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

Aa jaa aa jaa aa jaa nadiyaa kinaare

Posted on: November 29, 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.


Shammi Kapoor shouted “YAAHOO ” in the film Junglee-63 and the equation of film music changed drastically. Shammi Kapoor became a representative of the Rebel Youth of his times and the music in his films became loud and unmusical, as it remained only an aid to heighten his presence on the screen. Market Savvy Shankar Jaikishan started composing only those songs which served this purpose, thus sacrificing melody considering it redundant in his compositions.

True, Shankar Jaikishan realised the damage they had done to film music-albeit too late- and tried to undo the damage by composing a few melodies in films like Asli Naqli-62, Dil ek mandir-63, Hariyali aur Rasta-62, Rangoli-62, Sangam-64, Love in Tokyo-66,Amrapali-66 etc. However none of their movies of the 60s had a great score in totality unlike the 50s. Today, if you hear Sangam-64 songs they sound so pedestrian !

Undoubtedly, this was caused mainly due to the widening drift between Shankar and Jaikishen. Engineering votes for Binaca Geetmala and fascination for Sharda became two contentious issues too. Author Ganesh Anantharaman, in his book “Bollywood melodies” says, “Perhaps success came too early to them from the very first film, depriving them to develop a bond which comes after struggling together for success.” They competed with each other, Shankar being jealous of Jaikishen’s popularity. At this time, the other duos, Laxmikant-Pyarelal and Kalyanji-Anandji were closing in and mounting a stiff competition.

Shankar Jaikishan were lucky also to have good associates in their beginnings. Raj Kapoor support, quality Lyricists and Best singers. However, once the craze of success set in, slowly their partners drifted away. They themselved left Raj Kapoor, Lata kept a distance (Sharda ? may be.) and competition challenged constantly. Nevertheless Shankar Jaikishan were really lucky to have a ‘Kohinoor’, among the Arrangers with them from 1952 to 1975, who was one of their main pillars for early success- SEBASTIAN D’SOUZA.

An Arranger is the SOUL of Film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations(writing music or Swar Lipi),which, a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song.

Most of the Arrangers in Film Industry were from GOA, where traditionally Jazz music was very popular.

A typical Goan likes to live life-“Sushegaat”- which loosely means “Araam se” or a carefree life. Their philosophy is Eat, Drink and be Merry. This Merry part included Music.

Goa has given many musicians to India. Lata/Asha are from Mangeshi-Goa, though the family had shifted to Kolhapur, Music Directors Dattaram(Wadkar) and N.Datta(Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo fernandes, Lorna are from Goa.(The list is only indicative, not exhaustive).

Anthony Gonsalves was from Majorda-Goa. He worked for Naushad, O P Nayyar and Laxmikant Pyarelal (My name is Anthony Gonsalves song is a tribute by Laxmikant Pyarelal to him, as he taught Pyarelal so many things including Notations.)

Chick Chocolate aka Anthony vaz from Aldona-Goa—he worked for C.Ramchandra mainly.

Chris Perry worked for Khayyam,R D Burman,Kalyanji Anandji, and Laxmikant Pyarelal.

Frank Fernando- worked with Anil Biswas, Kishore Kumar, Roshan and C.Ramchandra.

Sebastian D’Souza from Bicholim-Goa—worked for Shanker Jaikishen from 1952 to 1975 and also with O P Nayyar.

Most of the players of western instruments in the Orchestras were from Goa. Only some are mentioned.

Sebastian D’Souza was one of the most reputed arrangers in Bollywood, who did his best-known work with the duo of Shankar-Jaikishan between 1952 and 1975. His first break was with O. P. Nayyar. The first tune he arranged was “Pritam aan milo”, which was sung by C. H. Atma in 1955. He devised a system of notation that incorporated the microtones that characterised Indian melodies.

Sebastian was born on 29 January 1906 in Reis-Megos, Goa. He learnt to play the violin and piano in a local church school. While learning these instruments, he also learnt to write music notation. It was during this time that he listened to the famous symphonies of well-known composers of the western world, namely, Beethoven, Mozart, Schubert, Tchaikovsky, Haydon and Richard Wagner. Deeply interested in violin and piano, Sebastian continued his learning and went to places like Allahabad, Mussorie and Delhi. At Delhi, in Hotel Astoria, he started his own band and people appreciated it. In 1942, he went to Lahore, and in Hotel Stiffels, he started his own band. This continued until 1947. After partition, he went to Bombay and started his career as a violinist in the film industry. He played for well-known music directors like Anil Biswas, Naushad, Vinod, Ghulam Haider, Husnalal-Bhagatram, S. D. Burman, Sajjad Hussain and Shanker-Jaikishan.

He started his career as a Music Arranger in 1948-49 with O. P. Nayyar when Nayyar recorded his first song “Preetam aan milo…..” sung by C. H. Atma and written by Mrs. Saroj Mohini Nayyar (O. P. Nayyar’s wife) . After three years, Nayyar signed his first film, Dalsukh Pancholi’s “Aasmaan”, as an independent music director. At that time he called Sebastian to work as his Arranger. Sebastian, thus, started his career as an arranger with O. P. Nayyar in 1952 which he continued till 1973. The last film for which he worked with O. P. Nayyar was ‘Pran Jaye Par Vachan Na Jaye’. Incidentally this was also the last film of singer Asha Bhosale with Nayyar.

In 1952, Sebastian’s friend Sunny Castellino, who worked as an arranger for Shanker-Jaikishan, introduced Sebastian to the duo. So Sebastian started as Shanker-Jaikishan’s arranger from 1952 with Amiya Chakravarty’s Daag, and continued until 1975. Film Sanyasi was Sebastian’s last film with them.

In film Daag as an arranger, Sebastian’s most successful innovative work was the creation of a memorable counter-melody for a song sung by both Talat Mehmood and Lata Mangeshker –‘Ai mere dil kahin aur chal…..’. According to Sebastian, in this song he used the accordion for creating counter-melody along with violin and mandolin. And the result was excellent. Sebastian used accordion for interlude music in a number of songs but its use as the main instrument for counter-melody was rare.

Shankar-Jaikishan being lovers of Indian Classical Music, composed a LP record titled Raga Jazz Style in which they presented 11 Raga in Jazz style. Sebastian arranged the music and wrote the notations.

Sebastian also worked for great music directors like Salil Chowdhury, Vasant Desai, S. D. Burman, Madan Mohan, Roshan, Dattaram and N. Dutta. Sebastian occasionally worked for Vinod, Sardar Malik, S.Mohinder, Kalyanji Veerji Shah, Kanu Ghosh, Iqbal Qureshi, Prem Dhawan, Shyamji Ghanashyamji and Nitin Mangesh as well.

When he died, on 9-3-1998, in his own Bungalow- “Seb-Maria “, he instructed that no money be spent on his funeral and all that was saved should go to charity; such is the modesty of greats. Sebastian left behind a rich musical legacy which will live into generations after his time.

Sebastian’s remarkable contribution was his ability to combine Western orchestra with the Indian. His are the songs which we remember even today due to the richness of his musical arrangements and the variations in his melodies.

Sebastian was a complete musician. His music lovers will remember his music for years to come.

Film Rajhath-56 came from Minerva Movietone of Sohrab Modi. In his films,the lead pair usually played a Minor role and Sohrab Modi got all the focus on him. He ensured that the screenplays were written like that only. In this film also the story and screenplay was written by Shams lucknowi,who was a paid writer in Minerva. You would have noticed that none of the A class actors like Dev, Raj or Dilip or A2 class actors like Shammi Kapoor, Sunil Dutt or Rajendra Kumar etc ever worked in Minerva films or when Sohrab Modi was there….with an exception like Yahudi- 58, but then it was a Bimal Roy film.

The cast was Sohrab Modi, Pradeep Kumar, Madhubala, Murad, Ulhas, Kammo etc. Lyrics were by Shailendra and Hasrat. Producer and Director was Sohrab Modi. There were 11 songs in it. Today’s song will be the 9th song from this movie on this Blog. The story of the film was-

The Iron will of Kings and Rulers, through oft times misnamed obstinacy or stubbornness, has shaped the destiny of Nations. Firm and resolute like a granite rock, neither storms nor earthquakes have the power to shake it ! But the same, when confronted by filial love, breaks to pieces. . Daljit (Sohrab Modi) was the king of Jagmer, a state in Rajastan. Though merciful and generous, he was proud and iron-willed. He always kept his word and stood by it.

His great name and fame had made other kings envious His rival Bakhtawarsingh ( Ulhas) , the king of Satnapur, was burning with age long enmity and intently awaited an opportunity to disgrace him. Fortunately that opportunity dawns upon Bakhtawarsingh and he seizes it by offering the hand of his son in marraige to Daljits daughter ( Madhubala). Daljit, considerately forgetting the old enmity, accepts the offer and sends “Tika” to him with his brother Sangramsingh ( Murad) , with all pomp and glory.

For the ceremony Bakhtawarsingh had invited Daljits enemies to the Durbar Hall and in their presence he makes fun of the Tika and sends it back scornfully. When Daljit hears the news, his anger knows no bounds and at once he hastens to the temple of his Deity Maha Shankar and takes a solemn oath to avenge the insult.

Preparation for war with Bakhtawarsingh instantly start in jagmer. . Bakhtawarsingh, however, was not the least perturbed as he knew that his fort was impregnable and many kings had got themselves lost with their armies in the labyrinth of the fort. Daljit tries to catch hold of the map of the fort. But the youth that undertake the task of securing it meet with death. Ulitmately it was announced that he who brings the map would get anything he demanded. Many youths come forward but out of them only two qualify themselves for the task. They instantly start to secure the map.

The prince of Satnapur, who had not approved of the ungentlemanly conduct of his father while returning the Tika and had remained dis-satisfied all through, leaves his routine work to spend his time in hunting and roaming about. One day when he was preparing to leave his camp as usual for hunting, he was held back by the melodious tunes of Sarangi and Ghungroos. The prince orders that the dancer be brought before him. The dancers beautiful gestures charm him so much that he falls a victim to her art. Who was this dancer ?

The dancer was the disguised Rajkumari herself, who steals the fort map. However,she falls in love with the Prince and they decide to get married. When King Daljit comes to know this,he is shattered, but for the sake of daughter’s happiness, he agrees and sends her doli to the prince. Unable to fulfil his vow,he goes to the temple and kills himself to save his izzat. ” Pran jaay par vachan na jaaye “.

Today’s song is sung by Lata and chorus. This is the last and concluding song of the film. where we can see the haughty king sacrificing his head to Kul Devta. You can also see the wonderful “acting” of Pradeep Kumar in presence of beautiful Madhubala.

The song is a dance song and the main dancer lip syncing in Lata’s voice is a young Helen.



Song-Aaja aaja aaja nadiya kinaare (Raajhath)(1956) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan


aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa

aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare

aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare
aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare
(aa aa aa aaja)

tere man ko man ka meet mila
tere bhaag se badh kar bhaag nahin
tere man ko man ka meet mila
tere bhaag se badh kar bhaag nahin

kal tak darr thha in aahon se
kal tak darr thha in aahon se
lag jaaye na jag mein aag kahin
aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare
aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare
(aajaa aa aa aa aaja)

hans kar ye suhaani raat kahe
kal shaam ke vaade poore kar

dil ne tere dukh dard sahe
dil ne tere dukh dard sahe
tu dil ke iraade poore kar
aaja aaja aaja nadiya kinaare
taaron ki chhainya tohe kab se pukaare
aaja aaja aaja nadiya kinaare
taron ki chhainya tohe kab se pukaare
(aaja aa aa aa aaja )

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

behte aansoo beh jaane de
kuchh khokar hi kuchh milta hai
behte aansoo bah jaane de
kuchh khokar hi kuchh milta hai
ik phool kahin murjhaata hai
ik phool kahin per khilta hai

aaja aaja aaja nadiya kinaare
taron ki chhainya tohe kab se pukaare
aaja aaja aaja nadiya kinaare
taron ki chhainya tohe kab se pukaare
aaja aaja aaja nadiya kinaare
taron ki chhainya tohe kab se pukaare
(aa aa aa aaja aaja aaja)

4 Responses to "Aa jaa aa jaa aa jaa nadiyaa kinaare"

Everybody thinks that Sharda was brought in by Shankar both being Hyderabadis(correct me).
All will be surprised to know that it was Raj Kapoor who brought Sharda (Iyengar) from London were she was settled with her husband Rajan who was friend of Raj Kapoor.


Ntinbhai, this IS news to me.

Arunji, many thanks for a long write-up on Sebastian.


psseshadri ji,

Sharada Rajan Iyengar was from Madras,NOT from Hyderabad. She was a Tamilian and NOT Telugu.
Raj Kapoor had gone to Tehran to attend a function at the residence of Shrichand Ahuja, where Sharada sang fe songs. Out of courtesy.RK offered her an audition at Bombay. That was in 1965.
Sharda came and met RK. He sent her to Shankar. Shankar was impressed with her personality rather than her singing. He promoted her till his death.

Sharda did not meet RK in London.





Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

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 over THIRTEEN years. This blog has over 16900 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed


Number of movies covered in the blog

Movies with all their songs covered =1313
Total Number of movies covered=4587

Total visits so far

  • 15,236,164 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,980 other followers


Bookmark and Share

Recent comments

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.



visitors whereabouts



Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: