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.

“Sone Pe Suhaaga”, as we say in India.  First it was the momentous 10K milestone in July last year (20 Jul 2014).  Then a little while ago, on the close of the previous financial year (31 Mar, 2015) we had the auspicious and ‘Badhaai Waala” 11K milestone. And then today, we have the next level ‘1’ added, taking the auspiciousness and ‘badhaai’ to the next level on the scale.

Welcome all to the next important century milestone on this blog.  After we had the invasion of the blog by an army of eleven thousand young ladies, I mean, after the “Gyaarah Hazaar Ladkiaan” made their auspicious and enchanting appearance a little over a month ago, we have added another 100 wonderful songs to bag of magic that this blog is now transforming into. This segment has been relatively slower, taking exactly thirty two days to complete this leg of the journey. Of course we have an excuse for it.  But we are not going to talk about it today.  Maybe someday later, hopefully sooner than later.  But not today.  After getting over with the customary greetings and welcome and congratulations, I want to talk about a friend, a very dear friend.  And in our lingua-franca, the term ‘a dear friend’ evidently implies a lover of music.

This gentleman has done a very unique piece of research and work on the Hindi film song.  Like a few other rare stalwarts, this gentleman has nurtured his passion, not as a hobby, but almost as an alternate life itself.  Like the other stalwarts, this work by him is a work of a life time.  His research is now ready to be published; actually it is already at the printers, and should be published this month.

Introducing Shri KL Pandey, a very senior officer of the Indian Railway Traffic Service, whose lifetime passion has been his research on the classical base of the Hindi film song.  I will present this article in three segments – telling you about the person himself, telling you how we met for the first time, and then I will talk about his work.

Pandey ji is one of the senior most officers in the Indian Railways.  Till a few months ago, he was the additional member Railway Board for Tourism and Catering, and has retired from service since.  As a post retirement posting, currently he is heading the Railway Claims Tribunal, and is posted at Gorakhpur.  He is an MSc in Biochemistry from Lucknow University.  In 1977, he joined the Indian Railway Traffic Service (IRTS), and has been rotating through a number of senior postings, up to the level of Additional GM, before being elevated to the level of Additional Member at the Railway Board.  Our dear Atul ji has also shared location posting with him.  The two were posted in Jabalpur concurrently for some time.  Atul ji admits that he was never introduced to him personally, but he knows about his work.  Pandey ji is always busy, but he also always finds time to organize programs based on film music and classical music.  Atul ji says that he has attended few programs that Pandey ji had arranged while in Jabalpur.  And yes, Atul ji remembers with glee that at one of these programs, held in february 2009, he collected the maximum number of chocolates given to the audience for correctly answering some quizzes on film music.

Pandey ji has studied classical music for three years, but he admits that it was at the secondary school level, and part of the overall curriculum, not a full time dedicated course.  Whilst that learning in itself, did not make a classical music artist out of him, however the seeds of the research work that he would take up later in life, were definitely sown by this coursework at school.

His love for the Hindi film music, coupled with his earlier training in classical music, created a passion within him to start working on the classical basis of the Hindi film songs.  I will describe his work and research also, but first I will tell you about our first meeting.

Our first introduction is as recent as recent can be – 4^th April last year, just about thirteen months ago.  Pandey ji was posted at the Rail Bhavan in Delhi.  On 2^nd April, I get this email from Harmandir ji.  He informed me that he has to be in Delhi on Friday the 4^th April, for personal work.  He said that he will have time on hand, and that he has been in touch with one Shri KL Pandey, additional member Railway Board, and that he would like to set up a brief meeting with him.  The next day, I checked in on the phone with Pandey ji, and he agreed to meet us in his office around noon time, for about 20 minutes or so.  Harmandir ji agreed that it would be fine.

Harmandir ji had briefed me a little bit about the purpose of this meeting.  He had told me, in very brief, that Pandey ji was doing research on the classical raags in Hindi film songs.  Given that Harmandir ji is the compiler of the Geet Kosh, evidently Pandey ji is a serious user of this compilation.  This is the first time even Harmandir ji would be meeting him in person, the earlier communications being either on email or phone.  I basic idea was to explore how to leverage the data in the Geet Kosh for his research, and to explore any common ground between the two efforts.

Harmandir arrived from Kanpur by train, and I picked him up at the New Delhi station.  We had a very short drive to Rail Bhawan, and we were there on time.  I called up Pandey ji.  At first he did not pick up the calls, and we were slightly concerned.  Then after about 20 minutes of waiting, he called back, saying that he was tied up in a meeting that was in progress, and can we come to his office on a little later schedule, say around 1 pm or so.  As our prime purpose was to meet him, we agreed.  Harmandir ji and I just walked over to the nearby India Gate lawns, and sat down.  In any case, we had a lot to discuss between ourselves also.

So around 1 pm or so, we walked back to Rail Bhawan, went to the reception, and gave him a call again.  He said he is sending down one of his staff to guide us.  After a few minutes, a person walked down, and then escorted us up to the 5^th floor office of Pandey ji.  As we entered the office, we realized that the meeting was still in progress.  We were a little hesitant, and asked him if we should wait outside.  He insisted that we should sit in the room, on the other seatings available on the side, while this meeting would be concluding in a few minutes.  So we waited some more.  Tea was served, and the meeting continued.  I quietly indicated to Harmandir ji that we will probably get a very short audience, given the seemingly tight schedule Pandey ji appeared to be busy with.  Harmandir ji agreed, and we waited to see how much time we would be allowed to discuss the items of common interest.

After a wait of a few more minutes, the meeting came to a close. The customary action items were discussed, and the other people in the meeting took his leave and bid good bye. Now Pandey ji invited us over to join him at his table, while profusely apologizing for the wait that we had to endure.  In my mind, the invite to come to table was an indication that our conversation would be short, as he would be continuing to do whatever work he had to get done that Friday afternoon.

But the meeting turned out to be completely beyond my expectations and concerns.  We immediately launched into the topics concerned, with Pandey ji’s complete focus and animated energy on our discussion.  Can you guess how long the meeting lasted?  We were there for the rest of the remaining hours of the afternoon, and beyond the official working hours.  Our meeting lasted for four and a half hours.  Yes, completely beyond my expectations.  And also beyond his expectations, as he also expressed to me later.  You can well imagine, a meeting that lasted for so long, must have been full of very energetic exchange on the topics of common interest.  Four and a half hours – goodness.  I came away from the meeting verily impressed with Pandey ji’s depth of knowledge and his complete and dedicated involvement with the subject, that goes even beyond being called a ‘passion’.

He told us about his work. We talked about missing informations about films and film songs.  We talked about rare songs and stories around trying to trace them.  He told us about the pervasiveness of the use of classical raags in the film songs.  We just went on and on and on.  Our meeting eventually came to a close, not because we were getting short on words or topics, but because after realizing it was nearly 6 pm, we were then concerned about other things that each of us had also to take care of, including another meeting that Harmandir ji and I were supposed to be at, and that Harmandir ji had to take the 11 o’clock train back to Kanpur. So that was, in brief, our first meeting.

Of course, we have been in very active communication after our first meeting.  The next thing that happened is the monthly ‘baithak’ that we have in Delhi.  Unbeknownst to each other, both of us reached there, and it was another surprise meeting again, within a few days of the first meeting.  Then the next ‘baithak’ in the subsequent month.  Then information exchange on emails.  Bakhshish Singh ji, being part of the ‘baithak’ group, was also introduced to him.  Then together, Bakhshish ji and I, we used to drop in at his office, and continue our never ending exchanges on searching for difficult to obtain songs, on the classical content of film songs, about lesser known artists, and on and on and on.

Then came the search for rare songs.  In our exchanges, he would write about songs that he has been looking for, for a long time.  In many such cases I have been able to help, by locating the rare items, in my collection or from other friends.  Let us park this thought, as I will come back to it again, later in this article itself.

Now coming to the work that he done over the past almost two decades. Reigniting his interest in the classical basis of songs, he self taught himself the basics of Hindustani classical music.  He taught himself the grammar of the raags.  In fact, as part of his research, he has compiled a comprehensive glossary and a detailed grammar of individual raags, which has become one of the volumes of the combined publication that is under preparation right now.  His passion was (and is) the search for the raag content of the film songs.  He first researched into the variety of raags themselves.  Starting from the seven basic notes, the combinations and permutations of how these notes can be sequenced together to create music that is pleasing to the ears and the heart, are almost infinite.  In fact, every piece of music that has been created, or can be created, eventually has to be built from these seven basic notes.  And thus, eventually, every piece of music can be identified with the structure of one of the raags in our classical system.  Of course, some of this music is not pleasing to the ears, rather it is offending.  That is also part of the same system.  Although, maybe not identified as a specific raag, it still is built from the same basic notes, and the ‘displeasing’ sequence could also be defined as a raag.  But then, the learned of the yore who created these raags, were discerning enough to identify pleasing music – music that appeals to the mind based on the mood and circumstances, and yes, time of the day.

In the almost two decades of this quest, Pandey ji has analyzed almost 15 thousand film songs, starting all the way from 1931 when the first talkie film came, down to the current item songs and hip hop combinations that are passed for so called ‘music’ by a new breed of musicians, most of them without any grounding or any knowledge of the basic grammar of classical music.  His method is that he will sit down with the harmonium, assisted by his associates on other instruments like tabla and taanpura.  He will play the song on harmonium, and then identify the basic notes that form the basic structure of the song.  This structure is then mapped on to the known raags, to identify which specific raag is used in a particular song.  His findings are startling, to say the least.

1. Every song that sounds pleasing in any way, can always be mapped on to one particular raag, or, many a times, to multiple raags.
2. Pure one raag songs were the norm in the 1930s. After that, such pure one raag songs are rarely found.
3. Most songs of 1940s and later are found to be using two or three or more raags in their composition.
4. Knowledgeable music directors of earlier decades designed the songs around the raags. Many raag maalikas were created by combining multiple raags within the same song.
5. The music directors of current era, also create pleasing music. They do not realize it, but they are using some raag or raags in their compositions. They may not be aware of it, but the nature of ‘pleasing’ music knows what it is doing.
6. Of the more than 4 thousand raags, sub raags etc., so far only 170 raags have appeared in his analysis, as clearly identifiable.
7. In his sampling, the maximum used raag is ‘Pahaadi’ and the next is ‘Khamaaj’.
8. His analysis has identified songs with as many as six or seven or even more raags to be present in the same song. The maximum that he has found so far in 10 raags, used in the song “Aaya Tere Dar Pe Deewaana” from the 2004 film ‘Veer Zaara’.
9. He has analyzed the latest popular songs.  Even the item songs from the current era – songs like “Chikni Chameli” from film ‘Agnipath’ (2012) and the intense song of angst “Chhil Gaye Naina” from the latest film ‘NH 10’ (2015) have a very distinct classical raag based structure.

The discussion on his findings is endless, as one continues to scan the lists of songs he has analyzed.  And besides being endless, it is also wholesomely interesting, for the keener minds and serious aficionados of music.

His work is now ready for publication. The entire research is too voluminous to be published as a one volume book.  There is one volume of glossary and grammar of classical music.  Then there are seven volumes that contain the classical raag structure and details of the 15 thousand songs that he has analyzed.  These are organized by raags.  Then there is a ninth volume that is an abridged sampling of nearly four thousand of the more popular songs.  This ninth volume is arranged by song title.  The work is monumental, and has the potential to spawn further research both into the film music and classical music.  In fact, there are a number of PhD projects in progress right now, by students from across various universities in India, that have based their theses on one or the other analysis from Pandey ji’s research.

I could go on and on, but then this article has to be sustained to a proper closure.  For those interested in this work, I suggest to google his name online, and also on YouTube.  There is an immense amount of information available online.  He has also set up a web site to introduce his work.  This can be accessed here.

And now, coming to this song that I have selected for this post.  This is one of the songs that I helped to track down for Pandey ji.  On 1^st February earlier this year, I got a call from him.  As always, there were a few items that we talked about, including a conference on gramophone record that was held at JNU (Jawaharlal Nehru University) in Delhi just about two weeks prior to that call.  I had been invited to the conference, and there had been an interesting discussion on Pandey ji’s work that I had started, in a session where someone had claimed that the classical content of the film songs was steadily decreasing.  So after going over the three four items already in progress, Pandey ji asked me if I have the film ‘Jaldeep’.  The name did not immediately ring a bell in my mind.  Pandey ji said that it was a film from 1950s, probably 1955 or 1956, and it contains a couple of fabulous light classical songs.  He was looking for the songs, for his analysis, but unable to get hold of them.  I promised to search this request and get back to him.

After the call I checked my collection.  No I did not have a film named ‘Jaldeep’ from the 1950s.  I went back to the Geet Kosh.  As I was checking the details, the name in the production banner struck me like a bolt of lightning.  Gosh, this is a film by the Children’s Film Society (CFSI).  Immediately I knew where to start the search.  I opened up the CFSI channel and started searching their content.  After some patient search I located the complete film posted on that channel.  I quickly downloaded it and then spliced out the songs.  And immediately messaged Pandey ji with the song and the details.  So  this songs is the one that Pandey ji pointed out to me.

On the phone he had said that two of the songs of this film are really very lovely, including this one.  When I heard this song, I was simply floored by the simplicity of composition that steals your heart, and the unhurried pace at which it is rendered makes it such pleasing music to listen to.  Four antaraas, lovingly rendered in almost six minutes.  The lyrics of this song are written by Kidar Sharma, who is also the director of this film.  Incidentally, on 29^th April that has just passed, was the anniversary of passing away of Kidar Sharma.

The music is by Snehal Bhatkar.  All information is ok, except for the singer’s name(s).  As we see the video clip, very clearly the leading ‘mukhda’ and the last antaraa are sung by a male voice.  The middle three antaraas are fully in chorus voices.  Now the Geet Kosh lists Rajkumari as the singer of this song, but I think that could be an error.  Note: Pandey ji has confirmed via a follow up message that the male voice is that of Snehal Bhatkar himself.

NOTE: Furhter, Pandey ji has informed that this song is based on raag Yaman, with a little bit of raag Pahaadi.

The filming of this song is simply exquisite.  The scenario is that a group of school children are returning back to their homes, after celebrating and participating in the school’s annual sports day.  The lead players in this film are the boy and girl on the bicycle.  They are brother and sister in the storyline.  Note: In his comments, Sadanand ji has correctly identified the boy as Ashok Sharma, son of Kidar Sharma.  One can recall his slightly elder version in the film ‘Hamaari Yaad Aayegi’ (1961).  Also, as Atul ji indicates, the girl is Preetibala.  The two names appear in the list of actors as given in the Geet Kosh. Furhter, as Nitin ji has added, Preetibala is none other than the actress who later worked in films as Zeb Rehman.  In between we also see a younger and plump boy, who plays an important role in the film.  Other boys and girls are co students from the same school.  As the students bicycle their way back homes, the scene setting of rural India are so nostalgic, reminding one of the simpler days and simple lives that people led, completely uncluttered with Facebook and WhatsApp ;).  It is a very soothing picturization.

And so, eleven thousand and one hundredth song makes an appearance today.  Just a little while ago as the writing of this article was in progress, I had an email exchange with Manju ji (Manju Amarnath Das, daughter of producer director K Amarnath).  She writes, and I quote, “Sometimes, I wonder, the blog has covered so many songs, are there any more left – and then you all come up with some forgotten gems.”

Ah yes Manju ji, we do.  There is a ton of musical gems still waiting to be posted on this blog.  This song has been searched and located, courtesy KL Pandey ji.  And I must add – this musical journey is far from over.

Song – Dekhi Dekhi Dekhi Panchhi Dekhi Ye Phulwaari (Jaldeep) (1956) Singer – Snehal Bhtakar, Lyrics – Kidar Sharma, MD – Snehal Bhatkar
Chorus

Lyrics

dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari
dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari
kaisi pyaari hai har kyaari
kaisi pyaari hai har kyaari
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

dulhan ban kar shaakhen jhoomen
maa’en bachchon ka munh choomen
it hariyali
ut hariyali
hai koi badaa siyaana maali
jisne ki hai ye gulkaari
dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

dekhi nirmal jal ki dhaara
pighli chaandi behta paara
chhote paudhe oonche Mandir
jal ke baahar
jal ke andar
hai ye kiski mahima saari
dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

sunder phool kahin hai peele
oode laal basanti neele
wo kaale bhanwaron ki toli
kaisi kheli sab ne holi
na hai rang na hai pichkaari
dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

saari duniya jab hai soti
shabnam laati hai kuchh moti
kirnen suraj ki aati hain
ye sab moti le jaati hain
de kar gotaa aur kinaari
dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari
kaisi pyaari hai har kyaari
kaisi pyaari hai har kyaari
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

dekhi dekhi dekhi
dekhi dekhi dekhi
dekhi panchhi
panchhi dekhi ye phulwaari
panchhi dekhi ye phulwaari

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Hindi script lyrics (Provided by Sudhir)
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देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी
देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी
कैसी प्यारी है हर क्यारी
कैसी प्यारी है हर क्यारी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

दुल्हन बन कर शाखें झूमें
माएँ बच्चों का मुंह चूमें
इत हरियाली
उत हरियाली
है कोई बड़ा सियाना माली
जिसने की है ये गुलकारी
देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

देखि निर्मल जल की धारा
पिघली चांदी बहता पारा
छोटे पौधे ऊंचे मंदिर
जल बाहर
जल के अंदर
है ये किसकी महिमा सारी
देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

सुंदर फूल कहीं हैं पीले
उदे लाल बसंती नीले
वो काले भँवरों की टोली
कैसी खेली सब ने होली
ना है रंग ना है पिचकारी
देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

सारी दुनिया जब है सोती
शबनम लाती है कुछ मोती
किरणें सूरज की आती हैं
ये सब मोती ले जाती हैं
दे कर गोटा और किनारी
देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी
कैसी प्यारी है हर क्यारी
कैसी प्यारी है हर क्यारी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

देखी देखी देखी
देखी देखी देखी
देखी पंछी
पंछी देखी ये फुलवारी
पंछी देखी ये फुलवारी

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.

Entertaining Sales Pitch Songs – 10
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[Note of Apology: This write up has been in the making since two nights, including the “telephonic interview”.  Apologies that I was not able to post it before midnight yesterday. But then the thought comes – it is still 19th July somewhere in the world. Ah yes, our Khyati Ben in Los Angeles, USA,  is still working through the 19th.  So in a ‘relative’ way, this post is still on time. A brief summary of the celebration events covered herein – seventh anniversary for the blog, 11,300th song posted, and the completion of the planned ‘Entertaining Sales Pitch Songs’ series. Read on.]

[Note of Apology 2: With due apologies to Atul ji, for having taken some liberties in narrating certain aspects of his household.  I am very sure the permission towards these liberties are/will be granted, even though the same has not yet been formally requested ;) ]

Einstein has said, and he must have been quoted on this many million times by now, that ‘time is relative’. There are a variety of different explanations and discourses on this single statement, depending on the perspective or the branch of science or maths, or for that matter, any other subject, that one is considering. There is a very interesting anecdote connected with this statement. Once a newspaper reporter asked Einstein to explain in simple terms, what is the meaning of the phrase ‘time is relative’.  And Einstein, without going into any mathematical or philosophical explanations, gave the following response.  He said – consider the situation when someone is holding your feet to the fire.  In such a circumstance, a passage of even 5 seconds would seem as if an hour has passed. Then again, think of a situation, when you are sitting and talking ‘sweet nothings’ with your beloved.  Then, after an hour has passed, it would seem to you as if just maybe five minutes have gone by.  That is what makes time relative. :)

Not thinking about spending time on exchanging ‘sweet nothings’ with one’s beloved, the ‘relativity’ of time comes in as such a strong realization in my life, as I look back on my association with this blog, and the people who have now become part of a family, a la the ‘musical bandwagon’.  It is simply so hard to believe that it is more than four and a half years since I first subscribed to this blog.  And in one of  our recent exchanges, Atul ji expressed the very same sentiments – it is hard for him to believe that this blog is about to celebrate seven years of its existence. Goodness, it just seems like yesterday that we were discussing the songs of Saigal Sb, and we completed the posting of all the available Sajjad Hussain songs.  And it seems just like last month that the debut song of this blog – “Miley Na Phool To Kaanton Se Dosti Kar Li”, made its completely unassuming and unobtrusive appearance on the internet.  As I look back into the records, the last song of Saigal Sb was posted on 18^th September, 2011.  That is close to four years ago now.  The last song of Sajjad Sb, in regular sequences of posts, was posted on 15^th June, 2013 (with another rare find posted later on 16^th June, 2014).  That is just a little more than 2 years ago.

And yes, the posting of the debut song – well, today we are celebrating the seventh anniversary of that day – 19^th July.  Atul ji has mentioned in an earlier post today, that since he does not maintain a diary, he is not able to recount what may have transpired in the days just before that day – in his mind and in his actions.  He was responding to Peevesie’s Mom ji request to him in her post yesterday, “Chaand NazarAa Gaya”, to share what was in his mind on the eve of posting the debut song.  Atul ji was not very helpful in this matter.

From our earlier discussions on this, and the narratives that have been shared earlier by Raja ji and Atul ji himself, this blog came about from an online discussion they had, as they were discussing other matters related to cricket, on a cricket based discussion forum online.  Their exchanges on cricket also started to include topics related to Hindi film songs.  At that time, the lyrics of the songs were hard to come by on the net.  Atul ji mused about it, and in discussions with Raja ji, the idea for this blog was born – to setup a blog to post one Hindi film song per day.  The post would contain the full lyrics of the song, the online link to listen/view the song, and a brief article accompanying it would document some details, interesting related information, and possibly a discussion on the contents of the song.  And so, on 19^th July, seven years ago, this blog was born.

In earlier discourses, Atul ji has shared that initially he did not expect this effort to amount to much.  He had no expectation of many folks getting interested to read his blog.  At best, it was visualized as a short term (relatively speaking :) ) effort.  In the beginning, Atul ji estimated that this blog would slow down and maybe come to a stop after he had posted all his favorite songs, which he had earlier estimated to be somewhere in the neighborhood of 2000 to 2500 songs.  And that too, if he himself could muster up enough energy and interest to keep it going that long.  Of course, the history and the events of the past seven years, and the current state of affairs on this blog, has completely belied this initial mindset and expectations – belied, in a most mind boggling manner.

I am going to take a great leap here, as another set of thoughts come on board the think train chugging  through the mind. A few days back, I was a small get together of like minded music loving friends.  The discussion, for no specific reason, moved towards the books related to Hindi film music. I happened to mention about the imminent publication of KL Pandey ji’s compendium of his research on the classical music content of the Hindi film songs.  The discussion then progressed towards other compilations like Geet Kosh books for Mukesh, Talat Mehmood, and Hemant Kumar, and other compilations that different authors have brought out – for Madan Mohan, Lata Mangeshkar, Bharat Vyas, Kishore Kumar, etc. And then, I think it was Zafar Bhai who commented that whatever may have been done by the many authors to write/compile books about various artists, the compilation of the Hindi Film Geet Kosh stands out as a giant and a sterling effort, that will probably never be surpassed.  I cannot agree more with this observation – the effort and the tribulations that Harmandir ji ‘Hamraaz’ has gone through, and the outcome of this effort in terms of the five volume set is a rare category all by itself.  No other work on Hindi film songs and its artists can be placed in the same category as the Geet Kosh.

Then my mind wandered further, and the thought came – our blog is also probably in a category all of its own.  There is nothing that comes close to it – in terms of approach and content, in terms of quality of data and information, and most importantly, the aspect of a continuous growth. Everyday there are selections of new offerings. And when we say every day, it is in fact EVERY DAY.  Rare are the days that are dot ball days in the entire run up of the seven years ‘labor of love’ that has brought this blog to 11,300^th song today. That speaks volumes about the relentless toil and a determined and disciplined leadership that is attributed to our ‘fearless leader’ – Atul ji, the ‘Raanchi Waala Gaane Waala.

So all this well said, and I am sure, well read by you, the readers.  However, the starting query, which was initiated by Peeesie’s Mom last night, still remains unanswered.  Atul ji is not much help – he has already announced that he is not a ’diarist’. I have been wondering where can one find some more information to address the query.  And then, it struck me.

It was very late last night, and Ben Katie can vouch for it.  I had responded to an email from her at 2:40 am India time.  It was just after about 3 am that it struck me.  The best way was to make the call. But I was hesitant.  The time was too odd to connect, and then to start a discussion on this interesting topic. But then, the opposing argument was that this is probably the only right time for such a conversation. Next day, i.e. today, being a Sunday, this conversation would not be possible.  So I decided to take the chance. And dialed the number.

And I prayed that the phone be picked up within one or two rings only, before the sound of the phone bell disturbs Atul ji from his sleep.  The gamble paid off royally. The phone was picked up even before the first ring could complete itself.  And the gruff ‘woof’ confirmed to me that the right person had picked up the phone.  3 am is probably a good time for the wishes to come true.

Chhote was on line.  Without any preamble, I identified myself.  On hearing my name, there was a ‘whoosh’ of joy from the other end of the line, accompanied by a snappy ‘yippeeee’ in another voice, which I immediately guessed, is ‘Bhole’. Both of them were on top of each other, profusely thanking me for the ‘birthday gift’ song I had posted for Atul ji, some days back – “Chhota Sa Pappu Hoon. . .”.  Both were competing to congratulate me for locating that song and bringing it to the blog. They marveled at the appropriateness of my song selection, in general, and for the opulent gem, in particular.  (I insist to the readers that the praises quoted above are verbatim as I heard them from Bhole and Chhote; confirmations can be made any day by calling the Besra residence at 3 am or later in the night). And especially Chhote was besides himself with pleasure, since even his name appears in the song.  I must add that I was completely floored by receiving these compliments from such an unexpected quarter. (The ‘unexpected’ part is an oversight on my behalf; this is actually the most ‘expected’ quarter for such compliments).

So, after these initial pleasantries, the conversation moved ahead. I told them the purpose of my call, that I was looking for some background inputs into the creation of the blog.  With a short subdued yelp, Chhote growled that indeed I had contacted just the right people for this information. “Wo wo, ask away” he said.  So I repeated my query, about the state of affairs of the mind of Atul ji during the days leading to 19^th July, 2008.

Chhote began to talk.  In short, but very lucid sentences, he began to describe the events of the few days before the date in question.  Their master was used to spending long hours on his laptop, pounding away on the keyboard, as he communicated with other friends. Cricket, of course, is a significant passion for him.  There had been days already when difficult words had been exchanged between their master, and the lady of the house.  She felt that altogether too much attention and time was being monopolized by this passion.  There were some references to ‘unreal’ people with whom the master was seemingly spending apparently ‘too much time’. Bhole joined in with his staccato of comment, saying that they were still new to the computers. Their use was limited to playing with the laptop after their adopted family had gone to sleep, and listening to the music stored inside it.  Bhole said that these few hours every day were simply the best for them, as they browse through their playlists on the Windows Media Player.  Even their own interest in cricket is limited to being concerned that India should perform well against other nations, but that’s about it.  Blogging was till then, an unfamiliar concept for them, and they would wonder what the master was doing, spending so much time simply typing away on the keyboard.  The exchanges between the master and the mistress gave them some idea that the former was spending time on the computer to ’talk’ cricket with other friends who probably lived hugely long distances away.

Chhote then said that he clearly remembered it was probably the night of 15^th July. Master suddenly opened up the topic about starting a new website on film music. Both of them were immediately excited at the prospect.  However, the master also expressed his apprehensions about the time requirements for these activities, and the difficulties it might create in conversations with the mistress. Chhote added that they expressed solidarity with him, saying that they would be very happy to be part of this new enterprise.  Master expressed happiness at their support, but he seemed worried with doubts about balancing things in life.  The conversation ended for the evening.

Bhole continued.  Later that night and the next day, the two of them continued discussing this new topic.  They felt that this would be a very wholesome new activity that would give them opportunity to listen to more music.  Both of them agreed that they were spending altogether too much time outside the house, listening to Hindi film songs being played on the radio at the Paanwaala shop, two streets away.  They felt that the current announcers on the radio channels were very limited in their choices for good songs.  Maybe they were not even aware of the really good artists from the golden period, and continued to play mostly the same selections repeatedly.  If the master would start this new activity, then they would be getting opportunity to listen to more and more of the beautiful music that was not easily available. Bhole said that it was Chhote who quipped at that juncture – wo wo, it would be like having a Paanwaala shop inside the home itself, and master would be playing all those wonderful songs from the olden times. Bhole said that both of them had a hearty gruff laughter on this thought.  But they agreed that the master must be convinced to pursue this idea, and not give it up.

Next night, when they conversed again, Chhote said that master was pretty sure he did not want to get into additional activities on the computer. Chhote said that his heart sank.  He looked at Bhole and Bhole looked at him.  They thought probably they had too much mirthful growling on the idea of the Paanwaala shop inside the home, that Gods had decided to punish them.  Of course they did not literally mean that master would be actually selling Paan and cigarettes, while he played the music.  That was just a rhetorical statement.  But now both of them were feeling like cads for having these thoughts the previous night.

Bhole said that he then went to the master, and put his nose against his hands, and requested him to think more seriously about this new activity. Chhote added that they promised they will be good kids, they will spend more time at home, and will not get into unnecessary growling and howling competition with the other canine kids on the streets.  He said the master was surprised.  He said that he didn’t realize that the Hindi film songs were such a favorite topic with the two of them, much more than cricket.  He now seemed to be more enthused about it, and promised to think seriously about starting this new activity. Bhole said that that night, both of them spent some time praying to their ‘Wolf’ God, to make this happen.

The next night, which was the 17^th July, the master was not very communicative.  He seemed very busy on his computer, and both of them were silently making brief entreaties to the ‘Wolf’ God that master be working to decide in favor of this activity.  That night, and most of the next day were very full of suspense for both of them.

Then came the night of 18^th July.  Master continued to be busy, but he seemed more relaxed, and more communicative. He said that he had been consulting with his friend in Europe, and finally he had decided to experiment with this new idea.  He said he would try it for some days, and see how much time it took, and how many of his friends would like it.  He then briefly described the format of this new website.  Both of us were immediately taken in with the description, and immediately whelped our support for it.  Our response seemed to strengthen his resolve.

Bhole said that just the previous day, he had heard this very good song on the radio at the Paanwaala’s shop.  When master said that he had chosen that as the first song to start the new website, Bhole was overcome with joy.  As per Chhote, he was up and down the house and around the open verandah at least five times in the next two minutes, with his tail wiggling and waving at speeds that would match the canine world records. This was going to be a great thing. No more rushing out to the Paanwaala shop two streets away to listen to the radio. Meanwhile, the master became busy on the keyboard, and Chhote said they realized that the new web site with Hindi film songs was in the making.

The next day, 19^th, master announced that he had initiated the activity on an experimental basis.  Bhole said that he thanked both of them for their inputs and encouragement, and also that he expected them to be more well behaved in the future.  Bhole said that both of them looked at each other, and whined out a solemn promise between themselves. So after master went to sleep, both had a good look at the new web page.  It seemed fairly well balanced and well done. They discussed between themselves that they were sure things will improve with time.

Then I asked them about how they felt today about the blog, after having spent seven years with it, and having seen all the development first hand from the closest vantage point.  Chhote said they were very happy and satisfied with the development. The most important thing for them was that on most days, they would be introduced to new songs that they had never heard before.  It was this joy of meeting new and unexpected songs that has really spiced up their daily routine in the past seven years. Both of them were quite ecstatic about it.

Now it was the turn for them to ask me. Chhote enquired whether I was gathering their inputs just for myself.  He growled that the preference would be to see this described in an article on the master’s web site. I then promised that I would write up this narrative, and that they could check it tomorrow. Then Bhole chimed in and asked me whether I had heard this wonderful Paanwaala song from the film ‘Taxi Stand’.  I told him that yes, I had got this song recently from another friend and that I too was very much taken in by this song.  Bhole suggested that I use this song with my article about this narrative.  I promised that I would work it in.  Chhote added that although the film is not available, but that he was quite sure that this song is a Johnny Walker song.  Just listen to the lines, he said.  The singing is very much Johnny Walker style.

Our conversation had gone on for almost fifty minutes by then. I suggested to them that we close the talk now, and that I needed to get some sleep before morning came. They simply would not let me end the conversation, till I promised them that I would call again within the next few days itself.  The promise seemed to satisfy them, and so I disconnected and took to the bed.  There was going to be a marathon writing session coming up the next day.  Before closing the call, I requested them to be on the lookout for this article.  They promised they will, and will provide their inputs to the master.

So that was a very very very interesting and revealing conversation.  And here is the song suggested by Bhole.  It is from the 1958 film ‘Taxi Stand’. The lyrics are written by Majrooh Sultanpuri, and the music is by Chitragupt. And of course the singer is Rafi Sb. Chote had suggested this was a Johnny Walker song, and so the singing has to be Rafi Sb.

I also thought that this would be a very appropriate song to go with this century write up on the seventh anniversary of the blog.  Especially after the manner in which Bhole and Chhote had described their time spent in listening to songs at the local Paanwaala shop, and also how they had once visualized their master opening up a Paanwaala shop inside the house. :)

Bhole’s suggestion is a rare find. With the song, come the congratulations both of them have requested me to convey to the entire team as well as the readers and friends.

Seven years, eleven thousand three hundred songs.  And we are nowhere close to being done with this wonderful ocean of Hindi film music.  Kudos to the entire team for their efforts. And a very special thanks to Bhole and Chhote, without whose pushing, this blog may not have seen the light of the day.  Wonderful song suggested by them.  Listen and enjoy.

PS: This additional note is based on recent conversations with Atul ji.  First, he cautioned me not to be taken in by the enthusiastic commentary by Bhole and Chhote.  Part of their conversation needs to taken in with a barrel of salt, and of course, should be reviewed and edited properly.  He cautioned me about the friendly praises they were giving me; and some of the so called “presumptuous facts” that they would express with such earnestness, maintaining a straight face, but laughing their hearts out behind the back.  As an example, he pointed out that Johnny Walker was not even listed in the star cast of ‘Taxi Stand’.  And my mind went back to my “night” conversation with Bhole and Chhote, whence I had been talked in to believe that this song is a Johnny Walker song.  Plus Atul ji also points out that their claims of promises to be good kids, are not so true as they would have me believe.  He has first hand experience of this, and knows in how much water they stand (कितने पानी में हैं). And left it at that.

So I have made the correction to the categories list of this song, removing the tag for “Johnny Walker”.  I am leaving the rest of the article untouched for now, with the promise that in future, I will be more careful in verifying the things that Bhole and Chhote share in their conversations. Amen to that – :) ]

Song – Aana O Bhai Jaan Khilaaun Paan Laga Ke Chuna (Taxi Stand) (1958) Singer – Mohammed Rafi, Lyrics – Majrooh Sultanpuri, MD – Chitragupt

Lyrics

aana o bhai jaan khilaaun paan lagaake chunaa. .aa. .aa

aana
o bhai jaan
khilaaun paan lagaake chunaa
aana
o bhai jaan
khilaaun paan lagaake chunaa
isko chabaa ke yaar
agar ho pyaar
mazaa ho doona
aana o bhai jaan khilaaun paan lagaake chunaa. .aa. .aa

beeda mera jo khaaye
laali kuchh aisi chhaaye
jo baat nikle munh se
tachni color ho jaaye
beeda mera jo khaaye
laali kuchh aisi chhaaye
jo baat nikle munh se
tachni color ho jaaye
ye mere paan
hain angrezi
o ruk ruk yaar
na kar tezi
haathon se mat chhoona
aana
o bhai jaan
khilaaun paan lagaake chunaa
aana o bhai jaan khilaaun paan lagaake chunaa. .aa

chhori
ho ya koi chhora
gori
ho ya koi gora
kha ke gilori meri
daale dilon par dora
chhori
ho ya koi chhora
gori
ho ya koi gora
kha ke gilori meri
daale dilon par dora
majnu khaaye
romance karey
arey laila khaaye
to dance karey
dekho seth namoona
aana
o bhai jaan
khilaaun paan lagaake chunaa
aana o bhai jaan khilaaun paan lagaake chunaa. .aa. .aa

keemat hai itni sasti
rangeen hai saari basti
dekho to iski khushboo
parkho to iski masti
keemat hai itni sasti
rangeen hai saari basti
dekho to iski khushboo
parkho to iski masti
o mister kyon
o akka phoon
o bolo miss
tumhen kya doon
desi bangla poona
aana
o bhai jaan
khilaaun paan lagaake chunaa
isko chabaa ke yaar
agar ho pyaar
mazaa ho doona
aana o bhai jaan khilaaun paan lagaake chunaa. .aa. .aa

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

आना ओ भाई जान खिलाऊँ पान लगा के चूना॰ ॰आ॰ ॰आ

आना
ओ भाई जान
खिलाऊँ पान लगा के चूना
आना
ओ भाई जान
खिलाऊँ पान लगा के चूना
इसको चबा के यार
अगर हो प्यार
मज़ा हो दूना
आना ओ भाई जान खिलाऊँ पान लगा के चूना॰ ॰आ॰ ॰आ

बीड़ा मेरा जो खाये
लाली कुछ ऐसी छाए
जो बात निकले मुंह से
टकनी कलर हो जाये
बीड़ा मेरा जो खाये
लाली कुछ ऐसी छाए
जो बात निकले मुंह से
टकनी कलर हो जाये
ये मेरे पान
हैं अँग्रेजी
ओ रुक रुक यार
ना कर तेज़ी
हाथों से मत छूना
आना
ओ भाई जान
खिलाऊँ पान लगा के चूना
आना ओ भाई जान खिलाऊँ पान लगा के चूना॰ ॰आ॰ ॰आ

छोरी
हो या कोई छोरा
गोरी
हो या कोई गोरा
खा के गिलोरी मेरी
डाले दिलों पर डोरा
छोरी
हो या कोई छोरा
गोरी
हो या कोई गोरा
खा के गिलोरी मेरी
डाले दिलों पर डोरा
मजनू खाये
रोमांस करे
अरे लैला खाये
तो डांस करे
देखो सेठ नमूना
आना
ओ भाई जान
खिलाऊँ पान लगा के चूना
आना ओ भाई जान खिलाऊँ पान लगा के चूना॰ ॰आ॰ ॰आ

कीमत है इसकी सस्ती
रंगीन है सारी बस्ती
देखो तो इसकी खुशबू
परखो तो इसकी मस्ती
कीमत है इसकी सस्ती
रंगीन है सारी बस्ती
देखो तो इसकी खुशबू
परखो तो इसकी मस्ती
ओ मिस्टर क्यों
ओ अक्कड़ फूँ
ओ बोलो मिस
तुम्हें क्या दूँ
देसी बंगला पूना
आना
ओ भाई जान
खिलाऊँ पान लगा के चूना
इसको चबा के यार
अगर हो प्यार
मज़ा हो दूना
आना ओ भाई जान खिलाऊँ पान लगा के चूना॰ ॰आ॰ ॰आ

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 blog has in the past seen centuries being posted in 15-16 days which was Sehwag like scoring rate so to say. But the century that we achieve today with this song has come at a Chris Tavare like strike rate. :)

For those who do not know who Chris Tavare was, he was an English test cricketer of 1970s and 1980s, and his glacial rate of run scoring made Geoff Boycott look like a Sehwag in comparison. :) He has become a legend in his own right, as this article mentions.

This latest blog century, which takes us to the mark of 11400, has come in 60 days, which is easily the slowest century achieved in this blog since 2008.

Better late than never, though. Let us get this century over with, so that we may try and regain our lost momentum.

HFGK lists five songs in the movie “Ek Mutthi Aasmaan”(1973) and three of these songs have been discussed in the blog in the past. The singers who sang in this movie are listed as Kishore Kumar, Asha Bhonsle, Manna Dey and Vani Jairam.

Madan Mohan is the music director.

Madan Mohan is the music director and yet there are no Lata song in the movie ! That is what is mentioned in HFGK.

It turns out that Madan Mohan did record a song in Lata’s voice meant for this movie, but this song could not be utilised and ended up becoming an unreleased song.

Here is that unreleased song from “Ek Mutthi Aasmaan”(1973) as the 11400th offering in the blog.

This song is penned by Indeewar.

Since it is an unreleased song from the movie, so this song was not picturised.

This is a nice semi classical song. Santoor in this song is played by Shivkumar Sharma and Sitar is played by Raees Khan.

With this song, we reach yet another landmark in the blog. The slow rate of scoring in this age of T20 was mainly because of reasons that I have already discussed a ten songs ago here. I am more or less settled now in my new place and so hopefully our next centuries and landmarks will come at more acceptable rates.

I take this opportunity to thank all the readers, visitors and contributors of this blog for their support and encouragement.

Song-Khile kamal si kaaya teri(Ek Mutthi Aasmaan)(1973) Singer-Lata, Lyrics-Indeewar, MD-Madan Mohan

Lyrics

khile kamal si kaaya teri
khile kamal si kaaya
haan aan
boond gire to boond na toote
boond gire to boond na toote
khile kamal si kaaya teri
khile kamal si kaaya

tan hai madhuban sa
chamke darpan sa
aa aa
boond badan pe rukne na paaye ae
chali
baalon se
dhhali gaalon pe ae
honthon ko chhoo ke
badhti hi jaaye
chali
haan chali
man pe kisi ke ang ka tere
rang chadhe to rang na chhoote
khile kamal si kaaya teri
khile kamal si kaaya

roop ke ras mein boond nahaai
aa aa
haan aan
roop ke ras mein boond nahaai
baanhon se lipti
paaon pe aayi
gori ke charnon mein aan samaai
jal ki boond ke bhaag anoothhe
khile kamal si kaaya teri
khile kamal si kaaya

amrit ras ki gaagar hai tu
aa aa
haan aan
amrit ras ki gaagar hai tu
sundarta ka saagar hai tu
sada rahe tu piyaa ko pyaari
ik pal tujhse piya na roothhe
khile kamal si kaaya teri
khile kamal si kaaya
aa aa aa
boond gire to boond na toote
boond gire to boond na toote
khile kamal si kaaya teri
khile kamal si kaaya

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.

Songs to Tickle Your Memory – 27
– – – – – – – – – – – – – – – – – –

मजरूह का गीत हो
चित्रगुप्त संगीत हो
लता की आवाज़ हो
और कुमकुम का नाच हो॰॰॰
           ॰॰॰ तो कैसे आए ना नाग बस में

majrooh ka geet ho
chitragupt sangeet ho
lata ki awaaz ho
aur kumkum ka naach ho. . .
      . . .to kaise aaye na naag bas mein

Welcome all.  The blog is compounding its riches, and is coming to another century milestone today – this halt being the 10,500^th song.  Congratulations to all friends, readers and contributors.

Just yesterday, the following comment appeared on our blog, from a gentleman named Vijay C.  He is new to this blog, but his comment is most expressive, and yes, flattering too. :)  It says, quote

Atul ji,
thanks for responding so very promptly. It’s a stupendous effort you have put in . I have been browsing through this incredible creation for the last 24 hours. I just love these old collections. You must be bringing so much of happiness and cheer into millions of fans like me. It requires so much of time dedication and commitment to undertake a work like this. Is this a one man show? And then you have the time to reply to everyone. Please continue the good work. Thanks once again.

Unquote

I personally am immensely moved by his sentence – “You must be bringing so much of happiness and cheer into millions of fans like me.”

This acknowledgement is a wonderful pat on the back.  It is directed towards our fearless leader, but it is meant for the entire team of contributors.  In a small way, and in our own way, we are adding to the happiness quotient of this world. No single thought will ever sway every person in this world.  But every thought will influence some number of people.  I wonder how many other such blogs and websites, of this nature and of other types, would get such an appreciation and endorsement.

As we exchanged emails today, Atul ji expressed a concern, as well as a hope.  Concern that the going is fairly slow these days.  This century has come about in 36 days.  But also the hope that we are going to pick up speed for the next century milestone.

Last week, in preparation for this milestone, as we were exploring other events to celebrate at this milestone, we found that some artists are close to their individual century marks.  The closest ones we identified are Lata Mangeshkar, Majrooh Sultanpuri and SD Burman.  We searched and short listed some songs.  Actually, the song posted by Sri ji titled “Mehfil Mein Aaye Wo Aaj Dheere Se”, is a great song that would address a collective celebration for all three artists. But it already got posted five days ago, before we did our analysis. So anyway, we had other combinations identified and were discussing options.

And then I stumbled upon this song.  The impact was so much, that I had to write an email to Atul ji, just to double confirm that this is not yet posted.  This, despite that I have the same excel sheets and data base that Atul ji has.  Atul ji would have found it strange too. But somehow, I had to get a confirmation.

I am surprised that this lovely, impactful number has manage to keep itself away from being posted thus far.  In the days when the listening of the radio used to be our primary enjoyment, this song was played quite often.  The intense resolve expressed in words is matched equally wonderfully by the fantastic rhythm of this song – both attributes so powerfully strengthening each other.  The rhythm, which is the combined effect of the tabla and the dholak employed together, is the backbone of this song.  There is such an expressive pace in the full bodied sound of this reverberating percussion that stands out like a tower of steel, around which the entire song is embellished. The sound of the ‘been’ (snake charmer’s musical instrument) is as enchanting as the iconic sound from the ‘Naagin’ song from 1954. Each word in the mukhda is like a blow of a blacksmith’s hammer.  The expression of resolve that is ensconced in the rendering of this song, is probably unmatched.  I cannot immediately recall another song that expresses such power and such determination. The commanding authority that dominates the entire song, is a quality that overpowers the senses and captures the attention of the listener, drawing him/her into the emotional onslaught that is carried by the flow of this song.

The film is ‘Naache Nagin Baaje Been’ from 1960.  The lead pair is Chandrashekhar and Kumkum.  In the video clip, we also see other actors like Amar, KN Singh, Agha, Sunder and a couple of more faces that are familiar but I am not able to place a name to the face.  The lyrics are from the pen of Majrooh, and the powerful rhythmic composition comes from Chitragupt.  Singing voice is that of Lata ji. The performance by Kumkum is a study in intensity and focus, as one sees her addressing the snake.  Very convincing portrayal. Another situation, another performer, it might have even been funny.  But not here.  Kumkum does not let us forget the seriousness of the situation, and the gravity of her own resolve in winning this battle of intents.

The situation of the song appears to be a wedding ceremony, that has been interrupted by the appearance of a naag (snake).  Apparently, there is a curse, and the groom to be (Chandrashekhar) is supposed to lose his life if the wedding ceremony is accomplished.  The danger of the curse seems real enough to halt the proceedings.  But lo, the bride to be (Kumkum) takes up the cudgels and confronts the ‘naag’ with a challenging song, daring the serpent to complete its mission, with the condition that it must also end her life, before attempting to take out the groom to be.  This song is a powerful case for ‘mind over matter’ phenomena. Or rather, ‘music over reptile’ phenomena.  We learn that with the team of Majrooh Sb, Chitragupt, Lata ji and Kumkum working together, it takes a little over four minutes to convince a snake, to give up its intent, and return to its lair.  Hmmm. . .  a suggestion for people living in areas frequented by snakes – have a recording of this song a handy, and play it when confronted with such a situation.

With this song, we now have 900 songs written by Majrooh Sultanpuri, posted on our blog.  In terms of lyricists, he leads the group, closely followed  by Rajinder Krishan and Anand Bakshi.  As for Lata ji, as Atul ji and I reviewed her stats again this week, we discovered that she already crossed her 29^th century marker just a few songs ago.  A slight miscalculation, and we missed the actual milestone.  Regardless, we would like to highlight and celebrate that milestone also, with this post.  So, an 11500, a 2900 and a 900 – that is rundown of milestone hits for this post.

We shall be crossing century milestone as they come.  The next big one is the 12K milestone, 500 songs away.  And then, a rib tickling reminder – we have the fun number 12345 coming up after that.  Still a few months hence.  Let’s wait and see what surprising songs make appearance then.

Song – Hum Jaan Lutaa Denge Apni Saajan Ki Jaan Se Pehle (Naache Nagin Baaje Been) (1960) Singer – Lata Mangeshkar, Lyrics – Majrooh sultanpuri, MD – Chitragupt

Lyrics

hum jaan lutaa denge apni
saajan ki jaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle
o naag tujhe dasnaa hoga
mujhko mehmaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle

haathon mein lagi hai mehndi
is mein na zehar bhar dena
haathon mein lagi hai mehndi
is mein na zehar bhar dena
kehti hai naveli dulhan
dulhan ka suhaag na lena
ghunghat se mere kyon khel rahaa
mere armaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle

main haar nahim maanungi
sun kar phunkaar tihaari
main haar nahim maanungi
sun kar phunkaar tihaari
tub bhi dushman ban jaa re
dushman hai ye duniya saari
duniya ki tarah le le badlaa
tub hi ehsaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle

jis raah pe chalta hai tu
ab is ko badalna hoga
jis raah pe chalta hai tu
ab is ko badalna hoga
ruk ja re nahin to tujhko
meri laash pe chalna hoga
mere pyaar se jo uljha chaahe hai
uljhe meri aan se pehle
o naag tujhe dasnaa hoga
mujhko mehmaan se pehle

hum jaan lutaa denge apni
saajan ki jaan se pehle
hum jaan lutaa denge apni
saajan ki jaan se pehle

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

हम जान लुटा देंगे अपनी
साजन की जान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले
ओ नाग तुझे डसना होगा
मुझको मेहमान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले

हाथों में लगी है मेहंदी
इस में न जहर भर देना
हाथों में लगी है मेहंदी
इस में न जहर भर देना
कहती है नवेली दुल्हन
दुल्हन का सुहाग ना लेना
घूँघट से मेरे क्यों खेल रहा
मेरे अरमान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले

मैं हार नहीं मानूँगी
सुनके फुँकार तिहारी
मैं हार नहीं मानूँगी
सुनके फुँकार तिहारी
तू भी दुश्मन बन जा रे
दुश्मन है ये दुनिया सारी
दुनिया की तरह ले ले बदला
तू भी एहसान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले

जिस राह पे चलता है तू
अब इसको बदलना होगा
जिस राह पे चलता है तू
अब इसको बदलना होगा
रुक जा रे नहीं तो तुझको
मेरी लाश पे चलना होगा
मेरे प्यार से जो उलझा चाहे
उलझे मेरी आन से पहले
ओ नाग तुझे डसना होगा
मुझको मेहमान से पहले

हम जान लुटा देंगे अपनी
साजन की जान से पहले
हम जान लुटा देंगे अपनी
साजन की जान से पहले

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.

We in this blog discuss songs ranging mostly from 1931 to 1980s and sometimes from songs falling outside this range as well. One can often judge the era of the song by listening to it. Sometimes the lyrics of the song deal with some important happenings of the era as well.

India (and the world) has not remain static all this while. Lots of changes have taken place over the decades. While some changes were incremental and unnoticeable, big violent lifechanging changes have also taken place during these decades.

We all know about the world wars, partition of the country and many other occurences that affected the lives of millions. We have movies as well as songs that describe those occurences.

Then there are changes that were also major changes during their times but they have been forgotten with time.

For instance, the monetary system of India has seen changes over the decades. Youngsters born after 1980s may not have seen any changes in Indian monetary systems, but people born in 1960s and prior to that know that the changes in Indian monetary system were quite marked.

During the earlier days of Indian movies, when India was a British Colony, Indian monertary system had coins whose head had the picture of the British Monarch and the tail side mentioned the value of the coin. One rupee coin was the standard unit of currency. One rupee equalled 64 paise. One rupee also equalled 16 annas, which meant that one anna was equal to four paise. Half a rupee was equal to Aath Anna (athanni), quarter of rupee was equal to chaar anna (chavanni). Likewise there used to be do anna (doanni) as well as one anna.

The smallest unit of currency was not even paisa. It was pie. Three pies equalled one paisa.

It is not as if the Indian currency changed instantaneously as soon as India became independent. British era coins were the only coins being used in India from 15 august 1947 till 15 august 1950. On 15 august 1950, Indian government issued coins which were basically similar to the British era coins, with the only difference being that there was Ashok Pillar instead of Btitish Monark’s face on the head side of the coins. This series of coins are known as anna series of coins.

It was on 1957 that India switched over to decimal system, where one rupee was equal to 100 paise rather than 64 paise as before. To differentiate the paise of metric system from the earlier system, they were called naye paise. The term naye paise continued to be used widely till 1970s till the time when the old era paise went out of circulation. Old habits died hard and people continued to call 50 paise coin as athanni and 25 paise coin as chawanni, and that habit persists even today.

The coins of British era alongwith anna series coins of India continued to be in use in India till 1970s, even when India had adopted decimal system of currency.

One thing to note about India coins down the years is that the metal in these coins kept on getting diluted with time. British era (and before that Mughal era) coins had gold, silver, copper etc in them depending on the value of the coin. After independence, these metals gave way to cheaper materials like nickel etc.

Then there are paper notes that constitute much of the currency.

Indian Rupee was quite strong vis a vis US dollar during its earlier years. One dollar equalled INR 3.30 in 1948. Even after gradual devaluation, one dollar equalled INR 7.50 in 1966. To put things in perspective, today one dollar equals INR 65 or so.

So one can see that Indian rupee fetched lots of value during its earlier days.

The song under discussion tells us about the Indian monetary system as it was in 1950. This song tells us that coins like doanni, chawanni, athanni and rupaiyya were not what they used to be in the past. It was the “zamaana” of ten notes of Rs ten, viz one hundred rupee notes.

One hundred rupees was considered a big amount even in 1970s. One could buy expensive shoes for something like Rs 29.95 in Bata show rooms in 1970s. :) I was aghast to once see a rich man giving Rs ten as alms to a beggarwoman who was pestering him, while the going rate for beggars those days used to be just a few paise at the most. :)

Here is this fun look at the monetary state of affairs in India in 1950. This song is sung by Shamshad Begam and chorus. Rajinder Krishan is the lyricist. Music is composed by Hansraj Bahl.

This song is from “Shaan”(1950), which was directed by Jayant Desai for Kuldeep Pictures, Bombay. The movie had Suraiyya, Rehman, Manorama, David, Amar, Chaand, Pratima Devi, Cuckkoo, Savitri, Neeru, Kala, Rajani, Sapru etc in it.

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

The movie had ten songs in it. As many as nine songs from this movie have been discussed in the past. So the song under discussion is the tenth and final song to be discussed in the blog.

And this song happens to be the 11600th song post for the blog. So we reach one more century of songs today. Our last century was on 23 october 2015. So it has taken us 34 days to reach this century. It is a slow century, but a steady one. These days lots of research word and background work is being understaken in the blog. Moreover a few of us are unable to devote as much time as would like to. But let me assure our readers that we still manage to devote considerable quality time for the blog. Our regulars must have noticed that we have undertaken a project of discussing HFM year by year, with in depth statistical details. That analysis, when completed, would be a great way forward for music lovers in finding our about the actual availability of Hindi movie songs, as against the number of songs that have been created over the years.

I take this opportunity to thank one and all for their continued partonage and encouragement which is what has been the driving force behind the continuous march of this musical bandwagon.

Song-Zamaana das das ke das note ka (Shaan)(1950) Singer-Shamshad Begam, Lyrics-Rajinder Krishan, MD-Hansraj Bahl
Chorus

Lyrics

doanni chawanni athanni rupaiyya
inko na poochhe ae ae
koi mere bhaiyya
Zamaana aa aa aa
das das ke das note ka
Zamaana aa aa
das das ke das note ka
Zamaana das das ke das note ka
Zamaana aa
das das ke das note ka
Zamaana aa aa
das das ke das note ka
chham chham chham chham chham chham
chham chham chham chham chham chham
lililililili lilili lililili

pehle sau ka note dikhaana
note dikhaana
peechhe sun’na mera gaana
pehle sau ka note dikhaana
note dikhaana
peechhe sun’na mera gaana
nayi qeematen naya zamaana
pandit ho ya maulaana
ae ji
pandit ho ya maulaana
Zamaana aa aa
das das ke das
note ka
Zamaana aa aa
das das ke das note ka
chham chham chham chham chham chham
chham chham chham chham chham chham
lililililili lilili lililili

tees tees ke mere ishaare
bees bees ke bol
ae ji
bees bees ke bol
hare note pe naach dikhaaun
naach dikhaaun
chham chham chham chham chham chham
chham chham chham chham chham chham
hare note pe naach dikhaaun
baabu pocket khol
baabu pocket khol
Zamaana aa aa
das das ke das
note ka
Zamaana aa aa
das das ke das note ka
chham chham chham chham chham chham
chham chham chham chham chham chham
lililililili lilili

duniya ke anjan mein daale jo noton ka tel
o baabu
jo noton ka tel
duniya ke anjan mein daale jo noton ka tel
o baabu
jo noton ka tel
ek pate ki baat bataaun
chaley usi ki rail
o baabu
chaley usi ki rail
o bhaiya
chale usi ki rail
Zamaana aa aa
das das ke das note ka
Zamaana aa aa
das das ke das note ka
Zamaana
das das ke das note ka
Zamaana aa
das das ke das

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.

mere saathi
meri awaaz ke peechhe
chale aao
chale aao
chale. . . aao

Kaash, ye awaaz phir se live sunaai de, to kahin tak bhi chal ke jaane ko jee karta hai.
(Wish this voice could be heard live again, the heart would want to follow it, wherever.)

Rafi Sb’s 2500^th presence on our blog. An event of an important celebration. We are getting close to having half or all the songs that he has sung. But let me come to the numbers later.

As I was browsing some articles online, my eyes caught a tagline on another blog about him – “The name says it all. No more words are needed.” Most probably written by someone who is so much in with this voice, that just the mention of the name automatically brings to the mind everything that is special about it. One does not have to articulate further.

Sometimes back, I had read a brief narrative by his daughter. She was expressing her experience of accompanying him for the first time, for one of his stage performances. She says, she was awestruck to see her Abba. He was a completely different person when performing on stage. Her mind always carried his persona image as a quiet, humble and solemn person. Not stern or grave, but solemn. On stage, when she saw him perform some songs, she says she was surprised, as she had never earlier seen such facets of zest and exuberance in her Abba.

That is where the thought came to my mind. That Rafi Sb was not just a master of ‘sur’. But more than that, he was the master of emotions. His perception of the character and the situation was very keen, and more importantly, very accurate. And then, as a next step, his expression of that emotion was the most fitting for the situation, and for the character on whom the song would be picturized.

He has been called – ‘Suron Ka Baadshah’. But I feel we need to get one step further into this. His singing and his voice is the expression of a quality that is more innate, and lies deeper inside. He understood the emotion and its nuances so well, and projected this understanding into his singing so well, that yes, confronted with the manifested expression in terms of his voice, we always eulogize him for his singing. That is where he becomes the ‘Suron Ka Baadshah’ for us. But I would like to step behind that expression, and say, he is also the master of emotions – ‘Jazbaaton Ka Wali’.

And then we are all out of the need for any more words. The emotional content of the sound of his voice as it traverses the words and lines of the songs – it simply has to be felt and experienced. No words are necessary, no descriptions will be helpful, more that the sensing of the emotive that he presenting to us, in and with his voice. No words are necessary.

So I come back to the numbers. We are close to the halfway mark towards our quest to bring all of his songs to our blog. The exact number of songs recorded / released may never be known. There are so many gaps in information. But there is an estimate. Based on lists created by some fans, the total songs that can be identified and listed is between 5400 and 5500. All of them are not traceable. But it gives a target to work towards.

Of these, a little over 5000 songs are identified as film songs, and the remaining as non-film songs. A small percentage of these songs would belong to non-Hindi films – Punjabi, Telegu, Bangla etc. So the count of Hindi film songs can be estimated to be in the range of 4800-4900 songs. Of these, we now have 2500, close to half of all the Hindi film and non-film songs.

It is a matter of significant celebration.  Atul ji and I have discussed this over email, over past few days. Atul ji has been making great efforts to pick up some pace on the posting of songs. Our intent was to have this celebration the day before, on Rafi Sb’s birth anniversary (24th December). But we couldn’t quite make the century milestone for the number of songs. The celebration is a couple of days delayed, but still it is the same intended celebration.

Ah yes, I did say it in the last sentence, and no, I do not mean to downplay the other major celebration that comes with this post. Today, we are one century ahead with the number of songs on the blog. The milestone we arrive at today is 11,700 – Eleven Thousand Seven Hundred only. Yes, that is how we would write it on a check. But there is a specific intent to write ‘only’ here.  It is intended both as an expression and as question. The expression is – ‘Of the tens of thousands of Hindi film song, we have on our blog 11,700 only’. And the question is – ‘Of the tens of thousands of Hindi film songs, how come we have only 11,700?’. The first variation is to say that we still have a lot of songs out there that need to be brought in. And the second variation says there is a lot still left to be done, so we better be maintaining a regular pace of posting. (I know, you will say – ‘Look who is talking’ ;) ).

This song is of relatively ‘newer vintage’ (apologies for the oxymoron :) ). It is Shatrughan Sinha, lip syncing Rafi Sb’s voice in the 1972 film ‘Milaap’. Very fresh and from one of very first batches of youngsters coming in from the Film and Television Institute of India (FTII), Shatrughan Sinha made his first appearance in very short roles in films starting with ‘Saajan’ and ‘Pyaar Hi Pyaar’ in 1969. His initial roles were mostly as a villain. In 1970 film ‘Khilona’, he plays the role of Bihari, a devious neighbor attempting to play with the emotions of young ladies. He came into prominence with his role of a street tough guy, in the 1971 film ‘Mere Apne’. Alongside this role, he also moved into more positive and lead roles, starting with this film ‘Milaap’ in which he was paired opposite to Reena Roy, also a debutante heroine in the year 1972 (two more films for her that year – ‘Zaroorat’ and ‘Jungle Mein Mangal’).

The song is penned by Naqsh Lyallpuri and the music is by Brij Bhushan (full name Brij Bhushan Sahni). On screen, Shatrughan Sinha is ruminating about Reena Roy, and then he breaks into this song, calling out to her. An observation I request other readers to confirm. In the initial part of the song, Shatrughan Sinha is standing in the front part of a building (a ‘mahal’, maybe), and for a short while, we can see a couple of what seem like leopards or tigers, leisurely ambling on the high walls behind him. Is that a metaphor for contained restlessness? Maybe.

So it is 11 / 7 today, so to say 11 thousand 7 hundred songs posted. And the 2500^th song of Rafi Sb.

And the journey continues. . .

Song – Kahin Aisa Na Ho Tum Ajnabi Raahon Mein Kho Jaao (Milaap) (1972) Singer – Mohammed Rafi, Lyrics – Naqsh Layallpuri, MD – Brij Bhushan

Lyrics

kahin aisa na ho tum ajnabi raahon mein kho jaao
mere saathi meri awaaz ke peechhe chale aao
chale aao
chale. . .  aao

kahin aisa na ho tum ajnabi raahon mein kho jaao
mere saathi meri awaaz ke peechhe chale aao
chale aao
chale. . .  aao

pareshan zindagi ko aas ka saahil nazar aaye
mujhe phir pyar ki khoi hui manzil nazar aaye
hawaaon me zaraa tum reshmi aanchal ko lehraao
mere saathi meri awaaz ke peechhe chale aao
chale aao
chale. . .  aao

na jaane kitni baar aaya gaya mausam bahaaron ka
magar ab tak nahin badla muqaddar beqaraaron ka
sabhi gham door ho jaayen jo tum ik baar mil jaao
mere saathi meri awaaz ke peechhe chale aao
chale aao
chale. . .  aao

kahin aisa na ho tum ajnabi raahon mein kho jaao
mere saathi meri awaaz ke peechhe chale aao
chale aao
chale. . .  aao

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

कहीं ऐसा ना हो तुम अजनबी राहों में खो जाओ
मेरे साथी मेरी आवाज़ के पीछे चले आओ
चले आओ
चले॰ ॰ ॰ आओ

कहीं ऐसा ना हो तुम अजनबी राहों में खो जाओ
मेरे साथी मेरी आवाज़ के पीछे चले आओ
चले आओ
चले॰ ॰ ॰ आओ

परेशां ज़िंदगी को आस का साहिल नजर आए
मुझे फिर प्यार की खोई हुई मंज़िल नज़र आए
हवाओं में ज़रा तुम रेशमी आँचल को लहराओ
मेरे साथी मेरी आवाज़ के पीछे चले आओ
चले आओ
चले॰ ॰ ॰ आओ

ना जाने कितनी बार आया गया मौसम बहारों का
मगर अब तक नहीं बदला मुकद्दर बेक़रारों का
सभी ग़म दूर हो जाएँ जो तुम इक बार मिल जाओ
मेरे साथी मेरी आवाज़ के पीछे चले आओ
चले आओ
चले॰ ॰ ॰ आओ

कहीं ऐसा ना हो तुम अजनबी राहों में खो जाओ
मेरे साथी मेरी आवाज़ के पीछे चले आओ
चले आओ
चले॰ ॰ ॰ आओ

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.

There are occasions when I start using terms like “musical bandwagon”, “one man show turning into an online collaboration”, “a pot getting filled drop by drop” etc. When regulars come across such terms, they know what could be the occasion. Indeed this is one such occasion. It is the 118th such occasion for the blog. In other words, we reach 118th century in the blog with this song. Yes, this writeup marks the 11800th song in the blog.

Like on most such occasions, we try to combine blog century with some other century. Today’s song is no exception. This song is the 400th song of Manna Dey in the blog as well.

400 song of Manna Dey in one place alongwith lyrics as well as informative writeups! I am sure this collection must be one of the most valuable online collections of Manna Dey’s musical gems in one place.

This occasion gives me an opportunity to write something on Manna Dey. I will refrain from giving a biography of Manna Dey as one tends to do on such occasions. Instead, I will express what I feel about Manna Dey.

When I was growing up as a young kid in late 1960s and entire 1970s, media (which mostly meant print media those days) counted four singers as the major male playback singers of the time. They were Kishore Kumar, Rafi, Mukesh and Manna Dey. I am sure that the list, if made one decade ago or two decade ago would have contained different names. But the four names were indeed the four major male playback singers of the time as on 1970s.

Four decades have passed since 1970s and that has enabled me to take a more holistic view on the career of Manna Dey. Like most major singers, he sang over four thousand songs in various languages, with Hindi and Bangla being the major languages. There is one major difference in Manna Dey’s songs from the songs of other major singers though. Majority of songs sung by most major singers are on the lead actors and only a small number of their songs were sung for “lesser” actors. Unlike other singers, Manna Dey rarely got to give playback to the lead actors of movies. Vast majority of his songs were sung for “lesser” actors like character artists, comedians, extras etc.

There were singers who were associated with certain camps and they were the fixed singers in those camps, but that was not the case with Manna Dey. He got assignments in movies only when there was a song situation for lesser artists and the voice of other major singers would not fit there as they would have lent their voices to the lead actor in the movie.

Manna Dey sometimes got to sing for the lead actors as well but these occasions were few and far between.

There are two duet songs of Manna Dey, which merit special mention. Both this songs were musical duel songs in which one singer defeats another in a clasical singing contest. In the first song, from “Basant Bahaar”(1956), Manna Dey was supposed to defeat Pandit Bhimsen Joshi in a classical singing contest which was like an average wrestler defeating the undertaker in a WWE contest. Manna Dey, nervous at the prospect tried to shy away from recording the song. His wife, not amused by it, encouraged him to face the situation manly and give it his best shot. The result was the memorable song Ketaki ghulab joohi champakban(Basant Bahaar).

In “Padosan”(1968), the boot was on the other foot. Here a classical music trained Manna Dey was supposed to lose to Kishore Kumar, who was totally untrained in classical music. Manna Dey remonstrated but better sense prevailed and the song went ahead. This song is the all time audio video laugh riot viz Ek chatur naar(Padosan)(1968).

There were cases when Manna Dey would sing great semi classical songs but those songs would be picturised as comedy songs. Such songs were better heard than watched if one needed to appreciate such songs fully.

Manna Dey would typically sing one or two songs is a movie. Many suchh songs went on to become iconic songs. Let us take some such examples:
Upar gagan vishaal (Mashaal) , Lapak jhapak tu aare badarwa(Boot Polish)(1953), Tu pyaar ka saagar hai(Seema)(1955),Dil ka haal sune dilwaala(Shri 420)(1955) Ae mere pyaare watan(Kabuliwaala)(1961),Laaga chunri me daag((Dil hi to hai)(1963) , Ae meri zohra jabeen(Waqt)(1965), Chalat musafir moh liya re (Teesri kasam), Kasme waade pyaar wafa(Upkaar)(1967) ,Jhanak jhanak tori baaje paayaliya(Mere Huzoor), Ek chatur naar(Padosan)(1968),Aayo kahaan dse Ghanshyaam (Buddha Mil gaya) , Shaam dhale jamuna kinaare (Pushpaanjali) , Ae sakhi raadhike baawri ho gayee (Jurmaana) etc.

While many great songs sung by Manna Dey were not considered worthy of awards, Manna Dey won the Filmfare award for best male playback singer for the song Ae bhai zara dekh ke chalo (Mera Naam Joker) which was one of the lesser and un challenging songs that Manna Dey had ever sung. And so Manna Dey was suitably underwhelmed on receiving this award for this song.

Manna Dey was the recipient of National award for best male playback singer for the movie “Mere Huzoor”(1968).

Manna Dey’s song Yaari hai imaan mera yaar meri zindagi (Zanjeer) had the distinction of emerging as the most popular song of 1973 in Binaca Geetmala final of 1973.

Manna Dey was conferred Padmabhushan by government of India in 2005. He received Dadasahab Phalke award in 2007.

Manna Dey sang over 1400 songs in Hindi movies. Total number of songs sung by him in all languages add up to more than 4000 songs. He won awards for his songs sung in Bangla and as well as Malayalam !

What about the 400th Manna Dey song in the blog ? This song is from “Zindagi aur Maut”(1965). “Zindagi aur Maut”(1965) was produced and directed by N A Ansari for Bundelkhand Films, Bombay. The movie had Pradeep Kumar, Faryal(Introducing), Manmohan, Chandrima Bhaduri, N.A.Ansari, Anwar Hussein, Lalita Kumari, Champaklala, Devi Chand, Uma Dutt, Edwina, Ratan Gaurang, Khalil, Khanna, Kirti Kumar, Rajen Kapoor, Johnny Walker, Neelofar, Bela Bose, Nasreen, Murray, Lateef, Kabuli, Maqbool, Hazara Singh, Tansen, Sarang,Pradeep Sharma, Shukla, Champak etc in it.

Five songs from this movie has been discussed in the past. The song under discussion is the sixth and final song from the movie.

This song is sung by Manna Dey. Shakeel Badayuni is the lyricist. Music is composed by C Ramchandra.

This song is picturised as a roadside tamasha song on Johny Walker and a female dancer (whom I am unable to identify) while a group of bystanders gather around them as is required in a song of this genre.

So it is a Johny Walker song. Johny Walker songs were mostly sung by Rafi but here it is Manna Dey who is entrusted with the job. Listening to the song, one may be reminded of the “Shaan”(1980) song “aate jaate huye man sab pe nazar rakhta hoon”. I am not sure whether it is a coincidence or the “Shaan”(1980) song was inspired from this “Zindagi aur Maut”(1965) song.

With this song, “Zindagi aur Maut”(1965) joins the list of movies that have all their songs covered in the blog. This happens to be the 747th YIPPEED movie in the blog out of 3319 movies that have been represented in the blog.

And with this song, the blog now have as many as 11800 songs posts under its belt. So we inch further closer to the 12000 song mark.

I take this opportunity to thank one and all for their conributions, supports and encouragements. The musical bandwagon is going on and on, sometimes at higher speed and sometimes at lesser speeds, but the main thing is that it is on the move all the time. Let this bandwagon move on and on till we exhaust all the available songs that we seek to discuss in the blog. :)

Song-Duniya waalon ke muqaddar ki khabar rakhta hoon (Zindagi aur Maut)(1965) Singer-Manna Dey, Lyrics-Shakeel Badayuni, MD-C Ramchandra

Lyrics

haan aan aan aan
khat ka majmoon bhaanp leta hoon lifaafa dekh kar
arre khat ka majmoon bhaanp leta hoon lifaafa dekh kar
har haal dil ka main bata deta hoon
chehra dekh kar
o ho o o o o
duniya waalon ke muqaddar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon
aankh waala hoon main
andar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon

dekh pyaare mere kartab nahin aise waise
teri pockit mein hain chaalis rupaye
chaalis rupaye do paise
jaaneman main tere
jaaneman main tere
ghar bar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon

aap madam hain bahut nek bahut hi saada
aapki umar nahin
solah baras
nahin solah baras se jyaada
aapke paanchwe
aapke paanchwe shauhar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon

teri moonchhon ke ye kaanten jo khinche rehte hain
inmein har waqt sawa nau hi
haan sawa nau hi baje rehte hain
bina ghadiyaal baabu
bina ghadiyaal ghadi bhar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon
aankh waala hoon main andar ki khabar rakhta hoon
duniya waalon ke muqaddar ki khabar rakhta hoon

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.

रांचीवाले का ईरानी ढाबा

– “क्यों जी, आज का स्पेशल क्या है”

– “एकदम फ्रेश फ्राइड चटपटा मसालेदार ग्यारह नौ सौ”

– “ये ग्यारह नौ सौ क्या डिश है भाई”

– “गाना है सर !! ग्यारह हज़ार नौ सौवाँ। बस आज ही सर्व होगा”

– “भाई ऐसा क्यों, आज ही क्यों सर्व होगा”

– “अरे साहब, कल हम नया ताज़ा ग्यारह हज़ार नौ सौ एक, और उस से भी आगे चलेंगे”

“लाऊं क्या, सर ?”

– “क्या”

– “गाना, ग्यारह हज़ार नौ सौ वां”

– “अच्छा, पेश करो, लेकिन ताज़ा होना चाहिए”

– “एकदम ताज़ा सर, एकदम नया, पहले इस ढाबे में कभी नहीं सर्व किया गया”

“अभी लाया”

:) :)

Welcome all to our next century milestone, piling nine hundred on top of eleven thousand. And we are now just 100 short of the next thousandth milestone. And we hope to get there shortly now. This milestone has been quite slow to arrive. We have taken full forty days from the previous century, which occurred on 24^th Jan.

Ah yes, I know you will ask, what is special.  Ah yes, besides 11,900, what else? Ok, so let me tell you. For that, I will have to take you back into time, and start from where this started. I mean this slow pace of posting. I am sure all would have noticed the slow pace of postings in the past couple of weeks. Of all the days, 29^th February, which is an event to celebrate since it comes only once in every four years, actually turned out to be a dot day – no posts on that day.

So, after some days of this slow trickle of posts on the blog, I wrote an email to our fearless leader, checking whether all is OK at his end. His reassuring response came in quite promptly – yes, all is well, except that work at office is consuming all his time forever. It turns out that there is an official inspection of the station and the loco shed and the coach repairs shed and the shunting lines and the signal systems, and everything else that is railways at the Izzatnagar station, with the ‘Swachh Bharat’ campaign thrown in for good measure. (For information, Atul ji is currently posted at Izzatnagar, close to Brailey – yes, the ‘Jhumka Gira Re’ city). And his immediate boss is coming for the inspection. So I am sure you can now connect all the dots and realize the ordeal that he has been experiencing in the past few days. The inspection was to happen this week, and Atul ji has indicated that it would be done by 4^th March, i.e. today. So most likely, in the next one or two days, we should be seeing a report of the inspection.

Our email exchange then turned towards the important topic of the impending century milestone, which we are reaching, even with the slow pace at which the posts are progressing. He shared with me the other specials that we are approaching, and requested that I plan the interim posts accordingly.

And now, I bring to you, the celebrations for today. We have three.

This song marks the 900^th songs of music director duo – Shanker Jaikishan.

Secondly, we get to ‘YIPEEEE’ the film ‘Vachan’ from 1974. With this post, now all songs of this film are showcased on our blog.

And thirdly, a new kind of a century milestone that we have contrived to create. What with the increasing number of songs getting on to this blog, we are sure to be discovering newer connections between different concepts, and generate newer kind of records. Today, ‘Vachan’ becomes the 100^th film of Shanker Jaikishan to be ‘YIPEEEE’ed’. Now this, you will agree, is a completely novel tracking of data on our blog. :)

Film ‘Vachan’ is one of the just six or seven films in which actress Vimi has appeared as the leading lady. In this film, she plays the lead role opposite to Shashi Kapoor. Other members of the cast include Prem Chopra, Rajendranath, Jabeen Jaleel, Sulochana, Nazir Husain, KN Singh, Tarun Bose, Kamal Kapoor, Shammi, Brahm Bhardwaj, Shyam Kumar, Prayag Raj, Praveen Pal, Uma Dutt and others.

The six songs of this film are written by three songwriters – Hasrat Jaipuri, Shaily Shailendra and Kiran Kalyani. This song is from the pen of Hasrat Jaipuri. The Geet Kosh indicates the names of singers as Mohammed Rafi, Kishore Kumar, Sharda and Krishna Kalle.

Congratulations to all members of our musical bandwagon. Today’s milestone primes us now for the next big one coming up at twelve thousand. Hopefully we shall make progress at a better clip to reach there. All the very best, to all friends and readers.

Audio

Video

Song – Kaisi Padi Maar Aaya Mazaa (Vachan) (1974) Singer – Sharda, Krishna Kalle, Kishore Kumar, Mohammed Rafi, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Sharda + Krishna Kalle
Kishore Kumar + Mohammed Rafi

Lyrics

ha ha ha ha
hee hee hee hee

kaisi padi maar aaya mazaa
bhool gaye pyaar aaya mazaa
kaisi padi maar aaya mazaa
bol
bhool gaye pyar aaya mazaa
hey. . .
nain hue char hamen aaya mazaa
aaj padi maar hamen aaya mazaa
hoy hoy
hoy hoy
nain hue chaar hamen aaya mazaa
achha
aaj padi mar hamen aaya maza
arre jaa jaa
kaisi padi maar aaya mazaa

chhed kisi se karna bura hai
peechhe kisi ke padna bura hai
aise akad ke chalna bura hai
laathhiyaan khaa ke jeena bura hai
kaisi padi
ae bam bam bam bam bam
kaisi padi
dum dum dum dum dum
kaisi padi mar aaya mazaa
bhool gaye pyaar aaya mazaa
oy hoy
hoy hoy
nain huye chaar hamen aaya mazaa
aiee
aaj padi maar hame aaya maza
kaisi padi maar aaya maza

chaand ke peechhe taare rahenge
aha
dil ki lahar mein yoon hi bahenge
hatt
zulm tumhaare hans ke sahenge
aashiq hain pakke itna kahenge
aji itna kahenge
haan itna kahenge
kaisi padi
chatpat dhinna
kaisi padi
tirkat tinna
kaisi padi maar aaya maza
bhool gaye pyaar aaya maza
hey. . .
nain huye chaar hamen aaya mazaa
hahaha
aaj padi maar hamen aaya mazaa
hahaha
kaisi padi mar aaya mazaa

dard kahaan hai ye to bataao
ho maare sharam ke munh na chupaao
haal e mohabbat ab to sunaao
apni nigaahen hamse milaao
kaisi padi
ae baagad billi
kaisi padi
chali re dilli
kaisi padi maar aaya maza
bhool gaye pyar aaya maza
hey. . .
naina huye chaar hamen aaya mazaa
ji ji
aaj padi maar hamen aaya mazaa
kaisi padi maar aaya mazaa

dard hai dil mein
haalat na poochho
chal
tumse hui hai ulfat na poochho
hatt
naazuk naazuk
haath tumhare
kitna bhi maaro lagte hain pyaare
aji lagte hain pyaare
haan haan
lagte hain pyaare
kaisi padi
chal hat natkhat
kaisi padi
na kar khatpat
kaisi padi maar aaya mazaa
batlaao
bhool gaye pyaar aaya mazaa
oy hoy
hoy hoy
nain huye chaar hamen aaya mazaa
aha aha
aaj padi maar hamen aaya mazaa
arre jaa
kaisi padi maar aaya mazaa
arre nain huye chaar hamen aaya mazaa
bhool gaye pyaar aaya mazaa
arre nain huye chaar hamen aaya mazaa

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

हा हा हा
ही ही ही 

कैसी पड़ी मार आया मज़ा
भूल गए प्यार आया मज़ा
कैसी पड़ी मार आया मज़ा
बोल
भूल गए प्यार आया मज़ा
हे॰ ॰ ॰
नैन हुये चार हमें आया मज़ा
आज पड़ी मार हमें आया मज़ा
ओय होय
होय होय
नैन हुये चार हमें आया मज़ा
अच्छा
आज पड़ी मार हमें आया मज़ा
अरे जा जा
कैसी पड़ी मार आया मज़ा

छेड़ किसी से करना बुरा है
पीछे किसी के पड़ना बुरा है
ऐसे अकड़ के चलना बुरा है
लाठीयां खा के जीना बुरा है
कैसी पड़ी
ए बम बम बम बम बम
कैसी पड़ी
डम डम डम डम डम
कैसी पड़ी मार आया मज़ा
भूल गए प्यार आया मज़ा
ओय होय
होय होय
नैन हुये चार हमें आया मज़ा
अई
आज पड़ी मार हमें आया मज़ा
कैसी पड़ी मार आया मज़ा

चाँद के पीछे तारे रहेंगे
आहा
दिल की लहर में यूंही बहेंगे
हट
ज़ुल्म तुम्हारे हंस के सहेंगे
आशिक हैं पक्के इतना कहेंगे
अजी इतना कहेंगे
हाँ इतना कहेंगे
कैसी पड़ी
चटपट धिन्ना
कैसी पड़ी
तिरकट तिन्ना
कैसी पड़ी मार आया मज़ा
भूल गए प्यार आया मज़ा
हे॰ ॰ ॰
नैन हुये चार हमें आया मज़ा
हा हा हा
आज पड़ी मार हमें आया मज़ा
हा हा हा
कैसी पड़ी मार आया मज़ा

दर्द कहाँ है ये तो बताओ
हो मारे शरम के मुंह न छुपाओ
हाल ए मोहब्बत अब तो सुनाओ
अपनी निगाहें हमसे मिलाओ
कैसी पड़ी
ए बागड़ बिल्ली
कैसी पड़ी
चली रे दिल्ली
कैसी पड़ी मार आया मज़ा
भूल गए प्यार आया मज़ा
हे॰ ॰ ॰
नैन हुये चार हमें आया मज़ा
जी जी
आज पड़ी मार हमें आया मज़ा
कैसी पड़ी मार आया मज़ा

दर्द है दिल में
हालत ना पूछो
चल
तुमसे हुई है उलफत न पूछो
हट
नाज़ुक नाज़ुक
हाथ तुम्हारे
कितना भी मारो लगते हैं प्यारे
अजी लगते हैं प्यारे
हाँ हाँ लगते हैं प्यारे
कैसी पड़ी
चल हट नटखट
कैसी पड़ी
ना कर खटपट
कैसी पड़ी मार आया मज़ा
बतलाओ
भूल गए प्यार आया मज़ा
ओय होय
होय होय
नैन हुये चार हमें आया मज़ा
आहा आहा
आज पड़ी मार हमें आया मज़ा
अरे जा
कैसी पड़ी मार आया मज़ा
अरे नैन हुये चार हमें आया मज़ा
भूल गए प्यार आया मज़ा
अरे नैन हुये चार हमें आया मज़ा

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

The counter has been stuck at double one triple nine, for three days now. That, I am sure, will have beaten all the records in the books.

I tried to search Cricinfo and other sources on the internet, trying to figure out the record for the longest time the batsman has spent on the crease, between the score of 99 and 100. I am not able to dredge out this specific record. I was able to get to records that say that the longest time spent on crease to reach 100 is 9 hours and 17 minutes. The honor goes to Mudassar Nazar of Pakistan in the 1977 match in Lahore against England. The concept of ‘nervous nineties’ is very well known in cricket. Most batsmen tend to slow down when they get into the nineties, and become extra careful, with the desire to not lose their wicket and reach the magic figure of a century mark. It would be interesting to get into the details of the innings mentioned above. Mudassar Nazar spent 9 hours and 17 minutes to get to 100. I wonder how much time he took to move from 90 to 100, and more specifically, how much time he took to move from 99 to 100. In all, he spent better part of the playing hours of two full days on the crease.

Note: Let’s keep the mention of Lahore in the back of our minds. This is going to crop up once again, a little later in this write up itself.

So, I am glad that eventually I have been able to get this post out.  Atul ji and I had talked about this number some days back, and had decided on the celebrations that we will highlight at this major milestone. What transpired after that has been primarily a disaster of individual time plans, both for me and Atul ji. I will not dwell on these details today, and will share them in my next post. Suffice to say that time crunch took the spring out of this milestone post. However, I assure you that the whoosh of the surprise and the sounds of ‘wow’ would still be audible across the length and breadth of Atuldom, as the readers get to the details of what this celebration is about, and what a fantastic discovery we have at hand. And yes, Lahore is very intimately linked in.😉

And so the question arises, “अगर ग्यारह हज़ार लड़कियां थीं, तो बारह हज़ार क्या हैं” (if it was eleven thousand girls, then what would be twelve thousand (going by the name of the Hindi film ‘Gyaarah Hazaar Ladkiyan’)).

OK, yes. Let us welcome today, the song at the 12000^th ‘पायदान’. Wow, that is a number I am sure Amin Sayani ji would never have imagined as a ‘पायदान’. But that was then, and this is now. That was Radio Ceylon and Binaca, and this is Atul Song a Day and the musical bandwagon. No comparisons, though. Just a sign that times now are different. In Atuldom, all songs are ‘सरताज गीत’ (‘Sartaaj Geet’). And every song makes its appearance once. But then, there are ‘Sartaaj Geet’ and there are ‘Sartaaj Geet’. That is to say, some ‘Sartaaj Geet’ are more ‘Sartaaj’ than other ‘Sartaaj Geet’. Today’s song is one such ‘Sartaaj Geet’ that is the ‘Sartaaj’ of ‘Sartaaj Geets’.

Seems, it has become somewhat convoluted. Let me unravel this. To start with, I need to talk about the artist celebration that is being highlighted today.

Ladies and Gentlemen; today we proudly present the 3000^th song of Lata ji, to be posted on this blog. At this score, Lata ji is way ahead of all other artists listed on our ‘Some Stats’ page. Going by numbers, this amounts to nearly 56% of all the songs that she has sung in Hindi films. Ah yes, we still have about 44% more to go, or to say, a little over 2400 or so songs still to be covered on our blog. So who is complaining. The fun and the joy is in the journey, more, much more than it is in arriving at a destination. And so the bandwagon rolls on, and on, and . . .

Ah but, before I get too carried away by this rolling bandwagon, let us talk about the special song that is being posted today. Or I should use the word unraveled. From the amount of checking with songs lists and books, and consulting with some knowledgeable friends, yes, ‘unraveling’ is a more appropriate word than ‘presenting’. With this song, we probably have at hand, a discovery of major proportions.

Let me take you back to a very detailed discussion that happened on these pages, as we were trying to address the query posed to us by AK ji (of Songs of Yore), about the first song of Lata ji. After a good amount of research, and discussions, that involved our dear Arun ji, Harmandir ji, Harish ji and other data-historians of HFM, we came to a conclusion that the ‘first’ song of Lata ji will have to be presented under many categories. With the timelines as available in the compiled data, we were able to determine the following,

• That the first song Lata ji recorded is for a Marathi film ‘Kiti Hansaal’ (1942), but the song got excluded from the film; it is no longer traceable
• That the first song of Lata ji that is recorded AND included in the film, is for the film ‘Pahili Magalagaur’ (1942, also Marathi).
• That the first Hindi song that Lata ji recorded, is actually in a Marathi film ‘Gaja Bhaau’ (1944).
• That the first Hindi song that Lata ji recorded FOR A Hindi film, is for the film ‘Badi Maa’ (1945).

So far, we are listing all songs and films in which Lata ji appeared herself, and performed her own songs on screen. This continued through 1946 in the films ‘Subhadra’, ‘Sona Chaandi’ and ‘Jeevan Yatra’. In all these films so far, Lata ji is performing her own songs on screen. That changed in the year 1947.

• That the first Hindi song that Lata ji recorded as PLAYBACK, is for the film ‘Aap Ki Sewa Mein’ (1947). The song “Paa Laagun Kar Jori Re, Shyam Mo Se Na Khelo Hori” from this film is the start of playback singing career, that continues all the way to the present. Her most current playback recording in a Hindi film is for ‘Satrangi Parachute’ from 2011. And even more recent is the recording, from 2013, is of a playback song for the Marathi film ’22 June, 1897’.

All the above items merit a detailed discussion in their own right. Today, we pick on the 3^rd bullet above, and present a very surprising new twist to it. From all the available listings and information, the Marathi film ‘Gaja Bhaau’ contains 4 songs recorded in the voice of Lata ji. Three of these are in Marathi, and one is in Hindi. The title line of the Hindi song is listed as “Mata Ek Sapoot Ki, Duniya Badal De Tu. . .”.

But what I present today is another Hindi song from the same film, which has so far remained unlisted and eluded all recorded information. From the available information, taken from the record label, this is one more Hindi song that was recorded for the Marathi film ‘Gaja Bhaau’. The singing voice is identified on the label as that of Lata Mangeshkar. The very peculiar and unique thing about this 78 rpm gramophone record is that the second side of this record is blank. This is the first time that I heard of such a record, and that too from a time period as late as 1944. I have seen some very old records, from the early 1900s, in collections of my friends, which are recorded only on one side. But all these are recordings of English music, made in European recording studios. Today’s song is from one such record, which is probably unique in the hierarchy of recorded Hindi film songs, as far as my knowledge goes.

At this juncture, I will introduce to the readers, Khalid Mehmood ji, a very dear and a very special friend. I have met him in person only once, but that one meeting seems to have cemented a friendship that feels to be ages old. Khalid Bhai is from Lahore. (See, I told you we shall be revisiting this city within the post itself). How we came in touch is a very interesting episode.

Khalid Bhai is a passionate fan of Hindi films and film songs from the golden era. And not just a fan, he is an avid and an eager collector of records of Hindi film songs from that era. The 78 rpm records of Hindi film songs, are pretty much traded in the same way in Pakistan, as they are India. These records are to be found with ‘kabaadis’ (waste merchants) and in ‘chor bazaars’ – temporary market places that sell second hand things of ALL types. Original conception is that such marketplaces are manned by ‘thieves’, who want to make some money from the items they pilfer. All that is because there continues to be very passionate and absolutely die-hard fans of Hindi film music in Pakistan also.

Khalid Bhai collects records of Hindi film songs. His passion for this type of music, manifests itself in the form of a website that he has created and manages – ‘oldhindisongslata.com’. The name of the website says it all – “Old Hindi Film Songs, Lata”. He came across this record at one such ‘chor bazaar’ in Lahore, and picked it up from the seller, without a second thought in his mind. On examining the details, the record turns out to be a rare treasure of immense value. For this song is one of the two songs which constitute the very first Hindi song ever recorded by Lata ji.

Khalid Bhai was introduced to me by Harmandir ji. In one of the earlier issues of the ‘Listener’s Bulletin’, Harmandir ji had reviewed this website managed by Khalid Bhai. When Khalid Bhai came to know about the review article, he got in touch with Harmnadir ji over phone. Needless to say an immediate friendship of lasting value, was established. There is nothing more endearing to a person suffering from some unique malady, to meet with another person who suffers from the same. There is such an unmatched joy in sharing and exchanging notes about personal sufferings and agonies  – ‘koi to aur hum sa beemaar mila’ (ah, to meet another person who suffers from the same malady).

Harmandir ji, sensing the depth of passion in Khalid Bhai, sent to him volume 3 of the Geet Kosh. He sent it by registered post to Lahore. The package was not delivered. A worried Harmandir ji continued to follow up with Khalid Bhai. After about three weeks of waiting for the package, Khalid Bhai decided to pay a visit to the local main post office.

Let me now also share some more details about him. He is a journalist and a press reporter with the Jung group of newspapers and media channels in Pakistan. His India connection is that he is the resident correspondent in Pakistan of the Sahara Samay group of newspapers and news channels (of India). In that connection, he visits India very frequently. And also, being a journalist, he has good connectivity within the government and related institutions in his country.

So he paid a visit to the local main post office and enquired about the package. After some effort, the package was located. It was sitting unattended in a shelf in the mail sorting room in the post office. Reason – package contained pages upon pages of material that is printed in Hindi, and it comes from India. The package was held under suspicion of some covert communication. Khalid Bhai talked to the officials at the post office, and explained to them the content of this tome. Still not fully convinced, the package was sent for translation and verification to another department. Only after the nature of contents was established, did the officials agree to release the package to Khalid Bhai.

But still a twist was in store. The post office slapped a custom duty – whopping amount of five thousand rupees, which is almost five times the value of the book. Khalid Bhai readily paid the duty and took possession of the package. Later, he described this episode to Harmandir ji, explaining to him how the book finally reached him. And Harmandir ji expressed his wonder that Khalid Bhai paid such an astronomical amount for a book that he cannot even read himself. To this, Khalid Bhai responded, “आपने इतने प्यार से मुझे ये तोहफा भेजा, इसको हासिल करने के लिए मैं कुछ भी कीमत देने को तैयार था”. (“You sent me this gift with such love and affection, I would have paid even a greater amount if necessary, to acquire it”). This one sentence of Khalid Bhai says everything that needs to be said about the bonding between lovers of music, a bonding that knows no boundaries and does not care about distances.

A little after this episode, I got an email from Harmandir ji, informing that Khalid Bhai will be in Delhi on one of his routine official visits. I immediately responded and connected with Khalid Bhai, and we set up time for a meeting in Delhi. I informed our local group of music lovers, and a get together was arranged at my place on 11^th March. That day in the morning, I drove down to Punjab Bhavan where Khalid Bhai was staying, and brought him home. Shortly, many friends of our group in Delhi joined. Srinivas Ganti has posted on Facebook, a group photo of that day’s get together.

The meeting lasted well over four hours. We talked about and discussed many things related to songs and films and artists, about the film industry in India and Pakistan, before and after 1947. Another very close connection surfaced, as many of us in the group have our roots in the cities that are now in Pakistan. Khalid Bhai, though born in Lahore, belongs to a family that hails from the Haryana state in India. There was a lot of nostalgia and sharing that happened, as we talked about the times and memories of the past. The connect between us was so strongly apparent in this exchange.

It was a memorable meeting, that will always remain very close to our hearts. Many other local friends who could not make it that day, felt sad for missing out on this connection. But we hope to meet again very soon, as his work brings him to India, and to Delhi quite frequently.

It was at this meeting that Khalid Bhai introduced us to this song. He described how he got hold of the gramophone record, and how he himself was amazed to read the details on the label, identifying this as a song that is missing from all information listings that we have of Lata ji’s songs, including ‘Lata Samagra’, the latest compilation by Suman Chaurasiya ji of Indore. I later on checked with him, as well as with some other friends including Arun ji and Harish ji. They have not heard about this song, and that if this song is what the label details say it is, then it is definitely a remarkable discovery.

Incidentally, the other Hindi song from this film – “Maata Ek Sapoot Ki. . .”, is not yet traceable in public domain. Khalid Bhai is dearly hoping to get this song also. I request our readers and friends to please share any information that may be available, about this other missing song from this film.

When this song would have been recorded in 1943/44, Lata ji would have been just about fifteen years old. It is just the second or the third year that she has started to record songs for films. The voice in this song really sounds very young, almost childlike. The suave and the polish of the sounds of “Khamosh Hai Zamaana, Chup Chaap Hai Sitaare” (‘Mahal’, 1949) is still a few years away. And yet, there is a delight in the sound, as the expressions are being attempted to match the emotions projected by the words.

The film – ‘Gaja Bhaau’ (in Marathi). Music director – Datta Davjekar. Lyricist – not known. The singer – making her début into the world of Hindi film song. I wonder if she would have thought at that time about 2016, what the future held in store for her; that she would be a legend in her own lifetime, honoured and celebrated the world over.

Important Note: This update is delayed; actually this information was sent in by Harish ji, very early in the morning, within like a couple of hours of the post. He has sent me the scanned image of the page from a book that most probably is the Marathi Filmography. The film is produced under the banner of Prafulla Chitra, Kolhapur. It is produced and directed by Master Vinayak. Story is written by CV Bavdekar and CV Nadkarni. Screenplay and dialogues are by SA Shukul.

The song writers are also identified. The songs of this film are written by SA Shukul and Pt Indra. Harish ji has added an important observation, saying that most likely, the Marathi songs in this film are written by SA Shukul and the the Hindi songs are written by Pt Indra. Although the individual songs are not credited to specific songwriters, the obnservation by Harish ji sounds highly logical and probable.

The cast of actors is listed as Damuanna Malvankar, Dada Salvi, Lata Mangeshkar, Vishnupant Jog, Sumati Gupte, Nalini Nagpurkar, Bhaurao Dataar, Baby Achrekar and GD Madgulkar.

Interestingly, only the song “Mata Ek Sapoot Ki. . .” is listed as the Hindi song, with the annotation that this is the first Hindi song ever recorded by Lata ji. So this strengthens the observation that this song i.e. “Door Desh Se Aaane Waale. . .” is an unreleased / unused song of this film.

Harish ji, many many thanks for this update.

Her 3000^th song on our blog. Her first recording of a Hindi song. A matter of proud distinction, an admiration of delightful accolades, a veneration of values cherished for decades, an appreciation that fills the listening hearts with pleasures of melody. All of them come together in this celebration of 12000 songs on our blog.

Thanks for all the music Lata ji. It has been, and continues to be, a wondrous journey.
“Paa Laagun Kar Jori Re”.

Song – Door Desh Se Aane Waale. . .  Piya Milenge (Gaja Bhaau (Marathi)) (1943) Singer – Lata Mangeshkar, Lyrics – [Unattributed], MD – Datta Davjekar

Lyrics

door desh se aane waale..ay
aane waale hoy…
hoy…
aane waale..ay..ay
piya milenge
piya milenge
dukhde mann ka
bujhta deep jalaaya
aa aa
samay suhaana aaya
khil jaawo
bagiyon ki
khil jaawo
bagiyon ki
kaliyo..on
samay suhaana aaya

pawan jhakora…
pawan jhakora
door desh se
ik sandesa laaya..aa
laaya..aa..aa
ik sandesa laaya..aa
samay suhaana aaya

pal chhin par main
ghar ke dwaare
pal chhin par main
ghar ke dwaare
dekh rahi raah teri
raah teri
door desh se aane waale
aane waale..ay..ay
ab na kariyo deri
bahut dinan se
mere mann ko
tadpaaya
tarsaaya
tadpaaya
tarsaaya
samay suhaana aaya

pag pag par
phool bichhaa doon
khushboo jag mein phailaa doon
arre arre o papihaa bol
arre arre o papihaa bol

kya
hoon
kyaa bataaogi maalan

piya milenge
piya milenge
dukhde mann ka
bujhta deep jalaaya
aa aa
samay suhaana aaya
khil ja..aao
bagiyon ki
kaliyo..on
samay suhaana aaya

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

दूर देश से आने वाले॰॰ए
आने वाले होय॰॰
होय॰॰
आने वाले॰॰ए॰॰ए
पिया मिलेंगे
पिया मिलेंगे
दुखड़े मन का
बुझता दीप जलाया
आ॰॰आ॰॰
समय सुहाना आया
खिल जावो
बगियों की
खिल जावो
बगियों की
कलियों॰॰ओं
समय सुहाना आया

पवन झकोरा॰॰
पवन झकोरा
दूर देश से
इक सँदेसा लाया॰॰आ
लाया॰॰आ॰॰आ
इक सँदेसा लाया॰॰आ
समय सुहाना आया

पल छिन्न पर मैं
घर के द्वारे
पल छिन्न पर मैं
घर के द्वारे
देख रही राह तेरी
राह तेरी
दूर देश से आने वाले॰॰ए
आने वाले॰॰ए॰॰ए
अब ना करियों देरी
बहुत दिनन से
मेरे मन को
तड़पाया
तरसाया
तड़पाया
तरसाया
समय सुहाना आया

पग पग पर
फूल बिछा दूँ
खुशबू जग में फैला दूँ
अरे अरे ओ पपीहा बोल
अरे अरे ओ पपीहा बोल

क्या
हूँ
क्या बताओगी मालन

पिया मिलेंगे
पिया मिलेंगे
दुखड़े मन का
बुझता दीप जलाया
आ॰॰आ॰॰
समय सुहाना आया
खिल जा॰॰वो
बगियों की
कलियों॰॰ओं
समय सुहाना आया

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.

Today, with this post, we arrive at the 12,100th post on this blog. That’s 121 centuries that this blog has clocked so far. The mind continues to boggle.

As a person who’s seen this blog from day one (from the time “mile na phool” was posted as the very first song on this blog), I feel elated everytime we reach a milestone. I still remember when Atul posted the 100th and then 200th and so on. Each one was an occasion for celebration. Because each one was a marker of progress on a journey that we knew would be a long (and highly enjoyable) one. We have done that 121 times now – and I think I speak for many of us when I say, ye dil maange more..

But as I always say when I talk about a numerical milestone, it’s NOT just about the number. If it was only about numbers, we could have easily done a quick job, churning out posts in a matter of a few minutes. All we would have to do is write a few lines, copy lyrics from some other site – and we’d be done.

I can assure you, if we had done that, we would have been an “also-ran” site, not the go-to site that we have become over the years. We would have carried the same mistakes we find elsewhere. We wouldn’t have had so many connoisseurs of old Hindi cinema visiting our blog to read our posts and share their knowledge. The community grows by the day.

Increasingly, this blog is where people come together to discover and enjoy Hindi film music as a community. It is like an online “nukkad mein chai ki dukaan”. You have the regulars who land up everyday, they have a chai (song) served by Atul, they discuss the song – there is bonhomie all around. Every day you get taazi chai. But there are also others who join in, like at that nukkad dukaan. Everybody is welcome – the more the merrier.

So while it gives us great satisfaction to hit milestones, it is the journey that is just as important and enjoyable than the milestone itself.

And we must always remember that every song is compiled with great care. I always say, in a cricket game, you can hit a 4 or a 6, and your score jumps. Here, on the blog, there are no shortcuts. Every song adds just one to the counter. And I think, that’s a good thing. Tea is best savoured, sip by sip. Tabhi zaike ka mazaa aata hai. One should never rush good things in life.

Ok, now onto the post for today.

In my last post, I had talked about Naqli Nawab (1962) at length. It is a film I happened to see recently – and liked a lot. I have mentioned the reasons in that post and will not repeat them here.

I also mentioned that of the 7 songs in the film, 4 had been posted earlier by Atul, so there were 3 remaining to be posted. That post contained the first of these 3.

This song is the second in the trilogy.

I must admit when you use the word “trilogy”, it looks like you’re onto something big. Film-makers, especially in Hollywood, are very much into this. Maybe it took off in a big way with The Godfather, which (the first part at least) was the mother of all hits in its time. It was made as a trilogy. Then we had the Jaws trilogy (the original was followed by the trilogy, so there were 4 films in all) – another huge hit. Then the Star Wars trilogy (Star Wars, The Empire Strikes Back, Return of the Jedi). And many others, I am sure.

More recently, we had the Lord Of The Rings trilogy. And the Matrix trilogy.

In India too, not to be outdone, we have have Dhoom, Dhoom 2 and Dhoom 3 in recent times. From an earlier era, one hears of the Raj Khosla thriller trilogy (Woh Kaun Thi, Mera Saaya and Anita, all starring Sadhana) though I’m not sure the director quite marketed it that way.

Even the author Amish has a Shiva trilogy.

Since I don’t have the aukaat to make even one film or write even one book, let alone a trilogy, I have to take pride in smaller pleasures. Like writing 3 blogposts in a row of the same film’s songs and calling it a trilogy.

Anyway, trilogy or no trilogy, one of my goals after seeing Naqli Nawab was to YIPPEEE it at the earliest. In other words, to cover the remaining songs of the film on this blog so that the film could be marked as completed here.

The song for today is a fabulous qawwali. I absolutely love qawwalis – there’s hardly a qawwali out there that I have not liked. Just the rhythmic clapping and music is wonderful in itself. And then you have the lyrics, which are usually also fun. Often loaded, with some mocking or hidden meaning.

As I was writing down the lyrics of today’s qawwali, I kept falling more and more in love with it. Usually you replay to catch a word or line you missed. Today I did that, of course – but also kept replaying just to keep listening to the song. As I listened, I just marveled at the composition – and this is from a composer, Babul, who I know nothing about. Bahut na-insaafi hai.

The occasion for the qawwali is a celebration at Eid. Gifts are being given by the Nawab, KN Singh to others. Everyone is having a wonderful time. Love is in the air, as is evidenced by Manoj Kumar and Shakila.

But there is also something sinister beginning to brew. We see Indira Billi (and Kamal Kapoor) in this qawaali, singing to KN Singh “hum deewane ter dar de nahin talne waale” and “saamne baithe hain taqdeer badalne waale”. They are there to stake a claim on KN Singh. Indira wants him to acknowledge and accept her as his wife – she is supported by Kamal Kapoor, her brother, in this effort. The Nawab has no intention whatsoever of obliging them. So Indira intends to stay put.

This is also a song where one can see Edwina. She is a familiar face in many films of the late 50s upto the mid/late-60s, usually seen in dance sequences like “o haseena zulfon waali”, “sooku sooku” and “duniya paagal hai”. She is a friend for some of us who got to know her just a few years ago , thanks to memsaab (Greta). In this song, she has an uncharacteristic role in the support team of Shakila, singing the qawwali.

A word of mention for the person who has uploaded this video to youtube.

His youtube handle is Tommydan22 (the number keeps changing but the essence is Tommydan…). He is an American who, much like memsaab, is also a keen lover of old Indian cinema. But his interest (and skillset) also extends to reviving videos of old Hindi films and songs (we know what condition many of these videos are in!). He does it as a hobby. You will find a lot of his videos on youtube (check out his channels) – you can be assured his video will be the cleanest, clearest and most viewable. Often with subtitles, for those who don’t understand Hindi. It takes a lot of effort to do this, frame by frame – and we must appreciate his work.

So many people, in their own ways, are doing so much voluntarily to preserve and popularize old Indian cinema – it makes me feel humble to be part of this community. Sometimes I think, this is the only way old Indian cinema will survive.

I will leave you with these thoughts – and this wonderful qawwali. Lyrics are by Raja Mehdi Ali Khan.

Song-Ham deewaane tere (Naqli Nawab)(1962)Singers- Mohammad Rafi, Asha Bhonsle,Lyrics-Raja Mehdi Ali Khan, MD-Baabul
Unknown male voice,Unknown female voice
Male Chorus, Female Chorus, Joint Chorus

Lyrics

Hum deewaane tere
Aaa aaa aaa aaa aaa
aa aa aa aa
Hum deewaane tere
dar se nahin talne waale ae ae
Hum deewaane tere
dar se nahin talne waale ae ae
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane ae
Haaye
Hum deewaane tere ae
Hum deewaane tere
dar se nahin talne waale
Aaa aaa aaa
aa aa aa
aaa aaaa
Aur machlenge abhi tujhpe machalne waale ae ae ae
Aur machlenge abhi tujhpe machalne waale ae
Aur machlenge Arre machlenge
Aji machlenge machlenge
Aur machlenge abhi tujhpe machalne waale ae
Hum deewaane tere
dar se nahin talne waale

Phool sa rang bhi hai
husn bhi hai
roop bhi hai
Arrey phool sa rang bhi hi
Aur husn bhi hi
Roop bhi hai
Aaa aaa aaa aaaa
Phir mere ishq ka sooraj bhi hai aur dhoop bhi hai
Phir mere ishq ka
Sooraj bhi hai
Aur dhoop bhi hai
Haaaaa
Ab to ye pyaar ke saaye nahin dhalne waale
Aaahey
Ab to ye pyaar ke saaye nahin dhalne waale
Ab to ye pyaar ke saaye nahin dhalne waale
Aur machlenge abhi tujhpe machalne waale ae ae ae ae
Aur machlenge abhi tujhpe machalne waale ae ae
Hum deewane tere
dar se nahin talne waale

berukhi ne teri zaalim hamen barbaad kiya
berukhi ne teri zaalim hamen barbaad kiya
Aise bhoole ke na bhoole se hamen yaad kiya
Aise bhoole ke na bhoole se hamen yaad kiya
yaad kiya
yaad kiya
Phool se dil ko nigaahon se machalne waale
Aeji phool se dil ko nigaahon se machalne waale
Phool se dil ko nigaahon se machalne waale
Hum deewaane tere
Aaa aaaa aaa aaa
aa aa aa
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane tere
dar se nahin talne waale ae
Aur machlenge abhi tujhpe machalne waale

Na falak ki hamen parvaah
Na zamaane ka khayaal
Arrey na falak ki hamen parvaah
Na zamaane ka khayaal
O o o
o o o
o o o
Laakh duniya ke hon dukh
Humko nahin kuchh bhi malaal
Laakh duniya ke hon dukh
aeji
humko nahin kuchh bhi malaal
Saamne baithe hain
Baithe hain
Baithe hain aen
Saamne baithe hain
Taqdeer badalne waale
Aeji saamne baithe hain
Taqdeer badalne waale
Saamne baithe hain
Taqdeer badalne waale
Hum deewaane tere
dar se nahin talne waale ae
Hum deewaane
Haaye
Hum deewane tere
Hum deewaane
Tere dar se
Nahin talne waale waale
Aaaaaaaaaa
Hum deewane
Tere dar se
Nahin talne waale waale
Hum deewane tere

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

The duration has been sliced to less than half, rather almost one third. That is, in comparison to the previous interregnum. Maybe not THE quickest but one of the quickest. Ah yes, I refer to the century milestone, the 122^nd that we strike today. The reference to the duration is the time comparison between this one today, and the one that came just before it. We had hit the 12 thousand mark on 20^th April. After that, it has been a real slow tread to come to the next one hundredth mark, which happened on 18^th June. Counting the days, the number is 60. One of the tardiest to have occurred on this blog. But then we made it up, very sprightly and very quick – from 19^th June to 10^th July today. Counting the days, the number is 22. Wow, that is the bandwagon at its galloping best. The Raanchiwaala Gaanewaala is pulling out all the stops.

Congratulations to all the bandwagoneers – one more batch of a hundred songs is now added to the collection. And the musical journey continues, merrily onwards.

The sum of celebrations today – now that would be a much larger number. We have a twelve thousand two hundred, and an eight hundred and a double century.

Let me start with the double century. Welcome all to the 200^th song of Salil Da to be showcased here on our blog. Are you aware that Salil Da is the very second music director to be represented here? Atul ji had started the count with 2 songs of Roshan Sb. The very third song on our blog is from the film ‘Rajnigandha’ (1974) – “Rajnigandha Phool Tumhaare Mehke Yoon Hi Jeevan Mein”, posted way back on 21^st July 2008 (which makes it 10 days short of full eight years today). Over these eight years, we have been treated to some of the best of Salil Da’s creations. A slow trek, you might contend. But then here we are, getting on with the 200^th song of this multi-faceted genius artist.

The young Salil’s childhood was spent in hills and forests of Assam where his father worked as a doctor at one of the tea gardens. Three primary influences on the young mind can be inferred from this period. The sound of the open spaces, the birds and the trees, and folk expression of the local people, these are some of the earliest influences into the mind of the young Salil – an influence that can clearly be heard in his musical creations.

The love for music and theatre was inherited from his father. At one point in time, one of the departing British managers left his entire music collection and the gramophone player with his father. This collection contained some of the choicest pieces of Western classical music. He grew up also listening to Mozart, Beethoven, Tchaikovsky, and Chopin. And we can relate to strong influence this has in his work on orchestral arrangements and background music in his films.

His father also used to arrange makeshift theatre, with the cast of players drawn from the workers and coolies at the tea garden. These plays reflected the plight and social conditions of the times. The fusion of art and politics was first presented to him by his father who impressed upon the young Salil that one’s art should maintain a sense of social responsibility. This was another important influence that inspired the writer in young Salil.

During his student days at college, he was drawn to the leftist ideology and joined the IPTA movement of the communist party. He started to move with the IPTA traveling troupes, that went from village to village, carrying the message of uprising and rebellion against the British oppression. These were days of living dangerously, with many a run in with the police forces controlled by the British government. During this time, Salil Da wrote and composed many arousing songs of protest and patriotism. These songs of the people, or the ‘Songs of Consciousness and Awakening’, as he liked to call them, became an inseparable part of the independence movement. Many of these songs have survived the vagaries of time and are still performed in Bengal, having become an integral part of the region’s social heritage.

We may know him more as a music director, but he is also known for his poetry, and plays, and stories. You will remember ‘Do Beegha Zameen’ (1953) and the sounds of “Hariyaala Saawan Dhol Bajaata Aaya”. But not many will recall that Bimal Roy based this film on a story titled ‘Rickshawaala’, penned by Salil Chaudhry. After reading the story, Bimal Roy invited Salil Da to come to Bombay, and do the screenplay for the film. It was incidental that the responsibility for music direction was also assigned to him. And maybe not so incidental. By that time, Salil Da had already composed for five Bangla films, between 1949 and 1953. ‘Do Beegha Zameen’ became the debut for Salil Da in Hindi films.

Salil Da is known as a composer’s composer. He never really set the words to music. To him, the melody was sacrosanct and had to precede the words. The situation, the story line could then be adapted. In an interview in 1993, he said, “When I started my music career I imagined the whole world of music as a very tall tower for me to climb, and now after all these years I see that the tower has remained as tall as before.” Sincere and humble words of a genuine artist, for whom, art was always greater than the man who practised it.

For this post, we delve into his portfolio and bring this excellent melody from the 1960 film ‘Honeymoon’. The words are from the pen of Shailendra, the singing voice is Lata Mangeshkar, and the on screen performance is by Saeeda Khan – as a stage dance. If, as was mentioned above, the melody came before the words, then listening to this song it will be difficult to determine who did better. The melody is curious and sweet. And Shailendra has knitted together the words with such alacrity – just made for each other. The strains of this melody may remind you of a later song also composed by Salil Da – “Aayin Ghir Ghir Saawan Ki Kaali Kaali Ghataayen” from the 1972 film ‘Anokha Daan’.

Aah yes, before I bring this write up to a close, I need to connect in with the eight hundred number mentioned in the beginning. With this song, we are now able to declare this film as being Yippeee’d. We were there, almost, and yet, not there. Let me explain. As Atul ji and I exchanged notes for this century write up, he suggested to use this song which will bring this film into the list of all songs covered. So I started to work on this. Around mid day today, as I was doing the due diligence on the numbers and status, I discovered that no, we were still one more song short of getting all songs covered. Now that led to a scramble in my mind. But then I realized that the one more pending song of this film is actually a version song, one version of which is already posted here. The song is “Mere Khwaabon Mein Khayaalon Mein Basey”. This song appears in the film twice. In the first instance, it is sung by Mukesh, with the voice of Lata providing the humming support, and is filmed on Manoj Kumar, who imagines Saeeda Khan to be present with him. In the second instance, this song is a solo sung by Lata, and performed on screen by Saeeda Khan.

So we searched online and located both versions of the song online. Better still, we located both the audio and the video versions. Important, because the 78 rpm version is longer (3 stanzas) than the film version which has only 2 stanzas. So with these researches, we were also able to update this earlier post with both versions of the song. The picturization of the Lata solo version is simply beautiful, and I would recommend the readers to take a view of that post once again.

OK, ok, I am coming to the point; of eight hundred. After the sorting out of the number of songs, getting the correct updates into the earlier posted song, and then bringing up this song to complete all songs of this film, we have now hit the number 800 – number of films that have been Yippeee’d on our blog. Of the three thousand one hundred and twenty odd films that are represented on this blog, we have the full repertoire of songs of eight hundred of them. Ah yes, I know, you are thinking the same as I am – slowly inching towards the magic number of 1000 films Yippeee’d – all songs covered. Not too much further for the bandwagon journey.

And so we come to the end of this day – 10^th July, 2016 with 122 centuries of songs, Salil Da reaching the double century of posts, and the blog reaching the milestone of 800 films all songs covered. I am sure one of the team will be putting in a lot of e’s when the cry of Yippeee happens.

Congratulations once again, to all.

Song – Aha Re Magan Mera Chanchal Mann (Honeymoon) (1960) Singer – Lata Mangeshkar, Lyrics – Shailendra, MD – Salil Chaudhry

Lyrics

aha re magan
mera chanchal mann
nisdin gun gun
kuchh apni hi dhun mein gaaye. . .

aha re magan
mera chanchal mann
nisdin gun gun
kuchh apni hi dhun mein gaaye
pag paayal
baaje run jhun jhun
sajna mere sun
tujh bin ab raha nahin jaaye

jab se dil mein tu aaya hai
ik jaadu sa mujh pe chhaaya hai
jab se dil mein tu aaya hai
ik jaadu sa mujh pe chhaaya hai
ik lehar si aayi hai
tere geeton mein dil lehraaya hai
mere ghar mein chanda utar aaya hai
aha re magan
mera chanchal mann
nisdin gun gun
kuchh apni hi dhun mein gaaye
pag paayal
baaje run jhun jhun
sajna mere sun
tujh bin ab raha nahin jaaye

chaand jab dikh jaata hai
mujhe teri hi yaad dilaata hai
chaand jab dikh jaata hai
mujhe teri hi yaad dilaata hai
neend phir udd jaati hai
tere sapnon mein dil kho jaata hai
na jaane mujhe kya ho jaata hai
aha re magan
mera chanchal mann
nisdin gun gun
kuchh apni hi dhun mein gaaye
pag paayal
baaje run jhun jhun
sajna mere sun
tujh bin ab raha nahin jaaye

ye jo din chale jaayenge
phir mud ke kabhi nahin aayenge
ye jo din chale jaayenge
phir mud ke kabhi nahin aayenge
tum sajan pachhtaaoge
aur hum bhi sajan pachhtaayenge
ye armaan dil mein hi reh jaayenge
aha re magan
mera chanchal mann
nisdin gun gun
kuchh apni hi dhun mein gaaye
pag paayal
baaje run jhun jhun
sajna mere sun
tujh bin ab raha nahin jaaye

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

आहा रे मगन
मेरा चंचल मन
निसदिन गुन गुन
कुछ अपनी ही धन में गाये

आहा रे मगन
मेरा चंचल मन
निसदिन गुन गुन
कुछ अपनी ही धन में गाये
पग पायल
बाजे रुन झुन झुन
सजना मेरे सुन
तुझ बिन अब रहा नहीं जाये

जब से दिल में तू आया है
इक जादू मुझ पे छाया है
जब से दिल में तू आया है
इक जादू मुझ पे छाया है
ईक लहर सी आई है
तेरे गीतों में दिल लहराया है
मेरे घर में चंदा उतर आया है
आहा रे मगन
मेरा चंचल मन
निसदिन गुन गुन
कुछ अपनी ही धन में गाये
पग पायल
बाजे रुन झुन झुन
सजना मेरे सुन
तुझ बिन अब रहा नहीं जाये

चाँद जब दिख जाता है
मुझे तेरी ही याद दिलाता है
चाँद जब दिख जाता है
मुझे तेरी ही याद दिलाता है
नींद फिर उड़ जाती है
तेरे सपनों में दिल खो जाता है
ना जाने मुझे क्या हो जाता है
आहा रे मगन
मेरा चंचल मन
निसदिन गुन गुन
कुछ अपनी ही धन में गाये
पग पायल
बाजे रुन झुन झुन
सजना मेरे सुन
तुझ बिन अब रहा नहीं जाये

ये जो दिन चले जाएँगे
फिर मुड़ के कभी नहीं आएंगे
ये जो दिन चले जाएँगे
फिर मुड़ के कभी नहीं आएंगे
तुम सजन पछताओगे
और हम भी सजन पछताएंगे
ये अरमान दिल में ही रह जाएँगे
आहा रे मगन
मेरा चंचल मन
निसदिन गुन गुन
कुछ अपनी ही धन में गाये
पग पायल
बाजे रुन झुन झुन
सजना मेरे सुन
तुझ बिन अब रहा नहीं जाये

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

The saga starts in 1947. It is the runaway hit “Afsaana Likh Rahi Hoon Dil e Beqraar Ka” (film ‘Dard’). Not many artists can lay claim to such a meteoric debut. And also, not many can pride themselves with unbroken partnerships and associations with other artists, that have lasted for an entire lifetime.

The saga comes to a close in 1974. That is the span of the art – 27 years. The span of living years starts in 1916, and concludes in 1970 – a stretch of just 54 years.

Remembering Shakeel Badayuni – poet extraordinaire, designer of nearly 750 songs for approx 90 films, the only lyricist in the history of Indian cinema to win three Filmfare awards for best lyricist – back to back. Today, it is the centenary celebration of his birth anniversary.

Along with this centenary celebration, we are also celebrating the next century milestone for this musical blog. Today, we also arrive at the 12,300^th way stop, on the ongoing journey of this musical bandwagon. The journey continues and so will the celebrations. The ocean of Hindi film music will sustain and be sustained – “Ye Kaafila Hai Pyaar Ka Chalta Hi Jaayega”.

Shakeel Badayuni, birth name Shakeel Ahmed, was born on 3^rd August, 1916, in the town of Badayun, in UP. His father, Mohammed Jamaal Ahmed, was a maulavi (a Muslim priest). He encouraged his son to learn Urdu, Persian and Arabic, an education that stood the child in good stead, for the career as a poet. Young Shakeel was 20 years when he joined the Aligarh Muslim University (AMU). By this time, his interest and talent in shaayari had developed prodigiously. The only poet known in his family was a distant ancestor, Khalifa Mohammed Waasil. But his talent and his presentation, made him a much sought after poet in the contemporary mushairas. While at AMU, he came in touch with poets Neeraj and Jigar Moradabadi, and he acknowledges that he learnt a lot from them. Verily, he considered Maulana Zia-ul-Qadri as his mentor and teacher. Maulana Qadri was also a well known contemporary poet, whom young Shakeel would listen to and interact with at mushairas.

In 1940, he got married to Salma, a distant cousin. In 1942, he came to Delhi, and took up government service in the Supply department. He continued to participate in mushairas and poetical gatherings. He stayed away from political affiliations, and for that reason he never drew close to other famous poets of his time, like Sahir, Kaifi Azmi and Shailendra etc. He acknowledged that his poetry is more about romance, about human relationships and life. A couplet he once wrote, sums up his approach to poetry

main ‘shakeel’ dil ka hoon tarjuman, ke mohabbaton ka hoon raazdaan
mujhe fakhr hai meri shayari meri zindagi se juda nahin

Then came 1946. And with it came an invite to participate in a mushaira at Bombay. As the designs of providence would have it, music director Naushad was present at this gathering. He was impressed by this young man from Delhi. He connected with young Shakeel and took him to meet AR Kardar. The political situation was already tending towards a separation of states, and with it came the sad departure of many artists from Bombay to Lahore. Shakeel stepped into this opportune and potential vacuum. Naushad and Kardar invited him to write songs for Kardar’s next production – ‘Dard’. And the rest, quite literally, is history. With the film ‘Dard’ started a partnership with Naushad that lasted all the way to the film ‘Sunghursh’ in 1968 – an unbroken stint wherein Shakeel wrote the poetry for each and every film that Naushad did between 1948 and 1968.

The fact that Shakeel Badayuni’s career never really became more busy and more prolific, is at times attributed the factionalism in the industry. Maybe it simply could have been the personal trait of not really going after work. His other notable associations are with Ghulam Mohammed and Ravi. His work with Naushad is the largest segment of his films. However, interestingly, he never won a Filmfare award for any of Naushad’s films. The three awards came for ‘Chaudhvin Ka Chand’ (1961) with Ravi, for title song “Chaudhvin Ka Chand Ho. . .”, ‘Gharana’ (1962) again with Ravi, for the song “Husn Waale Tera Jawaab Nahin” and in 1963 for the film ‘Bees Saal Baad’, with Hemant Kumar, for “Kahin Deep Jaley Kahin Dil”.

His filmography is a matter of record (covered in quite a bit of detail in the previous post by Atul ji). His poetry, in terms of shaayari and ghazals, is heartening – pick up any of his films, and his the list of popular hit songs just continues. And notably, he was equally adept and at home with creating bhajans and songs relating to Hindu religion. Once again, that sampling is too numerous as in itself. Suffice to mention “Mann Tadpat Hari Darshan Ko Aaj” (‘Baiju Baawra’, 1952) and “Manmohan Mann Mein Ho Tumhin” (‘Kaise Kahoon’, 1964), even though there are many more notables to list.

Shakeel Sb’s contribution to the ocean of Hindi film songs is exemplary. A major part of his tally of around 750 songs is already covered on this blog. That also underscores the amount of popular hits amongst his creations. With close to 600 of his songs already showcased here on this blog, his tally is quite close to being fully represented. The words and the sound are eternal. And so did he write, about the sustenance of his own work

harshr tak garmi-e-hangaama-e-hasti hai ‘shakeel’
silsila khatm na hoga mere afsaane ka

The song being presented today is arguably the last song by him to find a place in a film. A few of his creations appeared in films after his passing away in 1970. This song from the 1974 film ‘Jurm Aur Sazaa’ appears to be the last one in terms of the listings in Geet Kosh. We do not find any more songs written by him, appearing in films after this one.

The music is by Laxmikant Pyaarelal, and the singing voice is that of Suman Kalyanpur. On screen, the song is performed by Nanda, who is singing this song as a ‘lorie’ (lullaby), sung in a sad mode, as she tries to put to sleep her younger brother in the film. The film is produced and directed by NA Ansari for the banner of Bundelkhand Films, Bombay. The story line is a formulaic ‘patriotic-national secrets-traitors-foreign powers’, which is a typical genre that NA Ansari would handle. In the film, the father of Nanda is a security officer for the Indian secret service, whose whereabouts become unknown, as he is returning to India from some foreign land with lot of information. The sad mood in the song is a reflection of this sentiment about their father’s disappearance. The song appears in two parts in the film, as the this scenario gets repeated. The video clip is a cut-and-splice of these two parts that appear separately in the film.

And so, one more century milestone down the belt. It is congratulations time once again, to all the members and reader friends of this musical bandwagon. And best wishes to all for many more returns of this celebration. And a teaser for the next milestone – watch out, for something special could be coming your way.

Song – Mere Dil Aaj Tu Maayoos Na Ho (Jurm Aur Sazaa) (1974) Singer – Suman Kalyanpur, Lyrics – Shakeel Badayuni, MD – Laxmikant Pyaarelal

Lyrics

mere dil aaj tu
maayoos na ho
mere dil aaj tu
maayoos na ho
kal na ye gham ka andhera hoga
shaam ke baad savera hoga
mere dil aaj tu
maayoos na ho
kal na ye gham ka andhera hoga
shaam ke baad savera hoga

aaj bigdi hui taqdeer hai
to honay de
dil ki tooti hui tasveern hai
to honay de
teri khusiyon ki kiran phootegi
kal zamaana yahi teri hoga
mere dil aaj tu
maayoos na ho
mere dil aaj tu

band kar aankh
mere sahaare so ja
tere qaabil nahin
duniya ke nazaare so ja
neend ke shehar mein khusiyan hain teri
jaa wahin tera basera hoga
mere dil aaj tu
maayoos na ho
kal na ye gham ka andhera hoga
shaam ke baad savera hoga

hmmmm mmmm mmmmm
hmmmm mmmm mmmmm
——————————————————
Hindi script lyrics (Provided by Sudhir)
———————————–——————-

मेरे दिल आज तू
मायूस ना हो
मेरे दिल आज तू
मायूस ना हो
कल ना ये ग़म का अंधेरा होगा
शाम के बाद सवेरा होगा
मेरे दिल आज तू
मायूस ना हो
कल ना ये ग़म का अंधेरा होगा
शाम के बाद सवेरा होगा

आज बिगड़ी हुई तक़दीर है
तो होने दे
दिल की टूटी हुई तसवीर है
तो होने दे
तेरी खुशियों की किरण फूटेगी
कल ज़माना यही तेरा होगा
मेरे दिल आज तू
मायूस ना हो
मेरे दिल आज तू

बंद कर आँख
मेरे दी के सहारे सो जा
तेरे काबिल नहीं
दुनिया के नज़ारे सो जा
नींद के शहर में खुशियाँ हैं तेरी
जा वहीं तेरा बसेरा होगा
मेरे दिल आज तू
मायूस ना हो
कल ना ये ग़म का अंधेरा होगा
शाम के बाद सवेरा होगा

हम्ममम म्ममम म्ममम
हम्ममम म्ममम म्ममम

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 most common milestone in this blog is the blog century milestone. We have so far had 124 of them. This writeup today marks the 125th century of the blog. In other words, this writeup is the 12500th writeup in the blog. This is a nice round figure which happend to be one fourth of 50,000 or one eighth of 1,00,000.

Our blog centuries are no longer that simple, though. We tend to combine such centuries with some more important milestones/ landmarks. This post is no exception. At the same time, this writeup could well be special because it marks quite a few special milestones, and several of them may come as surprise even to our regulars.

For one, another movie makes its debut in the blog with this song. This movie “Jungle Ki Duniya”(1959) happens to be the 3500th movie to find representation in the blog. So, the ongoing blog project of introducing “new” movies to the blog reaches a nice round figure of 3500.

That is not all. This movie happens to be the 100th movie of 1959 to get introduced in the blog. So one can say that the year 1959 now has a round figure of 100 movies represented in the blog. 1959 becomes the first year that now has 100 movies in the blog. Other years that may soon join this exclusive century club are 1960 (96 movies), 1961 (96 movies) and 1955 (95 movies).

Some more century milestones are associated with this song. But before discussing them, I would like to take this opportunity to discuss some interesting statistics. These statistics will give us an overview of what we have achieved and where we stand vis a vis the overall HFM scenario.

As always, I have taken the five decades beginning from 1931 and ending with 1980. There are songs in the blog that are from the years after 1980s as well as from years before 1931, but their discussion is more by chance rather than by design and they do not form part of this discussion.

———————————–
The first decade (1931 to 1940)
———————————
It was from 1931 that movies began to talk and they began to talk in different languages. The first Indian talkie movie talked in “Hindi/ Hindustani”. Hindi as well as other Indian language movies talked as well as sang. And the songs in these talkies are the topic of interest to us.

The songs of earlier movies could be heard only while watching the movie. Their records were not made. Majority of these movies are no longer in existence. So the songs contained in these movies are lost for ever.

My table for the first decade shows that around 915 Hindi movies were released in this decade and they had some 9000 odd songs in them. Our of these movies, 143 movies (336 songs) are represented in the blog and they constitute bulk of movies and songs of that decade that are available. My estimate is that around 30 odd more movies of this decade may ultimately find representation in the blog. Remaining movies – a whopping 750 odd movies and their songs are lost for ever. Overall, nearly 8500 songs of the first decade are lost for ever, and only around 400 odd songs from this decade are still available.

————————–
Movies from 1931-1940
————————–

—————————————–
The second decade (1941 to 1950)
—————————————–
Availability of movies as well as records improved a great deal by the time this decade arrived. 1189 movies (containing 10266 songs) were relesed during this decade. Out of them 540 movies (2296 songs) are represented in the blog. 649 movies are not yet represented in the blog from this decade. My guess is that songs of some 200 odd movies out of these 649 should be available. Around 450 movies of this decade along with their songs may have been lost for ever.

So one can say that about 750 + 450= 1200 movies from the first two decades of HFM are lost for ever and these movies are unlikely to find representation in the blog in future.

————————–
Movies from 1941-1950
————————–

—————————————-

The third decade (1951 to 1960)
—————————————-
1108 movies (containing 8654 songs) were released in this decade. 866 movies( contaings 4091 songs) are already represented in the blog. Out of the balance 142 as yet unrepresented movies, a good number of movies may yet find represntation in the blog. My rough guess is that about 100 of these movies may ultimately turn out to be unavailable alongwith their songs.

1959, the year with 100 movies represented now has as many as 468 songs represented in the blog (out of 803). It is a record for a year in the blog. Forty out of these 100 movies are already YIPPEED.

This decade is easily the most well represented decade in the blog. Nearly one third of all the songs in the blog are from this decade.

————————–
Movies from 1951-1960
————————–

———————————–

The fourth decade (1961 to 1970)
————————————
This decade is the second most well represented decade in the blog. This decade had 6275 songs from 929 movies. The blog has 3216 songs (from 759 movies). So 170 movies of this decade are not yet represented in the blog. My rough estimate is that 100 of these movies may turn out to be unrepresented in the blog even in future.

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Movies from 1961-1970
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The fifth decade (1971 to 1980)
———————————–
The fifth decade, which is regarded as the final decade of the golden era of HFM had 6295 movies from 1234 movies released in this decade. As many as 684 movies of this decade are represented in the blog with 1804 songs.

So one can see that 550 movies of this decade are not yet represented in the blog.

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Movies from 1971-1980
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Summary
———————————————

The above figures are for movies attributed to various years. HFGK also has list of movies whose years are not known and which are shown in appendices.

Total number of movies in the five decades add up to 5373 movies (40736 songs). If we add up the movies in the appendics then the figure adds up to 5664 movies(44000 songs approximately).

Total number of movies represented in the blog are 3500. If 5664 movies are there then it means that 2164 movies are not yet represented in the blog. Considering that as many as 1500 movies and their songs are not available according to my estimates, it follows that only about 564 or so movies are likely to be available. So it means that we may at the most hope to add another 500 or more movies to the blog. If my estimate is on the conservative side and let us say that an additional 500 number of movies should be available then it means that we will be able to add may be 1000 plus movies of the golden era to the blog in future.

My estimate is that around 12000 additional songs from the golden era are available that are not yet posted in the blog. So it means that we will be able to add another 12000 songs to the blog and end up at a final tally of around 25000 songs. At present we have just over 800 YIPPEED movies and we may be able to have around 2000 YIPPEED movies among the 4000 or so movies that this blog will ultimately have.

The above is my guess and this guess may ultimately undergo some revisions when we go into further details.

Coming to the song to mark the occasion, this song is from an obscure movie called “Jungle Ki Duniya”(1959). This obscure B grade movie was produced by C J Kansara and directed by B N Chauhan for Swastik Chitramala, Bombay. The movie had Indira, Baburao Pahalwan, Habeeb, Kailash Kumari, Umesh Sharma, Hira Sawant, Nirmal Kumar, Kesri, Prithvi, Rekha Sharma, Zippy, H Ramesh, C Madhu, C Vijay, D D Nautiyal, Sheikh etc in it.

This song is a solo song sung by Snehlata Tare. Lyrics are penned by Shriram Farrukhabadi and music is composed by Jugal Bannerji. All of them are unheard of names. In fact, the singer, the lyricist as well as the music director- each one of them make his/her respective debuts in the blog with this song.

And that is not all. The singer happens to be the 700th singer in the blog. The lyricist is the 600th lyricist in the blog. The music director is the 400th music director for the blog.

So, this song achieves several far fatched centuries as well as some some not so far fetched centuries.

With this song, now we are 12500 songs old, and we may well be at the half way stage in the life of this blog, if my estimate as given earlier is correct.

I take this opportunity to thank all our visitors, regualrs, contributors and other well wishers whose encouragements in one for or the other have ensured that this blog is going on and on and is achieving some interesting milestones along the way.

I take this opportunity to wish everyone a very happy and safe and prosperous Deepaawali and new year as well.

Song-Naachoon main jhoom jhoom (Jungle Ki Duniya)(1959) Singers-Snehlata Nare, Lyrics-Shriram Farrukhabadi, MD-Jugal Bannerji

Lyrics

hoye

naachoon main
naachoon main jhoom jhoom
kismat ko choom choom
din hai khushi ka
mausam suhaana
nikla hai
nikla hai chanda
baadal ki ot se
taaron ne chheda dilkash taraana
naachoon main jhoom jhoom

mast hawaayen
rangeen fizaayen
mast hawaayen
rangeen fizaayen
baanki adaayen
kisi ko bulaayen
baanki adaayen
kisi ko bulaayen
kisi ko bulaayen
main bhi na jaanoon
chupke se aake
loota hai kisne dil ka khazaana
naachoon main jhoom jhoom

tu bhi to ga le
khushiyaan mana le
tu bhi to ga le
khushiyaan mana le
mehfil saja le
o dilwaale
mehfil saja le
o dilwaale
o dilwaale
karna jo kar le aaj deewaane
aaye na shaayad phir ye zamaana
naachoon main jhoom jhoom
kismat ko choom choom
din hai khushi ka
mausam suhaana
nikla hai chanda
baadal ki ot se
taaron ne chheda dilkash taraana
naachoon main jhoom jhoom

This article is written by Mahesh Mamadapur, 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.

Welcome to all readers to the 126th century on the blog. Yes, we now have 12,600 songs on board with this post.

It’s now customary to have a special post or a song on such occasions. The last one saw a bundle of century celebrations in a single post. This time however it will be different in the sense that the highlight will be on the song itself and its historic importance rather than other aspects.

A certain impending exam for accreditation of my qualification and experience is holding me back to write more frequently on the blog. But when I came across this discovery, I was tempted to ask Atul ji if I could have it as a century post. In fact the conceptualization of this post began a little before the 125th century post. But then its grand design and posting was already decided and hence I sought for the 126th century post slot for this song.

The name of Ashok Ghosh will forever be remembered for introducing this singer to the Indian cinema. He was the first composer to give a chance to a very young singer. It so happened that the singer was also introduced as the lead actor in the film with Nalini Jaywant. The year was 1941 and the singer as we all can easily guess is Mukesh. But were Nirdosh (1941) songs the first ever recordings of Mukesh? We will learn in a few moments.

I had begun my association with Sudhir ji by sending him a few newspaper articles and other information of Mukesh which I had collected through the years. This was before he had started his very productive and highly appreciable efforts of tracing, uploading and posting the first few dozens of Mukesh songs in the films through his series “The voice of Mukesh”. On receiving the info he had thanked me enough in his return mail. However, I now feel that I had sent a few drops of water to a person who owns an ocean of information.

Anyway, the relevance of my first interaction with him to this post is the withholding of one article for a very odd reason of the problem of scanning. The article was on a broadsheet of “Screen” a weekly magazine which used to appear in the form of a newspaper earlier. Then, I had found it difficult to scan because of its size, but with this post coming up, I had to send it across by some means as there was a very important piece of information in it which one usually does not come across in the hundreds of articles which have appeared over the years on Mukesh.

The said article is dated Sept 1st 2006 and is written by Sanjay R Pillai. It’s a short article with the title MUKESH MATTERS in huge font and a large photo of Mukesh occupying much of the space. I will be happy to share this article with anyone who wishes to read it. It has a few interesting statistics of his songs, acting career and a very important information.

We all know that composer Roshan and Mukesh were studying in the same school. Whether, they were class-mates is debatable as there is a wide difference of 6 years in age among the two. We also know that Mukesh was a popular singer in his school and the students always looked forward to hear him sing in the school functions. After his matriculation in 1939, Mukesh briefly worked in a Govt service and ran away to Mumbai in October 1940. His life and career after coming to Mumbai is well known and documented.

However there is a very interesting segment to his profession, interest and life before he came to Mumbai which I believe has not been covered or addressed in the blog so far. It is this segment that is the highlight of this century post.

The screen article referred above says that the singer had recorded six private songs in Delhi itself before he came to Mumbai. In fact the author goes ahead and names the six songs in the article. This obviously was known to me ever since I had the article in my possession but I was under the false impression that they were not available for hearing or released in any mode. When I came across one of the songs, the search led to another three and I decided that the songs very much deserved to be put up on the blog.

Some web-sites say that these private songs were recorded secretly by Mukesh. It’s quite a possibility because of the taboo of being associated with films and singing in those days.

What makes the six songs unique is that they pre-date the Nirdosh (1941) songs. So when one of the songs is taken up it becomes the oldest song of Mukesh to appear on the blog.

The table below enlists the very rare songs and their respective 78 rpm record numbers. All six songs are believed to have been recorded by Mukesh in Delhi in the year 1940 just before he came to Mumbai. Needless to say these details and the confirmation of the songs were accorded to me by Shri Harish Raghuwanshi ji, with whom I interacted a lot through mails. I thank him profusely for his help and guidance in presenting this post.

Of the above 6 songs, the first two bearing the record number N 14504 are difficult to find. However the remaining 4 are available. But I am sure that there are music enthusiasts out there possessing all the songs. If anyone has the songs from record number N 14504, I make an appeal for sharing them on the blog. Also, more knowledge readers can please extend additional information of all these 6 songs as the details are very sketchy.
I have taken up the 5th song for this post. On hearing the first few words of the song, the mind instantly recalls this iconic vintage era song by Pankaj Mullick from Kapal Kundala (1939). The sort of hurried rendering at the fag end of the original song is emulated in this version by Mukesh too.

Similarly the 4th song very much resembles yet another famous and timeless classic song of K L Saigal from Dushman (1939). It is interesting to note that these songs were sung by Mukesh in 1940 with both the films being released a year earlier.

I am not sure if there have been discussions in any of the past posts or comments regarding these six songs sung by Mukesh. However as I have said earlier, this song is the first among the six to be posted here. Authentic information regarding the composers and lyricists of the songs is not known. The only reliable information available is from Mukesh Geetkosh wherein the lyric writer of the present song is mentioned as L.A.Naazish Rizvi.

Irrespective of the sequence in which we take up the songs, what matters is the quality of the voice in the songs and the circumstances under which they were recorded by the famed singer. A voice which had no clue where it was headed and what popularity, recognition and legendary status it would attain over the next three and a half decades. Mukesh was no doubt groomed and encouraged by Anil Biswas, Naushad and other composers in his initial phase. However, years before he sang their songs, one can detect a promise and a legend in the making. Sincerity, sanctity, purity and total devotion to singing, the virtues of which made Mukesh a household name with millions of fans all over the world, is very much evident in the rendering.

So here is the young singer, all of 17 years of age, with his most primeval voice on the blog so far.

Song-Gokul nagri jaana (Mukesh NFS)(1940) Singer-Mukesh, Lyrics-L A Naazish Rizvi

Lyrics

gokul nagri jaana
haan aaaa aaa
gokul nagri jaana
shyaam bina sab hai ??
shyaam bina sab hai ??
maan ko hai behlaana
gokul nagari jaana
haan aaaa aaa
gokul nagri jaana

aankhen bichhaataa chaloon
neer bahaata chaloon oon
aankhen bichhaataa chaloon
neer bahaata chaloon oon
prem ka chamatkaar
prem ka chamatkaar
kuch to hai dikhaana aa aa
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

man kyun udaas hai
man kyun udaas hai
kaahe niraash hai
man kyun udaas hai
aisa vichaar kyun hai tujhe
aisa vichaar kyun hai tujhe
aaya sama suhaana aa aa
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

aasha ke phool khile
shyaam piya aan miley
aasha ke phool khiley
shyaam piya aan miley
kat gayi dukh ki raat
kat gayi dukh ki raat
geet aanand ke gaana
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

jaana mathura nagari jaana
jaana nand graam ko jaana
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

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.

As I write out this post today, I have strong emotions attached to it.

It is a huge honour for me to write this post. I have to thank Atul for giving me the opportunity to do so.

Just a few days ago, Atul sent me an e-mail asking me if I could do a write-up for Kishore Kumar’s 1000th song on this blog. And of course, I immediately mailed back “Sure”. I wouldn’t miss this opportunity – it is indeed a very special occasion and a huge honour for me.

So far on this blog, we have Lataji at 3000+ songs and Asha Bhosle and Rafisaab at 2000+ each. Other than these three artistes, no composer, lyricist or singer has hit the 1000-mark (though there are a few in their 900s).

So, with this song, his 1000th on this blog, our beloved Kishore Kumar (Kishore da to his fans) joins this small group of legends.

And deservedly so.

I remember a few days ago, when Peevisie’s Mom and Avinashji were at my place, the topic of Kishore da’s 1000th song on the blog came up. Peevisie’s Mom mentioned that he was close to the landmark – I was actually surprised he hadn’t got to 1000 yet. After all, Rafisaab was on 2000+.

But then this blog is currently more skewed towards pre-1970 songs and of course, Rafisaab easily outdid Kishore da in number of songs for this period.

But it doesn’t matter. Like they say “der aaye, durust aaye”.

1000 songs for Kishore da here. Just the thought fills me with a lot of joy.

Kishore da is one of my favourite artistes – and I am sure I am in very good company on this. I have posted his songs here on many occasions, often associated with his birth or death anniversaries. Obviously I remember him more on those days – but there’s hardly a day when I don’t remember or sing a song of his.

Readers here who have read some of my posts on Rafisaab might wonder how I have so much love for Kishoreda when I am such a big fan of Rafisaab too. The simple answer is, nobody has a monopoly over anyone’s feelings. It is possible to love both Rafisaab and Kishoreda. And other artistes too. It is only the petty-minded who try to run down one artiste to make the other look better. The world of music is vast and generous – it has space for all. And we, lovers of music, also need to be big of heart to appreciate this. Otherwise, only we are the losers.

Coming back to Kishore da, what can I say about him that has not already been said so many times here on the blog? Not just by me, but by anyone who has written about him?

Yet, on this occasion, at the cost of repeating myself, I am going to revive some memories of Kishore da. I never tire of reminiscing.

My first memory of Kishore da is associated with Aradhana (1969). More specifically, the songs “mere sapnon ki rani”, “roop tera mastana” and “kora kaagaz tha”. When I was a kid, the songs of Aradhana were all superhits – and these songs would play every day (or so it seemed at that time).

And not just these Kishore songs. His songs of Kati Patang, Safar, Dushman, Amar Prem, Apna Desh, Mere Jeevan Saathi and so many more films would be playing everyday. Each of these songs a superhit.

So, like I always say, there was Kishore all around me when I was growing up. And not just Rajesh Khanna films. Clearly he was a HUGE factor in the success of Rajesh, but even his other songs like “musafir hoon yaaron” “pal pal dil ke paas” and “ye jeevan hai” were extremely popular. I remember “chalte chalte” was SO popular that guys in my class in school were singing it for months.

And if you wanted some masti , instead of soulful, songs, you could always depend on a whacky Kishore song like “dekha na haaye re” or “saamne ye kaun aaya” or “manchali kahaan chali”.

It is hard to pick my favourite song of that time – I lapped up each one of these songs and loved them all. I’d often sing them (ok, badly!) to myself – ye shaam mastaani (with that tilt of the head imagining myself to be Rajesh Khanna ), o mere dil ke chain, sama hai suhaana suhaana, o hansini, o maajhi re….just too many to mention.

The 70s rolled by. I grew older, moved from primary to secondary to high school. A lot of things changed around me. Rajesh Khanna gave way to Amitabh Bachchan. The Emergency came and went. For the first time in my life, in 1977, I didn’t hear AIR news saying “Pradhan Mantri Indira Gandhi”. A crisis was forming in Punjab. And in Assam. Around the world, things were changing too. The Vietnam war was over, but the scars were still fresh in many minds. In neighbouring Pakistan, Zulfiqar Ali Khan Bhutto was hanged as Zia ul Haq took over power. India and Pakistan resumed cricketing ties in 1978, after 17 long years. Mujibur Rahman got assassinated in Bangladesh. The Palestine issue became more violent, as Yasser Arafat and his PLO became more vocal with their demands.

Yes, things were a-changing.

Through all this, the one constant was Kishore da.

He started the decade as India’s no.1 male singer. He ended the decade as India’s no.1 male singer. And through the decade, every single year, he was India’s no.1 male singer. Others, including Rafisaab, had their share of successes. But purely in weight of dominance, Kishore da was unmatched right through the 70s.

This success carried through to the 80s too. Although the type of songs changed, reflecting the change in cinema itself in that period, Kishore da was still at the top of his game and the undisputed no.1 male singer. No one else came close. And this, all the way till his death in 1987.

Speaking for myself, although I was introduced to Kishore da through Aradhana and later songs, I found myself liking his earlier songs a lot whenever I heard them. His voice always carried you with it – whether it was a happy song or a sad song. So one minute you could be singing along with “nakhrewaali aa”, the next minute you could be lost in “koi hamdam na raha” or “mere mehboob qayamat hogi”.

I remember having a Kishore cassette with duet songs only – the speciality being each duet was with a different female singer. It was a treasure to listen to “piya piya piya” (with Asha Bhosle), “meri neendon mein tum” (with Shamshad), “beqaraar dil” (with Sulakshana), “do panchhi do tinke” (with Aarti Mukherjee) and many more.

Kishoreda as a singing colossus alone would have walked into any hall of fame of Hindi cinema. But it is a tribute to his unputdownable nature and incredible talent that singing was just ONE facet of his contribution to the industry, though easily his biggest.

Kishoreda was also an actor, director, producer, writer, composer – he seemed to dabble in everything and come out with credit so effortlessly, he made it look far easier than it must have been. But that is the mark of a genius – and in the Hindi film industry, Kishore da definitely counts as one.

I’d heard of films produced and directed by him early on in my life but got to see them only later. And what films! Both Door Ka Raahi and Door Gagan Ki Chhaon Mein made an impact on me.

Kishore da is known for his frolicking, his practical jokes, his comedy roles. And yet, in these two films, acted, written, composed, produced and directed by him, he shows immense depth while discussing the philosophy of life and relationships. Both these films deserve to be better-known and watched and I would recommend them to anybody who hasn’t seen them yet. The songs of these films are top-class too.

So this was our Kishore da. A reluctant actor to start with but who entertained us with rollicking comedy. A singer who started by singing KL Saigal songs but developed a magical voice of his own. A man who tried his hand at different things and made a mark in them all.

Today, as we post his 1000th song on this blog, we cannot but admire him – and be in absolute awe of him – for what he has contributed to the industry. Thank you, Kishore da – your contribution cannot be put in words.

Now, moving on to the song for today.

It is one of Kishoreda’s most popular songs – I am sure many will be very surprised to see it being posted now, when we are into the ninth year of the blog! They will be saying “arrey, ye abhi aa raha hai blog pe”?

But that’s one of the things with Atul – he always has something up his sleeve to surprise us. I’m pretty sure he was saving up this song for just this occasion, all these years.

After all, when you’re posting a 1000th song for an artiste, it has to be a special song.

The song is “mere saamne waali khidki” from Padosan (1968).

It is one of the very early songs I remember from my childhood. I think it must be one of the best-known songs of Hindi cinema, certainly one of Kishoreda’s best-known songs.

It is a fun song from one of Hindi cinema’s most popular comedy films. A film that you, whatever your age group, can see any number of times. The travails of Bhola, the simpleton, trying to impress and woo Bindu are a timeless watch.

Bindu (Saira Banu) is interested in music and learning it from a Masterji (played by Mehmood). Bhola (Sunil Dutt), although he belongs to a music group and fancies himself as a singer, is actually hopeless. He wants to impress Bindu but doesn’t stand a chance on his own. His music group friends, led by his guru, Vidyapati (Kishore Kumar) come to his rescue.

Vidyapati is an accomplished singer. Seeing as the only way Bhola can make it to Bindu’s heart is through his voice, he must be seen as being a good singer. Which he most certainly is not. So Vidyapati does the singing behind the scenes, while pushing Bhola to the front, as the face for Bindu. All Bhola has to do is lip-synching. What can go wrong?

Well, in this song, nothing does. Bindu is highly impressed. But sooner or later, his luck had to run out. And it does, with “kehna hai”.

I’ve listened to “mere saamne waali” many times – and it’s still one of those songs that I can listen to anytime. At the very beginning of this song, we get to see Rajkishore, Mukri, Keshto Mukherjee and Kishore himself, improvising with the “musical instruments” at their disposal to create a musical sound effect. This adds to the magic of the song.

Credit for this song has to go not just to Kishoreda but also to RD Burman. Not just this song, but every song of this film is wonderful to listen to. It was still early in RD’s career, but, following on Teesri Manzil, he showed that he was a force to be reckoned with in the industry.

Before I end this post, one more thing. There is another milestone linked to this post. This song also happens to be the 12700th post on this blog. That means we’ve hit 127 centuries so far. Yes, as has been said before, these blog centuries seem to be becoming routine now, as we’ve got to 127. But we need to remind ourselves that each century is a compilation of 100 separately prepared songs, with no short cuts whatsoever. So though we’ve hit 127 and this might seem like a mini-milestone now, it is cause for celebration nevertheless.

And now, let us all congratulate Kishoreda on getting to 1000 songs on this blog while listening to this lovely song.

Atul’s remarks-
(1) This song contribution was sent sometime back by Peevesie’s mom with lyrics. Sudhir Ji added Devnagri script to it and saved it in the drafts of the blog. Then it was decided that this song, that transformed Kishore Kumar from version 1.0 into version 2.0 almost overnight deserved to be held back and posted as the 1000th song of Kishore Kumar. So here it is. The writer of the article, Roman script lyrics noter, Devnagri script lyrics noter and the person pressing the “publish” button are all different. A real team effort indeed

(2) With this song, “Padosan”(1968) joins the list of movies that have all their songs covered in the blog.

Song – Mere Saamne Waali Khidki Mein Ik Chaand Ka Tukda Rehta Hai (Padosan) (1968) Singer – Kishore Kumar, Lyrics – Rajinder Krishan, MD – RD Burman

Lyrics (Provided by Peevesie’s mom)

arey hey… ey… ey… eh
la la la la la la la la la la la la la laaah

hmmm mmmm mmmm
he he

mere saamne waali khidki mein
ek chaand ka tukda rehta hai
mere saamne waali khidki mein
ek chaand ka tukda rehta hai
afsos yeh hai ke wo hum se
kuchh ukhda ukhda rehta hai
mere saamne waali khidki mein
ek chaand ka tukda rehta hai

jis roz se dekha hai usko
hum shamaa jalaana bhool gaye
jis roz se dekha hai usko
hum shamaa jalaana bhool gaye
dil thaam ke aise baithe hain
kahin aana jaana bhool gaye
ab aath pahar in aankhon mein
wo chanchal mukhda rehta hai
mere saamne waali khidki mein
ek chaand ka tukda rehta hai

barsaat bhi aa kar chali gayi
baadal bhi garaj kar baras gaye
barsaat bhi aa kar chali gayi
baadal bhi garaj kar baras gaye
par uski ek jhalak ko hum
ae husn ke maalik taras gaye
kab pyaas bujhegi aankhon ki
din raat ye dukhda rehta hai
mere saamne waali khidki mein
ek chaand ka tukda rehta hai
afsos ye hai ke wo hamse
kuchh ukhda ukhda rehta hai
mere saamne waali khidki mein
ek chaand ka tukda rehta hai

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

अरे हे॰॰ ए॰॰ ए॰॰ एह
ला ला ला ला ला ला ला ला ला ला ला ला ला ला॰॰ आह

हम्ममम म्ममम म्ममम
हे हे

मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है
मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है
अफसोस ये है के वो हमसे
कुछ उखड़ा उखड़ा रहता है
मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है

जिस रोज़ से देखा है उसको
हम शमा जलाना भूल गए
जिस रोज़ से देखा है उसको
हम शमा जलाना भूल गए
दिल थाम के ऐसे बैठे हैं
कहीं आना जाना भूल गए
अब आठ पहर इन आँखों में
वो चंचल मुखड़ा रहता है
मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है

बरसात भी आ कर चली गई
बादल भी गरज कर बरस गए
बरसात भी आ कर चली गई
बादल भी गरज कर बरस गए
पर उसकी एक झलक को हम
ए हुस्न के मालिक तरस गए
कब प्यास बुझेगी आँखों की
दिन रात ये दुखड़ा रहता है
मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है
अफसोस ये है के वो हमसे
कुछ उखड़ा उखड़ा रहता है
मेरे सामने वाली खिड़की में
एक चाँद का टुकड़ा रहता है

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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(11 january 2017), we are celebrating two milestones on the Blog. First, Sudha Malhotra has hit her maiden century on the Blog. Second, her 100^th song happens to be the 12800^th song on the Blog. So this is double celebration post. Congratulations to Atulites for adding one more century to the Blog making it the 128^th century.

Sudha Malhotra’s maiden century has come the hard way. It took more than 8 years for the Blog to achieve the magic figure of 100 songs for her. But the delayed century has to be seen in the perspective of her active playback singing career which was just 10 years long during which she sang about 250 songs, a majority of which came during 1957-60.

We are fortunate that Sudha Malhotra (b. 30/11/1936) is among us and she has completed 80 years on November 30, 2016. She was awarded Padma Shri by Government of India in 2013. We wish her a healthy and a purposeful life.

Sudha Malhotra is a contemporary personality of Hindi film music for us which makes it easier for us to get necessary information on her life and career on the net. Hence, I will avoid repeating the same in this post. Suffice it to say here that she was born in Delhi, raised in Lahore and later in Bhopal. At the age of 6, she sang a couple of songs of Noor Jahan in a charity show in Lahore under the guidance of Ghulam Haider. Later she started singing on All India Radio, Lahore. She had undergone classical musical training under the tutelage of Ustad Abdul Rehman Khan of Patiala Gharana.

In an interview on Rajya Sabha TV conducted some time in 2013, Sudha Malhotra had said that she recorded her first song mila gaye nain for Anil Biswas in ‘Aarzoo’ (1950) at the age of 14. This song became popular because of which she started getting assignments from Hindi films. tum mujhe bhool bhi jaao in ‘Didi’ (1959), the only song which she herself composed, became virtually her last song to be recorded. But some of her songs did appear in the films released in the 1960s which were recorded prior to her marriage in 1960. After marriage, she did not sing for any film except for Raj Kapoor’s ‘Prem Rog’ (1982) in which she sang one song, ye pyaar thhaa ya kuchh aur thhaa. However, she continued to sing in concerts and recorded some non-filmy ghazals and bhajans.

I came to know about Sudha Malhotra as a playback singer very late by which time she had already taken retirement from the film industry. Some of her songs which used to get played on Vividh Bharati quite often in the 1960s like salaam-e-hasrat qabool kar lo, kashti ka khaamosh safar, naa main dhan chaahoon etc made me aware of Sudha Malhotra.

After joining the Blog, I also came to know about some of her beautiful songs from obscure movies which are now my favourite. Those include mujhe tarke taalluk ke liye samjhaaya jaata hai, ham tumhaare ho chuke hain, mere nadeem mere hamsafar udaas na ho, kaun rang mungwa kawan rang motiyaa etc. I also like some of her non-filmy ghazals. I liked her rendition of Sudarshan Fakir’s non-filmy ghazal meri zubaan se meri daastaan suno to sahi.

One of the important piece of information which I came to know for the first time from Sudha Malhotra’s interview on Rajya Sabha TV was that she along with Geeta Dutt had recorded Sahir Ludhianvi’s famous nazm ‘kabhi kabhi mere dil mein khayaal aata hai’ under the baton of Khaiyyam for Chetan Anand’s film which was shelved half way. The same song with the same tune was later used by Khaiyyam in Yash Chopra’s film ‘Kabhi Kabhi’ (1976) in the voices of Mukesh and Lata Mangeshkar.

Like many other playback singers who joined Hindi film industry in the 50s, Sudha Malhotra also had to face stiff competition from the top most playback singers of her time. As a result, she was largely confined to singing for actresses in the lower rungs, or singing duets. I also feel that she may have been sidelined during the initial stage of her playback singing career due to near similarity of her voice with that of Geeta Dutt and Meena Kapoor who were in the limelight in early 50s.

The brighter side of Sudha Malhotra’s playback singing career was the backing she got during 1957-60 from Sahir Ludhianvi who had then become one of the most sought after lyricists and whose writ worked with the second line of the music directors. In the interview I referred to above, she has acknowledged with humility that it was Sahir Ludhianvi who was instrumental ingiven her her best poetic songs. Some of these songs have become immortal.

Now coming to Sudha Malhotra’s 100^th song making it 128^th century song for the Blog, the song which I am presenting today is one which I heard for the first time a couple of days back. I liked it because it is a peppy song which is appropriate for celebration posts like the present one. The song is ‘main pyaar ki laila hoon’ from the film ‘MR X’ (1957). The song is sung by Sudha Malhotra and Manna Dey on the words of Hasrat Jaipuri which is set to music by N Datta.

Enjoy this club song.

Song-Main pyaar ki laila hoon (Mr X)(1957) Singers-Sudha Malhotra, Manna Dey, Lyrics-Hasrat Jaipuri, MD-N Datta

Lyrics

main pyaar ki laila hoon
paaoge tum na aisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon
paaoge tum na aisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon

dil ka ilaaz kar doon
rakhti hoon wo dawaai
tum jaise bigde dil ki taqdeer bhi banaai
dil ka ilaaz kar doon
rakhti hoon wo dawaai
tum jaise bigde dil ki taqdeer bhi banaai
itna mujhe bata do
hai koi mere jaisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon
paaoge tum na aisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon

main kya bataaun tujhko
chaahat ki aisi taisi
jab kar diye hain toone
ulfat ki aisi taisi
is pyaar ke jahaan se
bhaagoge tum kahaan tak
chhodoongi main na peechha
jaaoge tum jahaan tak
ye baat hai to madam
kismat ki aisi taisi
jab kar diye hain toone
ulfat ki aisi taisi
main pyaar ki laila hoon
paaoge tum na aisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon

taareef apne munh se
main kya karoon tumhaari
duniya mein tere jaisi
dekhi hai kai naari
taareef apne munh se
arre main kya karoon tumhaari
duniya mein tere jaisi
dekhi hai kai naari
haan haan
tum videshi ho ye baat hai sachchi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon
paaoge tum na aisi
ye chaand bhi deewaana
soorat hai meri aisi
main pyaar ki laila hoon

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.

Century posts are our regular and most frequent causes for celebration in the blog. In the past, we would have such celebrations after every 15-16 days. Now a days, we get to celebrate such occasions at a rather more mature and sedate pace, viz after every 27-28 days.

This post is yet another century post for the blog. It marks the 129th century of the blog, viz 12900th song post for the blog.

There are many reasons for this difference is strike rate of these centuries.

Let me try and recall some reasons:

1. The years between 2010 to 2012 were the years when for some reasons, I was so motivated that I would wake up early morning by 4 A M or so and would start blogging from that time onwards. I was not the only one. I found Sudhir Ji too burning midnight oil whenever I logged on at small hours of the morning.

Secondly, I was less knowledgeable about HFM and things were more simple in the blog. We did not have the concept of introducing movies to the blog, YIPPYing movies in the blog etc. We did not even have the concept of list of songs (moviewise, MD wise and yearwise). All those ideas came up with time.

Not burdened with the above ideas, I would discuss six or sevn songs a day between 4 A M and 10 AM and my blogging for the day was done.

These days, I make it a point to introduce one “new” movie to the blog everyday by discussing the first song from such movies in the blog. YIPPYing a movie everyday is just the opposite exercise, where I discuss the final song from the movie.

While it may look simple, both these exercises are quite challenging, and they bring different kinds of challenges.

Introducing a “new” movie in the blog daily is easy if you are a new blog and very few songs are discussed in the blog. But when you have already covered over 3700 movies in the blog, then one needs to have a foolproof method to avoid errors. I have devised a method where I have the list of all the movies that were released right from 1931 till 1980. In my excel sheet, I have two column against each movies. One column is for the number of songs in that movie. Another column is for the number of songs discussed in the blog. When the two columns have the same figure then the movie gets YIPPEED. If there are no songs from that movie in the blog and that movie is a candidate for being introduced in the blog.

Just because a movie is not represented in the blog does not mean that it can be introduced just like that. There are movies whose songs ar simply not available. That is the case for most movies of early years. For instance, only one song from 1931 is available though 27 movies were released that year. So as many as 26 movies of 1931 can not be introduced in the blog, no matter how keen we are to do that. Likewise only 3 movies of 1932 can be introduced in the blog.

These days I am looking to introduce movies from 1940s onwards. After I “introduce” a movie, I update my statistics. It gives satisfaction to realise that the gap between movies in a year and movies from that year in the blog is getting reduced.

Among all the years, I am particularly fond of the years of 1950s. This is the first full decade of the golden era of HFM. This decade is the most well represented decade in the blog, moviewise as well as songwise. As many as 1108 movies were released in this decade (between 1951 to 1960). 914 of these movies have been represented in the blog. So another 194 movies are left to be covered in the blog. Songs from all these movies may not be available. Let us see what our final tally of movies of 1950s turns out to be.

A total of 4245 songs from this decade have been covered in the blog whereas 8654 songs were created in this decade. Like for the number of movies, the number of songs that are posted in the blog are required to be brought as close as possible to the number of songs created in the decade. As can be seen, just under 50 % of all the songs of 1950s are covered in the blog.

That is where the concept of YIPPYIng comes into picture. If we want to cover more songs from a decade, we should try to cover all songs of movies. Once we YIPPEE a movie, we are not required to look at its songs again and we can concentrate on un YIPPEED movies of the decades, including movies that have not yet made their debuts in the blog.

Let us take the year 1952 for instance. As many as 105 movies were released in this year. The blog has songs from 76 of these movies. So, we have to locate songs from the remaining 29 movies and discuss then so that these movies too get introduced in the blog. These movies are rare movies so it should come as no surprise if songs from some of these movies turn out to be unavailable.

849 songs were created in these 105 movies. This blog has 384 songs from 76 movies of 1952. 21 of these movies have already been YIPPEED, so we only have to concentrate on the remaining 55 covered movies plus the 29 as yet uncovered movies of 1952.

When we “introduce” a movie in the blog or discuss the final song of a movie, it is not always a simple affair. We do not just go to YT and locate the song. More often than not, the song under discussion turns out to be a rare song which is not even available on YT. Then we are required to search for it from some other source.

We in this blog are “introducing” a movie daily and YIPPYing a movie daily. The songs that are used in these posts are often “new” songs for most music lovers.

The song under discussion is the final song from “Moti Mahal”(1952). This movie, a forgotten movie had some obscure songs that were great to listen to. This seventh and final song from “Moti Mahal”(1952) is sung by Shamshad Begam and Devendra. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl.

So, this movie “Moti Mahal”(1952) gets YIPPEED in the blog with this song.

When I mention Devendra, I recall my visit to Delhi in october 2015. There I had met some Delhi based HFM lovers, namely M/s Bakshish Singh, Sudhir ji, Jawed Hamid, Arvinder Sharma and Srinivas Ganti. It was during our discussions that Mr Bakshish Singh made me aware about this singer called Devendra. My writeup describing this meeting discussed a Devendra song, and that happens to be the only Devendra song in this blog. So, this song, the 12990th song in the blog is the second song from Devendra to appear in the blog.

A blog century post these days is often combined with some other century and indeed that is what was my intention. I had intended this song too coincide with 200th song of Hansraj Bahl in the blog as a music director. But when I drew up the filmography of Hansraj Bahl, I found that he had composed songs in more number of movies than credited in site downmelodylane. So it turned out that Hansraj Bahl had already exceeded his double century. This happens to be 202^nd song of Hansraj Bahl in the blog.

I take this opportunity to thank all the visitors, well wishers, regulars, contributors and other HFM lovers who through their constant encouragent have kept this labour of love going on for 3126 days (as on 7 february 2017) and is still counting.

Song-Kaun des se laaya re baabu dulhan bholi bhaali re (Moti mahal) (1952) Singer-Shamshad Begam, Devendra, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Female chorus
Male chorus
All Chorus

Lyrics

arre Kaun des se laaya re baabu
dulhan bholi bhaali re
ho dulhan bholi bhaali re
arre Kaun des se laaya re baabu
dulhan bholi bhaali re
ho dulhan bholi bhaali re
arre mukhda to punjaabi laage
aur naina bangaali re
arre aur naina bangaali re
arre mukhda to punjaabi laage
aur naina bangaali re
arre aur naina bangaali re

ho o
kaajal to deekhe poorab ka
aur kaashmeer ki laali
kahan ki
tez chali ja
kahan ki dheere dheere
kahan ki tez chali ja
kahan ki dheere dheere
kahan ki dheere dheere
dheere dheere
ho o

na bole na chaale gori
door khadi muskaaye re gori
door khadi muskaaye re
na bole na chaale gori
door khadi muskaaye re gori
door khadi muskaaye re
sharam se
sharam se
sharam se doobi jaaye
sharam se
sharam se
sharam se doobi jaaye
ho o o
in meethhi nazron pe
haaye re raama
haaye re raama
ho o o
in meethhi nazron pe haaye re raama
haaye re raama
haaye re raama
haaye re raama
kaun nahin mar jaaye
kahan ki
tez chali jaa
kahan ki dheere dheere
kahan ki tez chali jaa
kahan ki dheere dheere
kahan ki dheere dheere
dheere dheere ho

ho o o
sada salaamat rahe ye joda
sada rahe ye jawaani
ho ho o
sada rahe ye jawaani
ho ho o
sada rahe ye jawaani
ho o o
sada khushi ke din aayen
aur raaten aayen suhaani
ho ho o
raaten aayen suhaani
ho ho o
raaten aayen suhaani
raam kare baabu ho naana
raam kare baabu ho naana
aur dulhaniya naani
kahan ki
tez chali jaa
kahan ki dheere dheere
kahan ki tez chali jaa
kahan ki dheere dheere
kahan ki dheere dheere
dheere dheere
ho o

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.

As blog milestones go, century milestones of this blog no longer attract as much attention as they used to attract in the past. The fact that there have been as many as 129 such occasions may have led to this “familiarity breeds indifference” attitude on the parts of the regulars.

Thousandth milestones are rather rare though. There have been only 12 such occasions for the blog. The last such occasion was on 20 april 2016, when 12000th song writeup appeared in the blog.

In “recent” past, thousandth song milestones have been grand affairs. People had begun to talk about them, had begun to make guesses about the songs. They had become eagerly awaited events for the blog.

Today (4 march 2017), 312 days after the previous such occasion of 12000th post on 20 april 2016, we reach the next thousandth milestone, viz 13000th song post in the blog, almost unnoticed. If other such occasions were like lavish India weddings then this occasion is like a simple court marriage with even close relatives caught unawares.

312 days for 1000 songs means a strike rate of just 3.2 songs per day, which has been a steep fall from the earlier thousands.

Here are the details of all the thousandth posts in the blog:

All the above songs were special songs in their own ways. Some of them were well known songs and even iconic songs, whereas some of them were less heard songs, and even unheard songs. The artists figuring in these songs ranged from extremely well known to lesser known to even unknown in some cases.

On the first two such occasions, I had written the article, which was then the only way of writing articles in the blog. The next articles , beginning from 3000th post onwards were guest articles. Raja wrote the post for the 3000th and 4000th song in the blog. 5000th post was a collaborative effort where Raja, Sudhir Ji and I jointly wrote the article. This article became so long that some readers gave up midway and were unable to read it to the full.

All the subsequent such posts were penned by Sudhir ji. All these were solo affairs by him, except the ten thousandth writeup, where I and Raja also joined Sudhir ji, like in case of 5000th song post.

This time, I was quite hesitant to ask Sudhir Ji for writing this post because these days he is preoccupied in other pressing matters and burdening him with this task is not fair. Same is the case with Raja, so I for a change decided that I will have to take the responsibility myself.

What are the credentials of the song that gets the honour of becoming the 13000th song post for the blog ? This is a song that I discovered a few weeks ago. What struck me the most about this song was that almost everyone involved in the creation of this song was never heard of again. The music directors are at least known to compose a few songs in a few obscure movies, but the singer and the lyricist of this song apparaently vanished from the face of the earth after this song and this movie. I contacted our knowledgeable regulars to get details about them, but for a change, even they were unable to find any details whatsoever about them.

This song is from “Captain Aazaad”(1964). This obscure movie was directed by Ram Raseela for Kala Ras Chitra, Bombay. This stunt movie had Azad, Neelam Kumari, Aruna, Heera sawant, Hiru Anand, Anand Prabhu, Arvind Kumar, Maqbool, Hameed, Majnoo, Ramchandra, Zippy, Ram Raseela, M H Doctor, Leela Kulkarni, Gulab Rao, Habeeb, Munna, Shetty, Peggy (Moti), Najo, Leela, Jawle, Siddiqui, Master Ashok, Achchan, Wazira Bai, E Tarapore etc in it.

The movie had seven obscure songs in it.

Surprisingly, despite the obscurity of this movie and its songs, this movie already has a thousandth post connection with the blog. Sudhir Ji’s thousandth post in the blog discussed a rarest of rare song from this very movie. This was a qawwaali sung by Kabban Mirza. This writeup by Sudhir Ji, like many of his writeups, rewrote HFM history and established the fact that Kabban Mirza had first sung in Hindi movies in 1964 in this movie and not in 1982 in “Razia Sultan”(1982) as is popularly believed.

This second song from “Captain Azaad”(1964) too becomes a thousandth song post in the blog. This song too falls under its own rarest of rare category. This song is sung by M M Khan, a singer whose name does not appear anywhere else in HFGK or any other puplication anywhere. So this song is his only song or any nature, as far as is known.

The lyricist is someone called Kumari Shabnam Manchhari. A female lyricist for a Hindi movie song is as rare as a Dodo, and like for the singer, this appears to be her only song on any nature that we are aware of.

Music direction is by Peter Nawab, who were two people namely Peter and Mohsin Nawab. Peter is as unknown as the singer and lyricist of the song, whereas Mohsin Nawab was rather more “prolific”, having figured in may be two or three more movies.

What about the song itself ? Is it worth the hype ? I think this song comes as a whiff of fresh air. New voice, new lyricist, new music director, all eager to showcase their talents to the music world.

Sadly, the makers of this movie were so much strapped for money that they did not spend a single penny on the publicity of this movie and its songs. As a result, this movie and its artists did not get any coverege in media during its making. On my request, Mr Harish Raghuvanshi, HFM historian extraordinaire and a regular of this blog, went through his records of 1960s but he was unable to find any information about the movie and its atrists. So sadly, the artists of this song literally and figuratively remained “unsung” and unheralded. It is like a batsman scoring a century in a test match and then never getting to play a test again. It has happened in cricket several times, and as we can see from this example, it has happened in HFM as well.

I take this opportunity to thank all our visitors, regulars, contributors and well wishers whose continued support and encouragement has enabled this blog to go on and on for 3151 days (over 8 years and seven months). During this period, we have added songs at a rate of more than 4 songs daily, and in the process we have covered songs from 3648 movies. 916 of these movies have been YIPPEED, viz all their songs have been covered in the blog. The blog has helped created a group of regulars who keep in touch online (on whatapp, e mail, phone etc) and who also hold regular meetings in places like Mumbai, Bangalore etc. It is so heartwarming to find so many likeminded music lovers united for the cause of HFM and prepared to spend time and effort for their shared passion. The blog recently clocked 9 million visitors, which is no mean achievement for a blog dealing with a non populist topic viz old HFM (and NFS) mostly from 1980s and earlier decades.

We still have a long way to go, and I am sure that we will continue to go on and on in future as well.

Song-Dil tumse lagaaya kyun hamne (Captain Azaad)(1964) Singer-M M Khan, Lyrics-Kumari Shabnam Manchhari, MD-Peter Nawab

Lyrics

dil tumse lagaaya kyun hamne
ye kaisi kayaamat kar baithhe
anjaam to kuchh socha hi nahin
aagaaz e mohabbat kar baithhe
dil tumse lagaaya kyun hamne

ye bhi to sitam dekhe koi
wo hum se khafa ho baithhe hain
wo hum se khafa ho baithhe hain
hum jinki mohabbat ki khaatir
duniya se adaavat kar baithhe
anjaam to kuchh socha hi nahin
aagaaz e mohabbat kar baithhe
dil tumse lagaaya kyun humne

sab phoolon se ulfat karte hain
sab kaliyon ko apnaate hain
ye apni hi naadaani thhi
ye apni hi naadaani thhi
kaanton se mohabbat kar baithhe
kaanton se mohabbat kar baithhe
anjaam to kuchh socha hi nahin
aagaaz e mohabbat kar baithhe
dil tumse lagaaya kyun humne

thhukra ke hamen bedardi se
jab saath bhi tumne chhod diya
thhukra ke humen bedardi se
jab saath bhi tumne chhod diya
jab saath bhi tumne chhod diya
ik thhes lagi dil toot gaya
ghabra ke shikaayat kar baithhe
anjaam to kuchh socha hi nahin
aagaaz e mohabbat kar baithhe
dil tumse lagaaya kyun humne

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.

After yet another fairly long absence from the blog, I am back here with this post.

As I said in my previous post, this absence has purely to do with my tendency sometimes to withdraw from social contact and go into a shell. It is a phase I go through and has absolutely nothing to do with any specific individual or group.

Least of all, this blog.

While my participation here might be much reduced in the last few months, this must not be even remotely construed to mean any diminishing interest in this blog, or in the Atulite ecosystem that has sprung around it. As one of the first-ever visitors to this blog, seeing it take baby steps – and see it grow to what it is today – is a very special, hard-to-describe feeling. I am still amazed, after all these years, when I think of how Atul has managed to make this happen in this manner, given all the constraints on his time. So even if my participation has reduced, my encouragement is still hundred per cent for the blog and Atul.

It has truly been a most incredible journey. And I am not normally very generous with superlatives. I choose the moments carefully so as to lend them that special value that otherwise gets diluted if everything is expressed in superlatives. But in Atul’s case, it is entirely justified.

This is also one reason why I am always happy to write a post for this blog, even if the frequency now is much less than it used to be. And especially when Atul requests me to write a post, I feel honoured to do so – to date, I don’t think I’ve ever refused him.

A short while ago, Atul asked me if I could write this post for a double occasion.

First of all, this is the 13,100th post on the blog.

Secondly, this also happens to be Rafisaab’s 2700th song on the blog.

I readily agreed – I like to celebrate every milestone here, though I am aware I have missed a few recent ones.

Let’s first look at the 13,100th song as a milestone. I know we’ve now got used to the “100”-milestone since we’ve hit 131 of them, so now we don’t pay too much attention to it. We’re more excited by the “1000”-milestone.

But then, when the 13,000th song came up, I think it was, surprisingly, a somewhat subdued celebration. It’s a bit like when Sachin was getting all those hundreds, somewhere we got so used to it, they began “merging” into each other in our minds.

We shouldn’t allow that to happen here – like I’ve said many times before, every 100 is a build-up of 100 individual songs, each of which requires a lot of effort. There are no short cuts, like a 4 or a 6 in cricket. So your score goes up, only one song at a time. And this is largely Atul’s work.

So his score right now is 131* in terms of hundreds. And that is just amazing, considering he thought he’d probably muster a couple of thousands when he started this blog.

So, congratulations to all for the 13,100th song – and a special thanks to Atul.

Now for the second milestone.

Rafisaab’s 2700th here.

Clearly THIS is the reason Atul asked me to do this post.

Those who have read my previous posts here, would be knowing by now that I am a huge Rafisaab fan. Not that I do not like others’ songs (I do!), but Rafisaab has a very special place in my heart. And not just for his singing.

I’ve written many posts on Rafisaab here – on various occasions. His birth anniversary, his death anniversary, his various milestones on this blog. Come to think of it, I must have bored readers completely, repeating the same thing umpteen times. And yet, Atul wants me to write on Rafisaab – and I feel energetic and enthusiastic about it.

But that’s Rafisaab for me. I can never get bored of listening to him. And I can never get bored of listening about him. I think I have watched every video out there on youtube talking about him. Yes, many of them are repetitive (like me!), but so what? I’m not complaining!

Many years ago, I wrote an e-mail to Shammi Kapoor. It was my first (and to-date only) communication with a film celeb. It was a spur-of-the-moment thing, I don’t remember what prompted me to write to him. I think he was very unwell, and I just felt like writing to him.

In that e-mail (which I still have in my e-mail box), I mentioned “I never had the opportunity to interact in any way with Mohammad Rafi (Rafi saab to me) – I constantly think about how much I would have loved to have met him, talked to him. I do not want to make the same mistake with you.“
Now when I look at this, at one level, it sounds horrible, almost portentous, to write something like this – but Shammi Kapoor was nice enough to respond promptly with a “thank you”.

But it is true – I used to wonder how it would have been to meet Rafisaab. He might not have liked it though – he was supposed to be a very shy person, not fond of interviews. Even Ameen Sayani, who has interviewed many a film personality, said he found it difficult to get an interview with Rafisaab. There are just a few interviews of Rafisaab available online. In all of them, he’s very soft-spoken and humble, entirely in keeping with the general impression about him.

Of course, if I’d met him, I’ve no clue what I’d talk to him about. I’d probably be totally tongue-tied.

Coming to his songs, we all know the trajectory of his career. How he rose to great success in the 1950s, went on to rule the 1960s till, right at the end of the decade, a storm hit HFM in the form of a rejuvenated Kishore Kumar.

The years to follow were tough on Rafisaab. They also happened to be my schoolboy days, when Kishore was everywhere. You often paid attention to a non-Kishore song noticing that it was a different voice – in other words, not Kishore’s. These songs were rare, such was Kishore’s domination of the air waves at the time.

This is one reason why I enjoy listening to Rafisaab’s songs from the early 70s. This was supposedly his “bleakest” period – by 1977, he had come back strongly with “parda hai parda” and songs of Hum Kisise Kam Nahin.

But the early 70s were when he was completely overshadowed by Kishore Kumar. He often got just one song in a film, the others would be usually sung by Kishore. It was like the composer was giving Rafisaab a token song, maybe as appreciation and gratitude for the past, but not wanting to risk it by trying to buck the Kishore trend.

Rafisaab did have the odd big hit. Songs of Yaadon Ki Baarat did become popular. Then there was the award-winning “teri galiyon mein na rakhenge kadam”, composed by Usha Khanna. And there was “aaj mausam bada beimaan hai” , very popular to this day, composed by Laxmikant Pyarelal.

In fact, of all the composers, L-P were the ones who still gave Rafisaab a fair number of songs in the early 70s, though they obviously also used Kishore a lot. They always felt Rafisaab still had it in him to deliver them hits – and were probably anyway indebted to him for singing for them for one of their early films (maybe their first?) Parasmani, at a time when Rafisaab was a big name, and they were a relative nobody. Rafisaab’s roshan tum hi se duniya was one of several popular songs in the film.

Soon after, L-P stormed into recognition, winning the best Music Director Award for Dosti, a film with plenty of popular Rafisaab songs, including one he won an award for – chaahunga main tujhe saanjh savere.

So the special relationship between Rafisaab and L-P was sealed and continued right till Rafisaab’s death.

The song for today is also an L-P composition, sung by Rafisaab. And since it’s a 1974 film, Paise Ki Gudiya, the song falls squarely in the “Rafisaab’s bleakest period” bracket.

I’d heard this song a few times in my childhood – I think it was probably mildly popular in its time. Another song of this film, meri baat ke maane do, sung by Kishore Kumar, was popular too – and has been posted here by me.

This song surprisingly wasn’t posted yet – and fits quite nicely as the 2700th song for Rafisaab. It also happens to be the only remaining song of the film to be posted – so now, this film can also be considered YIPPEEEED.

When I listened to this song keenly today, one thing struck me.

This song could have been sung as any routine song but it is Rafisaab who gives it some life, especially with the “agar tu na hoti” bit. It’s that nuance that makes us sit up. And it is in that moment, when you realize why Rafisaab, even if this was his bleakest period, was special.

To me, this comes across as a pleasant, very hummable, song. While much of the credit for this goes to Rafisaab, the lyrics by Verma Malik are uncomplicated and romantic, also adding allure to the song.

Please do listen to it – you might choose to listen to it more than once.

And once again, congratulations to Atul for the 13,100th song. And congratulations to Rafisaab for his 2700th.

Song-Koi phool na khilta ye kali bhi na hoti (Paise Ki Gudiya)(1974) Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal

Lyrics

Ho ho ho o o o
Ho ho ho o o o
o ho ho o o o
Ho ho ho o o o
Koi phool na khilta
Ye kali bhi na hoti
Zindagi bhi na hoti
Agar tu na hoti
Koi phool na khilta
Ye kali bhi na hoti
Zindagi bhi na hoti
Agar tu na hoti
Na hota ujaala
Aur ye raat bhi na hoti ee
Koi baat hi na hoti
Agar tu na hoti
Koi phool na khilta

Koi zameen na hoti
Aur aasmaan na hota
Koi zameen na hoti
Aur aasmaan na hota
Koi haseen na hota
Koi jawaan na hota
Na taare muskuraate
Ye nazaare bikhar jaate
Koi khushi na hoti
Agar tu na hoti
Koi phool na khilta

Bulbul ke mast naghme
Koyal ki shokh taanen
Bulbul ke mast naghme
Koyal ki shokh taanen
Ye baadlon ke saaye
Panchhi ki ye udaanen
Ye fizaan na hoti
Ye hawa na hoti
Ye ghataa na hoti
Agar tu na hoti
Koi phool na khilta

Na koi pyaar hota
Na intezaar hota
Na koi pyaar hota
Na intezaar hota
Na koi dil machalta
Na beqaraar hota
Poochhe jo koi hum se
Ye sab hain tere dum se
Koi bhi shai na hoti
Agar tu na hoti
Koi phool na khilta
Ye kali bhi na hoti
Zindagi bhi na hoti
Agar tu na hoti
Zindagi bhi na hoti
Agar tu na hoti

Ho ho ho o o o
Ho ho ho o o o
Ho ho ho o o o
Ho ho ho o o o
Ho ho ho o o o
Ho ho ho o o o

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.

With this post, the blog has now clocked thirteen thousand two hundred unique songs. It may be so that these century milestone are now an expected regularity. But then, it is these (now) minor milestones, that come together and collectively put together and characterize the larger milestones – A journey of a thousand steps is made up of a thousand steps.

Congratulations to all members of the bandwagon. This, and many, many more such milestones put together, are the entire story of this blog.  The ‘wood’ is the outspread treasure that is dear to us, and every ‘tree’ is a different fruit, different flavor. The ‘wood’ – it is our honor and pride. The ‘trees’ – each one is a feast of different flavor and listening pleasure.

As we saunter about the woods and seek to explore newer flavors, the senses want to come to explore and to taste the rare and untouched flavors. The ritual is consistent and persistent. And the wood, it is rife with trees of un-tasted flavors, some of them so rare that it is a realization and a triumph, to be able to seek them, touch them, feel them, and partake of its flavor.

It is an anniversary also that we are celebrating with this song. In the 1940s and 1950s, there was a music director active whose name is simply Premnath. (Mind you, different from the actor Premnath). Today is the anniversary of the passing away of music director Premnath.

One of the mysterious and enigmatic names in the history of Hindi film music – Premnath belongs to that list of music directors who have a reasonably sized body of work spread over a good number of years; and yet, despite having a recognizable body of work, there is very little of almost nothing known about him. I have searched and checked with some of the more important sources of information relating to Hindi films and film music. But have consistently drawn a blank. Pankaj Raag in his book, ‘Dhunon Ki Yatra’, has put in almost a full page to this music director. But the write up is more of a sampling of Premnath’s body of work.

Premnath was born in the town of Gujranwala (now in Pakistan), on 5^th July, 1918. His education as well as training in classical music happened in Multan, Lahore and Amritsar. In his early twenties, he gravitated to the nascent Punjabi film industry and Lahore. His did act in small roles – one film identified by Pankaj Raag is ‘Shehar e Khamoshi’. The author also identifies a film ‘Sohni Mahiwal’ from 1938, in which he also sang a song.

In the first half of1940s, he got married and migrated to Bombay in search of a career in films. In 1946, he made his debut in the Bombay film industry as a music director, with the film ‘Rangbhoomi’. With a certain regularity, he would be directing the music for one to three films over a little less than a decade or so.

In 1947 came ‘Dehati’, ‘Pehla Pyaar’ and ‘Chandrahaas’. 1948 saw the release of his most discussed film, ‘Chaand Sitaare’ which carries the popular “Kaali Ghataayen Hain, Thandi Hawaaein Hain” in the voice of Mukesh. As per available information, Premnath was also the producer of ‘Chaand Sitaare’. This film also has some more notable songs in the voices of Shamshad Begum and Geeta Dutt. In 1951 came ‘Alakh Niranjan’ and ‘Maaya Machhindra’. Then there is a gap of a few years, and Premnath reappears as music director in 1959 with the religious film ‘Sati Vaishalini’. In the interim he recorded some songs for the film ‘Qaatil Kaun’, but that one remained unreleased. The career slowly fading away, he appeared as a joint music director for ‘Main Hoon Jaadugar’ (1965) with Nashaad, and for ‘Tarzan In Fairyland’ (1968) with Jimmy (James Singh).

In the few films that he has worked on, there are some notable gems as one gets to listen. The rare song being presented today, in the voice of Amirbai Karnataki Rajkumari Dubey, is a delightful composition. The words are from the pen of Rammurty Chaturvedi. Names that are obscure and unfamiliar, have come together to create a beautiful song that is a pleasure to listen to.

Song – Se Naina, Morey Naina Jhuk Jhuk Jaayen (Dehati) (1947) Singers – Rajkumari, Lyrics – Rammurty Chaturvedi, MD – Premnath

Lyrics

sharam se naina

sharam se naina
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
chori chori chupke chupke
jab shyam hamaare ghar aayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

door rahen to paas bulaaun
paas bulaaun
door rahen to paas bulaaun
paas bulaaun
paas rahen kuchh keh na paaun
keh na paaun
paas rahen kuchh keh na paaun
keh na paaun
bina kahe main samajh naa paaun
kya samjhe samjhaaun
bina kahe main samajh naa paaun
kya samjhe samjhaaun
sharam se naina
sharam se naina
o sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

jiya hamaara dag mag doley
dag mag doley
paagal mann
mann hi mann boley
main mein boley
jiya hamaara dag mag doley
dag mag doley
paagal mann
mann hi mann boley
main mein boley
bichhde shyam miley hain aa ke
kaise preet jataaun
sharam se naina
sharam se naina
ho sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina
chori chori chupke chupke
jab shyam hamaare ghar aayen
sharam se naina
morey naina jhuk jhuk jaayen
sharam se naina

———————————————————

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

शरम से नैना

शरम से नैना
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
चोरी चोरी चुपके चुपके
जब श्याम हमारे घर आयें
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना

दूर रहें तो पास बुलाऊँ
पास बुलाऊँ
दूर रहें तो पास बुलाऊँ
पास बुलाऊँ
पास रहें कुछ कह ना पाऊँ
कह ना पाऊँ
पास रहें कुछ कह ना पाऊँ
कह ना पाऊँ
बिना कहे मैं समझ ना पाऊँ
क्या समझे समझाऊँ
बिना कहे मैं समझ ना पाऊँ
क्या समझे समझाऊँ
शरम से नैना
शरम से नैना
ओ शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना

जिया हमारा डगमग डोले
डगमग डोले
पागल मन मन ही मन बोले
मन में बोले
जिया हमारा डगमग डोले
डगमग डोले
पागल मन मन ही मन बोले
मन में बोले
बिछड़े श्याम मिले हैं आके
कैसे प्रीत जताऊँ
बिछड़े श्याम मिले हैं आके
कैसे प्रीत जताऊँ
शरम से नैना
शरम से नैना
हो शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना
चोरी चोरी चुपके चुपके
जब श्याम हमारे घर आयें
शरम से नैना
मोरे नैना झुक झुक जाएँ
शरम से नैना