Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Dil ka dard na jaane duniya

Posted on: January 17, 2013


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The decade of 1950 to 1960 was a feast of Music for HFM lovers. Talented Music directors like C.Ramchandra, S D Burman, Salil Chaudhari, Hemant Kumar, Naushad, Ravi, Chitragupta etc from the A category gave us everlasting melodies. In this deluge of melodies, even the B and C category composers also gave their best artworks in this period.

During this period, almost all types and genres of films were made,like Mythologicals, Historicals, Religious, Social, fantasy, stunt, Comedy, Tragedy and what have you. Music was everywhere.

Composers like S D Burman reached their peak in this period. For the next 10-15 years they gave us their best.

Sachinda had come to Bombay to become a singer. He started with a song in Tajmahal-1941,’Prem ki pyari nishani jaag rahi’. But then, Fate had slated something else for dada. Those days he used to visit Manna Dey’s house in Matunga, Bombay, frequently. K.L.Saigal and K.N.Singh also used to live nearby. The had singing sessions many times. It was on their insistence that Dada recorded his NFS “Dheere se jaana Bagiayan mein” in 1946. This song became very popular and his name became known to music lovers.

Dada’s first film as a Music Director was Shikari-46. It came and went, without creating much stir. Then came Eight days, Chitod Vijay, Dil ki Rani etc. Dada was not happy. On top of that he became upset when he heard his own cook sing a Naushad song from Ratan-‘Jab tum hi chale pardes’. This taught him a lesson that film songs should be such that even a non-musical person can hum or sing it. In his next film of Filmistan-Do Bhai-47, Geeta Dutt sang-‘mera sunder sapna beet gaya’ and ‘Yaad karoge’. With these songs Geeta shot into the league of the front ranks of singers. From here on there was no looking back for S D Burman,with the songs of Mashaal -50 also becoming popular.

In his later years Dada did not favour Mukesh much, but in the initial period he used Mukesh for Dev Anand in Vidya-48.

A trivia- Few people know that for Shikari-46, Dada’s first film, C.Ramchandra had worked as Dada’s Arranger for some songs on the request of Filmistan’s Bosses-with a condition that his name should not come in the credits.

Dada did not believe in the concept of ‘one film-one hero-one Singer’. He used to select singers based on the mood and situation of the songs. That is why,he had used Rafi, Kishore and Manhar for Amitabh in Abhiman, Rafi,kishore and Manna Dey for Dev Anand in Manzil, Kishore for Dilip in Sagina and Manna Dey for even Kishore in Naughty Boy.

Naujawan was Dada’s 16th film in Bombay. His assistant was Suhrid Kar that time ( Later Suhrid Kar gave music to kaanch ki gudiya independently in 1961 ). This film had only 7 songs. Quite less compared to other films of that period, but it had a ‘hamesha jawan geet’- Thandi hawayen..by Lata-her own favourite. The kishore-Shamshad duet- ‘Pi pi piya’ was also a popular number. But I like another solo by Lata- Dil ka dard na jaane duniya.

Sahir Ludhianvi was the Lyricist.

The story of NAUJAWAN-1951 was-

Kamala Das (Nalini Jaywant) is the daughter of Lala Shobharam(S N Banerjee), a rich person. Her friend Bimla (Yashodhara Katju) also stays with her. Kamla’s marriage gets fixed to Kishore(Kamal Kapoor) son of Lala Hari Ram (Nawab Kashmiri). This marriage was only for money and equal status.

Kamla doesn’t want to marry Kishore, so Bimla cooks up a story and tells Kamla’s father that Kamla is in love with a rich guy from Burma-Rajkumar Saxena.

Meanwhile Kamla meets Raju, a motor mechanic(Premnath) and they fall in love. In one of the lovers’ fight, Kamla returns to her home, followed by Raju. When her father asks about the boy, Kamla refuses to recognise him. He is furious and goes away.

One day, Raju reaches Kamla’s house in immaculate suit, clean shaven and looking very handsome and dashing. Lala ji is impressed with him. Raju introduces himself as Rajkumar Saxena from Burma. Hearing this Kamla faints with a shock and Bimla is perplexed.

However it is finally revealed that he indded is Rajkumar Saxena from Burma. He came to Bombay to prove that he on his own also can earn money.

Needless to say that all is well and the couple happily lives ever after.

The film right from the begining,goes on the predicted lines. There are many loose ends and subplots which go nowhere,like Kamla’s necklace stolen in a party, or Bimla’s lover Preetam etc.

The very first scene of the film is when a friend-Shyam-of Raju comes and enquires about his sister. The role of Shyam is done by an young actor-Arjun Bakshi who later became the hero of the Film Malhar-1951.

There are many anticipated ‘ coincidences’ like Kamla’s car being nasty and she brings it to Raju’s garage(as if it is the only garage in the world).

All in all, the film lost but its Music won.

Audio

Video

Song-Dil ka dard na jaane duniya (Naujawaan)(1951) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-S D Burman

Lyrics

jiya jaaye ae ae
piyaa aaja
jiya jaaye ae ae
piyaa aaja
jiya jaaye ae ae
piya aaja

dil ka dard na jaane duniya
jaane dil tadpaana
pyaar ke do bolon ke badle
dushman hua zamaana
haaye re haaye
dushman hua zamaana
dil ka dard na jaane duniya
jaane dil tadpaana

ummeed ne thokar khaayi hai
dil deke judaai paayi hai
tera gham hai meri tanhaayi hai
pehle se na thha ye jaana
aa aa aa aa
pehle se na thha ye jaana
ke dil ka aana hai jee se jaana
haaye re haaye dushman hua zamaana
dil ka dard na jaane duniya
jaane dil tadpaana
pyaar ke do bolon ke badle dushman hua zamaana
haaye re haaye dushman hua zamaana

aankhon mein jo aansoo aayenge
tasveer teri dikhlaayenge
hum thhaam ke dil reh jayenge
pehle se na thha ye jaana
aa aa aa aa
pehle se na thha ye jaana
ke dil ka aana hai jee se jaana
haaye re haye dushman hua zamaana
dil ka dard na jaane duniya
jaane dil tadpaana
pyaar ke do bolon ke badle dushman hua zamaana
haaye re haaye dushman hua zamaana
dil ka dard na jaane duniya
jaane dil tadpaana
jiya jaye ae ae
piya aaja
jiya jaaye ae ae
piya aaja
jiya jaaye ae ae
piya aaja

——————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————–
जिया जाये ए ए

पिया आजा

जिया जाये ए ए

पिया आजा

जिया जाये ए ए

पिया आजा

दिल का दर्द न जाने दुनिया

जाने दिल तड़पाना

प्यार के दो बोलों के बदले

दुश्मन हुआ ज़माना

हाए रे हाय दुश्मन हुआ ज़माना

दिल का दर्द न जाने दुनिया

जाने दिल तड़पाना

उम्मीद ने ठोकर खाई है

दिल दे के जुदाई पायी है

तेरा ग़म है मेरी तनहाई है

पहले से न था ये जाना

आss आss आss आss

पहले से न था ये जाना

के दिल का आना है जी से जाना

हाए रे हाय दुश्मन हुआ ज़माना

आँखों में जो आंसू आएंगे

तस्वीर तेरी दिखलाएंगे

हम थाम के दिल रेह जाएँगे

पहले से न था ये जाना

आss आss आss आss

पहले से न था ये जाना

के दिल का आना है जी से जाना

हाए रे हाय दुश्मन हुआ ज़माना

दिल का दर्द न जाने दुनिया

जाने दिल तड़पाना

प्यार के दो बोलों के बदले

दुश्मन हुआ ज़माना

हाए रे हाय दुश्मन हुआ ज़माना

दिल का दर्द न जाने दुनिया

जाने दिल तड़पाना

जिया जाये ए ए

पिया आजा

जिया जाये ए ए

पिया आजा

जिया जाये ए ए

पिया आजा

9 Responses to "Dil ka dard na jaane duniya"

ArunKumarJi,
Mukesh for Amitabh in Abhiman….. Does not seem to be correct. Please confirm….

Like

Mahesh ji,
Thanks for pointing out the mistake.It should be Manhar and not Mukesh.(Lute koi man ka nagar..)

Atul ji,
kindly correct the name in the write up.
Thanks.
-AD

Like

Sorry for diverting the topic. But a great Lata-SBD composition indeed. A sad song with such fast pace and so melodious.

Like

Dear Arun/Atul,

All songs of ‘Naujawaan’ were penned by Sahir Ludhianvi. Please check whether the name of the lyricist tagged as ‘Ashfaq Malik’ for this song is correct. I am hearing this name for the first time.

Like

Kamath ji,
Thanks for the correction. Yes,the lyricist was Sahir.
Ashfaq malik was the producer.
Atul ji,
Kindly make the correction.
-AD

Like

too good song sung by lataji. and nicest composition by burmanda

Like

इस गीत को सुनकर हमेशा ऐसा लगता है कि दादा और लता जी के इस दश्क की रचनाओं में नोट (स्वर) और टोन (धुन) का जबरदस्त या फिर हम कह सकते हैं ”अद्भुत” संगम था । नोट्स का टोन के साथ इतना कुशल और लाजवाब संयोजन और संतुलन मुझे और कहीं इतना प्रभावशाली नही लगता जितना दादा और लता के साथ । आप इन गीतों को सुनकर यह नहीं बता सकते की आपको क्या अधिक अच्छा लगा, नोट (स्वर) या फिर टोन ।

इस गीत में दादा की लयपूर्ण मेलोडी प्रधान है या फिर लता की गायकी , ये तय करना किसी के लिए भी असंभव हो सकता है , हाँ हर अंतरे मे एक जगंह पर (चौथी लाईन के अंत में) लता जी का लंबे और खींचे हुए नोट्स के साथ ” जाना-आ.आ.आ.आ.आ ……” शब्द की नोट्स लगाना दादा को भी अवश्य अचंभित कर गए होंगे । एक और खास बात इस नगमें की है और वो है ” जीया जाए, पीया आजा ” जैसे शब्दों को केवलमात्र ‘प्रील्यूड’ और ‘पोस्टल्यूड’ में इस्तेमाल करना जो अपने आप मे यूनीक है और बहुत कम हिंदी फिल्मी गीतों में ऐसा प्रयोग हुआ है ।
ऐसे नगमों को सुनना लता और दादा के पांचवे दश्क के मधुर और साथ ही अद्भुत सामंजस्य की याद को ताजा कर देता है, …. लय को उभारने और लता की नोट्स के साथ उसका सामंजस्य बिठाने के लिए इस दौर में दादा ने विभिन्न साजों का खासकर बांसुरी का जो टुकड़ों में इस्तेमाल किया है वो लाजवाब ही नहीं , एक मिसाल है ।

Like

Yadav ji,
Thanks for your lovely indeapth analysis and ” RAS GRAHAN” of this song.
-AD

Like

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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.

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