atul's bollywood song a day- with full lyrics

Archive for the ‘Lyrics contributed by readers’ Category


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.

Six songs from this movie have been discussed in the past. Here is the seventhh 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-Saath tumhaara chhoot gaya (Aaj Ki Raat)(1948) Singer-Suraiyya, Lyrics-Rajinder Krishan, MD-Husnlal Bhagatram

Lyrics(Provided by Nitin Shah)

saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae
saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae
ik ik kar ke toot gaye
ik ik kar ke toot gaye
meri ashaa ke taare ae ae
saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae

tumne kaha thhaa saath jiyenge
saath marenge ae ae
manzil per tum bichhad gaye
manzil per tum bichhad gaye
baazi pyaar ki haare ae
saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae

yaad kabhi jab aa jaate hain
tadpaaate hain aen aen aen aen
pyaar ke jo do din guzren
pyaar ke jo do din guzren
saath tumhaare ae ae
saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae

jiskee bahaare aise jaaye uthke na aaye aen aen
wo be-aas zamaane mein
wo be aas zamaane mein
bin kaise guzaare
saath tumhaara
chhoot gaya
dil toot gaya
jiyoon kiske sahaare ae ae

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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 Voice of Mukesh #59
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Time to take stock of the first decade of Mukesh songs – from 1941 to 1950. We have not yet seen each and every song from this period yet, but the pending numbers are very few now, and somewhat difficult to get, especially get good and clear recordings.

As per the records given the Mukesh Geet Kosh, and subsequent additional information discussed with Harish ji, we conclude that there are 150 known songs that Mukesh has sung from 1941 to 1950. Of these, we have all the songs posted, except for the following seven songs.

Year Movie Song Singers
1941 Nirdosh Tumhin Ne Mujhko Prem Sikhaya Mukesh, Nalini Jaiwant
1947 Neelkamal Kamal Netra Kati Pitambar Mukesh
1947 Laakhon Mein Ek Aagre Se Odhni Mangaa De Baalma Mukesh, Shamshad Begam
1948 Jalsa Azaad Ho Gaya Hai Hindostaan Hamaara Mukesh, Chorus
1950 Bijli Kehne Waale Kehte Hain Mukesh, Shamshad Begam, Chorus
1950 Preet Ka Geet Jiski Vaani Mein Bijli…Paayal Bole Re… Geeta Dutt, Zohrabai Ambalewaali, Mukesh, Chorus
1950 Pagle Ye Aaj Ke Laila Majnu Mukesh, chorus

Of these, the first two have not been released on record. The first one from Nirdosh is a song which is a repeat from the film ‘Manmohan’ (1936). The original song is in the voice of Surendra and Bibbo. (The music director in both films is the same – Ashok Ghosh.) The second item is from film ‘Neelkamal’ and has to be tracked down from the soundtrack of the film that is luckily available on disc. The next five songs are available. The song from 1947 film ‘Laakhon Mein Ek’ is not yet in my hands, but I have heard it and hope to get it soon. The rest four songs are also accessible, and I have some checking to do. Hope to post them also shortly.

With today’s post, we start with Mukesh’s songs of 1951. And we also end the list of his songs from 1951. Yes, correct. As per records, there are 22 songs that Mukesh has sung in 1951. Twenty one of them are already posted here on this blog. This song is the twenty second song from that list.

The film is ‘Pyaar Ki Baaten’ and the song is a duet between Mukesh and Geeta Dutt. The film is from the banner of Nargis Art Concern, the home company of Jaddan Bai, mother to Nargis. The film is produced and directed by Akhtar Hussain, brother of Jaddan Bai and uncle of Nargis. The song is written by Majrooh Sultanpuri and the music is composed by Bulo C Rani. On screen, the song is performed by Nargis and Trilok Kapoor.

Factoring for the seven songs listed above, the 172 songs of Mukesh from 1941 to 1951 are now accounted for. I will try to cover up as many from the pending list, as possible.

As I browsed the Mukesh Geet Kosh, I find that in 1952, Mukesh’s tally of songs recorded is not even ten. Interesting statistics. I will find out more and write about it in a subsequent write up.


Song-Aansoo bahaao tum udhar (Pyaar Ki Baaten)(1951) Singers-Geeta Dutt, Mukesh, Lyrics-Majrooh Sultanpuri, MD-Bulo C Rani
Both

Lyrics

aansoo bhaavo tum udhar
hum is taraf aahen bharen
aansoo bhaavo tum udhar
hum is taraf aahen bharen
majboor tum laachaar hum
tum kyaa karo
hum kyaa karen
majboor tum laachaar hum
tum kyaa karo
hum kyaa karen
aansoo bhaavo tum udhar
hum is taraf aahen bharen

hum kis qadar mazboor hain
nazdeek aa kar door hain
hum kis qadar mazboor hain
nazdeek aa kar door hain
taqdeer ne dhhaaya sitam
tum kyaa karo
hum kyaa karen
taqdeer ne dhhaaya sitam
tum kyaa karo
hum kyaa karen

jis dil ko dekha choor hai
yahaan ka yehi dastoor hai
jis dil ko dekha choor hai
yahaan ka yehi dastoor hai
khushiyon ke pehlu mein hai gham
tum kyaa karo
hum kyaa karen
khushiyon ke phelu mein hai gham
tum kyaa karo
hum kyaa karen

khoone jigar peenaa padaa
be-jaan ke jeena padaa
khoone jigar peenaa padaa
be-jaan ke jeena padaa
sab hai mohabbat ka karam
tum kyaa karo
hum kyaa karen
sab hai mohabbat ka karam
tum kyaa karo
hum kyaa karen
majboor tum laachaar hum
tum kyaa karo
hum kyaa karen

majboor tum laachaar hum
tum kyaa karo
hum kyaa karen
aansoo bhaavo tum udhar
hum is taraf aahen bharen

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Hindi script lyrics (Provided by Sudhir)
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आँसू बहावों तुम उधर
हम इस तरफ आहें भरें
आँसू बहावों तुम उधर
हम इस तरफ आहें भरें
मजबूर तुम लाचार हम
तुम क्या करो
हम क्या करें
मजबूर तुम लाचार हम
तुम क्या करो
हम क्या करें
आँसू बहावों तुम उधर
हम इस तरफ आहें भरें

हम किस कदर मज़बूर हैं
नजदीक हो कर दूर हैं
हम किस कदर मज़बूर हैं
नजदीक हो कर दूर हैं
तक़दीर ने ढाया सितम
तुम क्या करो
हम क्या करें
तक़दीर ने ढाया सितम
तुम क्या करो
हम क्या करें

जिस दिल को देखा चूर है
यहाँ का यही दस्तूर है
जिस दिल को देखा चूर है
यहाँ का यही दस्तूर है
खुशियों के पहलू में है ग़म
तुम क्या करो
हम क्या करें
खुशियों के पहलू में है ग़म
तुम क्या करो
हम क्या करें

खूने जिगर पीना पड़ा
बे-जान के जीना पड़ा
खूने जिगर पीना पड़ा
बे-जान के जीना पड़ा
सब है मोहब्बत का करम
तुम क्या करो
हम क्या करें
सब है मोहब्बत का करम
तुम क्या करो
हम क्या करें

मजबूर तुम लाचार हम
तुम क्या करो
हम क्या करें

मजबूर तुम लाचार हम
तुम क्या करो
हम क्या करें
आँसू बहावों तुम उधर
हम इस तरफ आहें भरें


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.

“Gajre” (1948) was an Allied Arts Production movie. It was directed by R D Mathur. The movie had Motilal, Suraiya, Agha, Nihal, Sangeeta, Geeta Nizami, Sankatha Prasad, Murad etc in it.

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

Today (17 april 2014) is the 51st death anniversary of Gopal Singh Nepali (11 august 1911- 17 april 1963). Gopal Singh Nepali was a renowned poet and his poems were taught in schools. I first knew about him from my Hindi poetry text books during my school days, where his poems were part of the syllabus.

On the occasion of his death anniversary, here is the sixth song from “Gajre” (1948) to appear in the blog.

This song is sung by Lata. Gopal Singh Nepali is the lyricist. Music is composed by Anil Biswas.

Only the audio of this song is available. I guess from the cast of the movie that this song was picturised on Geeta Nizami. 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-Ghar yahaan basaane aaye thhe (Gajre)(1948) Singer-Lata, Lyrics-Gopal Singh Nepali, MD-Anil Biswas

Lyrics(Provided by Nitin Shah)

ghar yahaan basaane aaye thhe
ham ghar hi chhod chaley ae
ham ghar hi chhod chaley ae
ghar yahaan basaane aaye thhe
apna thha jinhen samjha hamne
woh bhi dil todd chaley ae
ham ghar hi chhod chaley ae
ghar yahaan basaane aaye thhe

socha thha sajan aayenge
aayenge bahaaren laayenge
ham ek chaman ke do panchhi ban jaayenge
ham ek chaman ke do panchhi ban jaayenge
sandhya ki bela dwaar pe aakar woh munh mod chaley ae
ham ghar hi chhod chaley ae
ghar yahaan basaane aaye thhe

jeevan mein kabhi ik pyaar ka deepak jalta thha aa
milne ke liye dil ghul-ghul(?) ke machalta thha
milne ke liye dil ghul-ghul(?) ke machalta thha
jab saath patanga chhod diya aa aa
jab saath patanga chhod diya
to diya akele jaley ae
ham ghar hi chhod chaley ae
ghar yahaan basaane aaye thhe


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


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
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - -

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. :)
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.

“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.
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.

“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.
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.

“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…


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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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Music Blogs - BlogCatalog Blog Directory

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