atul's bollywood song a day- with full lyrics

Mose chal kiye jaaye dekho sainya beimaan

Posted on: September 14, 2008


Guide had some awesome songs. Not only did they become very popular among public, even creators of bollywood music ( singers, lyricists, music directors) voted Guide as the biggest musical blockbuster bollywood movie, with as many as 3 songs of this movie being adjusted among the top 20 songs of all time. ( Source – Outlook magazine january 2006 issue)

This particular song from Guide is a very difficult song to sing, but Lata had sung it outstandingly. As I have mentioned quite a few times in this blog, Lata was at the peak of her singing prowess in 1960s, and this song is yet another example of that assertion.

If one thinks that the song is outstanding, the dance is just as mind boggling. The dance director deserves kudos for coming up with this picturisation. This song and dance must go down as one of the best song and dance composition in Bollywood movie history.

Shiv Kumar Sharma, the noted Santoor expert was a member of S D Burman’s orchestra. This is a very special song for Shiv Kumar Sharma. Here he does not play santoor, rather he plays tabla, and plays it just as well.

It is a great semi classical song, and a wonderful audio visual treat for the senses.


Song: mose chhal kiye jaaye Sainya beimaan (Guide) (1965) Singer-Lata, Lyrics-Shailendra, MD- S D Burman

Lyrics

mose chal kiye jaaye, haay re haay haay
dekho sainyaa beimaan
sainyaa beimaan
mose chal, mose chal, mose chal kiye jaaye,
haay re haay haay dekho haan
sainyaa beimaan

samjhaake main to haari
dhamkaaya dini gaari, ni ni ni ni re re ga ga
ma ma pa pa dha ni saa saa saa
samajhaake main to haari
haan dhamkaaya dini gaari, aur karoon bhi kyaa
dekho moraa jiyraa
haan jiyraa tadpaaye, jiyraa tadpaaye
mohe haay haay dekho sainyaa beimaan
mose chal, mose chal, mose chal kiye jaaye,
haay re haay haay
dekho sainyaa beimaan

man kaa hai bairi kaala,
dil jise de daalaa, ni ni ni re re ga ga
ma ma pa pa dha ni saa saa saa
man kaa hai bairi kaala, dil jise de daalaa
haan dil jise de daalaa
preet mori pal pal roye
tadpaaye tadpaaye tarsaaye, tadpaaye tarsaaye
mohe haay haay dekho sainyaa beimaan
mose chal haan, mose chal,
mose chal kiye jaaye, haay re haay haay dekho
haan sainyaa beimaan
dekho sainyaa beimaan
dekho sainyaa beimaan

mose chal kiye jaaye, dekho sainyaa beimaan
haan beimaan, haan beimaan

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12 Responses to "Mose chal kiye jaaye dekho sainya beimaan"

Thanks for the background information as well, with all the interesting titbits. Never knew Shivkumar Sharma played the tabla so well.

Many of the immortal songs have some nice background stories behind them, and it is always interesting to recall them.

Guide is my most favarable film. i do not know for how many times i have seen the guide. And this song is one of great song. Lyrics wahida’s dance, Lata’s playback and SD’s music a “Manikanchan Yog”.

Shivkumar Sharma had quit playing the tabla at that time to concentrate on the santoor but made an exception persuaded by RDB. Shivkumar recalls that after recording this song Lataji suggested his name to many for “tabla” but he never played for anyone except in this one instance.

Thanks for this interesting tidbit. Lata knew individuals playing individual instruments in the orchestra. I have heard Kishore Desai (Mandolin) also mentioning this fact.

Atul – you said “If one thinks that the song is outstanding, the dance is just as mind boggling.”

Apart from the dance director’s choreography, Waheeda herself learn classical Indian dance when she was growing up in Visakhapatnam, AP. Yes, she was a Telugu girl, who made her debut, doing a folk/street dance number in a very successful movie “rOjulu mArAyi” (Changing Times), in the early 50’s. She acted in a couple of Telugu movies, and moved on to Bombay.

By the way, the song for which she dances in the above movie has the same tune as the song in Bambai ka Babu, “dekhnE mE bhOlA hai dil kA salOna …”. Quite often Telugu MD’s copied hit tunes from Hindi movies, but this is one of the rare opposite situations. I am not sure if SD Burman heard the original telugu tune or not.

I read somewhere that she pleaded with Dev Anand to keep the dance numbers in their entirety when one of them was slated to be cut. I am not sure i fit was this or the longer, “piyA tOsE nainA lAgE rE”. That is a gem too, describing the various seasons of the year.

din dhal jaye hai …. all songs of guide r master pieces

Yes indeed. Even Hindi movie industry thinks so.

Atul, the youtube video seems to have a piece sung by Rafi, which is not seen in the songs.

I would like to share with members the beautiful write up on this song written by Ms Ritu Chandra, who manages sdburman.net
I wrote to her that only SDB, the creator of the song, could write better on this song.
Ritu Chandra: ‘Piya tose naina laage re’ stands out for the intrinsic beauty of its ‘roopak taal’ based tune. This 4 stanza/8 minute piece is a marathon song that traces the rise of Rosy (the film’s female protagonist played by Waheeda) from a small time artist to the sensational dancing star Nalini. Ritu Chandra writes further – “The song starts off suddenly without any prelude (a habit that was quite common with Dada) and then moves ahead with rich orchestral interludes. The composition itself has two meters running simultaneously in the antaras. One with a long drawn out alaap as in Aayi holi aayi and the other with a fast ‘raat ko jab chaand chamke’ both blend back into the mukhda seamlessly with extremely catchy bols, set to the rhythm of ‘Dhi na k dhi n dhi n’. These bols have been woven into the overall lyrical theme of the song beautifully by the lyricist Shailendra. The orchestral interludes in this song are rich and varied. Though these music pieces are tailor-made for dance choreography, unlike most dance pieces they do not remain limited to a frenzy of ghungroos, tabla and sarangi/harmonium. The orchestral interludes, here, in typical SD Burman style, are uncluttered and spontaneous. However they still use a wide variety of instruments and are richly layered. Violins, Sitars, ghungroos, tabla, drums (note the lovely use of a north eastern drum in the portion before ‘bhor ki bela suhani’) and the flute all fit into the overall composition like pieces in a jigsaw puzzle. Strings, as with most of Dada’s songs, are used with great felicity. Note the extremely catchy short string pieces strewn all over the song. In particular, the part where the song returns to the mukhda as in.. Piya tose .. ~~~~little string pieces ~~~~ Piya tose naina (tabla starts) laage re .. The tabla is heard distinctly throughout major portions of the song and there is a gentle swaying rhythm to the tabla tempo. A trait that is faintly reminiscent of Sachinda’a favourite ‘bhatiyali’ rhythms. There are portions where the tabla takes a backseat and the drums or some other percussion takes over, however it always makes a high profile and arresting entry back into the forefront particularly when the song returns to the mukhda. The lyrics by Shailendra are sweet and heartfelt in his trademark style. This is one of those songs where Shailendra excels in ‘Shringar Ras’, which otherwise is considered by many to be a bastion of the likes of Majrooh Sultanpuri. Just like the composition. the lyrics also follow twin tracks. The long meter depicts the Holi and Diwali (major festivals of India) and the fast tracks depict day and night. Shailendra’s mastery is apparent in the manner he makes a crisp return to the mukhda. Lata Mangeshkar’s rendition, finally, is the icing on the cake. She gives the song a delicacy and innocence that is very heart-warming. Note the way she stresses on naina each time she sings the mukhda. Very dulcet. Any discussion about ‘Piya Tose Naina laage re’ would be incomplete without mentioning its unforgettable picturisation. While Waheeda is elegance and grace personified, the choreographer Hiralal like the rest of this team thinks out of the box. The end result is one of the most scintillating dance sequences in the history of Indian Cinema. Some trivia Piya Tose Naina Laage Re – The extremely catchy ‘Dhinak dhin dhin’ that seems to flow so spontaneously was actually put there by design!. Maruti Rao Keer, (a percussionist in SD’s team), recalled how Dada worked to include this bit knowing his audience would love it. – Special mention must be made of Rahul Dev Burman who along with Basu and Manohari assisted Dada in this film. The orchestra in more ways than one was Pancham’s triumph as well. – Santoor maestro Pandit Shiv Kumar Sharma who assisted Dada during this period played the tabla in this song. – Waheeda Rehman worked very hard on the dances of this film. She would get up at 4:00 in the morning to rehearse. She also drank lots of milk to get the strength to execute those rigorous steps!. After all this hard work when the songs were canned and the film went on the editing table, Waheeda had just one fear… that the long dance sequences could be edited out. Finally she made a request to Dev Anand. Cut my scenes if you like but please don’t edit out my dances. Dev Anand promised her he wouldn’t and the dances stayed. And thus what we have today a set of dances that have become textbook material for dances in popular cinema. – This one is for the collectors. There are stories of the existence of one version of this song in the voice of the master himself. Now wouldn’t that be a treat for all connoisseurs of Dada’s singing? —–
By Ritu Chandra

Thanks a lot for the detailed background information on this song.

I have it directly from Pandit Shivkumar Sharma that he did NOT play the tabla for Piya Tose Naina laage re. He did inform me that he DID play the tabla for Mose Chhal kiye jaay.

I am guessing that Piya Tose has tabla by Pandit Samta Prasad because of the clarity of the playing which is characteristic of Pandit Samta Prasad as is seen in the link in the “Website section”.

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