atul's bollywood song a day- with full lyrics

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

“Aaj Ki Raat” (1948) was directed by D D Kashyap for Famous Pictures Productions. The movie had Motilal, Suraiya, Yakub, Leela Misra, Raj Mehra, Anita Sharma, Sangeeta, Shah Nawaz etc in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from the movie. This is a melancholic song which is sung by Suraiyya. Rajinder Krishan is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of this song is available but it is easy to guess that the song was picturised on Suraiyya herself.

Lyrics of this song were sent to me by Nitin Shah.


Song-Ro ro ke saari raat kati intezaar mein (Aaj Ki Raat)(1948) Singer-Suraiyya, Lyrics-Rajinder Krishan, MD-Husnlal Bhagatram

Lyrics

ro ro ke saari raat kati intezaar mein aen
ro ro ke saari raat kati intezaar mein aen
kya kya khayaal aaye dil e beqaraar mein aen
kya kya khayaal aaye dil e beqaraar mein aen

khilti huyi ummeed ki kaliyaan na khil sakin
kaliyaan na khil sakin
khilti huyi ummeed ki kaliyaan na khil sakin
kaliyaan na khil sakin
dil tukde hoke beh gaya ashqon ke taar mein aen
dil tukde hoke beh gaya ashqon ke taar mein aen
ro ro ke saari raat kati intezaar mein aen

aawaaz aa rahi hai kahin se ye baar baar
kahin se ye baar baar
aawaaz aa rahi hai kahin se ye baar baar
kahin se ye baar baar
khushiyon ke saath dard bhi shaamil hai pyaar mein ae
khushiyon ke saath dard bhi shaamil hai pyaar mein ae
ro ro ke saari raat kati intezaar mein aen
kya kya khayaal aaye dil e beqaraar mein aen

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

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Rare Performances – Things Unique and Unexpected #6
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My timing is somewhat off-key these days. So much else is dragging my attention that I am missing to hit the dates, even though I have planned it in advance. With due apologies to Atul ji. :) He is aware of at least two missed dates in this year, where the write ups are almost done, but could not be completed in time. Some of these dates are overdue so much that it does not make good sense to post them, rather better to wait for the next opportune moment.

Ah but with this song, the date of Baisaakhi festival is not too far gone, just yesterday. And so I am trying my hardest to get this write up to Atul ji at the earliest, hopefully within the hours of today. :)

A very happy Baisaakhi to all. This day, the first day of the month of Vaishaakh is celebrated with great delight all over India, especially in North India. The day represents the closing of the harvest season of the Rabi crop. The word Rabi is an Arabic word for spring. And hence the crop that is harvested in the March – April time is called the Rabi crop.

This day of Baisaakhi is especially significant for the followers of the Sikh faith. This is the auspicious day of the establishment of the Sikh Khalsa formally, in the year 1699. I have written about that earlier in some detail in the post about Guru Gobind Singh ji – “Mittar Pyaare Nu”.

The post is in celebration of Baisaakhi, but yes, I have another very significant topic to write about today. Presenting the next in the series of performances on the Hindi screen, that will take one by surprise. A performer, who is an out and out complete acting establishment in his own self. A person of such prolific command over this medium, an actor par excellence amongst the best of his peers. A towering giant from the arena of theatre, a playwright, an author, a stage performer of excellence with roots that are deep into Shakespeare, Brecht, Ibsen, Shaw, Simonov, and Gorky. A pioneer of the concept of actor-manager of the drama theatre, for whom the only other names that can probably be talked of in the same breath are Prithviraj Kapoor and. . . well, can’t think of another name. A powerhouse performer, who did never make any compromises with any of the performing arts he delved into, having made landmark contributions to the every aspect of the theatre and cinema. And along with that, continued being a teacher of English language in a school (yes, actually).

So before I proceed ahead with writing more about him, I welcome you to take a peek of a few seconds at the video clip (no glancing at details underneath), and take a good look at the sardar ji who is on stage, dancing a very hectic bhangra, and try to guess him out.

Ah yes, so maybe the amount of hints already listed above may have been a giveaway. Or maybe it is his eyes. One of the most recognizable eyes full of life, expressions and mischief.

So congratulations for those who could identify him. For the record, we have the maestro artist Utpal Dutt on the stage, doing a very lively dance that is very, very alien to his very, very native Bengali roots. And boy, if one did not know him well, one would be hard pressed to identify the actor behind the beard and the turban, carrying the very Punjabi North Indian persona with such élan.

The life of this performer reads like an encyclopedia in itself; complete with the streak of rebellion that put him opposite to certain political governments of a certain period, and he had to spend time in jail, in a free India, for expressing his views about how and what the politics was all about.

I remember I was a very tiny kid when I traveled with family to Calcutta. My dad was there on some official trip, and it being summer vacations, the family made plans to travel together. It must have been late 1960s – maybe 1967. We were met at the station by my father’s friends, and one of them picked me up in his arms and started talking to me about all the places in Calcutta he would take me to see. I was not even cognizant enough to understand all that he spoke, and the accent did help either. A few words stuck to my memory – Vicotria, Chowringhee, Planetarium, Garden, Kallol. Some of the words I could make out. Garden I understood (I would find out later that he was referring to the famous Botanical Gardens of Calcutta). Other names would slip, and then be reinforced in the subsequent days. But the word ‘Kallol’ stuck to my memory. Actually my father asked the question and his friend clarified – ‘You must come with us to see “Kallol”. It is the longest running play in the history of Bengali theatre’. In my tiny tot way I asked him what it was about. He started to explain something about stage and ships, and try hard as I did, I could not figure out how a ship of the sea could be inside a building in the city. And that was it, for then.

Later, many years later, as these topics would come up to me in other contexts, I would find out that ‘Kallol’ (the lapping sound of waves, close to ‘kilol’ in Hindi), is a play written by Utpal Dutt on the momentous event of the rebellion of the ratings and non-officer men of the Royal Indian Navy in 1946. That play was a source of so much controversy, since it attempted to lay bare the truth behind this event, and how it was made to fail by the very leaders of this country, who prided themselves to be the spearhead of the so called freedom movement against the British. The play put Utpal Dutt in the bad books of the then Congress government in Bengal.

And not that he wasn’t already there. Utpal Dutt was a Marxist. He was a young man when the IPTA movement struck its roots in the early 1940s, especially in Bengal, and he was one of its founding members. As a teenager, he was verily drawn to English literature and to Shakespeare in particular. Impressed by his powerful portrayal in the king’s lead role in the play ‘Richard III’, Geoffrey Kendall hired him into his touring theatrical company ‘Shakespearana’. Regulars and knowledgeable readers will recall the film ‘Shakespearwala’ (1965) by James Ivory and Ismail Merchant. The story is based on the real life chronicles of the real life company ‘Shakespearana’, with many real life members of the actual company participating in the film, including the Kendall family and Utpal Dutt.

In 1948, he formed the Brecht Society, under the leadership of Satyajit Ray. The society took on the discussion of Brecht’s philosophy of the theatre, its interaction with the audience – the concept of what Brecht called the ‘Epic Theatre’, wherein the audience is involved as a co author of the play.

Utpal Dutt wrote and developed many such plays, in accordance with the concept of ‘Epic Theatre’, and then he went on to reject this philosophy as impractical for the Indian context.

His influence in IPTA and the theatre movement in Bengal steadily grew. In 1949, when Geoffrey Kendall took a sabbatical, traveling to UK for a couple of years, Utpal Dutt formed his first theatrical venture – The Little Theater Group. At this same time, he turned into some very serious writing and translation work. He translated many Shakespearean and Russian classical works into Bengali. In 1954 began the phase when he started to produce scathingly controversial theatre with leftist overtones and critical of the then current governments in the state and the center. In 1957, he would stage Maxim Gorky’s ‘Lower Depths’ in Bangla (earlier produced as the film ‘Neecha Nagar’ by Chetan Anand in 1946). In 1959 came the extremely controversial play ‘Angaar’, based on the exploited lives of the miners and laborers in the coal mines of Bihar and Bengal.

His forays into the films had already started in parallel. In 1950, he was convinced by filmmaker Madhu Bose to play the lead role in the film ‘Michael Madhusudan’, based on the life of the revolutionary poet Michael Madhusudan Dutt. That launched his career in films. But his involvement with the theatre continued and continued to grow. He would initiate experimentation in traveling theatre and street theatre. He took the theme of communism to the people through his street theatre. In a manner of speaking, his theatre has been one of the leading influencer of the people of Bengal, paving way for decades of communist rule in that state. His street plays of the early 1960s created upheavals of popular opinion, and when ‘Kallol’ opened to public performances in 1965, the government placed him in preventive custody, fearing that his words and public appearances may flame popular revolt against the Congress government in the state.

In 1968, he pioneered the new concept of documentary drama. His play–‘Manusher Adhikaare’ (Of Peeople’s Rights) was the first in this genre.

This was also the time when he focused more on street theatre, ‘poster’ plays and the ‘Jaatra’ or the traveling theatre, in an effort to bring this medium right to the door step of the common man across all of rural Bengal. The political dramas of his ‘Jaatra’ movement till today form a lasting legacy. As one reads about his tireless work as an author, a playwright, a theatre influencer and above all a thinker who conceptualized a whole new set of genres in the popular theatre space, one is really surprised to come face to face with the real persona behind the bumbling Bhuvan Shome of ‘Bhuvan Shome’ (1969) and the pedantic Bhawani Shankar of ‘Gol Maal’ (1979).

Truly a far cry from in terms of what the real person was behind these characters. Or maybe that is the strength of his personality that his presence would bring to life, any and all characters, as was demanded by the script – a quality of a master who is completely at home at his desk, on the stage and in front of the camera. Truly a set of credentials and accomplishments that probably cannot be boasted about by any other personality in the performing arts in the sub continent. It is very interesting to note that the recent Amitabh Bachchan starrer, ‘The Last Lear’, is based on an earlier play ‘Aajker Shahjahan’, written by Utpal Dutt. In all, he has written twenty-two full-length plays, fifteen poster plays, nineteen Jatra scripts. He has directed more than sixty productions and has acted in thousands of shows on the stage. Apart from this, he has written some serious studies on Shakespeare, Girish Ghosh, Stanislavsky, Brecht, and the revolutionary theatre.

From this mini capsule emerges a new Utpal Dutt, and suddenly one sees the Bhawani Shankar in a completely new light. And after this, one may not be very surprised to see the performance in this clip, where he plays the role of Balbir Singh, a disabled army man, whose zest for life and penchant for justice has not weakened even after he has lost one of his limbs. He struts and dances on the stage with one artificial leg. And in the course of on stage action, when that artificial prosthetic comes off, and he falls down, he forbids anyone to help him. On the strength of his arms he pulls himself towards the fallen limb, the resolve showing on his brow, to never give up. Eventually he is able to put it on and stand up himself. That minute and a half interlude in the song is a telling portrayal, including the growl when he says “ae, haath naa laa” (hey there, don’t touch it).

A wonderful performance and likely an only one for him doing a Punjabi bhangra. Merits to be included in this series of unique and unexpected performances.

Still active and still in the saddle, Utpal Dutt passed away on 19th August, 1993, after a massive heart attack. A national award for best actor in 1970, for the film ‘Bhuvan Shome’, and three Filmfare awards for the best comedian. It is not a wonder that we do not know much about the true Utpal Dutt. For that, we will have to delve back to Bengali cinema and to his theatre and writings. A larger than life presence, a once in an era personality, and a pioneer who has not been equaled or even imitated. One would be hard pressed to believe his antecedents and achievements, as he sits in the boss’s chair and pontificates on the virtues of the moustache on a man’s face (‘Gol Maal’, 1979) or plays the proverbial fiddle in his efforts to woo Kusum (Swaroop Sampat), a girl of the age of his daughter (‘Naram Garam’, 1981).

But then maybe, that is the victory of the performer over the audience – he would spin a tale and pull wool over your eyes, and then be backstage laughing at the gullibility of everyone, from the front row to the back to the balcony. Here was a great thinker and mover of minds, whose power to communicate with the people through the theatre, changed the fortunes of an entire state (I refer to the political shift from Congress to Marxists in Bengal), who would make you laugh and clap as he wore a disguise of twigs and plumes to hunt the birds (‘Bhuvan Shome’), or vehemently argue with a police officer (Om Prakash), calling him a ‘foolish officer’ (‘Gol Maal’). And even in that deception, he ends up creating lasting icons that are absolutely impossible to erase from the memory. I am very sure he is out there, having a good laugh, at all of us.

Some quick demographics. The film is ‘Imaan Dharam’ from 1977, the era when the multi starrers ruled the roost. That will be confirmed by a quick look at the list of actors. Anybody who is anybody in the industry (at that time) is listed here. Well, almost :). Sample this – Shashi Kapoor, Sanjeev Kumar, Amitabh Bachchan, Rekha, Aparna Sen, Helen, Baby Rani, Prem Chopra, Om Shivpuri, Shreeram Lagu, Utpal Dutt, A K Hangal, Amrish Puri, Shetty, Sudhir, Mohan Sherry, Amarnath, Deepak, C S Dubey, Raj Kishore, R C Chopra, Prakash Thapa, Mak Mohan, Kamaldeep, Jagdish Raj, Kumud Tripathi, Pinchoo Kapoor, Chandu, Dhanna, Nazir Kashmiri, Pandit Rammurthi Chaturvedi, Bihari, Satyen Kappu, Sajjan.

The producer banner is Suchitra and the film is directed by Desh Mukherjee. Songs are penned by Anand Bakshi and the music composition is Laxminkant Pyaarelal. Can be summed up as an out and out multi starrer blockbuster of its era.

A very interesting foot note to this song. The year is 1977, and Mukesh has left the mortal world about a year earlier. This song, a duet with the voices of Moahmmed Rafi and Mukesh must have been recorded in early 1976. Also, the year 1977 carries the film ‘Dharamveer’ in which there are another two duets of these timeless voices. Most likely these songs are the last songs ever recorded together by them. In subsequent years, more songs have appeared, but none of them is a pure duet like this one, or the two in ‘Dharamveer’.

As the closing note, some words from the lyrics that are typical Punjabi language, are translated below.

‘raakhi’ = protection (variant of ‘raksha’)

‘kabaddi’ = a team game that involves both strength, guile and cleverness and above all, very powerful lungs

‘addi’ = ankle

‘kaudi kaudi’ = a continuous sound that the attacking player is supposed to make, to show that he is not breathing while he is in the opposite camp

‘pind’ = village

‘laam’ = front, war zone

Listen and enjoy.


Song-O jatta aayi vaishaakhi (IMaan Dharam)(1977) Singers-Rafi, Mukesh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
Utpal Dutt,

Lyrics

oye hoye. . . .
lo ji
fauji
mauj mein
aa gayaa pehen ke
vardi khaakee. . .
daal bhaangraa
nach mere saathi. . .
chhod ke ye baisaakhi
jattaa aayee vasaakhi
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi. . . .

lo ji
fauji
mauj mein
aa gayaa pehen ke
vardi khaakee. . .
daal bhaangraa
nach mere saathi. . .
chhod ke ye baisaakhi
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

o jattaa aayee vasaakhi. . . .

sabse kehte hain ye ghaayal haath
ye tooti taangen
hum de sakte hain jaane
hum kya logon se maangen
hum kyun logon se maangen
jo auron pe mar sakte hain
wo apni madad kar sakte hain
tum hum pe mat ehsaan karo
ye dhan daulat naa daan karo
hum to naukar sarkaar ke hain
bas bhookhe aapke pyaar ke hain
hum mein koi laachaar naheen
hum aashiq hain beemaar nahin
sab bhaashan iske baad karo
pehle us din ko yaad karo
jab jang chhidee baarood phate
sab apne gharon mein soye rahe
hum jaa. . ke khade rahe sarhad pe
karte sab ki raakhi
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

ho jattaa aayee vasaakhi. . . .

hey. .ey. .ey. .ey
hey
hey
hey
hey
hey
hey
hey
hey
o ho
o ho

[ae, haath naa laa]

gaaon mein jab melaa lagtaa
hoti khoob kabaddi
bade badon ko main giraa deta thha maar ke addi
kaudi kaudi kaudi kaudi kaudi kaudi kaudi
kabaddi
kabaddi
kabaddi
jab guzartaa main bazaaron se
sab jhaankte thhe chaubaaron se
ik kudi ishaare kardi si
wo meri chaal pe mardi si
wo reh gayi bas aahen bharti
pind chhod ke hum ho gaye bharti
dikhlaayen zor jawaani kaa aa
thha shauk hamen qurbaani kaa
hum jiye inhin ummeedon mein
ho apna naam shaheedon mein
jab laam lagi aaya maukaa
dushman ne diya badaa dhokha
dil ke badle paaon pe goli
maari thhi chaalaaki
haaye
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

ho jattaa aayee vasaakhi. . . .

o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

ho jattaa aayee vasaakhi. . . .
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

aaj bhi teri chaal pe hum
qurbaan watan de sheraa
aaj bhi teri chaal pe hum
qurbaan watan de sheraa
hum bik jaayen
to bhi karz chukaa naa paayen tera
tu ne apna farz nibhaaya. . .
apna farz hai baaki,

o jattaa aayee vasaakhi
o jattaa aayee vasaakhi
ho jattaa aayee vasaakhi

ho jattaa aayee vasaakhi
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi
o jattaa aayee vasaakhi

ho jattaa. . . .
(o jattaa aayee vasaakhi)
ho jattaa. . . .
(o jattaa aayee vasaakhi)
aayee visaakhi
(o jattaa aayee vasaakhi)
ho jattaa. . . .

————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
ओय होए ॰ ॰ ॰

लो जी
फौजी
मौज में
आ गया पहन के
वर्दी खाकी ॰ ईs
डाल भांगड़ा
नच मेरे साथी ॰ ईs
छोड़ के ये बैसाखी
जट्टा आई वसाखी
ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी॰ ईss

लो जी
फौजी
मौज में
आ गया पहन के
वर्दी खाकी ॰ ईs
डाल भांगड़ा
नच मेरे साथी ॰ ईs
छोड़ के ये बैसाखी
ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी

ओ जट्टा आई वसाखी॰ ईss

सबसे कहते हैं ये घायल हाथ
ये टूटी टांगें
हम दे सकते हैं जानें
हम क्या लोगों से मांगें
हम क्यूँ लोगों से मांगें
जो औरों पे मर सकते हैं
वो अपनी मदद कर सकते हैं
तुम हम पे मत एहसान करो
ये धन दौलत ना दान करो
हम तो नौकर सरकार के हैं
बस भूखे आपके प्यार के हैं
हम में कोई लाचार नहीं
हम आशिक हैं बीमार नहीं
सब भाषण इसके बाद करो
पहले उस दिन को याद करो
जब जंग छिड़ी बारूद फटे
सब अपने घरों में सोये रहे
हम जा॰ss॰के खड़े रहे सरहद पे
करते सब की राखी
ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी

हो जट्टा आई वसाखी॰ ईss

हे ए ए ए ए
हे
हे
हे
हे
हे
हे
हे
हे
ओ हो
ओ हो

[ए ! हाथ ना ला]

गाँव में जब मेला लगता
होती खूब कबड्डी
बड़े बड़ों को मैं गिरा देता था मार के अडडी
कौडी कौडी कौडी कौडी कौडी कौडी कौडी
कबड्डी
कबड्डी
कबड्डी
जब गुज़रता मैं बाज़ारों से
सब झाँकते थे चौबारों से
ई कुड़ी इशारे करदी सी
वो मेरी चाल पे मरदी सी
वो रह गई बस आहें भर्ती
पिंड छोड़ के हम हो गए भर्ती
दिखलाएँ ज़ोर जवानी का
था शौक हमें कुर्बानी का
हम जिये इन्हीं उम्मीदों में
हो अपना नाम शहीदों में
जब लाम लगी आया मौका
दुश्मन ने दिया बड़ा धोखा
दिल के बदले पाओं पे गोली
मारी थी चालाकी
हाए
ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी

हो जट्टा आई वसाखी॰ ईss

ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी

हो जट्टा आई वसाखी॰ ईss
ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी

आज भी तेरी चाल पे हम
कुर्बान वतन दे शेरा
आज भी तेरी चाल पे हम
कुर्बान वतन दे शेरा
हम बिक जाएँ
तो भी कर्ज़ चुका ना पाएँ तेरा
तूने अपना फर्ज़ निभाया ॰आss
अपना फर्ज़ है बाकी

ओ जट्टा आई वसाखी
ओ जट्टा आई वसाखी
हो जट्टा आई वसाखी॰ ईss

हो जट्टा आई वसाखी॰ ईss
ओ जट्टा आई वसाखी
हो जट्टा आई वसाखी॰ ईss
ओ जट्टा आई वसाखी

हो जट्टा ॰ ॰आssss
(ओ जट्टा आई वसाखी)
हो जट्टा ॰ ॰आssss
(ओ जट्टा आई वसाखी)
आई वसाखी॰ ईss
(ओ जट्टा आई वसाखी)
हो जट्टा


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

= = = = = = = = = = = == = = == = = == = = =
The Many Colors of Love #13 – The Fears of Love
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And so wrote the scribe. . .

ho raama darr laage apni umariyaa se

Howsoever enchanting and inviting the emotions of love may seem, there are many a heart that fear the onset. As the feelings of youth begin to sprout inside, the heart is at once both eager to savor the flavors of this emotion, and yet nervous and afraid to step into this unfamiliar and unpredictable terrain. The mind recalls many a stories told of the agonies of love and the pains of loss. Or even if one does not become frightened from such tales of sorrow, there still is a fear of the unfamiliar and the unknown.

No wonder that these years of adolescent life are also called ‘kachchi umar’ – the emotions are rearing to go, but the maturity of handling and controlling them is lacking. There is a come-hither titillation that draws the young heart with a promise of a new fascinating world. But accompanying this are apprehensions of the unknown and not as yet experienced events. There are hearts that will be drawn easily. The euphoria and the energy of the new emotions is a powerful driver that nudges the self towards the new experiences. And then there are hearts that are anxious to consider consequences and outcomes, and they will be more restrained in stepping out. The apprehensions will keep a check on the flow of feelings. Sometimes the titillation wins over, and sometimes it is the restraint that has the upper hand.

In the realm of Hindi film songs, all flavors and shades of such emotions are to be found. I present a gem of a fun song from the 1952 film ‘Shrimati ji’. In this song, there is a very interesting exchange happening between two young hearts. They seem to be on the threshold of that emotion called love. The gentleman is making efforts to convince the lady, requesting her for “nain milaa lo” and “dil milaa lo”. And the lady is responding with all kinds of excuses, and expressing her fears for every suggestion that the gentleman is giving. The exchange builds up in a very jovial way, coming to hilarious head, when the gentleman simply gives up in what one may term as frustration, and announces that he will have nothing to do with the lady and the matters of heart with her. And then, right there in a flash, without a pause, without breaking the rhythm and on an even note and scale, the lady does an about turn and starts to sing the lines of the gentleman requesting him for “nain milaa lo” and “dil milaa lo”. It is absolutely mirthful.

Full marks on this song for the arrangement and the composition. There are four singing entities in this song. The male voice, that is Kishore Kumar, the female voice, that is Shamshad Begum, the male chorus and the female chorus. The lines of lyrics is short and quick, and there is such a rapid change of voice between the four entities, that simply has been arranged and managed superbly. The match of wits is played so briskly. The responses fly out so promptly, it leaves no time for the listener to breathe. The delicious surprise is the switch that the lady and her companions make near the end of the song, that is simply seamless, without batting an eyelid, that will take the listener by surprise. I was simply bowled over by the pace of the exchange, and how smoothly the singing voice changes between the performers and two chorus groups. Simply, simply marvelous.

The film ‘Shrimati ji’ (1952) is not new for the visitors of this blog. Four songs of this film are already represented here, and today we bring on the fifth. The film has a total of 10 songs done by three music directors and three poets together. The lyricists are Raja Mehdi Ali Khan, Shailendra and Hasrat Jaipuri. Of the ten songs, RMA Khan has provided the verses for 8 of them, with Shailendra and Hasrat Jaipuri contributing one song each. Interesting to note that the single song contributions by Shailendra and Hasrat are both sentimental, poignant songs, both composed by Jimmy. Of the eight songs written by RMA Khan, only one is a sentimental song, and the remaining seven songs are all songs of fun, joy and happiness in love. The music directors sharing the compositions for this film are S Mohinder, Jimmy and Basant Prakash. This song is tuned by Jimmy. It is also interesting to note that in addition to there being three music directors on this film, the credits also identify a notable assistant music director, with name Ravi Shankar, whom we all are more familiar with as just Ravi.

The film is from the stables of Filmistan, and is directed by IS Johar. The list if actors includes Shyama, Nasir Khan, Ram Singh, Murad, Samson, Vimla, Indira, Prabha, Baldev Mehta, Ram Avtar, Yashwant, Mirazkar, Agha Miraz, Majnu, Johar and others. This last name, Johar, I am sure is IS Johar himself. Given the cast of actors, and the songs of this film, one can easily guess this one to be quite a fun film.

So listen to this fun and amusing exchange, and the kind of fears that the lady is expressing, to keep away from the entanglements of the heart.

It is opportune that the birth anniversary of Shamshad Begum was just yesterday. A timely remembrance of this voice that has put in the color of fun in so many Hindi film songs. Long live in memory.

Listen and enjoy. :)


Song-Nain mila lo nain mila lo (Shrimati Ji)(1952) Singer-Kishore Kumar, Shamshad Begum, Lyrics-Raja Mehdi Ali Khan, MD-Jimmy
Male Chorus, Female Chorus

Lyrics

nain milaa lo
nain milaa lo
pyaar ka darr hai
pyaar to hoga
dil milaa lo
dil milaa lo
dard ka darr hai
dar to hoga

kya hoga ji nain milaa ke
dil milaa ke

haaye dil milaa ke
poochho shamma se yaa parwaane se jaa ke
parwaane se jaa ke
shama bano tum
parwaane hum
jalne ka darr hai
jalnaa to hoga

thhandi thhandi hawaa hai
mausam suhaana

o mausam suhaana
pyaar kar lo
pyaar ka aaya zamaana
aaya zamaana
bijli ho tum
baadal hain hum
toofaan ka darr hai
toofaan to hoga

darte darte beet rahi hai haaye jawaani
haaye jawaani
door chalen aur saath bitaayen zindgaani
bitaayen zindgaani
kahaan chalen
arab chalo
registaan ka darr hai
africa chalo
biyaabaan ka darr hai
kaabul chalo
pathaan ka darr hai
to ghar bulaa lo
abba jaan ka darr hai

ghar mein abba jaan ka darr hai
kaabul mein pathaan ka darr hai
arab mein registaan ka darr
africa mein biyaabaan ka darr hai
aan ka darr hai
jaan ka darr hain
duniya bhar mein
darr hi darr hai

yaane saare jahaan ka darr hai

to jahannum chalo
jahannum chalo
shaitaan ka darr hai
shaitaan to hoga
to hamen bhulaa do

nahin bhulaate
nain milaa lo

nahin milaate
dil milaa lo
nahin milaate
haath milaa lo
nahin milaate
wajeh bataa do
wajeh bataa do

pyaar ka darr hai
pyaar to hoga
nain milaa lo
nain milaa lo
pyaar ka darr hai
pyaar to hoga
dil milaa lo
dil milaa lo
dard ka darr hai
dar to hoga

———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————–
नैन मिला लो
नैन मिला लो
प्यार का डर है
प्यार तो होगा
दिल मिला लो
दिल मिला लो
दर्द का डर है
डर तो होगा

क्या होगा जी नैन मिला के
दिल मिला के

हाय दिल मिला के
पूछो शम्मा से या परवाने से जाके
परवाने से जाके
शमा बनो तुम
परवाने हम
जलने का डर है
जलना तो होगा

ठंडी ठंडी हवा है
मौसम सुहाना

ओ मौसम सुहाना
प्यार कर लो प्यार का आया ज़माना
आया ज़माना
बिजली हो तुम
बादल हैं हम
तूफान का डर है
तूफान तो होगा

डरते डरते बीत रही है हाए जवानी
हाए जवानी
दूर चलें और साथ बिताएँ ज़िंदगानी
बिताएँ ज़िंदगानी
कहाँ चलें
अरब चलो
रेगिस्तान का डर है
अफ्रीका चलो
बियाबान का डर है
काबुल चलो
पठान का डर है
तो घर बुला लो
अब्बाजान का डर है

घर में अब्बाजान का डर है
काबुल में पठान का डर है
अरब में रेगिस्तान का डर
अफ्रीका में बियाबान का डर है
आन का डर है
जान का डर है
दुनिया भर में
डर ही डर है

याने सारे जहां का डर है

तो जहन्नुम चलो
जहन्नुम चलो
शैतान का डर है
शैतान तो होगा
तो हमें भुला दो

नहीं भुलाते
नैन मिला लो

नहीं मिलाते
दिल मिला लो
नहीं मिलाते
हाथ मिला लो
नहीं मिलाते
वजह बता दो
वजह बता दो

प्यार का डर है
प्यार तो होगा
नैन मिला लो
नैन मिला लो
प्यार का डर है
प्यार तो होगा
दिल मिला लो
दिल मिला लो
दर्द का डर है
डर तो होगा


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

THE VIBRANT 40s (Episode No. 5)
————————————–
” Haazir so Vazir ” and ” Out of sight is out of mind ” are two well known proverbs which describe the Hindi film industry. Those who are in the limelight- for whatever reasons- are the talk of the town. Those who are not heard about, seen or spoken about are not remembered, whatever their contribution to the industry. This is the experience of of almost every film personality who retired and spent time away from the industry till their end.

Examples are many- Shamshad Begum, Mubarak Begum, Begum Para, Rajesh Khanna, Sitara Devi, Nimmi, Nanda, Waheeda, Asha Parekh, G M Durrani, Sajjad Hussain, K. Datta, Jagmohan Sursagar, Manna Dey, Kavi Pradeep….so on and so forth.

One more name is that of Talat Mehmood. When he was in full form and sang hit songs, people would jostle to have his glimpse, but after he retired ( or was ignored ) from film singing, he was not only forgotten, but many rumours of how he was living in poverty were making rounds. Of course that was NOT the truth.

Shri Rajnikumar Pandya ji,a senior writer on film personalities and author of several books, who has won Sahitya Academy awards FIVE times, had gone to interview Talat Mehmood in the late 90s.

After finishing the interview, he was coming out of the posh 7 storied ” Sunbeam” apartments, when he met one of his younger friends. He asked, “Came to meet Rati Agnihotri ? “

Pandya ji was shocked. He had never dreamt anything like this. He simply said, ” No No, I came to meet a great personality. “

” What,some other great person also stays here ? Who ? “

“Talat Mehmood “.

Even after hearing the name, the friend’s face showed no signs of recognition.

Disgusted, Pandya ji said, ” Look here. Some time ago this was a beautiful Bungalow Sunbeam, belonging to Talat Mehmood. It was sold and this tower has come up. Rati stays in one of the flats, but Talat owns the Pent House on the 7th floor. “

The friend said,” but does he stay here ? I had heard that he is forced to do some small service somewhere.”

Irritatedly, Pandya ji said, ” Do you see this big car ? It is Talat’s car. He stays in his Pent House. Every month he has 2-3 stage shows, plus Radio and HMV Royalties come every month. His income every month is in Thousands. These are great people. Look at Rafi’s bungalow there. Now it has become a shopping centre,. Do you think they are on roads ? “

Friend said, “But I had read somewhere that Rafi’s wife does Tailoring jobs for survival. “

Just imagine Pandya ji’s condition. With great restraint, he said coolly, “This is how rumours spread. Rafi family’s income must be more than Talat Mehmood’s income. Rafi’s children are in USA. Why will Rafi’s wife do menial jobs ? They are very well off. “

But then it is not the fault of this one man alone. It is true that most actors and singers of the first generation of HFM died in penury and poverty, but the subsequent generations became more money savvy. They knew that film line life is for few years only and they made provisions for their retired life. These days career periods have shortened even further, due to heavy output of actors and singers. These days artistes last for a few years only and they wisely make provisions for their lives and are secure enough.

Talat Mehmood was born on 24-2-1924. His father owned an Electrical goods shop. BY the age of 15 , he was halfway into his school and music education. he entered A.I.R. and on 8-12-1939,h is first song was aired on Radio,for which he got sixteen rupees eight annas as fees. He continued singing on Radio ,till the ” Talent Search Team ” of HMV identified him, took him to Calcutta and he cut two records. The first song was, “Sab din ek samaan” and the second was ” Tasveer teri dil mera behla na sakegi “. This song became popular all over Inbdia. This was in 1941.

He came back to Lucknow. Here he met Madan Mohan a young man working on A.I.R. Madan Mohan was Raibahadur Chunilal’s son. Raibahadur Chunilal was the chief of Filmistan in Bombay. Both together started ” Amateur music Club” in Lucknow. In 1944, Talat went back to Calcutta. He worked in 3 Hindi films- Rajlaxmi-1945, Tum aur main-47 and Samapti-49. He had also done one Bangla film under the name of Tapan kumar Sinha.

In 1949, Talat came down to Bombay. He sang his first Hindi song- teri gali se-in film Raakhi-1949, under Husnalal Bhagatram. Then came the big break. Anil Biswas gave him a song from Arzoo-1950 “Ae dil mujhe”. This became a hit song and Talat got a firm foothold in Bombay.

Mukesh and Talat were great friends. When Mukesh was not getting work, it was Talat who pleaded with Salil Chaudhari and got Mukesh a song in Madhumati-58. This changed the life of Mukesh. Around 58-60, many rumours about Talat’s arrogant behaviour, his spat with Naushad etc were circulating. Not everything was true, however. He lost songs of Yahudi, but the Sujata song came his way, only due to Asha Bhonsle’s insistence with Burman da. Actually rumours and misunderstandings are a part of an artiste’s career.

It is to the credit of Anil Biswas that he gave Talat’s self confidence about his own special Voice feature, (the tremor in his voice) and that proved to be his strength and USP too. The ‘ Vibrato ‘ or the ” LARGISH “- technical name for the vibrations in Talat’s voice ( Kampan-yukt ), actually became Talat’s treasure.

After Film songs stopped coming his way, Talat continued cutting private Albums and making stage shows in India and foreign countries.

Today we will have the pleasure of listening to a song of Talat from his debut Hindi Film- Rajlaxmi-1945. The lead pair of this film was Kanan Devi and Chhabi Vishwas. Talat was given the role of a Sadhu who sings ” Jago Musafir jago “. There were just 7 songs in the film, composed by Robin Chatterjee and Dhiren Mitra. There was only ONE song of Talat in this film. There is mention of one more Talat Mehmood song, viz. ” Tu sun le matwale”, in the HFGK and elsewhere but this information is NOT TRUE. It was a private song of Talat. This misunderstanding developed just because this song is on the reverse side of the record of ‘jago Musafir’( Record No- N-16688 ). This error was found out after HFGK was published.
(Ref.- Dhananjay Naniwadekar in RMIM ).

This Talat song is a song of historical value because it is his DEBUT song in Hindi films.

(MY sincere thanks to shri Rajnikumar Pandya ji,for some of the information used here.)


Song-Jaago musaafir jaago (Raaj Laxmi)(1945) Singer-Talat Mehmood, Lyrics-Suresh Chaudhary, MD-Robin Chatterji-Dhiren Mitra

Lyrics

jaago musaafir jaago
jaago musaafir jaago
kholo man kaa dwaa..aar
jaago musaafir jaago
jaag uthhaa hai aalam saaraa
jaag uthhaa hai aalam saaraa
prem ki aayi pukaa…aar
jaago musaafir jaago

aaye saathi unhen bulaa lo
dil se dil ko aaj milaa lo
aaye saathi unhen bulaa lo
dil se dil ko aaj milaa lo
aaye saathi aaye
saudaa kar lo hansi khushi kaa
jag se kar lo pyaa…aar
jaago musaafir jaago

mil ke yahaan pe bichhad jo jaayen
koi koi to phir mil jaayen
mil ke yahaan pe bichhad jo jaayen
koi koi to phir mil jaayen
jeevan ki is raah pe koi
jeevan ki is raah pe koi
aataa ek hi baar
aataa ek hi baar
jaag uthhaa hai aalam saaraa
prem ki aayi pukaar aar
jaago musaafir jaago

ajab tamaashaa wo dikhlaataa
ajab tamaashaa
ajab tamaashaa wo dikhlaataa
jod kisi se kisi kaa naataa
jod kisi se kisi kaa naataa
koi na jaane kaun taar mein wo
koi na jaane kaun taar mein wo
baandhe kaun saa taa..aar
jaago musaafir jaago
kholo man kaa dwaa…aar
jaago musaafir jaago


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

What may be a good definition of a friend? I am sure everyone will have many an answer to this question. I would like to add this following definition to that list today. A good friend is one who will remind you of a wonderful melodious song, that you may have heard long back, and have forgotten about it, or maybe you have not heard it and he or she introduced you to it. Aa ha, I am sure you will agree with me on this. :)

In my association with this blog, that is one thing that I can say about practically all the folks who are contributing. Bringing up wonderful gems from the depths of this ocean called the Hindi film music, strumming the strings of memories, of songs heard long back and then lost somewhere in time. And even songs that are completely new to my memory, and they are such super melodies that it is just so heartening to be introduced to them.

AK ji, of Songs of Yore is quite regular in this matter. He keeps on nudging us with memories and suggestions, looking out for lost melodies that one has not heard for a long time. It has been somehow such a harmonious meeting of minds that whenever he has sent a message searching for a song, I have been able to locate it, with me or from other friends. And it is such pleasure to encounter these songs once again.

The song that I present in these post is one such fabulously melodious gem, that was heard and set in the mind from the radio listening days. And when those times passed, this (and many other such songs) have been sitting on sidelines, trying to catch the attention of the music lovers, and get back on stage. I got this message from AK ji last week, enquiring about two lovely Suman Kalyanpur songs. I looked into my collection and lo, the songs have been sitting there, and not been touched for ages. But, yes, today it is turn now, to get back into the limelight. One being posted today, and the second one very shortly.

One reason that I can think this kind of thing happens is the ageing of the collective memory of the listeners. When these songs were fresh, newly released, they were popular in farmaishi (on request) programs. As the years passed, radio listening lost its prominence to other sources of entertainment. The songs and their records kept sitting in AIR libraries, and not too well cared for. When the new generation of announcers and program anchors took over, they were working from a very second, or even third hand experience, for they had never heard these songs themselves. They would refer to the list of Filmfare awarded music, the Binaca Geet Mala listings, and the popular selections that the record companies would churn out, repeating and re-repeating the popular numbers that, in their calculation, would definitely sell and make money for them.

In such an environment, who would care to look up a fifty five years old film with a name such as ‘Teerath Yatra’. When referred to the year 1958, any program anchor worth his waves today would just think of ‘Chalti Ka Naam Gaadi’, ‘Madhumati’, ‘Kaala Paani’, ‘Yahudi’, ‘Howrah Bridge’, ‘Dilli Ka Thug’, ‘Post Box 999’, ‘Sone Ki Chidiya’, ‘Aakhri Daao’, ‘Phagun’, ‘Navrang’, ‘Phir Subha Hogi’, and a few more film names, made familiar to them based on the references listed above. And even within that, they would not have the time or patience to explore all other songs of that film, that probably did not make it to a ‘paayedaan’ number on the Binaca ‘seerhi’, or did not appear on the HMV selections. They would be all gaga over “Hai Apna Dil To Aawaara” but will be completely unaware of “Ye Bhi Koi Roothne Ka Mausam Hai Deewaane”. They would play again and again “Ye Mera Deewaanapan Hai”, but will be completely oblivious about “Aate Jaate Pehlu Mein Aaya Koi”. And then what to say about films like ‘Taxi Stand’, ‘Night Club’, ‘Trolley Driver’, ‘Khota Paisa’ – they may even have not heard about them.

And within this anonymous mix is the film named ‘Teerath Yatra’. I would think they would not even pick it up, even if they came across it.

I recall a personal anecdote, that I may have mentioned on an earlier post. Vijaylaxmi ji Deseram, one of the famous program anchors of Radio Ceylon in their heydays, and later of the Hindi channel of Voice of America, was visiting Delhi in Dec of 2012. We had many a meetings while she was in Delhi and I have written about that earlier. On one such meeting, as I was just accompanying her to see her off, my mobile rang. I think it was Atul ji, and it was about a post for the blog. I was preparing a post on music director Roshan that day, and on the call I was just telling Atul ji, the song I had selected. I just mentioned Roshan and the name of the film ‘Neki Aur Badi’ (1949), on the phone. And the reaction from Vijaylaxmi ji who was standing next to me, was instantaneous. She started to sing the very song that I was preparing for the post, even without my naming the song.
(Incidentally, the song is “Kyun Jee Scent Lagaaya Hai”. That is the kind of awareness and appreciation which is likely not to be found any more in the new crop of program anchors we have on the FM channels.

The film ‘Teerath Yatra’ makes a debut on our blog today. Produced under the banner of ‘Adarshlok’, the film is directed by Adarsh. The nine songs of this film are composed by the duo of Suresh-Talwar. The lyrics writing is shared by Anjaan, Saraswati Kumar Deepak, Adarsh and Madan Mohan. (I get this last name from Geet Kosh listings, and I request help from other knowledgeable contributors whether this Madan Mohan is same or different from the well know music director.) This song is from the pen of Anjaan. The singing voice – oh so sweet, is that of Suman Kalyanpur.

The star cast of the film includes Mahipal, Jaimala, Heeralal, Nana Palsikar, Kesari, Radheshyam, Indira Bansal, Shakuntala, Jagat, Sehgal, Ratan, Vishambhar, Nikku, Baby Najma, Bheem, Bharat. I further request our knowledgeable friends on this bandwagon to provide more information about this picture and the one screen performers of this song.

Ah so, let me wind down this long winded string of thoughts and let you get to this wonderful melody. The flow of the harmony is so lovely. When she sings the line “boley jaane de jo dil gaya, tera saajan tujhe mil gaya”, it is such a delightful treat, both for the ears and for the heart.

AK ji, thanks a ton for this nudge, and the request is to continue such nudging in the future. :)

Listen and enjoy. :)


Song-Meri preet mera pyaar boley aaj baar baar (Teerath Yaatra)(1958) Singer-Suman Kalyanpur, Lyrics-Anjaan, MD-Suresh-Talwar

Lyrics

meri preet mera pyaar
boley aaj baar baar
boley kya aa
boley jaane de jo dil gayaa
tera saajan tujhe mil gayaa aa aa aa
meri preet mera pyaar
boley aaj baar baar

aaa aaa aaa aaa

jhoomti raat ne aaj pehnaa
jhilmilaate sitaaron ka gehnaa
ho jhilmilaate sitaaron ka gehnaa
chanda le kirnon ka haar
karta rajni ka singaar
boley kya
boley jaane de jo dil gayaa
tera saajan tujhe mil gayaa aa aa
meri preet mera pyaar
boley aaj baar baar

aaa aaa aaa aaa

paaya wo hi piyaa jo thha apna
huaa saakaar wo jo thaa sapna
ho huaa sakaar wo jo thaa sapna
baaje saanson ki sitaar
goonje paayal ki jhankaar
boley kya
boley jaane de jo dil gayaa
tera saajan tujhe mil gayaa aa aa
meri preet mera pyaar
boley aaj baar baar

aaa aaa aaa aaa

laagi aisi lagan chori chori
mili chanda se aakhir chakori
ho mili chanda se aakhir chakori
mili haar mein bahaar
boli nadiyaa ki dhaar
boley kya
boley jaane de jo dil gayaa
tera saajan tujhe mil gayaa aa aa
meri preet mera pyaar
boley aaj baar baar

—————————————————-
Hindi script lyrics (Provided by Sudhir)
—————————————————-
मेरी प्रीत मेरा प्यार
बोले आज बार बार
बोले क्या॰ ॰ ॰
बोले जाने दे जो दिल गया
तेरा साजन तुझे मिल गया॰ ॰आ॰ ॰आ
मेरी प्रीत मेरा प्यार
बोले आज बार बार

आ॰ ॰आ॰ ॰आ॰ ॰आ

झूमती रात ने आज पहना
झिलमिलाते सितारों का गहना
हो॰ ॰ झिलमिलाते सितारों का गहना
चंदा ले किरणों का हार
करता रजनी का सिंगार
बोले क्या॰ ॰ ॰
बोले जाने दे जो दिल गया
तेरा साजन तुझे मिल गया॰ ॰आ॰ ॰आ
मेरी प्रीत मेरा प्यार
बोले आज बार बार

आ॰ ॰आ॰ ॰आ॰ ॰आ

पाया वो ही पीया जो था अपना
हुआ साकार वो जो था सपना
हो॰ ॰ हुआ साकार वो जो था सपना
बोले साँसों की सितार
गूँजे पायल की झंकार
बोले क्या॰ ॰ ॰
बोले जाने दे जो दिल गया
तेरा साजन तुझे मिल गया॰ ॰आ॰ ॰आ
मेरी प्रीत मेरा प्यार
बोले आज बार बार

आ॰ ॰आ॰ ॰आ॰ ॰आ

लागि ऐसी लगन चोरी चोरी
मिली चंदा से आखिर चकोरी
हो॰ ॰ मिली चंदा से आखिर चकोरी
मिली हार में बहार
बोली नदिया की धार
बोले क्या॰ ॰ ॰
बोले जाने दे जो दिल गया
तेरा साजन तुझे मिल गया॰ ॰आ॰ ॰आ
मेरी प्रीत मेरा प्यार
बोले आज बार बार


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.

“Akalmand” (1966) was directed by Roop K Shorey for Mukul Pictures. The movie had I. S. Johar, Kishore Kumar, Sonia Sahni, Parveen Choudhary, Kamal Kapoor, Tuntun, Khurshid etc in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from the movie. This song is a duet which is sung by Asha Bhonsle and Shamshad Begam. Aziz Kashmiri is the lyricist. Music is composed by O P Nayyar.

Picturisation of this song reveal ths song to be a disguise cum cross dressing song in a villain’s den setting. Kishore Kumar and I S Johar have disguised themselves as a pair of female dancers who perform this dance. Their identity is revealed only towards the end of the song when their fake wigs fall off.

Lyrics of this song were sent to me by Nitin Shah.


Song-Jab do dil hon bechain (Akalmand)(1966) Singers-Asha Bhonsle, Shamshad Begam, Lyricist-Aziz Kashmiri, MD-O P Nayyar
Both

Lyrics(Provided by Nitin Shah)

jab do dil hon bechain
nateeja pyaar nikalta hai
jab milen nain se nain
nateeja pyaar nikalta hai
jab do dil hon bechain
nateeja pyaar nikalta hai
jab milen nain se nain
nateeja pyaar nikalta hai

chaman ke meer abdulla
pyaar kar khullam khulla
chaman ke meer abdulla
pyaar kar khullam khulla
darr ki koi baat nahin hai
ham jawaan tu bhi haseen hai
hoho
jab kate jaag ke rain
nateeja pyaar nikalta hai
jab mile nain se nain
nateeja pyaar nikalta hai
jab do dil ho bechain
nateeja pyaar nikalta hai
jab milen nain se nain
nateeja pyaar nikalta hai

dekh ke chaand si soorat
ishq ka kiya muhurat
dekh ke chaand si surat
ishq ka kiya muhurat

ye hi to piya mauz ke din hain
saamne tere do kamsin hain
hoho
ye keh gaye indersen
nateeja pyaar nikalta hai
jab mile nain se nain
nateeja pyaar nikalta hai
jab do dil hon bechain
nateeja pyaar nikalta hai
jab milen nain se nain
nateeja pyaar nikalta hai

kiya hai nek iraada
pyaar kar aadha aadha
kiya hai nek iraada
pyaar kar aadha aadha
khilenge ham ban ke bageeche
phirenge tere aage peechhe
hoho
jab lute kisi ka chain
nateeja pyaar nikalta hai
jab mile nain se nain
nateeja pyaar nikalta hai
jab do dil hon bechain
nateeja pyaar nikalta hai
jab mile nain se nain
nateeja pyaar nikalta hai


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.

“Mumtaz Mahal” (1957) was directed by Ram Daryani for Nigam Films. The movie had Jairaj, Sheila Ramani, Veena, Agha, Nazir Kashmiri, Umesh, Sheila Ramani etc in it.

Today (15 april 2014) is the 92nd birth anniversary of Hasrat Jaipuri (15 april 1922- 17 september 1999). On this occasion, here is a rare song from this obscure movie. This song is sung by Sudha Malhotra and Talat Mehmood. Hasrat Jaipuri is the lyricist. Music is composed by Vinod.

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


Song- Apna Banaa ke phir kyun bhulaaya(Mumtaz Mahal)(1957) Singers-Sudha Malhotra, Talat Mehmood, Lyrics-Hasrat Jaipuri, MD-Vinod

Lyrics

apna banaa ke phir kyun bhulaaya
apna banaa ke phir kyun bhulaaya
dil mera naashaad hai
haaye ae
dil mera naashaad hai
ae ae ae
aa mere sanam
o o
aana bhi chaahoon kaise aaun
aana bhi chaahoon kaise aaun
pehre pe saiyyaad hai
haaye ae
pehre pe saiyyaad hai ae
tera hoon teri qasam

aaa mere sanam
o o
tera hoon teri qasam

ho o
apna banaake
haaye ae ae
aana bhi chaahoon

inmein hamaare dard jawaan hain
jawaan hain
itna bata de
ab tu kahaan hai
kahaan hai
meri jubaan per tera bayaan hai
dil bhi wahin hai
ab tu jahaan hai
jahaan hai

kahaan hai aa mere sanam
aa tera hoon teri qasam
o o apna banaa ke
haaye aa na bhi chaahoon

madhosh waade chaahat ki rasmein
rasmein
toone wafa ki khaayi thhi qasmen
qasmen
dekho kahin bewafa na samajhna
qismat ke maare ko apna samajhna
samajhna

chalaa aa aa mere sanam
aa aa


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.

“Aaj Ki Raat” (1948) was directed by D D Kashyap for Famous Pictures Productions. The movie had Motilal, Suraiya, Yakub, Leela Misra, Raj Mehra, Anita Sharma, Sangeeta, Shah Nawaz etc in it.

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie. It is sung by Suraiyya and G M Durrani. Rajinder Krishan is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of this song is available but it is easy to guess that the song was picturised on Suraiyya and Motilal. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Nitin Shah.


Song-Mere aansuon meri hasraton (Aaj Ki Raat)(1948) Singers-Suraiyya, G M Durrani, Lyrics-Rajinder Krishan, MD-Husnlal Bhagatram

Lyrics(Provided by Nitin Shah)

mere aansuon
meri hasraton
meri zindagi ko ye kya hua aa
kya hua
na hansi rahi
na khushi rahi
na jahaan mein apna koi raha
na koi raha
na koi raha

tere dil se maine sitam kiya
teri har khushi ko mita diya
teri muskuraahaten chheen kar
teri muskuraahaten chheen kar
tumhen aansuon mein chhipa diya
ye kya kiya
ye kya kiya

mere dil ki duniya jo lut gayi
nahin ismein teri koi khata
koi khata
tera pyaar mera na ho saka
ye hai dosh mere naseeb ka
naseeb ka
naseeb ka

kabhi aasra na jise mila
usey toone apna bana liya
mujhe tujhse dil ki khushi mili
mujhe tujhse dil ki khushi mili
tujhe maine pyaar ka gham diya
ye kya kiya
ye kya kiya

bada khushnaseeb hai dil mera
jise tere pyaar ka gham mila
gham mila
mujhe tere gham se bhi pyaar hai
tere pyaar hi ne ye gham diya aa
gham diya aa
gham diya


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.

“Rangeen Raaten” (1956) was directed by Kidar Sharma for Ambitious Pictures. The movie had Chand Usmani, Pesi Patel, Geeta Bali, Mala Sinha, Shammi, Rohit, Bhupendra Kapoor etc in it.
Read more on this topic…


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.

“Shaadi” (1941) was directed by Jayant Desai for Ranjeet Movietone. The movie had Madhuri, Moti Lal, Khurshid, Ishwar Lal, Dixit, Ghori, Bhagwan Das, Kanti Lal, Bhoopat Rai, Tara Bai, Brijmala, Keshari, Baby Kamla etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than five years. This blog has over 9700 songs by now.

Total number of songs discussed

9708

Number of movies (All songs covered)

467

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