Ab tere bin mohe kachchu na bhaaye
Posted on: October 12, 2013
- In: "teasing" song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Sudhir | Ram Kamlani song | Ram kamlani Zohrabai Ambalewaali duet | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1948 | Yearwise breakup of songs | Zohrabai Ambalewaali song
- 3 Comments
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 #7 – Teasing the Eve
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
And so wrote the scribe
“Ladki Cycle Waali”
“De Gayi Raste Mein Ik Pyaar Bhari Gaali”
“Gaali Pe Chhod Diya”
“Tujh Jaise Deewaane Ka Sar Kyun Nahin Tod Diyaa”
(‘Pati, Patni Aur Woh, 1978)
Ah, what a wonderful capture of the essence of ‘eve teasing’, and its consequences. When the romancing hearts come on to the streets. Also comes with them the concept and phenomena of teasing. It is the light fluttering hearts, that are in the high of enthusiasm, that want to reach out, to impress, to connect, and to get a reaction. There is a benign concept of ‘chhed chhaad’ that has lived through the folk songs and folk music in our culture. It is a very sad commentary that concept which, in its origins is a innocuous, undisruptive, and more of a light hearted fun theme, has in recent decades got colored with offensive and harmful ingredients that are products of perverted minds with malignant motivations. But I will not talk about that particular flavor, for that is not the light hearted ‘non jhonk’ or ‘chhed chhaad’. That is a category whose place is not in this discussion, except of course when it is the villain and he is preparing to get beat up by the hero. 🙂
When one thinks of the origins of this light hearted behavior of young hearts, one will find that many a tale of love have their beginnings in this gentle and non-invasive tete a tete that may happen, at a mela, at the village well, at wedding celebrations, and in the festivals. The festival of Holi is such a great example of this ‘chhed-chhaad’. A day when in the spirit of celebration and in the spirit of playful antics, there is a “within limits” free for all in terms of leg pulling, verbal duels, dousing the other with water and colors – something that one will not even imagine to do on a day other than the festival of Holi. And the Hindi films are full of songs for this day that celebrate this fun theme of ‘chhed chhaad’.
The loud roar that is hollered on this day is mostly a variation of “Aaj Na Chhodenge Bas Humjoli, Khelenge Hum Holi”(‘Kati Patant’, 1970). Or the now favorite “Rang Barse Bheeg Chunar Waali Rang Barse”
(‘Silsila’, 1981). There is a legion of such songs that can be sampled, but I tarry not – everyone has a wonderful experience with this festival and the songs that go along with it.
Then there is the wedding events, where there is a lot of coming together and mingling of young people from different families. It is traditional in India that the wedding events are actually also the opportunities for seeking to make new alliances. The elders in families, who have children of marriageable age, will be surveying the eligible matches in the extended family and friend circle. I am sure all of us have experienced this phenomena. I have. I have seen matches being made and proposals being presented at the wedding events, for new alliances. And of course, there is a lot of music and song in the Indian weddings, in every region and every language. The origin of these musical traditions go back once again into the folk culture and folk music of our country. In the north India, there is a concept of a musical item that is called ‘gaari’ (or ‘gaali’). This is not the same as ‘abuse’, as the common parlance would make it out to be. It is actually a folk music item whose origins are lost in mist of the hoary past. For the history records that this folk music item happened at the
wedding ceremony of Sri Ram and Seeta ji, in the ‘tretaa yug’, many eons ago.
‘Gaari’ is an exchange of fun remarks that takes place between two parties, one on the side of the groom and one on the side of the bride. Light hearted remarks are made about the members of the opposite party, someone is fat, someone is too tall, someone is too frail. . . Whatever may be a slightly un-normal characteristic, it become a part of this exchange, all in a spirit of fun and enjoyment. The tradition of ‘gaari’ is very much alive in Hindi film songs. Generally it happens at an evening of music and song that is traditionally a part of the program of an Indian wedding. And these evenings of song and music provide the very opportunity for this fun banter of ‘chhed chhaad’. And once again, there are a host of songs for such occasions in Hindi films. Sometimes it is an exchange between the families. Generally the exchange starts off with fun remarks about family members and after going thru some give and take, it may culminate in a proposal. The song from the film ‘Heer Ranjha’ (1970) “Motti Jo Teri Naani Hai, Sunaa Hai Deewaani Hai”, is a wonderful example of such an exchange. The culminating lines in this song make a proposal in the words that say – “Saheli Teri Le Ke Chale Goriye, Tujhe Bhi Le Jaayenge”, meaning that we are already taking one of your friends as a bride to our family today, if you be willing, I can take you also with me :D.
Sometimes, this is an exchange between the groups of friends of the bride and the groom. The song from the film ‘Pati, Patni Aur Who’ that is listed at the start of this article, is a very apt example of such an exchange. A wonderful give and take of humorous remarks, there is an undertone of making a proposal throughout the song, and the lines that seal the pact is when Sanjeev Kumar sings out “Jo Tu Jaldi Jawaan Hoti, Shaayad Tu Hi Mere Bachhon Ki Maa Hoti”, and a very red in face and coy Vidya Sinha, runs off the scene, with her smiling face hid behind her scarf.
But of course, Holi and wedding events are not the only reasons for such ‘chhed chhaad’. Such exchange will happen at the village fairs (mela) and at social evenings of song and music. For the social evening get togethers in the village, comes to mind the song from ‘Naya Daur’ (1957) – “Uden Jab Jab Zulfen Teri, Qawaarion Ka Dil Machle Jind Meriye”. And for the village fair songs, comes to mind the lines “Mele Ka To Bahaana Hai, Tu Mujhe Chhedegaa Akele Mein”, from the famous song “Oye Tu Raat Khadi Thi Chhat Pe Ni Mein Samjha Ke Chaand Nikla” from the film ‘Himalaya Ki God Mein’ (1965). A similar such song is the ‘nok jhonk’ between Sanjay and Mumtaz singing “Gori Ke Haath Mein, Jaise Ye Chhallaa” from the film ‘Mela’ (1971). And again, there are any number of songs of this genre in the Hindi films.
Then we have the exchange of such revelry at the village well (‘panghat’) –the occasion being immortalized by the famous “Mohe Panghat Pe Nandlal Chhed Gayo Re” from the film ‘Mughal e Azam’ (1960).
In the 1940s and 50s, a new social paradigm was catching up and of course, the silver screen, always ready to reflect the ongoing mores of the society, was only too eager to embrace this new form of ‘chhed chhaad’ of the intelligentsia into its fold. This exchange was now coming to young adults in colleges, and urban centers, getting into situations of trying to catch attention, and to make friends, even lifelong pacts, through this naughty banter. A familiar scene from many films is a group of boys on cycle, who will meet a group of girls on cycle, and what will ensue is a musical give and take, as one tries to outdo the other. The earliest such song that I can recall is famous cycle borne musical chit chat from the film ‘Khazaanchi’ (1941) – “Saawan Ke Nazaare Hain”. Over the decades, this situation has been repeated in a host of films, and one can list many a song of this kind.
Then, from the cycle, we come down to the pedestrian ‘chhed chhaad’ of the protagonists on the streets and roadside. A very apt term got coined –‘Roadside Romeo’ (Shakepeare must be turning in his grave with annoyance. 🙂 ). And then started a new genre of songs, as the either hero or the heroine are attempting to catch the attention of the other, using the song as the device. Again, comes to mind the iconic “Le Ke Pehla Pehla Pyaar, Bhar Ke Aankhon Mein Khumaar, Jaadu Nagari Se Aaya Hai Koi Jaadugar” from the film ‘CID’ (1956). And yet once again, I leave it to the knowledge and imagination of the readers, to identify a plethora of such songs that dot the musical horizon of Hindi films, all the way.
Coming to the song in this post. I assure you, this rare musical artifact is a gem of iconic proportions and it gave me quite a thrill when I found it. A wonderful song of comic proportions, if ever there was one. The film is ‘Lal Dupatta’ from 1948. The very quick paced, quick thinking lyrics are written by DN Madhok. Music is by Gyan Dutt and the singing voices are of Ram Kamlani and Zohrabai. There is another female voice that is not identified, most likely representing the onlookers having a view of this exchange. Many regulars will recall that Ram Kamlani is the brother of comedian Gope (Gope Kamlani).
The song itself is a complete story of a ‘chhed chhaad’ episode. The teasing event is one of the roadside category. The male protagonist, let’s call him Romeo, is making efforts to initiate an affair, with a lady who is clearly unwilling and completely averse to his advances. Romeo pursues, with blatant eagerness, he gets a warning, he does not desist, and the consequences are pretty grim for him at the end. 🙂 As I was thinking of how to present this song to the readers, it came to mind that let me just narrate the complete story, with the flow of the lyrics, so here goes.
areee ho
Romeo: hey
(That’s all how he addresses her, some uncouth suitor he is; simply a “areee ho”, nothing like hey beautiful, hey sweet one; simply no romance etiquette I would say. 🙂 )
ab tere bin mohey kachhu naahin bhaaye
jiyaa sataaye din raat
subho shaam mere dil se nikle haaye haaye
Romeo: Oh nothing interests me any more
My heart troubles me all day and night
All the time, it calls out your name and cries
khidki mein aa jaa
tohey maa ki kasam, tohey baap ki kasam
mere dil ka phate na kahin atom bomb
Romeo: O please show me your face in the window
I beseech you in the name of your mother and your father
Oh my heart, it has become an atom bomb
And is liable to explode any minute
(Wo, wo. Really very ill behaved chap our Romeo is. On one hand he is beseeching her to come to the window and show her face. And on the other, he is giving her vows in the name of her parents. Absolutely pedestrian Romeo, this one is.)
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
tere jaise kaminey dekhe hain kam
Lady: You are quite a specimen, yes you are
There are not many uncouth louts, as the one you are
(So the first response from the Lady is a ‘gaali’; this one is a real ‘abuse’ word, and not in the category of ‘gaari’ that we discussed above.)
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
(:D 😀 – so will see as the song progresses. The bystanders are completely neutral fun soaking people. They will simply express agreement to what both sides say, so long as the fun scenario carries on.)
udti huyi koyal ye bol sunaati hai
maashooq ki gaali se, izzat nahin jaati hai
Romeo: Ah the koel, flying in the skies
Just said these words to me
That an abuse word from my beloved
Will hurt me not
And neither my honor
(Wow, this guy is some thick skinned ‘chiknaa ghadaa’. He has been called a bad name, but like a brave soldier, he takes it in his stride and says, his honor is hurt not by words.)
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
(See!! what I had said about them, above).
meri gali mein rehta hai sipahiya
mera dharam ka bhaiyyaa
chaahun to abhi pitwaa doon
bade ghar ki sair karaa doon
Lady: It is for your benefit that I tell you
In my alley lives a policeman
Who is like a brother to me
I just have to tell him
And you can get a beating
Even sent to jail
(So here comes the first warning. The Lady has the law in her family, and the threat is quite clear. Only if someone would pay heed to it.)
wahaan padenge joote
jaa jaa
wahaan padenge joote dhamaa dham
dil hi dil mein phat jaayegaa tera atom bomb
Lady: In jail, you will get a good hiding
Romeo: Hey, don’t give bald threats
Lady: In jail, you will get a good beating with sticks and footwear
And the atom bomb you talk about
Will simply implode within your heart
(And here is the second warning, very clearly telling of violent beatings that Romeo may be subjected to, unless he mends his ways.)
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
(They are sensing the fun is going to increase, so are getting primed up).
haaan main ye kehta hoon bewafaa tu hai
Romeo: Oh I claim,
Such a heartless, and untrue person you are
(Oh wow again, the story of ‘wafaa’ has not even started, and he is claiming that she is ‘bewafaa’. This guy knows his tricks, but does not know when to apply them.)
aur main ye kehti hoon be-hayaa tu hai
Lady: And my proclamation is
You are a shameless person
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
(For them the fun continues, so they don’t have to change their dialogues 😀 😀 ).
tu kyaa jaane, ho zaalimaa kaafiraa
dil ka dard hamaara
Romeo: Ah, what would you know
O cruel and faithless one
What would you know
About the pain in my heart
arrey bhejaa phir gayaa hai tumhaara
Lady: Gosh, are you completely out of your mind
Have you gone mad
(Now the following exchange gets very, very interesting. Read through, and wait for the switch. Mr. Romeo is going to make a flip flop.)
haath rakh ke kaleje pe sun meri baat
badi mushkil se kat’ti hai raat
Romeo: O Dear
Please do listen to my words
With a hand on your heart
My nights are sleepless
They are so difficult to pass (without you)
(First round, he is imploring her to consider his situation, that his nights are unbearable without her. And now, see the total turnabout in his next utterance.)
haath rakh ke kaleje pe kehtaa hoon baat
o bhaiyyaa ji
haan haan o bhaiyyaa ji
meri chori ho gayi kal raat
Romeo: Oh I say the truth
With my hand on my heart
O sir, yes yes, O sir
A robbery happened at my home last night
(So very evidently, the policeman brother of the Lady has made an appearance. And on realizing his presence, the language of Mr. Romeo is
changed. The imploring cry of sleepless night is suddenly converted into a robbery that happened the previous night. Wow, quick thinking on his feet; this Mr. Romeo is quite a slinky fellow.)
meri rapat likhaa do
Romeo: (still addressing Mr. Policeman)
O Sir, please register a report for me
o bhaiyyaa ji, joote lagwaa do
Lady: O Sir, please get this cad
A very good beating with shoes
(And so, apparently a beating ensues. The brotherly policeman seems to believe that actions speak louder than words. So we do not hear a word out of him. But the result of his actions is evident from the next holler from Mr. Romeo.)
barbaad huye hum
Romeo: O help, I am devastated
(Ah ha, seems to be getting a real good hiding.)
arrey jitney lag gaye utne kam
Lady: O for a cad like you
No amount of beating is sufficient
(Oh yes, the Lady would prefer to see even more thrashing of Mr. Romoe. Serves him right.)
mere dil ka phate na kahin atom bomb
Romeo: O save me, save me
My heart will explode like an atom bomb
(So, all is well that ends in a good beating; well for a person like our Mr. Romeo at least. 😀 )
jee jee jee jee jee
jee jee jee
Bystanders: Oh yes, that is so true.
(Oh yes, the bystanders have the final say. That was very entertaining –romance, comedy, action, drama, violence – all parts of the formula are well served. Now, time to disperse.)
Song-Ab tere bin mohe kachhu na bhaaye (Laal Dupatta)(1948) Singers-Ram Kamlani, Zohrabai Ambalewaali, Unknown female voice, Lyrics-D N Madhok, MD-Gyan Dutt
Lyrics
arreee ho
ab tere bin mohey kachhu naahin bhaaye
jiyaa sataaye din raat
subho shaam mere dil se nikle haaye haaye
khidki mein aa jaa
khidki mein aa jaa
tohey maa ki kasam
tohey baap ki kasam
mere dil ka kahin na phate
atom bomb
jee jee jee jee jee
jee jee jee
tere jaise kaminey dekhe hain kam
jee jee jee jee jee
jee jee jee
udti huyi koyal
ye bol sunaati hai
ye bol sunaati hai
maashooq ki gaali se
izzat nahin jaati hai
jee jee jee jee jee
jee jee jee
meri gali mein
rehta hai sipahiya
mera dharam ka bhaiyyaa
o meri gali mein
rehta hai sipahiya
mera dharam ka bhaiyyaa
chaahoon to abhi pitwaa doon
bade ghar ki sair karaa doon
chaahoon to abhi pitwaa doon
bade ghar ki sair karaa doon
wahaan padenge joote
jaa jaa
wahaan padenge joote dhamaa dham
dil hi dil mein phat jaayegaa
tera atom bomb
jee jee jee jee jee
jee jee jee
haaan main ye kehta hoon
bewafaa tu hai
aur main ye kehti hoon
be-hayaa tu hai
jee jee jee jee jee
jee jee jee
tu kyaa jaane
haan tu kyaa jaane
ho zaalimaa kaafiraa
dil ka dard hamaara
tu kyaa jaane
ho zaalimaa kaafiraa
dil ka dard hamaara
arrey bhejaa phir gayaa hai tumhaara
haath rakh ke kaleje pe sun meri baat
badi mushkil se kat’ti hai raat
haath rakh ke kaleje pe kehtaa hoon baat
o bhaiyyaa ji
haan haan o bhaiyyaa ji
meri chori ho gayi kal raat
meri rapat likhaa do
o bhaiyyaa ji
joote lagwaa do
barbaad huye hum
arrey jitney lage utne kam
mere dil ka kahin na phate
atom bomb
jee jee jee jee jee
jee jee jee
—————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————–
अरी हो
अब तेरे बिना मोहे कुछ नाहीं भाए
जिया सताये दिन रात
सुबहो शाम मेरे दिल से निकले हाए
हाए
खिड़की में आ जा
खिड़की में आ जा
तोहे माँ की कसम
तोहे बाप की कसम
मेरे दिल का कहीं न फटे
एटम बॉम्ब
जी जी जी जी जी
जी जी जी
तेरे जैसे कमीने देखे हैं कम
जी जी जी जी जी
जी जी जी
उड़ती हुई कोयल
ये बोल सुनाती है
ये बोल सुनाती है
माशूक़ की गाली से
इज्ज़त नहीं जाती है
जी जी जी जी जी
जी जी जी
मेरी गली में
रहता है सिपहिया
मेरा धरम का भइय्या
ओ मेरी गली में
रहता है सिपहिया
मेरा धरम का भइय्या
चाहूँ तो अभी पिटवा दूँ
बड़े घर की सैर करा दूँ
चाहूँ तो अभी पिटवा दूँ
बड़े घर की सैर करा दूँ
वहाँ पड़ेंगे जूते
जा जा
वहाँ पड़ेंगे जूते धमा धम
दिल ही दिल में फट जायेगा
तेरा एटम बॉम्ब
जी जी जी जी जी
जी जी जी
हाँ मैं ये कहता हूँ
बेवफा तू है
और मैं ये कहती हूँ
बेहया तू है
जी जी जी जी जी
जी जी जी
तू क्या जाने
हाँ तू क्या जाने
ओ जालिमा काफिरा
दिल का दर्द हमारा
तू क्या जाने
ओ जालिमा काफिरा
दिल का दर्द हमारा
अरे भेजा फिर गया है तुम्हारा
हाथ रख के कलेजे पे सुन मेरी बात
बड़ी मुश्किल से कटती है रात
हाथ रख के कलेजे पे कहता हूँ बात
ओ भइय्या जी
हाँ हाँ ओ भइय्या जी
मेरी चोरी हो गई कल रात
मेरी रपट लिखा दो
ओ भइय्या जी
जूते लगवा दो
बर्बाद हुये हम
अरे जितने लग गए उतने कम
मेरे दिल का कहीं न फटे
एटम बॉम्ब
जी जी जी जी जी
जी जी जी
3 Responses to "Ab tere bin mohe kachchu na bhaaye"
October 21, 2013 at 3:49 pm
Aparna ji,
I am glad to read your message, and glad that you enjoyed this tale of the teasing roadside Romeo. 🙂
Rgds
Sudhir
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October 29, 2013 at 11:30 pm
Sudhir ji! Very nice song…thanks a ton! The use of jee jee jee jee jee
jee jee jee…was just too good!
Warm Regards,
Umesh
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
October 14, 2013 at 12:38 pm
Sudhirji, you have written very nicely and I had good fun reading about and listening to the song. Thank you.
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