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Haaye kuchh ho gaya jee

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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.

“Saawan”(1959) was produced by Gulshan Behl and directed by Ramesh Tiwari for N C Films. The movie had Bharat Bhushan, Ameeta, Tuntun, Jeevan, Achala Sachdev, Leela Mishra, Tiwari(aka ramayan tiwari), Helen, Nishi, Majnu, Naaz, Kathana, Jagdish Kanwal etc in it.

Nine songs from this movie have been discussed in the past. Here is the tenth and final song from the movie. This song is sung by Shamshad Begam, Rafi and duet. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl.

The song is picturised on Ameeta, Bharat Bhushan and others as a dance song. I am unable to identify others visible in the picturisation. I request our knowledgeable readers to help identify them.

With this song, “Saawan”(1959) joins the list of movies that have all their songs covered in the blog.


Song-Haaye kuchh ho gaya jee (Saawan)(1959) Singers-Shamshad Begam, Rafi, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Chorus

Lyrics

haaye ae
kuchh ho gaya ji
kya ho gaya ji
haaye kuchh kho gaya ji
kya kho gaya ji

ek dil thha mera
naazon ka paala
oye solah saal tak
thha jise sambhaala
oye ik din ik pardesi ne jaane kya jaadu daala
tod ke bachpan ke sab naate
chala ye dil matwaala
beliyaa
chala ye dil matwaala
ho jaate jaate roka maine
na ja
na ja kar ke badnaam
ho jaate jaate roka maine
na ja kar ke badnaam
aise jo dil na maana
aise jo dil na maana
to li haathhon se thham
to mera dil aise tadpa
dhak dhak dhak dhak
dhak dhak dhak dhak
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas

to mera dil aise tadpa
jaise tadpe jal bin machhli
o mera dil
aise tadpa
jaise tadpe jal bin machhli
o mera dil aise tadpa
jaise tadpe jal bin machhli
o mera dil yoon tadpa
jaise tadpe jal bin machhli
o mera dil yoon tadpa

haaye
main taan lut gaya ji

kyun lut gaya ji
haaye
dil tut gaya ji

kyun tut gaya ji
do nain thhe mere
aji bhole bhaale
oye bees saal tak
jo rahe kanwaare
oye ik din koi chhail chhabeeli
aayi kajra daale
aisi li angdaai usne
toote dil ke taale
o beliyaa
toote dil ke taale
o taale toote pada daaka
aur dekhte
aur dekhte reh gaye nain
o taale toote pada daaka
aur dekhte reh gaye nain
oye chali gayi jaadugarni
o chali gayi jaadugarni
haay
loot ke dil ka chain
nain kahin mil jaaye

dhak dhak
dhak dhak
dhak dhak
dhak dhak
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas
bas ji bas

nain kahin mil jaaye
jise dekh tabeeyat phadki
nain kahin mil jaayen jise dekh tabiyat phadki
nain kahin mil jaayen

jise dekh tabeeyat phadki
nain kahin mil jaayen
jise dekh tabeeyat phadki
nain kahin mil jaayen

haaye ae
kuchh ho gaya ji
kya ho gaya ji
haaye ae
kuchh kho gaya ji
kya kho gaya ji
oye na main jhoothi
oye na tu jhootha
to kyun nainon ne
mere dil ko loota

jab jab nain milenge
tab tab dil ko jaana hoga
jab tak ye duniya hai kaayam
yahi fasaana hoga
goriye yahi fasaana hoga

o sun sun mere maahi
kabhi pyaar ki
kabhi pyaar ki hogi na haar
o sun sun mere maahi
kabhi pyaar ki hogi na haar
chaloongi main to sang tere
chaloongi main to sang tere
chaahe roke sab sansaar

o tu mera saawan re ae
aur main saawan teri badli
o tu mera
saawan re
aur main saawan teri badli
o tu mera saawan re
aa chhod ke duniya pagli
chal kahin aur chalen
aa chhod ke duniya pagli
chal kahin aur chalen

kaise aaun
ke hai laachaari
wo dekh saamne
hai khada shikaari
zara aankh bacha ke
mere peechhe aaja
o dekh le daanye
hai ik darwaaza

arrey dekh na le ji
kahin zaalim raaja
ab soch na baaten
bas aaja aaja

aa chhod ke duniya pagli
chal kahi aur chalen
aa chhod ke duniya pagli
chal kahin aur chalen

main saawan teri badli
tu mera saawan re
main saawan teri badli
tu mera saawan re



Akeli mat jaiyyo nainon mein kajra daar ke

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This blog began over seven years ago. In the beginning, I would discuss songs that came to my mind, one song a day. After a month, I began to discuss several songs per day.

With time, began to have centuries of songs. One thing led to another and then we had centuries of songs of artists as well. Those were the days when we were in the dark about the number of songs sung by artists, number of songs contained in movies, as well as the tortal number of songs that may be there.

With time, we were joined by likeminded music lovers and some of them were extremely knowledgeable and who would readily share their knowledge with the rest of us. It was thanks to the information shared by them that our postings began to acquire some definite purpose.

For instance, it was Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia, who informed us about the statistics related to K L Saigal’s songs. Armed with that knowledge, we took up the ambitious project of discussing all K L Saigal songs, at the rate of one song per day. Sudhir Ji, then a new contributor for the blog, was the star contributor in this project. Thanks to his indepth analysis of many K L Saigal songs,including translations, many music lovers were made aware of the genius of K L Saigal for the first time.

After successfully covering all K L Saigal songs, we were inspired to do likewise in case of other arists as well. We have now covered almost all songs of Suraiyya (with just a few rare songs left) and it is a matter of time when S D Burman, Naushad, Mukesh etc will also have all their songs covered in the blog.

Then we got the idea of covering all the songs of movies. That led to the word “YIPPEE” getting coined in the blog. So far we have covered all of songs of as many as 719 movies. We in this blog mostly cover songs from 1931 to 1980. We know that about 5700 movies were produced during this period. So, we have covered 8 % of all the Hindi movies with many more movies being YIPPEED regularly. And we have already covered songs from as many as 3273 of these movies in the blog.

We have reached a stage where we have covered 11567 songs till now, which is nearly 25 % of all the songs that were created between 1931 to 1980 (about 44000). These days we are in the process of analysing the total number of songs created in various years, actually available in that year and then we compare that with the number of songs of that year that are covered in the blog. This exercise will give us an idea where we stand vis a vis total number of songs available for those years.

Once we are done with this exercise, this will give us an idea about the total number of songs (out of 44000) that are actually available. It is early days yet (in this analysis) but I feel that many movies and their songs (especially those produced in the earlier years) are lost and so the actual number of movies and songs are less than what were created. For instance, songs of only around 200 movies (out of 900 plus) from the decade of 1931 to 1940 are available. So over 700 movies (with their songs) from 1930s can straightaway be written off as lost for ever. Likewise subsequent decades too have seen several movies and their songs getting lost with time. I will arrive at a more accurate figure after some time, but at present my provisional guesstimate is that around 1200 movies (video as well as audio records) are lost for all time. So that leaves us with around 4500 movies whose prints and/or audio are available. My guess is that the total number of songs out of these 4500 movies that may be available would be of the order of 28000 or so. So it may be a matter of another decade or so when we may actually be on the verge of covering all the available songs from all available Hindi movies from 1931 to 1980 !

The figures given above by me will become more definite as I get throgh my yearwise analysis of moviewise songs. I am sure that my final figures will not have any appreciable error.

If I am able to cite figures like that and feel reasonably confident about those figures then the one man that I should thank the most is Mr Harmandir Singh “Hamraaz”. His Hindi Film Geet Kosh (five volumes) have revolutionised the way we look at the stasistics of HFM. Before his HFGK came about, we had unsubstantiated claims passing for statistics and they were getting recognised even by respectable publications viz Guiness Books of world records etc. But Harmandir Singh “Hamraaz”‘s Hindi film geet kosh (HFGK) have made it very easy for HFM lovers to get reasonably accurate figures for songs. The five volumes of HFGK are boons for all music lovers in general and for people like us in particular. There is not one day when I do not consult a few volumes of HFGK. Here I must record my thanks for Mr Arunkumar Deshmulh and Sudhir ji for gifting me the five volumes of HFGK on the occasion of the blog turning seven years old in july 2014. Having this venerable book with me has added a new dimension to the way songs are now covered in the blog. The fact that we are able to cover all songs of movies on an almost daily basis has been made possible mainly because of HFGK. Likewise, our new unofficial venture of covering songs from as yet unrepresented movies has also been made possible by HFGK.

Today (18 november 2015) is the birth anniversary of Mr Harmandir Singh “Hamraaz”. I take this opportunity to thank him profusely for his stellar contributions in the field of HFGK. HFM would not be the same without Mr Harmandir Singh “Hamraaz”. He is a living legend, a selfless Karmayogi who has enriched the lives of HF music lovers. He is an inspiration to us all. So what that his contributions have not received official recognition. We, and other HFM lovers like us recognise his contributions all the time.

Here is a song from “Akeli Mat Jaiyyo”(1963). This song, the eighth and final song from the movie, is sung by Lata. Majrooh Sultanpuri is the lyriciast. Music is composed by Madan Mohan.

The song is pcturise as a dream sequence song on Meena Kumari.

With this song, “Akeli Mat Jaiyyo”(1963) joins the list of 719 other movies that have all their songs covered in the blog.

Here is wishing Mr Harmandir Singh “Hamraaz” a very happy birth anniversary and many happy returns of the day.


Song-Akeli mat jaiyyo nainon mein kajra daar ke (Akeli Mat Jaiyyo)(1963) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Madan Mohan
Chorus

Lyrics

aa aa aa aa aa
aa aa aa aa aa aa

o o o
o o o
aha aa
aah
lalalalala
ee ee ee

lalalalala
lalalalaala
lalaalala

aha
lalalalala
lalalalala
lalalaalalalla

aha
hahahahaha

akeli mat jaiyo
akeli mat jaiyo
akeli mat jaiyo
akeli mat jaiyo
akeli mat jaiyo
akeli mat jaiyo

aa aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
akeli ee ee ee
mat jaiyo
akeli mat jaiyyo
akeli mat jaiyyo
nainon mein kajra daar ke
zulfon mein gajra daar ke
akeli mat jaiyyo
ho akeli mat jaiyyo
ta na der na
dhim ta na na der na
aa aa aa
ta na na der na
dhim ta na na der na

aise milega koi
sooni sooni raahon mein
lalalala
lalalala

chamak uthegi jaise bijali nigaahon mein
aise jiya jaayega ke dhoonde nahin paiyo
akali mat jaiyo
nainon mein kajra daar ke
zulfon me gajra daar ke
akali mat jaiyo
ga re sa re ga
pa ma ga re ga

pa dha na ni pa
pa ma re
ma ga pa ma ga
ga re sa re ga
pa ma re ga

pa ke akali tujhe rokenge sanwariya
uthh na sakegi neechi neechi si najariya
sar ko jhukaaye ke
kangna ghumayio
akeli mat jaiyo
nainon mein kajra daar ke
zulfon mein gajra daar ke
akali mat jaiyo
ta na der na
dhin ta na na der na
aa aa
ta na na der na
dhin ta na na der na

nain tumhaare mil jaanyege jo
kisi se
lalalaala
lalalala

lat uljhegi kisi baanke pardesi se
hamri kasam dekho humen na bhulaiyo
akeli mat jaiyyo
ho akali mat jaiyo
nainon mein kajra daal ke
zulfon mein gajra daal ke
akeli mat jaiyo
akeli mat jaiyo
akeli mat jaiyo

ho o o
o o
ho o o
o o


Main hoon gori naagan

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“Naache Naagin Baaje Been”(1960) was directed by Tara Harish. The movie had Chandrashekhar and Kumkum in lead roles with K N Singh, Agha, Helen etc also there in the movie.

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

Here is the third song from “Naache Naagin Baaje Been”(1960). This song, which can be considered the title song cum theme song of the movie, is sung by Lata, Rafi and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

The song is picturised on Chandrashekhar, Kumkum and others as a dance song.


Song-Main hoon gori naagan (Naache Naagin Baaje Been)(1960) Singer-Lata, Rafi, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Chorus

Lyrics

main hoon gori naagan dekhoongi rasiya
kaise aaj nahin baaje teri been re
ho kaise aaj nahin baaje teri been re
main hoon gori naagan dekhoongi rasiya
kaise aaj nahin baaje teri been re
ho kaise aaj nahin baaje teri been re

kisi pardesi ka chhota sa jiya
aise naach ke na haule haule chheen re
aise naach ke na haule haule chheen re

naache re naagan
baaje been
naache re naagan
baaje been

laakhon sanperon ka dil dhadkaaye
paanv hamaara jidhar pad jaaye
jidhar pad jaaye
laakhon sanperon ka dil dhadkaaye
paanv hamaara jidhar pad jaaye
jidhar pad jaaye
gore badan waali chham chham ke lehra
aisa na ho ke zahar chad jaye zahar chad jaye

bachna meri lahariya ka maara
ke main hoon gori naagan dekhoongi rasiya
kaise aaj nahin baaje teri been re
ho kaise aaj nahi baaje teri been re
kisi pardesi ka chhota sa jiya
aise nach ke na haule haule chheen re
ho aise naach ke na haule haule cheen re

naache re naagan
baaje been
naache re naagan
baaje been

bade raseele hain baabu tere naina
kahaan thhikaana hai zara keh dena ji
zara keh dena
bade raseele hain baabu tere naina
kahaan thikaana hai zara keh dena
ji zara keh dena
ik rat gori shaam ko rahna savere chal dena
savre chal dena

meri nagaria phir na aana dobara
main hoon gori naagan dekhoongi rasiya
kaise aaj nahi baje teri been re
kaise aaj nahi baje teri been re

kisi pardesi ka chhota sa jiya
aise naach ke na haule haule chheen re
aise naach ke na haule haule chheen re

naache re naagan baaje been
naache re naagan baaje been
naache re naagan baaje been
naache re naagan baaje been


Kismat ka khel hai janaab e aali

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

SHANKAR- JAIKISHEN IN THE 50s…Song No. 8
———————————————-

Should an actor working as a Hero be necessarily good looking ? In India, yes ! If one sees the list of heroes from 1931 till recent time, one will find that on 99% of the occasions, the Heroes were handsome, good looking,tall and with good physique- irrespective of whether they could act or not. Not that there were no heroes who were ordinary looking, but by and large they were exceptions or they were the producers or directors themselves ( like Kishore Sahu ) or their sons etc. The Indian audience had a mind set that a film Hero must be good looking and the Heroine must be beautiful-preferably.

However, with the arrival of New Wave films or the Parallel Cinemas, this rule was sidelined. This was because now the stress was on the story line, histrionics and social messages, and not just entertainment unlike the case the mainstream cinemas. Heroes like Amol Palekar,Om Puri or Girish Karnad- who were not handsome by any standards- played lead roles in such movies. Similarly ordinary looking actresses like Smita Patil and Shabana Azmi could become Heroines in these films. But all this came only after the 70s. Till then Handsome Heroes and beautiful Heroines were the norms. There were, of course some exceptions like Sheikh Mukhtar,Dilip Kumar,Ranjan, Bhagwan etc, in mainstream cinema as well.

When Sunil Dutt came to Bombay in the early 50s, he was aspiring to become a Film hero. He was 6 feet tall, Handsome and healthy. He was also an educated person, a Punjabi and an announcer in Radio Ceylon, doing Filmy programme announcements. All this helped and he got his first break directly as a hero in Sehgal production’s film “Railway Platform”-55, produced by Kewalkrishna Sehgal and directed by Ramesh Sehgal. The life story of Sunil Dutt is devoid of any struggle either for career, marriage, status or political stature. Truly, a lucky person !

Sunil Dutt was born on 6 June 1929, as Balraj, in Khurd village, Jhelum District district, Punjab Province,British India. When he was five years old, Dutt’s father died. When he was 18, the Partition of India began inciting Hindu-Muslim violence across the country. A Muslim named Yakub, who had been friends with Dutt’s father, saved their entire family. The family resettled in a small village on the bank of river Yamuna called Mandauli in Yamuna Nagar district of Haryana. Later he moved to Lucknow and spent a long time in Aminabad Galli during graduation. He then moved to Bombay, where he joined Jai Hind College as an undergraduate and took up a job at the city’s BEST Transport company. Starting out in radio, Sunil Dutt was hugely popular on the Hindi service of Radio Ceylon, the oldest radio station in South Asia. He moved to acting in Hindi films and got introduced to the industry with 1955’s Railway Platform.( Incidentally, he worked in 55 films)

He shot to stardom in the 1957 film Mother India where he co-starred with Nargis, whom he married on 11 March 1958. Dutt played a short-tempered, angry son of Nargis. During the making of this film a fire happened on the sets. It is believed that Dutt braved the raging fire to save Nargis and thereby won her love.
He had one son Sanjay Dutt, also a successful film actor and two daughters, Priya Dutt and Namrata Dutt. His daughter Namrata married Kumar Gaurav, son of Rajendra Kumar. The two fathers were co-stars in Mother India.

Dutt was one of the major stars of Hindi Cinema in the late 1950s and 1960s and continued to star in many successful films which included Sadhna (1958), Sujata (1959), Mujhe Jeene Do (1963), Khandaan (1965) and Padosan (1967). His collaboration with B.R.Chopra proved to be successful in films such as Gumraah (1963), Waqt (1965) and Hamraaz(1967). One of his favourite writers and friends was Aghajani Kashmiri. Dutt created a record of sorts by directing and starring in the unique film Yadein (1964) in which he was the only actor.

He later turned producer of the 1968 film Man ka meet which introduced his brother Som Dutt who was unsuccessful in films. In 1971 he produced, directed and starred in the big-budget period romantic film Reshma aur Shera (1971) which was a huge failure at the box office. He also worked as a Lead opposite Madhubala in her last movie, “Jwala” which was released only in 1971.He continued to star in hits that included Heera (1973), Pran jaaye par vachan na jaaye (1974), Nagin (1976) and Jaani Dushman (1979). He also starred in a series of Punjabi religious movies in the 1970s: Man jeete jag jeete (1973), Dukh Bhanjan tera naam (1974), and Sat sri akal (1977).

He launched his son Sanjay’s career with Rocky in 1981 which was a success. Shortly before the film’s release, Dutt’s wife died of Pancreatic Cancer. He founded the Nargis Dutt Foundation in her memory for the cure of cancer patients. He was a sponsor of the India Project, an organisation akin to Operation Smile for the treatment of Indian children with facial deformities.

In 1982 he was appointed as the Sheriff of Mumbai, an apolitical titular position bestowed on him by the Maharashtra government for a year.

He turned character actor in the 1980s often playing an elderly police officer or patriarch at the centre of family feuds. He retired from the film industry in the early 1990s to turn to politics after his last few releases including Parampara(1992) and Kshatriya (1993). His political career was halted for some years in the early 1990s when he worked to free his son from jail after he was arrested for keeping an AK-56, a Pistol and Hand granades that he claimed was for protection of his family after bomb blasts in Mumbai.

In 1995 he won the Filmfare Lifetime Achievement Award for his contribution to the film industry for four decades. He returned to films shortly before his death in 2003’s Munnabhai,MBBS He shared the screen with son Sanjay for the first time although they had appeared earlier in Rocky (1981) and Kshatriya (1993).
Sunil Dutt died of a heart attack on 25 May 2005 at his residence in Bandra,Mumbai. His seat in Parliament was contested by his daughter, Priya Dutt, who won it and was a member of parliament from North West Mumbai between November 2005–April 2014.( adapted from wiki).

Film “Kismat ka khel”-56 was made by Kishore Sahu under his Sahu Films banner. He directed it also. The cast was Sunil Dutt, vyjayanti mala,Begum para, yashodhara katju, Mukri, Badriprashad,Kamaljeet,Bhudo Advani,Tun Tun etc etc. This was Sunil Dutt’s just the 4th film in his career. Earlier he had worked in Railway platform(Nalini jaywant), Kundan-55( Nimmi), and Ek hi raasta-56 (Meena kumari). Though Sunil Dutt was new,all his heroines were experienced and quite senior to him. Nalini jaywant was even elder to him in age.

This film was supposed to be a Mystery film, but in reality it was a very predictable film. The story was that of a young man who is falsely accused of a murder. he runs away and is helped by good natured members of a slum. one of them, a dancing girl falls in love with him. With her help, he gathers proof of his innocence and the film ends happily with the hero and heroine coming together.

I had not seen the film that time,but before writing this article, I saw this movie on You Tube and got bored with a story of beaten track and shoddy direction. There are comedians like Mukri, Bhudo Advani and yashodhara katju, but no laugh evoking comedy. There were 7 songs in the film. today’s song will be the 4th song on the Blog. This is a Dance-song enacted by Vyjayantimala in a train to collect enough money for paying TT for tickets of Sunil Dutt and herself. Out of 7 songs, six songs are by Lata. Lyricist is Shailendra for this song.


Song- Kismat ka khel hai janaab e aali (Kismat Ka Khel)(1956) Singer-Lata, Lyrics- Shailendra, MD- Shankar-Jaikishen

Lyrics

kismat ka khel hai janaab e aali
kismat ka khel hai janaab e aali
kismat ka khel hai janaab e aali
aapke paas hain moti khazaane
aur apni jeb khaali
jeb khaali
jeb khaali
nikle baazar se wo muskuraate
badhke har cheej pe boli lagaate
humne gardan jhuka li
haan jhuka li
lo jhuka li
kismat ka khel hai janaab e aali

hamko bhi dhoondhti
kismat hamaare ghar pe aayi
lekin hum soye thhe
aaraam se odhhe rajaai
lekin hum soye thhe
aaraam se odhhe rajaai
ho o
tab se roothi huyi hai
naaz waali
naaz waali
kismat ka khel hai janaab e aali
kismat ka khel hai janaab e aali
aapke paas hain moti khazaane
aur apni jeb khaali
jeb khaali
jeb khaali
kismat ka khel hai janaab e aali

humko apni gareebi ka zara bhi gham nahin hai
zinda hain aapki duaa se
ye kuchh kam nahin hai
zinda hain aapki duaa se
ye kuchh kam nahin hai
o o
mat poochho kis tarah ye jaan sambhaali
jaan sambhaali
kismat ka khel hai janaab e aali
kismat ka khel hai janaab e aali
aapke paas hain moti khazaane
aur apni jeb khaali
jeb khaali
jeb khaali
kismat ka khel hai janaab e aali

kya leke aaye thhe hum
aur kya le jaayenge wo
jod ke kuchh inhen
aur kuchh unhen de jaayenge wo
jod ke kuchh inhen
aur kuchh unhen de jaayenge wo
oo
pyaari duniya niraali
hai niraali
hai niraali
kismat ka khel hai janaab e aali
kismat ka khel hai janaab e aali
aapke paas hain moti khazaane
aur apni jeb khaali
jeb khaali
jeb khaali
kismat ka khel hai janaabe aali
aapke pas hain moti khazaane
aur apni jeb khaali
jeb khaali
jeb khaali
kismat ka khel hai janaab e aali


Satyamev Jayate. . . Bapu Ne Kahaa Tha Sach Bolo

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

Missing Films of 1960s – 11
– – – – – – – – – – – – – –

I am supposed to be moving ahead from ‘Mall Road’ (1962), the previous post in this series. But no. Today, I return to another earlier movie that was missing, but now is no longer missing.  I bring a song from a rare film ‘Bapu Ne Kaha Tha’.

This film is produced by the Children’s Film Society of India (CFSI). This is one of those films that are not easily available.  I had tried earlier, and then marked it down as ‘unavailable’, for now. I had even checked the CFSI website, but did not find anything more than a brief synopsis. I had sent them an email request for availability information about this and a couple of other CFSI films. I received no response.

However, just the day before, I received a disk from another collector friend, which contains this film. I was overjoyed and very pleasantly surprised. I quickly played it and viewed it. As the name suggests, this film is about a group of children in a village, and the message of Gandhi ji regarding being truthful in life. The very special thing about this film is that the renowned Shri Morarji Desai (1896 – 1995) makes an appearance in this film. He plays himself in person, and presents a short narration about Gandhi ji’s life and message, to the children, at a function organized at the school.

The story of this film is about a dishonest money lender (role played by Nana Paksikar) who gets blank papers signed by un-lettered farmers, when he lends them money.  At a later time, he fills in the blank paper with incorrect content, and exploits the farmers to grab their land.  His school going son (role played by child artist Satish) is a good hearted child, but also, being a child, he is active with the other naughty children in his class, as in running away while the classes are in progress, and stealing fruits from the orchards of other farmers in the village.

His elder sister (role played by Neena), who is married, is visiting when the episodes in this film take place. While playing with fireworks, the children become inadvertently responsible to burn down the hutment home of a farmer. They hide the true reason and put the blame elsewhere. The farmer comes to the moneylender to borrow money to rebuild his home. The transaction takes place in front of the money lender’s son.

Shri Morarji Desai visits the school and the son is influenced by hearing about Gandhi ji and his message. At a little later point in time, circumstances so transpire that the moneylender grabs the land of the farmer, based on incorrect statements entered on the blank paper the latter had put his thumbprint to. The matter goes to the panchayat at the protest of the farmer, but based on the document, and other arguments given by the moneylender, the panchayat passes the matter in his favor. The son, who was silent so far, is aghast and is torn between telling the truth and going against his own father. Circumstantially, he ends up revealing the truth to his elder sister, who now encourages him to stand by the truth, and the teachings of Gandhi ji.

The money lender defies all efforts to now make him change his mind.  At this point, the brother sister do a sit in protest (‘satyagrah’ – an insistence on the truth), on the very land of the aggrieved farmer. All the children of the village join their school mate, as do some of the elders. Their protest continues for a full day and night. By dawn next day, the moneylender, so disturbed by the revelations of the truth by his own son, and the fact that his children are not coming home in protest, has a change of heart, and announces the return of land to the farmer. This is the story of film in a nutshell.

This song is the solitary song in this film. However, it appears at three time points in the film. The first is when the son returns from the function at school after hearing Shri Morarji Desai, and tells his sister about it. The second part appears when the children are sitting on protest. And the third time, it appears at the end of the film – it is the day of Diwali, all matters are settled and all are friendly once again.

I have edited the film to extract the three parts, and combined them in a single upload.  The lyrics given below are for all the three parts. The song is written by Bharat Vyas, and the music is composed by Avinash Vyas. The singing voices are not listed in the initial credits. I can identify Manna Dey’s and Lata Mangeshkar’s voice. I hope I am correct. I request other friends and readers to please correct in case I am wrong. Also, there is definitely one more voice (possibly two) in this song, that I have not been able to identify. Again, request to other friends and readers to please add more information on this aspect.

The cast of actors includes Nana Palsikar, Neena, Majnu, Kesri, Jankidas, Narmada Shankar, Satish, Munshi Munakka, Jugal Kishore, Sandeep, Rajendra Dubey, Baby Shobha, Levi, Jatendra, Amir Hazma, Nazeera Bai besides others.

These films from CFSI from that era depict a very innocent and a very simple India, especially rural India. The people are simple, with simple motivations and simple desires. Such films were regular products of CFSI.  The organization still continues to produced films for children, but I have not seen any of their later and current films.  I am sure, with the changing times, we can expect some changes in such films also.  But the films from CFSI, from the 50s, 60s and 70s, that I have seen, really impressed me a lot, when I initially saw them, and even now when I am revisiting them. It was a time when the luminaries of the industry worked with CFSI to produce some real good films. In the recent months, I have re-seen films like ‘Jawab Aayega’ (1968), ‘Jaldeep’ (1956), ‘Jaadu Ka Shankh’ (1975), ‘Boond Boond Se Sagar’ (1963), and now ‘Bapu Ne Kaha Tha’ (1962). Wonderful memories of a child, all of them. (Still searching for some other titles like ‘Hariya’ (1958) and ‘Hamen Khelne Do’ (1962).

The on screen performance of this song.  Part 1 of the song is enacted by the sister (Neena) and brother (Satish), in their home.  Part 2 is enacted in the farmer’s field. There is a group of children, classmates of the boy. Among them, the tallest child with a plump face is Rajendra Dubey. Regulars may recall his face from the song “Chhota Sa Pappu Hoon” from the film ‘Jaldeep’, that I have posted earlier. The child girl in this group is Baby Shobha. In this part, the Manna Dey lines are enacted by the aggrieved farmer. My guess here is that this actor is Jugal Kishore. Nana Palsikar is also present in this clip. Also, I am sure, regulars will spot the smiling plump face of Leela Misra, in a framed photograph on the wall, in one of the scenes.  In Part 3, the Manna Dey lines are enacted by Narmada Shankar, who is the schoolmaster of the village school in the film. Others faces in Part 3 are Nana Palsikar, Jankidas, Jugal Kishore, Majnu, and many more that I am not able to identify.

Listen and view these sounds and images of a relatively uncomplicated and simpler times in our history. Enjoy.

Song – Satyamev Jayate. . .  Bapu Ne Kahaa Tha Sach Bolo (Bapu Ne Kaha Tha) (1962) Singer – Lata Mangeshkar, Manna Dey, Male Voice, Lyrics – Bharat Vyas, MD – Avinash Vyas
Chorus, Lata + Chorus

Lyrics

Part – 1
satyamev jayate
satyamev jayate
bapu ne kaha tha. .aa. .aa
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo

sach mein kewal do akshar
par iski shakti mahaan
sach mein kewal do akshar
par iski shakti mahaan
sach ke aage
darr kar bhaage
bade bade toofaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

sach bolo aur sach mein dekho
tum apna bhagwan
sach bolo aur sach mein dekho
tum apna bhagwan
sach ke baraabar nahin milega
koi dharm mahaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

Part – 2
satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

aaaa aaaa aaaa aaaaa aaaaa
aaaaa aaaaa aaaaaaa
chaahe laakh museebat aaye
andhera chhaaye
pran ghabraaye
na himmat todna
chaahe laakh museebat aaye
andhera chhaaye
pran ghabraaye
na himmat todna
chaahe kaal bhi sanmukh aaye
mrityu dehlaaye
lobh behlaaye
tu sach ko na chhodna
chaahe kaal bhi sanmukh aaye
mrityu dehlaaye
lobh behlaaye
tu sach ko na chhodna
tu sach ko na chhodna. .aaaaa
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

haath mein soti
tan pe langoti
chalaa ek din mahatma
chalaa ek din mahatma
ek taraf hathiyaar hazaaron
ek taraf sach ki aatma
sach ki aatma
ye sach ki taaqat thi jis se
dol gaye singhaasan
koti koti jan mukt huye
mit gaya aneeti ka shaasan
satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo. .oo

sach bolo. .oo

sach bolo. .oo

sach bolo. .oo. .oo

Part 3
mita jhooth ka andhiyaara
lo sach ke deep jale
sach ke is paavan prakash mein
saara vishwa paley

satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

sach mein kewal do akshar
par iski shakti mahaan
sach mein kewal do akshar
par iski shakti mahaan
sach ke aage
darr kar bhage bade bade toofaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate
satyamev jayate. .ay. .ay

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

भाग १
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था॰ ॰आs॰ ॰आs
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो

सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच के आगे
डर के भागे
बड़े बड़े तूफान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

सच बोलो और सच में देखो
तुम अपना भगवान
सच बोलो और सच में देखो
तुम अपना भगवान
सच के बराबर नहीं मिलेगा
कोई धर्म महान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

भाग २
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

आss आss आs आsss आsss
आsss आssss आssssss
चाहे लाख मुसीबत आए
अंधेरा छाए
प्राण घबराए
ना हिम्मत तोड़ना
चाहे लाख मुसीबत आए
अंधेरा छाए
प्राण घबराए
ना हिम्मत तोड़ना
चाहे काल भी सन्मुख आए
मृत्यु दहलाए
लोभ बहलाए
तू सच को ना छोड़ना
चाहे काल भी सन्मुख आए
मृत्यु दहलाए
लोभ बहलाए
तू सच को ना छोड़ना
तू सच को ना छोड़ना॰ ॰आss
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

हाथ में सोटी
तन पे लंगोटी
चला एक दिन महात्मा
चला एक दिन महात्मा
एक तरफ हथियार हजारों
एक तरफ सच की आत्मा
सच की आत्मा
ये सच की ताक़त थी जिस से
डोल गए सिंघासन
कोटी कोटी जन मुक्त हुये
मिट गया अनीति का शासन
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओ॰ ॰ओ

भाग ३
मिटा झूठ का अँधियारा
लो सच के दीप जले
सच के इस पावन प्रकाश में
सारा विश्व पले

सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच के आगे
डर के भागे
बड़े बड़े तूफान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते
सत्यमेव जयते॰ ॰ए॰ ॰ए


Haseenon Mere Paas Aao

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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.

Rajesh Khanna – The Phenomenon – 1
– – – – – – – – – – – – – – – – – – – –

1983.

A young boy of fifteen, who has just successfully passed out his SSC-Board exams, is keen on taking up higher studies further. He is uncertain of the future, as the subjects he like and the subjects his family & friend circle want him to study are extremely opposite. Finally he lands with an admission in 11th with PMC stream and additional vocational subjects.

Now, as usual in our middle class society, and given the age this boy is also in love with Hindi films and dreaming about the future.

But slowly there was some passion, some madness growing in his watching of the Hindi films and falling in love with HFM. This boy was getting inclined to the movies of an actor who was not of his time, but an actor, who by that time was taken over by an ‘angry young man’ in the industry.  However, few of his films appeared in quick succession at the same time i.e. in 1983 and this actor was in news again.

This boy was now getting more and more involved with his favorite actor’s mannerisms, style, his acting, his sensible matured performances, his romance and his song sequences. He liked the various characters this actor played in the movies and particularly the ‘death scenes’ in his films where the actor dies in his own ‘inimitable style’.

With every new film he watches of this actor the ‘hysteria’ continued to grow on and on …

*****
The actor mentioned in above story is none other than the Indian Cinema’s first Superstar – Rajesh Khanna.

And the boy?

*****
Fast forward to 2015. The boy is now a 47 years old person and yours very sincerely. As he writes this post, he is looking back over those years, discovering how and where it actually started – the ‘magic’ of Rajesh Khanna and his films. Recollecting all that I had gone through in those years, I wish to analyze it all now. How it happened? What thinking process I was going over then? etc.

As I try to get to the point in time when exactly it must have started, I can surely say that ‘Mehbooba’ (1976) and ‘Mere Jeewan Saathi’ (1972) are the two prominent films that touched me the most and molded the mind of a young boy in his early teens. I got to watch these films in our colony during the weekly screening of films in the ‘Recreation Club’ for the employees. Given the stage of adolescence, one tends to be attracted to the world outside and the friends in society. And,very importantly, one is eager to fall in love with someone – someone special. A time where the gap between a world of ‘dreams’ and the world of ‘reality’ is only a few years apart. But when one is in love, nothing seems to be impossible. And the mind is always looking for an altogether different ‘world’.

The other few movies, starring Rajesh Khanna that I remember to have watched before 1983 were ‘Bandish'(1969), ‘The Train’ (1970), ‘Tyaag’ (1976), ‘Chakravyuha'(1978),  ‘Thodi Si Bewafai’ (1980), and ‘Dhanwan’ (1981). Besides, there are few more movies which remain in my memory. These I must have watched  with some family members. The films are ‘Haathi Mere Saathi’ (1971), ‘Anuraag’ (1972), ‘Roti’ (1974) and ‘Aap Ki Kasam’ (1974). These are nostalgic films for me and their song brings back sweet memories.

I divide my watching of Rajesh Khanna films into three phases – as ‘as a child’, ‘in early teens’ and the others ‘in late teens and further’. In this series which takes off today I will be sharing ‘my times with Rajesh Khanna films’ and some songs from his films, remembering the late Superstar on his 74th birth anniversary (29th December).

For this occasion I have selected this song from the 1976 film ‘Mehbooba’ where Rajesh Khanna is seen doing a stage performance and the films’ titles also rolling …

The lyrics for this song are by Anand Bakshi. Music is composed by RD Burman. Perfectly matching the combination, it is sung by Kishore Kumar for the film ‘Mehbooba’ directed by Shakti Samanta.

A special song for this special occasion…

Enjoy the ‘style and substance of – the phenomenon- Rajesh Khanna’!!

(Video)

(HD Video)

(Audio)

 
Song – Haseenon Mere Paas Aao (Mehbooba) (1976) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

haseenon
mere paas aao
main gaata hoon
tum muskuraao
meri raahon mein
aankhen bichhaao
arey tum mein se hi banegi koi meri
mehbooba
mehbooba
mehbooba
mehbooba

jiski jheel si gehri aankhon mein
mera dil dooba
jiski jheel si gehri aankhon mein
mera dil dooba
main uska mehboob banoonga
wo meri mehbooba
mehbooba aa
mehbooba

arey jiski jheel si gehri aankhon mein
mera dil dooba
main uska mehboob banoonga
wo meri mehbooba
mehbooba
mehbooba
mehbooba
ae mehbooba

jahaan dekhi maine
koi haseen
nazneen
mehzabeen
mere dil mein aayee wahi kahin
ye meri mehbooba to nahin
ae hi hi hi
hi hi hi hi
jahaan dekhi maine
koi haseen
nazneen
mehzabeen
mere dil mein aayee wahi kahin
ye meri mehbooba to nahin
ye meri mehbooba to nahin

—————————————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————————————-

हसीनों
मेरे पास आओ
मैं गाता हूँ
तुम मुस्कुराओ
मेरी राहों में
आँखें बिछाओ
अरे तुम में से ही बनेगी कोई मेरी
महबूबा
महबूबा
महबूबा
महबूबा
जिसकी झील सी गहरी आँखों में
मेरा दिल डूबा
जिसकी झील सी गहरी आँखों में
मेरा दिल डूबा
मैं उसका महबूब बनूँगा
वो मेरी महबूबा
महबूबा आ
महबूबा
अरे जिसकी झील सी गहरी आँखों में
मेरा दिल डूबा
मैं उसका महबूब बनूँगा
वो मेरी महबूबा
महबूबा
महबूबा
महबूबा
महबूबा
महबूबा
ए महबूबा

जहान देखी मैंने
कोई हसीं
नाजनीन
महज़बीन
मेरे दिल में आयी वही कहीं
ये मेरी महबूबा तो नहीं
ए ही ही ही
ही ही ही ही
जहान देखी मैंने
कोई हसीं
नाजनीन
महज़बीन
मेरे दिल में आयी वही कहीं
ये मेरी महबूबा तो नहीं
ये मेरी महबूबा तो नहीं


Panghat ke ghaayalon kaa panghat hi hai thhikaanaa

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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.

“Panghat”(1943) is a movie whose details were lost with time, but now, thanks to Mr Arunkumar Deshmukh, our beloved inhouse encylopaedia, we know the story and other details of this movie. Here is what he has to say about the movie:

The story is very interesting and will remind the readers of a popular and famous film of 1976 with melodious music.

Jamunaprasad Chaturvedi(Jeevan-who was Onkarnath Dhar in real life, but known as O K Dhar Kashmiri in the 30s) son of Durgaprasad Chaturvedi, is an orthodox Bramhin Zamindar who has built a community Well to fill water for everybody in the surrounding villages. His wife Mrs Shantidevi(Leela) and he are popular. When his daughter Radha grows up, he fixes her marriage with Mohan(Umakant Desai) son of Trivedi, a big businessman from other village.

Kiran, son of Ganga Prasad arrives instead of Mohan and is welcomed by them, mistaking him for Mohan. Kiran is loved by Jamuna Prasad ,his wife and also Radha. After some time when the real identity of Kiran is revealed Jamuna and his wife begin to cold shoulder him and he is suggested in various ways to leave. Then Mohan arrives and realises the mistake but finally sacrifices for the sake of the lovers and the end is good.

By now, it must be clear that the story is same as that of CHITCHOR(1976) where Amol Palekar and Zarina Wahab had starred.
Rajkumari has done the role of Jyoti, Heroine’s friend and the Heroine Radha is played by Alaknanda. Kiran kumar is played by Sushil Kumar.

Four songs from this movie have been discussed in the past. Here is the fifth song from “Panghat”(1943) to appear in the blog. This song is sung by S N Tripathi. Pt Indra Chandra is the lyricist. Music is composed by S N Tripathi.

The song is picturised as a bathroom song. I am unable to identify the actor. My guess (based on the story of the movie ) is that he could be Sushil Kumar. I request our knowledgeable readers to help identify him.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest correction in the lyrics as applicable.


song-Panghat ke ghaayalon ka (Panghat) (1943) Singer-S N Tripathi, Lyrics-Pt Indra Chandra, MD-S N Tripathi

Lyrics

panghat ke ghaayalon ka aa aa aa
panghat hi hai thhikaanaa
panghat ke ghaayalon ka aa aa aa
panghat hi hai thhikaanaa
Farhaad o Qais guzre
Farhaad o Qais guzre
apna hai ab zamaanaa
Farhaad o Qais guzre
apna hai ab zamaanaa
khaanaa to unki gaali
aaa aaa
rehna to unki galiyaan
khaanaa to unki gaali
rehna to unki galiyaan
sonaa to khwaab unke
sonaa to khwaab unke
gaanaa to unka gaanaa
sonaa to khwaab unke
gaanaa to unka gaanaa
Farhaad o Qais guzre
apna hai ab zamaanaa

ae nal
kyun ro raha hai
ae nal
kyun ro raha hai
kis’se ladaa leen aankhen
ya tu bhi chaahtaa hai
panghat se dil lagaanaa
ae nal
kyun ro raha hai
kis’se ladaa leen aankhen
ya tu bhi chaahtaa hai
panghat se dil lahagaanaa

bekaar hai samandar
bekaar hai samandar
pyaase hamesha pyaase ae
bekaar hai samandar
pyaase hamesha pyaase ae
laakhon salaam panghat
haan haan
laakhon salaam panghat
dil ki lagi bujhaanaa
laakhon salaam panghat
dil ki lagi bujhaanaa
Farhaad o Qais guzre
apna hai ab zamaanaa


Naari kaisi shaan hai teri

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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 post by me in the blog was on 28th february 2016. Nine days have passed since then and I have not posted a single post in the blog during this period !

Some unavoidable reasons kept me away from the blog for this long. Despite my absence, the blog stayed active thanks to posts made by Sudhir Ji. I am extremely thankful to him to keep the musical bandwagon going single handedly for these nine days.

I come back today on 8 march 2016. Today is an important day for HFM, what with several anniversaries falling today. Sahir Ludhianvi and Manohari Singh have their birth anniversaries today whereas today happens to be Van Shipley’s death anniversary.

Today also happens to be Women’s day !

If we look back in time, we find that women were given a subservient status vis a vis men in most societies and civilisations.

Change is taking place in the status of women, but quite slowly. It is difficult to imagine it today that women were not allowed to watch ancient olympic games that took place more than two thousands years ago. And one may find it difficult to imagine that women were not allowed to vote till 100 years ago in most countries ! USA allowed their women to vote in 1920 ! France allowed women to vote in 1944, Italy in 1946, Greece in 1952. Switzerland allowed women to vote only in 1971. Saudi Arabian women got this right only in 2015 ! Indian women have enjoyed voting rights since 1947 when India became independent.

Women going to school/college to study, which we take for granted today was considered unusual in olden days. For instance, Kadambini Basu (later Ganguly) and Chandramukhi Basu became the first women graduates not only in India, but in entire British Empire when they graduated in 1880s. Kadambini Ganguly also became the first woman doctor of India in 1890s.

While girls had begun to go to schools by 1990s, few of them were sent to colleges and beyond. It was only for the last few decades that females have been allowed to do graduation and post graduation etc. Now a days we have many ladies jo “Thoda padhi likhi bhi hain”.:)

Then there are women who have begun to work as well. While they have been working in fields that were considered tailormade for them (nursing, air hostess, reception etc), they have begun to work in fields that were considered the sole preserve of men. It caused a sensation when Kiran Peshawariya (later Bedi) became the first female IPS officer of India. Even today, four decades later, she is regarded as a legend and she has inspired many movies and serials in different languages. A female policewaali is still a curiosity among average Indians. Forget ordinary Indians, even elite film stars want to get themselves photographed with real life policewaalis when they come across them.

While the number of working women have increased with time, majority of women have traditionally been brought up to serve as home makers when they grow up and get married. The household work that a housewife does often goes unnoticed. Or more accurately, it gets noticed only when the home makers fails to do her household works. The sensible and mature men (like many regulars of this blog) appreciate and recognise her contribution, but there are people who fail to appreciate her contributions. It is because of such people that we still need to have a “Woman’s day.”

Personally I find it quite ironical that there should be the need for a day like this. It is not than women are a minority community among humans. They are half of the total population. That is how nature intended it to be. So every day in the year should be a Woman’s day as well as men’s day. Hopefully a day will come when we may not have the need for such a day. I know for sure that many regulars in this blog (including me) observe women’s day everyday.:)

On the occasion of “Woman’s day”, here is the title song from a movie called “Maa Bahen Aur Biwi”(1973). This movie, an obscure movie despite being a recent movie by the standards of this blog was produced and directed by Harbans Kumar. The movie had Kabir Bedi, Prema Narayan, David Abraham, Raj Kishore, Jankidas, Tabassum, Tuntun, Anjana etc in it.

The song is sung by Mukesh. Sharda is the music director. Though there were two lyricists in the movie, the lyricist of this song is not known.

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


Song-Naari kaisi shaan hai teri(Maa Bahen Aur Biwi)(1973) Singer-Mukesh, MD-Sharda

Lyrics

naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

dukh seh kar sukh deti hai
jag ko pyaar sikhaati hai
dukh seh kar sukh deti hai
jag ko pyaar sikhaati hai
sewa kar ke duniya ki
tu taqdeer banaati hai
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

ghar ki shobha tujhse hai
tu sansaar chalaati hai ae
ghar ki shobha tujhse hai
tu sansaar chalaati hai
kaarobaar chalaati hai
tu sarkaar chalaati hai ae
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

kal jo sati ho jaati thhi
bikti thhi baazaaron mein
kal jo sati ho jaati thhi
bikti thhi baazaaron mein
aaj usi ki raunaq hai
jalson mein darbaaron mein
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

adhaaypak hai rakshak hai
vigyaanik hai ab naari
adhaaypak hai rakshak hai
vigyaanik hai ab naari
naari ki kya shakti hai
maan gayi duniya saari
maan gayi duniya saari
maan gayi duniya saari



Chhan chhan chhan chhan baje rupaiyya naache duniya

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

Today’s song is from a film called Chaar Paise-55. This is a funny song and dance video of Kishore Kumar. Funnier was the fact that though this film was passed by the Censors on 12-12-1955, the film was never released in theatres, but its DVD and CDs are available in the market and also the film itself is available on You Tube. One can enjoy the songs and acting of Kishore Kumar of the 50s, in this film. Almost all songs are also available on You Tube.

The funniest thing about this film was its Music Director B.D.Burman. When I saw this name first time, I thought it was a printing error and the Music Director must be S.D.Burman. But even in the credits of the film his name is B.D.Burman. My marathon efforts to find information about this person drew a blank. It seemed as if someone came to films only to give music to this one film and having done it, he disappeared into thin air, like a spirit. No information was available anywhere on him.

I once bumped into a Blog on Internet accidentally and there I came to know that B.D.Burman’s name was Barendra Dev Burman aka Baruda for people who knew him. He seemed to be from Agartala, Tripura state. Only this much and no more information. Even S.D.Burman was from Tripura. Could there be some kind of connection between them ? No one knows !

Like a phoenix bird, this B.D.Burman suddenly resurfaced again in 1962 and gave music to a film called “Mohabbat Zindabad’-62. He then quietly disappeared again, never ever to return thereafter.

Similarly, the producer/Director of this film, N.K. Ziri (Ziree ?) was also a name difficult to trace anywhere. Only information was that he had earlier directed one movie, “Nazneen”-51. Except this, there was absolutely no information on N.K.Ziri. One common thing I found was that Amjad Khan ( son of actor Jayant-real name Zakaria Khan) had made his debut as a child artiste in the film Nazneen-51. Jayant was also in the cast. Even in film Chaar Paise-55, both Amjad and Jayant were again in the cast of this film.

Film Chaar Paise-55 was neither a suspense/Detective story nor a comedy film. It was a poor mixture of both. The cast included Kishore Kumar, Shyama, Johnny Walker, Agha, Kammo, Nishi, Nazir Kashmiri etc etc. In the 50’s decade Kishore Kumar had become very popular and he got several film offers. Still, that time Shyama was considered a bigger star than him and she got First billing over Kishore Kumar in the credits of the film.

Shyama ( real name Khursheed Akhtar) was born on 12-6-1935 at Lahore. Her family shifted to Bombay when she was 2 year old. Shyama’s father was a fruit seller (like Dilip Kumar’s father), in the Byculla market, in those days. Khursheed studied in Urdu medium Municipal school. When she was 10 year old, a chance visit to see film shooting ended in her participating in the shooting. The film was “Zeenat”-1945. She was given her screen name-Shyama. Along with Shashikala and Shalini-the other child stars, she sat in the famous qawali, “Aahen na bhari”, India’s first all female qawwaali. Though Noorjehan sang in the qawwali, her lines were NOT lipsynched by herself, but someone else lipsynched them. In the true sense, this was her first playback in films !

In the next 6 years Shyama did 8 films mostly uncredited,in small roles , like Shayar, Jal Tarang, Namoona, Sajaa, jalsa, Nishana etc. During the film Jalsa’s shooting, its heroine Geeta Bali took fancy of her and predicted that one day, she too will become a Heroine.

She became a heroine for the first time in the film Shabnam-1949, opposite Nasir Khan-Dilip Kumar’s brother. Shyama did about 200 films ( 50 as Heroine). During her times, she worked with almost all Top grade actors and Actresses like Dev Anand, Dilip Kumar, Raj Kapoor, Ashok Kumar, Guru Dutt, Kishore Kumar,Johnny Walker, Meena Kumari, Madhubala, Nutan, Waheeda Rehman, Nimmi etc etc. She always impressed her fans, even in the presence of other Top Heroines.

She married Cinematographer Fali Mistry in 1954. They had 2 sons and 1 daughter. Shyama retired from films in 1976. Fali Mistry died in 1979. Nowadays Shyama has become very obese and spends her time happily with her old friends.

I saw this film, Chaar Paise-55 on You Tube. Here is a short synopsis of the film, whatever I could understand. It is very tiring to sit through a film for 2-3 hours and more so if the film is like this one.

Mohan (Kishore Kumar) is a C.I.D. Inspector. While coming back to Bombay from Delhi, he meets Chandu (Jayant)-a crook. Chandu tries to steal Mohan’s money in their hotel, but Mohan is smarter than him. They reach Bombay. Chandu gets his team of small crooks to steal money.

Mohan is in love with Seema (Shyama), whose father has abondened his family, being a drunkard, Seema grows up with her mother. She is very innocent and can not discriminate what is good for her. She falls for a young man Roshan, who is not a straight guy. However Mohan knows that Roshan as a crook.

Here Chandu meets his old croney- Fantoo. Fantoo kidnaps Mohan’s brother, to black mail him. Actually that brother is adopted and is in fact long lost son of Chandu. Now, Fantoo blackmails Chandu too. Chandu and his team join hands with Mohan and they trap Fantoo. Fantoo is arrested. Chandu gets his son back. Roshan is also exposed and finally Mohan and Seema Unite.

Film Chaar Paise-55 had 6 songs. 2 songs are already posted. Today’s song is the third song to appear in the blog. Surprisingly, this is the only song Kishore Kumar sings in this film. All the other five songs in the movie are sung by Lata Mangeshkar. Whatever the film, it is always a pleasure to see Kishore Kumar on the silver screen-dancing and singing and performing his antics…..


Song-Chhan chhan chhan chhan baje rupaiyya naache duniya (Chaar Paise)(1955) Singer-Kishore Kumar, Lyrics-Sartaj, MD-B D Burman

Lyrics

chhan chhan chhan chhan
chhan chhan chhan chhan baje rupaiya
naache duniya
chaar paison ka khel hai duniya
maane koi na maane bhaiya
chhan chhan chhan chhan
chhan chhan chhan chhan
baje rupaiya
naache duniya
chaar paison ka khel hai duniya
maane koi na maane bhaiya

chaar paise hon paas tumhaare
jahaan bhi tum jaao
tumko dekhe duniya saari
baabu ji kehlaao
chaar paise hon paas tumhaare
jahaan bhi tum jaao
tumko dekhe duniya saari
baabu ji kehlaao

halwa khaao poori khaao
khaao naan khhataai
peda khaao barfi khaao
isi ke sab hain bhaai
jiska paison se mel
wahi khele ye khel
jiska paison se mel
wahi khele ye khel
chhan chhan chhan chhan
chhan chhan chhan chhan
baje rupaiya
naache duniya
chaar paison ka khel hai duniya
maane koi na maane bhaiya

haan
kahin pe daaka kahin pe chori
chori us par seena zori
kahin pe daaka kahin pe chori
chori us par seena zori
karte hain phir pesh safaai
pehan ke suit aur laga ke tie
dekho ji ye haath safaai
ho gai apni cheez paraai
lalaalalalaala
lallalalalaala
lalaalalalaala
chhan chhan chhan chhan
chhan chhan chhan chhan
baje rupaiya
naache duniya
chaar paison ka khel hai duniya
maane koi na maane bhaiya

suit boot pahan kar chalna
sabko ye sikhlaata
jiski jeb ho khaali baabu
kadka vo kehlaata
suit boot pahan kar chalna
sabko ye sikhlaata
jiski jeb ho khaali baabu
kadka vo kehlaata
jinke paas hon paise chaar
ooncha bangla motor car
haal na poocho unka yaar
sachhi baat hai sarkaar
koi cash ka beemaar
koi race ka shikaar
koi cash ka beemaar
koi race ka shikaar

chhan chhan chhan chhan
chhan chhan chhan chhan
baje rupaiya
nache duniya
chaar paison ka khel hai duniya
maane koi na maane bhaiya
chhan chhan chhan chhan
chhan chhan chhan chhan
baje rupaiya
naache duniya


Holi Aayee Re Aayee Re Aayee Re

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

Given that today is the celebration of Holi. Also given that there is this Hindi film which has a title based on this festival name. Further given that this film has a wonderful song which celebrates this festival, and the song ‘mukhda’ is based on the title of the film, which, as I said before, is based on this festival name. Then another given that this song has been quite popular in its time, and exists in the collective memory of the music lovers. Plus also given that this film is from 1970, which is an era that is verily fresh in the minds of the bandwagon companions, and other contemporary lovers of music. Furthermore. We have been celebrating Holi on this blog for eight years in a row now.

So my concern is – how come this song has escaped the notice of all, and has remained away from being posted here, despite the eight years that we have been at it.

Don’t mind. Hoi hai. Thodi bahut nok-jhonk to chalti hai. And I am glad that our dear Prakash ji has sent in this song to be posted as a celebration for today’s festival of colors.

A most wonderful, happy and colorful greetings to all friends and readers on this blog. As I write these lines, the time in India is such that the morning revelry of today’s festival would be nearing completion in most areas. Ah yes, the folks in other time zones and other countries will be celebrating as applicable.:)

Wishes of colorful happiness are not just for today. May these colors and this happiness permeate into all days in the future for yourself and your near and dear ones. Share the sweets and spread the cheer. Bring color into the lives of those around you. Make this day of colors, this thought, last a lifetime.

The film is ‘Holi Aayee Re’ from 1970. The film is produced by Shankar Bhai Bhatt and Vijay Bhatt for Sri Prakash Pictures, and is directed by Harsukh Bhatt. The star cast includes Mala Sinha, Balraj Sahni, Shatrughna Sinha, Premendra, Kumud Chhugani, Rajendra Nath, Kanhaiyalal, Jankidas, Dulari, Praveen Paul, Rehman, Prakash Thapa, Sulochana Chatterji, Uma Rani, Deena Gandhi, Jayashee Talpade, Chandrima Bhaduri, and introducing Pemendra and Hina Kauser.

Lyrics are by Indeewar and the music is composed by Kalyanji Anandji. Singing voices are of Lata Mangeshkar and Mahedrar Kapoor, accompanied by chorus. On screen this song performed by Mala Sinha and Prakash Thapa. Although the video clip of this particular song is not yet available online, but the song can be viewed at 14:15, ending at 18:51 in the full film available online here.

Once again, colorful greetings to all. Happy Holi.

 

Song – Holi Aayee Re Aayee Re Aayee Re (Holi Aayee Re) (1970) Singers – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Indeewar, MD – Kalyanji Anandji
Lata + Mahendra
Male Chorus
Female Chorus
Male + Female Chorus

Lyrics (Provided by Prakashchandra)

saraa raaa raa saraa raa saraa raa
ae saraa raaa raa saraa raa saraa raa
holi hai holi hai holi hai ae

ho o o o ho o o o o ho o
ho o o o ho o o o o ho o

holi aayee rey aayee rey aayee rey ae ae
holi aayee rey ae ae
holi aayee rey aayee rey aayee rey ae ae
holi aayee rey ae ae
ho o o ho o o o
ang ang mein agan lagaati
madan jagaati
jhoomti gaati holi aayee re ae ae
holi aayee rey
ho ang ang mein agan lagaati
madan jagaati ras barsaati
jhoomti gaati holi aayee re ae ae
holi aayee rey
holi aayee rey aayee rey aayee rey ae ae
holi aayee rey

ho o o o o o o ho o o ho o ho o ho o

nikli hai gori dekho dar dar ke
nikli hai gori dekho dar dar ke
ho maaro
maaro pichkaari bhar bhar ke
bach ke na jaaye koyee raadhaa
ho raadhaa
bach ke na jaaye koyee raadhaa
chhodo kisi ko apnaa kar ke ae
rang lagaa lo jee bhar ke
aaj nahin koyee baadhaa
oyye naachey sang sang gopi gwaalaa
tan rang daalaa mann rang daalaa
khelen phaag kanhaayee rey ae ae
holi aayee rey ae
ho ho ho ang ang mein agan lagaati
madan jagaati
jhoomti gaati holi aayee rey ae ae
holi aayee rey
holi aayee rey aayee rey aayee rey ae ae
holi aayee re

saraa raa saraa raa araa raa araa raa

aei araa raaa araa raaa araa raaa araaa raaa

hum se karo  gori laaj nahin
hum se karo gori laaj nahin
laaj a mausam aaj nahin
aaj to hum se ghul jaao o o
hoyye
aaj to hum se ghul jaao
bhool jaaoge munh rangnaa
maaroongi kass ke tumhein kangnaa
rang na aur lagaao o o
ho gaalon pe chamki hai rolee
bheegi chhunar bheegi choli
chhodo jee ab to kanhaayee rey ae ae
holi aayee re
ho ho oo ang ang mein agan lagaati
madan jagaati
jhoomti gaati holi aayee rey ae ae
holi aayee rey
holi aayee rey aayee rey aayee rey ae ae
holi aayee rey

ho o o o o ho o o ho o o o

rang ke saagar mein toofan
toofaanon mein hain armaan
ho o o o ho o o o o
ho ho o o o o o o
rang ke saagar mein toofan
toofaanon mein hain armaan
ye hai holi ka maidaan
nar naari hain ek samaan
kaam ke haathon mein aayee hai kamaan
kaam ke haathon mein aayee hai kamaan
bhoodhe bhi ho gaye hain jawaan
josh jawaani ka laayee rey ae ae
holi aayee rey
holi aayee rey aayee rey aayee rey ae
holi aayee rey
ho oo ho o o o
ang ang mein agan lagaati
madan jagaati
jhoomti gaati holi aayee rey ae
holi aayee re
ho ang ang mein agan lagaati
madan jagaati ras barsaati
jhoomti gaati holi aayee re ae
holi aayee re
holi aayee re aayee re aayee rey ae ae
holi aayee re

ho o o o ho o o ho o o
ho o o o o o o ho o o o
ho o o o ho o ho o o o
ho o o o o o o ho o o o


Anhoni ko honi kar de honi ko anhoni

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

Hullo to all Atulwaasis.
Quick quiz (1) which was the most entertaining Banner of 1977?
(2) How many movies did this banner bring out in 1977?
(3) Which was the most illogical movie of 1977 from this banner lapped up by the audience?
(4) How many of us simply love to see this movie no matter how many times we have seen it?
Now I can give answers for questions 1-3 and expect answers from all in atuldom for question 4.:)

Answers (1) MKD films by Manmohan Desai.
(2) Four.
(3) Amar Akbar Anthony

Why did I bring this up today? The recent matches in the on-going T20 World Cup have made me think of a song from this movie. The tournament has thrown up at least three matches in which the Indian team has made Anand Bakshi’s words ring true. Also we have a player who is becoming the Rajnikant of the team (he seems to be accomplishing the impossible)😉

So today to pay (belated) tribute to the lyricist who gave songs from 1958-2008 (the last movie with songs written by him released in 2008 though he had passed away in 2000) that means for 50 long years; I thought this was a very good song.

The song is composed by Laxmikant- Pyarelal. Has playback by Kishore Kumar for Amitabh Bachchan, Shailendra Singh for RIshi Kapoor, and Mahendra Kapoor for Vinod Khanna. So no marks for guessing that we are remembering Anand Bakshi with this song. I am controlling myself from giving any synopsis about the movie as also the song. So here is the all time favourite and a big thank you to Anand Bakshi for giving us this song.

However much I try to control I am not going to stop myself from just pointing out how well balanced the filming of this song is. How Manmohan Desai has kept all his superstars happy. Even the character artistes were given equal screen time. And such simple choreography!


Song-Anhoni ko honi kar de honi ko anhoni (Amar Akbar Anthony)(1977) Singers-Kishore Kumar, Shailendra Singh, Mahendra Kapoor, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Kishore Kumar + Mahendra Kapoor
Kishore Kumar + Mahendra Kapoor + Shailendra Singh

Lyrics

yeah
anhonee ko honi kar de honi ko anhonee
anhonee ko honi kar de honi ko anhonee
ek jagah jab jama ho teenon
amar akbar anthony
amar akbar anthony
anhonee ko honi kar de honi ko anhonee
anhonee ko honi kar de honi ko anhonee
ek jagah jab jama ho teenon
amar akbar anthony
amar akbar anthony

ek ek se bhale do
do se bhale teen
dulha dulhan saath nahi baaja hai baraat nahin
arey dulha dulhan saath nahi baaja hai baraat nahi
kuchh darane ki baat nahin
ye milan ki raina hai koi gam ki rat nahin
yaaron hanso bana rakhi hai kyun ye soorat roni
yaaro hanso bana rakhi hai kyun ye soorat roni
ek jagah jab jama ho teenon
amar akbar anthony
amar akbar anthony

ek ek se bhale do
do se bhale teen
shamma ke paravaano ko is ghar ke mehamaano ko
shamma ke paravaano ko is ghar ke mehamaano ko
pahachano anjaano ko
kaise baat matalab ki samajhaun divaano ko
sapan salone leke aai hai ye raat saloni
sapan salone leke aai hai ye raat saloni
ek jagah jab jama ho teenon

amar akbar anthony
amar akbar anthony
anhonee ko honi kar de honi ko anhonee
ek jagah jab jama ho teenon

amar akbar anthony
amar akbar anthony


Piyaa ka ghar hai ye raani hoon ghar ki

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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.

“Piyaa Ka Ghar”(1972) was produced by Tarachand Barjatya and directed by Basu Chatterji for Rajshree Productions private Ltd. The movie had Anil Dhawan,Jaya Bhaduri,Agha, Sulochana Chatterjee, Suresh Chatwal,Rajeeta Thakur, Raja Paranjape,Mukri, Kesto Mukherjee, Asrani, Sunder, Paintal, Samar Chatterjee, C.S.Dubey, Sarita Devi, Manmauji, Prakash Mishra,Pardesi,Rajan Verma, Alka,Master Suhas,Bhanumati,Sri Ram Shashtri, Raahe, Ranga Reddy,Vasant Bhatia etc in it. Amitabh Bachchan was in Guest Appearance and Dharmendra in special appearance in this movie.

The movie had (surprise surprise) only four songs in it. Three of these songs have already been discussed in the blog.

Here is the fourth and final song from “Piya Ka Ghar”(1974) to appear in the blog. This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

This song, which is the theme cum title song of the movie, is picturised on the lead pair of Jaya Bhaduri and Anil Dhawan.

Lyrics of this song were sent to me (long back) by Prakashchandra.

With this song, “Piya Ka Ghar”(1972) joins the list of movies that have all their songs covered in the blog.


Song-Piyaa ka ghar hai ye (Piya Ka Ghar)(1972) singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

piya ka ghar hai ye
raani hoon main
raani hoon ghar ki
mere piya ka ghar hai ye
raani hoon main
raani hoon ghar ki
abhi aate honge
abhi aayenge wo
mulaakaaten hongi,
ho kayi baaten hongi
piya ka ghar hai ye
raani hoon main
raani hoon ghar ki

nainon se to nain mile hain
waise hum din rain miley hain
nainon se to nain miley hain
waise hum din rain miley hai
mile sada mele, me mile na akele mein
milam wo aadha tha, poora milan aaj hai
piya ka ghar hai ye
raani hoonn main
raani hoon ghar ki

kaisi rut hai ye matwaali
saara ghar hai khaali khaali
kaisi rut hai ye matwaali
saara ghar hai khaali khaali
koi nahin roke jo
roke hamen toke jo
yahaan se wahaan tak mera ho to raaz hai
piya ka ghar hai ye
rani hoon main
raani hoon ghar ki

main to chunri odh loongi
aaye hon to munh mod loongi
main to chunri odh loongi
aaye hon to munh mod loongi
ghunghta na kholoongi
sainya ji se boloongi
chhodo na chedo na
aati mohe laaj hai
piya ka ghar hai ye
rani hoon main,
raani hoon ghar ki
abhi aate honge, abhi aayenge wo
mulaakaaten hongi,
ho kayi baaten hongi
piya ka ghar hai ye
raani hoon main
raani hoon ghar ki
raani hoon ghar ki
hmm hm hmm hmm hmm


Geet gaata chal o saathi gungunaata chal

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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.

When I was a kid, I lived in a small township where we had a medical centre as part of the facilities within the township. It was manned by a fine doctor, Dr. Sinha. He was from Bihar, never spoke much, but his diagnosis was excellent. He never over-dosed patients – I remember he would often send me back home without prescribing any medicines at all. To my disappointment!:-) I’d get well on my own, within a day or so.

One day, the centre was closed – my mom said it was because the doctor wasn’t well. I was puzzled. I said “How is that possible? He is the doctor, he makes others ok, how can he himself not be well?”:-) It was something I could not imagine.

Come on, I was just a very young boy then.:-)

Today I am remembering this incident because it has something to do with this post.

On this blog, Atul has a page for birthdays of various Hindi film artistes. He has meticulously kept track of these dates and makes it a point, as much as possible, to post a song honouring the artiste on the concerned date. That is like Dr. Sinha treating his patients.

And, just like Dr. Sinha having his own turn at being unwell, today it is Atul’s turn to have his own birthday celebrated, instead of celebrating others. And it is our turn to do the celebration!

It gives me great pleasure to write this post on this occasion. I had an eye on the date for the last few days anyway, but today morning I also got a request from Arunji that I write a post. Of course, I said yes. I wouldn’t miss the chance!

Atul, where do I start?

Am not sure you realize what a HUGE difference you have made – and are continuing to make – for HFM lovers around the world. Sure, there were sites on HFM before this blog. But it is only after this blog started, that we have ONE place where HFM lovers can congregate, listen to songs, check out the lyrics, read an intro on the song, discuss it amongst themselves. All of this, with the full confidence that all the information being provided is as accurate as (and more actually than) any available anywhere else. And a LOT of it not available anywhere else.

And the daily updates of a few songs adds to it all. HFM lovers flock here everyday to see what’s new – and to listen and discuss. They discover long-forgotten songs, they are often taken back to those times and get nostalgic.

An entire community has been created in the process.

And all this is due to you.

Am sure you will say that it is a team effort and a lot of us have also helped in the process (and it is true, no doubt) but the bottom line is that without you, there wouldn’t have been a blog to start with.

I recently said in a post that if old Hindi films and music have survived at all till now, it is probably only due to sheer love and passion of a (sadly dwindling) few, who are doing their bit in keeping it going. Almost entirely voluntarily. Some are uploading old films and music to youtube/dailymotion etc, some have blogs, some (like our Arunji) are actively sharing all information at their disposal (researched and compiled from various sources) on various platforms to reach as many interested people as possible. Institutionally, India has not been great at archiving its past – it’s efforts of individuals that we depend on more and more. An interview here, an interview there.

I am not worried about the Awaaras and Pyaasas. They will survive. It is the lesser-known film that is most at risk. A lot of films are probably already lost to us. Imagine the work, the music.

It is in this context that we need to see the value of this blog. It records the most obscure of songs with as much detail as possible. Already some songs, considered otherwise lost, have got a new lease of life here. So in every sense, this is becoming a comprehensive repository for posterity. One day we will all be gone, but hopefully this blog will be around for a very long time – with all the treasures and richness of music and information that future generations can dig into. At least we can do this much for them.

And this is all because of you.

It probably wasn’t what you had in mind when you started on 19th July 2008 (at least not the scale) – but see what you’ve built, what you have given all of us.

How can we ever thank you enough for this?

I have absolutely no doubt that the only reason this was possible at all is your sheer dedication. Anybody can start a blog (many have!) but most of them are just languishing. *cough cough *

It is your dedication, your discipline, your focus that has kept this blog going, day after day, all these years. Spending hours on it every day, despite having a full-time job and family (pets included:-) ). Despite various constraints like internet availability, power cuts, frequent job transfers. You brave them all, even joke about them (with your usual Atulisms:-) ), and keep the blog going. I don’t know what to say – can only say “hats off to you!”. If I were in your position, I can assure you the blog wouldn’t have gone into its second week!:-)

Thanks to this blog, we regulars have come much closer to each other and become good friends. Some of us have been able to meet face-to-face – it has been a wonderful experience. Music binds us all together – and this blog is the biggest enabler of them all.

And it is all due to you.

I have very fond memories of the one time the two of us managed to meet – in Nagpur. It was just a few hours that evening – but they were just wonderful. I remember those handwritten scorecards of 1970s cricket matches you showed me!:-)

I thought I would discuss, for everyone’s benefit, how we first “met” in 2005 on the internet, but this post is already getting very long now and I haven’t even got to the song part. So that’s for another day (and post).

For now, let me just wish you, Atul, a very very happy birthday and many, many happy returns of the day! I speak not just on behalf of myself but on behalf of all those whose lives have been enriched by you.

Now for the song.

Yesterday I began searching for an appropriate song for your birthday. I did the usual searches – on “birthday”, “janam din”, “saalgirah”. I did manage to find just the odd unposted one but somehow I wasn’t satisfied. By the way, “saalgirah” returned some Pakistani film songs that I happened to listen to, in the process.:-)

Then I decided to take a different route. I thought I’d look for “gaana”, “geet” to find a song about singing. I came across “Geet Gaata Chal” – and that held my attention for a bit.

Now I know, being of the same generation as you, that there is a certain type of song of the mid-late 70s/early 80s, that you are fond of. I was fond of them too. Those were the days when Amitabh Bachchan ruled. Yet there were these “alternative” films, as if in a parallel universe.

The masala big-budget films, often multi-starrers, usually starred Amitabh, Dharam, Shashi, Vinod Khanna, Jeetendra and other stars. Music would often be by RD Burman, Laxmikant Pyarelal or Kalyanji Anandji, with the popular singers like Lata, Asha Bhosle, Kishore. The heroines were also big names like Hema Malini, Zeenat Aman, Parveen Babi, Rekha, Raakhee. Directors were usually Manmohan Desai, Prakash Mehra, Yash Chopra and other big names.

For these “alternative” films, usually low-budget , we usually had heroes like Amol Palekar, Vijayendra Ghatge, Sachin, Arun Govil. Heroines like Zarina Wahab, Ranjeeta Kaur, Rameshwari. Music by Ravindra Jain (he was king of this parallel universe). Songs by Yesudas and Hemlata. These films were often made by the Barjatyas under the Rajshri banner.

They were like two worlds apart. And yet, both were enjoyable in their own way. These “alternative” films often became big hits, thanks to excellent music and a reasonably good storyline. Not everybody liked the masala and loud music – they had the option of listening to Yesudas, and Ravindra Jain’s soft music.

Geet Gaata Chal (1975) was one such film. Starring Sachin and Sarika, it was hugely popular in its time. Its title song “geet gaata chal, o saathi, gungunaata chal” was massively popular – and ended the year at 4th in the Binaca Geet Mala list of 1976 (ahead of it were “kabhi kabhi mere dil mein” “ik din bik jaayega maati ke mol” and “main to aarti utaaroon re”).

I absolutely loved this song at that time. In those days, I’d have a favourite song for a few days – I’d sing it non-stop, till another song took over. I remember singing this non-stop, to the extreme annoyance of everyone around me. The voice might not be to everyone’s taste but I quite liked it. It was a different voice altogether, compared to Kishore’s baritone voice, which was then the reigning male voice of the day.

So I decided to listen to the song – for old times’ sake. I also thought I’d check the blog to see if Geet Gaata Chal had been YIPPEEED, and if not, which songs of the film were available for posting.

I was in for a big surprise.

I found that this title song hadn’t been posted yet. I checked again. I couldn’t believe it. I sent Atul a mail this morning just to confirm that this hadn’t been posted. He confirmed it – and I immediately decided that this was then going to be Atul’s birthday post song (though I didn’t tell him that.:-) )

So here it is. A song that is one of the most positive uplifting songs out there.

Exhorting people to sing and hum along in life.

A song that talks about nature in all its glory. Open skies. Green fields. Flowing water. The wind blowing, birds chirping.
A song that talks about philosophy. Smile while amongst thorns. There’s no life without water. Don’t worry about where you’ve come from and where you’re going, just be happy.

Very simple, but wonderful lyrics, by Ravindra Jain. And a very pleasant composition too. No wonder this song did so well that year. It would play at every “loudspeaker function” at the time.

I am happy that I got to post this here, that too on this special day.

One line in this song has a great message:

Hanste hansaate beete, har ghadi har pal.

May you laugh and make others laugh, every moment of your life. What a positive thought that is!

I leave you with that thought.

And once again, wish Atul a very happy birthday – and thanks for this wonderful blog!

Part I

Part II

Song-Geet Gaata Chal o saathi gungunaata chal (Geet Gaata Chal)(1975) Singer-Jaspal Singh, Lyrics-Ravindra Jain, MD-Ravindra Jain
Chorus

Lyrics

—————————–
Part-1
—————————–
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal
O bandhu re ae ae ae ae
Hanste hansaate beete har ghadi har pal
Geet gaata chal o saathi gungunaata chal
O saathi
Geet gaata chal o saathi gungunaata chal

Khula khula gagan ye
hari bhari dharti
Jitna bhi dekho
tabeeyat nahin bharti
O o o o
Ho o o
Sundar se sundar har ek rachna aaa
Phool kahe kaanton mein bhi seekho hansna
O saathi seekho hansna
O raahi re ae ae
aa aa aa
ae ae
Kumhala na jaaye kahin mann tera komal
Geet gaata chal o saathi gungunaata chal
O o saathi
Geet gaata chal o saathi gungunaata chal

Hai ho
Hai ho
Haiya ho ho

O ho ho
O ho ho
O o o
o o o o

Chaandi sa chamakta ye nadiya ka paani ee
Paani ki har ik boond deti zindagaani
O o o o
Ho o o o o
Ambar se barse
zameen se miley ae
Neer ke bina to bhaiya kaam na chaley
O bhaiya kaam na chaley
O megha re ae
aa aaa aa
ae ae
Jal jo na hota to ye jag jaata jal
Geet gaata
chal o saathi
gungunaata

Chal re chal
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal

——————————————–
Part-2
——————————————–
Kahaan se tu aaya aur kahaan tujhe jaana hai
Khush hai wahi jo is baat se begaana hai
O o o o o
Ho o o o
Chal chal chalke hawaayen karein shor
Udte pakheru kheenche manwa ki dor
O kheenche manwa ki dor
O panchhi re ae ae ae ae
aa aa aa
Panchhiyon ke pankh leke ho ja tu ojhal
Geet gaata chal o saathi gungunaata chal
O saathi
Geet gaata
Chal o saathi
Gungaata

Chal re chal
Geet gaata
Chal o saathi
Gungaata

Chal re chal
Geet gaata chal o saathi gungunaata chal


Yaad jab bechain karti hai

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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.

“Yaad”(1942) was directed by Mazhar Khan for Asiatic Pictures, Bombay. The movie had Mazhar Khan, Veena, Satish, Azurie, Shahzadi, Indira Devi, Hadi, Chanda, Kanta, Girdhari, Harun, Girish, Ramavtaar, Devraj, Ameer, Agha etc in it.

One song from this movie has been discussed in the past. Here is the second song from “Yaad”(1942) to appear in the blog. This song is a duet which is sung by G M Durrani and Rajkumari. Aarzoo Lucknowi is the lyricist. Music is composed by K Datta.

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

I have not been able to get the lyrics correct to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics wherever applicable.


Song-Yaad jab bechain karti hai chale aate hain ham (Yaad)(1942) Singers-G M Durrani, Rajkumari, Lyrics-Aarzoo Lucknowi, MD-K Datta

Lyrics

Yaad jab bechain karti hai
chale aate hain ham
Yaad jab bechain karti hai
chale aate hain ham
lo khuda haafiz
khafa hote ho to jaate hain ham
lo khuda haafiz
khafa hote ho to jaate hain ham
Yaad jab bechain karti hai
chale aate hain ham

Ik churi ee rakhi hui hai
do dilon ke beech mein
Ik churi ee rakhi hui hai
do dilon ke beech mein
khoon hoti hai tamanna
mil ke pachhtaate hain ham
khoon hoti hai tamanna
mil ke pachhtaate hain ham

dil mein jab thahri muhabbat
ishq karna hai gunaah
dil mein jab thahri muhabbat
ishq karna hai gunaah
jaate hain wo dekhtar
khatra ?? kare jaate hain ham
jaate hain wo dekhtar
khatra ?? kare jaate hain ham

bekasi ne baat kar li
??ka sahaara bhi nahin
bekasi ne baat kar li
??ka sahaara bhi nahin
ek uski yaad hai dil
jis’se bahlaate hain ham
ek uski yaad hai dil
jis’se bahlaate hain ham


Ek doosre se karte hain pyaar hum

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

This is the story of a ‘self-proprietorship firm’ uniquely named ‘Atul Song A Day’ (hereinafter called the Company) which was set up on July 19, 2008 by Atul Besra. In his venture, he received encouragement from Raja, his Cricforum friend. The mission was to produce at least one song a day. However, due to abundant supply of ‘raw material’ and the demand for the ‘finished product’, the production was increased to more than one song a day within 3 months of its existence.

A glance at its monthly ‘production’ figures indicates that during the first year of its operations, the Company’s ‘production’ increased from 39 songs in August 2008 to as high as 194 songs in May 2009. There was a temporary setback in the ‘production’ during the first half of 2010 when it hovered around two digit figures. Thereafter the growth figures has been spectacular until the end of 2014. On July 19, 2014, the Company achieved an important ‘production’ milestone of 10000 songs in 6 years – an average of 4.56 songs per day. There has been sluggishness in the ‘production’ after January 2015, but the Company is confident of increasing the ‘production’ in the days to come. Going by the ‘production output’ for the last one month, the Company is back on the ‘rails’. Let us hope that the ‘top management’ gets the inspiration from the speed of a Talgo train in the days to come to maintain the pace of the ‘production’.

With the ‘firm’ on a growth path, the sole proprietor presumably missed at which point his ‘firm’ achieved the status of a ‘deemed shareholders company’ and in the milieu, he became ‘de jure’ MD & CEO. Now, it is truly a multi-national Company with its ‘shareholders’ spread across the globe. This is an unique Company where the ‘shareholders’ are not the stakeholders. The ‘Board of Directors’ are its think tank among the ‘shareholders’. Neither annual general meeting of the ‘shareholders’ is held nor the periodic meetings of the ‘Board of Directors’. Yet the Company is run on the democratic principles where everyone with the knowledge of the ‘product’ is entitled to participate in achieving the Company’s mission and vision.

In view of its unique nature of ‘business model’, the Company earns no income. On the contrary, there are expenses involved in running the Company. Despite the constraints, the Company periodically ‘distributes’ to its ‘shareholders’ dividend by way of special products like centuries songs, artists’ songs, anniversary songs etc. In July 2014, the Company paid ‘Special Dividends’ by way of special articles of songs on the occasion of attaining the ‘production’ milestone of 10000 songs.

Another uniqueness of this Company is that it is not listed at any recognised stock exchange but is listed on wordpress.com. The valuation of the Company is not judged in terms of monetary units but in terms of the number of visitors. As on July 18, 2016, the total visitors count exceeded 82 lakhs which is very impressive.

As a ‘shareholder’, I noticed a couple of important developments in the Company during the last 2 years or so. First, a new ‘product’ called YIPPIED Films was introduced under which all songs of a film covered were ‘Yippied’. These films which now number more than 800, are being tagged by a few think tanks among the ‘shareholders’ under the able guidance from Pradeep Raghunathan. Incidentally, he is the person who has coined the name for this new product. Second, MD & CEO took initiative in strengthening the statistical base by introducing the year-wise break-up of the songs. The project is still in process.

During the last couple of years, the Company has been popularly known as ASAD – the abbreviation of ‘Atul Song A Day’. I will not be surprised if the Company adopt its now popular name ASAD in not too distant future. This is in keeping with the trends noticed among many blue chip companies which, during the last few years, officially adopted their abbreviated names. A case in point is ITC for India Tobacco Company.

Whatever I have mentioned in the preceding paragraphs is my wild imagination of this Blog being a Company. Let me come to the reality. Today, July 19, 2016, the Blog has completed 8 years of its existence. The impressive growth of Blog within a short span of 8 years made me to think in terms of a sole proprietorship firm getting transformed itself into a giant joint stock company. This caravan will move on to achieve some more milestones in the days to come. Congratulations Atul ji and all the members of ASAD Bandwagon for keeping its flag high.

ASAD is now more of a family than a Blog. On the occasion of 8th anniversary of the Blog, let us enjoy a family bonding song ‘ek doosre se karten hain pyaar hum, ek doosre ke liye beqaraar hum’ from HUM (1991). The song is sung by Sudesh Bhonsle, Mohammed Aziz, Udit Narayan, Alka Yagnik and Sonali Vajpayee. This inspiring song is written by Anand Bakshi which is set to music by Laxmikant-Pyarelal. It is a multiple version song.

Video Clip (Version-1) :

Video Clip (Version-2) :

Video Clip (Version-3) :

Song-Ek doosre se karte hain pyaar hum (Hum)(1991)Singers-Sudesh Bhonsle, Mohammed Aziz, Udit Narayan, Alka Yagnik, Sonali Vajpayee, Mohammed Aziz & Vinay Mandke, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Male Singers Chorus,
All Singers Chorus

Lyrics

———————
Version-1
———————
bam chik chik bam
chik bam bam
bam chik chik bam

ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum
ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum
ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum
ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum
ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum

hum sab hain taale
tu sab ki chaabhi
hum sab hain taale
tu sab ki chaabhi

hamse na rootho
maan jaao o
maan jaao o
o bhaabhi

ek doosre ke
hain sharmsaar hum
ek doosre ke
liye beqaraar hum
ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum

iss ghar ke
iss ghar ke darwaaze pe likha hai
iss ghar ke darwaaze pe likha hai
ik sota hai to ek jaagta hai

ik sota hai to ek jaagta hai
ik doosre ke
hain pahredaar hum
ek doosre ke
liye beqaraar hum
ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum
ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum
ek doosre se
karte hain pyaar hum
hum
ek doosre ke
liye beqaraar hum
hum
ek doosre se
karte hain pyaar hum
hum
ek doosre ke
liye beqaraar hum
hum
ek doosre ke
liye beqaraar hum
hum
ek doosre ke
liye beqaraar hum

———————
Version-2
———————-
bam chik chik bam
chik bam bam
bam chik chik bam

General saab karo taiyaari
ta ra ra ra rum pum
rum pum rum pum
rum pum
General saab karo taiyaari

le jaayenge hum beti tumhaari
le jaayenge hum beti tumhaari
aayenge ghode pe
hoke sawaar hum
aayenge ghode pe
hoke sawaar hum
ek doosre ke
liye beqaraar hum

ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum
ek doosre se
karte hain pyaar hum
ek doosre ke
liye beqaraar hum
ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum
ek doosre se
karte hain pyaar hum
hum
ek doosre ke
liye beqaraar hum
hum
ek doosre ke
liye beqaraar hum
hum
ek doosre ke
liye beqaraar hum

————————
Version-3
————————
bam chik chik bam
chik bam bam
bam chik chik

ik pyaar ki hum pehchaan denge
is pyaar ki hum pehchaan denge
ik doosre pe hum jaan denge

ik doosre pe hum jaan denge
ek doosre pe
honge nisaar hum
ek doosre pe
honge nisaar hum

ek doosre ke
liye beqaraar hum
ek doosre ke waaste marna pade to o
hain taiyaar hum
hain taiyaar hum



Yahi hai dil ki basti

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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.

“Dil Ki Basti”(1947) was directed by Wahid Qureshi for Aaina Pictures. The movie had Masood, Nigar Sultana, Amar, Urmila, Lalita Pawar, Tiwari etc in it.

Four songs from the movie has been discussed in the past.

Here is the fifth song from “Dil Ki Basti”(1949) to appear in the blog. This song, which is the title song of the movie, is sung by G M Durrani, Geeta Dutt and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

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


Song-Yahi hai dil ki basti (Dil Ki Basti)(1949) Singers-G M Durrani, Geeta Dutt, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus
G M Durrani + Geeta Dutt

Lyrics

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

yahi hai dil ki basti
dil ki basti
dil ki basti

yahi hai dil ki basti
dil ki basti
dil ki basti

gagan se barse ae ae ae
gagan se barse pyaar yahaan

aur pyaar se chhalke masti
aur pyaar se chhalke masti ee ee ee ee
yahi hai dil ki basti

dil ki basti
dil ki basti

is basti mein dil mil-mil kar
geet milan ke gaate hain
kuchh khote hain
kuchh paate hain
haan paate hain
pyaar ke saagar mein bah bah kar
saikdon jeewan aate hain
aur aake yahaan mil jaate hain

mil jaate hain
khushi nahin ee ee ee
khushi nahin anmol yahaan
hain pyaar ki najren sasti
hain pyaar ki najren sasti ee ee ee
yahi hai dil ki basti

dil ki basti
dil ki basti

tujhko kasam hai o mere saajan
pyaar ka rishta toote na
kahin haath se daaman chhoote na

ho chhoote na
hamne basaai hai jo duniya
koi ise ab loote na
armaan bhara dil toote na
dil toote na
mila hai dil ko o o o
mila hai dil ko chain yahaan
mit jaaye yahin par hasti

mit jaaye yahin par hasti ee ee ee
yahi hai dil ki basti

dil ki basti
dil ki basti


Yaar daga de gaya dulhan ko le gaya

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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 # 41 # Qawwalis – 5#
———————————————–

“We are Team – Yippeeee!!”

***

# Location – Bunkers in South – The Head Quarters – ‘Yippeeee’- #
(Mar-April -2016)

Sitting in his digitalized, ‘Wi-Fi…ed- musical chamber, ‘Yippeeee Guru’ was restless after he recovered from a short break (:) , due to health problems and other priorities) of nearly six months from ‘Yippeeee’…

The messages through the unseen satellite waves were very well understood by ‘yours very sincerely’ and two other members of the ‘Yippeeee’ locations – one in the country as well as the other across the globe.

The contacts were soon into action and messages started flowing in to and fro!

‘Yippeeee’ group on ‘Whatsapp’ geared-up and emails started floating …

The ‘Yippeeee Guru’ soon took control of the blog too and he was seen enjoying earlier posts and commenting on them.
It seemed that he wanted to compensate for the ‘lull’ that was there for almost five-six months.

Yours sincerely sensed Guru’s restlessness and since he was the first point where it needed to be re-started, he sent a message to ‘Guru’, ‘Her Majesty’ and ‘Ben Katie’ (other two members of the group) …

‘Let us revive Yippeeee!!’

Yours sincerely texted to members with primary data of ‘Mashaal-1950’. And what a ‘title’ to start the revival …the movie title itself sets for a revolutionary ‘fight to finish’ spirit:)

14th April was the day when primary data of three films was delivered on that day, so a good start was made …

Collection of information for the Yippeeee’ed movies was soon taken up. At this juncture huge stock of finished goods (movies covered for all songs) was already available there, Thanks to the ‘Leader’!

And this finished stock was the ‘raw-material’ from where ‘yours sincerely’ needed to extract information about each song of a film and send it to Her Majesty and Guru for quality check, value addition, packaging with ‘album art work’, digitizing and updating the product for all the ‘music lovers’. Attaching the data on the blog viz. the write up, few comments with the song on the ‘iTunes’ to enable them to enjoy their ‘playlists of choice ‘and ‘smart playlists’ (with various permutations and combinations) was also part of the job.

Now, Yippeeee Guru is always specific in his communications and he is always updating other members about the statistics and where the group stood vis-a-vis the blog in the movies Yippeeee’ed.

The figure of balance movies to be digitized and tagged was estimated to be around two hundred at that time.

Later it was found that the backlog could be more than two hundred and it would take lot of efforts to bridge the gap between the number of movies yippeeee’ed on the blog and number of movies ‘tagged’ by the Yippeeee Gang.

Yours sincerely was quick to add that three movies per day would give us ninety movies in a month (that was on 29th April)

‘That’s a good hit rate and doable’, Guru appreciated in style …

Now, given the ‘democracy and freedom’ (:) ) in the group, members can express themselves in any way. So, though Yippeeee Guru looked to be sincere and declared that he will this time take the matters seriously to the conclusion, Her Majesty was quick to comment ;

‘Pradeep ji is forced or inspired by us, I wonder!!’ (And why not she only could comment like that, because she was always ahead of us and always ‘at par’ with the blog. It was only in the later part that ‘yours sincerely’ got ahead of her:) )

To door thi manzil badi
Raah thi mushkil badi
Girte sambhalte rahe
Ham magar chalte rahe

***

Thus everything was well set and we were on an exciting journey of ‘tagging’ songs for all the films that were ‘covered with all songs’ on the blog.

The regular conversation on the ‘Yippeeee!!’ group on ‘whatsapp’ was making it more filmy and the jokes based on ‘film’s names’ were also entertaining in style like the ‘formula films’ of the ‘seventies’. (Edited*)

On my part I was trying to send maximum data as possible on daily basis and I was sometimes complimented for running like ‘Milkha Singh’ (by Her Majesty).

As a ‘materials’ man I knew that I had to maintain the flow so that we could catch up with the ‘Leader’ as soon as possible, and declare that ‘we have matched with the numbers on the blog so far’:)

However it was not going to be easy . After all, we all had to attend to our primary duties also. (but now, as has been the case with all members of this blog, the blog has become our primary duty or ‘more than that’, so wherever we are , we are there with the blog or the blog is there with us at all times )

***

As dictated by destiny, my activity was interrupted by travels on account of official and personal reasons. And that in turn delayed the process of getting there ‘at par with the blog numbers’.

By 31st of May 2016 we had already reached 700 whereas the number of movies yippeeee’ed on the blog was around 774. (And we were lagging behind by 80) and Aparna ji was very much ‘at par’ with the blog in sending of the ‘texts’ that was required for digitizing the songs.

On June 1st, 2016, the 700th movie was yippeeee’ed by the group i.e. tagged with all the details (as mentioned above)

It was On that very day that I undertook my first travel to the east, while Guru was getting impatient to reach there..

“By June end we can target to reach the blog numbers”

But, I was not carrying the laptop with me, so there was no activity related with the project from my end for the period of my journey.

In the meanwhile, as excited and impatient that he was, the ‘Yippee Guru’ kept mentioning it on the blog that ‘we will soon be there’.

It was like throwing a challenge to the ‘leader’ who in his sudden newfound ‘avtaar’ was all set to ‘yippee’ a movie per day, and he was not going to take it lying down while the Guru was threateing to inch closer and closer:).

Thus while presenting this song nagri nagri naach rahi hoon on 8th June Atul ji warned (:) )

Seeing that our YIPPEE master Pradeep Raghunathan is hot on the heels of YIPPEED movies and threatens to catch up on all such movies, I had no option but to wake up from my lethargy and restart the stalled project of adding movies to the YIPPEED list. So watch for some renewed action in the blog on this blog where I try to keep ahead of the YIPPEE master.

On June 9th, when I was on my return journey from my first travel break, I received this message from Guru
“Atul ji is gathering steam to add more yippeeee movies …”

It was an unmistakable indication to me to get on with the task and make it snappy.

***
Back from the week-long trip when I watched my ‘post-calender’ pasted on the wall near my desktop, there was a post due for 10th June on the anniversary of passing away of a famous character actor. The song had already been drafted, but there was very little time for the post, so I thought of defering the post by a few days.

But we had to pre-pone our trip to Gujarat and we had to leave on 12th morning, so there was no time to get into the mood of the post and the post did not materialise as planned.

However this time I was carrying the lap-top with me.

Guru was more than happy:)

Well, while collecting the data, I was also checking for the workability of the links of the earlier songs posted on the blog. That was very much necessary.

A ‘working link’ of the song was very much required for the ‘tagging process’ and after all I thought that it was our moral responsibility to provide ‘working links’ of the songs with the post and rectify matters wherever the earlier links were not working or were removed for some reason or the other. (Guru was on the same line with me when I shared my thoughts to him when I met him at YHQ).

After all, it is mentioned in the ‘about the blog’ section that;

“This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

I am writing this to clear the curiosity of other members who were surprised over the ‘yippeeee gang members’ adding the ‘working link’ of the songs and why it was required.

Well during my trip I continued to send data of one or two films or at times three films as possible every day. On the other side Yippeeee Guru was ‘swimming in the pool of data received at his end and was enjoying it all.

So, he was also philosophical now:)

“I find Yippeeee’ing process very therapeutic” – Yippeeee Guru’

***

On 18.06.16 there was this post ‘tumhen saath na laayi bahaar aayi to kya aayi’ where the Leader was in full flow now,

Regulars of the blog may have noticed that the YIPPEE gang, led by the redoubtable gang leader Pradeep Raghunathan were in hot pursuit of the YIPPEED movies and they were threatening to reach all the YIPPEED movies quite soon, seeing that they were only fifty or so YIPPEEDD movies behind at the moment.

One person YIPPying movies, and a gang covering them all, bahut naainsaafi hai. At this juncture, I have received some welcome support from none other than our own beloved inhouse encyclopeadia, Mr Arunkumar Deshmukh. He has come to my rescue by pointing out some movies where only one song is left to be covered. Armed with this information, now I have ammunition to try and escape from the chasers, like how the hero of 1970s movie used to try.

(That was, after all, not fair, since yours sincerely was also doing a bit on contributing of songs/posts :) )

On this Guru’s comment was,

Atul ji.. Congratulations… 14 songs movie getting YIPPEEEED!! is monumental!. Aur baat nainsaafi ki… now we are pretty much on a level playing field… one of our team player… Aparna is partially retired hurt. Avinash ji is travelling and is back in action from tomorrow. So this weekend you will definitely have a good lead… but then we will inch closer and closer.

Now, this was getting more interesting and I decided that I would continue with this song only (films of seventies playing in my mind and the ‘Leader’ finding him chased’) to mark the ‘at par’ moment:)

***
Back from the second travel break, it was ‘now or never’ for us, so I decided to bombard him with as much data as possible.
As I tried to make up for the lost days and sent details of twenty four movies in three days, which included the details of film ‘Gharana-1961’, Guru complimented me with;

‘Yipeeee waale tera jawaab nahin’

And, at the same time it became certain that I would be travelling to the South now!!

Getting ‘at par’ with the number on the blog and declaring it from the ‘Yippeeee head quarters’ itself would have been great, but then we thought that we would make it when the tally reached 800 movies – covered with all songs.

However unavailability of working links for a few films was causing hindrance to this process.

I had embarked:) on my journey to the South, but before meeting the Guru I had to finish my work at other nearby locations.
As I continued with doing my part ‘Yippeeee’ in ‘transit’ I was also suggested (by Ben Katie, who else?) to relax and take it easy.

I replied;

“Jab ek bhai film ke sab gaane cover karega to doosra bhaai yippeeee bhi karega”

***
Everything went as planned, I met Yippeee Guru and discussed our plans of ‘declaring the ‘at par’ moment.
I told Guru that we would do it by posting a write up and a song.

By now, gripped with the fever of ‘films of seventies’ I imagined the ‘Yippeee dulhan’ and how the ‘Leader’ was running ahead of us and ‘we were trying to catch him’.

It was all set. When we met it was love – preet – ‘bani hai preet dulhan’ (iss mulaaqaat ka bas mazaa lijiye’)

Now the ‘dulhan’ is ‘Yippeeee’ and the ‘Leader’ ahead of us and we were the ‘baaraati’ chasing him as and where possible:) (remember, in this game the ‘Leader’ will always be the first on the Yippee front on the blog’ and we would always be behind him with our ‘Yippeeee’ later:) , so he did not need to worry about the chasers)

Back after meeting with the Guru and waiting for the number to reach 800, Guru was getting impatient, ‘Avinash ji post to aana chahiye na’.

As we were not being provided with some missing links by the powers be, he thought that it was a deliberate ploy to deprive us from catching up.:)

“We are not being allowed to reach 800”

On Fifteenth July itself when we finally reached 800, Guru was impatient and he was wanting to post and announce it as soon as possible, rather as immediately as possible ( I can only imagine how he was bearing all this-waiting for such a long time for this post to appear. I apologize to him for the delay in doing this post.)

Well finally the day arrived when we hit the tally to total the number of movies to 800.
On 11th July it was 800 movies Yippee’ed on the blog. We were two movies behind, so we waited for some more movies to be Yippee’ed on the blog.

And I am happy to announce here (of course, with Guru’s blessings with me :) ) that as on today we are at 806, only two movies behind the blog (Qeemat-1945 and Shaarda-1942- are the two missing movies where most of the song links are required to be updated)

Meanwhile Guru kept reminding me of the post and how he was waiting for it. He also gave me a training session on how to create dynamic playlists after syncing the song folders with ‘iTunes’.

One can only understand and realize the efforts put in by Yippeeee Guru over the years when one goes through this experience.

Ben Katie our die-hard supporter was always there to cheer us and motivating us, ‘hamaare karm se abhibhut hokar’ she write to us;

Forwarding you an inspiring quote I just read. You all three and Atul ji is truly following that.
“Have patience my son. The work will grow beyond all your expectations. … Every work has to pass through hundreds of difficulties before succeeding. Those that persevere will see the light, sooner or later”- Swami Vivekananda

So, I congratulate Yippeeee Guru on his achievement and saluting his ‘love for Hindi Film Music’, his single minded determination for this project of digitizing the songs with the data on the blog and enabling music lovers to create ‘dynamic playlists’ of their choice.

The LP covers that he has collected over these years and added to the ‘album art work’ are just awesome and amazing. It is a journey down memory lane full of nostalgia.

One can see his ‘passion’ and ‘love’ for the Hindi Films and Music in his works and creativity.

I am sure he is the happiest person today, who had dreamed of about this project years back – almost 7/8 years back (I hope I am correct).

I would also like to congratulate Her Majesty (Aparna ji) and Ben Katie (Khyatiben) on this moment that we were all waiting for …
Also I would request Yippeeee Guru to add his comments on the ‘technicalities’ and other ‘important aspects’ of the Project which I may have missed in this post due to my ignorance in understanding of the process in totality, if any.

Also I sincerely hope that he likes this post and enjoys this wonderful song that is being posted today:) (which has been not disclosed to him and other members so far:) )

And finally a big YIPPEEEE!!

(Remember its 2p’s 4ee’s and 2!!- Yippeeee Guru)

I had planned this song to be posted in remembrance of Actor Jeevan (October 24, 1915 in Srinagar – June 10, 1987) whose death anniversary was on 10th of June.

Thanks Jeevan Saab for all those lovely memories and the films of the seventies. You will always be remembered as long as Hindi Films are discussed.

During recent months I particularly got involved with the films of seventies viz. ‘Shareef Badmaash-1973’ and others, then ‘Dharam Veer-1977’ was also discussed on the blog.

And watching today’s song particularly brings back memories of those films of seventies (for me) where actor Jeevan had entertained us with his inimitable style and performance.

The film:-

‘Choron Ki Baaraat’ – 1980 was a ‘Citizen Pictures, Bombay’ presentation, directed by Harmesh Malhotra.
It had Shatrughan Sinha, Neetu Singh, Danny, Jagdeep, Jeevan, Prema Narayan, Ranjeet, Ajit, Heena Kausar, Ram Mohan, Sudhir, Roopesh Kumar, Dev Kumar, B.M.Vyas, Shobha Khote, Azad, Janki Das, Hercules, Jaswant, Mulchand, Suhel, Jaikumar and others.
Story and Screenplay of this film was written by Ravi Kapoor.

Its dialogues were written by Kadar Khan and editing was done by Govind Dalwadi.

This movie had total four songs penned by Anand Bakshi. Music for this film was composed by Laxmikant-Pyarelal. Anwar, Jaspal Singh, Kishore Kumar, Lata Mangeshkar, Manna Dey and Shailendra Singh gave their voices to the songs of this film.

This film was passed by Censor board on 19.04.1980.

The plot summary of this movie is available on IMDB here.

Let us now enjoy this wonderful song!!! Enjoy music!!!

Audio

Video

Song-Yaar daga de gaya dulhan ko le gaya (Choron Ki Baaraat)(1980) Singers-Manna Dey, Anwar, Jaspal Singh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Ho o o o o o
O o o ho o o
O o o o o o
O o o ho o o

Yaar dagaa de gayaa
O o o o ho o
O o o o ho o

Ho yaar dagaa de gayaa
Dulhan ko le gayaa
Yaar dagaa de gayaa
Dulhan ko le gayaa
Chhod gayaa saath
Aage aage dulhaa
He peechhe choron ki baraat
Aage aage dulhaa
He peechhe choron ki baraat

Yaar dagaa de gayaa
Gayaa
Dulhan ko le gayaa
Gayaa
Yaar dagaa de gayaa
Dulhan ko le gayaa

Chhod gayaa saath
Aage aage dulhaa

Hai peechhe choron ki baraat
O aage aage dulhaa
Hai peechhe choron ki baraat

Aage aage dulhaa
Peechhe choron ki baraat

Aage aage dulhaa
Peechhe choron ki baraat

Har gali mein dhoondhte
Har kali se poochhte
Mila gayaa koi nishaan
Ham chale aaye yahaan
Har gali mein dhoondhte
Har kali se poochhte
Mila gayaa koi nishaan
Ham chale aaye yahaan

To door thi manzil badi
Raah thi mushkil badi
Girte sambhalte rahe
Ham magar chalte rahe
Haan aa aa aa aa aa
Haan aa aa aa
Ye bharosaa tha hame
Tha hamen
Itna pataa tha hame
Tha hamen
Ham rahe ae zindaa agar
Aaj ho ya kal magar
Are hogi mulaaqaat
Aage aage dulhaa
Ho peechhe choron ki baraat
Haan aage aage dulhaa
Peechhe choron ki baraat

Yaar dagaa de gayaa
Dulhan ko le gayaa
Yaar dagaa de gayaa

Waade sabhi tod ke
Apna shehar chhod ke
Wo basaa pardes mein ae ae
Ek naye bhes mein

To hamne bhi chhoda watan
Baandh ke sar pe qafan
Wo nahin ya ham nahin
Ham kisise kam nahin

Ham kisise kam nahin

Haan aa aa aa aa
Haan aa aa aa
Dekhiye suniye janaab
Kya tabiyat hai kharaab
Kisliye ye berukhi ee
Baat nahin ee aapki
Re logon ki hai baat
Aage aage dulhaa
He peechhe choron ki baraat
A aage aage dulhaa
He peechhe choron ki baraat
O yaar dagaa de gayaa
Dulhan ko le gayaa
Yaar dagaa de gayaa

Bewafaa wo
Bewafaa wo hai to kya
Ham to nahin bewafaa aa
Bewafaa wo hai to kya
Ham to nahin bewafaa

Ham puraani dosti ee
Ham puraani dosti
Tod dein kaise aji
Ham puraani dosti
Tod dein kaise aji

Jaan denge saath ham
Hamne khaayi thi qasam

Aye bewafaa wo
Bewafaa wo hai to kya
Ham to nahin bewafaa aa
Bewafaa wo hai to kya
Ham to nahin bewafaa

Haan
Ye sitam ho kisliye
Kisliye
Wo akela kyun jiye
Kyun jiye

Kis tarah hogi bhalaa
Phool se khushboo judaa
Kis tarah hogi bhalaa
Phool se khushboo judaa

Aaj ka aa din qhaas hai
Door thi ee ee ab paas hai
Wo milan ki raat
Aage aage dulhaa
Hai pichhe choron ki baraat
O aage aage dulhaa
Hai pichhe choron ki baraat
Ho yaar dagaa de gayaa
Dulhan ko le gayaa
Yaar dagaa de gayaa
Dulhan ko le gayaa

O yaar dagaa de gayaa
Dulhan ko le gayaa
O yaar dagaa de gayaa aa aa
——————————————
Devnagri script lyrics
——————————————

हो ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ

यार दगा दे गया
ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ

हो यार दगा दे गया
दुल्हन को ले गया
यार दगा दे गया
दुल्हन को ले गया
छोड़ गया साथ
आगे आगे दुल्हा
है पीछे चोरों की बरात
आगे आगे दुल्हा
है पीछे चोरों की बरात

यार दगा दे गया
दे गया
दुल्हन को ले गया
ले गया
यार दगा दे गया
दुल्हन को ले गया

छोड़ गया साथ
आगे आगे दुल्हा

है पीछे चोरों की बरात
ओ आगे आगे दुल्हा
है पीछे चोरों की बरात

आगे आगे दुल्हा
पीछे चोरों की बरात

आगे आगे दुल्हा
पीछे चोरों की बरात

हर गली में ढूंढते
हर कली से पूछते
मिल गया कोई निशाँ
हम चले आये यहाँ

हर गली में ढूंढते
हर कली से पूछते
मिल गया कोई निशाँ
हम चले आये यहाँ

तो दूर थी मंजिल बड़ी
राह थी मुश्किल बड़ी
गिरते संभलते रहे
हम मगर चलते रहे

हाँ आ आ आ आ आ
हाँ आ आ आ
ये भरोसा था हमें
था हमें
इतना पता था हमें
था हमें
हम रहे ए ज़िंदा अगर
आज हो या कल मगर
अरे होगी मुलाक़ात

आगे आगे दुल्हा
हो पीछे चोरों की बरात
हाँ आगे आगे दुल्हा
पीछे चोरों की बरात

यार दगा दे गया
दुल्हन को ले गया
यार दगा दे गया

वादे सभी तोड़ के
अपना शहर छोड़ के
वो बसा परदेस में ए ए
एक नए भेस में

तो हमने भी छोड़ा वतन
बाँध के सर पे कफन
वो नहीं या हम नहीं
हम किसीसे कम नहीं

हम किसीसे कम नहीं
हाँ आ आ आ आ
हाँ आ आ आ
देखिये सुनिये जनाब
क्या तबियत है खराब
किसलिए ये बेरुखी ई
बात नहीं ई आप की
रे लोगों की है बात

आगे आगे दुल्हा
है पीछे चोरों की बरात
आगे आगे दुल्हा
पीछे चोरों की बरात
ओ यार दगा दे गया
दुल्हन को ले गया
यार दगा दे गया

बेवफा वो
बेवफा वो है तो क्या
हम तो नहीं बेवफा आ
बेवफा वो है तो क्या
हम तो नहीं बेवफा

हम पुरानी दोस्ती ई
हम पुरानी दोस्ती
तोड़ दें कैसे अजी

हम पुरानी दोस्ती
तोड़ दें कैसे अजी

जान देंगे साथ हम
हमने खायी थी कसम

अये बेवफा वो
बेवफा वो है तो क्या
हम तो नहीं बेवफा आ
बेवफा वो है तो क्या
हम तो नहीं बेवफा

हाँ
ये सितम किसलिए
किसलिए
वो अकेला क्यूँ जीयें
क्यूँ जीयें

किस तरह होगी भला
फूल से खुशबू जुदा
किस तरह होगी भला
फूल से खुशबू जुदा

आज का आ दिन ख़ास है
दूर थी अब पास है
वो मिलन की रात

आगे आगे दुल्हा
है पीछे चोरों की बरात
ओ आगे आगे दुल्हा
है पीछे चोरों की बरात

हो यार दगा दे गया
दुल्हन को ले गया
यार दगा दे गया
दुल्हन को ले गया

ओ यार दगा दे गया
दुल्हन को ले गया
ओ यार दगा दे गया आ आ


Wo pyaara pyaara pyaara pyaara chanda

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

A few days ago, on Shakeel Badayuni’s birth anniversary, Atul wrote a post paying tribute to him. In that post, Atul did a thorough analysis of how this blog has covered Shakeel saab. He analysed it by composer and further, by film. It made for very interesting reading.

It was only on reading this post that I realized that this blog has only one song from Wahan Ke Log (1967) covered so far. The film had 5 songs in all, so we still have 4 to go.

I then decided that I’d do my bit to change this situation. This blog is now in its 9th year and has already clocked over 12300 songs, with over 800 films YIPPEEEED so far. And Wahan Ke Log has only contributed ONE song to this blog – and is only 20 per cent of the way to being YIPPEEEED. Bahut na-insaafi hai.

You may well ask, what’s so special about this film? A lot of films have still not been covered here. And there are still many more which are far from YIPPEEEE status. And this film isn’t exactly a Mughal-e-Azam or Awara. Most people have probably not even heard of this film, let alone heard songs from it.

This is true. But this film is very special to me. For a personal reason.

This was one of the films that I subtitled a few years ago. What makes it even more special is that it was my subtitling debut film. I learnt subtitling through this film, making mistakes and correcting them along the way.

But let me take a step back. To May 2010.

(I hope I am able to recount the events correctly – my memory is so bad that I’ve had lunch multiple times a day without realizing it.:-) ).

It all started with Bela Bose.

I used to be a regular on memsaab’s (Greta’s) blog in those days. She would post film reviews regularly – and I would thoroughly enjoy reading her reviews. I’d invariably leave a comment too.

That was the time she wrote https://memsaabstory.com/2010/05/26/bela-bose-fans-rejoice/ on Bela Bose. It was to inform all of us that Tom, passionate about reviving and cleaning videos of old films/songs, had produced a fantastic DVD on Bela Bose. Ava had helped him with the subtitling on the project.

Part of the project also included an article in Dutch on Bela Bose. Since I know some Dutch, I offered to translate it into English. An offer that memsaab was very happy to accept.

That was my foray into the world of translation.:-)

Memsaab then contacted me saying that Tom was looking for subtitling help for a Hindi sci-fi film “Wahan Ke Log”. Ava was not in a position to take this on, so would I be able to help?

I offered to take it on, though I was apprehensive about whether I’d be able to manage it. This was a full-length film, not a 5-min song. And I’d never done subtitling before.

See, for a short video clip (say, a song), one can manage without using software. I could type out the lines (original and translation) and send them over to Tom. He could then get them into the video (with right timings) using software. In fact, this was the modus operandi for Ava.

But for a long video (like a 3 hour film), this approach would be hugely time-consuming, double work and very error prone. It would just not be feasible.

The only feasible solution was that I use the software myself. Get the translations and timings right into the subtitle files that Tom would then later burn into his DVD.

So this is what we decided to do. Tom was very helpful (and patient) all the way. I downloaded free subtitling software as suggested by him. He then gave me some tips on how to use it.

And this was how my subtitling journey started.

With Wahan Ke Log (1967).

I followed it up with Shikari (1963), Samson (1964), Roti (1942), Achhut Kanya (1936), Amar Jyoti (1936), Sikandar (1941), Kismet (1943), Magroor (1950), Shikast (1953), Daera (1953), Maa Beta (1962), Mujhe Jeene Do (1963), Pagla Kahin Ka (1970), Sautela Bhai (1962), Dak Ghar (1966), Miss Frontier Mail (1936), Kashmakash (1973). And maybe a few others that I don’t now remember.

It did take a lot of time to subtitle a full-length film. After all, one has to go through every single dialogue and do the translation. One has to keep in mind “literal translation” often doesn’t work – in fact, it often looks silly. The meaning is more important. One has to also keep in mind space on screen – I used to be verbose:-) and had to learn to be more crisp. Also, very importantly, one had to time it correctly.

Besides, I would sometimes have problems with quality of audio. That meant the dialogues wouldn’t be clear, making subtitling even more difficult. Sometimes I’d just not get the “right” translation, though I knew the meaning perfectly well. Not every word in Hindi/Urdu translates well in English.

All in all, each film was an experience in itself. And a thoroughly enjoyable one. As I told memsaab, I was enjoying watching each of the films while subtitling it – not one of them bored me. And I watched all of them multiple times during that process because I would have to replay dialogues often.

In all this, I got a lot of help from Ava. Though she was not in a position to subtitle entire films, she often took care of the song translations. That saved me a lot of time. I’d just have to fit her translation at the right timing into the subtitles.

I remember we once even took the help of Sudhirji. It was a really tough (but fun) song for Miss Frontier Mail (1936) with references to horse racing and the like. Both Ava and I were struggling, so , out of desperation, we approached Sudhirji. And typical of him, he painstakingly did research, contacted friends and got back to us with the best-possible translation one could manage.

It was a good time – of course, all a labour of love, as these projects invariably are. We do it because we want to. I’ve seen foreign-language films which I’ve wished would have been subtitled, so I know how useful subtitles can be.

And then, when we have passionate Hindi film fans like memsaab, Tom, Todd, Mike, Carla, Beth and many more, who just love Hindi films but are prevented by the language barrier at times from enjoying them even more, why not help out? New films invariably have subtitles nowadays but the older ones, especially the less-famous ones which are not seen as worth re-releasing with subtitles, often don’t.

I must admit that all this subtitling was done years ago when I had more time. Now I don’t – and I haven’t subtitled for a while now. I think I’ve even forgotten how to use that software. (Am not even sure it works anymore).

Anyway, so this was the long story behind Wahan Ke Log (1967) and why I have a special attachment to it.:-) When I saw the film’s name in that post by Atul, it brought back memories. In fact, I have a special attachment to each of the films mentioned above, if only because of the subtitling. (Imagine if I can get so attached to a film just because I did some subtitling, how must directors and others involved in a film feel about it?)

Moving on now to the song for today.

It is “ye pyara pyara pyara pyara chanda”, picturised on Johnny Walker, Laxmi Chhaya and other dancers in a club scene. It is a fun song, sung by Mahendra Kapoor to Shakeel Badayuni’s lyrics and C. Ramchandra’s music. For a lyricist known for his Urdu, these are surprisingly “light” and “fun” lyrics for Shakeel saab.

Wahan Ke Log (1967) is directed by N.A Ansari for his home production Bundel Khand Productions. And as he often does, he acts too in the film – which is always a plus for me. I enjoy watching him, with his multiple plots and disguises, trying to pull one over the hero and the police. Much as in Zindagi Aur Maut (1965), another of his home productions, he doesn’t disappoint .

I will not discuss the story of the film here – anybody interested can go over to Memsaab’s blog and read her detailed review of the film. I’ll just say, for a Hindi film, it is an early attempt at sci-fi. And that itself is charming. The “flying saucer” and associated paraphernalia, mechanically constructed (no computers for these things in those days!) , is a tribute to N.A Ansari’s creativity.

Then there are the Bond-like scenes, of secret codes, chases and the like. Pradeep Kumar and Tanuja play the main leads, but for me, NA Ansari and Nilofar (as his assistant) steal the show. As is often the case, Johnny Walker is Pradeep Kumar’s friend (and help) who helps him solve the case.

Let’s now enjoy the song which takes place in a club. It is a catchy song, with Laxmi Chhaya as vibrant as ever, lighting up the dance floor, together with a bevy of other dancers.

Lyrics have been provided by Ava. She thoughtfully sent them over to me when she realized I wanted to post songs of this film.


Song-Woh pyaara pyaara pyaara pyaara chanda (Wahaan Ke Log)(1967) Singer-Mahendra Kapoor, Lyrics-Shakeel Badayuni, MD-C Ramchandra

Lyrics(Provided by Ava Suri)

Wo pyaara pyaara pyaara pyaar chanda
ye gol gol gol dharti
wahaan ke log
wahaan ke log
wahaan ke log heere
yahaan ke log moti
chibachi chibaaba
chibachi chibaaba
chibachi ba
chibachi ba
chibachi chibachibabiboobiba
chibachi chibaba
chibachi chibaba
chibachi ba
chibachi ba
chibachi chibachibabiboobiba

yeh gulbadan zameen ke
aakaash ke wo taare
donon se ishq apna
donon hain hamko pyaare
pariyon ki ek mehfil
hai apne dil ki nagri
chibachi chibaba
chibachi chibaba
chibachi ba
chibachi ba
chibachi chibachibabiboobiba

upar ke log jaanen
ulfat ke rang bharna
neeche ke log jaanen
din raat twist karna
donon jagah ke dilbar
hain mast aur mauji
chibachi chibaba
chibachi chibaba
chibachi ba
chibachi ba
chibachi chibachibabiboobiba

Wo pyaara pyaara pyaara pyaara chanda
yeh gol gol gol dharti
wahaan ke log
wahaan ke log
wahaan ke log heere
yahaan ke log moti
chibachi chibaba
chibachi chibaba
chibachi ba
chibachi ba
chibachi chibachibabiboobiba


Jaan Se Bhi Pyaari Hai Dosti Hamaari

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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.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).

So the point I am trying to make is that a number is a number is a number. We humans try to discover interesting aspects, and attach interesting characteristics, to make the discussion interesting. Now coming to our blog. We too have a fancy for numbers, as is evident by the amount of discussion and mental calisthenics applied to certain categories. Always, a century milestone has been a matter of big celebration. But I am sensing a drift now in the enthusiasm associated with it. Maybe, after celebrating one hundred and twenty three (123 for short) century milestones, the glitter of this theme is kind of wearing thin. Quoting Peevesie’s Mom ji, from one of her recent comments – she says she is no longer so enamored by the century breaks; she now looks forward more to the thousandth milestones. In fact, we all do remember how big an affair the ten thousandth milestone turned out to be.  After that, the century events look somewhat timid and also ran. In recent memory, the bigger affairs have been the eleven thousandth and the twelve thousandth campsites.

And yes, in between, do pop up, some special patterns which do warrant a special hullabaloo. The previous one in memory was the five aces number – ‘11111’, which was eventually adorned by the iconic song from the film ‘Amar Akbar Anthony’ (1977) – “Hum Ko Tum Se Ho Gaya Hai Pyaar Kya Karen”. I do remember emails popping in from some gang members before we arrived at that number, goading Atul ji and myself to plan something special. And once we ran past the twelve thousandth barrier, there were more than one comments and messages about the arrival of the next peculiar signboard – the number of today’s post – twelve thousand three hundred and forty five, or 12345 for short. In the past couple of weeks, yes, there have been a couple of reminders, requesting us not to miss this opportunity to celebrate this most interesting pattern in five digit numbers – all digits in a perfect ascending sequence. And I did assure Mahesh ji, whose reminders were consistent, that yes, we are seized of this eventuality and will be planning something special.

But to tell you people the real truth – this time around, me and Atul ji were quite at sea, grappling with various combinations and probabilities, and for a longest possible time, we were not able to come up with an interesting combination of milestones or targets or situations that would do justice to this sequential 5 digit number, and also be ensconced inside a song, such that a post may be created out of it. The communications that Atul ji and I have been having, tell of the zaniness of ideas we were bouncing around and the near despair that we were facing in coming up with a deserving tie up. The story goes something like this, in short.

The first and the obvious thing to do is to go for a song that goes with the line “Ek Do Teen Chaar. . .”. Now coming to think of it, this is not at all a difficult thing to do. There is any number of such songs in the realm of Hindi film music. Actually, Atul ji had even selected the one from the film ‘Tezaab’ (1988) – “Ek Do Teen, Chaar Paanch Chhe Saat Aath Nau, Das Gyaarah, Baarah Teraah”. Well, not a bad idea at all – this song was one of the greatest hits of 1988 and the starting bars – “Ding Dong Ding, Ding Dong Ding Dang Dong Dong. . .” was quite a rage with the kids. In the absence of any other good (great??) ideas, I was kind of leaning towards this option. But then I recanted and wrote back to Atul ji, and I would not want to do this song for this post for two reasons. The first being that looking at a number like  ‘12345’, the most simplistic thing we could think of is “Ek Do Teen. . .”, and so selecting this song for the milestone post does not sound too convincing. And the second reason that wrote to him that this song is seemingly so special that I would rather save it for the ‘12345678910111213th ’ post on our blog. Hmmm.. . that would translate to, well, ‘बारह पद्म, चौंतीस नील, छप्पन खरब, अट्ठत्तर अरब, इक्यानवे करोड़, एक लाख, ग्यारह हज़ार दो सौ तेरहवां’ song on our blog. Goodness, I don’t think there are going to be that many songs in Hindi films, even if we add all the NFS songs to the mix. But friends, what a thought – gives us all a wonderful reason to live for a very very very long time🙂🙂.

So, with this ‘ab initio’ option out of the way, then we started looking for the next best drum roll. Now we started to focus on getting to a combination of artists who are close to century marks in their respective counts. Meaning, we started looking for combinations where one artist would be at 100, another artist at 200, a third artist at 300 and so on. Goodness, I and Atul ji spent a few sleepless night, poring through the stat pages, as well as our personal compilations of blog songs, that would help to bring in the actor stats also. We got to some imperfect combinations, but frustratingly, for those combinations shortlisted, were not able to find the one song that would bring together the identified artists. After some sleepless nights, we decided this path would lead us nowhere.

Then I had a brainwave. I wrote to Atul ji that let us celebrate this milestone as a set of 5 songs. These would be the posts 12341 to 12345. Each one of the songs in these posts would progressively have something special relating to the numbers 1, 2, 3 and so on. Each song would celebrate something about an artist or a movie, related it to the numbers 1 thru 5. We could do 5 artists who are not yet on the blog; and present one each of their really rare performances. Alternatively, we could do  5 artists who are on the blog; but to post extremely unheard, unknown songs of these artists. One more thought that we considered was artists with post no. 1, 12, 123, 1234 and so on. This seemed promising, but we could not locate enough collateral for this. ‘1’ and ’12’ was easy, but the nearest to 123 was still eight posts behind. And no one even reasonably close to 1234. And then in desperation, I suggested that we shall do five songs with artists for whom it would be the 1st post, the 2nd post, the 3rd post, and so on. Of course, after putting it on paper, even this idea appeared very flimsy and simplistic. And so after a couple of back and forth iterations, Atul ji responded half heartedly, in a manner that jammed this brainwave in its infancy, saying that milestone is a milestone; can’t have it spread over five posts.

We continued to bandy more ideas back and forth. I did some analysis of the posts at numbers 1, 12, 123, 1234, hoping to find some interesting pattern that could be extrapolated to the 12345th post. I was driven by my experience with the 11111th post. Regulars would remember the discovery that I had made. The four singers that are featured in our 11111th post, all individually figure solo in the post nos. 1 (Rafi Sb), 11 (Kishore Kumar), 111 (Mukesh) and the 1111 (Lata Mageshkar). No such luck this time around. I dug in and went on to explore other such combinations. I tried all kind of zany combinations – post nos. 12, 23, 34, 45, post nos. 123, 234, 345, post nos. 1234 and 2345. It was not leading anywhere. I was panicking now.

Then Atul ji suggested a variation. He said let us check for song categories instead of artists, and try to build combinations of occurrences of songs in a category. Once again, we made a dive into our stat sheets and excel files. And yet once again, the prize combination eluded us. And here I was thinking, that I had responded to Mahesh ji that Atul ji and I are seized of this eventuality, but we are not likely going to have something to show for it. The proverbial ‘pudding’ will just not be there for ‘eating’, so what to prove about it.

Atul ji seemingly gave up. He sent me a message saying that Rafi Sb is close to his 26th century mark, and the number of songs in the year 1957 is standing at 399. So let us just select a good song by Rafi Sb from the year 1957 and be done with the milestone. He then followed it up with a short list of possible candidates, as his suggestion for this idea. I was quite bankrupt myself, in my ideas account by this time, and was getting inclined to go with his suggestion. However, I continued to have this nagging feeling in the back of my mind that we are letting pass a significant event, and do not have anything to show for it. Going by the song of Rafi Sb from 1957, would in no way link the song to the peculiarity of the post number. That would be quite a memorable post – we would celebrate a milestone without really celebrating the milestone.

Then, in the depths of such despairing thoughts, there came another flash of an idea. Atul ji had set 21st as the target to publish this post, and we were already behind the schedule. And in the midst of this came this flash. I shared this with Atul ji, and he too became excited about it. I asked for some more time (sic) to do the research, but I had this feeling that the idea would work. What finally transpired, i.e. this song, actually goes beyond even my own expectations with this idea as it first came to me.

So the idea came as I was poring over pages of Geet Kosh trying to strike something for this post. It suddenly dawned on me – well there are songs which are solo, duets or trios. There are music directors that are duo, and even trio. So how about pulling together a combination that would bring together a solo, a duo and a trio. I sent this idea to Atul ji, and then started another long search, through the Geet Kosh listings this time, to search for movies of duo music directors and trio music directors. After some time of searching through the S-Js and L-Ps and Suresh-Talwars, I finally was able to locate songs compliant to this idea, for music directors Sonik-Omi and Lala-Asar-Sattaar. Atul ji reminded me again to look for Rafi Sb song, so that we can bring up his 2600th song on our blog. I was able to locate one song each with both these music director teams, that has Rafi Sb singing, and also complying with the 1..2..3..4 structure of the post no. We were close, but at this point, I did not realize how close we really were.

The two songs I selected – one is a duet in the voice of Rafi Sb and Kamal Barot from the 1965 film ‘Sangraam’. Music is by Lala-Asar-Sattaar and lyrics by Madhukar Rajasthani. So I am able to get 3 of the 5 conditions met – One Lyricist, Two Singers, and Three Music Directors. The second song is from the 1976 film ‘Yaari Zindabad’, with music by Sonik Omi. This song, which makes it to the podium today, is sung by 3 singers – Rafi Sb, Manna Dey and Minu Purushottam. So once again, 3 conditions met – One Lyricist (MG Hashmat), Two Music Directors and Three Singers. So I now had a choice to make. I went in and listened to these songs carefully, and something about the ‘Yaari Zindabad’ song struck a chord within (I will come to it little later in write up), and I decided to go with this one. And friends, this was the providence helping me make the choice, for till that time, I was not aware what more good luck was in store for me.

As I checked the YouTube, I could not locate this full song as a standalone video clip. Either just the audio was available, which does not carry the voice of Minu Purushottam. The LP/EP version of this song does not contain the antaraa with her voice. Or the video was either not complete, or was available only inside a complete selection of the songs of this film. So I decided to make a new video clip for this song, from the film on the disc. And in making and editing this clip, I made two wonderful discoveries, that completed the run for all the numbers. That surely is providence working for us.🙂🙂

I discovered that on screen, 4 actors are lip syncing the voices of playback singers. AND. This song appears in 5 parts in the film. And voila – I had the complete set of 12345 done and packaged for publishing. So here is the rundown of numbers.

One – Lyricist

 

MG Hashmat

 

Two – Music Directors

 

Sonik – Omi

 

Three – Singers

 

Rafi Sb, Manna Dey, Minu Purushottam

 

Four – Actors Lip Syncing on Screen

 

Kiran Kumar – Rafi Sb
Mahendra Sandhu – Manna Dey
Joginder – Rafi Sb
Actress (green sari) – Minu Purushottam
(either Lata Sinha or Sadhna Khote)

 

Five No. of times this multi part song appears in the film

 

I simply could not believe myself, how these numbers finally rolled together. And ‘sonay pe suhaaga’ – the 2600th song of Rafi Sb on the blog. I could not have done any better, and in fact, I could not have done even this without the providence stepping in.

And that, my friends, is the story of ‘12345’.🙂

Now, coming to the emotional connect with this song. I have written about this before, in some of my earlier writings also. The songs about friendship, move me. There is a premise of synthesis, when two minds, two beings come together in understanding and camaraderie. It is this synthesis, this convergence of emotions that means the world to me. Such emotions have the power to move me to tears. This song, it brings in this feeling so strongly, that I had no second thoughts about picking this as the song for today.

In this song, this emotional thread of amity and alliance works through at two levels. One is a very personal level, wherein one being connects with and interacts with another being. Most times, there is no specific reason that can be attributed to this attraction. It simply is. We call it by many names – resonance, frequency matching, meeting of minds, etc. But what it specifically is, is hard to put into words. In friendship, we learn that we share the joys, as well as we share the sorrows. We learn that we like to care, we learn that we like to help, we learn to support, and we learn to share the burdens when travelling together. We learn of companionship, and we learn about togetherness. And I always like to share my feelings about this personal liking, sharing and togetherness, especially with reference to our musical bandwagon. As I was listening to this song and seeing the visuals, some of the words and some of the deeds struck that chord within that connects with the love of music, and the togetherness that is shared within our circle. And I am moved. And when that happens, I want to share this emotion with all.

kabhi tootegi na yaari
yaari zindabad

And then, there is one more level of this sharing and togetherness that moves my heart with an equal compulsion. This is the level of the community, and the social fabric that we all are a part of. Many events of the recent past, and even of longer memories, bring an anguish to the heart, as to how the vested political interests exploit the naturally occurring variations in the society, to sow seeds of differentiation, and pit a brother against his own brother. Be it the unrest in the Kashmir valley, or the maltreatment of one human being by another, simply based on the social standings within the society; be it the exploitation and depravement of the people in their natural habitation or be it simply the manipulative abuse and physical violation of personal propriety on account of religion or caste or gender. This widespread malaise, is a frightening agony for the mind, as one continues to hear about such events and incidents, day in and day out. None of this happens spontaneously. All of it is motivated and orchestrated, by vested interests who desire to have limitless power over other human beings. It is a mindless obsession that eventually results only in suffering, even for the perpetrators. But who would want to put their minds to this thought.

The problem of the social divide in our society, based on religion and caste, is the worst legacy from the days of oppression by the British rule, that we have refused to give up, even at the cost of substantially destroying the social fabric and the normal tolerant existence, that is the bulwark of this land. Maybe it is a utopian expectation, but my heart continues to want to believe in the innate goodness of a human being – the goodness that would deter any person to inflict any grief or injury upon another human being, simply based on the reasons of variation and differences between human beings. It is the law of nature that no two beings, no two minds are created alike. And in addition, every mind is also instilled with the intelligence to appreciate and respect these differences. It is a long and futile debate to deliberate why and how this intelligence gets suppressed and the wilder instincts of greed and power take over and prevail. The end result of this conflict is only misery, and more misery.

On such an unsightful canvas, when one encounters a streak of even just the words, as are contained within this song, there is a moment of relief that descends upon the troubled mind. It is just a poet’s vision, just a hopeful aspiration, saying how this world should be, as opposed to how this world is, as we actually see and perceive it. And the heart is elated, just to know that there is / are other such minds that crave for this amiable tolerance and understanding, to overcome the mindless divisive rage that is cutting through the fabric of our society. That is the relief that moves my heart to tears, when one encounters expressions such as the one in this song

ek hindu ek musalmaan hai
gaadi ke hain do pahiye

And the heart cries for hope, hope for amity, and hope for a friendly brotherly love that I want to share with all.

Yes, glory be to friendship, glory be to peace and love.

Yaari Zindabad.

 

Song – Jaan Se Bhi Pyaari Hai Dosti Hamaari (Yaari Zindabad) (1976) Singer – Mohammed Rafi, Manna Dey, Minu Puroshottam, Lyrics – MG Hasmat, MD – Sonik Omi
Rafi + Manna Dey

Lyrics

Part 1
——–
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..

Part 2
——–
hum raahi hain raahon mein

dhoom machaate jaayenge
toofaan ban ke har mushkil se
hum dono takraa’enge
kabhi chhotega na saath tera
o jiye pyaar tera
tu hai yaar mera
haan yaar mera
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 3
——–
ek hindu ek musalmaann hai

gaadi ke hain do pahiye
jaldi manzil par pahunchenge
gar mil kar chalte rahiye
hum geeta quraan mila denge
aur pyaar ko deen banaa lenge
haan banaa lenge
sab ki aankhon mein basey ye
roshni hamaari
sab ki aankhon mein basey ye
roshni hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 4
——–
rasta roka sar kuchlenge

khoon ki holi khelenge
oye haste haste desh ki aafat
apne sar par jhelenge
hathiyaar banaa kar baahon ko
o angaar banaa kar aahon ko
haan aahon ko
kaam aayegi watan ke
zindagi hamaari
kaam aayegi watan ke
zindagi hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 5 (sad)
——–
jaan se bhi pyaari hai

dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad
ho.. oo..
yaari zindabaad
ho.. oo..
yaari zindabaad

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

भाग १
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰

भाग २
——–
हम राही हैं राहों में
धूम मचाते जाएँगे
तूफां बन के हर मुश्किल से
हम दोनों टकराएँगे
कभी छूटेगा ना साथ तेरा
ओ जिये प्यार तेरा
तू है यार मेरा
हाँ यार मेरा
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ३
——–
एक हिन्दू एक मुसलमान
गाड़ी के हैं दो पहिये
जल्दी मंज़िल पर पहुंचेंगे
गर मिल कर चलते रहिए
हम गीता कुरान मिला देंगे’
और प्यार को दीन बना देंगे
हाँ बना देंगे
सबकी आँखों में बसे ये
रोशनी हमारी
सबकी आँखों में बसे ये
रोशनी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ४
——–
रस्ता रोका सर कुचलेंगे
खून की होली खेलेंगे
ओए हसते हसते देश की आफत
अपने सर पे झेलेंगे
हथियार बना कर बाहों को
ओ अंगार बना कर आहों को
हाँ आहों को
काम आएगी वतन के
ज़िंदगी हमारी
काम आएगी वतन के
ज़िंदगी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ५ (शोक)
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद


Idhar Intezaar, Udhar Intezaar

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

= = = = = = = = = = =
The Voice of Mukesh #70
– – – – – – – – – – – – –

This voice has such an alluring appeal. No matter what the song may be, Mukesh ji’s voice has the quality to enliven the song with the depth of his soulful emotion. The words come alive with his rendition. Listen to any of his songs, whether they have been popularized on account of association with successful films and actors, or they belong to obscure, unheard and unsuccessful films. His songs from many such films have remained obscure and unheard. For songs of Mukesh, the unexplored era is primarily in the 1970s.  There still are many songs sung by him, that have to find their place on this blog. Many of them are unfamiliar and obscure, and some are familiar but unheard for long.

Today I present this poignant song of unrequited love – love that is waiting for fulfillment and happiness. The film is ‘Intezaar’ from 1973. The words of this song are written by Verma Malik and the music is from the mind of the old maestro, Chitragupt. The career innings of Chitragupt started in mid 1940s, and lasted for more than four and a half decades. Although lesser in number, we do films with his music, listed well into the 1980s. The last such film probably is ‘Insaaf Ki Manzil’ in 1988. Then, we also see a film listed for 1998, well after his passing away in 1991.

The film is produced under the banner of De-Luxe Films, Bombay and is directed by Mohan Singh Kavia. The cast of actors includes Baldev Khosa, Padmini Kapila, Rakesh Pande, Rinku Jaiswal, IS Johar, Mohan Choti, Lata Arora, Chandrima Bhaduri, Leela Misra, Narmada Shankar, Manhar Desai, and more. On screen, this song is picturized as a background song, as Rakesh Pande and Rinku Jaiswal are seen in the frame, separated by a closed door, but very visibly pining for the other. There is also a child sleeping in the room. I request friends and readers who may have seen this film, to please comment on this situation.

Listen to this tender expression of desires and aspirations seeking fulfilment, and yet, held back by circumstances. There is a certain grace in how the protagonists are holding their emotions, and the words are coming from the background, telling the tale of suppressed sentiments. Listen and enjoy.


Song – Idhar Intezaar, Udhar Intezaar (Intezaar) (1973) Singer – Mukesh, Lyrics – Verma Malik, MD – Chitragupt

Lyrics

idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar
jag ki maryada dekho
bani hai deewaar
idhar intezaar
udhar intezaar

thandi thandi aahen aur jalti jawaani
aag se dekho jaise lipta hai paani
thandi thandi aahen aur jalti jawaani
aag se dekho jaise lipta hai paani
ye tanhaai
ye angdaai
ik hai jawaani aur gham beshumaar
idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar

paas reh ke bhi itni hai doori
koi nahin samjhega teri majboori
paas reh ke bhi itni hai doori
koi nahin samjhega teri majboori
zindagi hai teri
raat andheri
rooth na jaaye kahin roop ki bahaar
idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar
jag ki maryada dekho
bani hai deewaar
idhar intezaar
udhar intezaar

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

इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार
जग की मर्यादा देखो
बनी है दीवार
इधर इंतज़ार
उधर इंतज़ार

ठंडी ठंडी आहें और जलती जवानी
आगे से देखो जैसा लिपटा है पानी
ठंडी ठंडी आहें और जलती जवानी
आगे से देखो जैसा लिपटा है पानी
ये तनहाई
ये अंगड़ाई
इक है जवानी और ग़म बेशुमार
इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार

पास पास रह के भी इतनी है दूरी
कोई नहीं समझेगा तेरी मजबूरी
पास पास रह के भी इतनी है दूरी
कोई नहीं समझेगा तेरी मजबूरी
ज़िंदगी है तेरी
रात अंधेरी
रूठ ना जाये कहीं रूप की बहार
इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार
जग की मर्यादा देखो
बनी है दीवार
इधर इंतज़ार
उधर इंतज़ार



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