Ae naujawaan hai sab kuchh yahaan
Posted on: July 7, 2025
This article is written by Sadanand Kamath, 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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In a recent article, I had discussed some Hindi film songs which were ‘inspired’ from foreign language songs/music. In this article, I will take up some Hindi film songs and music which have become ‘inspirations’ for some foreign language songs. Incidentally, in Western musical parlance, it is called ‘sample’ songs/music in which a part of the original song/music tune is sampled in their songs.
In the last few days, I have gone through many foreign songs as well as small clips of a few English films on the video sharing platforms in which Hindi films songs/music have been sampled in music videos as well as in films in the background. A few samples of Hindi film songs/music used in foreign music/film albums is discussed in the following paragraphs.
Australian pop singer, Aleesha Rome who has been known as ‘Ivy York’ in her later singing career, came out with an English song album ‘The Call of Spring’ (2010). The album had nine songs of which she adapted the tunes as well as orchestration of three Hindi film songs of the golden period of Hindi film music with acknowledgements. Details are as under:
1. My Happiness– by Ivy York adapted from jawaaniyaan ye mast mast bin piye – Tumsa Nahi Dekha (1957) – O P Nayyar.
2. Island Song – by Ivy York adapted from ajeeb daastaan hai ye – Dil Apna Aur Preet Paraayee (1960) – Shankar-Jaikishan.
3. The Call of Spring – by Ivy York adapted from pukaartaa chalaa hoon main – Mere Sanam (1965) – O P Nayyar.
Note: The English versions of the songs were written by Ivy York with orchestration by her music band. Incidentally, in the same year of the issue of this music album (2010), she had to retire from singing due to some health issue which affected her vocal cords.
Other Select Hindi Film Songs sampled/adapted in Foreign Songs
1. Ostaj ovdo – by Nedelj Bilkic (1969) inspired from jhoomtaa mausam mast mahiinaa – Ujaala (1959) – Shankar-Jaikishan.
Note: Probably the song is in Serbian/Bosnian language as the singer belonged to former Yugoslavia. While the tune is majorly adapted the orchestration is different.
2. Yirisi konta mou – by Vaggelis Perpiniadis (1961) inspired from sab kuchh seekha hamne na seekhi hoshiyaari – Anaadi (1959) – Shankar-Jaikishan.
Note: The song is in Greek language and it is almost fully adapted from the original. According to an online Book, ‘Revelation of Hindi Style Songs in Greece’ (1998) available in PDF format on ACADEMIA, during 1950s and 1960s, Hindi films were freely imported in Greece during which Greek musicians adapted 108 Hindi films songs. They preferred mainly the songs composed by Naushad, Shankar-Jaikishan, O P Nayyar, S D Burman and C Ramchandra.
3. Ti Sou Ftaio Kai Me Tyrannas – by Rita Sakellariou (1963) adapted from mujhe kisi se pyaar ho gaya – Barsaat (1949) – Shankar-Jaikishan.
Note: It is in Greek language adapted from the original with somewhat different orchestration.
4. Truth hurts – by Rakim (2002) – sampled from thhoda resham lagta hai – Jyoti (1981) – Bappi Lahiri.
Note: This is a rap song in which original Hindi song has been used in the background in low volume.
5. Mirame – by Daddy Yankee and Deevani (2005) sampled from eli re eli kyaa hai ye paheli – Yaadein (2001) – Anu Malik.
Note: Only the mukhda of the original song with lyrics have been incorporated in Spanish rap song.
6. Pencu ses – by Afat Farmanqizi adapted from tune maari entry aur dil mein baji ghanti yaar – Gunday (2014) – Sohail Sen.
Note: The singer has rendered this song in Azerbaijani language. Surprisingly, she is rendering a ghazal written by Imadaddin Nasimi, a 14th century poet from Azerbaijan. My guess is that Hindi song itself may have been inspired from one of folk songs from Tamil Nadu/Andhra Pradesh.
There are many more songs sampled from the Hindi film songs especially of the songs of 1980s onwards. Surprisingly, a few of such so called original Hindi songs themselves are inspired from the foreign songs. There is another category of Hindi film songs/music which have been used as a part of the background music in some English films. I have watched the clips of such three films – ‘Eternal Sunshine of the Spotless Mind’ (2004), ‘Shaun of the Dead’ (2004) and ‘Deadpool’ (2016). Hindi songs used as background music in very low sound are apt to the situations in these films but I doubt how many in the audience would understand the aptness of those songs in the scenes.
From the select clips of the foreign songs/music which were inspired from Hindi film songs, it can be concluded that during the golden period of Hindi film music, the Hindi songs were adapted in the foreign language songs, especially in Central and West Asian countries, more like replicas. The reason was that in this period, Hindi films were freely available to watch in their respective countries making the Hindi film songs popular. The musicians of those countries felt affinity with the melodies and rhythm in Hindi film songs with their own music. However, later with the influences of Hollywood films and the various genres of pop song music albums, the taste of music in these countries seems to have changed. Also in some countries, there were political changes which put restrictions on the films from abroad.
In line with the discussion on the foreign songs inspired from Hindi film songs, I have selected a song of such a category from the film, ‘Apraadh’ (1972) about which I will revert later. The film was produced and directed by Feroz Khan. The cast included Feroz Khan, Mumtaz, Prem Chopra, Fariyal, Shyam Kumar, Iftekhar, Brahma Bhardwaj, Helen, Bhushan Tiwari, Polson, Tuntun etc with guest appearances of Madan Puri, Mukri, Randhir and Krishan Mehta. This was the maiden film for Feroz Khan as a producer-director.
As the producer-director, Feroz Khan’s films have glamourous settings, fine visuals, the Hollywood style of filming and above all his flamboyancy as an actor. In ‘Apraadh’ (1972), he brought on the screen the Formula-4 car racing as a theme combining with smuggling racket to make an action-packed and romance-filled thrilling drama film. Probably, this was the first film which captured authentic car racing scenes, The first half of the film has been shot in Europe where the Formula-4 racing car driver (Feroz Khan) goes to Germany to participate in the race and wins. He gets involved with a girl (Mumtaz) who had done a costly diamond necklace heist and she is on the run from Germany. In the second half of the film, Formula-4 driver returns to India with the girl to save her from the boss. He gets married to her to live a normal life. Once again, unknowingly, he gets involved with smuggling of diamonds for his elder brother (Prem Chopra), because of which he faces danger to his life from the smuggling business rival. Finally, it is his smuggler-brother who saves him from his enemy by sacrificing his own life.
Coming back to the song, I present the song, ‘ae naujawaan hai sab kuchh yahaan’ which is the 4th song to appear from the film on the Blog (out of five songs). The song is rendered by Asha Bhosle on the words of Indeewar and is picturised on Helen with Mumtaz briefly appearing in place of Helen in the imagination of Feroz Khan.
Incidentally, in the prelude of the song, the pop singer of 1960s, Ajit Singh with a sombrero hat, is seen playing guitar. In few scenes before this song, Ajit Singh is seen singing partially, one of his English pop songs, ‘don’t burn me babe’ in the same gambling den with Helen’s dance. Later, Ajit Singh became the music director for a few Hindi films.
The context of this song in the film is that Meena (Mumtaz) wife of Ram Khanna (Feroz Khan) is abducted by his elder brother, Harnam Khanna (Prem Chopra) who is a smuggler, to force Ram to help him in his smuggling business. Ram reluctantly agrees to join but still he has no clue about Meena. So, he visits Harnam’s gambling den and meets dancer (Helen) who is close to Harnam to know the whereabout of his wife. As a part of diversion, the dancer tries to seduce Ram by singing and dancing. Ram, on the other hand, acts as if he has started liking her with a view to getting the information about his wife. While Helen is singing and dancing, Ram sometime imagines her to be his wife, Meena. In a way, this is a gambling den song.
I was aware of this song long back. But it is only now that I have listened to this song in details. One can call this pop song composition unique as sitar has been prominently used in the prelude and interlude music with guitar playing the secondary role. The rhythm is provided for the dance mainly through the set of drumbeats. I have rarely come across a pop song composition in Hindi films for western dance where sitar has been prominently and effectively used. The second interlude is mainly played on guitar during which Helen gives her cabret style dance performance.
This song has another distinction for the music director, Kalyanji-Anandji. They were honoured with BMI (Broadcast Music, Inc.) Award in 2006 in recognition of their musical influence on the singing group, ‘Black Eyed Peas’ whose hit song, don’t phunk with my heart won Grammy Award, 2005 in the category of ‘Best Rap Song by a Group’. In this Grammy winning song, Kalyanji-Anandji’s compositions of two Hindi film songs – first, the song under discussion and second, the song, ye mera dil pyaar kaa deewaana from ‘Don’ (1978) were sampled for which the Group has obtained rights from SAREGAMA. The names of Kalyanji-Anandji with films’ names were duly acknowledged on track listing of the music album, ‘Monkey Business’ (2005). The BMI award was handed over to Anandji in Los Angles. He became the first Indian music director to receive BMI Award to be recognised by the US-based organisation for copyright issues.
Incidentally, both the Hindi film songs which were sampled in the Grammy Award rap song have commonalities in that music director, lyricist and singer were the same. Both the songs were picturised on Helen and belonged to the pop genre. In both the songs, Helen is seducing the hero.
Video Clip:
Audio Clip:
Song-Ae naujawaan hai sab kuchh yahaan (Apraadh)(1972) Singer-Asha Bhonsle, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics (Based on Video Clip):
ae naujawaan
hai sab kuchh yahaan
ae naujawaan
hai sab kuchh yahaan
jo chaahe le le khushee se
toone kahaan dekhaa jahaan
tauba naa kar tu abhee se
aaa…aa aa aa
ab jaam pee
pee le
pee le
pee le
har rang mein tu jee le
jee le
jee le
husn yahaan
ishq yahaan
husn yahaan
ishq yahaan
aankhen churaa mat kisee se
ae naujawaan
hai sab kuchh yahaan
jo chaahe le le khushee se
toone kahaan dekhaa jahaan
tauba naa kar tu abhee se
aa
pehloo mein aa jaaaa
aa jaa
aa jaa
dil se mere naa jaaaa
naa jaa
naa jaa
saare usul kaaghaz ke phool
saare usul kaaghaz ke phool
kyaa paayegaa berukhee se
aa…aa aa aa
jo kuchh bhee hai meraa
meraa
meraa
ho jaayegaa wo teraa
teraa
teraa
mere sang chal
khud ko badal
mere sang chal
khud ko badal
samjhauta kar zindagee ke
ae naujawaan
hai sab kuchh yahaan
jo chaahe le le khushee se
toone kahaan dekhaa jahaan
tauba naa kar tu abhee se
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
July 7, 2025 at 10:18 pm
Kamath Sir,
This is a delightful and eye-opening follow-up!
Your meticulous and insightful research once again uncovers a lesser-known yet fascinating facet of our film music history. The cross-cultural resonance of our golden-era melodies is truly heartening. It’s a proud reminder that our composers didn’t just draw inspiration, they also inspired artists across the world with their originality and emotional depth.
Looking forward to many more such gems from you!
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July 8, 2025 at 7:51 pm
Gandhi Vadlapatla ji,
Thank you for your appreciation. I liked your description of golden period of Indian melodies as the cross-cultural resonance.
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