atul's bollywood song a day- with full lyrics

Archive for the ‘Post by Sudhir’ Category


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. . . .

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Hindi script lyrics (Provided by Sudhir)
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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

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

= = = = = = = = = = =
The Voice of Mukesh #58
- – - – - – - – - – - – - – - – - – -

Ah yes, getting back to 1950 and the series of pending Mukesh songs. The film ‘Hanste Aansoo’ has as many as five songs by Mukesh, one being a solo and the remaining 4 are sung in accompaniment of other singers viz. Rajkumari, GM Durrani, Rafi Sb and Shamshad Begum. Of these five songs, four are already posted and today we come to the fifth Mukesh song from this film. And this one is a duet with Lata ji.
Read more on this topic…


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.

chali baadlon ke paar
ho ke dor pe sawaar

Read more on this topic…


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.

jalte bhi gaye
kahte bhi gaye
aazaadi ke parwaane
jeena to usi ka jeena hai
jo marna watan pe jaane

Read more on this topic…


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.

chanchal mann, kaahe dharke
ruk ja ruk ja
o zaraa tham jaa
tham jaa

Ah yes, one can sense the feeling. The grand milestone seems just around the corner and we have 9600 on the scoreboard today. And so I caution my heart to not be impatient. The rolling pace continues to be consistent, but somehow it seems that the 10 thousand mark is approaching at a faster velocity. Just another three century milestones away now. Just about 9 more weeks or so to go.
Read more on this topic…


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.

This song is coming on here at the request of a close friend. A rare recording that is not yet available online. The film is ‘Pehle Aap’ from 1944.
Read more on this topic…


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

= = = = = = = = = = = = =
The Voice of Mukesh #57
- – - – - – - – - – - – - – - – - – -

At last I have been able to locate and acquire this song that has been pending in this journey of Mukesh songs, for quite some time. This song from 1948, could not be showcased earlier. There is one version available on the YouTube, but that is just one third of the song, only about one minute of play. (I have written about this behavior of some people, who will post partial songs online, and then wait for others to get in touch with them. There is a commercial angle involved here). Any way, I have now been able to get this song from another friend and fan of Mukesh.
Read more on this topic…


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.

Destiny plays some very unexpected games at times. For some, the fame and rewards are never to be. That may still be a doomed fate that can be reconciled. But more ironical is a life, when the smiles of providence and recognition arrive when the person has already departed. Ghulam Mohammed Sb is one such gifted artist, for whom, the fortunes of recognition arrived when he had already left this mortal world.
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

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Number of movies (All songs covered)

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