Jhoom rahee hai zindagee ae mere dil tu gaaye jaa
Posted on: August 18, 2023
- In: "Zindagi" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1956 | Yearwise breakup of songs
- 3 Comments
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 atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from a C grade costume film ‘Aan Baan’ (1956).
I was in two minds while searching for songs of this film on YouTube. Firstly, whenever I tried to find a song of this film, invariably YouTube presented songs from the film ‘Aan Baan’ made in 1972. After getting tired of this behaviour of YT, I got an idea and I asked for songs from ‘Aan Baan’ (1972). Lo and behold ! YT promptly gave me songs from ‘Aan Baan’ (1956) ! I was in a fix whether to pat my back for this idea or to curse YT for its dumbness.
Secondly, I was very happy that my coined word ‘Same Name Confusion’ and my pioneering work on this subject which troubled the HF history students no end, had even influenced YT which got confused with the same name film title !!
Out of 7 songs of this film 5 songs are already on the Blog. Today’s song will be the 6th song. The 7th and the last song of this film is available on You Tube, waiting to make this film Yippeed !
This film was a routine C grade costume film, having a story involving a King, Queen and wicked Vazir – a story which was used by hundreds of such films. Anyway, as long as there was a fixed audience the such films were made and the makers made a lot of money too. These films were made with a stringent budget but had a wide market all over.
The story of this film was. . .
When the Maharani of Shivgarh was on the deathbed, she asked others of the family to take care of her daughter Jai Kumari. But all the others were of different natures. Her father was an old warrior. Elder brother Devi Singh believed in peace and co-existence. Younger brother Amar Singh believed in the might of the sword and wanted the throne for himself.
When Devi Singh fell in love with a dancer Heera, Amar Singh wanted to rebel against him, but Jai Kumari supported elder brother and got him married to Heera. Amar Singh, however, continued troubling the family. Fed up, the king took back all his ranks and honors and boycotted him from the family. Only Jai Kumari helped him to regain all his honors.In the meantime, Jai Kumari fell in love with Karan Singh, Prince of the neighboring enemy state Raigarh. Taking this opportunity, Amar Singh waged a war with the king and his elder brother Devi Singh. Amar Singh won the battle and the king and brother were arrested and sent to jail. Jai Kumari herself went to jail along with father and brother.
When Karan Singh came to know this, he attacked the state with the help of sympathizers in Shivgarh. The king, brother and sister are freed and Amar Singh gets killed in the battle. Devi Singh becomes the king. Jai Kumari and Karan Singh get married. Thus all is well. The audience jumps up like a child and goes back to their homes, greatly relieved !
Despite being a Ccostume film the actors and the MD were good, because the producer and director was DD Kashyap. The film was made under his banner Kashyap Films. He had a good taste. The music directors Husnlal-Bhagatram are one of my favorite composers from the older generation.
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with ‘Chand’. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 53 films (of which two are unreleased) and most films’ music became popular. Although Bhagatram was the elder of the two brothers, their name was famous as Husnlal–Bhagatram. During the peak of their career, the handsome, good looking Husnlal’s name was linked to the upcoming singer of those days – Lata Mangeshkar. This episode is described by C Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husnlal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husnlal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husnlal was a performer par excellence in khayal, thumri, dadra, ghazal, and bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of taans, like his Guru Vedi Ji.
Pandit Husnlal was an accomplished Violinist, a renowned classical singer and an ace music director. He, along with his elder brother Bhagatram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of Husnlal-Bhagatram. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named ‘Chand’, after which they never looked back. They gave super hit melodies for 53 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film ‘Badi Behan’ (1949) is a classic in the history of Indian cine music. Besides the most popular song, “Chup Chup Khade Ho Zaroor Koi Baat Hai” there are other seven numbers which gave the audiences the pleasure of music as an art form – “Wo Pass Rahen, Ya Door Rahen“, “Tum Mujhko Bhool Jaao, Ab Hum Na Mil Sakenge“, “Likhne Waale Ne Likh Dee Meri Tqdeer Mein Barbaadi” and “Bigdi Banaaney Waale, Bigdi Banaa De” (Suraiya) and “Mohabbat Ke Dhoke Mein Koi Naa Aaye” (Mohammed Rafi).
In the songs “Chaley Janaa Nahin Nain Mila Ke” and “Jo Dil Mein Khushi Ban Kar Aaye” Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husnlal on Lata’s 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husnlal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Ae Duniya Waalo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was written by Rajendra Krishan and composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of the set of two 78 rpm discs of this recording were sold, within one month.
Husnlal-Bhagatram worked with famous playback singers like Ameerbai Karnataki, Suraiya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, Mukesh, among others. They also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husnlal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s, this pair parted company with each other. Husnlal’s father in law was an influential person. With his help, Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognized him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition, working for other composers. He passed away in 1973, in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan.
[Author’s Note: I had the opportunity to speak to Shri Ashok Sharma ji, about his father, a few months back].
Once Lady Luck turns her back on someone, destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny,
Some things happen in life differently – for example, as Shankar was a good dancer, he danced with dholak, in ‘Pyaar Ki Jeet’ (1948), and the music directors were the then first pair of Hindi film music Husnlal Bhagatram who were brothers. Husnlal was a good violinist and Bhagatram was a harmonium master. When they were assigned the film ‘Pyaar Ki Jeet’, Shankar was their assistant and played dholak and tabla and being a dancer himself, danced in the film as stated above.
It is destiny, that Shankar made a pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time.
Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director. Husnlal took to play violin. And Bhagatram, sorry to say, being alone, started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction. . . What would you call it. . .? Destiny?
Here is their filmography by year.
[Author’s Note: Thanks to dear Mahesh ji for preparing the following table for HB’s filmography.]
| Composer | Year | Name of the Films | No of Films | |
|
Bhagatram |
1939 | Midnight Mail, Bahadur Ramesh, Bhedi Kumar, Chashmawali | 4 | |
| 1940 | Tatar Ka Chor, Sandesha, Hatimtai Ki Beti, Deepak Mahal | 4 | ||
| 1941 | Hamara Desh | 1 | ||
| Husnlal and Bhagatram |
1944 | Chand | 1 | |
| 1945 | Nil | |||
| 1946 | Hum Ek Hain, Nargis | 2 | ||
| 1947 | Heera, Mirza Sahiban, Mohan, Romeo And Juliet | 4 | ||
| 1948 | Aaj Ki Raat, Lakhpati, Pyaar Ki Jeet | 3 | ||
| 1949 | Amar Kahani, Balam, Badi Bahen, Bansariya, Hamari Manzil, Jal Tarang, Naach, Raakhi, Sawan Bhadon | 9 | ||
| 1950 | Aadhi Raat, Apni Chhaya, Birha Ki Raat, Chhoti Bhabhi, Gauna, Meena Bazaar, Pyar Ki Manzil, Sartaj, Surajmukhi | 10 | ||
| 1940s | Bambi (UR) | 1 | ||
| 1951 | Afsana, Rajput, Sanam, Shagun, Stage | 5 | ||
| 1952 | Kafila, Raja Harishchandra | 2 | ||
| 1953 | Aansoo, Farmaish | 2 | ||
| 1954 | Shama Parwana | 1 | ||
| 1955 | Adl e Jehangir, Kanchan | 2 | ||
| 1956 | Aan Baan, Mr Chakram | 2 | ||
| 1957 | Dushman, Jannat, Krishna Sudama | 3 | ||
| 1958 | Trolley Driver | 1 | ||
| 1959 | Nil | |||
| 1960 | Nil | |||
| 1950s | Kya Baat Hai (UR) | 1 | ||
| 1961 | Apsara | 1 | ||
| 1962 | Nil | |||
| 1963 | Shaheed Bhagat Singh | 1 | ||
| 1964 | Nil | |||
| 1965 | Tarzan And Circus | 1 | ||
| 1966 | Sher Afghan | 1 | ||
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog ‘Songs of Yore’ published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview,
The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….“DD Kashyap, who was directing ‘Chaand’ (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ”
Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.
[Author’s Note: Thanks to Blog ‘Songs of Yore’ for this information.]
Almost all the songs in this film are good. Today’s song also is sung by Asha Bhosle very nicely.
Song – Jhoom rahi hai zindagi (Aan Baan)(1956) Singer – Asha Bhosle, Lyricist – Qamar Jalalabadi, MD – Husnlal-Bhagatram
Lyrics (Provided by Prakashchandra)
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
tera hazaar shukriya
pyaar ka dard de diya
dard mein hai badaa mazaa
aur ise badhaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
aankhon mein aankhen daal ke
kaisa pila diya nasha
kaisa pila diya nasha
hosh kahe sambhal sambhal
dil kahe ladkhadaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
pehlu se dil nikaal ke
kadmon pe tere rakh diya
chaahe ise rulaaye jaa
chaahe ise hansaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
तेरा हज़ार शुक्रिया
प्यार का दर्द दे दिया
दर्द में है बड़ा मज़ा
और इसे बढ़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
आँखों में आँखें डाल के
कैसा पिला दिया नशा
कैसा पिला दिया नशा
होश कहे संभल संभल
दिल कहे लड़खड़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
पहलू से दिल निकाल के
कदमों पे तेरे रख दिया
चाहे इसे रुलाये जा
चाहे इसे हसाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
3 Responses to "Jhoom rahee hai zindagee ae mere dil tu gaaye jaa"
August 18, 2023 at 7:14 pm
I have sent the lyrics of 5(Lyrics of all pending to be posted, including the above posted song) songs
In connection with the BTYC Dated 5th August, 2022,
(sent on 4th August 2022)
Aan Baan(1956)
Music: Husnlal Bhagatram
Lyricist:
1)Asha Bhosle: “Jhoom rahee hai zindagi, aei mere dil tu gaaye jaa”
2)Lata Mangeshkar: “Toone kaisi aag lagaayi, ye aag lagey to dil tadpey”
3)Lata Mangeshkar: “Pee pee ki boli na bol papeehey,kehna na apna dard kisi se”
4)Asha Bhosle: “Murli Manohar devkinandan….Sun ley araj mori”
5)Lata Mangeshkar: “O aasmaan waale…….Jeene nahin hain dethe tere jahaan waaley”
(Lyrics of Last5Songs remaining to be posted in the blog)
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 18, 2023 at 6:23 pm
Arunkumar ji,
Many Thanks for the post.
One of my favourite music-directors. It was as if Shankar Jaikishan took over from where they had “left” in 1949-50, even though they continued composing up to 1966.
I think they failed to keep up with the times and lost to others.
They songs for Surraiya and especially Rafi-Lata will remain dipped in honey.
Mukesh, by the way, is missing in the playback singers mentioned in the post. He sang three duets and a solo for them in Sartaj 1950 (2 duets), Afsana 1951(1 solo) and Sher Afghan 1966 (1 duet).
Thanks.
mahesh
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August 18, 2023 at 6:39 pm
Thanks for the additional information about Mukesh songs.
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