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

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This article is written by Raja, 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 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.

Blog Day:

4481 Post No. : 15992

Hello everyone,

My appearances here on the blog are becoming increasingly infrequent, not unlike the cameo visits of an MP/MLA to his constituency post-elections. 🙂

I will not get into reasons for my long absence from here – no excuses. Mea culpa.

As usual, my appearance here marks a special occasion.
This time it has to do with Sahir Ludhianvi’s death anniversary.

The legendary poet & lyricist passed away exactly 40 years ago, on the 25th of October 1980.

What can I write about Sahir that I haven’t already written here in previous posts?

Hardly anything, to be honest.

I’ve written so much about him here, on many of his birth and death anniversaries, that anything I write will be repetitive.

And yet I cannot let the occasion go by without marking it with my small contribution here. It has almost become a ritual for me now. 🙂

One thing though.

I might be a big Sahir fan, but I´m nothing compared to Avinash ji.
As usual, he contacted me a few days ago requesting me to do a post for this occasion.

And, as usual, he sent me a song with lyrics.

That was all the motivation I needed to come out of hibernation. 🙂

Prompted by the lyrics of this song, Avinash ji also shared some of this thoughts with me. Wide-ranging reflections on society, politics, media, polarization and other topics.

I must say I agree with his views – sobering thoughts for these times.

So today, perhaps the best tribute I can give Sahir is not to repeat what I’ve said so often about his poetry and lyrics, but to just reflect on where we are as a society, much as Sahir often did.

So kindly bear with me as I share a few thoughts.

You don’t have to agree with me at all – that’s perfectly fine.
We can disagree – and still be friends. 🙂

So if Sahir were around today, how would he have felt about today’s India?

Indian society, politics, media, justice system. . . everything that touches the common man’s life.

Am specifically talking about the common man, because clearly Sahir used his voice most to speak up for the aam aadmi and underprivileged against the powerful.

I’m not sure Sahir would’ve had many kind things to say.

The religious divide he warned us about, the exploitation of women he lamented, the oppression of labor class that he railed against, the caste inequality that he talked about – all of them exist, and even flourish, to this day.

At least in the early years post-independence, one can argue that India was still struggling to find its feet. It was besieged with a whole lot of baggage, including mass illiteracy and mass poverty, a colonial hangover, lack of institutions and infrastructure.

Not that any of this is an excuse to justify oppression, but India was still a baby then, and had huge challenges to deal with on multiple fronts. It had a history of feudalism that ensured a master-slave mentality between the haves and have-nots.

Today, many decades later, it’s not unfair to expect India to have matured more as a democracy. With more concern for people’s rights and freedoms, a greater regard for the dignity of every individual.

And yet how much have we really matured as a democracy?

We keep thumping our chests, claiming to be the world’s largest democracy. But what should democracy really mean?

Many think it is the right to vote.
But is that all there is to a democracy?
The right to vote?
That’s too narrow and limiting a function of a democracy.

For me, in a democracy (as opposed to a dictatorship), each person has a voice, has a right to express an opinion.

In fact, voting is one way of expressing your opinion.
But it’s just ONE way.

When farmers go on a nationwide protest to draw attention to their issues, they are also exercising their right to express themselves.

When citizens protest on the streets against what they believe to be an unfair law, they are similarly exercising their right to express themselves.

As long as the protests are peaceful, they are legitimate in a democracy.

In fact, even before independence, Gandhi ji and other leaders led peaceful protests against colonial rule. So it is nothing new in India.

Many of Sahir’s songs are actually a protest against exploitation by those in power. Imagine if he were not allowed to express his thoughts!

Do we even want such a society?

Do we want everyone to be a blind conformist, not to have independent thoughts of his own, to be fearful of expressing himself, to kowtow to those in power without a murmur?

Then we might as well just call ourselves a nation of slaves.

There’s no point in a nation being free, if its people aren’t.

A nation is nothing without its people.

And people, whether some of us like it or not, have the power to think.

And when they think, they might not exactly think in our way.

Just because we have power, it doesn’t entitle us to stifle their voice.

That goes against the very grain of a democratic mindset, in which each person has a voice.

Unless the person is inciting violence, no one has the right to shut him up.

Not even the State.

If you disagree, put forth a better argument to make your case.

Don’t use your brute power to threaten, intimidate or (in the case of the State)  arrest those you disagree with.
Just because you can.
That’s sheer abuse of power.

This has nothing to do with any particular political party. Many of them are guilty in their own ways of suppressing people’s voices.

If they get their way, what will we end up with?

A people living in fear, afraid to express an opinion that might be frowned upon by those in power.

Everyone becoming a conformist – whether by choice, or out of sheer fear.
In short, a nation of sheep.

Is that what we want?

Let’s pause, and reflect on this for a moment.

Speaking purely for myself, I like to express my views rather openly, even if they’re not exactly reflecting popular sentiment of the moment.

If I have to check myself every time, out of fear for repercussions, I’d feel extremely stifled.

As Sahir would too.

There are many more topics one can reflect on (and Avinash ji’s thoughts traversed many of them), but I’m limiting myself to just this one topic today because it sort of syncs with the song for today. Need to also leave material for future posts on Sahir, right? 🙂

Today’s song from ‘Naach Ghar’ (1959) is  Sahir’s sarcastic piece of advice to society.  “Just observe things happening, but don’t  speak up. Just let them happen. Don’t upset the apple-cart. Even call the dark of night, “day” if you need to”.

I quite like the rendition by Lata Mangeshkar.

Music is by N. Datta, for whom Sahir wrote excellent lyrics also for ‘Dhool Ka Phool’, also a 1959 film. And for ‘Dharmputra’ (1961). So theirs was quite a fruitful partnership.

In fact, I’ve already written a post for a song from Naach Ghar (1959) on the occasion of Sahir’s 500th song on this blog – “Tere Shehron Se Raja Hamen Ban Hi Bhaley

That is a straightforward lament, today’s song is a sarcastic take on society.

I like both songs a lot, but then I’m biased towards Sahir so my opinion should be taken with a truckload of salt. 🙂

So please listen to the song, and judge for yourself.

In closing, I’d like to say Sahir was one of a kind.  They don’t make his type anymore.

 

Song – Ae Dil Zubaan Na Khol (Naach Ghar) (1959) Singer – Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – N Datta
Chorus

Lyrics

aye dil zubaan na khol sirf dekh le
kisi se kuchh na bol sirf dekh le
hmm hmm hmm hmm
aye dil zubaan na khol sirf dekh le

ye haseen jagmagaahatein ae
hmm hmm hmm
aanchalon ki sarr saraahatein en
hmm hmm hmm
ye haseen jagmagaahatein ae
hmm hmm hmm
aanchalon ki sarr saraahatein en
aanchalon ki sarr saraahatein
ye nashe mein jhoomti zameen
hmm hmm hmm
sabke paanv choomti zameen
hmm hmm hmm
ye nashe mein jhoomti zameen
hmm hmm hmm
sabke paanv choomti zameen
hmm hmm hmm
kis kadar hai gol sirf dekh le
aye dil zubaan na khol sirf dekh le

kitna sach hai kitna jhooth hai ae
kitna haq hai kitni loot hai
rakhh sabhi ki laaj kuchh na keh
kya hai ye samaaj kuchh na keh
dhol ka ye pol sirf dekh le
aye dil zubaan na khol sirf dekh le

maan le jahaan ki baat ko
hmm hmm hmm
din samajh le kaali raat ko o
hmm hmm hmm
maan le jahaan ki baat ko
hmm hmm hmm
din samajh le kaali raat ko o
hmm hmm hmm
din samajh le kaali raat ko
chalne de yoon hi ye silsilaa aa
hmm hmm hmm
ye na bol kisko kya milaa aa aa
hmm hmm hmm
chalne de yoon hi ye silsilaa aa
hmm hmm hmm
ye na bol kisko kya milaa aa
hmm hmm hmm
taraazuon ka jhol sirf dekh le
aye dil zubaan na khol sirf dekh le

————————————————————
Hindi Script Lyrics
(Provided by Avinash Scrapwala)
————————————————————

ए दिल जुबां न खोल सिर्फ देख ले
किसी से कुछ न बोल सिर्फ देख ले
हम्म हम्म हम्म हम्म
ए दिल जुबां न खोल सिर्फ देख ले

ये हसीन जगमगाहटें ए
हम्म हम्म हम्म
आँचलों की सर सराहटें एं
हम्म हम्म हम्म
ये हसीन जगमगाहटें ए
हम्म हम्म हम्म
आँचलों की सर सराहटें एं
आँचलों की सर सराहटें
ये नशे में झूमती ज़मीन
हम्म हम्म हम्म
सब के पाँव चूमती ज़मीन
हम्म हम्म हम्म
ये नशे में झूमती ज़मीन
हम्म हम्म हम्म
सब के पाँव चूमती ज़मीन
हम्म हम्म हम्म
किस कदर है गोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले

कितना सच है कितना झूठ है
कितना हक है कितनी लूट है
रख सभी की लाज कुछ न कह
क्या है ये समाज कुछ न कह
ढोल का ये पोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले

मान ले जहां कि बात को
हम्म हम्म हम्म
दिन समझ ले काली रात को ओ
हम्म हम्म हम्म
मान ले जहां कि बात को
हम्म हम्म हम्म
दिन समझ ले काली रात को ओ
हम्म हम्म हम्म
दिन समझ ले काली रात को
चलने दे यूँही ये सिलसिला आ
हम्म हम्म हम्म
ये न बोल किसी को क्या मिला आ आ
हम्म हम्म हम्म
चलने दे यूँही ये सिलसिला आ
हम्म हम्म हम्म
ये न बोल किसी को क्या मिला आ
हम्म हम्म हम्म
तराजुओं का झोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले


This article is written by Nahm, 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 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.

Blog Day :

4481 Post No. : 15991

Mohammed Rafi: The incomparable (II) – Song No. 20
—————————————————————

25/10/2020 – Remembrance Day of Sahir Ludhianvi 

Koyi shaayar ta’aaruf ka mohtaaj ho saktaa hai lekin uss ki shaayari kisi ta’aaruf ki mohtaaj nahi honi chaahiye, chaahe wo shaayari doosri zubaan mein tarjuma shudaa hi kyun na ho”.

So began the article published in the Urdu magazine ‘Fann Aur Shakhsiyat’ (Sahir number), dated 22nd July 1958, written by Khwaaja Ahmed Abbas.

Sahir. . . ba-zubaan e khud
(Answering a question asked by Nida Fazli)

I am the youngest among my contemporaries except Kaifi considering my age. Faiz, Sardar, Niyaaz all are senior.  When Majaz’s ‘Aahang’ was published I was a student in Matric (Xth std) and at the time of publication of Faiz’s collection I was studying in BA. There are really effects of Faiz in some of my poems. Majaaz is more classical, which I like. Maybe it is more impressive in ‘Chaklay’. Every poet is impressed by his senior poets. But there is a difference in vinegar and its affects. Many of my poems tackle different topics like, Taj Mahal, chakla, avoidance (garez), and beautiful turn (khoobsurat mod) etc. No one’s 100% and perfect. In Faiz’s work there are more of comparisons (Anthropomorphization). The adjectives in my poems create an atmosphere. The personality of the poet also has an impact on his art and expression. There is an inner circle, the subject and vivid representation takes shape accordingly. By nature I belong to the middle class. Maybe I have still not managed to de-class myself. Years ago my poems were heard silently among the labourers.  But Kaifi would generate more claps. Some people have an opinion that Sahir is more liked the college going boys and girl, this is poetry of an immature brain. But I do doubt the maturity of brains of the people who think like this. I am product of this very circumstances and it is natural to be affected by it. But the poetry’s subjects and their treatment is also bound to change with the age of the poet, as in our times Hafeez and A’dam were very popular among elderly poets. We used to take part is these Mushaa’ire, recited our poems which were well liked by all. Firaaq says this even today that “Mushaa’iron ke ticket to Sahir ke naam par hi bikte hain”.

I know there are very few people who understand Urdu and fewer are interested in it in India. But the revived interest in Urdu poetry, contemporary as well as some poets belonging to the earlier generations, and other literary works, which is raising its head frequently, is heartening. Urdu poetry in itself is a strong statement. It is very important and significant in the 21st century and new millennia also, as it was in 19th and 20th centuries.

And Sahir is a big part of this strong statement. For his content and creative flexibility. There may be a way of looking at his poetry apart from his roots in leftist ideology.  I don’t think he died with, as strong sense of his ideology as he began his active poetic life.

I am fascinated by the impact of Allama Iqbal on his poetry.  He wrote this in early 40’s :

ye kooche ye neelaam ghar dilkashi ke
ye lut’te huye caaravan zindagi ke
kahaan hain, kahan hain, muhafiz khudi ke
sana-khwaan-e-taqdees-e-mashriq kahan hain

Very few poets have used the word ‘khudi’ after Iqbal so immediately after him.  In fact the philosophy of ‘khudi’ is the inherent identity of Iqbal’s literary and poetic work.  Here if Sahir is speaking of ‘khudi’ it must be a reference to glorification and paeans of the civilizational progress of the ‘mashriq’ sung by Iqbal.   The question by Sahir is still valid, as it was 80 years ago.  The question is much bigger than ever, exactly when and how much more, the personal integrity, conscience of each one of us singing praises of cultural, civilizational and religious values are going to go and face this shameful reality.

Allama Iqbal left this world in 1939.  For the impressionable youth, a rebellious one like Sahir, the impressive content and complete logical values in Iqbal’s considerable poetic output, could have felt like the shackles.  So he hits out, at the reality of society, more in self-defence to stop his own slide into the spirituality.  He wants to stay in the realm of the material and spirituality seems like a cave to him, with no way out.

But it is a fact that he ventured into the cave, with a parody too :

cheen-o-arab hamaara, hindostaan hamaara
muslim hain ham watan hai saara jahan hamaara

Bringing it down to the basic issues of survival with:

Cheen-o-arab hamaara, hindostan hamaara
Rehne ko ghar nahin hai, saara jahan hamaara

He takes this She’r of Iqbal ;

Na tu zameen ke liye hai na aasmaan ke liye
Jahaan hai tere liye tu nahin jahaan ke liye

And makes it;

Na tu zameen ke liye hai na aasmaan ke liye
Tera wajood hai ab sirf daastaan ke liye

He does satire, demoralise and ridicule the concept of humans being the supreme creation, and degenerates it.  Not that he has any answers or solutions to the angst expressed in “jinhen naaz hai hind par. . .”.   How the ideology he wore on his sleeve, must have been time and again, weighed against the religiosity and convictions of Iqbal.  He challenges Iqbal’s concepts and thrives on it.

tere ishq ki intehaa chaahta hoon
meri saadgi dekh kya chaahta hoon

He takes the above ghazal of Iqbal and writes this as college bait-baazi song “Tere Pyaar Ka Aasra Chaahta Hoon“.

In relation to the saga called ‘chaklay’, I am reproducing a portion of the article ‘Sahir aur Us ki Sha’iri’, by Kaifi Azmi, originally published in 1948, in ‘Naye Adab Ke Ma’emaar’ (‘Ma’emaar’ – builders or constructors, derived from ta’ameer or ‘imaarat’):

The hapless and hungry nation in reverence towards which glorious paeans are sung with closed eyes, houses brothels at every step. Hence brothels are entrenched in Indian literature too.

The rank intensity, hatred and sincerity with which saahir has shaken up the ‘sanakhwan-e-tasdeeq-e-mashriq’ are simply incomparable.

In ‘chaklay’ (brothels), Sahir’s dignity, his soul and the restlessness of his conscience can be seen at the acme of eminence; I get goose bumps when I read this poem.  The feelings that might have stimulated him to write it are so intense that here his characteristic melancholy transforms into an overwhelming deluge.

[Source – ‘Yeh Un Dinon Ki Baat Hai’, selected and translated by Yasir Abbasi].

One wonders if Sahir ever gave a thought to Rafi sahab’s rendition of the songs of ‘Pyasa’, as he got into a controversy over credit and remuneration. It is 40 years since both of them left the temporary abode called life. We are into 100th year of Sahir and no closer to finding the reply to his call. . .

sana-khwaan-e-taqdees-e-mashriq ko laao
sana-khwaan-e-taqdees-e-mashriq kahan hain

I wonder if any literary work of this world, or any research paper is there, that offers solutions, shows the way out, of this socio-economic problem.  But it is a sad state of affairs that this civilization has ceased to view this as a degenerating parasite of a problem in society.  It exists only in Sahir’s poetry as an issue.

I am presenting a Rafi song on this occasion. This is a solo song written by Sahir Ludhianvi for the film ‘Naach Ghar’ (1959).  N Datta is the composer for this film. The song is a prayer, banjaara song, and overlay of a mujra.  As if the mujra is going on and the viewer is singing the song.  I can only guess at it as the video is not available.  The rendition by Rafi Sahab is again out of this world, especially the starting one minute, before the mujra part begins.  I am at a loss, ke sahir ki baat karun ya Rafi ki.

The movie ‘Naach Ghar’ has 10 songs with Rafi being the only male singer, singing four duets with Lata Mangeshkar, one with Asha Bhosle and one with Geeta Dutt.  The only solo song by Rafi in this film the present post.  I had never heard this song before March 2020, when I decided to post this as the birthday post for Sahir’s birth anniversary.  But since it could not be posted, I have revised the post for the death anniversary.

This is the 20th song in the series of ‘Mohammed Rafi – The Incomparable (II)’.   The first two differing portions of the song are too brief; one wants them to go on and on.  But the song moves on to beyond the dance music to chhed-chhaad mode, romantic and pardesi.  3:15 duration is too short to pack so much, and it ends too soon.  Only the audio is available of the song which is picturized on Gopi Krishna.  This could be a stage song or road-side tamasha song.

Song – Teri Ada Pe Qurbaan, O Jaane Waale (Naach Ghar) (1959) Singer – Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta

Lyrics (Provided by Avinash Scrapwala)

main banjaara
door ka aa
ghoomun dagar dagar
base rahen is nagar ke baasi
basaa rahe ye nagar
ho ho oo ooooooo

allah ke naam pe
maula ke naam pe 
allah ke naam pe
maula ke naam pe 
de de o jaanewaale
allah ke naam pe
allah ke naam pe
maula ke naam pe 

teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

ho jaayenge
hum deewaane
ho jaayenge
hum deewaane
lut jaayenge
khwaab suhaane
lut jaayenge
khwaab suhaane
o zaalim tarsaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

pardesi ke dil ki duaa le
pardesi ke dil ki duaa le
khud ruk jaa yaa
hum ko bula le
khud ruk jaa yaa
hum ko bulaa le
ghaayal chhod ke jaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
yeri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

————————————————————
Hindi Script Lyrics
(Provided by Sudhir)
————————————————————

मैं बंजारा
दूर का
घूमूँ डगर डगर
बसे रहें इस नगर के बासी
बसा रहे ये नगर
हो हो ओ ओssssss

अल्लाह के नाम पे
मौला के नाम पे
अल्लाह के नाम पे
मौला के नाम पे
दे दे ओ जाने वाले
अल्लाह के नाम पे
अल्लाह के नाम पे
मौला के नाम पे

तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

हो जाएँगे
हम दीवाने
हो जाएँगे
हम दीवाने
लुट जाएँगे
ख्वाब सुहाने
लुट जाएँगे
ख्वाब सुहाने
ओ ज़ालिम तरसाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

परदेसी के दिल की दुआ ले
परदेसी के दिल की दुआ ले
खुद रुक जा या
हमको बुला ले
खुद रुक जा या
हमको बुला ले
घायल छोड़ के जाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान


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.

Blog Day :

4454 Post No. : 15921

In my last three articles, I have discussed Hindi film dancers, Mohana Cabral, Sheila Vaz and Minu Mumtaz. One common factor in all the three dancers was that they had active Hindi film careers of around 5-6 years after which they got married and quit Hindi films when they had not even attained 25 years of age. They took the responsibilities as house-wives and lived happily with more or less the same level of comfort and life style as they would have got had they continued their filmy careers. To this list of three Hindi film dancers, I am adding one more dancer who also quit Hindi films after her active years of Hindi film career during 1960-66. The name of the dancer is Jeevankala. She got married in 1969 when she was 25.

I got background information on Jeevankala from her two interviews – one in 1964 which was published in ‘Picture Post’ magazine and republished in ‘Cineplot’ on January 1, 2012. The other interview was of recent origin which was taken by Shishir Krishna Sharma in December 2018 and published in his Blog, ‘Beete Hue Din’ on March 31, 2020. Based on these two interviews, the main highlights of the profile of Jeevankala and her journey with Hindi film industry are given below:

Jeevankala (also written as Jeevan Kala) was born on June 29, 1944 at Pune to Dattatreya and Gangubai who were actors in silent films and later in Marathi films when sound films started in 1931. However, after Jeevankala was born, the parents gave up their film career. Incidentally, the name, ‘Jeevankala’ was suggested by her neighbour, Lata Mangeshkar. Jeevankala did her primary schooling in Pune. Simultaneously, knowing his daughter’s interest in dances, the father put her under the tutelage of Babsaheb Gokhale for Kathak dance and Professor Gaekwad for Bharatnatayam dance for a period of 7 years. Later, she learnt all other formats of dances by herself.

In 1957, Jeevankala’s family shifted to Mumbai as she got a job of assiatant dance teacher in Bharatiya Vidhya Bhawan and taught Kathak dance to students. She was also participating in Lata Mangeshkar’s musical shows in Mumbai in which she used to give her dance recitals. She also attended the night school and completed her Matric in 1960.

In one of Jeevankala’s dance recitals, producer-director K Amarnath saw her skill in dancing and offered her a role of a dancer in his film, ’Kal Hamaara Hai’ (1959) in which she had two dance songs. However, she also said that ‘Goonj Uthi Shehnai’ (1959) was her debut film in which a song “Akhiyaan Bhool Gayi Hain Sona” was picturised on her. [As per her filmography, she had already acted in 8 films during 1956-58. I will come to it later].

After she was noticed in her dance skills in ‘Kal Hamaara Hai’ (1959) and ‘Goonj Uthi Shehnai’ (1959), Jeevankala started getting many films offers. Starting as a dancer, over a period of time, she started getting character actor’s roles and also romantic roles pairing with comedians. She also got the role of a vamp in ‘Mr. X in Bombay’ (1964) and ‘Saraswatichandra’ (1968).

In 1969, Jeevankala got married to Ram Kelkar, the story, screen-play and dialogue writer in Marathi films. It was a marriage arranged by Sulochana Latkar who was like ‘God Mother’ to her after the death of her mother in 1965. After marriage, Jeevankala quit the film industry. Her husband, Ram Kelkar became a successful story, screen-play and dialogue writers for Hindi films like ‘Beimaan’ (1972), ‘Aap Ki Kasam’ (1974), ‘Sanyaasi’ (1975), Kaalicharan’ (1976), ‘Asha’ (1980), ‘Hero’ (1983), ‘Ram Lakhan’ (1989), ‘Khalnaayak’ (1993) etc.

On the basis of Jeevankala’s filmography checked from the various sources, I have been able to list 110 Hindi films in which she worked during 1956 to 1968. A few films of her were released late up to 1974. Her active years of film career was during 1960-1966, appearing in 70 films. In the 1964 interview, Jeevankala gave the impression of ‘Kal Hamara Hai’ (1959) as her first Hindi film and in the 2018 interview, she mentioned ‘Goonj Uthi Shehnai’ (1959) as her debut film. It is interesting to note that in ‘Goonj Uthi Shehnai’ (1959), Jeevankala has not been accredited in the credit titles of the film. But she appears in one song of the film.

A further interesting observation about Jeevankala’s filmography is that before 1959, she had worked in as many as 8 films which include ‘Alam Ara’ (1956), ‘Paristaan’ (1957), ‘Khota Paisa’ (1958) and ‘Detective’ (1958). In ‘Khota Paisa’ (1958), a dance song “O Jaan e Jaan Muddat Ke Baad” has been picturised on her.

Jeevankala, who started with big banners film producing companies like Prakash Pictures’ ‘Goonj Uthi Shahnai’ (1959) and K Amarnath Productions’ ‘Kal Hamaara Hai’ (1959), drifted into ‘B’ grade movies in the genres of fantasy, action, costume drama, thriller etc. In such films, heroes would be like Sheikh Mukhtar, Ranjan, Daljeet, Dara Singh and heroines would be like Chitra, Vijaya Chowdhary, Parveen Chowdhary, Nishi etc. Of course, she also continued to be associated with big banner films like ‘China Town’ (1962), ‘Taj Mahal’ (1963), ‘Mere Sanam’ (1965), ‘Khandaan’ (1965), ‘Himalaya Ki God Mein’ (1965), ‘Saawan Ki Ghata’ (1966), ‘Saraswatichandra’ (1968) etc.

Jeevankala has also worked in some Marathi films. In ‘Putra Whava Aisa’ (1961), she was in lead role opposite Vivek in which an immortal song,  जिथे सागरा धरणी मिळते beautifully rendered by Suman Kalyanpur was picturised on Jeevankala. A laavani  song, रेशमाच्या रेघांनी, लाल काळया धाग्यांनी from ‘Marathi Tituka Melwava’ (1964) was also picturised on Jeevankala as a laavani dancer.

In the interview of December 2018, Jeevankala has claimed that about 70 songs have been picturised on her. Our Blog has covered 38 songs picturised on her and 17 songs, the video clips of which are available on video sharing platforms are yet to be covered on the Blog. Thus, the total songs picturised on Jeevankala works out to 55. In addition, there could be a few more of her songs for which video clips are not available as some of her films are not traceable as of now.

During the listing of songs picturised on Jeevankala, I came across an obscure  film ‘Panch Ratan’ (1965) (In the credit titles it is written as ‘पंच-रतन’ in Hindi) which was directed by Kamran. The star cast consisted of Randhawa, Parveen Chowdhary, Kamran, Kamal Mehra, Amarnath, Shyam Kumar, Randhir, Sadhana Khote, Jeevankala, Laxmi Chhaya, Meenaxi, Aruna etc. The full film is available for viewing in HD quality and it belongs to the ‘Action-Costume Drama’ genre. Probably, this film was meant for those audience who used to enjoy wrestling bouts between Dara Singh, King Kong and others in the 60s at Sardar Vallabhbhai Patel Stadium, Worli in Mumbai. In addition, there are sword fights in the film for such audience.

The film has 5 songs written by 2 lyricists – Anjaan (4) and Upendra (1). I am presenting the song, “Kya Ho. . . Kahin Miley Do Nigaahen” from ‘Panch Ratan’ (1965). The song is rendered by Suman Kalyanpur and Kamal Barot and is picturised on Laxmi Chhaya and Jeevankala, respectively. In the audience, Parveen Chowdhary,  Randhawa, Kamal Mehra, Meenaxi and Shyam Kumar can be seen among others.

The song is written by Anjaan which is set to music by Sardar Malik.

Song – Kya Ho. . Haaye Kya Ho (Panch Ratan) (1965) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Anjaan, MD – Sardar Malik
Suman Kalyanpur + Kamal Barot

Lyrics

kya ho
haaye kya ho
kahin miley do nigaahen
phir kya ho
arre kya ho
haaye kya ho
tumhen kaise samjhaaye phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho
 
jab jawaan hasraton ka
jaam ho chhalka chhalka
dagmagaate ho armaan
ho nasha halka halka
aise mein
jab koi
dekh le
pyaar se

phir kya ho
kahin miley do nigaahen phir kya ho
arre kya ho
tumhen kaise samjhaayen phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho
 
ho sama aashiqaana
dil mein bhi bachpana ho
aisi naazuk ghadi mein
unse jo saamna ho
dil dagaa
de hamen

dhadkane
jaayen tham

phir kya ho
kahin miley do nigaahen
phir kya ho
haay kya ho
tumhen kaise samjhaayen phir kya ho
puchho na
jaan e jaan

baat hai
raaz ki

haaye kya ho

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

क्या हो
हाय क्या हो
कहीं मिलें दो निगाहें
फिर क्या हो
अरे क्या हो
हाय क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो

जब जवां हसरतों का
जाम हो छलका छलका
डमगाते हों अरमां
हो नशा हल्का हल्का
ऐसे में
जब कोई
देख ले
प्यार से
फिर क्या हो
कहीं मिलें दो निगाहें फिर क्या हो
अरे क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो

हो समा आशिक़ाना
दिल में भी बचपना हो
ऐसी नाज़ुक घड़ी में
उनसे जो सामना हो
दिल दगा
दे हमें
धड़कनें
जाएँ थम
फिर क्या हो
कहीं मिलें दो निगाहें फिर क्या हो
अरे क्या हो
तुम्हें कैसे समझाएँ फिर क्या हो
पूछो ना
जान ए जां
बात है
राज़ की
हाय क्या हो


This article is written by Sudhir, 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.

Blog Day :

4451 Post No. : 15913 Movie Count :

4366

Missing Films of 1960s – 116
– – – – – – – – – – – – – – –

Ah, wonderful. Revisiting an old friend after a very long gap. Feels good.

This series was initiated on 30th Sep, 2015, almost 5 years ago to the day. The series continued with a certain regularity almost for four years, till 1st July, 2019. That day, I had posted a rarest of the rare finds – “Taaron Bhari Raat Hai” – a song from the film ‘Hawa Mahal’ (1962), a film which is very much available in video, but sadly all its songs have been axed from the VCD release. I had written in that post, that I had even gone beyond the VCD version and searched out the VHS cassette of the film, and even that had no songs. But fortunately, searching thru film, I accidentally chanced to catch half a song that appeared at the end of the film. Probably, when the editors were making the cuts, for whatever reasons (which we do not know at this point), they had missed out the closing shots of the film, whereat one song is repeated partially as is the tradition followed in many Hindi films we know.

That was the 112th episode of this series. And I believed at that time that I had exhausted all the available films of 1960s that I could gather from all the sources I could take help from. But I was so wrong in my belief at that time. And man, am I glad that I was so wrong. Actually, as soon as that post appeared, I got a few messages from friends on the blog and off it, that hey, this here is another film available, so please check it out. I did, and found a few more films and songs available, that have helped to keep this series alive and continuing.

The frequency has reduced significantly, but surely, we have now added three more films to the series. We keep chugging along, and hopefully will continue to reduce the number of films which sit on the list of pending films from 1960s. I bring on board one more film from 1960s, that had been unavailable for quite sometime. And to let you know, there still are two more films that have been identified and I will be posting them appropriately.

The intent of the series continues today with a song from the 1965 film ‘Panch Ratan’. This obscure film had remained so for quite many years. Even the Geet Kosh did not carry the complete information about this film. The list of songs is there, but the songs themselves remained elusive for long. It appears that the songs of this film were not released on gramophone records, and so the audio version of the songs of this film remains out of reach even today. However, the video of this film has been available online for almost 10 years now, indicating that it was a major miss on my part as I started searching five years or so ago, for missing films of 1960s.

Anyway. The film is available, as are its songs. Here is the first song of this film, as it makes it debut on our blog here today. The film is produced under the banner of Broadway Pictures, Bombay, and is directed by Kamran. The film is a costume drama, with a theme that has been oft repeated in Hindi cinema and also the world cinema. The theme is the variation of the storyline in which a group of well meaning friends come together in a pact of solidarity, to overthrow a local regime of a tyrannical bad-man. Films on this theme are plenty across the world – ‘Seven Samurai’, and ‘The Magnificent Seven’ immediately come to mind, as do films like ‘Khotey Sikkey’ etc. I am sure readers will be able to add more films as examples.

The cast of the film is listed as Randhawa, Parveen Chaudhary, Kamran, Shaam Kumar, Kamal Mehra, Habeeb, Amarnath, Randhir, Meenakshi, Sadhana Khote, Fazal, Moolchand, Sabir, Anjum, Madhumati, Jeevankala, Aruna, Lakshmichaya, Saudagar Singh, Joginder Singh, Vasant Singh, and Sony Alexander etc.

The film has five songs, all in video. None of these songs have appeared any gramophone records. Four of the songs are written by Anjaan and one song is credited to Upendra. Today’s song is by Anjaan. Music for this film is composed by Sardar Malik. Today, I present the first song of this film here. This is a raj-darbaar dance song – a dance performed in a royal court setting. The singing voice is that of Suman Kalyanpur. On screen, the song has been performed by actress Aruna. The identification of the dancer has been made by our dear Prakash ji. Also, in this video clip, we can see Parveen Chaudhry, Randhir, and Kamran, seated on the raised dias watching this performance. In between, the scene cuts to a dungeon where we see Randhawa and Shaam Kumar as prisoners being tortured by the king’s soldiers. We also see three other soldiers enter the dungeon, one of whom is actually a lady dressed as a male soldier. Apparently, these three are friends of Randhawa who have come to rescue him. Their identity gets revealed as the helmet of lady gets disturbed and her long hair fall down. A melee ensues in which Randhawa and Shaam Kumar are freed and the chief of the torture chamber is put in chains. All this while the dance and the song continues in the royal court. There is help required to identify all the players in this clip, and I request Prakash ji and other knowledgeable readers and friends to please help to identify more actors.

With this song, ‘Panch Ratan’ makes its debut here on the blog. And it also bring up the 116th episode of this series. I must admit that the gap in the episodes has been quite a bit, and even this post has been prompted by the fact that another post, by Sadanand ji, is now waiting to be posted, and it uses another song of this film. When Atul ji and I received the post from Sadanand ji, I was prompted into quick action to ensure that the debut song of this film is first brought on board as part of this series and then the post by Sadanand ji gets published. I must thank him for being patient to wait for me to post this debut song. His post should be coming on within a day.

Another very interesting observation here. In the flurry of Ten Year Challenge posts, we seem to have backed away from posting debut songs. The last debut song posted here was on 5th Sept, nineteen days ago. And 46 posts ago. Meaning that in the past nineteen days, 46 songs have been posted and not a single one is from a debut film. We need to research whether this is a record. I am not sure, but seems quite like it.

I will sign off now and let you take a view and listen to this wonderful fast paced melody which is quite attractive in the first hear itself. The dance movements and expressions presented by Aruna are very impressive. A song that surely is worth watching as well as hearing.

 

Song – Saaqiya. . Uff Teri. . Ye Ada  (Panch Ratan) (1965) Singer – Suman Kalyanpur, Lyrics – Anjaan, MD – Sardar Malik

Lyrics 

saaqiya
uff teri
ye ada
saaqiya
uff teri
ye ada
tauba tauba
tauba tauba
bin piye
kya hua
ye nasha
tauba tauba
tauba tauba

duniiya ko deta hai paimaane bhar ke
hum to hain pyaase teri nazar ke
duniiya ko deta hai paimaane bhar ke
hum to hain pyaase teri nazar ke
hum ko teri
mehfil bhala
kya vaasta
kya vaasta
saaqiya
uff teri
ye ada
saaqiya
uff teri
ye ada
tauba tauba
tauba tauba
bin piye
kya hua
ye nasha
tauba tauba
tauba tauba

wo mai buri hai jo hosh uda de
aisi pila de jo hosh mein laa de
wo mai buri hai jo hosh uda de
aisi pila de jo hosh mein laa de
behke huye
sambhlen zara
aisi pila
aisi pila
saaqiya
uff teri
ye ada
saaqiya
uff teri
ye ada
tauba tauba
tauba tauba
bin piye
kya hua
ye nasha
tauba tauba
tauba tauba

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
साक़िया
उफ़्फ़ तेरी
ये अदा
साक़िया
उफ़्फ़ तेरी
ये अदा
तौबा तौबा
तौबा तौबा
बिन पिये
क्या हुआ
ये नशा
तौबा तौबा
तौबा तौबा

दुनिया को देता है पैमाने भर के
हम तो हैं प्यासे तेरी नज़र के
दुनिया को देता है पैमाने भर के
हम तो हैं प्यासे तेरी नज़र के
हमको तेरी
महफिल भला
क्या वास्ता
क्या वास्ता
साक़िया
उफ़्फ़ तेरी
ये अदा
साक़िया
उफ़्फ़ तेरी
ये अदा
तौबा तौबा
तौबा तौबा
बिन पिये
क्या हुआ
ये नशा
तौबा तौबा
तौबा तौबा

वो मय बुरी है होश उड़ा दे
ऐसी पीला दे जो होश में ला दे
वो मय बुरी है होश उड़ा दे
ऐसी पीला दे जो होश में ला दे
बहके हुये
संभलें ज़रा
ऐसी पिला
ऐसी पिला
साक़िया
उफ़्फ़ तेरी
ये अदा
साक़िया
उफ़्फ़ तेरी
ये अदा
तौबा तौबा
तौबा तौबा
बिन पिये
क्या हुआ
ये नशा
तौबा तौबा
तौबा तौबा


This article is written by Sudhir, 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.

Blog Day :

4450 Post No. : 15911

———————————–
This Week, That Year – 4
———————————–
20Sep – 26Sep, 2010

Post by post analysis of the weekly output – is an exercise that is getting more involved and detailed. As we progress, we are finding newer varieties and newer variations that add on to a now growing list of things to look at and check for. OK, so let us see what insight this week brings in.

Let’s first do the numbers. The challenge analysis and other details are presented in the table below. With one dot day (on 23rd Sep), this week saw as many as 34 posts. Except for one repeat, all songs are from different movies. So, 33 movies got featured that week. As many as 12 films made their debut. And of the 33 films that were showcased that week, 22 films have been yippeee’d over the past 10 years. Of the remaining 11, I am shifting two film to the twilight zone of Conditional Yippeee status, which I had proposed last week. The films are ‘Panchaayat’ from 1958 and ‘Dr Vidya’ from 1962 – I will give more details little later in write up.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UnTrace Deb/
Yip
Milestone Film Status Pending
20-Sep-10
1 Khazaanchi 1941 9 9 D Yippeee’d
2 Sabak 1950 10 7 D Pending 3
3 Deewaana 1952 8 9 Yippeee’d
4 Panchaayat 1958 10 8.5 1 Yc 1, ? 1 UT
5 Chhabili 1960 7 6 Pending 1
6 Chhota Bhai 1966 6 2 D BC:3000
AC:1000 (Lata)
Pending 4
21-Sep-10
1 Khazaanchi 1941 9 9 Yippeee’d
2 Parwaana 1947 9 11 Yippeee’d
3 Aankhen 1950 8 8 Yippeee’d
4 Aar Paar 1954 8 8 Yippeee’d
5 Pyaase Panchhi 1961 10 6 Pending 4
6 Caravan 1971 8 8 Yippeee’d
22-Sep-10
1 Shokhiyaan 1951 8 8 D Yippeee’d
2 Miss Coca Cola 1955 8 8 Yippeee’d
3 Mr Lambu 1956 8 8 D Yippeee’d
4 Fashion 1957 8 6 Pending 2
5 Aaj Aur Kal 1963 8 9 Yippeee’d
6 Mahaan 1983 7 2 D Pending 5
23-Sep-10
[No Posts]
24-Sep-10
1 Magroor 1950 8 8 D Yippeee’d
2 Baap Re Baap 1955 11 11 Yippeee’d
3 Champaakali 1957 9 9 Yippeee’d
4 Ustaad 420 1969 4 4 D Yippeee’d
5 Bhool Na Jaana (UR) 1960s 7 6 D Pending 1
6 Aalaap 1977 9 9 D Yippeee’d
7 Saaheb 1985 5 1 D Pending 4
25-Sep-10
1 Jalpari 1952 9 6 Pending 3
2 Anaarkali 1953 11 11 Yippeee’d
3 Tu Nahin Aur Sahi 1960 7 8 Yippeee’d
4 Dr Vidya 1962 7 8 1 Yc 1, ? 1 UT
5 Ishaara 1964 6 6 Yippeee’d
6 Khuddar 1982 6 3 D Pending 3
26-Sep-10
1 Aaraam 1951 8 8 Yippeee’d
2 Nau Do Gyaarah 1957 8 8 Yippeee’d
3 Sone Ki Chidiya 1958 8 9 Yippeee’d

I will highlight one change in notation. Last week I had proposed that for the songs which are listed for the film, but which are possibly not available in any format, will be denoted by ‘LFe’ – short for ‘Lost Forever’. Now there is a rethink about this terminology. At least one response to me was that ‘Lost Forever’ is a despairing notation, putting a sort of finality to the issue. So I propose to change this terminology to ‘UT’ indicating that the song is ‘Untraceable’ at least for now.

Two major milestones were announced this week. With the sixth song posted on 20th Sep, 2010, the blog reached the 3000th post. Given where we were at that time, ten years back, this was an enviable milestone in itself. Looking back, it may seem not very significant, on account of where we have now reached. But at that time, breaching the 3000 barrier was a great event. With the same song, we also had the first 1000th milestone for an individual artist. This very same song also became the 1000th song by Lata ji, posted on our blog. This was the first such accomplishment on the blog, for an artist.

We had just one guest post this week. Raja ji has done the post for the 3000th song plus the 1000th song of Lata Mangeshkar.

This week, we see many interesting variations and differences in the information that is available about the songs contained in specific films. Here are the details,

  1. ‘Deewaana’ (1952) – Geet Kosh lists 8 songs for this film. Then the footnote to this film indicates that one more song was recorded for this film in the voice of Shamshad Begum. The inference to be drawn is that this 9th song is an unused song from this film. This song is also available, and has been posted on our blog.
  2. ‘Panchaayat’ (1958) – the gap in information is quite remarkable here. There is one song listed in Geet Kosh that is simply not traceable anywhere. The words of the song are “Main Ye Soch Kar Us Ke Dar Se Utha Tha”. Ah yes, rings a bell. This song appears in the 1964 film ‘Haqeeqat’. I replayed the movie to check, but did not find even a snippet of this song.
    However, viewing the film gave me some good information. The theme song of this film, “Mil Ke Baitho Jodo Bandhan” is a multi part song that appears in the film five times. We have this song on the blog, but we only have the portion that is heard in background as the film titles are being presented on screen. This song recurs on four more occasions later in the film.
    So two updates to this film that must be put on the blog. First, the theme song has to be updated for all the multi part segments. Second, then this film should be declared Conditional Yippeee, because the song “Main Ye Soch Kar. . .”, in all likelihood will remain untraceable, as far as this film is concerned.
  3. ‘Parwaana’ (1947) – Geet Kosh lists 9 songs, whereas we on the blog had added two more which we have extracted from the film soundtrack. One of them – “Balam To Pe Sabar Pade” is a very special song. This is the very last recording of KL Saigal Sb. It is an incomplete recording. However, the director has used this as a background song near the end of the film, by modifying the situations somewhat.
  4. ‘Aaj Aur Kal’ (1963) – Geet Kosh lists 8 songs, whereas in the film there is one more song, actually a qawwaali, in the voice of Shamshad Begum and Usha Mangeshkar. So on the blog, we have one more song than the list in Geet Kosh.
  5. ‘Tu Nahin Aur Sahi’ (1960) – On the blog we have one additional song, actually a snippet that is played at the end of the film. This snippet is not listed in the Geet Kosh.
  6. ‘Dr Vidya’ (1962) – This song list mismatch here is quite confusing. There are seven songs listed in the Geet Kosh, out of which the song a serial no. 2 “Yahi Din Hain Bhanware Mann Arey Tum Nahin Samajhte” is not traceable. It does not appear to match with any other song in the film. And then there are two songs in the film which are not listed in the Geet Kosh. There is a fun qawwaali – “Yoon Hans Hans Kar Dekho Na Idhar”, which is performed on screen by Helen and Prem Chopra. And then there is this romantic song of promises to meet again – “Main Kal Phir Miloongi Isi Gulsitaan Mein”. So we have 8 songs of this film already posted, and there is one still pending whose fate is not known. Possibly then ‘Dr Vidya’ also merits to declared Conditional Yippeee.
  7. ‘Sone Ki Chidiya’ (1958) – This film has 8 songs listed in the Geet Kosh. However, on our blog, we have one more additional song posted, which is essentially a poem rendition.
  8. ‘Doctor’ (1941) – I had mentioned about this film in the previous episode of this series. There is a small bit of confusion in the song list of this film in the Geet Kosh. GK lists 11 songs for this film. This film was declared as Yippeee’d on 29th August, 2014. In that post, Atul ji had written that ten songs of this film are already posted, and the eleventh song was being posted, declaring this film to be Yippeee’d. However, as we examine the lists, there is a bit of confusion that prevails overall.
    For starters, the song “Aai Nit Nai Rut Ki Bahaar” is listed twice in GK, once with Ila Ghosh as the singer, and once with Pankaj Mullick as the singer. This threw me off so completely, that I spent three four days two weeks ago, trying to trace the Pankaj Babu version of this song. Most responses I got from within the circle of collector friends was that this song does not exist. Secondly, the iconic Pankaj Babu song – “Aayi Bahaar Aaj Aayi Bahaar” is not listed in GK. I went over the GK entries in detail, including the addenda and the corrigenda. But could locate no other information.
    After some back and forth discussions, it is concluded that there is an error in the GK listings, in that the song listed in GK at serial no. 11 – “Aayi Nit Nari Rut Ki Bahaar” in the voice of Pankaj Babu, is incorrect, and that the words of this song should be “Aayi Bahaar Aaj Aayi Bahaar”. If this change is made, then the listings can be reconciled correctly.
    There is still one more variation in the GK listing and the blog list. The GK listing shows the two songs viz. “Kab Tak Niraasha Ki Andhiyaari” and “Bhai Jagat Ujiyaari Dekho” as two separate songs. On our blog, these two songs appear in the same post, so essentially the blog list does not show the latter song.

Now a word about the song covered in this post. The film is ‘Zindagi Ya Toofaan’ from 1958. As per the Geet Kosh, this film has 10 songs listed. All the songs come from the pen of J Nakshab, a name that we are also familiar as Nakshab Jarchavi. Music is composed by Nashaad.

The film is produced under the banner of Serafim Pictures, Bombay and is directed by Nakshab Jarchavi, the lyricist. The cast of actors is briefly given as Nutan, Pradeep Kumar, Om Prakash, Minoo Mumtaz, Johnny Walker, and Yakub. The film tells the story about the love of a young man, role played by Pradeep Kumar, for a dancing girl, role played by Nutan. Nine songs of this film are already posted here on our blog. This is the tenth and the final song of this film to come on board.

The song itself is a wonderful expression in words about the exchanges that happen between the lover and the beloved. Each couplet, each line is such a beautiful visualization of that relationship. The video clip for this song could not be located. So it is not feasible to comment on the picturization of this song. Given the music and rendition, one can surmise that this song is presented as a mujra on screen. Expectedly, the song is performed by Nutan and Minoo Mumtaz. Both are dancing girls entertaining the guests, which would include Praeep Kumar and Yakub.

This wonderful ghazal presented as a mujra, is the tenth and the final song of this film to come on board, and we can declare this film to be Yippeee’d now.

 

Song – Angdaai Bhi Wo Lene Na Paaye Utha Ke Haath  (Zindagi Ya Toofaan) (1958) Singer – Asha Bhosle, Shamshad Begum, Lyrics – J Nakshab, MD – Nashaad
Asha Bhosle + Shamshad Begum

Lyrics

kya kya nigaah e shauk luti hai haya ke haa..aath
aaaa aaaaa aaaaaaa
ye kya hua ke ruk gaye seene tak aa ke haath
angdaai bhi wo lene na paaye utha ke haath
angdaai bhi wo lene na paaye utha ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskura ke haath
angdaai bhi wo lene na paaye utha ke haath

aaaaa aaaaa
baaton me aise ho gaye madhhosh be-piye
baaton me aise ho gaye madhhosh be-piye
baaton me aise ho gaye madhhosh be-piye
afsanaa ghair ka wo samajh kar suna kiye
afsanaa ghair ka wo samajh kar suna kiye
aaya jo mera naam
to bas uth ke chal diye
aaya jo mera naam to bas uth ke chal diye
jhunjhala ke taish khaa ke bigad ke chhuda ke haath
jhunjhala ke taish khaa ke bigad ke chhuda ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye utha ke haath

parda tha par naqaab se kuchh husn chhan pada
parda tha par naqaab se kuchh husn chhan pada
parda tha par naqaab se kuchh husn chhan pada
bekal huye to reh gaya sab baankpan pada
bekal huye to reh gaya sab baankpan pada
shikvon ka jab jawab na kuchh un se ban pada
shikvon ka jab jawab na kuchh un se ban pada
gardan me meri daal diye muskura ke haath
gardan me meri daal diye muskura ke haath
angdaai bhi wo lene na paaye utha ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye utha ke haath

aaaa aaaa aaaaa aaaaa
saaqi ko samjhe ye nahin har aadmi ka kaam
saaqi ko samjhe ye nahin har aadmi ka kaam
saaqi ko samjhe ye nahin har aadmi ka kaam
nakshab ko kis ada se inaayat kiya tha jaam
nakshab ko kis ada se inaayat kiya tha jaam
aaaa aaaaa
dena kisi ka saaghar e mai yaad hai nizaam
dena kisi ka saaghar e mai yaad hai nizaam
munh pher kar udhar ko idhar ko badha ke haath
munh pher kar udhar ko idhar ko badha ke haath
angdaai bhi wo lene na paaye uthaa ke haath
dekha mujhe to chhod diye muskara ke haath
angdaai bhi wo lene na paaye uthaa ke haa..aa..aath

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————–

क्या क्या निगाह ए शौक लुटी है हया के हा॰॰आथ
आsss आsss आssssss
ये क्या हुआ के रुक गए सीने तक आ के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

आsss आsss
बातों में ऐसे हो गए मदहोश बे-पिये
बातों में ऐसे हो गए मदहोश बे-पिये
बातों में ऐसे हो गए मदहोश बे-पिये
अफ़साना ग़ैर का वो समझ कर सुना किये
अफ़साना ग़ैर का वो समझ कर सुना किये
आया जो मेरा नाम
तो बस उठ के चल दिये
झुँझला के तैश खा के बिगड़ के छुड़ा के हाथ
झुँझला के तैश खा के बिगड़ के छुड़ा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
पर्दा था पर नक़ाब से कुछ हुस्न छन पड़ा
बेकल हुये तो रेह गया सब बांकपन पड़ा
बेकल हुये तो रेह गया सब बांकपन पड़ा
शिकवों का जब जवाब ना कुछ उनसे बन पड़ा
शिकवों का जब जवाब ना कुछ उनसे बन पड़ा
गर्दन में मेरी डाल दिये मुस्कुरा के हाथ
गर्दन में मेरी डाल दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ

आss आss आsss आssss
साक़ि को समझे ये नहीं हर आदमी का काम
साक़ि को समझे ये नहीं हर आदमी का काम
साक़ि को समझे ये नहीं हर आदमी का काम
नक़शब को किस अदा से इनायत किया था जाम
नक़शब को किस अदा से इनायत किया था जाम
आss आssss
देना किसी का साग़र ए मय याद है निज़ाम
देना किसी का साग़र ए मय याद है निज़ाम
मुंह फेर कर उधर को इधर को बढ़ा के हाथ
मुंह फेर कर उधर को इधर को बढ़ा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हाथ
देखा मुझे तो छोड़ दिये मुस्कुरा के हाथ
अंगड़ाई भी वो लेने ना पाये उठा के हा॰॰आथ


This article is written by Peevesie’s Mom, 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.

Blog Day :

4447 Post No. : 15898

Hullo Atuldom

“Ham Hain Raahi Pyaar Ke” (1993) had six songs, four of which are already on the blog as under,

Bambai Se Gayi Poona, Poona Se Gayi Dilli” – a wonderful post describing life at the various “pur”s and one “Nagar” and had 31 comments

Yoon Hi Kat Jaayega Safar Saath Chalne Se” – 3000th day of blog, post by Rajaji

Ghoonghat Ki Aad Se Dilbar Ka” – has a synopsis of the movie

and “Mujhse Muhabbat Ka Izhaar Karta“.

Here is the next one.

It is inside a garment Factory. Aamir Khan (Rahul) is trying to get his sister’s or jija’s factory running so that he can look after his niece and nephew/s who are not in a mood to accept him as their  guardian. To add to Rahul’s troubles the ladies working in the factory are in a mood to ‘rag’ their new boss. The songs were written by Sameer and tuned by Nadeem Shravan. It is sung by Kedarnath Bhattacharya popular as Kumar Sanu.

We are revisiting this movie to remember Tahir Hussain on his birth anniversary (19th September 1938- 10th february 2010) who was the producer of HHRPK (acronym of the movie). Incidentally Aamir Khan (hero of HHRPK) is his son and he was the main lead in two movies of TV Films, Tahir Hussain’s production house. Tahir Hussain, who was the brother of Nasir Hussain (maker of some classics of the 60s, 70s, 80s etc.) has classics like ‘Caravan’ (1971), ‘Anamika’ (1973), ‘Zakhmee’ (1975) etc. to his name as producer. He was the director of ‘Tum Mere Ho’ starring Aamir Khan in 1990.

20th September also happens to be the birth-date of the director of HHRPK -Mahesh Bhatt. He turns 72. He is known for movies that focused on relationships for example ‘Arth’, ‘Saransh’, even his initial ‘Lahu Ke Do Rang’ showed the relation between half-brothers played by Vinod Khanna and Danny almost like ‘Naam’ starring Kumar Gaurav and Sanjay Dutt. Mahesh Bhatt movies also had other regular Bollywood masala in it – action, emotion, drama and great music/ songs.

Video

Audio

Song – Chikni Surat Tu Kahaan Tha Ab Talak Ye Bata  (Hum Hain Raahi Pyaar Ke) (1993) Singer – Kumar Sanu, Lyrics – Sameer, MD – Nadeem Shravan
Chorus

Lyrics (Based on Audio Version)

now listen girls, please understand,
first things first,
I only want a shirt.

chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

yu naa subah se shaam karo ji 
fectory na badnaam karo ji
chalo baith ke kaam karo ji 
aise na aaraam karo ji
waqt abhi jo dhal jayega 
phir na dobara kal aayega
sun lo meri baataan 
kaise kaise sapne leke
main yahaan pe aaya 
aaya  
dekh ke in aafat ki pudiyo ko
main to ghabraaya 
haan main to ghabraaya
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

hum huye barbaad ab to
hum huye barbaad
haan haan
hum huye barbaad ab to
hum huye barbaad
tum raho aabaad jao 
tum raho aabaad
haa haa haa haa haa

congratulations 
why 
and jubilation 
what for
aaye ho tum yahaan pe pehli pehli baar 
I see
tum hamko jaano 
why not 
hamko pehchaano
oh sure
itni si baat ka bura na maano yaar
no no no no no
everybody
congratulation
and jubilation
aaye ho tum yahaan pe pehli pehli baar
tum hamko jaano 
hamko pehchaano
itni si baat ka bura na maano yaar

hey listen you beauties
you must do your duties
and don’t you trouble me like this any more
coz if I get angry
I promise you one thing
I’ll surely be throwing you out of the door
haa haa haa haa haa

help me help me help me o god
help me help me help me o god
yeh mujhko tu 
kahaan laya hai 
kya socha tha 
kya paya hai
in haseeno se mujhko bachha
in haseeno se mujhko bachha

chikni soorat 
tu kahaan tha 
ab talak ye bata
ae chikni soorat 
tu kahaan tha 
ab talak ye bata
la la la laa laa
la la la laa laa 
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa
la la la laa laa 
la la la laa la la laa

 


This article is written by Sudhir, 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.

Blog Day :

4446 Post No. : 15897

Songs Repeated in Hindi Films – 23
– – – – – – – – – – – – – – – – – –

OK, so introducing another popular song that got very quickly reused in a subsequent film. This raunchy item number surprised everyone when it came out for the first time. The film is ‘Inkaar’ from 1977. It was cops and robbers story – B-grade cinema but it was done very professionally, giving some true insight into the normal working of the police force.

This song, which is performed by Helen in the film, became very popular in its time. And the wonder part of this song was / is the voice that has rendered it. The voice is of Usha Mangeshkar. One does not hear her voice in item numbers. Maybe part of a twin dance duet singing. But not an out and out item song. Somehow the selection of his voice for the setting clicked absolutely well. The setting of the song in the original film is a roadside tavern – a desi daaru ka adda. A counter for selling liquor and some chairs and tables for the clients to enjoy their glass that cheers. The dancer, Helen, is very much in the native Maharashtrian attire, wearing the dhoti in the typical lavangi style. The scenario, the persona – the singing voice suited everything to a T.

Fast forward to 1984. The film is ‘Andar Baahar’. This is another cops and robbers tale. Jackie Shroff is a police inspector who has lost his senior partner (role played by Parikshit Sahni) to the bullets of criminals. He vows revenge, and for that he takes permission to pull out a jailed criminal (role played by Anil Kapoor), and enrolls him as his partner, because he can identify the gangster boss. Anil Kapoor, who is a hardened criminal otherwise, has a difficult time adjusting to a role on the other side of the law. So within the very first one or two days, taking advantage of his newly given freedom, he disappears from Jackie Shroff’s home. Jackie is worried, on many counts, and sets out to search for him. Following his instincts he goes to the city red light area and his hunch is proved correct. Anil Kapoor is in a binge of drink and dance with a dancing girl of the area, role played by Jaishree T. And the song that is used in this scene is the iconic Usha Mangeshkar number, repeated from the film ‘Inkaar’.

The reuse is a direct replay without re-recording. The song duration is shorter because only one stanza of the song is utilized. Once again, being a repeat song, this does not appear in the Geet Kosh listings for the latter film. I have retained the credits for the song, from the original film – Majrooh Sultanpuri and Rajesh Roshan. Incidentally the music director for the latter film is RD Burman.

So another popular song reused in a later film. I accidentally ran into this song, as I was searching for another video clip to complete another post. The song “Hum Ko To Yaari Se Matlab Hai” from film ‘Andar Baahar’ has a sad version that was not getting located. I played thru the film in fast forward mode. It was a short clip but I was able to locate it. In the process, the bonus was the discovery of this repeat song that would have otherwise not been located, as it is not listed. A good chance discovery.

Song –  Tu..u..u Mungdaa, Mungdaa Main Gud Ki Dhali  (Andar Baahar) (1984) Singer – Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan

Lyrics

tu..u..u
mungdaa mungdaa
main gud ki dali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
tu..u..u
mungdaa ha mungdaa
main gud ki dali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali
mangtaa hai to aa jaa rasiyaa
naahin to main ye chali

aapas ki chaal dekhe so lut jaaye
aapas ki chaal dekhe so lut jaaye
tu jis pe naina daal haathon se pyaala satak jaaye
tu jis pe naina daal haathon se pyaala satak jaaye
aashiq apna
mungdaa mungdaa mungdaa
main gud ki dali
kaisa mulga hai re sharmila
tujhse to mulgi bhali
kaisa mulga hai re sharmila
tujhse to mulgi bhali

————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————–

तू॰॰ऊ॰॰ऊ
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
तू॰॰ऊ॰॰ऊ
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली
मंगता है तो आ जा रसिया
नाहीं तो मैं ये चली

आपस की चाल
देखे तो लुट जाये
आपस की चाल
देखे तो लुट जाये
तू जिस पे नैना डाल
हाथों से प्याला सटक जाये
तू जिस पे नैना डाल
हाथों से प्याला सटक जाये
आशिक अपना मूंगड़ा
मूंगड़ा मूंगड़ा
मैं गुड़ की डली
कैसा मुल्गा है रे शर्मिला
तुझसे तो मुल्गी भली
कैसा मुल्गा है रे शर्मिला
तुझसे तो मुल्गी भली


This article is written by Sudhir, 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.

Blog Day :

4445 Post No. : 15895

———————————–
This Week, That Year – 3
———————————–
13Sep – 19Sep, 2010
————————————————-
Blog ten year challenge (2010-2020)- Song Number 81
————————————————–

OK, so finally ‘Anmol Ghadi’ got yippeee’d this week, on the very first day of the week. And Atul ji, still waiting for you to clear the mystery behind this yippeee.

Once again, a very prolific week, the pace of post updates continues in full swing. Except that one day this week, we scored only a single. But for the rest of the week, it was all sixes with one extra run from an overthrow.

The blog scored 38 posts this week. Of these 38, we had only one guest post for the week – by Santosh Ojha ji. A total of 36 films made their appearance, with two films scoring two appearances each. We had 1 film that reached yippeee status. A whopping 15 films made their debut this week. That is close to almost half the films that got featured that week.  Since that week was done with, of the 36 films featured, 26 films have been formally and fully yippeee’d. Ten of them are still awaiting their numbers to be fully showcased. Given below is the detailed chart for the week. You will notice a new column and new notations today. I will explain them later in this write up.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible LFe Deb/Yip Milestone Film Status Pending
13-Sep-10
1 Anmol Ghadi 1946 12 12 Y Yippeee’d
2 Ghoonghat 1960 10 6 Pending 4
3 Aashiq 1962 8 8 Yippeee’d
4 Around The World 1967 9 9 D Yippeee’d
5 Night In London 1967 7 7 Yippeee’d
6 Kismat 1968 5 5 Yippeee’d
14-Sep-10
1 Sagaai 1951 9 9 D Yippeee’d
15-Sep-10
1 Daastaan 1950 9 9 Yippeee’d
2 Lakeerein 1954 11 5 D Pending 6
3 Shama Parwaana 1954 11 11 Yippeee’d
4 Sarhad 1960 7 6 D Pending 1
5 Zabak 1961 8 8 Yippeee’d
6 Kal Aaj Aur Kal 1971 6 3 D Pending 3
7 Kaala Patthar 1979 6 6 D Yippeee’d
16-Sep-10
1 Daastaan 1950 9 9 Yippeee’d
2 Mukhda 1951 11 9 2 D Yc ? 2 LFe
3 Begunaah 1957 6 6 D Yippeee’d
4 Jaal 1967 6 6 Yippeee’d
5 Patthar Ke Sanam 1967 7 7 Yippeee’d
6 Khushboo 1975 4 4 Yippeee’d
17-Sep-10
1 Vidyapati 1937 13 13 Yippeee’d
2 Meena Baazaar 1950 12 12 D Yippeee’d
3 Darwaaza 1954 8 5 D Pending 3
4 Maai Baap 1957 6 6 D Yippeee’d
5 Zindagi Ya Toofaan 1958 10 9 Pending 1
6 Andaaz 1971 6 6 D Yippeee’d
18-Sep-10
1 Paraayi Aag 1948 8 8 D Yippeee’d
2 Poonam 1952 9 9 Yippeee’d
3 Maai Baap 1957 6 6 Yippeee’d
4 Hercules 1964 6 1 D Pending 5
5 Dil Ne Phir Yaad Kiya 1966 10 10 Yippeee’d
6 Ummeed 1971 7 7 D Yippeee’d
19-Sep-10
1 Shabnam 1949 10 10 Yippeee’d
2 Aan 1952 11 11 Yippeee’d
3 Milaap 1955 8 8 Yippeee’d
4 Chaand Mere Aaja 1960 7 6.5 Pending 1
5 Sahib Bibi aur Ghulaam 1962 8 7 1 Yc ? 1 LFe
6 Sharaarat 1972 6 7 Yippeee’d

You may notice that I used the phrase ‘formally and fully’ to qualify the yippeee status of the films. The reason I used this phrase is the following. As we are making progress towards our ideal of bringing on board all the Hindi film songs, we do find ourselves against certain difficult limitations. These have to do with – one, non availability of certain songs, and two, erroneous or missing information about some films and songs. I will highlight these situations as we progressively face them. For this week, here are the difficult situations that I came across.

The first one is the film ‘Mukhdaa’ from 1951. This film debuted on our blog on 16th Sep ten years back. The film has 11 songs, as per the Geet Kosh listings. We have located and posted 9 of them over the past decade. The remaining two are practically untraceable. Firstly, of the 11 songs listed, one was never put on a gramophone record, as the producers planned for and contracted with HMV for only 5 discs, which means 10 songs in all. The song at serial no. 6 – “Dekho Jee Pehli Baar, Kiya Hai Tumse Pyaar” was never released on a gramophone record. Then comes a footnote in the Geet Kosh which states that one record, N36900 was ordered, but then cancelled later on. It never got published, although the songs were recorded. This record was supposed to carry the two songs at serial no. 3 – “Mehlon Ke Rehne Waale Mehlon Mein Hans Rahe Hain” and serial no. 7 – “Poochhiye Na Haal Jee, Palle Nahin Maal Jee”. So that would mean that we should have 3 missing songs and not 2.

But wait, here is one more interesting twist in the story. It seems that after cancelling the publication of the record N36900, the producers went ahead and commissioned one more record, with number N50008. Looking at the huge gap in the series number of the records, it is clear that the latter record (N50008) was ordered much later than 1951. Strangely, this newly ordered record now carried the song at serial no. 7 – “Poochhiye Na Haal. . .” and the song at serial no. 10 – “Jaa Teri Meri, Meri Teri”. This latter song at serial no. 10 was already published and is available as one side of the record with number N36870, the flip side of which carries the song at serial no. 5 – “Neele Se Dupatte Pe Hain Peeli Peeli Dhaariyaan”. The net outcome of these, what I shall call – confusing decisions – is that the song at serial no. 10 – “Jaa Teri Meri. . .” is now available on two distinct published gramophone records for this film. And the song at serial no. 3 – “Mehlon Ke Rehne Waale. . .” has got lost, probably forever. The saving grace is that the song at serial no. 7 – “Poochhiye Na Haal Jee. . .” is now available. It might also have been lost forever, but for this confusing set of decisions, which saved this song for posterity. And so the songs at serial no. 6 (this one not planned at all for release on gramophone record) and the song at serial no. 3 (unpublished due to cancellation of one gramophone record), are likely never going to surface. They may still be existing on some original spool tapes from the original recordings, and/or they may be on the soundtrack of the film. However, since both these items are not yet available in public domain, and with very little likelhood that they will make an appearance in the future, we could label them as LFe (Lost Forever). That does leave us two songs short of ever declaring this film as yippeee’d.

Coming to the second similar instance, also from this week. The film is ‘Sahib Bibi Aur Ghulam’ from 1962. It had made its debut on our blog on 23rd Dec, 2008. The seventh song of this film was posted on 24th Sep, 2011. Geet Kosh lists 8 songs for this film. The missing song is the one at serial no. 5 – “Sahil Ki Taraf Kashti Le Chal, Toofaan Ke Thapede Sehna Kya”. As per the listing, this song was recorded in the voice of Hemant Kumar. This song never got published on a gramophone record. Now eight total songs will completely fit on 4 gramophone discs. But the producer seems to have taken a decision to completely omit this song. In fact, the song at serial no. 6 – “Bhanwra Bada Naadaan Haaye”, makes appearance on two gramophone discs nos. N54036 and N54038, while the above mentioned song in Hemant Kumar’s voice has been completely axed from any publication. It does not exist in the film. The film information booklet lists this song, and that is just about it. Here is one more case where a song qualifies to be labeled as LFe. And that also leaves the film ‘Sahib Bibi Aur Ghulam’ one song short of being declared as yippeee’d.

Based on the above discussed circumstances, these two films will never reach the Yippeee status. So I have a proposal here to address this situation. In the face of such stern circumstances, I propose that we introduce a Yippeee variant status – ‘Conditional Yippeee’ – to be indicated as ‘Yc’ in our charts and tables. In such cases, when we come to the conclusion that it is (almost) impossible that one or more songs of a certain film will ever be traced, we may declare that film to be Conditinally Yippeee’d, once all the possibly available songs are accounted for on our blog. The proposal is presented for consideration of the team, and I would request other members to please present their views and comments. In the table above of the week’s status ten years ago, I am provisionally marking these two films as ‘Yc’, pending agreement by the team,

This week we have one more case of a partial missing song in a multi part / multi version scenario. In the case of the film ‘Chaand Mere Aaja’ from 1957. The main theme song of the film – “Chaand Ko Dekho Ji” / “Chaand Mere Aa Ja Re” – has one additional part, identified as the sad version. Details of this part are provided by dear Prakash ji, including the additional lyrics. Just that we as editors have not yet gotten around to update the post itself. In fact, the HFGK listing shows 7 songs, which include this sad version of the song. This sad version of the song is not released on gramophone discs, and is available only from the film itself. My effort is to get this post updated within a day, and be able to change the pending status of this film from ‘0.5’ to ‘0’. And by the way, the Geet Kosh listing has one incomplete information relating to this song. It lists Lata Mangeshkar as the singer of this part. However, as we view the video, we find that this part is in the voices of both Rafi Sb and Lata ji.

Let me come to the song for today. This discussion on errors and limitations has become quite long. I also wanted to write about the film ‘Doctor’ of 1941 and the related info error in the Geet Kosh. I encountered this error the previous week. But I will write about it in the next episode of this series.

‘Hercules’ of 1964, has quite a dubious distinction to note. The first song, the debut of this film, came on board on 18th September, 2010. Today, I bring on board the second song of this film. Interesting that this film has been in hibernation for a full decade, despite the fact that there are some wonderful songs pending for this film. As is evidenced by the song in this post – a Helen dance song in a royal darbaar setting. The words come from the pen of Anand Bakshi, the music is from the mind of N Datta and the singing voice is Asha Bhosle. On screen we see Dara Singh, as Hercules, in chains, possibly being prepared for execution. Other actors we see in this not so clear a video clip, are Nishi, BM Vyas, Maruti Rao, Leela Misra, P Kailash and Indira Billi.

Helen’s performance is her usual self – so wonderfully elegant and graceful, even as she gives a sensuous performance. The ease with which she is coordinating the dance movements, the lip syncing, the facial expressions et al – she is a master class all by herself.

I request the readers to please do comment on the proposed ’Conditional Yippeee’ status and the associated notation introduced in this week’s chart. Thanks.

Video

Audio

Song – Na. . . Idhar Dekhna, Na. . . Udhar Dekhna  (Hercules) (1964) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – N Datta

Lyrics (Provided by Prakashchandra)

naa..aaa..aaa..aaaa
idhar dekhnaa..aaa..aaa
naa..aaa..aaa..aaaa
udhar dekhnaa..aaa
kya ishaara
karegi
nazar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae

kaun jaane
ke kya hona hai
muskuraana
ke mujhe rona hai
aaj ki shab
soch le mehfil
jaagnaa hai
ke bas sona hai
aankh lag
jaaye naa
bekhabar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae
naa..aaa..aaa..aaaa
idhar dekhnaa..aaa..aaa
naa..aaa..aaa..aaaa
udhar dekhnaa..aaa
kya ishaara
karegi
nazar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae

hum ne maana
ke sau pehre hain
ye andhere
bade gehre hain
saamne tez aftaabon ke
ye andhere
kabhi thehre hain
muskuraa
ke rahegi
seher dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae
naa..aaa..aaa..aaaa
idhar dekhnaa..aaa..aaa
naa..aaa..aaa..aaaa
udhar dekhnaa..aaa
kya ishaara
karegi
nazar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae

aasmaan se
khabar aayi hai
ke qayaamat
idhar aayi hai
sab gunehgaar
kaanp utthe hain yoon
maut shaayad
nazar aayi hai
main jidhar
dekhoon saa..aare udhar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae
naa..aaa..aaa..aaaa
idhar dekhnaa..aaa..aaa
naa..aaa..aaa..aaaa
udhar dekhnaa..aaa
kya ishaara
karegi
nazar dekhna
dekhna kya hota hai
dekhna kya hota hai
dekhna kya hota hai ae ae

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————–

ना॰॰आs॰॰आs॰॰आs
इधर देखना॰॰आs॰॰आs
ना॰॰आs॰॰आs॰॰आs
उधर देखना॰॰आs॰॰आs
क्या इशारा
करेगी
नज़र देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए

कौन जाने
के क्या होना है
मुसकुराना
के मुझे रोना है
आज की शब
सोच ले महफिल
जागना है
के बस सोना है
आँख लग
जाये ना
बेखबर देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए
ना॰॰आs॰॰आs॰॰आs
इधर देखना॰॰आs॰॰आs
ना॰॰आs॰॰आs॰॰आs
उधर देखना॰॰आs॰॰आs
क्या इशारा
करेगी
नज़र देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए

हमने माना
के सौ पहरे हैं
ये अंधेरे
बड़े गहरे हैं
सामना तेज़ आफ़ताबों के
ये अंधेरे
कभी ठहरे हैं
मुस्कुरा
के रहेगी
सहर देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए
ना॰॰आs॰॰आs॰॰आs
इधर देखना॰॰आs॰॰आs
ना॰॰आs॰॰आs॰॰आs
उधर देखना॰॰आs॰॰आs
क्या इशारा
करेगी
नज़र देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए

आसमां से
खबर आई है
के क़यामत
इधर आई है
सब गुनहगार
काँप उठे हैं यूं
मौत शायद
नज़र आई है
मैं जिधर
देखूँ सा॰॰आरे उधर देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए
ना॰॰आs॰॰आs॰॰आs
इधर देखना॰॰आs॰॰आs
ना॰॰आs॰॰आs॰॰आs
उधर देखना॰॰आs॰॰आs
क्या इशारा
करेगी
नज़र देखना
देखना क्या होता है
देखना क्या होता है
देखना क्या होता है ए ए


This article is written by Sudhir, 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.

Blog Day :

4439 Post No. : 15882

———————————–
This Week, That Year – 2
———————————–
06Sep – 12Sep, 2010
————————————————-
Blog ten year challenge (2010-2020)- Song Number 77
————————————————–

If nothing else, then this week 10 years ago has to be characterized as the ‘Anmol Ghadi’ week. I am sure it was by design that every day of this week (actually six days of this week, barring the last day), the first song posted every morning is a song from the 1946 film ‘Anmol Ghadi’. This film has 12 songs listed in the Geet Kosh. As we entered this week ten years ago, five of these were already posted on the blog. That left seven. I am sure Atul ji took it upon himself to get the ‘Yippeee’ status for this film in a quick order, by posting one each of the remaining seven songs on each day of the week. And be done with it.

Well almost. Starting from 6th September in 2010, all the way through 11th September, Atul ji held true to his promise and posted the first song on these six days, that belonged to this iconic film. It almost sounds as if the ‘Atul-Song-a-Day’ blog was transformed into ‘Anmol-Ghadi-Song-a-Day’ for this week.

But then, we arrive at 12th September, the last song of this film which would have brought fame and recognition – well, it could not be posted. We have six posts on the day, but no ‘Anmol Ghadi’. I am keen to know from Atul ji, what happened that made him miss this target.

I had actually scanned through the posts for ‘Anmol Ghadi’ songs for that week. And I came to realize one thing. You see, the concept Yippeee had not yet been invented on this blog. And Atul ji was just going after this film, because of its music. As I checked the complete set of songs of this film on the blog, I find that the continuous posting thing had actually started on 4th September. On that day, Atul ji has simply written that this film has 12 songs, that three are already posted and that the film has wonderful music, so let us just bring it on board quickly. That was the simple thought behind continuously posting a song from this film, as the first song of the day, from 4th to 11th Sept. then the 12th date is missed. And the final song of the film gets duly posted on 13th.

And so, my eager anticipation awaits a response from Atul ji. “Why 12th was missed.’’

Here is the chart of posts for the week, ten years ago.

 

Blog Ten Year Challenge (2010-2020) Series
Sl. No. Movie Name Year HFGK NoS ASAD NoS Deb/Yip Milestone Film Status Pending
6-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Ghar Ghar Ki Baat 1959 7 7 D Yippeee’d
3 Dil Bhi Tera Hum Bhi Tere 1960 9 9 Yippeee’d
4 Milan 1967 7 7 Yippeee’d
5 Sharmilee 1971 7 7 Yippeee’d
6 Priyatmaa 1977 5 5 D Yippeee’d
7-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Dil e Naadaan 1953 9 9 Yippeee’d
3 Dekh Kabira Roya 1957 10 10 Yippeee’d
4 Bindiya 1960 7 7 D Yippeee’d
5 Reshmi Roomaal 1961 8 8 Yippeee’d
6 Khoon Pasina 1977 4 1 D Pending 3
8-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Mirza Ghalib 1954 11 12 Yippeee’d
3 Chaacha Zindabad 1959 8 8 Yippeee’d
4 Ghoonghat 1960 10 6 Pending 4
5 Woh Kaun Thi 1964 6 6 Yippeee’d
6 Chor Machaaye Shor 1974 6 6 Yippeee’d
9-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Anjaan 1956 8 8 Yippeee’d
3 Tumsa Nahin Dekha 1957 6 6 Yippeee’d
4 Mere Mehboob 1963 9 9 D Yippeee’d
5 Milan 1967 7 7 Yippeee’d
6 Free Love 1974 4 2 Pending 2
7 Bade Dil Waalaa 1983 5 3 D Pending 2
10-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Saajan 1947 8 8 D Yippeee’d
3 Baazaar 1949 16 16 D Yippeee’d
4 House No 44 1955 8 8 Yippeee’d
5 Girls` Hostel 1962 6 4 D Pending 2
6 Jawaani Deewaani 1972 6 6 Yippeee’d
11-Sep-10
1 Anmol Ghadi 1946 12 12 Yippeee’d
2 Naadaan 1951 8 8 D Yippeee’d
3 Aazaad 1955 9 9 Yippeee’d
4 Daal Mein Kaalaa 1964 8 3 D Pending 5
5 Paayal 1957 9 5 D Pending 4
6 Badnaam 1975 4 4 Yippeee’d
12-Sep-10
1 Raajhath 1956 11 11 Yippeee’d
2 Basant Bahaar 1956 9 9 Yippeee’d
3 Rangoli 1962 9 9 Yippeee’d
4 Beti Bete 1964 7 9 Yippeee’d
5 Jaanwar 1965 7 7 Yippeee’d
6 Patanga 1971 7 5 D Pending 2

The numbers for the week -,

The posting continued at the then current brisk rate. The week saw a total of 43 songs posted, with the  daily rate being six songs per day, with one of the days showing up with seven. The 43 songs came from 37 films – six of them from ‘Anmol Ghadi’ and another two from the film ‘Milan’ of 1967. The remaining 35 songs are one each from 35 films.

The week witnessed as many as 13 debuts. Thirteen films made their appearance for the first time on the blog. No films got yippeee’d, with ‘Anmol Ghadi’ being the close call of almost there. Of the total 37 films featured that week, 29 have been yippeee’d during the interim decade, whereas 8 films are still awaiting completion of their songs on the blog.

The physical post numbers stretched from 2914 to 2956. So actually a blog century – the 29th, has happened in the previous week.

The guest post activity was fairly low in those times. Of the 43 posts, Atul ji accounts for 38, and only five posts came from the contributing team. Three of these posts are from Raja ji, one from Santosh Ojha ji, and one very interesting post on Shammi Kapoor from – yes, you guessed it – Greta Memsaab. A very interesting and informative post that identifies many of the side players in this group dance song – “Dekho Ab To, Kisko Nahin Hai Khabar” from the film ‘Janwar’ of 1965,

This post, having been delayed quite a bit, comes on the last day of the week under analysis. On this day, there is one film still pending for Yippeee status. The film is ‘Patanga’ from 1971. Two songs of this film are remaining to be posted. With this post we bring one of them on to the blog. Which means that this film is now just one song away from being inducted into the Yippeee hall of fame.

The song that I present today is a mujra dance song, being performed on screen by Laxmi Chhaya. There is an assortment of audience, as we regularly get to see in most mujra dance songs in films. I can clearly identify three of them. Wasti and Ajit are sitting together on a white sofa, and the bespectacled and balding Haroon is on a chair next to Ajit. The song is the regular mujra type choreography, with the dancer complaining that she has wasted her youth getting entangled with “you”, the addressal of “you” here being directed towards any of the many males sitting in the audience.

‘Patanga’ is a social film, produced under the banner of KR Films, Bombay and is directed by Kedar Kapoor. The list of actors reads as – Shashi Kapoor, Vimmi, Ajit, Rajendra Nath, Sajjan, Vasti, Ashok Kapoor, Lakshmi Chhaya, Zeb Rehman, Jagdish Raj, Ram Mohan, Leela Mishra, Praveen Pal, Geeta, Ameena Bai, Ram Avtar, Shekhar Purohit, Prem, Shiva Chandra, Ravindra Kumar, Haroon, Lal, Nasir, Balram, Santosh, and Rajkumar.

Interesting side note here that this is third film of actress Vimmi, who appeared in only 5 films during her short career that lasted from 1967 (debut in the film ‘Hamraaz’) to 1974 (‘Vachan’ being her last film).

The film has 8 songs. As mentioned above, after this post, we now have just one more song remaining for this film. Of the eight songs, four are from the pen of Neeraj, three by Hasrat Jaipuri and one penned by Indeewar. This song is from the pen of Neeraj.

The music is composed by Shankar Jaikishan. Yes, remembering Jaikishan today, on his remembrance day today. He passed away on 12th September in 1971. Interesting to note that this film was certified by the Censor Board on 20th August, 1971. It is possible that this film was just released, or maybe even released after, the passing away of Jaikishan.

The lyrics of this song have been sent in by dear Avinash ji.

And so, the penultimate song of ‘Patanga’ of 1971 – a run of the mill mujra performance as demanded by the formula.

Video

Song – Tose Najariya Ladaai, Jawaani Haaye Yun Hi Gawaai  (Patanga) (1971) Singer – Suman Kalyanpur, Lyrics – Neeraj, MD – Shankar Jaikishan

Lyrics (Provided by Avinash Scrapwala)

tose najariya ladaai
tose najariya ladaai
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaai
tose najariya ladaai
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaai
tose najariyaa ladaai ee

is se chhupa ke
us se chhupa ke
is se chhupa ke
us se chhupa ke
solah baras jo rakkhi bacha ke
solah baras jo o rakkhi bacha ke
aa aa aa aa aa aa aa
choodi wo mori tadkaai ee
choodi wo mori tadkaai
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaai
tose najariya ladaai ee

main tadpoon
mori tadpe umariya aa
main tadpoon
mori tadpe umariya
jal bin jaise tadpe machhariya
jal bin jaise ae tadpe machhariya
aa aa aa aa aa aa aa aa
haaye
kaisi ye aag lagaai ee
kaisi ye aag lagaai
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaa i
tose najariya ladaai ee

gaaon ke chhore seeti bajaayen
gaaon ke chhore seeti bajaayen
buddhhe jo dekhen surmaa lagaaye
buddhhe jo dekhen surmaa lagaaye
aa aa aa aa aa aa aa aa
ban ke jawaani maut aayi
ban ke jawaani maut aayi
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaai
tose najariya ladaai
jawaani haaye yoon hi ganwaai
jaawani haaye yoon hi ganwaai

————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————–

तोसे नजरिया लड़ाई
तोसे नजरिया लड़ाई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई
तोसे नजरिया लड़ाई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई
तोसे नजरिया लड़ाई ई

इस से छुपा के
उस से छुपा के
इस से छुपा के
उस से छुपा के
सोलह बरस जो रक्खी बचाके
सोलह बरस जो रक्खी बचाके
आ आ आ आ आ आ आ
चूड़ी वो मोरी तड़कायी ई
चूड़ी वो मोरी तड़कायी ई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई
तोसे नजरिया लड़ायी ई

मैं तड़पूं
मोरी तड़पे उमरिया आ
मैं तड़पूं
मोरी तड़पे उमरिया
जल बिन जैसे तड़पे मछरिया
जल बिन जैसे ए तड़पे मछरिया
आ आ आ आ आ आ आ आ
हाए
कैसी ये आग लगाई ई
कैसी ये आग लगाई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई
तोसे नजरिया लड़ाई ई

गाँव के छोरे सीटी बजायें
गाँव के छोरे सीटी बजायें
बुड्ढे जो देखें सुरमा लगाए
बुड्ढे जो देखें सुरमा लगाए
आ आ आ आ आ आ आ आ
बन के जवानी मौत आई
बन के जवानी मौत आई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई
तोसे नजरिया लड़ायी ई
जवानी हाए यूं ही गंवाई
जवानी हाए यूं ही गंवाई


This article is written by Avinash Scrapwala, 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.

Blog Day :

4439 Post No. : 15882

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 102 # In Remembrance – Jaikishan #
————————————————————————————

Today 12th Sep 2020 is forty-ninth remembrance day of the genius music director Jaikishan of Shankar-Jaikishan duo.

Jaikishan was born on 04th November 1929 at Vansda (in Navsari district, Gujarat) and passed away on 12th September 1971 at Bombay (now Mumbai, Maharashtra). He was only 41 when he passed away and his death shook the entire film industry then.

As a tribute to him here is a song from the 1971 movie – ‘Yaar Mera’. One song from this movie – “Dil Ki Kitaab Kori Hai, Kori Hi Rehne Do” – has already been presented on the blog by Sudhir ji on 13th Sep’2013 with a heartfelt tribute to Jaikishan remembering him on his 42nd remembrance anniversary. Today we will listen another song from the same movie.

‘Yaar Mera’ was released after Jaikishan’s death and the movie was dedicated to his memory. The movie begins with this ‘couplet’. I am unable to identify the voice uttering these words, which plays in the background of the dedication title.

jo shaam savere miltaa thha
phoolon ki tarah se khiltaa thha,
aye maut, tujhe maut aa jaaye
kyon yaar ko mere chheen liyaa

Shankar Jaikishan ruled the music charts in 1971 with their “Zindagi Ek Safar Hai Suhaana” ranking top of the annual ‘Binaca Geetmala’ list. In 1971 from the total 115 released movies, Shankar Jaikishan had composed music for as many as seventeen movies plus the un-released movie ‘Bombay Talkie’ making it to total eighteen movies. Here is the list of movies where Shankar-Jaikishan composed the music and that were released (or passed by Censor Board) in 1971,

 

S No Movie Passed by Censor Board on Lyricist/s
01 Albelaa 14.10.1971 Hasrat Jaipuri
02 Andaaz 23.04.1971 Hasrat Jaipuri
03 Balidaan 27.12.1971 Verma Malik
04 Duniyaa Kya Jaane 23.08.1971 Rajinder Krishan
05 Ek Naari Ek Brahmachaari Hasrat Jaipuri, Neeraj, Anjaan, Kiran Kalyani
06 Elaan 30.04.1971 Hasrat Jaipuri, Farooq Kaiser, Verma Malik, Indeewar
07 Jaane Anjaane 17.05.1971 Hasrat Jaipuri, SH Bihari, Gulshan Bawra
08 Jawaan Mohabbat 15.05.1971 Hasrat Jaipuri, Shailendra, Rajinder Krishan
09 Kal Aaj Aur Kal 11.11.1971 Hasrat Jaipuri, Neeraj, Shaily Shailendra
10 Laal Patthar 31.12.1971 Hasrat Jaipuri, Neeraj, Dev Kohli
11 Main Sundar Hoon 18.03.1971 Anand Bakshi
12 Naadaan 20.08.1971 Hasrat Jaipuri
13 Parde Ke Peechhey 16.03.1971 Rajinder Krishan
14 Patangaa 20.08.1971 Hasrat Jaipuri, Neeraj, Indeewar
15 Preetam 26.07.1971 Rajinder Krishan, Hasrat Jaipuri
16 Seema Verma Malik, Gulzar, Indeewar
17 Yaar Mera 29.11.1971 Hasrat Jaipuri, Neeraj, SH Bihari
18 Bombay Talkie (UR) 19.02.1971 Hasrat Jaipuri, Usha Iyyer

Other than songs of ‘Andaaz’ (two songs), the songs of ‘Main Sundar Hoon’ (also two songs) made it to the list of annual Binaca Geetmala of 1971 from the above list of movies. And that can explain how tough the competition was that year.

The song “Dil Ki Kitaab Kori Hai. . .“was the only popular song from the today’s movie and it was frequently heard on radio during that time. As mentioned above this song has already been posted on the blog.

The film was directed by Atmaram for RS Productions, Bombay. Raja Ram and Satish Wagle were the producers of this movie and Jayendra Pandya was the Associate Producer of this movie. Story of this movie was written by Anand Dutta. Dialogues and screenplay of this movie were written by Abrar Alvi. Editing for this movie was done by YG Chowhan, and he was assisted by EG Shinde and DB Rana. CR Panchal was the controller of production of this movie.

The star cast of the film includes Jeetendra, Rakhee, Nazima, Helen, Paintal, Achala Sachdev, Jayant, Sajjan, Randhir, Murad, Sulochana Sr., Nana Palsikar, Radheshyam, Narbada Shankar, Krishan Dhawan, Manmohan, Raj, Darshan, MS Mehta, Fordil, A Kumar, Ram Sindhi, Mona, and Ashok Bhalla.

This movie has five songs written by Hasrat Jaipuri (two songs), Neeraj (two songs) and SH Bihari (one song). Music is composed by Shankar-Jaikishan. Mohammed Rafi, Asha Bhonsle, Suman Kalyanpur and Manna Dey are the playback singers for this movie.

Coming to today’s song, although a lesser heard song, I think it was also played intermittently on radio during those times and later on. This song is sung by Mohd Rafi and lyrics are by Neeraj. An entertaining remembrance which was lying noted since more than seven years now.

Let us now enjoy the today’s song. On screen Jeetendra is performing the song. Also seen in the picturization of the song is Manmohan and Paintal and many others…

Darr Lagey To Gaana Gaa. . .

Video

Audio

Song – Darr Lagey To Gaana Gaa (Yaar Mera) (1971) Singer – Mohammed Rafi, Lyrics – Neeraj, MD – Shankar Jaikishan

Lyrics

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aa aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa
aayeein
darr lagey to gaanaa gaa

jo bhi yahaan cheez hai ae
tera hi maal hai ae
jo bhi yahaan cheez hai ae
tera hi maal hai ae
tera haath thaam le ae
kis ki majaal hai
pakad bhi jaaye yaar kabhi tu
bas mein rail mein
thaane mein jail mein
bheed mein mele mein
sone mein
akele mein ae

sirf gaanaa gaa aa aa

darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa

duniya ko bhool ja aa
jaam zaraa thhaam le ae
haan
duniya ko bhool ja aa
jaam zaraa thhaam le ae
mauj zaraa maar le ae
ho masti se kaam le ae
chot kahin aa jaaye tujhko
ro nahin dho nahin
cheekh nahin chillaa nahin
chup nahin bhaag nahin
so nahin
jaag nahin ee
sirf gaanaa gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aayee ee
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa

darr nahin maut se ae
khatron ko jhel tu oo
darr nahin maut se ae
khatron ko jhel tu oo
zindagi ye khel hai ae
zindagi se khel tu
phir bhi tujhko darr lage to
aate hue jaate hue
peete hue khaate hue
uthhtey hue girtey hue
jeetey hue
martey hue ae ae ae
sirf gaana gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa

————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————-

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम
डर लगे तो गाना गा
अईं
डर लगे तो गाना गा

जो भी यहाँ चीज़ है
तेरा ही माल है
जो भी यहाँ चीज़ है
तेरा ही माल है
तेरा हाथ थाम ले
किस की मजाल है
पकड़ भी जाये यार कभी तू
बस में रेल में
ठाणे मे जेल में
भीड़ में मेले में
सोने में
अकेले में

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा

दुनिया को भूल जा
जाम ज़रा थाम ले
हाँ
दुनिया को भूल जा
जाम ज़रा थाम ले
मौज ज़रा मार ले
हो मस्ती से काम ले
चोट कहीं आ जाये तुझको
रो नहीं धो नहीं
चीख नहीं चिल्ला नहीं
चुप नहीं भाग नहीं
सो नहीं
जाग नहीं ईं

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
अई इ
डर लगे तो गाना गा
डर लगे तो गाना गा

डर नहीं मौत से
खतरों से खेल तू
डर नहीं मौत से
खतरों से खेल तू
ज़िंदगी ये खेल है
ज़िंदगी से खेल तू
फिर भी तुझको डर लगे तो
आते हुए जाते हुए
पीते हुए खाते हुए
उठते हुए गिरते हुए
जीते हुए
मरते हुए ए ए ए

सिर्फ गाना गा आ आ

डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम

डर लगे तो गाना गा आ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा आ


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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 TWELVE years. This blog has more than 16100 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1246
Total Number of movies covered =4402

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