamein aaye na yakeen
teri baaton ki qasam
hamne kyon hamne kyon
muft mein phir dil ko gunehgaar kiyaa
huhh haayye kyon pyaar kiyaa..aaa
kyaa huaa
kyaa huaa
kya huaa maine agar
ishq ka izhaar kiyaa
aapse pyaar kiyaa aaa..aa
aapne kyon mujhey ruswaa sar-e-baazaar kiyaa..aaa
khoob ye pyaar kiyaa