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

Samaa ye pyaar ka bahaar ke ye mele

Posted on: November 28, 2015

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

The second song in the series “Shankar-Jaikishen in the 50s” is a duet of Asha and Manna Dey from the film “Baaghi Sipaahi”(1958).

By 1955, with great efforts and difficulties, Shankar Jaikishan came out of the rigouring influence and control of Raj Kapoor on their music compositions. Now they were free to fly high and be the “Numero Uno “.

The second phase of their career started with the film “Seema” (1955). Now there was no binding on them to use only Bhairavi in their compositions. They could use any Raaga as required. In Seema, they composed perhaps the Landmark song “Manmohana bade jhoote” in Raaga Jaijaiwanti. Lata fulfilled her long cherished desire of her career of being able to sing almost a complete and pure classical song. This was easily one of the most difficult to sing classical composition in the Hindi film history. The song, ‘suno chhoti si gudiya ki lambi kahani’ was in Bhairavi and in two parts. With these two songs Lata proved how she was miles ahead of the contemporary singers. Rafi too chipped in with his expertise and Manna Dey sang one of his all time best songs, “Tu pyaar ka saagar hai”‘. Thus Shankar Jaikishan were able to showcase their skills in composing songs in various Raagas.

The next challenge for them came immediately afterwards in the form of “Basant Bahaar”(1956). They knew that there would be comparisons of this movie’s music with Naushad’s “Baiju Bawra” as well as Vasant Desai’s “Jhanak Jhanak Paayal Baaje”. Here, Shankar’s early training in classical music came handy and they composed an excellent song for Manna Dey, “Sur na saje”. Manna Dey also sang “Ketaki gulab” with Pt. Bhimsen Joshi. Bhimsen, though reluctant to lose to Manna Dey- a classical singer of lower caliber than him- in the song, but he perhaps could not resist the lure of the silver screen and filmy atmosphere ! Jaikishen came up with a Bhairavi again in “Main piya teri”. The Flute interlude by Pannalal Ghosh made the song memorable and more enjoyable.

The 1955 to 1960 period was certainly the most creative period for Shankar Jaikishan with songs from Rajhath, Halaku, Nai Dilli, Patrani, Begunah, Kathputali, Yahudi, Anaadi, Chhoti Behan, Kanhaiya, Love Marriage, Main nashe mein hoon, Shararat, Ujala etc.

The third and the Popular Phase of Shankar Jaikishan’s career started in the 60s with Shammi Kapoor films- Junglee, Jaanwar, professor,Badtameez, Tumse Achha kaun hai and Bramhachari. Here the film music lost its melody. It became loud and unmusical. Shankar Jaikishan became popular but the sweetness and melody in their music touched its Nadir. Shammi Kapoor with his screen antics and dancing made melodious music redundant in his films. The trend continued with other actors like Jeetendra etc and other Music Directors and after 1965-197070 Hindi film music started going downhill. Shankar Jaikishan were undoubtedly one of the causes.

The reason for Shankar Jaikishan’s music becoming popular but without melody and and without soul was due also to the fact that the two partners had grown differences and were getting distanced from each other. For lovers of melodious music of the Golden Era, Shankar Jaikishan’s music after 19665-1970 does not hold any interest. Excessive use of orchestra, loud recordings, meaningless Lyrics and soulless songs took away all the enjoyment of film music. Not that only Shankar Jaikishan were solely responsible for it, but surely, being the major contributors and leading and prolific composers their contribution to this decline was a major one.

I have intentionally selected therefore, the period of the 1950s to discuss Shankar Jaikishan songs in this series. However I had to struggle very hard to get songs not yet posted on this Blog. From 1949 to 1960 period, out of the 45 films of Shankar Jaikishan, 37 films already had ALL their songs posted in this Blog. So I was left with just about 8 films- mostly less known, like Badshah, Pooja, Kismat ka khel etc etc for this series. Further You Tube was also not very helpful, but I managed to get about 12 songs from these films for this series.

Today’s song is from the film “Baaghi sipaahi”(1958), a costume film with a King,queen and Vazeer story with a mutiny thrown in for fighting. I was wondering how Shankar Jaikishan accepted this sort of a film, when they were flooded with offers from better banners. After 1955, Shankar Jaikishan were in a hurry to garner maximum films and establish themselves -without Raj Kapoor. Hasrat and Shailendra were with them.

In Hindi film industry,there were Two types of actors, especially Heroes. One- good looking like Nandrekar, Prithviraj Kapoor, Master Vithal, Motilal, Dev Anand etc and Two good actors like Dilip Kumar,Raj Kapoor,Balraj Sahni, Sanjeev kumar etc. It was very rarely that good looks combined with good acting in one person like probably Motilal, Surendra etc.

Nevertheless, we find good looking Heroes without an iota of acting ability like, Pradeep Kumar, Karan Dewan, Bharat Bhooshan,Dev Anand etc and not so good looking Heroes with Top class acting abilities like Dilip Kumar,Sanjeev Kumar, Balraj Sahni etc. However , there were at least Two Heroes where the Hero was neither good looking nor he could act properly, but both stayed for 20+ years with 50+ films in their career. One was Sheikh Mukhtar- the original Hunk of Hindi cinema and Ranjan- the sword wielding expert.

The lead pair of this film, Baaghi Sipahi-58 was Ranjan and Madhubala. The Hero Ranjan was not a handsome fellow by any standards ( he was just tolerable) and not a good actor by every standard. Madhubala was a very beautiful girl. This pair looked very odd. I remember a similar case when the original Hunk of Hindi Films-Shaikh Mukhtar was paired with beautiful Begum Para in few films. This had prompted the critics to call them “The Beauty and the Beast “.

In the early times of Film Industry, very few educated people used to join here.That is why a Graduates or Postgraduates used to flaunt their degrees with pride-like Moti,B.A.-the lyricist,or Kavi Pradeep’s pseudo name- Miss Kamal B.A. or even singer Surendra as B.A.,LL.B.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus,a young man with an unlikely name for a Hero,like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his B.A. with Phisics and then completed M.Litt in Carnatak music and Dance and became a Research Fellow for Ph.D. he also became the Managing Editor of ‘ NATYAM ‘ a magazine for Dance,drama and Music. In total contrast to his expertise in fine arts,he learnt FENCING( Sword Fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil Producer and made his Debut in Tamil film ” Ashok kumar “-1941. After few films in Tamil and Telugu he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan was fit for Action films. Ranjan was a very poor actor,but his Fencing skills were marvellous.

In 1949,came ” NISHAN “,based on Hollywood film ” The Corsican brothers’-one good and one bad . it was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped !. The film,in Hindi,Tamil and Telugu was a hit everywhere mainly for fencing.In ‘Mangala’ opposite Bhanumati, he was the villain and the Hero too.

He was invited by New York University for a Fellowship,but Producer/Director of Gemini Films, S.S. Vasan did not leave him,so after Mangala-1950,as soon as the contract was over,Ranjan came to Bombay.

‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero he was worse than Bharat Bhushan or Pradeep Kumar !

He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in 60s he did 18 films and in 70s his tally was 17 films. A total of 58 films in Hindi.

After Sword fighting became obsolete he shifted to writing. The story of film MUNIMJI-55 was written by him. After few years in south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram-80 was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on Dancing and music.

He shifted to USA to live with his son, but died on 12-9-1983,in New Jersey-USA, due to Heart attack.He was so much forgotten that even his Death news was not published in India.

Today’s song is a duet of Manna Dey and Asha Bhosle. In the 50s, Asha was struggling hard, till she found solace with O P Nayyar. Till then she was singing in B and C grade films and dance or cabaret songs in social films. Manna Dey was already branded as a classical or bhajan singer. Out of all the duets they have sung together, most of them were sung during the 1950s. Their first duet was in the film Boot Polish-53 but till 2005 Manna Dey and Asha Bhonsle sang 168 duets. Lata sang 106 duets with Manna Dey, though their first duet was in film Narsinh Avtar-49.

This song is available only as audio and thank God for that, otherwise we would have to watch the stone faced Ranjan with Madhubala. The song is very good. Enjoy.

Song-Samaa ye pyaar ka bahaar ke ye mele (Baaghi Sipaahi)(1958) Singers-Manna Dey, Asha Bhonsle, Lyrics-Shailendra, MD-Shankar Jaikishan


samaa ye pyaar ka
bahaar ke ye mele
aise mein niklo na jhoom ke akele
din mein bhi aajkal
dar hai dilon ke chor ka
dil ko ji hum to uchhaalte chalegne
bahke nigaah to sambhalte chalenge
hum pe chalta nahin jaadu nazar ki dor ka

ho o
samaa ye pyaar ka
bahaar ke ye mele
aise mein niklo na jhoom ke akele
din mein bhi aajkal dar hai dilon ke chor ka
samaa ye pyaar ka
bahaar ke ye mele

aap hamare liye kyun pareshaan hain
kyun huzur hum pe itne meharbaan hain
kyun huzur hum pe itne meharbaan hain

ho o
sama ye pyaar ka
bahaar ke ye mele
aise mein niklo na jhoom ke akele
din mein bhi aajkal dar hai dilon ke chor ka
sama ye pyaar ka
bahaar ke ye mele

duniya hamaari
ee ee ee ee
duniya hamaari jo paraayi ho jaayegi
aap ke khel mein hamaari jaan jaayegi ee
aap ke khel mein hamaari jaan jaayegi
dil ko ji ham to uchhaalte chalegne
bahke nigaah ko sambhalte chalenge
ham pe chalta nahin jaadu nazar ki dor ka

ho o
sama ye pyaar ka
bahaar ke ye mele

aapke dil mein hai chori ham jaan gaye
ham bhi aapki nigaahen pehchaan gaye
ham bhi aapki nigaahen pehchaan gaye
aapke dil mein hai chori ham jaan gaye
hum bhi aapki nigaahen pehchaan gaye
hum bhi aapki nigaahen pehchaan gaye
sama ye pyaar ka
bahaar ke ye mele
aise mein niklo na jhoom ke akele
din mein bhi aajkal dar hai dilon ke chor ka
sama ye pyaar ka
bahaar ke ye mele


10 Responses to "Samaa ye pyaar ka bahaar ke ye mele"

Reminds me of mast bhara hai sama.

This is a very informative piece.I started out as a staunch fan of SJ, but got increasingly disillusioned with their music later. I felt that Dil Apna aur Preet Paray was the last melodious film they gave. Gaban and Teesri Kasam revived the hope briefly, but were not followed up. I remember having read in the Illustrated Weekly or Filmfare, Raju Bharatan writing that SJ should set aside their “unmusical differences” and concentrate again on melody.Reviewing their music for some film, he also wrote that ‘it was intended to be breezy but only succeeded in being noisy’.

I have felt that SJ could not use Rafi effectively and Rafi’s songs for SJ distorted and smothered the sweetness in his voice.With Shammi Kapoor on, melody took permanent leave of SJ. You have confirmed my gut feelings.

But this piece contains a surprise. Usually, those trained in dance are good at facial expression, and also expression through eyes,hand and even finger movements,even walking steps as abhinaya and mudra are part of their training. That Ranjan was stone-faced in spite of having learned dance is surprising!

But such actors have had luck with music. Just look at the musical hits of Pradeep Kumar , Dev Anand, and Bharat Bhushan! Now that you mentioned it, even Shin Shinaki and Bhaagi Sepoy have good music. Kafila too had good music, but I do not know for whom Kishore sang that marvellous song “O meri taraf Yun”

We learn so much from your write-ups. Thank you.

R Nanjappa ji,

Thanks for your comments.
Your statements sound very logical about dancers and acting. However let us not forget that Dancing is a solo act, whereas acting in a film is action and reaction. There is much more than just facial expressions in acting.
It is seen always that Pure classical dancers are usually flops as actors. The glaring example is that of Dancer Gopi krishna in film ‘Jhanak jhanak paayal baaje’. If you recollect, while he was very good in dancing but his acting was wanting in every scene. Good sense prevailed and after this film he restricted himself to choreography only and the movie-goers heaved a sigh of relief !

you have rightly observed that films of Pradeep kumar,Dev Anand,karan Dewan or Bharat Bhooshan had excellent music. Actually music alone saved them. Look what happened to Dev Anand when the standard of music dropped after the 80s and all his films started flopping.


Yes, sir! You are right there, about dancers!

Thank you very much for the write-up on Ranjan.Virtually encyclopediac!!

I support Nanjappa’s views on SJ’s music. Remember what said about OP’s music? “Teen Kanastar Peet Peet Kar Gala Phat Kar Chillana, Yaar Mere Mat Bura Maan Yeh Gaana na Bajaana Hai”. In later years their music was noise. Sorry.

psseshadri ji,

Thanks for your comments.


After the demise of better ‘three fourth’ Jaikishen, the quality went downhill in geometric proportion.
According to Nandu Chawathe Shankar was doing songs of Shailendra and Jaikishen of Hasrat. It means synergy between the two was of prime importance for producing iconic songs.
I hypothesize that if Shankar had died earlier to Jaikishen then the latter’s music also would have gone down.
He also informed me that all the so-called Dattaram B&W films were actually composed by Jaikishen. SJ wanted to do only prestigious and coloured movies thus protecting their brand image. By this arrangement they did not missed out on offers of B&W films.
SJ knew how to decorate and deck up a song and present in a form acceptable to general people and the aficionados alike. No wonder they had the highest hit-rate.

Arun sir,
Very well written post with lot of logic and explanations.
SJ and also Naushad set such high standards for themselves in the 50’s that they were themselves unable to sustain it thereafter.
I agree finding melodious songs to post of SJ on this blog is going to be difficult.

Excellent! Arun Kumarji a song 🎶 with such a good information make it memorable and interesting

JAY ji,

Thanks for your appreciation. I am happy you liked the song.


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