Advertisements

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

Archive for the ‘Aspirations of Love’ Category


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 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.

Today, I am presenting a duet song “Zulm Bhi Karten Hain Aur Kehten Hain Fariyaad Na Kar” sung by Suman Kalyanpur and Mohammed Rafi in ‘Mera Ghar Mere Bachche’ (1960). This song has been in my radar for more than two years, to present in the blog. However, I got overtly involved with locating the rare songs from the films of 1940s and share those. During this period, I thought that Rafi fans or ‘Sureeli’ Suman Kalyanpur fans among the Atulites would post this song on the Blog. But this did not happen. So I am destined to present this song.

I have been occasionally listening to this song during the last two years. Each time I heard this song, I felt that what a loss of opportunity for many top music directors to exploit Rafi-Suman Kalyanpur combination which has its own charm for listeners like me. There are obvious reasons for not utilising Rafi-Suman Kalyanpur combination by music directors which are known to most of the Hindi film music lovers. To evaluate what the Hindi film music lovers have lost, listen to some of her songs with Rafi given below:

Chand Takta Hai Idhar  –   Dooj Kaa Chaand (1964) – Roshan

Aapne Huzoor Mujhe Kya Se Kya Bana Diya – Fariyaad (1964) – Snehal Bhatkar

Mujhe Ye Phool Na De Tujhko Dilbari Ki Kasam –  Ghazal (1964) – Madan Mohan

Parbton Ke Pedon Par Shaam Ka Basera Hai – Shagoon (1964) – Khaiyyam

Agar Teri Jalwaa Numaayee Na Hoti –   Beti Bete (1964) – Shankar-Jaikishan

Thahariye Hosh Mein Aa Loon – Mohabbat Isko Kehten Hain (1965) – Khaiyyam

Aise To Na Dekho –   Bheegi Raat  (1965) – Roshan

Incidentally all the teasers listed above had been sung by Suman Kalyanpur with Rafi when Lata Mangeshkar  had stopped singing with him. I did not miss Lata Mangeshkar in the above listed songs.

I have done some approximate calculations of Suman Kalyanpur’s songs with Mohammed Rafi which gives me a tally of 133 songs out of the total of about 760 songs sung by her during her career.  I note from the right side of the home page of the blog that as many as 86 duets of Rafi-Suman Kalyanpur have been covered in the Blog.

While it is difficult of get the exact figure as to how many songs Suman Kalyanpur sang with Mohammed Rafi during the period when Lata Mangeshkar had stopped singing with him (1960-63). The reason is that the points of cessation/resumption of singing by Lata Mangeshkar with Rafi as well as the releases of the films are at different points of time.   One important advantage that Suman Kalyanpur got during 1963 to say 1967 was that  she started getting A grade films with top music directors as against mostly B grade films she used to get for singing during the earlier part of her playback singing career.

‘Mera Ghar Mere Bachche’ (1960) was a Minerva Movietone’s film, produced and directed by Sohrab Modi. The star cast included Sohrab Modi, Sulochana Latkar, Sudesh Kumar, Naaz, Subbiraj, Kavita, Balraj, Sadhana Chowdhari, Charlie, Nana Palsikar, Daisy Irani etc. I have watched the film which is available on YT with some missing portions resulting in the loss of continuity in the film’s story including the end of the film.While the subject of the film – the effect of generation gap – is good, somehow, Sohrab Modi has not been successful in making the subject interesting. Probably, financial constraint may be the reason.

It appears to me that the film was considerably delayed in production. Two signs I get from the film in this context. First, different playback singers have been used for the same character played by Sudesh Kumar for whom both Rafi and Mukesh lip sync for him. Again Mukesh lip syncs for Subbiraj and Rafi for Charlie as well. The second and more important evidence for the film getting delayed is that the credit title shows actress Sadhana Chowdhari being introduced in this film for the first time. The fact is that Sadhana Chowdhari appeared in films ‘Sahara’ (1958), ‘Post Box No,999 (1958) and ‘Bus Conductor’ (1959) which were released earlier than the  ‘Mera Ghar Mere Bachche’ (1960).

Now the story in nutshell:

The story of the film is built around the effect of the generation gap. Inderjit, the father, (Sohrab Modi) and the owner of an engineering firm, is a strict disciplinarian and autocrat. His younger son, Kishore (Sudesh Kumar) and daughter Meena (Naaz) wish to pursue the careers in music and dance respectively which is resented by the father. He imposes his own will as to what career path they should choose. There is a resentment in son and the daughter on this issue. But they cannot express their feelings to the father because of his autocratic nature.

While the younger son is in love with Lata (Kavita) who was an orphan and given shelter in the house, the daughter is in love with Narendra (Subbiraj) whose father (Nana Palsikar) works in  Inderjit’s firm. The father resents both the love affairs mainly because they are not in the same financial status as him. Lata is sent back to her native place and Kishore is made to work in his father’s factory. Narendra’s father is dismissed from the job.

In the meanwhile, knowing her daughter and son’s preferences for their life partners, Parvati, the mother (Sulochana) secretly arranges their marriages. Inderjit is furious and in a fit of anger, he drives all of them out of his palatial house. Now he lives alone in the house.

On the marriage front, nothing works out between Narendra and Meena and between Kishore and Lata. There are arguments and quarrels. In this scenario, Kishore falls in the trap of Lily (Sadhana Chowdhari) and Meena returns to her mother.  The family is in the verge of disintegration.

[Since, the end part of the film was missing in the VCD, I am not aware as to how the film ends. But a scene shown in Inderjit’s office with Lily does gives an indication that Inderjit is prepared to mend his way. But what is the trigger that unites the family? Arun ji, in his comments on one of the songs of the earlier posted songs of this film, has indicated that]
Inderjit suffers a heart attack. The entire family comes to his side to attend to him to make him recover from the illness. This gesture makes Inderjit to realise the importance of family. The entire family is united.

The film had 9 songs all penned by Hasrat Jaipuri, the brother-in-law of Sardar Malik who set the songs to music. Four songs have been covered in the Blog. The song which I am presenting is not available on the DVD/VCD of the film. I have no idea whether the song was originally deleted from the film or deleted only from the DVD/VCD.

Without video also the song is pleasant to the ears.  It is worth noting that the first part of the last two antaras have been rendered by both the singers in higher octave.

Enjoy the romance filled teasing song written by the king of the romantic songs, Hasrat jaipuri.


Song – Zulm Bhi Karte Hain Aur Kehte Hain Ke Fariyaad Na Kar (Mera Ghar Mere Bachche) (1960) Singer – Suman Kalyanpur, Mohammed Rafi, Lyrics – Hasrat Jaipuri, MD – Sardar Malik

Lyrics

zulm bhi karten hain
zulm bhi karten hain
aur kehte hain fariyaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam
main hoon tera meri ummeed ko naashad na kar
meri ulfat ko samajh le
meri ulfat ko samajh le
mujhe barbaad na kar
meri ulfat ko samajh le

kuchh na puchho bade zaalim hai zamaane waale
dil kahin aankh kahin jaa ke milaane waale
dil kahin aankh kahin jaa ke milaane waale
ab koi yaad bhi aaye to usey yaad na kar
ek bulbul pe sitam
o mere sayyaad na kar
ek bulbul pe sitam

sab to zaalim nahi hote hain zamaane waale ae
sab to zaalim nahi hote hain zamaane waale
ishq mein jaan bhi dete hain nibhaane waale
ishq mein jaan bhi dete hain nibhaane waale
jhoota ilzaam na de haaye re bedaad na kar
meri ulfat ko samajh le mujhe barbaad na kar
meri ulfat ko samajh le

pyaar sach hai to hamen koi shikaayat hi nahin
pyaar sach hai to hamen koi shikaayat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
ye na samajho ke hamen tumse mohabbat hi nahin
pyaar se dil mein samaa pyaar ki fariyaad na kar
pyaar se dil mein samaa….aa

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

ज़ुल्म भी करते हैं
ज़ुल्म भी करते हैं
और कहते हैं फरियाद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम
मैं हूँ तेरा मेरी उम्मीद को नाशाद ना कर
मेरी उलफत को समझ ले
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

कुछ ना पूछो बड़े ज़ालिम हैं जमाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
दिल कहीं आँख कहीं जा के मिलाने वाले
अब कोई याद भी आए तो उसे याद ना कर
एक बुलबुल पे सितम ओ मेरे सैय्याद ना कर
एक बुलबुल पे सितम

सब तो ज़ालिम नहीं होते हैं जमाने वाले
सब तो ज़ालिम नहीं होते हैं जमाने वाले
इश्क़ में जान भी देते है निभाने वाले
इश्क़ में जान भी देते है निभाने वाले
झूठा इल्ज़ाम ना दे हाए रे बेदाद ना कर
मेरी उलफत को समझ ले
मुझे बर्बाद ना कर
मेरी उलफत को समझ ले

प्यार सच है तो हमें कोई शिकायत ही नहीं
प्यार सच है तो हमें कोई शिकायत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
ये ना समझो के हमें तुमसे मोहब्बत ही नहीं
प्यार से दिल में समा प्यार की फरियाद ना कर
प्यार से दिल में समा॰॰आ

Advertisements

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Today’s song is from film ‘Anban’ (1944) (pronounced as un-bun). So far, only one song from this film has been discussed on our blog in 2011. This is, therefore, the second song from this film. No songs of this film are available anywhere like You Tube etc. Then, how did I get introduced to  this song ? There is a story behind this.

Mr. Jayaraman Subramaniam ji must be in his mid 70s now. He is one of the most famous and very well known record collectors of India. I found his name mentioned in several books on HFM. I have never met him, nor have I ever spoken to him on phone, though he stays in Dombivali, a suburb of Mumbai (actually, it is in Thane district). From the information I gathered from his friends, Jay ji has been in this hobby since 1960. He is one of the major names in the field of record and song collections in India and Pakistan.

He had been a regular member of RMIM group on the internet. I have been following his comments – both past and recent ones – in the group and I find that almost all senior RMIM members all over the world do respect Jayaraman ji for his extraordinary knowledge about songs, MDs and singers. He is an expert in voice identification, so he can pinpoint the singers quite accurately. This quality of Jay ji has been helpful in solving many mysteries of songs and singers, where it is not mentioned or wrongly mentioned in HFGK.

I am happy that I am on his mailing list and he writes to me often about songs etc. He seems to have accepted me as “an eminent writer” and “a serious student of old HFM “. He stays alone in his flat at Dombivali. His wife expired few years back and two sons live separately.

Mr. Jayaraman ji worked in Indian Railways and retired after a long service record. Jay ji, through his BCSP (Bharatiya Cine Sangeet Parampara) holds listening sessions of rare songs on every Sunday and some of his old friends visit him on that occasion.

I have been told that recently he has sold his entire collection, for an undisclosed value, of records and songs to our friend Deepak Chowdhari ji of Paratwada, Amaravati (Maharashtra). You will recall that Deepak ji has attended our last held Gangout at Mumbai, some time back. However, Jay ji seems to have preserved all his songs on G Cloud- from where he discusses such songs with RMIMers and other Facebook music lovers.

Recently, he had mailed this song (today’s song) from film ‘Anban’ (1944) to RMIMers, including me of course. I fell in love with this song, when I heard it. I requested Jay ji to allow me to use his song to be discussed on our blog for the benefit of our readers and he magnanimously said yes by return of mail. So a big Thank You to Jay ji. Also my thanks to our own Sudhir ji, for kindly uploading this song from his own collection on You Tube, on my request. (Sudhir ji’s copy of the song is 30 seconds longer than the one sent in by Jay ji. Also the quality of the song recording is much better.)

Here is how Jayaraman ji got this song – in his own words, “Ek bahut hee madhur TRIO gaana jise MD: Jnan Dutt ne mujhe 1973 mein diya apni ek purani sanduk se. Meri passion for cine music mehsoos kar uss ne poora sanduk dae dala jisme kareeb 150 recorden 78 rpm ke thae (cover nahin thae) aur kafi achhi condition mein thee.

Aise aise film thae unke sangeet mein jo uss wakt (1973) mein maine kabhi naam bhi sune nahin thae…aur kaha: Yeh sab tumhare liye hai – lae jaao aur sun ke hamein bathana bhoolna mat !!Ussee sanduk mein se yeh ek ‘tri-gaan’ aap sab shrotajan ke liye pesh karta hoon….ussee passion ke sath aaj 43 saalon baad , HD format par. ”

‘Anban’ (1944) was a Bharat Productions film. It was directed by Niren Lahiri. He was born on 17-7-1908 in Calcutta. He started his directorial activity with Bangla film ‘Mahakabi Kaalidas’ (1942). His Hindi films are ‘Anban’ (1944), ‘Ban Phool’ (1945), ‘Arabian Nights’ (1946), ‘Vijay Yatra’ (1948) and ‘Shobha’ (1954). Niren Lahiri died in 1972.

The cast of the film is listed as Nargis, Pahadi Sanyal, Shahnawaz, David, Mubarak, Shobhana Samarth, Jagirdar etc. The odd sounding name of Pahadi Sanyal is that of a Bengali actor, who did Bangla and Hindi films with equal ease. Normally, Bangla stars (just like the south Indian stars) had a Himalayan problem of speaking Hindi and its diction, but not Sanyal. He was an expert in speaking Hindi and Urdu. But for his Bangla looks and mannerisms, he could have been a great addition to Bombay stars. Nevertheless, he acted in 53 Hindi films, made both at Calcutta and Bombay, from 1933 to 1970. Notably he never went to Lahore to work in any film.

Though his real name was Nagendranath Sanyal, having born in the hill station Darjeeling, he was nicknamed Pahari Sanyal (one from the hills) and the name continued throughout his professional career. He was born on 22-2-1906

From his childhood itself, Sanyal was extremely fond of music and he took training under several famous music teachers of the day. Finishing his school, he joined the engineering course at the Benaras Hindu University but soon left to study Indian classical music at the Morris College of Music in Lucknow. In Lucknow, the young Pahari came in contact with the poet and composer Atulprasad Sen and soon earned fame as one of the best exponents of Atulprasad’s songs. In 1931, he joined the service of the Maharaja of Dewar as his private secretary.

In 1932, Sanyal came to Kolkata and got introduced to PC Barua through his friend the cinematographer Krishna Gopal. Sanyal got a chance to act in the New Theatres production ‘Rooplekha’ (1934) but due to contractual problems he was ultimately unable to appear in the film. But he caught the eye of Debaki Bose and joined the New Theatres as an actor on a monthly salary of Rs 150.

Pahari Sanyal made his screen debut as a singer-actor in Debaki Bose’s musical ‘Meerabai’ (1933) (in Bangla) as Chand Bhatta, a role he also did in the Hindi version ‘Rajrani Meera’ (1933). Both the films were very popular and helped in establishing him as one of the major film stars of the day. In the same year, the famous music director Pankaj Mullick used him to re-record all the songs sung originally by SD Burman for ‘Yahudi Ki Ladki’, a New Theatres Production, directed by Premankur Atorthi. As he was fluent in both the languages, Pahari Sanyal starred in most of the Hindi/Urdu versions of the Bengali films produced by New Theatres.

In the 1930s, he had a string of hits as an actor and singer in Bengali/Hindi bilinguals like ‘Bhagyachakra/Dhoop Chhaon’ (1935), ‘Devdas/Devdas’ (1935), ‘Millionaire/Karorepati’ (1936), ‘Bidyapti/Vidyapati’ (1937), ‘Sapurey/Sapera’ (1939), ‘Abhinetri/Haar Jeet’ (1940) and ‘Naukadubi/Milan’ (1946). ‘Bhagyachakra’, one of the first films in India to use playback singing, had Sanyal singing the evergreen “Keno Paran Holo Bandhan Hara” while in its Hindi version he sang “Prem Ki Naiyaa Chali Jal Mein Mori”. In ‘Karorepati’, he had the hit song “Jo Naukri Dila De” – a duet with the legendary KL Saigal. In ‘Haar Jeet’ he sang another wonderful duet, “Mast Pawan Shake Hein” with Kanan Devi. “Wo Kahen Aap Ki Do Chaah Ka Inaam Mujhe“, a song sung by him in the film ‘Milan’ was also very popular. Pahari Sanyal’s performance as Jhumro, a young and audacious snake-charmer who elopes with the heroine Chandan (Kanan Devi) in the film ‘Sapurey/Sapera’ was extremely well appreciated by both the general audience and critics.

In 1941, he received the Best Actor Award from the Bengal Film Journalists Association (BFJA) for his brilliant performance as Kumarnath in the film ‘Pratisruti’ directed by Hemchandra Chunder. After this, he went to Mumbai and acted in films like ‘Mouj’ (1943), ‘Mohabbat’ (1943), ‘Insaan’ (1944), ‘Anban’ (1944), ‘Preet’ (1945), ‘Milan’ (1946) and ‘Shravan Kumar’ (1946). In all, Sanyal worked in 53 Hindi films, both at Calcutta and Bombay. His first film was ‘Rajrani Meera’ (1933) and the last one was ‘Dharti’ (1970) in Hindi. Sanyal also sang about 42 Hindi songs in 19 films.

He is perhaps, the only male actor who has worked with KL Saigal in maximum number of films

Sanyal played the role of a Hindu ascetic (the Swami ji) in the Merchant-Ivory film ‘The Householder’ (1963). He won the BFJA Award as the Best Supporting Actor for his efforts in ‘Jaya’ (1965), a film by Chitta Basu. He also had significant roles in ‘Grihadaha’ (1967), Shakti Samanta’s ‘Aradhana’ (1969) – an understanding and sympathetic father to the heroine Sharmila Tagore, ‘Nimantran’ (1971) and ‘Shesh Parba’ (1972). ‘Kaya Hiner Kahini’ (1973) was his final film.

Sanyal’s first wife died in child birth. Later he married actress Meera Devi. Their daughter Luku Sanyal became Doordarshan’s first English newsreader and did this from 1970 to 1980. Pahari Sanyal was an extremely sophisticated man in real life. He was fluent in Bangla, Hindi, Urdu and English and read French literature in the original language. When he died on 10 February 1974, Indian cinema lost one of its leading lights. (Thanks to Upperstall for select information from its article, used in this bio sketch).

‘Anban’ (1944) film story was about king size ego and its side effects. The story of the film is summarized below.

Madhav Pandit (Jagirdar) and Pandey (Shahnawaz) are very good friends, though their thinking is different. Pandit is old fashioned and traditional, having pride for Indian customs etc. Pandey on the other hand is a liberal person accepting the good in western culture, but not having anything against our old traditions.

Madhav Pandit has a son Yadav and two daughters – Madhavi (Shobhana Samarth) and Malati (Nargis). Pandey has one son – Vijay (Pahadi Sanyal). While Yadav and Vijay are good friends, Vijay has a soft corner for Malati. Eventually, their love blooms. They, together open a school in their town to train the new generation.

The elders fix their marriage also. Pandey wants to donate some amount to the school and so he makes some suggestions to the children. Pandit resents the suggestions. He also declines the donation of Pande. Both Pandit and Pandey have a hot argument, then a quarrel and they stop talking to each other.

The marriage of Vijay and Malati is broken. In his anger, Pandit marries his elder daughter Madhavi to an older, drunkard person – Ranjan ( Mubarak), who hails from a noble family. This marriage takes place against the opposition of everybody.

Not only this, but Pandit also fixes Malati’s marriage with an old jagirdar widower. One day Pandit’s son-in-law, Ranjan is caught red handed by Vijay, when Ranjan is selling his wife’s (Madhavi’s) gold ornaments for his drinks. Vijay fires him. Ranjan, as a revenge, goes and tells false stories to Pandit about Vijay, thereby spoiling his impression.

On the day of marriage, when the baraat is to come, it is found that Malati is missing. Not only that even Vijay is missing. Pandit is shocked and very much worried for his daughter. Afraid that she might commit suicide, he is scared.

Meanwhile baraat arrives and the groom angrily blames Pandit for doing injustice to his daughter, when her marriage was already fixed. Pandit repents, meanwhile Vijay and Malati arrive. They are married by a priest in a temple. Pandey comes there and gives a lecture on controlling anger and false ego. Pandit realises his mistake. He begs every one’s pardon and Vijay and Malati are married in the same place. The groom for Malati is on her side already, convinced by Vijay about their love. All is well that ends well. (635)

The film has 8 songs, composed by Gyan Dutt and written by Pt. Madhur. Today’s song is sung by GM Durrani, Ameerbai Karnataki and Hameeda Bano, as per HFGK. Enjoy this melody. You will love the music and the tune, I am sure.


Song – Hum Aage Badhte Jaayen Duniya Peechhe Peechhe Aaye (Anban) (1944) Singer – GM Durrani, Amirbai Karnataki, Lyrics – Pt Madhur, MD – Gyan Dutt
GM Durrani + Amirbai Karnataki
GM Durrani + Amirbai Karnataki + Hamida Bano

Lyrics

hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye
jo soye
so khoye
jo soye
so khoye premi
jo jaage so paaye re
jo jaage so paaye
jo soye
so khoye premi
jo jaage so paaye re
jo jaage so paaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

udd udd kar panchhi ke jodey
chhaaya karte jaayen
udd udd kar panchhi ke jodey
chhaaya karte jaayen
hawaa ke jhonke nai jawaani
jholi bhar bhar laayen
hawaa ke jhonke nai jawaani
jholi bhar bhar laayen
hum chalte chalte gaayen
duniya thakte thakte gaaye re
thakte thakte gaaye
hum chalte chalte gaayen
duniya thakte thakte gaaye re
thakte thakte gaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

hare hare sab ped hamen
jhuk jhuk ke deven badhaai
hare hare sab ped hamen
jhuk jhuk ke deven badhaai
nadiyon ki lehren ban jaayen
shaadi ki shehnaai
nadiyon ki lehren ban jaayen
shaadi ki shehnaai
baanson ki har pori
bansi ban ke hamen lubhaaye re
ban ke hamen lubhaaye
baanson ki har pori
bansi ban ke hamen lubhaaye re
ban ke hamen lubhaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

kadam kadam pe hasi khushi hon
armaanon ke gaanen
kadam kadam pe hasi khushi hon
armaanon ke gaanen
hum pahunche us jageh jahaan par
baste hon deewaane
hum pahunche us jageh jahaan par
baste hon deewaane
raat sunaaye. . .
raat sunaaye apni beeti
chanda sunta jaaye re
chanda sunta jaaye
raat sunaaye. . .
raat sunaaye apni beeti
chanda sunta jaaye re

chanda sunta jaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

hum aage badhte jaayen

hum aage badhte jaayen

hum aage badhte jaayen

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

हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये
जो सोये
सो खोये
जो सोये
सो खोये प्रेमी
जो जागे सो पाये रे
जो जागे सो पाये
जो सोये
सो खोये
जो सोये
सो खोये प्रेमी
जो जागे सो पाये रे
जो जागे सो पाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

उड़ उड़ कर पंछी के जोड़े
छाया करते जाएँ
उड़ उड़ कर पंछी के जोड़े
छाया करते जाएँ
हवा के झोंके नई जवानी
झोली भर भर लाये
हवा के झोंके नई जवानी
झोली भर भर लाये
हम चलते चलते गाएँ
दुनिया थकते थकते गाये रे
थकते थकते गाये
हम चलते चलते गाएँ
दुनिया थकते थकते गाये रे
थकते थकते गाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

हरे हरे सब पेड़ हमें
झुक झुक के देवें बधाई
हरे हरे सब पेड़ हमें
झुक झुक के देवें बधाई
नदियों की लहरें बन जाएँ
शादी की शहनाई
नदियों की लहरें बन जाएँ
शादी की शहनाई
बाँसों की हर पोरी
बंसी बन के हमें लुभाए रे
बन के हमें लुभाए
बाँसों की हर पोरी
बंसी बन के हमें लुभाए रे
बन के हमें लुभाए
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

कदम कदम पे हंसी खुशी हों
अरमानों के गाने
कदम कदम पे हंसी खुशी हों
अरमानों के गाने
हम पहुंचे उस जगह जहां पर
बसते हों दीवाने
हम पहुंचे उस जगह जहां पर
बसते हों दीवाने
रात सुनाये॰ ॰ ॰
रात सुनाये अपनी बीती
चंदा सुनता जाये रे
चंदा सुनता जाये
रात सुनाये॰ ॰ ॰
रात सुनाये अपनी बीती
चंदा सुनता जाये रे
चंदा सुनता जाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

हम आगे बढ़ते जाएँ

हम आगे बढ़ते जाएँ

हम आगे बढ़ते जाएँ


Advertisements

Important Announcement

(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

Total visits so far

  • 9,400,466 hits

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

Join 2,075 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008 Active for 3000 days.
%d bloggers like this: