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Cheeni Kum Hai, Cheeni Kum Hai

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

Amitabh – The Later Decades – 1
—————————————————

A super star status that has outlived and outlasted all other sovereignties in the history of the Hindi film industry.  A persona that has matured and changed with times, with a grace that is unequalled.  Amitabh Bachchan, a phenomena in the Hindi film world that goes beyond the normal definitions of a super star.

The reigning stars in the past, and even in the current times, have tried to and continue to try to cling to the image of the debonair and the swanky youth that has withered with time.  Or else, they move into the senior roles, but still adhering to the social and family stereotypes that they have been used to – parents in contrived and complex family situations, senior police officers, judges, dons of the underworld, teachers et al.  More often than not, and almost always, the maturing stars generally end up playing senior roles, but on the side, as a supporting actor.

Amitabh has had his share of such roles also.  But the thing to marvel at is that year after year, he is one star who has stayed in touch with the changing tastes and mores of filmgoers.  And as an artist, he has gone beyond the stereotype and continues to explore the unusual and out of ordinary characterizations.  And the creators of films in the industry have obliged, as they continue to write scripts for films that he will lead, in atypical and unexpected portrayals.  That is one measure of success that visits upon only those who are imaginative enough to continue to reinvent themselves.

The case in point is this film from 2007 – ‘Cheeni Kum’.  My relationship with recent cinema has been random and patchy at best, and I generally end up seeing a recent film either when it is highly recommended by someone whose tastes and judgment I trust; or that I find myself in a situation wherein watching a movie is the only option available to me.  2007 was when I was still based in the US.  I saw this film on a visit to my cousin and her family. On one of the days of my stay, my cousin had simply decided that the family will watch this film.  And I simply went along with it.

And one of those times when I did not regret it.  Actually, I very promptly became a fond fan of this light and unusual romantic comedy, that has been handled quite interestingly, keeping a delicate balance between the traditional view of such a situation, and the social values that continue to transform with time and with the geographical location (major part of action in this film is based in London and Delhi).  It is not an easy subject to deal with – a romance between a male of 64 summers and a young lady, in comparison, of 34 years.  As it turns out, the unlikely hero is actually a few years older that the father of the lady.  But then, of course, nothing more can better underscore the aphorism that love is blind and knows no bounds.

The concept is quite unique as a script for a Hindi film.  The role of the primary protagonist is just cut out for the personality that Amitabh is.  And that is what I meant when I said a few lines above.  He is now in the early seventies, and he still has the appeal and the charisma to fittingly shoulder a mature portrayal.  I simply cannot imagine another artist, barring maybe Naseerudin Shah, who could possibly pull this off.  It is the noteworthy roles like this one that make Amitabh stand apart and shoulders above other artists, contemporary or from the past.  And of course, I am not referring to his physical height.

Coming to the song.  It sometimes happens that one listens to a song, and then wishes that the song could have been longer.  For this is the theme cum title song for the film.  It plays multiple times during the film, always in the background.  And it is always played just two or four lines at a time, and almost always the background singing is neatly meshed into the action and the dialogue occurring on screen.  One gets a feel  of it, just a little bit, as two of the stanzas having two additional verse lines, get played, as per the situation.  And that paucity of persistence actually makes one crave for more of it.  But alas, the director does not oblige.

The title of the film refers to the caustic tongued Buddha Deb, owner of the best Indian restaurant in London.  The gentleman is a an arrogant and egocentric personality, probably venting his frustrations of a lonely life, in which, in the past, someone had briefly entered and then left.  A visitor from India, happens to visit the restaurant.  The first meeting is quiet unpleasant.  However, the lady responds with accepting the challenge that the egocentric expert chef throws her way, when he comments wondering whether she has ever stepped into a kitchen.  So the two persona, with an extreme difference in age, character and attitude, fall in love against all odds.

The male singing voice is Vijay Prakash and he lady behind the female singing voice is Shreya Ghoshal.  Music is by Ilyaraja.    The snippets in the female voice are a naughty and playful expression as the lady is walking away and is looking back over her shoulder, coyly glancing at the gentleman who is also intently watching her walk away.  And the snippets of the song in male voice are the expressions when the gentleman is waiting for and is missing the lady – the verses telling of things going on in his mind, things that he is too stubborn to speak from his lips.

View, listen and enjoy to this composite that I have created from the background snippets that are scattered throughout the duration of the film.  And if you have not watched this film, I would recommend that you do.


Song – Cheeni Kum Hai, Cheeni Kum Hai (Cheeni Kum) (2007) Singer – Shreya Ghoshal, Vijay Prakash, Lyrics – Manoj Tapadia, MD – Ilayaraja

Lyrics

cheeni kum hai
cheeni kum hai
thodi thodi tujh mein hai kum
kum kum
hai kum kum
cheeni kum hai
cheeni kum hai
thodi thodi tujh mein hai kum
kum kum
hai kum kum

dheere dheere haule haule
door door hogi problem
humdum
o hum dum

——————————–

sooni sooni
khoi khoi
aankhen meri dhoondhe tujhe hi
kab se
haan kab se
ab aaogi
tab aaogi
kab aaogi
poochhun main yahi
khud se
haan khud se

main hoon yahaan
tu hai kahaan
aahen meri sun
sooni sooni
khoi khoi
aankhen meri dhoondhe tujhe hi
kab se
haan kab se

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

———————————————————

चीनी कम है
चीनी कम है
थोड़ी थोड़ी तुझ में है कम
कम कम
है कम कम
चीनी कम है
चीनी कम है
थोड़ी थोड़ी तुझ में है कम
कम कम
है कम कम

धीरे धीरे हौले हौले
दूर दूर होगी प्रोब्लम
हमदम
ओ हमदम

——————————–

सूनी सूनी
खोई खोई
आँखें मेरी ढूँढे तुझे ही
कब से
हाँ कब से
अब आओगी
तब आओगी
कब आओगी
पूछूं मैं यही
खुद से
हाँ खुद से

मैं हूँ यहाँ
तू है कहाँ
आहें मेरी सुन
सूनी सूनी
खोई खोई
आँखें मेरी ढूँढे तुझे ही
कब से
हाँ कब से



Main hoon albela main hoon albela

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

“Albela”(1971) was directed by A Shamsheer for ShriJi Films, Bombay. The movie had Mehmood, Namrata, Anwar Ali, I S Johar, Rajendranath, Ramesh Deo, Dhumal, Brahamchari, Mukri, Asit Sen, Mohan Choti, S Bannerji, Johny Whisky, Dilip Dutt, Mirza Musharraf, Aruna Irani, Achla Sachdev, Leela Mishra, Lalita Kumari, Baby Guddi, Moolchand, Daulatram, Jerry, Ram, Bharat etc in it.

This movie had five songs in it. Two songs-each with two versions, thus adding up to four song, have been discussed in the past.

That leaves just one song from the movie.

Here is the fifth and final song from “Albela”(1971). This song is the title song cum the introduction song of the movie. This song is sung by Kishore Kumar with a few words uttered by Mehmood. The song is picturised as a dance song on Mehmood, Aruna Irani and several dancers.

Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

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


Song-Main hoon albela main hoon albela(Albela)(1971) Singer-Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Mehmood

Lyrics

sultaanon ke sultaan
bache huye iklaute waahid sultaan
tashtari nahin
tashreef laa rahe hain

main hoon albela
main hoon albela
main hoon albela
main hoon albela
raajaon ka raaja
main dil ka mahaaraja
har jalwe se main khela
ji khela
ji khela
main hoon albela
main hoon albela
main hoon albela
main hoon albela
arre raajaaon ka raaja
main dil ka mahaaraja
har jalwe se main khela
ji khela
ji khela
main hoon albela
main hoon albela

o chulbuli gujariya aa aa
oy
mujhse mila najariya
haha
o chulbuli gujariya
mujhse mila najariya
o mere dil ki raani
tera hoon main sanwriya
ae jaan tu hamaari
o phuljhadi kanwaari
tu gopi aur main chhaila
ji chhaila
ji chhaila
main hoon albela
main hoon albela
main hoon albela
main hoon albela
haa

begum jameela begum
japta hoon naam har dam
dil ka gulaab le le
main tera jaan e aalam

begum jameela begum um um
japta hoon naam har dam am am
begum jameela begum um um
japta hoon naam har dam am am
dil ka gulaab le le
main tera jaan e aalam
main tujhko chaahta hoon
teri kasam fida hoon
main majnu aur tu laila
ji laila
ji laila
main hoon albela
main hoon albela
main hoon albela
main hoon albela
haa

nakhra tera niraala aa hoy
daaloon garam masaala
nakhra tera niraala
daaloon garam masaala
aisa dikhaaya thumka
thumke ne maar daala
hai khoob apni jodi
jyun chaand aur chakori
tu nehla aur main dehla
ji dehla
ji dehla
main hoon albela
main hoon albela
main hoon albela
main hoon albela
arre raajaaon ka raaja
main dil ka mahaaraaja
har jalwe se main khela
ji khela
ji khela
main hoon albela
main hoon albela
main hoon albela
main hoon albela
hey
hey
brr
hey
de danaadan
danaadan
danaadan
dam da dadan
danaadan
??
ho hoy
ho hoy
arre halwe
arre halwe la re
damadam
???
albelaa


Ho Aa Ja Aa Ja Rabba Ishqe Di Khol Guthiaan

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

Amitabh – The Later Decades – 5
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The carrying capacity of this man is amazing. There is an aura about him that continues to draw the audiences. The measure of his success and popularity is pretty much sustained, as his fans continue to return to the cinema/video time after time after time. I believe that the secret behind this sustenance has been his capacity to re-invent himself, and his portrayals.

I must frankly admit that I have kept away from the mainstream cinema, mostly after the seventies faded away, and a new order both in terms of performers, as well as music, came on to the scene.  The time also coincided with the years amounting to almost two and a half decades that I was traveling, and away from India most of the time.  The viewing of current films was random and patchy at the best, and that I never went out of my way to acquire and watch a current film.  Unless it was recommended to me, and that too, by someone whose judgement I would trust.

It was 2006 and I was still in the US.  A friend passed to me a DVD of the film ‘Paheli’, which had been released in India a year earlier.  For all that had transpired in the interim years, this film was a kind of re-intro to Hindi films.  I took it up seriously, only because the film was directed by Amol Palekar.  And knowing him, I knew I could expect to see some serious cinema.

I was not disappointed.  Two things, rather three things stand out in my mind from this film.  I got to see a most hilarious brief performance by Rajpal Yadav, as the messenger, who is confounded to see that the person who sent the message is also present at the destination where the message is to be delivered.  I got introduced to a husky and becoming dame by the name Rani Mukherjee, who images would haunt my mind.  And then I got to see Amitabh in a supporting role that I did not expect to see.  The image of the leading man and in control was so well set into my memory.  In this film, he appears near the very end, in the role of a shepherd in the desert, who helps to sort out the mystery of two look alikes, one of whom is obviously not the true person.  Out of the many other emotions and reactions that came to my mind, the one that stood out was that even in this small guest appearance, an appearance as an outsider to the machinations of the main set of characters of the film, he exuded a stature of confidence and ease, that practically no other performer in the frame exhibited.  He was in control, and his relaxation showed.  That was my first introduction to the new Amitabh, after my mind and life’s routines had shut out the films beyond the 1970s.

Today, I present this song from the 2007 film ‘Jhoom Baraabar Jhoom’.  Outside of the team of lead actors, this is a brief guest appearance for Amitabh.  His attire tells us that he is a funky Romany gypsy, introducing the convolutions of love through the title song of the film.  This song plays as the initial credits are rolling on the screen.  (Note: there is also a video version that is free of the rolling credits).  He is sporting what is called a multi neck guitar, that allows the performer to switch the tones and sounds quickly.  I picked this song as it turns out to be something of an item number.

As I started to play this song, and watched it for the first time, my mind immediately went back to the earlier years of his career, and his first such hip-hop type song came to my mind.  The year -1972, the film – ‘Abhimaan’, and the song – “Meet Na Milaa Re Mann Ka”.  So after seeing this song, I switched to that song on YouTube. And telling the truth, a smile came to my lips.  Suggest you also try this tandem view, and see the comparison.  Quite an interesting transformation.  :)

The film is produced by Yash Chopra and Aditya Chopra for their home production banner Yash Raj Films.  The main cast of actors includes Abhishek Bachchan, Bobby Deol, Preity Zinta, Lara Dutta, Piyush Mishra, Hafeez, Amit Chana, Meera Syal, Sanjeev Bhaskar, Sagar Arya, and of course Amitabh Bachchan in a cameo appearance.  The lyrics of this song are by Gulzar, and the music is by trio of Shankar-Ehsaan-Loy.  The singing voice is that of Shankar Mahadevan.  As per the descriptions available, this shooting of this item song took place in the Waterloo station of the London Tube.  You may be familiar that the London Tube is the original underground commuter train service, the first one in the world, that was initially commissioned in 1863.

I have a problem with these new age item songs that include a large number of dancers, multiple cameras panning here and there all over the place, and all the new jing bang style for creating music videos.  It is the editing.  A careful observer will notice continuity gaps, repeated shots, out of sync lip-syncing etc.  For me such errors are distractions that take away the delight of the song, and then my preference is to hear it and not see it.  In any case, the dancing group is ineffectual.  Except for creating a noisy crowd, it does not seem to add anything to the song.  In most cases, the group dance coordination etc. is an eyesore.  Anyway, that is my personal opinion.

So one more ‘later years’ song for this amazing performer.  Grand love affair he is having with his fans across generations – the grandest to date in the industry.  Enjoy.

Song – Ho Aa Ja Aa Ja Rabba Ishqe Di Khol Guthiaan (Jhoom Baraabar Jhoom) (2007) Singer – Shankar Mahadevan, Lyrics – Gulzar, MD – Shankar-Ehsaan-Loy

Lyrics

ho aaja aaja rabba ishqe di khol guthiaan
aaja rabba ishqe di khol guthiaan
ho aaja aaja rabba ishqe di khol guthiaan
ghaate na munaafe anmol guthiaan
te laagi
te laagi
te laagi
jo lagaave na lagey aashiqi
te laagi
te laagi
te laagi
jo lagaave na lagey aashiqi
udti udti ankhiyon ke
lad gaye penche lad gaye wey
preet lagaake jhoom jhoom jhoom
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om

ho oo oo
kab lagey kahaan rabb jaane
jab lagey jahaan sab jaane
rabbaa . . aa . . aa
rabbaa . . aa
har chot mazaa deti hai
jeene ki sazaa deti hai
rabbaa . . aa . . aa
rabbaa . . aa
rabbaa . . aa
jhoothi moothi baaten sun ke
gungunaati aankhen sun ke
jalaawe
bujhaave
bujhaave
jalaawe oy mom battiaan
jalaawe
bujhaave
bujhaave
jalaawe oy mom battiaan
ho oo oo
udti udti ankhiyon ke
lad gaye penche lad gaye wey
preet lagaake jhoom jhoom jhoom
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om

(taal)

ho oo
ye ishq puraana paapi
har baar khataa karta hai
rabbaa . . aa . . aa. . aa . . aa
har baar bachaata hoon main
har baar ye jaa martaa hai
rabbaa . . aa
rabbaa . . aa . . aa
ho paas koi aa gaya to
raas koi aa gaya to
baar baar baar
kaleje pe na maar ankhiyan
ho baar baar baar
kaleje pe na maar ankhiyan
ho oo oo
udti udti ankhiyon ke
lad gaye penche lad gaye wey
preet lagaake jhoom jhoom jhoom
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
(jhoo. .oo. .oom jhoo. .oo. .oom)
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
(jhoo. .oo. .oo. .oom jhoo. .oo. .oom)
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
(jhoom jhoom jhoom jhum baraabar jhoo. .oom)
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
(jhoom jhoom jhoom jhum baraabar jhoo. .oom jhoom jhum)

aaja aaja aaja
aaja rabba ishqe di khol guthiaan
ghaate na munaafe anmol guthiaan
te laagi laage laagi laage laagi
jo lagaave na lagey aashiqi
te laagi
te laagi
te laagi
jo lagaave na lagey aashiqi
udti udti ankhiyon ke
lad gaye penche lad gaye wey
preet lagaake jhoo. .oo. .oo. .oo. .oom
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om
jhoom baraabar jhoom baraabar jhoom baraabar jho.oo.om

rabbaaa. . aa. . aa. . aa

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

———————————————————

हो आजा आजा रब्बा इशके दी खोल गुत्थियाँ
आजा रब्बा इशके दी खोल गुत्थियाँ
हो आजा आजा रब्बा इशके दी खोल गुत्थियाँ
घाटे ना मुनाफे अनमोल गुत्थियाँ
ते लागि
ते लागि
ते लागि
जो लगावे ना लगे आशिक़ी
ते लागि
ते लागि
ते लागि
जो लगावे ना लगे आशिक़ी
उड़ती उड़ती अँखियों के
लड़ गए पेंचे लड़ गए वे
प्रीत लगा के झूम झूम झूम
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म

हो ओ ओ
कब लगे कहाँ रब्ब जाने
जब लगे जहां सब जाने
रब्बा॰ ॰आ॰ ॰आ
रब्बा॰ ॰आ
हर चोट मज़ा देती है
जीने की सज़ा देती है
रब्बा॰ ॰आ॰ ॰आ
रब्बा॰ ॰आ
रब्बा॰ ॰आ
झूठी मूठी बातें सुन के
गुनगुनाती आँखें सुन के
जलावे
बुझावे
बुझावे
जलावे ओय मोम बत्तियाँ
जलावे
बुझावे
बुझावे
जलावे ओय मोम बत्तियाँ
हो ओ ओ
उड़ती उड़ती अँखियों के
लड़ गए पेंचे लड़ गए वे
प्रीत लगा के झूम झूम झूम
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म

(ताल)

हो ओ
ये इश्क़ पुराना पापी
हर बार खता करता है
रब्बा॰ ॰आ॰ ॰आ॰ ॰आ॰ ॰आ
हर बार बचाता हूँ मैं
हर बार ये जा मरता है
रब्बा॰ ॰आ
रब्बा॰ ॰आ॰ ॰आ
हो पास कोई आ गया तो
रास कोई आ गया तो
बार बार बार
कलेजे पे ना मार अँखियाँ
हो बार बार बार
कलेजे पे ना मार अँखियाँ
हो ओ ओ
उड़ती उड़ती अँखियों के
लड़ गए पेंचे लड़ गए वे
प्रीत लगा के झूम झूम झूम
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झू॰ ॰ऊ॰ ॰म झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झू॰ ॰ऊ॰ ॰म झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झूम झूम झूम झुम बराबर झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झूम झूम झूम झुम बराबर झू॰ ॰ऊ॰ ॰म)

आजा आजा आजा
आजा रब्बा इशके दी खोल गुत्थियाँ
घाटे ना मुनाफे अनमोल गुत्थियाँ
ते लागि लागे लागि लागे लागि
जो लगावे ना लगे आशिक़ी
ते लागि
ते लागि
ते लागि
जो लगावे ना लगे आशिक़ी
उड़ती उड़ती अँखियों के
लड़ गए पेंचे लड़ गए वे
प्रीत लगा के झू॰ ॰ऊ॰ ॰ऊ॰ ॰ऊम
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म

रब्बा॰ ॰आ॰ ॰आ॰ ॰आ

(झू॰ ॰ऊ॰ ॰म झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झू॰ ॰ऊ॰ ॰म झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झूम झूम झूम झुम बराबर झू॰ ॰ऊ॰ ॰म)
झूम बराबर झूम बराबर झूम बराबर झू॰ ॰ऊ॰ ॰म
(झूम झूम झूम झुम बराबर झू॰ ॰ऊ॰ ॰म)

 

 


Bade Miyaan To Bade Miyaan Chhote Miyaan Subhaan Allah

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

The last time I discussed my dogs was in february 2013, which was more than two years ago. My dogs were two years old at that time. Now they are four years old. So they have become twice as old as they were at that time.

Bhhole and Chhote are with us from the time they were small pups. My wife found Bhhole in the premises of the District Collector office in the District town where she stays and works, and brought him home in october 2010. She already had another pet at home at that time, namely nuppy the cat. Nuppy, on watching the new pet, got nervous and ran away to hide in some corner of the house. But by the evening, nuppy and Bhhole had become thick pals and they were sleeping snuggled up with each other.

A couple of months later, my wife was told that a few newborn pups were lying on an under construction building in the District Hospital premises, which also happens to be her work place. So she climbed up to the first floor of that under construction building and saw a few very young pups lying there. She picked the cutest looking of them. She brought that white pup home. This pup, looking like a bale of cotton was named Chhote. The two senior pets were apprehensive of the new addition, but before long they became so fond of Chhote that three of them began to sleep snuggled up together, with nuppy and Bhhole keeping Chhote between the two of them, obviously seeking to protect him.

As it is, I have tended to be based at places other than where my wife is based. I was based at Nagpur at that time. I would pay periodic visits to my wife and daughter (the daughter stayed with the wife and went to a school there). They too would visit me during my return trips, and we would carry the pets with us. In september 2010, they brought nuppy ( who was then the only pet) to Nagpur. Nuppy till that time had not yet got used to its human family and tried hard to run away. But by the end of september 2010, nuppy got adjusted and began to like its stay with her human family. (we considered nuppy to be a she for nearly one year before realising that he was a male cat ).

Their next visit to Nagpur was in January 2011, when all the three pets also accompanied.

My wife was fond of Chhote and she began to discriminate between him and the other two pets. She would treat Chhote with kid gloves and would give step motherly treatment to Bhhole. I would feel sorry for Bhhole because he was so protective and caring towards Chhote and yet he would find himself discriminated against. I noticed it and pointed this fact out to my wife. She would not admit the errors of her ways at that time but with time she too realised it and she tried to tone down her stepmotherly behaviour towards Bhhole.

Chhote, realising that he was the favourite pet of my wife began to stake proprietary claims on my wife. He would not allow Bhhole to come close to my wife. “She is my mum. Keep away from her.” This was the message Chhote was giving to Bhhole, much to Bhhole’s chagrin.

When I next visited them in march 2011, Bhhole saw his chance to get even. He began to stake proprietary claim on me. He would not allow Chhote to come near me. “He is my papa. Keep away from him”. This was the message he began to convey to Chhote, much to the amusement of my wife. This episode showed how sensitive dogs can be and how they too look for opportunities to redress the injustice done to them.

Bhhole, despite his feelings of hurt was extremely fond and protective of Chhote. There were occasions when Chhote would run away from the home and Bhhole too would run away in order to protect him. And Chhote too respected Bhhole for being the elder dog in the household.

Both dogs obviously had different ancestry. Bhhole had extremely powerful jaws and teeth and he could chew up bones in hours that Chhote took days to chew up. Bhhole also developed an impressive bark which was in contrast to Chhote who could not bark. Whenever a barking opportunity presented itself, both dogs would join in. Bhhole would do the actual barking while Chhote would just lip sync. People listening to the barking thought that several dogs were barking. That way Bhhole was like Kishore Kumar who would give playback to Sunil Dutt in “Padosan”(1968) and would sing in two voices in “Half Ticket”(1962). And in addition, he could also enter into dog fights with other dogs, like Dharmendra. No, not like Dharmendra of Kutte-Kameene fame, but like Amitabh Bachchan. And his fights used to be to protect Chhote from other dogs.

Chhote would often run away from home and forget his way back home. In case Bhhole failed to escape alongwith Chhote, then the responsibility of bringing Chhote back fell on nuppy the cat. My wife would send nuppy to bring Chhote back. And amazingly, the tiny cat would search out Chhote, and convince him to come back home. This happened on quite a few occasions and so it was no coincidence.

In addition, the street dogs too began to recognise Chhote and Bhhole. On one occasion, a street dog brought Chhote home. My wife rewarded the street dog with some doggy food that the dog ate with relish. :)

Chhote would go out of house only as an escapee and would be brought in by nuppy. But nuppy was often thrown out of the house by my wife when she got angry with him. Bhhole’s exit from the house too were by way of escape and then my wife would not bother to take him in even when he was back.

They would seek to come in after some time. nuppy, because of his small size could often come in through unexpected routes, viz. though an opening in the roof. :) In case of Bhhole, he would wait at the door, hoping to be let in. On one occasion, when it was night time, Bhhole was desperately trying to come in. I was there and I let him in. He immediately rushed in towards the rear of the home towards the basket that formed the resting place for the three pets and took his place in the basked snuggled up against Chhote and nuppy. While outside, he was missing his fellow pets and he was dying to come in to get reunited with them. :) The expression of relief at his face at that moment was priceless to behold.

On one occasion, Chhote began showing restlessness and he would seek to go out all the time. My wife got so fed up with him that she decided to get rid of him by giving him to someone else. She talked to a lady who agreed to take Chhote with her and Chhote was handed over to her.

In the afternoon, when the daughter came home and found Chhote missing, she protested and began crying, pointing out that she was not consulted before getting rid of Chhote. My wife too was missing his presence. The other pets too were silent and inactive. They too were missing him. It was then that my wife realised that it was Chhote whose antics were responsible for the festive atmosphere in the house and his absence was now being felt by everyone.

My wife wondered if the lady would agree to part with Chhote if they went to her asking her to give Chhote back. Next day my wife and daughter went to that lady’s house. They found Chhote tied up there. Back home, Chhote and other pets remained free in the presence of their human companions and here he was tied up. Clearly his new owner was nowhere near as sensitive and caring towards dogs as my wife and daughter were. Chhote was extremely happy to see them again. The lady, much to the relief to my wife and daughter was willing to return Chhote. Chhote was brought back and the other pets were overjoyed to see him back. The “raunaq” of the house had come back.

My wife lived in that town in rented houses. She would periodically get annoyed with the house owner and then she would seek to move house immediately, on the same day, and she would manage to do that too. :) This was her fifth rented house in about 8 years in that town and the first one where she had adopted pets. Seeing how she tended to grow disillusioned with the landlords after some time, I advised her to look for an official accommodation where she would not have to deal with a landlord. After a prolonged wait, she finally got a tiny official apartment allotted to her close to her work place and she shifted there, alongwith all the belongings as well as the pets. I wonder how the pets moved in to the new place, some five kilometres away. Was it by walk or did they take some vehicle ? :)

This tiny accommodation was on the first floor of a two storey building and there was roof on the top. Every first floor apartment had a roof of its own, with a door to lock it up. The dogs would be taken to the roof in the morning from where they would have a look at the goings on at the ground level. That place was adjacent to a stadium as well as an indoor stadium. My daughter used the Badminton courts of the indoor stadium extensively. She became a good enough badminton player to get selected to represented Jabalpur region of Kendriya Vidyalaya in the All India Kendriya Vidyalaya Inter regional badminton tournament held in North East region (in Maligaon, Guwahati) in the sub junior girls category.

While the dogs would stay at the roof, my wife would lock the door of the roof up for one hour. After one hour, she would open the door and bring the dogs back.

nuppy did not have such restrictions on his movements. He would go out through any of the windows and come back through them as well even if the main door itself was closed.

The street dogs of that locality were far more fierce and hostile than the dogs of the earlier locality where had become friendly with Bhhole, Chhote and even nuppy. These pets never had the opportunity to become frienly with the street dogs of this new locality. Perhaps it was not even possible.

One fine morning, when my wife went up to bring the dogs back from the roof, she found the door (already weak) broken and the dogs missing. The dogs had taken the staircase down to go to the ground floor and from there they had gone out of the building. My wife launched a dog hunt alongwith the daughter and the two dogs , who were enjoying their walk in the free space were rounded up and brought back.

This happened a few times. Then Bhhole realised that seeking permission and going out was a better way. He began to seek permission of my wife to go out by standing on his rear legs and reaching up to her. After consulting me, she began to allow Bhole to go out. Later, Chhote too was being allowed to go out.

Though they went out after seeking permission, they would not come back on their own. My wife or daughter would have to go and bring them in. Once, when I was there, I too went down and brought them back. My wife was amused to see that they obeyed me and came back with me.

Nuppy was busy hunting mice all the while. Neighbours in the apartment building would also borrow nuppy to hunt their mice and nuppy would oblige.

A few months later, nuppy sadly passed away. It was a big loss that was felt not only by me and my family but also by many regulars of this blog.

nuppy had taught the dogs the art of catching mice. Though the dogs did not become as adept as nuppy, but they became good enough to catch mice if any mice had the misfortune of coming within their sight. I thought that mice were quite fast when it came to running away, but that is only vis a vis human beings. Cats, and also dogs are far too fast for mice, as was demonstrated by Bhhole and Chhote. Most of the time it was Chhote who would catch the mice while Bhhole would be aimlessly coming in the way. Chhote has superior smelling power and that enabled him to sniff mice and locate them much better than Bhhole.

Any creature in the household, be they mice, moles, wall lizards on anything else were regarded as mice by the dogs. They would try to jump up on the wall, trying to catch wall lizards. Unlike cats, the dogs would only kill mice etc and would not eat them.

While out of the house, Bhhole and Chhote would chase out street dogs and would not let them come near their apartment building, which to their mind was their “territory”. When up against a dog, Bhhole would take him on from the front, while Chhote would corner him from the rear and would seek to pull him down by pulling his legs. Their tactics was quite successful and the area around the apartment became free of street dogs.

In 2013, while out of the building, Chhote attacked a young goat passing through the road in front of the apartment. No idea what was the reason for this attack, but the owners of the goat came out, threatening to lodge a police complaint and all that. My wife became nervous and consulted me on phone. I told her that police in India do not allow lodging of FIR in even serious cases. How are they going to entertain lodging of complaint in such a trivial case. Nevertheless, my wife began to fear for the life of Chhote. So it was decided that Chhote would live with me. But what about Bhhole ? How can the two dogs stay away from each other ? So it was decided that both dogs would stay with me. So I went and brought both the dogs to my place in January 2013. The escapades of the dogs after they came to live with me are discussed in detail in this writeup.

By now, Bhhole and Chhote have settled in to a routine in which they have the best of all the worlds. They stay with me as a pet and at the same time they get to go out of the compound through the breach in the compound (very thoughtfully kept unrepaired by me) :). The dogs would go out, roam around like street dogs and after their walk, they would come back through the same breach. While at home, they would look like pets and while on the streets, they would look like street dogs. My dogs reminded me so much of Indian women who can on different occasions carry out roles of homely Bhartiya Naari, professional career person, party animal etc. Indian women would do that by donning dresses like Sari (for the role of Bhartiya Naari), Salwar Kurta (for the role of career women), party animal (in jeans) etc. My dogs would transform from ideal pets to street smart street dogs without needing to change any outfits. :)

When I am at home, they stay indoors with me. Their routines varies with time. In their daily routine as of now, they stay indoors with when I am at home. When they want to go out, they come to me and request me. The dog would walk towards me and look at me, which is their way of telling me that he wants to go out. I go to the front door and open the door. Often one dog takes permission on behalf of both, and so both go out. I then close the door and allow them to stay out.

The dogs may decide to go to the front gate of the compound and look outside through the gap between the gate and the frame. There is one huge black dog that had singled out my two dogs as his main challenge in his bid for becoming the “Galli ka sher”. He comes near the gate and waits there. Bhhole and Chhote, finding him there get angry as befitting any self respecting dogs and they bark a lot at that dog, who also barks in return. That black dog is sometimes accompanied by his follower dogs as well. Sometimes I try and help my dogs by climbing up the wall and throwing pebbles at them. My aim rarely finds its target, but when it does then the black dog stayes away for a few hours, but then he comes back again. I feel that my dogs as well as that dog enjoy this barking match and they will miss this daily fun if say I move away with my dogs to some other place in future. Everyone entering my compound is an enemy as far as that black dog is concerned. He barks at all people who enter my compound. The black dog barks everytime he sees my car. He only barks at my car and not at other cars of the same make and appearance which means that the dog has memorised the registration number of my car. On a few such occasions when he is barking at the car, I would stop the car infront of his “house”, and he would then run away towards his “house”.

My dogs also go out of the compound through the breach in the rear and then come back after some time. Bhhole knocks at the door when he wants to come back. Chhote does not and he patiently waits near the door. When he has waited long enough and he must come in, then he emits a special kind of sound which tells me that he wants to come in and I then open the door.

Curiously, if Bhhole accidentally gets locked up in some room inside the house then he does not make any sound and waits patiently till someone comes and open the door. There have been occasions when I would be waiting for Bhhole and wondering why he has not come back. Then I would discover that Bhhole was accidentally locked up in one of the rooms inside the house ! I do not know why Bhhole does not knock at the door or barks on such occasions.

The two dogs display perfect unity outside. But Bhhole is the boss inside the house. As mentioned earlier, in retaliation to Chhote’s act of staking claim on my wife, Bhhole had staked claim on me and so he owns me. :) He wants to stay near me and would not allow Chhote to come near me. I spend most of my time inside the house in the bedroom on my computer kept on a computer table. Bhhole stays near my computer chair inside the bedroom and does not allow Chhote to come inside the room. Chhote would try different ways of coming inside the bedroom. One way is to enter the bedroom through other doors (there are three doors to my bedroom). These days only one door is open as my wife has locked the other two doors. So Chhote enters through the only open door. By the time Bhhole realises it and tries to chase him away, Chhote crawls under the bed and stays there. Bhhole himself feels uneasy crawling under the bed so he cannot follow Chhote there so Chhote is out of reach of Bhhole there. So Chhote too manages to stay in the bed room close to me, just like Bhhole. Bhhole is not amused but he is helpless to prevent Chhote from staying in the bedroom. :)

Bhhole likes it when I caress him and he comes to me to get caressed. Chhote too would like me to caress him but he is afraid of Bhhole’s reaction. So he comes to me to get caressed only when Bhhole is not looking. And I quickly remove my hands off Chhote when Bhhole comes in. I cannot be seen as cheating on Bhhole by Caressing Chhote because I belong to Bhhole, so I have to caress Chhote on the sly. :)

When my wife visits me for a few days then the two dogs express their joy by standing on their rear legs and try to perform a ball room dance with her. On those days, Chhote temporarily becomes the more favoured dog and he begins to call the shots in the household. :)

Chhote is popular with kids, ladies, workers etc because he allows people to pull his cheeks, apply colour on him (during holi) and in general lets people tease him/ play with him. He lets people drag him out through his leg from under the bed. Workers who come to the home for some work would request that Bhhole be tied, though they have no objection if Chhote roams freely all around and watches them work. In the past, when my daughter’s friends would arrive home and be seated in chairs, Chhote too would give them company by sitting in one of the chairs. :) Suppose we are moving a furniture from one place to another then he would sit over it and would like us to carry him alongwith the furniture.

Bhhole on the other hand is a no nonsense dog. There is no way he will let you drag him by his leg or pull his cheeks or apply colour on him. But when it comes to visiting vets, Bhhole is an ideal patient. A vet can give him any injections, even painful ones and Bhhole allows himself to be injected without any protest. But try to give the same injections to Chhote and he puts up stiff resistance, as I have experienced on a couple of occasions.

The last time we had weighed the two dogs was some three or four years ago when the dogs were younger. Bhhole was 19 KG and Chhote was 20 KG at that time. Recently my daughter tried to weigh the two dogs again. Bhhole was uncomfortable with the idea and he did not allow himself to be lifted by my daughter or anyone else. Chhote allowed himself to be carried in my daughter’s arms for the purpose. My daughter struggled to lift Chhote up and stood on the weighing machine. After subtracting daughter’s weight from their combined weight, Chhote turned out to be 24 KG ! So Chhote has gained weight during the last few years. We guessed that Bhhole, who looks slimmer than Chhote, must be around 20 KG or so.

My wife has taught me how to prepare their meals. By now I have become a good dog chef. I am not particular about where my next meal is going to come from, but I make sure that they get their meals in time. Their diet is a mixture of some four to five foodstuffs including rice, bread, dog food, milk etc. The dogs like coarse rice (coarsest the better) and would not eat the refined rice that human beings eat. My wife known exactly where to find such rice. The coarsest (and therefore the best) rice for dogs was available in the place where she stayed. Such coarse rice is not available in my place but we are managing with the coarsest rice that we could get from the local market. We buy their rice in sacks of 25 KGs that lasts for about four months or so. Breads are required to be replenished after every three to four days. The milk that I take daily is almost entirely for the consumption of the dogs. Every morning Bhhole would bark to his heart’s content when the milk man arrives. I do not know why he barks at the milkman, despite being familiar with him for the last three years and more.

The dogs can differentiate between good quality milk and not so good quality milk. Once we had given them milk bought in packets when we were at Nagpur. The dogs refused to drink that milk. It was then that we realised that the packet milk that we as human beings were often consuming did not pass the quality control of our dogs. From then onwards we stopped buying such milk and we get our milk through milkmen which meets with the approval of the dogs.

The dogs are over four years old by now. They are with me for the last three years. I have taken them for granted, and they in turn also take me for granted. But I realise that they are special. They too in turn realise that they can trust on me. They have not been brought up in strict discipline and have been given considerable leeway.It means that they are not very obedient. But they trust me. They know that I do not mind it one bit even if they do not obey me. So suppose they go out and are in no mood to come back, then all I have to do is to go where they are (I know the location where they are to be found), they happily jump in the car and come back with me. A car arrives, two street dogs run towards the car and jump inside it and the car moves away- this Hindi film like situation has happened many a times and there are quite a few people who have been left surprised by it.

The dogs, having accompanied me, would begin to wonder why they came back with me. Just as we would come back, they would once again jump out of the car and run away, through the broken fence in the rear, to the place from where I had picked them up just a few minutes ago. :)

The dogs are very much staying with me these days, though. They stay in the home or within the compound most of the time. The days are hot and they like to stay indoors at day time. Nights are pleasant and they stay outside the home within the compound during nights. My wife would often chide the dogs for staying inside house like women, instead of staying out and guarding the premises like watch dogs. Come to think of it, the dogs are actually working like watch dogs at night these days. :)

One week ago, these dogs actually saved me big time. 26 april 2015 was a sunday and so I was at home. The two dogs were in the front room. In the front room, Bhole and Chhote sit on their favourite positions- Bhole on a wooden box and Chhote on a plastic chair. From there they keep watch on the goings on outside. If any visitor comes, they they bark and that serves as an alarm to me.

When I went to that room, I found both the dogs standing near the inverter. The inverter (with its battery) is kept at that room. Chhote and Bhhole would often go there, suspecting that a mice (any small creature viz. wall lizards etc are mice to them) was hiding there. I went there, in order to try and move the dogs away from the inverter. I saw a thin tail visible from behind the invertor. It was clearly a snake. I thought that it must be a small snake less than two feel long. No problem, I told myself, as I have had past experience in dealing with such snakes.

But when the snake emerged out, I was shocked ! It was a huge snake over six feet long. Such snakes have far greater range than tiny snakes and can retaliate if provoked. I took many steps backwards. The stick that I had in my hand was not not going to be as effective against it as it would have been against tiny snakes. Chhote and Bhhole have seen snakes before. They too get nervous on looking at such a creature, but unlike me they did not back down. They continued to challenge the snake. The snake became nervous and tried to escape. There was hardly any escape route except the thin gap between door and its frame near the inverter. The snake found that gap and escaped through that gap. I suspect that it had come through the same gap. Tiny frogs keep coming inside the house and I suspect that the snake had come inside in search of such frogs. It was fortuitous that it was a sunday when I was home and the dogs were free. Had it been a working day, I would have been out and the dogs would have been tied up in that room. Had the snake entered then, the tied up dogs would have been unable to chase the snake away and it would have crawled under the doors to an inside room and from there it could have gone anywhere in the house and would have caught me unaware after I had come home. So my dogs saved me that sunday.

I can go on and on about my dogs, but I have to stop somewhere. And so that is all the gloating that I will resort to about my dogs for now. ;)

On Greta (Memsaab)’s request, here are the photos of Bhhole and Chhote.

Bhole smile

chote pup photo

I was wondering what would be an appropriate song to go with this writeup. It was Satyajit Rajurkar, a fellow dog lover who gave me the idea for the appropriate song by his query. He asked me whether my dogs are named after the movie “Bade Miyaan Chhote Miyaan”. I replied in the negative, but that gave me the idea that the title song of “Bade Miyaan Chhote Miyaan”(1998) was the perfect song to go with this writeup. :)

So here is this fantastic title song of “Bade Miyaan Chhote Miyaan”(1998) which fits this writeup perfectly. This song has Sudesh Bhonsle and Udit Narayan singing for Bade Miyaan (Amitabh Bachchan) and Govinda (Chhote Miyaan) respectively. Internet sites also mention Poonam Bhatia and Rakesh Pandit as two other singers in the song. I request our knowledgeable readers to point out the places in the song where Rakesh Pandit’s voice appear in the song.

Sameer is the lyricist. Viju Shah is the music director.

The picturisation has Amitabh Bachchan, Govinda, Anupam Kher, Satish Kaushik and lots of other people in it. This lively song is picturised nicely. I have watched the picturisation of this many a times and cannot have enough of this song. Here is just the song to go with the escapades of Bhhole miyaan and Chhote miyaan. :)


Song-Bade Miyaan To Bade Miyaan Chhote Miyaan Subhaan Allah (Bade Miyaan Chhote Miyaan)(1998) Singers-Sudesh Bhonsle, Udit Narayan,Poonam Bhatia, Rakesh Pandit, Lyrics-Sameer, MD-Viju Shah
Chorus
All

Lyrics

aha
aha

koi hamen pyaar kare
koi jaan nisaar kare
haaye
aha
haan
koi hamen pyaar kare
koi jaan nisaar kare
dekh ke humko
to kehte hain log wallah
bade miyaan bade miyaan
chhote miyaan subhan allah
bade miyaan to bade miyaan
chhote miyaan subhan allah
bade miyaan bade miyaan
chhote miyaan subhan allah
bade miyaan to bade miyaan
chhote miyaan subhan allah

koi hamen pyaar kare
koi jaan nisaar kare
dekh ke humko to kehte hain log wallah
bade miyaan bade miyaan
chhote miyaan subhaan allah
bade miyaan to bade miyaan
chhote miyaan subhan allah

bade miyaan bade miyaan
chhote miyaan subhaan allah
bade miyaan to bade miyaan
chhote miyaan subhan allah

haaan
aa aa aa a
haaan aa aa
haan aa aa aa
aa aa aa
haaa aa aa aa
aa aa aa aa

haan
ye zamaana hai naya
ye taraana hai naya
hamne mil ke jo likha
wo fasaana hai naya
aha
aha

haan
ye zamaana hai naya
ye taraana hai naya
humne mil ke jo likha
wo fasaana hai naya

ghunghroo toot gaye
bajte saaz ruke
apne aage yahaan
takht o taaj jhuke

apni aan juda
apni shaan juda
aisa waisa na samajh
ham hain insaan judaa

teri iss mehfil ka rang badal denge hum
aa aa aa
aa aa aa

haay haay
teri iss mehfil ka rang badal denge hum
yoonhi masti mein aaj sang zara naach balla
bade miyaan haay haay
bade miyaan bade miyaan
chhote miyaan subhaan allah
bade miya to bade miyaan
chhote miyaan subhaan allah
aa aa aa
aa aa
aa aa aa aa aa

allah
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa

haan
hum jo kaam karen
wo khule aam karen
hum ko log yahaan
yoonhi badnaam karen

aha
aha

hey hey
hum jo kaam karen
wo khule aam karen
hum ko log yahaan
yoonhi badnaam karen
o meri jaane jigar
humko sabki khabar

koi bhi bach na saka
itni tez nazar
hum jahaan yaar gaye
baazi maar gaye

apni jeet huyi
dushman haar gaye
apni baaton pe na koi yaqeen kare
aa aa
aa aa aa
aha

haan
o apni baaton pe na koi yaqeen kare

hum to karte hain
do aur do paanch wallaah
bade miyaan
hoye hoye
bade miyaan bade miyaan
chhote miyaan subhaan allah
bade miyaan to bade miyaan
chhote miyaan subhaan allah

koi hamen pyaar kare
koi jaan nisaar kare
dekh ke humko to kehte hain log walla

bade miyaan bade miyaan
chhote miyaan subhaan allah
bade miyaan to bade miyaan
chhote miyaan subhaan allah

haan
bade miyaan bade miyaan
chhote miyaan subhan allah
bade miyaan to bade miyaan
chhote miyaan subhaan allah

aa aa aa aa
o subhan allah
haan


Maa kaa aanchal laadle daaman hai bhagwaan ka

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“Maa Ka Aanchal” (1970) was produced and directed by Jagdev Bhambri for Harintaraj Films. The movie had Sanjeev Kumar, Abhi Bhattacharya, Anjana(Mumtaz), Leela Mishra, Jagdev, Sheela.R., Satpal Nishan, Sushma, Johnny Whisky, V.Gopal, Gopal Segal, Amol Sen, Dilip Dutt, Deena Nath, Master Rattan, Abdul, RajKumar Dutt, Abdul etc in it.

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

Today (10 may 2015) is Mother’s day. It also happens to be the death anniversary of Kaifi Azmi (14 january 1919- 10 may 2002).

As a tribute to Mother as well to Kaifi Azmi, here is the title song of “Maa Ka Aanchal”(1970).

This song is sung by Asha Bhonsle. Kaifi Azmi is the lyricist. Music is composed by Madan Mohan.

Only the audio of this song is available.

Lyrics of this song were sent to me by Prakashchandra some two years and five months ago. This song was not even available on YT at that time but that had not prevented Prakashchandra from somehow noting down the lyrics of this song.

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


Song-Maa kaa aanchal laadle daaman hai bhagwaan ka (Maa Kaa Aanchal)(1970) Asha Bhonsle, Lyrics-Kaifi Azmi, MD-Madan Mohan

Lyrics(Provided by Prakashchandra)

hmmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm

maa ka aanchal laadle ae ae
daaman hai ae ae
bhagwaan kaa aa
maa ka aanchal laadle ae ae
daaman hai ae ae
bhagwaan kaa

maanaa ke teri
raaton mein koyee
sapnewaali raat nahin ee
jhoothe nikle
saare sahaare
sar pe kisikaa
haath nahin
so jaa mere
seene se lag ke
toote dil ki ee
aas hai tu
duniyaa teri neend churaa le
uske bas ki baat nahin
maa ka aanchal laadle ae
daaman hai ae bhagwaan kaa

din din sooraj
ban ke chadhe tu
badle ye sansaar meraa
bole meri ee doobti naiyya
aayaa khewanhaar meraa
kaise paalaa
kaise sambhaalaa
tujhko ye maaloom nahin
jitni tujhko pyaas lagee
utnaa barsaa pyaar meraa
maa ka aanchal laadle ae
daaman hai ae bhagwaan kaa

tujhse raushan
din hain hamaare
jhilmil jhilmil raat mein hai ae ae
jeevan iskaa
pyaasaa tha kab se
ras jo teri baat mein hai
dhabbe iss aanchal ke mitaanaa
rakhnaa meri laaj sadaa
shaan bhi meri
aan bhi meri
tere nanhe haath mein hai
maa ka aanchal laadle ae ae
daaman hai ae bhagwaan kaa aa aa
maa ka aanchal laadle ae ae
daaman hai bhagwaan kaa
hmmm hmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm hmm
hmmm hmm hmm hmm hmm hmm


Main hoon baaghi shahzaada

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“Baaghi Shahzaada”(1964) was directed by Maruti for G P Films, Bombay. The movie had Kishore Kumar, Kumkum, Anwar, maruti, B M Vyas, Wazir Mubhammad Khan, Madhumati, Bela Bose, Indira, Altaf, Shyam Kumar, Khursheed, Jamal, Paro, Ridku, Uma Khosla etc in it.

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

Here is the fourth song from the movie. This song is the title song of the movie which also serves as the introduction song of the central character of the movie which is played by Kishore Kumar. The song is sung by Kishore Kumar and it is picturised on Kishore Kumar himmself who is shown driving a chariot while singing this song.

Noor Dewasi is the lyricist. Music is composed by Bipin.


Song-Main hoon baaghi shehzaada (Baaghi Shehzaada)(1964) Singer-Kishore Kumar, Lyrics-Noor Dewasi, MD-Bipin

Lyrics

main hoon baaghi shahzaada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
baaghiyon se karoon baghaawat
seedhon ke sang saada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
od daiyee
ee duyee deyee
od daiyee

meri manzil pyaar ki manzil
mazhab mera sachchaai
dekh tevar aandhiyon se toofaanon ki gahraai
jhuk jaate hain saamne mere daadon ke bhi pardaada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
od daiyee
ddee ood lei
od daiyee

meri duniya meri daulat
hai mera gulzaar watan
meri chaahat meri izzat
hai mera dildaaar watan
main apne anmol watan ko
doonga ye hai waada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
baaghiyon se karoon baghaawat
seedhon ke sang saada
main hoon baaghi shahzaada
main hoon baaghi shahzaada
od daiyee
ood lei
od daiyee
ee ee
od daiyee
dee ood lei
od daiyee
od daiyee
ood lei
od daiyee


Kabhi ruke na kabhi jhuke na…ham ek hain

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“Ham Ek Hain” (1946), a Prabhat Film Company Limited production, was a movie with a message. in this movie, Durga Khote, a noble widowed matriarch brings up many orphan kids in addition to her own son. These kids are her own son Shankar (Dev Anand), and orphans Yusuf (Rehman), John (Rane) and Durga (Rehana). As can be seen, she is raising three boys of three different religions as her own, plus one girl of low caste , thus sending a strong message of “Ham ek Hain” (We are one).

This movie had many debutants in it. All actors playing Durga Khote’s kids were debutants, as was Kamla Kotnis, who plays Dev Anand’s love interest. P L Santoshi, who wore multiple hats of lyricist, dialogue writer and director, made his directorial debut with this movie.

This story may have inspired countless movies in the coming decades. it was a movie with a strong matriarch, which may have inspired other movie makers of the future to come up with movies of this theme. The movie clearly paves way for future movies with the theme of unity in diversity. “Amar Akbar Anthony” is ae example that readily comes to mind.

Eight songs from this movie have been discussed in the past. Here is the ninth song from the movie. This song is a kids’ song which is picturised on kids playing the childhood roles of the four kids that Durga Khote raises as her own. The kids are shows singing this song while crossing a river in a boat. It is interesting to see that the girl does the hard work of rowing the boat for much of the picturisation while the boys just sing. It is towards the end that one kid(playing Dev Anand’s childhood character) takes the “patwaar” to do some symbolic paddling and he then raises the “patwaar” high displaying a flag of unity atop it.

The singers of this song are not known. I request our knowledgeable readers to help identify these child voices.

P L Santoshi is the lyricist. Music is composed by Husnlal Bhagatram.


Song-Kabhi ruke na kabhi jhuke na …ham ek hain(Ham Ek Hain)(1946) Lyrics-P L Santoshi, MD-Husnlal Bhagatram

Lyrics

kabhi ruke na aa aa
kabhi ruke na
naiya hamaari ye naiya hamaari
naiya hamaari ye naiya hamaari
chhoti si pyaari pyaari
kabhi ruke na aa aa
kabhi ruke na
naiya hamaari ye naiya hamaari
naiya hamaari ye naiya hamaari
chhoti si pyaari pyaari

ek hai naiya
ek hai naiya
musaafir hain chaar
ek do teen chaar
ek do teen chaar
chaaron ke haathon me ek patwaar
ek patwaar
hum ek hain
hum ek hain
hum ek hain
hum ek hain
ek hai manzil hamaari
ek hai manzil hamaari
chhoti si pyaari pyaari
chhoti si pyaari pyaari
kabhi ruke na aa aa
kabhi ruke na
naiya hamaari ye naiya hamaari
naiya hamaari ye naiya hamaari

ye aage badhhti jayegi lehron se khelti
ye aage badhti jaayegi aandhi ko jhelti
ye aage badhti jaayegi lehron se khelti
ye aage badhti jaayegi aandhi ko jhelti
jo bhi aage aayega
hamse thokar khaayega
jo bhi aage aayega
hamse thokar khaayega
nikle hain hum jeetne
nikle hain hum jeetne
dekho ye duniya saari
dekho ye duniya saari
kabhi ruke na aa aa
kabhi ruke na
naiya hamaari ye naiya hamaari
naiya hamaari ye naiya hamaari

harijan kristaan hindu musalman
harijan kristan hindu musalman
sabka ek nishaan
sabka ek nishaan
sabka ek nishaan
hum ek hain
hum ek hain
hum ek hain
hum ek hain
ek hamaara jhanda
kabhi jhuke na
kabhi jhuke na
ek hamaara jhanda
kabhi jhuke na
kabhi jhuke na


Cheen nahin Japan nahin…Gopichand Jaasoos

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“Gopichand Jaasoos”(1982) was written, produced and directed by Naresh Kumar for Dimple Films, Bombay. The movie had Raj Kapoor, Zeenat Aman, Prem Chopra, I.S.Johar, Viju Khote, Sujit Kumar, Rajan Haksar, Pinchoo Kapoor, Gurbachan Singh, Manmohan Krishna, Sunder, Raj Kishore, Jugnu, Brahm Bhardwaj, Rattan Gurang, Mama, Ram Murti, Ram Lal, Billa, with friendly appearances by Sanjana, Ram Mohan, Chandrashekhar, Meher Mittal and guest appearance by Vinod Mehra.

Here is the title song from “Gopichand Jaasoos”(1982). This song is sung by Kamlesh Awasthi and chorus. Santosh Anand is the lyricist. Music is composed by Usha Khanna.

The song is picturised on Raj Kapoor as a movie opening song as credits appear on the screen. From the credits and the picturisation, it apperas that the movie is a spoof on western movies as well as on spy movies. The topic had tremendous scope. seeing that the movie failed at the box office, it is my guess that the movie maker failed to live up to expectations and the movie ended up being a damp squib.

The lyrics of this song were sent to me by Prakashchandra.

The audio link of the song is longer than the video version. Lyrics provided below are based on the audio of the song.

Audio

Video

Song-Cheen nahin Jaapaan nahin…Gopichand Jaasoos (Gopichand Jaasoos)(1982) Singer-Kamlesh Awasthi, Lyrics-Santosh Anand, MD-Usha Khanna
Chorus

Lyrics(audio link)(Provided by Prakashchandra)

lalalalalallalaaa
lalalalalallalaaa
laaalalalalallalaaa

Cheen nahin Japan nahin (roooo rooo)
na America naa Roos (rooooo rooo)
Hindustan mein rehtaa hoon jee(rooo rooo)
mat hona maayoos (roooo rooo)
likh lo mera pataa huzoor (rooo roooo)
Bambai mein basti Chemboor waalaa (roooooo)
Gopichand jaasoos
Gopichand jaasoos

Cheen nahin (roooo rooo)
Japan nahin (roooo rooo)
na Americaa naa Roos (roooo rooo)
laa lala
laaaa laaa laa laa laaa
laaa lalaa
laaaa laaa laa laa laa

ek samay ki baat sunaaoon
jaanaa thhaa hamko Africaa
habba habbaa habbaa ri
habbaa habbaa habbaa ri

lekin apni hi masti mein
jaa pahunche seedhe Americaa
aaa…aaa….aaa aaa aaaa….aaa aaa
Hollywood waaley chillaaye
Gopichand Bhaarat se aaye
James Bond ne hamse poochhaa
jasoosi ka nayaa tareekaa
saari duniyaa mein mashhoor (rooooo rooo rooo roo)
Bambai mein basti Chemboor waalaa (rooo rooo)
Gopichand jaasoos
Gopichand jaasoos

Cheen nahin (roooo roooo)
Japan nahin (roooo roooo)
na Americaa na Roos (rooo roooo)

laaa laa la
laaaa llaaa laaaa
laaa laa lalalalala
laaa laa lalalalala
laaaa llaaa laaaa
laaa laa lalalalala

Paris ki har ek haseenaa
pyaar hum hi se karti hai jee
????
London ki har gori chitthi
zikr hamaaraa karti hai jee
we love you, we love you
husn milaa thhaa Berlin mein
ishq huaa hai German mein
Europe ki to saari jantaa
Naam pe apne marti hai jee

saari duniyaa mein mashhoor (rooooo rooo rooo)
Bambai mein basti Chemboor waalaa (rooo rooo)
Gopichand jasoos
Gopichand jasoos

Cheen nahin Japan nahin (roooo rooo)
na America na Roos (rooooo rooo)
Hindustan mein rehtaa hoon jee (rooo rooo roo)
mat hona mayoos (roooo rooo)
likh lo mera pataa huzoor(rooo roooo)
Bambai mein basti Chemboor waalaa
Gopichand jaasoos
Gopichand jaasoos



Duniya hai aisi chaalbaaz koi na jaane iska raaz

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“Chaalbaaz” appears to be quite a popular title for Hindi movies. Movies with this title were released at an almost uniform interval of nearly one decade each, starting from 1958. We have had movies called Chaalbaaz released in 1958, 1969, 1980 and 1989.

Songs from movies of 1969 and 1980 are represented in this blog.

Here is the first song from “Chaalbaaz”(1958) to appear in the blog. This movie was directed by Balwant Bhatt and Ram Kamlani for Neolight Films, Bombay. The movie had Nirupa Roy, Jairaj, Nishi, K N Singh, Jagdish, Sameer Kumar Cuckoo, David, Bhagwan, Moti (the horse) and Tiger (the dog) etc in it.

This song, which can be described as the title song of the movie is a duet which is sung by Lata and Rafi alongwith male and female chorus. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available and so one can only make guesses about the picturisation of this song based on the audio of the song.

From the audio, it is seen that music director was under instructions to compose an O P Nayyar like music. And so, if one just listens to the song without being aware of the details of the song, one may well conclude that it is an O P Nayyar composition. One will of course quickly revise this opinion as soon as the song begins. If Lata’s voice is heard in the song then obviously it can not be an O P Nayyar composition. Nevertheless, listening to this song gives us an idea how Lata would have sounded if she sang under O P Nayyar’s baton.

This song may have been picturised very much like any other songs of this genre, viz as a Punjabi style community dance song where female group of dancers sing and dance and then the male group of dancers respond.

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


Song-Duniya hai aisi chaalbaaz (Chaalbaaz)(1958) Singers-Lata, Rafi, Lyrics-Prem Dhawan, MD-Chitragupta
Male chorus
Female chorus
Unknown male voice
Rafi + Male chorus

Lyrics

Duniya hai aisi chaalbaaz
duniya hai aisi chaalbaaz
koi na jaane iska raaz
apna banaa ke
de jaaye dhokha
ho duniya hai aisi chaalbaaz
chaalbaaz
dhokhebaaz
o daghaabaaz

chaalbaaz
dhokhebaaz
daghaabaaz

duniya hai aisi chaalbaaz
duniya hai aisi chaalbaaz
koi na jaane inka raaz
apna banaa ke de jaaye dhokha
duniya hai aisi chaalbaaz

ho ho ho
ho ho ho ho ho
bhola bhaala samjho na
bholi si nazar ko
karti hain kaam talwaar ka
aaho aaho
aaho aaho aaho ji

ek hi bahaane se ji
ek hi nishaane se
dil ye udaati hai hazaar ka
aaho aaho
aaho aaho aaho ji

hey
marte hain ham
ho khud hi sanam
ho karo jo ishaara zara pyaar ka
aisi hi nazar
ho kar lo idhar
hoga ehsaan sarkaar ka
waah waah ye nigaahen
ye adaayen
ye andaaz
chaalbaaz

dhokhebaaz
daghaabaaz
Duniya hai aisi chaalbaaz
duniya hai aisi chaalbaaz
koi na jaane iska raaz
apna banaa ke de jaaye dhokha
duniya hai aisi chaalbaaz

ho o o o
o o o o
bade bade chor dekhe
seedhe saade roop mein
kar den safaai baat baat mein
aaho aaho
aaho aaho aaho ji

kare golmaal dekho
phir bhi kamaal dekho
rakhen saare duniya ko haath mein
aaho aaho
aaho aaho aaho ji

hey
pakde gaye to
arre jakde gaye yo
jaayenge ji seedhe hawaalaat mein
daudo aji daudo
ho baaten sab chhodo
baitha ho na koi kahin ghaat mein
jaan pehchaan gaye
saare saazbaaz
chaalbaaz

dhokhebaaz
daghaabaaz
duniya hai aisi chaalbaaz
duniya hai aisi chaalbaaz
koi na jaane iska raaz
apna banaa ke de jaaye dhokha
duniya hai aisi chaalbaaz


Karm kaho kismat kaho

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R D Burman composed over 1700 songs in Hindi movies. Only 19 of these songs had the voice of Mukesh in them.

When I came across this figure yesterday (it is mentioned in the book -R D Burman- the man the music), I looked in the blog and also searched the list of R D Burman songs in HFGK.

Following is the list of Mukesh songs composed by R D Burman:

Movie Year of release Year of release Singer Lyricist Remark
Teesra Kaun 1965 Pyaar Ka fasaana Mukesh, Lata Anand Bakshi
Kati Patang 1970 Jis gali mein tera ghar na ho baalma Mukesh Anand Bakshi
Puraskaar 1970 Ae meri jaan chaand sa gora mukhda Mukesh, Asha Bhonsle S H Bihari
Puraskaar 1970 Nateeja hamaari muhabbat ka Mukesh, Asha Bhonsle S H Bihari
Hangaama 1971 Sooraj se jo kiran ka naata Mukesh, Lata Anjaan
Chhaliya 1973 Zindagi mein aap aaye Mukesh, Vani Jairam Rajinder Krishan
Raja Rani 1973 Haan to main kya keh raha thha Lata, Mukesh, Rajesh Khanna Anand Bakshi
Phir Kab Milogi 1974 Kahin karti hogi wo mera intezaar Mukesh, Lata Majrooh Sultanpuri
Dharam Karam 1975 Ik din bik jaayega part (i) Mukesh, chorus,
part (ii)Mukesh, Sushma Shreshtha,
part (iii)Mukesh, Kishore Kumar, Sushma Shreshtha, chorus
Majrooh Sultanpuri Three parts, counted as three songs
Dharam Karam 1975 Tere hamsafar geet hain tere Mukesh, Kishore Kumar, Asha Bhonsle, chorus Majrooh Sultanpuri
Chaandi Sona 1977 Tujhe bhool ke maati ki putli par Mukesh Majrooh Sultanpuri Three parts, counted as three songs, not yet discussed in the blog
Karm 1977 Karm kaho kismat kaho Mukesh Bharat Vyas Another two line song- Karm kare qismat bane, is counted as a separate song
Mukti 1977 Lalla lalla lorie Mukesh Anand Bakshi
Mukti 1977 suhaani chaandni raaten hamen sone nahin detin Mukesh Anand Bakshi

Most Mukesh-R D Burman songs have already been discussed in the blog. Only the songs of “Karm” (1977) and “Chaandi Sona”(1977) were not covered till now in the blog.

Here is the Mukesh song (s) from “Karm”(1977). This song is penned by Bharat Vyas. The last two lines beginning from “karm kare qismat bane..” is the second part of the song and is counted as another song. Thus Mukesh gets credited for singing two songs in this movie.

After this song, “Chaandi Sona”(1977) song will be the only Mukesh R D Burman song that has not yet been covered in the blog.


Song-Karm kaho kismat kaho (Karm)(1977) Singer-Mukesh, Lyrics-Bharat Vyas, MD-R D Burman

Lyrics
—————————-
Part I
—————————-
karm kaho
qismat kaho o o
chaahe kaho taqdeer eer
pehle banaa praarabdh aur
paachhe banaa shareer eer

karm ki gathdi laad ke
jag mein phire insaan
jaisaa kare vaisaa bhare
vidhi kaa yahi vidhaan
aa aa aaa
hmm hmm hmm hmm

—————————
Part II
—————————
karm kare qismat bane ae ae
jeevan kaa ye maram
praani tere haath mein aen
teraa apnaa karam am


Mere sipahiya hamaari gali aaiyo

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“Sipahiya”(1949) was directed by Aspi for Super Pictures, Bombay. The movie had Madhubala, Yaakoob, Agha, Husn Bano, Altaf, Kanhaiyya Lal, Jillo Bai, Ghulam Rasool, Amirbai, M K Hasan etc in it.

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

Here is the seventh song from the movie. This song is sung by Shamshad Begam and C Ramchandra. Raj Kunwar is the lyricist. Music is composed by C Ramchandra.

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


Song-Mere sipahiya hamaari gali aaiyo (Sipahiya)(1949) Singers-Shamshad Begam, C Ramchandra, Lyrics-Raj Kunwar, MD-C Ramchandra

Lyrics

mere sipahiya
hamaari gali aayiyo
tumhen meri kasam hai
tumhen meri kasam
mere sipahiya
hamaari gali aayiyo
tumhen meri kasam hai
tumhen meri kasam

yoon na jaana sipahiya rooth rooth ke
yoon na jaana
yoon na jaana sipahiya rooth rooth ke
teri yaad mein roungi phoot phoot ke
teri yaad mein roungi phoot phoot ke
aeji naazuk ye dil ko na loot loot jaiyo
tumhen meri kasam hai
tumhen meri kasam

tere bol jaise bakre ki vyaaun vyaaun
teri baaten hain kauwwe ki kyaanv kyaanv
tere bol jaise bakre ki vyaaun vyaaun
teri baaten hain kauwwe ki kyaanv kyaanv
arri kaahe ko muft mein
tyaaun tyaaun kar rahiyo
tumhen meri kasam hai
tumhen meri kasam

tere bundlon ka charcha hai ghar ghar
aur hansi aati hai raat bhar bhar
tere bundlon ka charcha hai ghar ghar
aur hansi aati hai raat bhar bhar
aeji baat baat pe tarr tarr kyun karte rahiyo
tumhe meri kasam hai
tumhe meri kasam

ab kabhi na sataaun
peechha chhod chhod
ab kabhi na
ab kabhi na sataaun
peechha chhod chhod

mujhse maafi maang le haath jod jod
mujhse maafi maang le haath jod jod
aji main to kadmon pe sir tod tod rahiyo
tumhen meri kasam hai
tumhen meri kasam

mere sipahiya
hamaari gali aayiyo
tumhen meri kasam hai
tumhen meri kasam


Saawan mein kahin aag na lag jaaye chaman ko

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

Atul often says that inspite of the blog having already clocked five-digit number of songs, there are still plenty of very good songs out there that have still not found their way to the blog.

In my opinion, that is not a bad thing, because it keeps our journey of discovery interesting and exciting. Compiling songs on this blog is as much about the journey as about the destination – and we take as much pleasure in the journey as in getting closer to our destination. We have milestones, minor and major, that keep beckoning to us to approach them – and as we pass each milestone, we not only celebrate it but also set our sights on the next one.

In a sense, this is no different from a long train journey. Each kilometer has to be covered, there are no shortcuts – but each scheduled stop is a minor milestone, each major junction is a major milestone – and when we pass one, we look forward to the next. Atul, more than anybody else, would totally identify with this analogy, I am sure. :-)

Coming to myself, as somebody who thoroughly enjoys a journey of discovery, I spend a lot of my time on youtube, just clicking on links of songs that I feel I have never heard before. Admittedly, they are mostly songs that are at least 40 years old but it is always done with a hope that underlying the link is an undiscovered gem. In a sense, this is pearl-diving on youtube. :-)

I was on one such mission a couple of days ago when I came across a Kishore da song that I had never heard before. Now there are many of his songs that I have never heard before, but this one stunned me. Not only because it is from the early 70s (an era that I felt I knew fairly well) but it is such a fabulously rendered song that I am surprised it is not rated higher among his gems. That I had never heard it before was very humbling, to say the least.

It also further underlined to me the voice that was Kishore Kumar in that period. This was 1972 – I was a young boy then and Kishore absolutely ruled the airwaves in those days. In every radio programme, on songs played on streets, you would hear his voice. Maybe, in an era spoilt for Kishore Kumar riches, this song just didn’t get noticed enough.

Then, as I always do, I immediately checked the blog to see if this song was already posted. The song is from the film Tanhaai (1972) – and I found not a single song of this film has been posted yet. I then decided that this had to be corrected immediately. Bahut na-insaafi hai! :-)

In general, I prefer to have seen a film whose songs I am posting. It tends to give some context to the song and the post.

So I looked for the film on youtube, found it and watched it last night.

Tanhaai (1972) is directed by Jagdish Nirula and produced by S.I. Shivdasani. It stars Anil Dhawan, Rehana Sultan, Shatrughan Sinha, Laxmi Chhaya, Junior Mehmood, Jagdev, Iftikhar, Poornima, Lalita Kumari among others.

I must say I quite liked the film, especially considering I had zero expectations at the start. :-) It is a film, typical of that period – the floral prints of Anil Dhawan’s and Shatrughan Sinha’s shirts are evidence of this. :-) And while there is nothing spectacular about the story, what I really liked about it is that it is a pleasant film, and therefore watchable. I watched it all the way, without getting bored.

The film also made me wonder why Rehana Sultan didn’t do better in the industry – I have only seen a few movies of hers, and she has been impressive in them all.

Anil Dhawan of course had more success – he was part of the a whole bunch of turn-of-the-decade newcomers (late 60s/early 70s) like Navin Nischol, Ajay Sahni, Vijay Arora, Rakesh Roshan, Vinod Mehra, Amitabh Bachchan and many others. That was a period of Rajesh Khanna dominance but this bunch managed a few successes between themselves. One of them went on to somewhat greater heights. :-)

While watching the film, I noticed that the other songs are not too bad either. But this particular one by Kishore, this one which made me watch the film in the first place, is my favourite.

I will not narrate the whole story here – some of you might want to watch it. Also, a warning. I get a bit nostalgic when I see a film of my childhood era, especially when I see signs like a SELVEL board on the side of the road. :-) So if you watch the film and don’t like it, don’t blame your wasted time on me. :-)

In any case, whether you enjoy the film or not, I am fairly confident you will enjoy this song. It was “love at first hear” for me. The song and picturisation do seem to be influenced by the success of “roop tera mastana” of Aradhana but it is surprising that the song didn’t get known a fraction as well. Or maybe I just missed hearing it before. Glad I found it at least now.

Lyrics are by Amanullah Khan Aman, music is by Usha Khanna.


Song-Saawan mein kahin aag na lag jaaye chaman ko (Tanhaai)(1972) Singer-Kishore Kumar, Lyrics-Amanullah Khan Aman, MD-Usha Khanna

Lyrics

Bheege huye aanchal mein
sameto na badan ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko

Uljhi hui saansen hain
dhadakta hua seena
Hey
Uljhi hui saansen hain
dhadakta hua seena
Honthon pe dabee baat hai
maathe pe paseena
Hey hey
Khilti hai kali dekh ke
naazuk se behen(?) ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko

Ye madbhari tanhaai
ye tanhaai ka jaadoo
Hey
Ye madbhari tanhaai
ye tanhaai ka jaadoo
Aise mein bhala kaise ho
jazbaat pe kaaboo
Hey hey
Rangeen banaa lo
isi pal bhar ke milan ko
Saawan mein kahin
aag na lag jaaye chaman ko
Saawan mein kahin
aag na lag jaaye chaman ko


Main pee darshan ki pyaasi

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

“Darshan”(1941) was directed by C M Luhar, B Sc for Prakash pictures. The movie had Prem Adeeb, Jyoti, Meera, Bhudo Advani, Nazeer, Madhusudan, Amirbai Karnataki , Shakir, Baby Kaushalya, C Pandey, Daya Devi, Praveen Kumar, Ra Murty Athavale, Bholaram etc. in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from “Darshan”(1941).

This song is sung by Jyoti. Pt Phani is the lyricist. Music is composed by Naushad.

Only the audio of this rare song is available. It is clear form the star cast that the song was picturised on Jyoti herself.

I have not been able to get the lyrics right at quite a few places. I request our readers with keener ears to help fill in the blanks/ suggest correct words in the lyrics wherever applicable.


Song-Main pee darshan ki pyaasi (Darshan)(1941) Singer-Jyoti, Lyrics-Pt Phani, MD-Naushad

Lyrics

Main pee darshan ki pyaasi re
main pyaasi pee darshan ki
main pee darshan ki pyaasi re
main pyaasi pee darshan ki
main baithhi pee charnan ki
main baithhi pee charnan ki
main pee charanan ki daasi
main pee charanan ki daasi
main pee darshan ki pyaasi re
main pyaasi pee darshan ki
yahin mile wo preetam pyaare
yahin mile wo preetam pyaare
?? wo aankh ke taare
?? wo aankh ke taare

yahin nainan nain samaaye thhe
yahin nainan nain samaaye thhe
yahaan ?? ke sapne aaye thhe
yahaan ?? ke sapne aaye thhe

yahin man hi man muskaaye wo
yahin man hi man muskaaye wo
yahaan geet preet ke gaaye wo
yahaan geet preet ke gaaye wo
main pee darshan ki pyaasi re
main pyaasi pee darshan ki
main pee darshan ki pyaasi re
main pyaasi pee darshan ki


Jaaneman jaaneman jaaneman kisi ka naam nahin

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

#the Decade of Seventies – 1971 – 1980 #
———————————————-
# Bhoole-Bisre Geet # 16 # Kishore Kumar-3
———————————————–

‘Jaaneman-1976’ was directed by Chetan Anand for Navketan International Films Pvt.Ltd, Bombay. The story of this movie was also written by Chetan Anand. The movie had Dev Anand, Hema Malini, Prem Nath, Ajit, Durga Khote, Paintal, Gautam Sarin, Jankidas, Ranjan, Bharat Kapoor, Jagdish Raj, Hercules, Shamim Banu, Uma Dhawan, Rajni Bala, Sudhir, Jazebel, Sharat Saxena, Pardesi, Chandu, Manik Dutt, Manmauji, Prem Sagar and Dharamveer. Ifthekhar featured in a ‘guest appearance’ in this movie.

Lyrics of this movie were written by Anand Bakshi and Music was composed by Laxmikant-Pyarelal.

Here is a fabulous song from this movie sung by Kishore Kumar. This song is a familiar song to me and I was surprised when I note that it is yet to be posted on the blog.

What I was not aware of the song was that it was a ‘three’ part song. And when I noted this in the HFGK (Vol.V), I was worried if all the parts would be available. Because mostly only the first part of this song was heard only and is so far found in popular albums of Kishore Kumar. But, many thanks to music lovers who have already uploaded all the three parts of this song.

I had not watched this movie and think that it was not a successful movie then. But still I remember few of its songs i.e. ‘ki gal hai.. koi nahin’, and ‘Allahabad mein paida huyi.. Mera naam haaye raam’, and ‘aayegi aayegi aayegi kisiko hamari yaad aayegi’ were quite popular and frequently heard then.

I was curious to know how today’s song faired at the annual ‘Binaca Geetmala’ and it is interesting to note that it stood at no.22 in the annual Binaca Geetmala list of 1976, whereas the other song ‘ki gal hai’ from this film was at no.33.

But then the song that topped the list that year was none other than ‘Kabhi Kabhi mere dil mein’ and the other top films were mostly from the previous years’ movies viz. ‘Dharam Karam’, ‘Jai Santoshi Maa’, ‘Sholay’,’Geet Gaata Chal’, ‘Uljhan’ etc etc. So one can understand how tough the competition was. Even the famous ‘mere naina saawan bhaadon’ stood at no.17 following ‘parbat ke peechhe’ from the same film ‘Mehbooba’ which was at no.16.

Why I am putting it here because there were total 15 songs of Kishore Kumar featuring in this annual list of song of 1976, the first one being at no. 9 – ‘ye dosti ham nahin todenge’ and rest all behind that.

‘Jaaneman-1976’ was passed by Censor on 30.07.76 and ‘Mehbooba-1976’ on 19.07.76. Both of them must have released at the same time with a gap of a week or two. And though we had some very good songs in both of these movies none of them made it to the top.

Let us now enjoy this beautiful Kishore Kumar song from ‘Jaaneman’ which is making a debut on the blog today. Dev Anand is lip syncing the song and except for the 2nd part of the song, most of the song is in a moving taxi which Dev Anand is driving along.

Video (all parts)

Audio

Song-Jaaneman jaaneman jaaneman kisi ka naam nahin (Jaaneman)(1976) Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

roo roo roo roo roo roo
roo roo roo roo roo roo

Hmm hmm
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Hmm hmm hmm
Hmm hmm hmm
Jaaneman
Jaaneman
Jaaneman kisi ka naam nahin
phir bhi ye naam
Honthon pe naa ho
aisi koi subah nahin
shaam nahin ee
Jaaneman
Jaaneman
Jaaneman
Jaaneman

maine sirf khayaalon se
khwaabon ki sej sajaayi hai
dil ki khaali deewaaron par
Ik tasveer banaayi hai
maine sirf khayaalon se
khwaabon ki sej sajaayi hai
Dil ki khaali deewaaron par
Ik tasveer banaayi hai
Tasveeron pe martaa hoon
waqt guzaara karta hoon
main mehboob ki galiyon ka
koi aashiq badnaam nahin
Jaaneman
Jaaneman
Jaaneman
Jaaneman

Kal ki baat khuda jaane
par aaj talaq wo baat nahin
kal ki baat khuda jaane
par aaj talaq wo baat nahin
dil par baadal chhaaye hain par
aankhon mein barsaat nahin
kaisa main deewaana hoon
aisa main mastaana hoon
pyaas to hai in honthon par
Lekin haathon mein jaam nahin
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Jaaneman kisi ka naam nahin
phir bhi ye naam
honthon pe naa ho
aisi koi subah nahin
shaam nahin ee
Jaaneman
Jaaneman
Jaaneman
Jaaneman

Hmm hmm hmm
Hmm hmm hmm
(in audio link)

———————-
(Part-II)
———————-

Aankhon aankhon mein dil ka
Paigaam tujhe main deta hoon
Aa jaaneman
Jaaneman ka naam tujhe main
deta hoon
Aankhon aankhon mein dil ka
Paigaam tujhe main deta hoon
Aa jaaneman
Jaaneman ka naam tujhe main
Deta hoon
Tujhse mohabbat karta hoon
Aur kahoon kya darta hoon
Main teri taareef karoon
Ye mere bas ka
Kaam nahin
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Jaaneman
Jaaneman

————————
(Part-III)
————————
Jaan ke apne ji se apni
Jaan judaa kar baitha hoon
hai majboori bebas hokar
Dekh main kya kar baitha hoon
Jaan ke apne ji se apni
Jaan judaa kar baitha hoon
Hai majboori bebas hokar
Dekh main kya kar baitha hoon
Dil pe chot jo khaayi hai
Thokar aap lagaayi hai
pyaar muhabbat
Hai ik sazaa
Haan
Ye koi imaam nahin
Jaaneman
Jaaneman
Jaaneman
Jaaneman

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

रु रु रु रु रु रु
रु रु रु रु रु रु

हं म्म्
जानेमन
जानेमन
जानेमन
जानेमन
हं हं हं
हं हं हं
जानेमन
जानेमन
जानेमन किसी का नाम नहीं
फिर भी ये नाम होठों पे न हो
ऐसी कोई सुबह नहीं
शाम नहीं ई
जानेमन
जानेमन
जानेमन
जानेमन

मैंने सिर्फ खयालों से
ख़्वाबों की सेज सजायी है
दिल की खाली दीवारों पर
इक तस्वीर बनायी है
मैंने सिर्फ खयालों से
ख़्वाबों की सेज सजायी है
दिल की खाली दीवारों पर
इक तस्वीर बनायी है
तस्वीरों पे मरता हूँ
वकत गुज़ारा करता हूँ
मैं महबूब की गलियों का
कोई आशिक बदनाम नहीं
जानेमन
जानेमन
जानेमन
जानेमन

कल की बात खुदा जाने
पर आज तलक वो बात नहीं
कल की बात खुदा जाने
पर आज तलक वो बात नहीं
दिल पर बादल छाये हैं पर
आँखों में बरसात नहीं
कैसा मैं दीवाना हूँ
ऐसा मैं मस्ताना हूँ
प्यास तो हैं इन होठों पर
लेकिन हाथों में जाम नहीं
जानेमन
जानेमन
जानेमन
जानेमन
जानेमन किसी का नाम नहीं
फिर भी ये नाम होठों पे न हो
ऐसी कोई सुबह नहीं
शाम नहीं ई
जानेमन
जानेमन
जानेमन
जानेमन
हं हं हं
हं हं हं
—————
(भाग-२ )
—————
आँखों आँखों में दिल का
पैगाम तुझे मैं देता हूँ
आ जानेमन
जानेमन का नाम तुझे
मैं देता हूँ
आँखों आँखों में दिल का
पैगाम तुझे मैं देता हूँ
आ जानेमन
जानेमन का नाम तुझे
मैं देता हूँ
तुझसे मोहब्बत करता हूँ
और कहूँ क्या डरता हूँ
मैं तेरी तारीफ़ करूं
ये मेरे बस का
काम नहीं
जानेमन
जानेमन
जानेमन
जानेमन
जानेमन
जानेमन
जानेमन
जानेमन
————–
(भाग – ३ )
————–
जान के अपने जी से अपनी
जान जुदा कर बैठा हूँ
है मजबूरी बेबस होकर
देख मैं क्या कर बैठा हूँ
जान के अपने जी से अपनी
जान जुदा कर बैठा हूँ
है मजबूरी बेबस होकर
देख मैं क्या कर बैठा हूँ
दिल पे चोट जो खायी है
ठोकर आप लगायी है
प्यार मोहब्बत
है इक सज़ा
हाँ
ये कोई इमाम नहीं
जानेमन
जानेमन


Shatranj ki chaal hamaari

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

My list of ‘songs that create nostalgia and brings back memories’ include many songs sung by Rafi Saab, viz. ‘jhoomta saawan dekho aaya’, ‘shikaar karne ko aaye shikaar hoke chale’ etc.

The song under discussion today is one of those songs. When this film was released I was one year old, so I think that I must have watched this film when I must be of 5 or 6 years old.

The other song from this film ‘Shatranj’ which I like then and which continues in my memory is – ‘jungle mein mor nachaa kisne dekha’ (have shared this also and is to be posted)

Rajendra Kumar had a great fan following in our family. My Grand Mother was a great fan of Rajendra Kumar, My Uncles, Aunts; all are great fans of Rajendra Kumar. And they used to watch his films again and again or whenever they hit the theatres, and at Akola (the CP & Berar circuit) watching old movies used to be really a very enjoyable experience as these movies mostly ran to packed houses there. Movie watchers there would whistle in appreciation during playing of the songs and also when crucial scenes of the movies would be in progress.

The oldest memory of Rajendra Kumar movie for me is the film Gharana (1961) (which I must have watched with my Uncle). I always associate this movie with two of its songs, namely ‘jai Raghunandan jai siya ram’ and ‘daadi amma daadi amma maan jaao’. And the other emotional – musical film of Rajendra Kumar that touched me was ‘Goonj Uthi Shehnaai’.

Then there is this incidence which one of my Uncles remembers and never fails to remind me whenever we get together- how I was slapped by him during the interval of the film Talaash (of Rajendra Kumar) as I was crying for ‘jambul’ (jamun).

I enjoy watching Rajendra Kumar’s films as they have family drama or socially relevant subjects and I think that Rajendra Kumar mainly played roles where he was either a ‘Doctor’ or ‘a Vakil’. And secondly his films, almost all of them, had very good music.

I have vague memories of the films from seventies which I remember I have watched with all family members during summer or diwali vacations E.g. Sunehra-Sansaar, Aahuti, Do jasoos etc.

And later on (when I had grown –up (statistically :) ), I watched most of Rajendra Kumar’s films in theatres during 1985 to 1988 during my stay at Parli-Vaijnath (Marahtwada, ‘Nizam’ circuit). It was then that I actually came to know why he was so popular and why people called him the ‘jubilee Kumar’. The Rajendra Kumar films that I watched during that time included Mother India, Kanoon, Zindagi, Palki and many others. Five or Six years back I got the VCD of the movie ‘Aas ka Panchhi’ which I had not watched till then. I still continue to get the VCD of balance movies from the list of Rajendra Kumar films that I had not yet watched.

The song under discussion is a special song for me as this song takes me back in time to those days of ‘Gemini Productions’ movies( with their logo of the Gemini twins) starring Rajendra Kumar. Another song that has the same “time machine” like effect on me (especially during monsoon times :) ) is the song “ye mausam bheega bheega hai” from Dharti.

The movie ‘Shatranj’ (1969) had a different storyline as it deals with the subject of spying. I do not fully remember the story now. The song under discussion is the title song of the movie. It is a background song and no one is seen lip syncing it on the screen.

Someone may wonder whether all the songs lip synced by Rajendra Kumar have been covered in the blog. Definitely not!! There are many songs lip synced by Rajendra Kumar on screen that are yet to be posted on the blog.

This tribute from me is for a person –an actor who has a very special place in my heart and in the hearts of other members of our family.

Shankar-Jaikishan have scored music for this film in their typical style. Two songs from this film have already been discussed earlier on our blog and here is the third one.

Only the audio of this song is available.


Song-Shatranj ki chaal hamaari (Shatranj)(1969) Singer-Rafi, Lyrics-Indeewar, MD-Shankar Jaikishan

Lyrics

Shatranj ki chaal hamaari
Shatranj
Shatranj
Shatranj ki chaal hamaari

Shatranj ki chaal hamaari
Tu ranj naa karnaa pyaari
Tujhe jeet ke le jaayenge
Dekhegi duniyaa saari
Shatranj ki chaal hamaari
Tu ranj naa karnaa pyaari
Tujhe jeet ke le jaayenge
Dekhegi duniyaa saari

Koi adaa to apni
tere dil ko jeet legi
Pahuchenge paas tere
Soorat badal badal ke
koi adaa to apni
tere dil ko jeet legi
pahuchenge paas tere
Soorat badal badal ke
Shatranj ki chaal hamaari
tu ranj naa karnaa pyaari
tujhe jeet ke le jaayenge
dekhegi duniyaa saari

Chhota saa ik sipaahi
Kar jaaye wo tabaahi
Magroor baadshaahi
reh jaaye haath mal ke
Chhota saa ik sipaahi
kar jaaye wo tabaahi
Magroor baadshaahi
reh jaaye haath mal ke
Shatranj ki chaal hamaari
tu ranj naa karnaa pyaari
tujhe jeet ke le jaayenge
dekhegi duniyaa saari
Shatranj ki chaal hamaari
Tu ranj naa karnaa pyaari
Tujhe jeet ke le jaayenge
Dekhegi duniyaa saari

——————————–
Devnagari Script Lyrics
——————————–

शतरंज की चाल हमारी
शतरंज
शतरंज
शतरंज की चाल हमारी

शतरंज की चाल हमारी
तू रंज न करना प्यारी
तुझे जीत के ले जायेंगे
देखेगी दुनिया सारी
शतरंज की चाल हमारी
तू रंज न करना प्यारी
तुझे जीत के ले जायेंगे
देखेगी दुनिया सारी

कोई अदा तो अपनी
तेरे दिल कों जीत लेगी
पहुंचेंगे पास तेरे
सूरत बदल बदल के

कोई अदा तो अपनी
तेरे दिल कों जीत लेगी
पहुंचेंगे पास तेरे
सूरत बदल बदल के
शतरंज की चाल हमारी
तू रंज न करना प्यारी
तुझे जीत के ले जायेंगे
देखेगी दुनिया सारी

छोटा सा एक सिपाही
कर जाए वो तबाही
मगरूर बादशाही
रह जाए हाथ मल के
छोटा सा एक सिपाही
कर जाए वो तबाही
मगरूर बादशाही
रह जाए हाथ मल के
शतरंज की चाल हमारी
तू रंज न करना प्यारी
तुझे जीत के ले जायेंगे
देखेगी दुनिया सारी
शतरंज की चाल हमारी
तू रंज न करना प्यारी
तुझे जीत के ले जायेंगे
देखेगी दुनिया सारी



Ek khilaadi baawan pattey

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

#the Decade of Seventies “1971 to 1980” #
———————————————–
# Bhoole-Bisre Geet # 21 # Omi – 1
———————————————–

When I came across the name of this film ‘Ek Khilaadi Baawan Pattey-1972’ in HFGK, I became curious and I started looking for its songs.

This film has a total of five songs. Four of the songs are sung by Asha Bhonsle and the balance one song is sung by Omi.

I was not aware much about Om Prakash Sonik (of the Sonik-Omi duo) as a ‘singer’. But when I listened to this song, I found it an interesting song. This song, sung by Omi is from ‘Ek Khilaadi Baawan Pattey-1972’, which is making its debut on the blog.

We already have two songs posted earlier in the blog that have the voice of Omi; One is from the film Mahua-1969 and the other one is from Dharma-1973.

Omi gets to sing only a few lines in the above two songs, but the song being presented today is a solo song by Omi, and during the preparation of this post I noted that he has a few more solo songs to his credit.

Here is brief information about Om Prakash Sonik as taken from ‘myswar.com’;

“Om Prakash Sonik was born in Sialkot and moved to Bombay in 1948 at the age of eight.
In his career, he partnered with his uncle Manohar Lal Sonik and created some memorable songs together. Om Prakash was a chorus singer and then assistant to music director Roshan before branching off as a music director.
Sonik-Omi debuted as music directors with the film “Dil Ne Phir Yaad Kiya” (1966) and all the nine songs went on to become hits.

Omprakash Sonik was half of the uncle-nephew music director duo Sonik-Omi. He was also a playback singer in his own right.

In the beginning of his career Omi had to join a female chorus to avoid starvation. It wasn’t until 1959 that his luck changed and he became an assistant with music director Roshan.

As a singer he has sung with the likes of Asha Bhonsle, Parveen Babi, Mahendra Kapoor, Mohammad Rafi, Narendra Chanchal, Bhupinder Singh and Jaani Babu Qawwal. Most of the songs he sung have been composed by them. Two other music directors he has sung for are K. Babuji in “Naya Bakra” (1979) and B.N. Bali in “Do Dilwaale” (1977).”

I must add here that while browsing through the list of films Sonik-Omi has composed music for, I realized that many of the songs which I like and which are in my list of ‘songs that bring back memories’ are Sonic Omi compositions !

There were many songs that I keep enjoying without knowing that these were composed by Sonik-Omi (for example I thought that the music of Mahua was composed by Laxmikant Pyarelal)

‘Ek Khilaadi Baawan Pattey-1972’ was directed by Ravi Khanna for ‘Art India Movies, Bombay’. It was produced by Ashok Roy, one time associate of J.Omprakash ji, and this was his first film as a Producer.

Its cast includes Dev Kumar, Naqi Jahaan, Laxmi Chhaya, Jr.Mehmood, Mohan Choti, Sajjan, Dulari, Padma, C.S.Dube, Brahm Bharadwaj, Satyen Kappu, Ravi Khanna, Master Manoj, Master Ravi, Baby Padmini, Sadhana Khote, Lata Arora, Virender, Nishan Singh, Sushila, Premji, Raj Narayan, June Maxworth. Tarun Bose makes a friendly appearance in the film while Vinod Khanna had a ‘special role’ in the film.

When I listened to the video of the song for the first time, I noted down the lyrics, and happily finding an audio link too, I copied its link and pasted it in the draft without listening to it.

However, finally, just before sharing the post to Atul ji I listened to the audio and was surprised because it had two additional ‘antaras’ which were not there in the video link.

In the video the song is played in the background with the ‘titles’ of the movie and it contain only the first starting lines and mukhda of the song.

Thinking it that the two antaras may be in the background somewhere in the movie I decided to watch this movie online. I am not comfortable with watching movie online, but I watched the movie online completely(my first), in two parts – watching its first one hour in one spell and then coming back to watch the balance 50 minutes of the film after a gap of almost 20/25 days. But, this song does not appear in the movie again (at least not in the version that I watched online).

Though the movie is interesting to watch and it keeps one engaged till the end, I do not know how successful it was at the box office. ( I may take up adding the ‘review’ of this movie some time later in the future, or try to post it with some other song from this movie)..

Till then enjoy this wonderful song …

Audio

Video

Song-Ek khilaadi baawan pattey (Ek khilaadi baawan pattey)(1972) Singer-Omi, Lyrics-Hasrat Jaipuri, MD-Sonik Omi
Female Voice
Male Voice

Lyrics

Baawan din ka roop rang
Baawan din ka yauwan
Baawan din mein jaaye ae jawaani ee
Baawan din ka bachpan

Ek khilaadi ee
Baawan pattey

Ek khilaadi ee
Baawan pattey ae
Ek khilaadi baawan pattey
Duniya ke tedhe raste ae
Ek khilaadi baawan pattey
Duniya ke tedhe raste ae
Ek khilaadi ee ee ee

(Female voice, undecipherable lyrics)

Duniya teri
Na meri
Sun deewaane ae
Aate hain sabhi yahaan pe rang jamaane
Rahega yahin mela
Tu jaayega akela
Rahega yahin mela
Tu jaayega akela
Kat jaati hai rote hanste ae
Kat jaati hai rote hanste ae
Ek khilaadi ee ee ee

Zaaye zaa aa
Zaa zaa zoo zoo oo oo
Oo
Zaaye zaa aa

Jeene marne ke laakhon hain bahaane ae
Manzil kahaan hai ye koi na jaane
Jo badhta chalaa jaaye
Wo dil ki khushi paaye
Jo badhta chalaa jaaye
Wo dil ki khushi paaye
Dilwaalon pe phool baraste ae
Dilwaalon pe phool baraste ae
Ek khilaadi ee ee
Baawan pattey ae
Ek khilaadi baawan pattey
Duniya ke tedhe raste ae
Ek khilaadi baawan pattey
Duniya ke tedhe raste ae
Ek khilaadi ee ee
Laa la la laa laa
Ek khilaadi ee ee

———————————
Devnagari Script Lyrics:
———————————-
बावन दिन का रूप रंग
बावन दिन का यौवन
बावन दिन में जाए ए जवानी ई
बावन दिन का बचपन

एक खिलाड़ी ई
बावन पत्ते
एक खिलाड़ी ई
बावन पत्ते ए
एक खिलाडी बावन पत्ते
दुनिया के टेढ़े रस्ते ए
एक खिलाडी बावन पत्ते
दुनिया के टेढ़े रस्ते ए
एक खिलाड़ी ई ई ई

(अपरिचित गायिका की आवाज़)

दुनिया तेरी
न मेरी
सुन दीवाने ए
आते है सभी यहाँ रंग जमाने
रहेगा यहीं मेला
तू जाएगा अकेला
रहेगा यहीं मेला
तू जाएगा अकेला
कट जाती है रोते हँसते ए
कट जाती है रोते हँसते ए
एक खिलाड़ी ई ई ई

जाए जा आ
जा जा जू जू ऊ ऊ ऊ
जाए जा आ

जीने मरने के लाखों है बहाने ए
मंजिल कहाँ है ये कोई न जाने
जो बढ़ता चला जाए
वो दिल की खुशी पाए
जो बढ़ता चला जाए
वो दिल की खुशी पाए
दिलवालों पे फूल बरसते ए
दिलवालों पे फूल बरसते ए
एक खिलाड़ी ई ई
बावन पत्ते ए
एक खिलाड़ी बावन पत्ते
दुनिया के टेढ़े रस्ते ए
एक खिलाडी बावन पत्ते
दुनिया के टेढ़े रस्ते ए
एक खिलाड़ी ई ई
ला ल ल ला ला
एक खिलाड़ी ई ई


Qurbaani qurbaani qurbaani Allah ko pyaari hai qurbaani

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

So today is Eid where the devout give “Qurbaani” of their most loved or prized possession. We already have one post today by Arunkumarji where in he has given the religious aspect of the festival. So I will just wish all the readers of ASAD Eid Mubarak.

Today also happens to be the birthday of the Clint Eastwood of Bollywood. The actor, editor, producer and director Feroz Khan would have been 76 today. He was known for his flamboyant style and cowboy swagger very different from the heroes of his times. He was seen in this style even in his last release “Welcome” in 2007 playing the character of “RDX”. He must have acted in about 50 films through the 60s, 70s and 80s. Post “Dayavan” in 1988 and “Yalgaar” in 1992 he was on a sabbatical to make a comeback in “Prem Aggan” to launch his son Fardeen Khan. He made his acting come back with “Janasheen” in 2003 where he was seen alongside his son. He tasted success as a producer director with movies like “Qurbaani” “Apradh” Dharamatma” “Dayavan” “Jaanbaaz” etc. He was the best supporting award winner for “Aadmi Aur Insaan” (1970) and was awarded the life time achievement award in 2000.

His “Qurbaani” has a song which is appropriate for today’s occasion. This song celebrates Eid. It has Vinod Khanna and Feroz Khan with Amjad Khan and Colonel Kapoor or Raj Bharati as he was also called dancing to the lyrics of Farooq Qaiser and composition of Kalyanji Anandji.


Song-Qurbaani qurbaani qurbaani (Qurbaani)(1980) Singers-Aziz Naazaan, Kishore Kumar, Anwar, Lyrics-Farooq Kaiser, MD-Kalyanji Anandji
Kishore Kumar + Anwar
Chorus

Lyrics

Farishton ko nahin milta aa aa aa aa
Yeh woh jazbaa hain insaani ee ee ee ee ee ee
Naseeba saath de jinka aa aa
Wohi dete hain qurbaani

Allah qurbaan

Allah

Allah

Waah qurbaan arre waah

Allah qurbaan

Waah qurbaan waah

Allah qurbaan

(wah qurbaan, qurbaan sha)

ho o o
wai wai tujhpe qurbaan meri jaan
mera dil mera imaan
tujhpe qurbaan meri jaan
mera dil mera imaan
yaari meri kehti hai
yaar pe karde sab kurbaan
hoy qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani
qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani

saaye mein talwaaron ke
daawe hain dildaaron ke
saaye mein talwaaron ke
daawe hain dildaaron ke

dushmanon ke jaani dushman
yaar sache yaaron ke
hum yaar sache yaaron ke
ho o o
aandhi aaye ya toofaan
yaar khade hain seena taan
aandhi aaye ya toofaan
yaar khade hai seena taan

yaari meri kehti hai
yaar pe karde sab kurbaan
hoy qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani
qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani

yaar aisa mil gaya
dil hamaara khil gaya
yaar aisa mil gaya
dil hamaara khil gaya

haath mein jab haath aaya
ye zamaana hil gaya
ye zamaana hil gaya
ho o o
do haathon ki dekho shaan
ye allah hai ye bhagwaan
do haathon ki dekho shaan,
ye allah hai ye bhagwan

yaari meri kehti hai
yaar pe karde sab kurbaan
hoy qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani

tujhpe qurbaan meri jaan
mera dil mera imaan
ho tujhpe hai qurban meri jaan
mera dil mera imaan
yaari meri kehti hai
yar pe karde sab kurbaan
hoy qurbaani qurbaani qurbaani,
allah ko pyaari hai qurbaani
qurbaani qurbaani qurbaani
allah ko pyaari hai qurbaani


Apne huye paraaye

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

“Apne Huye Paraaye”(1964) was directed by Ajit Chakraborty for Mars and Movies, Bombay. The movie had Mala Sinha, Manoj Kumar, Shashikala, Agha, Lalita Pawar, Sundar, Chand Bark, Dulari, Naina etc in it.

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

Here is the sixth song from the movie. This song is the title song of the movie and a song that is extremely well known. Indeed it is a fir case to wonder how this song had not yet appeared in the blog.

This song is sung by Lata. The picturisation shows a jilted in love Mala Sinha lip sync this melancholic song while “Apne”, read Manoj Kumar is becoming “Paraaye”, viz is getting married to another lady. “Kismat ne kya din dikhlaaye”- indeed. Characters in Hindi movies not just depended on “kismat”, they in fact relied upon “kismat” in those days. :)

Shailendra is the lyricist. Music is composed by Shankar Jaikishan.

Here is this song from “Apne Huye Paraaye”(1964) that finally finds its way in the blog. “Der Aaye Durust Aaye”. :)


Song-Apne huye paraaye kismat ne kya dil dikhlaaye (Apne Huye Paraaye)(1964) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan

Lyrics

apne
apne huye paraaye ae
kismat ne kya din dikhlaaye
kuchh socho aur kuchh ho jaye
haaye re dheeraj kon bandhaaye
apne ae ae
apne huye paraaye ae
kismat ne kya din dikhlaaye
kuchh socho aur kuchh ho jaaye
haaye re dhiraj kaun bandhaaye
apne ae ae
apne huye paraaye ae

gham bhi jo taqdeer na hoti
to itni bepeer na hoti
dil par itna bojh na hota
pairon mein zanjeer na hoti
apne ae ae
apne huye paraaye
kismat ne kya din dikhlaaye
kuchh socho aur kuchh ho jaye
haaye re dheeraj kaun bandhaaye
apne ae ae
apne huye paraaye

jin raahon se koi ee na aaye
baithhe unpe naina aa bichhaaye
dil naadan kahe jaata hai
shaayad vo
shayad laut aaye
apne ae ae ae
apne huye paraaye

kaun hai hum
kyun jaane ae koi ee
apna hamen kyun maane koi
behtar hai iss badhaali mein
ab na pehchaane koi
apne ae ae ae
apne huye paraaye
kismat ne kya din dikhlaaye
kuchh socho aur kuchh ho jaaye
haaye re dheeraj kaun bandhaaye
apne ae ae
apne huye paraaye ae ae


Tu itna samajh le sanam

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

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

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie. Only the audio of this song is available and details of this song are not available in HFGK.

Listening to this song, one can find that this song is a Rafi solo song. From the lyrics, it is clear that this song is the theme cum title song of the movie.

I saw this song during late 1970s, but I do not recall much of this movie and I am not sure where this song appears in the movie.

Though HFGK is silent about the details of this song, I have read in an internet site that Indeewar is the lyricist of this song. Kalyanji Anandji is the music director.

I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the lyricist of this song.


Song-Tu itna samajh le sanam (Rakhwaala)(1971) Singer-Rafi, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

tu itna samajh le sanam m
tu itna samajh le sanam m
koi rakhwaala hoon main tera
teri chaahat ki mujhko kasam m
koi matwaala hoon main tera
tu itna samajh le sanam
koi rakhwaala hoon main tera
ho o
koi rakhwala hoon main tera hoy

jaise phoolon ko kaate bachaaya karen
jaise moti ko saagar chhupaaya karen
apne dil mein chhupa ke rakhoonga tujhe
apne dil mein chhupa ke rakhoounga tujhe
daaanv dusman lagaayen lagaaya karen
ho kiski himmat hai
kiski himmat hai chhoole tujhe ae
chaahne waala hoon main tera
tu itna samajh le sanam m
koi rakhwaala hoon main tera
ho o
koi rakhwaala hoon main tera o

tere naina ho o
tere naina hon phir nau ratan kuchh nahin
tera aanchal
tera aanchal ho phir to gagan kuchh nahin
ye bahaaron ke jaisa mahakta badan
ye bahaaron ke jaisa mahakta badan
jo badan ho tera to chaman kuchh nahin
meri bholi si
o meri bholi si
raadha hai tu u
baanka nandlaala hoon main tera
tu itna samajh le sanam m
koi rakhwaala hoon main tera
ho o
koi rakhwaala hoon main tera o

jaise panchhi ko ik aashiyaan chaahiye
jaise baaghon ko ik baghbaan chaahiye
har tarah husn ki jo hifaazat kare
har tarah husn ki jo hifaazat kare
ik haseena ko ik naujawaan chaahiye
roop ras ki
roop ras ki hai madhusala hai tu u
pyaar ka pyaala hoon tera
tu itna samajh le sanam m
koi rakhwaala hoon main tera
ho o
koi rakhwaala hoon main tera aa


Kaise dekhoon kaise maadhuri

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

—————————————————–
HFM Songs Statistics by Year – 1
——————————————————
1. Years 1931 and 1932
————————————–

We are adding songs belonging to various years in the blog regularly for the last seven years. Though we have covered lots of ground, we have not yet taken a look back at the ground covered so far. It is high time we take a holistic look at the number of HFM songs of various years available in the blog and also the number of HFM songs created during that year as well as the number of songs likely to be available. That will give us an idea about where we stand in the blog when it comes to covering the songs of that year. It will also give us an idea of what is required to be done in the future.

So I propose to begin a series of articles where I will discuss statistics pertaining to songs of a particular year. I will call this series “Yearwise statistics of HFM songs”.

Seeing that talkies began in India in 1931, it follows that the series must begin from the year 1931 and we should proceed year by year till we arrive at the year 1980. So this series will cover 50 years of HFM. HFGK would be our source to find out the number of HFM songs created in various years.

My plan is to discuss statistics of a particular year and then discuss a song belonging to that year. While we have songs available for discussion for all the years under consideration, the first year viz 1931 is an exception. The only HFM song available from 1931 has already been discussed and we no longer have any more songs of 1931 to discuss in the blog. So this first part of the series will combine year 1931 with year 1932 and we will discuss a song of 1932 with this writeup.

1931 was the year when movies in India began to talk. It was then that Indian movies began to get differentiated on the basis of the language spoken in them. Majority of movies made in India were in Hindustani language (which included words of Hindi/Urdu and which was understood by a sizeable population of India) also commonly described as Hindi movies. It is these movies that are the subject matter of this blog and which are covered in HFGK.

The first talkie film which happened to be in Hindi was “Alam Ara”(1931). It was made in Bombay and it was released on 14 march 1931. The second talkie film was released a few weeks later by Calcutta based Madan Theatres in April and it was “Jamaai Sashthi” in Bangla. Madan Theatres also released the second Hindi talkie, namely “Shirin Farhaad” on 31 may 1931. Overall, a total of 24 Hindi movies were released in 1931. 17 of these movies were produced by various production companies in Bombay whereas seven of them were produced by a single company in Calcutta(Madan Theatres).

HFGK part I (which covers Hindi movies from 1931 to 1940) contains details of all the songs (whose details could be obtained from available sources). From the list, it is seen that details of 249 songs are available. Details of some or even all songs of some movies are not known. Those were the days when records of songs were not issued and the only way one could listen to the songs was by visiting the movie hall showing these movies. All these movies have been lost with passage of time, so it is unlikely that we will ever be able to listen to these songs again.

“Alam Ara”(1931) became the first Indian as well as the first Hindi talkie. One print of this movie was available in the archives of Pune Film Institute till 2003. A fire took place there in 2003 and this print was lost for ever. Even otherwise it was unlikely that Pune Film Institute , a government institute, would have allowed music lovers to listen to/ watch the songs of this movie. The fact that they did not take any backup of this movie in any other media gives us some idea about their (lack of) interest in preserving such historical documents.

Out of 249 plus songs of Hindi movies created in 1931, only one song is available and that song was made available to HFM lovers on 20 july 2014 by Sudhir Ji when that song became the 10000th song of this blog. It is unlikely that any other song of a 1931 Hindi movie will become available in future. So one can say that the only available song from 1931 has already been covered in the blog. Remaining 248 + songs created in 1931 have been lost for ever.

Coming to 1932, about 60 Hindi movies were released that year and they contained over 823 songs in them. Like 1931, movies of 1932 are also not available. Records of some songs in some movies had begun to be produced. Four songs of “Maadhuri”(1932) were released in two records. Later, some songs of “Aankh Ka Taara” and “Maaya Machhindra” were also issued on records. Five of these songs have been discussed in the blog. Two more songs from these movies (one each from “Madhuri” and “Aankh Ka Taara”) are available. It means that only seven songs (out of over 823 songs) of 1932 are available.
PS-Later on, Sudhir Ji informed me that one song each of ‘Meerabai’ and ‘Ayodhya Ka Raja’ are also available. So a total of nine songs from 1932 are available.

In other words, music of 23 movies of 1931 (with over 240 songs in them) and 54 movies of 1932 (with over 800 songs in them) have been lost and they are unlikely to find representation in the blog. So that is a loss of some 80 movies and over 1000 songs straightaway that we will never get to hear. In any case, the only people who may have listened to these songs were those people who had watched these movies during the early years of 1930s. Others never got to listen to these songs because their records were not made. Moreover, even radio, which was to become a popular and affodable source of Hindi movie music in the years to come was by and large non existent during those days.

Fortunately, things get somewhat better in the subsequent years as we will see in the next instalments of this series, where we will discuss statistics for songs of the years to follow.

It was popularly believed (till our 10000th post came about) that “Maadhuri”(1932) was the first movie where records of songs were made. This movie had sixteen songs, but records were made only for four songs. Three of these songs have already been discussed in the past. Here is the fourth and final song from the movie whose record was made.

This song is a classical song in raag Tilang (experts are requested to confirm/ refute/ add their views). It is sung by Vinayakrao Patwardhan. Lyricist is not known. Music is composed by Pransukhlal Nayak.

I request our knowledgeable readers to tell us about any other HFM songs of the years under discussion that may be available that I have failed to discuss.

Deciphering the lyrics of this song was a challenge and there may have been inaccuracies in the lyrics that I have noted down. I request our readers with keener ears to fill in the gaps/ suggest corrections in the lyrics wherever applicable.


Song-Kaise dekhoon kaise maadhuri (Maadhuri)(1932) Singer-Vinayak rao Patvardhan, MD-Pransukhlal Nayak

Lyrics

aaa
kaise dekhoon kaise maadhuri
eee eee eee
kaise dekhoon kaise maadhuri
hiya chalat naahin
jab na maane
batiyaan mori
marm jaane kaise
kaise dekhoon kaise maadhuri
maadhuri
maadhuri

ma..adhuri..eee..eee
kaise dekhoon
kaise..ae dekhoon
kaise ma..aadhuri..ee
ma..aa..aa..aadhuri
kaise dekhoon kaise maadhuri
maadhuri
maadhuri
maadhuri eee eee
kaise dekhoon kaise maadhuri
hiya chalat naahin
(faraj baane) (??)
jab na maane
marm jaane kaise
kaise dekhoon kaise maadhuri
eee..eee..eee

dekhe naahin
boley naa..aahin
dekhe naahi..eeen
bo..ley.. naahi..eeen
dekhe na..aahin
bo..ley.. naahin
bo..o..oley naahin
bo..ley.. naahin
bo..o..oley naahin
dekhe naahin
boley naahin
nain kataari chalaawe
nain kataari chalaawe
chapal chamak jaise
chapal chamak jaise
kaise dekhoon kaise maadhuri
maadhuri
maadhuri
eee..eee..eee
kaise dekhoon kaise maadhuri
maa..aa..aa..adhuri
maadhuri
maaa aaa aa
aa aa aa aa
aa aa aa aa
kaise dekhoon kaise maadhuri
aaa aaa
kaise dekhoon kaise maadhuri
ma aa aa aa dhuri
kaise dekhoon kaise maadhuri
maadhuri
maadhuri
maadhuri
maadhuri
maadhuri ee ee ee ee
kaise dekhoon kaise maadhuri
maa..aa..aa..aadhuri
aa aa aa aa
aa aa
aa aa
aa aa aa aa
aa aa aa aa
kaise dekhoon kaise maadhuri
hiya chalat naahin
jab na maane
batiyaan mori
marm jaane kaise
kaise dekhoon kaise maadhuri…

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

आ॰॰॰
कैसे देखूँ कैसे माधुरी
ई॰॰॰ई॰॰॰ई
कैसे देखूँ कैसे माधुरी
हिया चलत नाहीं
जब ना माने
बतियाँ मोरी
मर्म जाने कैसे
कैसे देखूँ कैसे माधुरी
माधुरी
माधुरी

मा॰॰आधुरी॰॰ई॰॰ई
कैसे देखूँ
कैसे॰॰ए देखूँ
कैसे मा॰॰धुरी॰॰ई
मा॰॰आ॰॰आ॰॰आधुरी
कैसे देखूँ कैसे माधुरी
माधुरी
माधुरी
माधुरी॰॰ई॰॰ई
कैसे देखूँ कैसे माधुरी
हिया चलत नाहीं
(फरज बाने) (??)
जब ना माने
मर्म जाने कैसे
कैसे देखूँ कैसे माधुरी
ई॰॰ई॰॰ई

देखे नाहीं
बोले ना॰॰आ॰॰हीं
देखे नाहीं॰॰ईं
बो॰॰ले॰॰ नाहीं॰॰ईं
देखे ना॰॰हीं
बो॰॰ले॰॰ नाहीं
बो॰॰ओ॰॰ले नाहीं
देखे नाहीं
बोले नाहीं
नैन कटारी चलावे
नैन कटारी चलावे
चपल चमक जैसे
चपल चमक जैसे
कैसे देखूँ कैसे माधुरी
माधुरी
माधुरी
ईss॰॰ईss॰॰ईss
कैसे देखूँ कैसे माधुरी
मा॰॰आ॰॰आ॰॰धुरी
माधुरी
माँ॰॰आss॰॰आss
आss आss आss आss
आss आss आss आss
कैसे देखूँ कैसे माधुरी
आss॰॰आss
कैसे देखूँ कैसे माधुरी
मा आ आ आ धुरी
कैसे देखूँ कैसे माधुरी
माधुरी
माधुरी
माधुरी
माधुरी
माधुरी ईss॰॰ईss॰॰ईss॰॰ईss॰॰
कैसे देखूँ कैसे माधुरी
मा॰॰आ॰॰आ॰॰धुरी
आ आ आ आ
आ आ
आ आ
आ आ आ आ
आ आ आ आ
कैसे देखूँ कैसे माधुरी
हिया चलत नाहीं
जब ना माने
बतियाँ मोरी
मर्म जाने कैसे
कैसे देखूँ कैसे माधुरी॰॰॰


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