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 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 :

4078 Post No. : 15217

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Blog 10-Year Challenge (2009-19) – Song No. 44
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Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂  🙂 .

Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.

Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai Shair 1949 2nd  Yippeee’d
Aaj Gaawat Man Mero Baiju Baawra 1952 6th  Yippeee’d
Ae Kaash Chalte Mil Ke Manzil 1960 3rd  Yippeee’d
Ek Baat Kahoon Wallah Ye Husn Subhan Allah Shrimaan Satyawaadi 1960 2nd  Yippeee’d
Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste Hum Dono 1961 5th  Yippeee’d
Aap Jabse Kareeb Aaye Hain Noorjehaan 1967 Deb 3 of 8
Zindagi Khwaab Hai Jaagte Raho 1956 2nd  Yippeee’d

The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.

I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.

Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.

The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.

Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi  (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar

Lyrics

aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin

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Hindi script lyrics (Provided by Sudhir)
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आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं


This article is written by Mahesh Mamadapur, 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 : 4057 Post No. : 15189

Mukesh and his co-singers – 5
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We remember Mukesh on his remembrance day today (22 July 1923 – 27 August 1976).

Needless to say, the post had to be special. But, when a singer has almost 80% of songs considered as hits and most of these songs already represented on the blog, what can be more special. Well, a few hitherto songs of Mukesh continue to be discovered with a great deal of exhilaration to his fans and old hfm lovers in general. I assume that the present song will make this post special.

It is well known that Mukesh has nil to very few duets with singers like Noorjahan, Amirbai Karnataki, Jagit Kaur, Khursheed, Parul Ghosh etc. With singers like Hamida Banu, Suraiya, Rajkumari, Surinder Kaur, Sitara Kanpuri etc, the numbers are again quite few. He does have sizable numbers with Lata, Asha, Suman Kalayanpur, Geeta Dutt etc.

A very interesting companion in singing in this discussion will be off course the versatile Shamshad Begum. I had almost taken it for granted that all songs of hers with Mukesh have been covered on the blog. But then one thing led to another and resulted in this post of which I am extremely happy. Not one but two duets have been discovered in the last few weeks. Before I proceed with revealing the songs, it is pertinent to mention the traceability aspects of these duets.

We go back to Sadanand ji posting the Mukesh number for MGR in the comments section. I decided to take up Dhaniram’s collaboration with Mukesh and as usual sent the query to Shri Harish Raghuvanshi ji (of Surat) enquiring if it was the sole song under the composer.

Harish ji did confirm the singularity of the case, but added a priceless info that there is a duet in Shole (1953) in which Mukesh has a duet with Shamshad Begum. He further stated that very few music lovers are aware of this duet. The context being Dhaniram being the other composer apart from Naresh Bhattacharya to have scored music for the film. When I searched for this duet on the internet, I came across a Hemant Kumar solo and his duet with Shamshad Begum. Not losing hope, I was lucky enough to find the full movie on youtube. I first decided to go through the credit titles if I could trace Mukesh.

The film titles are shown on a railway track with very poor background and the moving train literally pushing the titles out of the screen. With great difficulty, I saw all the titles and there appears no mention of any of the playback singers in the film. Here, I would seek more knowledgeable reader’s kind explanation as to why many of the old films never bothered to credit playback singers in the titles. I suppose this trend continued even in the sixties for quite a few films.

The print of the film is extremely poor in both voice and picturization. The saving grace being something is available to run through. In spite the bad print and poor audio what stands out is the impeccable grace and beauty of Bina Rai and the ever energetic and melodious voice of Shamshad Begum. Coming back to the bad print of the film Shole (1953), I decided to run the film arbitrarily at short intervals. Then for one of the duets with a rather long prelude, I could hear sound bites very familiar to me. Yes, it is undoubtedly Mukesh.

I was so excited that I noted the time at which this duet starts and closed the film. I went to the other room in my house where my wife was busy with our daughter in her studies. They had a cursory look at my face and instantly both asked what I was so delighted about. I told them about the discovery and they again became engrossed with the studies knowing very well that this guy has no better work to do. My daughter likes a few songs of Raj Kapoor sung by Mukesh and wife likes a few of his duets and solos, but they are never into these statistics and other aspects of old hfm songs as I am. Anyways, I was back to the same link and juncture and again savored what I was listening for the very first time; an unheard duet of Mukesh. Only the first couple of lines of the mukhda are sung by Mukesh and then Shamshad Begum takes over for the rest of the duet. Its an extremely melodious duet to listen.

Now coming to another strange feature, I found four different versions of this song. The below table is self-explanatory and I have provided links for each of the versions.

Version Singers YouTube link
Film Soundtrack Mukesh, Shamshad Begum https://youtu.be/G8gkPL4qc8o
Hemant Kumar https://youtu.be/mmoh60LfIsc
78 rpm record Hemant Kumar https://youtu.be/OuvVFrcTYuU
Hemant Kumar, Shamshad Begum https://youtu.be/zlzgIDgky7g
Full movie SHOLE (1953) https://youtu.be/W6ubiNUgZuQ

Now, if the film had Mukesh and the 78 rpm version songs had Hemant Kumar, it would have been quite understandable. But, Hemant Kumar having sung the film version of the solo makes the case quite intriguing. Did Mukesh walk out of the film after singing the duet? We may never know. What we do know is that during this period he was working in various departments such as acting, composing, producing etc. and these experiments costing him dearly in terms of getting offers to give playback arguably for the rest of his singing career.

Also, during late forties and early fifties, the void created by the passing away of KL Saigal in early 1947 was yet to be filled. Good friends Mukesh and Talat Mahmood were vying to fill the gap and they both failed. One can now say with much conviction that the void created by KL Saigal will remain till the end of days.

Coming back to the versions, both the film soundtracks have poor audio and the 78 rpm ones have better audio quality. For some reason, I personally feel the duet of the film soundtrack is the best amongst the four if a better copy is available to listen. The momentary pause that Shamshad Begum has in the film soundtrack is more appealing than in the version song. Now one may ask, pause is a pause and how it can be differentiated. Well, crazy music lovers have additional senses to assimilate such nuances in music. Long live such craziness. 🙂

Now we come to the important discussion on the combo of Shamshad Begum and Mukesh. Forget writing in detail about their association, the very mention of the two names together excites me to no end.  Mukesh and Shamshad Begum, two different styles, but when it came to duets the styles glued to form some glorious duets in the annals of HFM. At many places on the net it is mentioned that the singers have altogether 22-24 duets. I am happy to list 29 and here is the carcanet of the jewels.

A cursory glace at the table reveals that they have actively sung most of their 29 duets during a period of only for 4 years of their career. This aspect has much to be pondered about.

S. No Name of song Movie (year) Music Director Lyricist
1 kya jaadu hai tere paas piyaa Chehra (1946) M A Mukhtar I C Kapoor
2 O dil ko hasaane wale Shatranj (1946) Madhav Lal and Baldev Nayak G S Madhup
3 lut gayi laajo beech Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
4 Moti chugne gayi re hansi Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
5 aagre se odhni manga de Laakhon Mein Ek (1947) Hansraj Behl Pt Indra Chandra
6 raat ko ji haay raat ko ji  Aag (1948) Ram Ganguly Majrooh Sultanpuri
7 kaise bataaun unse Anjuman (1948) Bulo C Rani Majrooh Sultanpuri
8 kabhi dil dil se takraataa  Anokhi Ada (1948) Naushad Shakeel Badayuni
9 Bhool gaye kyun deke Anokhi Ada (1948) Naushad Shakeel Badayuni
10 Tere naaz uthhane ko jee Grihasthhi (1948) Ghulam Mohammad Shakeel Badayuni
11 aayi saawan ritu aayi Mela (1948) Naushad Shakeel Badayuni
12 dharti ko aakaash pukaare Mela (1948) Naushad Shakeel Badayuni
13 main bhanwara tu hai phool Mela (1948) Naushad Shakeel Badayuni
14 mera dil todne waale Mela (1948) Naushad Shakeel Badayuni
15 O janewale humko bhool na O Jaanewaale (1948) Ali Hussain Moradabadi
16 sajanwaa prem kahaani O Jaanewaale (1948) Ali Hussain Moradabadi
17 ho badi zulmi tamanna hai Dada (1949) Naashad Majrooh Sultanpuri
18 pyaar mein tumne dhokhaa Shabnam (1949) S D Burman Qamar Jalalabadi
19 tu mahal mein rehni waali Shabnam (1949) S D Burman Qamar Jalalabadi
20 tumhaare liye huye badnaam Shabnam (1949) S D Burman Qamar Jalalabadi
21 maine dekhi jag ki reet (Happy and Sad versions) Sunhere Din (1949) Gyan Dutt D N Madhok
22 hamse nain milaana BA paas Aankhen (1950) Madan Mohan Raja Mehdi Ali Khan
23 Jaao sidhaaro hey raadha Aarzoo (1950) Anil Biswas Majrooh Sultanpuri
24 ho kaale kaale baadal Apni Chhaaya (1950) Hanuman Prasad P L Santoshi
25 kehne waale kehte hain Bijli (1950) Khemchand Prakash Bharat Vyas
26 hato hato ji aati hain ham Dilruba (1950) Gyan Dutt S H Bihari
27 mohabbat karne waalon se Hanste Aansoo (1950) Ghulam Mohammad Shewan Rizvi
28 duniya ne chede kahaniyaan Ek Thha Raja (1951) C R Subbaraman Pt Sudarshan
29 Aye dil tu kahin le chal (multiple versions)

 

Shole (1953)

 

Naresh Bhattacharya

 

Kamil Rashid

Before I proceed to write on the above duets please note that song no 23 has SD Batish, 26 has Geeta Roy, Pramodini Desai and 27 has Rafi saab singing along with Mukesh and Shamshad Begum in the respective songs.

It would not be an exaggeration to state that Mukesh and Shamshad were pioneers in playback singing. I know it is more often used for Shamshad’s career, but let us not forget that Mukesh too started giving playback as early as 1944 with ‘Uss Paar’. Why ‘Uss Paar’ and not ‘Moorti’ or ‘Pheli Nazar’? Well, that could take another detailed post. 🙂

In the above list song number 1, 3, 4 and 5 are regular features on Radio Ceylon and are played to this day. 6 was of course the directorial debut of Raj Kapoor, with Ram Ganguly’s haunting scores – the songs of the film remain popular to this day. The next film of RK, as we are well aware, had a change in composers. Shamshad Begum had a cabaret solo in ‘Awara’ and a couple of not so popular songs for SJ thereafter.

10 by one of my favourite composers Ghulam Mohammed is a rare treat to hear. I only wish Mukesh has sung more songs for him.

8, 9 and 11 to 14 need no description and arguably are the best-known duets of the combo; the magician of these two films being none other than the great Naushad.

‘Shabnam’ under SD Burman had 3 duets of the combo with Mukesh giving playback for thespian Dilip Kumar. Needless to say, the songs of this film were a huge rage during those days.

21 under Gyan Dutt is an absolute masterpiece. The debut movie of Madan Mohan had the combo singing a comical duet at 22.

The other songs may not be very well known, but as I have said earlier it is the combination of the singers that make the duets lively and a pleasure to listen.

Quite a few of these duets have been covered by our Sudhir ji in his series on Mukesh wherein he covered the rare and difficult to trace songs at the beginning of Mukesh’s career. Again, as I have written earlier, in spite of the best efforts of Sudhir ji having covered all the songs of Mukesh till 1950, welcome discoveries continue to be uncovered and 2 is such an example. Sudhir ji has shared the audio with me and it will be posted on the blog in the very near future. 🙂

29 and probably the last duet of the combo is covered in this post and I have already written about the many facets of this song. In fact Sudhir ji has sent queries and sought clarifications from his collector friends to understand the existence of the multiple versions of this song in the film.

‘Shole’ (1953) was directed by BR Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it. The movie had two music directors viz Dhaniram and Naresh Bhattacharya. The present song is composed by the latter. The lyrics of this multiple version song are credited to Kamil Rashid.

The lyrics of the Hemant Kumar solo version are slightly different in the 78 rpm vs the soundtrack versions, but giving due credit to Hamant Da, I herewith, for obvious reasons, present the lyrics of only the film soundtrack version of Mukesh and Shamshad Begum

I thank Harish ji for all the help rendered in making this elusive duet of Mukesh appear on the blog. I also thank Sudhir ji and Atul ji for giving me yet another opportunity to present this post.

Lastly, on his remembrance day, I pay humble tributes to Mukesh whose mellifluous voice continues to regale listeners the world over.

Song – Ae Dil Tu Kahin Le Chal  (Shole) (1953) Singer – Mukesh, Shamshad Begum, Lyrics – Kaamil Rashid, MD – Naresh Bhattacharya

Lyrics

ae dil
ae dil
tu kahin
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

aa aa aa aa

ye door ki manzil se mujhe
kis ne pukara hai
bhatke hue raahi ko
yeh kis ka ishaara hai
aashaon ke sagar ka
shayaad wo kinara hai
aashaon ke sagar ka
shayaad wo kinara hae
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

jahaan ishq ke hothon par
fariyaad na ho koi
majboor na ho koi
naashad na ho koi
taqdeer ki thokar se
barbaad na ho koi
barbaad na ho koi
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

do dil jo judaa kar de
wo raat na aati ho
hothon pe shikaayat ki
koi baat na aati ho
jahaan gham ki ghata le kar
barsaat na aati ho
barsaat na aati ho
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

le chal
le chal
le chal
le chal
le chal

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

ए दिल
ए दिल
तू कहीं
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

आ आ आ आ

ये दूर की मंज़िल से मुझे
किसने पुकारा है’
भटके हुये राही को
ये किसका इशारा है
आशाओं के सागर का
शायद वो किनारा है
आशाओं के सागर का
शायद वो किनारा है
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

जहां इश्क़ के होठों पर
फरियाद ना हो कोई
मजबूर ना हो कोई
नाशाद ना हो कोई
तक़दीर की ठोकर से
बर्बाद ना हो कोई
बर्बाद ना हो कोई
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

दो दिल को जुदा कर दे
वो रात ना आती हो
होठों पे शिकायत की
कोई बात ना आती हो
जहां ग़म की घटा ले कर
बरसात ना आती हो
बरसात ना आती हो
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

ले चल
ले चल
ले चल
ले चल
ले चल


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 :

4023 Post No. : 15136

[Ed Note: With sincere apologies to the author and the readers. This write up was delivered to the editors much in advance of the blog anniversary date. It is our oversight that we missed posting it on 19th July. The lapse is regretted.]

As the blog turns 11 today, we can celebrate the first step in the double digit age milestone.  Numerilogically, 11 means 1+1=2 . Does this mean second stage of second phase ?  Or 11 simply means gyarah number ki bus.  Mumbaikar’s know that gyarah number bus means ‘to walk on two feet’.  Walking walking we have reached the 15000 plus figuratively.

So. . . its “Chalte Chalte Mere Ye Geet Yaad Rrakhna. . .  Kabhi Alvida Na Kehna. . . Kabhi Alvida Na Kehna. . .

Flashback related to this song. . .  My first day in college :

Coming from a girls only Urdu medium school, trepidation crowding the mind, how will I fit in and all that.  Admission was done, fees paid whether I wanted to study Commerce or not, it was a done deal.  Backtracking from a path already taken was a no no… in the family.   It was a good reputed college of Mumbai, my elder sister was happy that at least I got a good college bit more away from the usual Urdu medium crowd, than she had managed.  She had changed streams from Science (which she was very keen to do) to Commerce, at the last moment, just to avoid going to a college (not so good) which was very close to home and right next to the school.

Nobody in the family expected me to do well in Xth as my math was very week.  In the surprised euphoria of me doing well in SSC, the decision was taken to try for the good college, a little away from the residence, involving commute by bus. My elder sister had a big hand in convincing the parents. So no 11 number ki bus for me, rather real BEST buses.

I remember the day of my admission. Two days after the SSC results my father took my elder sister and me to the college. After the procedure was completed, while going back home, my sister had a brain wave of watching a movie, to celebrate my admission to the college and also my 15th birthday. I have said in an earlier post that my elder sister has a great sense of occasion.  My father dropped us to the theatre, waited to get the tickets and left for his office.  The movie was ‘Ab Aayega Mazaa’ (1984) with Anita Raj and Raja Bundela.

So, first day of college @ 12 noon, the class started to fill up.  Some of us girls found each other, sat in a row separate from the boys.   Actually now what is known as a column, was a row in the class room. First period happened to be of English.

The lady lecturer asked all of us to introduce ourselves and talk about interests hobbies etc.  One of the boys said he like to sing and the lecturer having found a ‘bakra’ was no going to let go. So the boy ‘marta kya na karta’ sang this song in the class:

Chalte Chalte Mere Ye Geet Yaad Rrakhna. . .  Kabhi Alvida Na Kehna. . .

The song as it is, is unforgettable, and with it this event of my first day of college is attached. Our college consisted of a motley crowd of upper, middle and lower crusts’s girls and boys.  It had an ‘Urdu society’ with a Parsi Professor heading it and having its own notice board.  Yes, the notice board was a great source of prestige during those times 🙂 .

The present song post is an almost sufiana song, a critically acclaimed song from the 2006 film ‘Kabhi Alvida Na Kehna’.  Very unusual situation for a spectacular song, composed by Shankar-Ehsaan-Loy.  There are three singers namely Shankar Mahadevan, Carlisa Monterio & Shafqat Amaanat Ali.  Javed Akhtar is one of the lyricists. There is a Wikipedia page dedicated to this song.  (I Wonder – do all songs have a page like this? )   Carlisa Monterio is the female singer who has penned the lines “Love Will Find A Way” as per the page on Wikipedia. I call this song almost sufiana, because it gives that feeling when one listens to the audio only.

It is picturized on Shah Rukh Khan and Rani Mukherjee, who are married to Priety Zinta and Abhishek Bachchan respectively. The two are also seen planning their respective wedding anniversary celebration, while meeting up from time to time at spectacular locations in Philadalphia, USA. They are both unhappy with their spouses and are still trying to continue in those marriages. Movie characters are rather fickle, not usually seen to be serious about their commitments. No doubt that divorce is sometimes the only way out of an abusive / real bad marriage.  What is real bad and little bad, sort of can be worked at, is again relative. It is commendable that some civilized societies decided to reform and allow divorce as a permitted practice during 20th century. It was hailed as a step towards better rights for women.

Marriages and divorces in films are no mirror for realities. From what I have observed of bad marriages, one partner may be a major cause of discontent, but both partners suffer. Being the chief cause in a bad marriage doesn’t in anyway alleviate the personal sufferings. Parting ways in civilized manner should be a choice, but only if there is no way of reconciliation.

Also, because marriages are made in heaven, as human beings and social animals, we have a duty to safeguard this institution.  Husband and wife’s is the primary relationship on which family is based and develops as a unit, it is the root of the family tree.

So this is a celebratory song for the 11th anniversary of the blog, and song no. 2 of the Mitwa trilogy.  Ideally this would have been the 3rd and final song of the trilogy, but since the Anniversary is here, this song is the one I choose to post.

Happy anniversary to all my fellow travelers on the blog.

Video

Audio

Song – Mitwa..aa, Kahen Dhadhkanen Tujh Se Kya (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Carlisa Monterio,  Shafqat Amaanat Ali, Lyrics – Javed Akhtar, MD – Shankar Ehsan Loy

Lyrics 

love will
find a way
jaaniye ea
heeriye ea
love will
find a way
jaaniye ea
heeriye ea

mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu. . .
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya aa
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa

love will
find a way
jaaniye ea
heeriye ea

ho ooo oo
mere man ye bataa de tu
kis oar chalaa hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa

ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
ga ma pa ni
ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
pa ma ga ni
mitwaa aaa
aaaa aaa
aaaaa aaaaa

jeewan dagar mein
dagar mein
dagar mein
prem nagar mein
nagar mein
nagar mein
jeewan dagar mein
prem nagar mein
aaya nazar mein
jab se koyi hai
tu sochta hai
tu puchhta hai
jis ki kami thhi
kya yeh wohi hai
haan ye wohi hai
haan ye wohi hai
ea ea yeee aaaeaaa eaaa
tu ek pyaasa
aur ye nadi hai
kaahe nahi iss ko tu
kkul ke bataaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa

ho ooo
teri nigaahen
pa gayee raahen
par tu ye soche
jaaun na jaaun
ye zindagi jo
hai naachti to
kyun bediyon mein
hain tere paaon
preet ki dhun par
nach le paagal …al
udtaa agar hai
udne de aanchal
kaahe koi apne
ko aise tarsaaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa
mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh raha hai tu..

love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea


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 : 4020 Post No. : 15132

21st July, 1969 – a tiny me was waiting for the arrival of the school bus, around 6.40 am in the morning, at the end of the lane where we lived, in Karol Bagh area of Delhi. Three, maybe four other friends, going to the same school – executing the normal morning routine, with strap bags on shoulders, waiting to espy the school bus that we all recognized oh so well, to take a turn from a crossing about 200 metres away – to come, and to gobble us up, and to carry us to yet another day at the school. I think, it was too early in life to philosophize about the love-hate relationship with education, school and school teachers. It was still kind of an eager fun to travel in the bus and get to a classroom, and spend time watching teachers do their things on the blackboard, for us. Ah yes, the blackboards back then were actually black, and white chalks were then the standard instrument of communication between the teacher and us.

Sorry, I am jumping the gun – classroom and education is not the topic today; ‘waiting for the bus’ is. So as I was saying, four five of us kids were at the appointed place, at the appointed time – waiting to be picked. Some of these memories are so vivid and crystal clear in the mind, as if it was just yesterday. Ah yes, does seem like yesterday. I remember there was a bakery and confectionery shop right on the corner where we used to wait for the bus. It was a family run business – two brother partners. Over the years, the ownership of that shop has remained in the family, but the subject matter of the shop has changed from confectionery to designer clothing today. I still remember, the board on the shop – ‘Paul’s – Bakers and Confectioners’.

The kids’ interest of course was in the candies, toffees and chocolate items displayed in the shop’s show cases. The shop would be open before we reached the waiting point, because being a baker, he was catering to the early morning needs of milk and bread supply, to the early riser families, which, in those times, was practically all the families in the neighborhood.

Ah, sorry, I digress again – waiting for the bus it was. So the different thing that happened on that morning was the the bus did not come on time. It was kind of a pleasant, expectation filled feeling in the kiddy hearts – is the bus not coming today? Well, bus used to be late once in a while. And the tiny minds would be inventing conjectures about the school being closed for this or that unimaginable reason. But then, those dreams used to be shattered within a matter of minutes – late it would be, but then it would appear on the horizon, and the young footsteps would prance on to the four steps and into bus, starting another day at the school.

But that day, the few minutes extended into many minutes – and no bus. Although we were all in the mood to run back home and make a pompous announcement of the mystery of the disappearing bus. Of course, none had the courage to do so. It was a mindless wait, but the instructions to this kiddy platoon was to stay rooted to the bus stop area, and not to wander away – no matter how late the bus was. And we waited. No, the parents were not with us. We kids were in that gray transition zone of trust building age, that the parents would drop us at the bus stop, and head back home, with the confidence that the kid would certainly board the bus and spend another productive day at the school. And so we waited.

One of the more enterprising member of this waiting platoon ventured into the bakery shop and asked for time. “Seven o five”, we were told – goodness the bus was twenty five minutes late. This had never happened before. It was a first in the long years of the tiny age of experiences that the kiddy minds had accumulated till then. But then, in the absence of any instructions for this unexpected, first time, unheard of situation, we were clueless as to what should be done. So we waited – did not have courage to venture back home – the certain thought in mind was that parents would simply scold us and ask us to get back to the bus stop immediately and wait some more. There must be a valid reason – breakdown, accident, petrol finish – whatever, but it will come. So go back.

But it didn’t come. Another fifteen minutes passed. Still no bus. The uncomfortable squirming had now transformed into an anxious fear – have we already missed it? Has the bus come and gone and all of us missed it by a minute or something. Now the fear started to grow, since if the bus had already gone, then the fault would be ours that we were a minute or two too late to reach the bus stop. And so what were we doing, while ambling towards the bus stop from home, how did we reach the bus stop late? And why? All sorts of uncomfortable thoughts were now cycling through the mind. And we waited.

But the tension was unbearable now. The urge was to rush back home, but in the absence of an explanation, the apprehension of the consequences did not allow us to move. First time in the long years of tiny experiences, we were facing a helpless situation, the CPUs of mind were primitive and no conclusive directions were forthcoming.

Finally, we saw a ray of hope. We espied a senior student of our school, walking towards our bus stop. This person used to board from the next stop on the route, about half a mile ahead. He came, he declared, and we conquered. 😀 😀

He informed us that the bus would not be coming that day, since the school had declared a holiday. So head back home and take a day off. Whoosh. . . the mounds of stones of uncertainty were suddenly lifted, a new energy seemed to flow now, in place of the helpless limbo. I am very very sure, all would have had this ‘Whoosh’ experience sometimes in school life – an unexpected holiday announcement. It was like ‘छप्पड़ फाड़ के’ – I am using this phrase in hind sight. Of course I was not aware of this phrase or its implications at that time.

Then one of us had the curiosity strong enough to ask, what happened, why this unannounced holiday. The senior was not very sure himself. He said his father had called the school, and the school had announced the holiday – it was because of the moon landing. Totally bewildered with this information the tiny brains could not process, we externally expressed relief and happiness, lugged the bags over the shoulders once again, and walked back home.

It was almost one hour after the bus time, and of course the parents were totally surprised to see me back at the doorway. Dad asked what was the matter. And I recounted in brief, about the wait, the senior student, the information about the holiday announcement and moon landing. Dad started to laugh. He had already known about this news – well he was part of the editorial team that published the morning paper. So he already had the information about the event in the late hours of the previous night. But there was no news in the papers about the school holidays. So then he ventured to confirm – went to another neighbor’s place to make a call to the school. We did not have a phone at home in those times. He returned after a few minutes, and his smile confirmed the announcement, and laid to rest any apprehensions, that I would be held to fault, for making up such tall story.

I asked him, and he explained, quite lucidly of course – he had prepared the news story for print just a few hours prior. But much of that did not register into the brain. The moon landing, Apollo 11, US spacecraft, Neil Armstrong – some key phrases stuck in the mind. I took up the newspaper and read through the story. The quantum and the quality of significance did not sink in then. But yes, this idea did sink in very earnestly that the event that happened was some towering, huge, first of its kind accomplishment by USA. In the later years, as my interest grew in scientific topics, I would come to realize the depth of significance and importance of this huge event. The man had landed on another celestial body for the first time in the history (known history??) of the mankind. Yes, it was huge.

On 25th May, 1961, John F Kennedy, the then US President, made this proposal to the US Congress, to land a man on the moon before the end of the decade. Of course, the objective was achieved on 20th July, 1969.

And so the event, and its earth shattering significance has stayed with me now, for all these years – all because the schools declared a holiday that day – to celebrate this towering achievement of the human race. The man had reached the moon, and the school was closed in celebration.

Today, we are celebrating the 50th anniversary of that accomplishment. Over the past 50 years, the science of astronautics, and the technology had progressed by leaps and bounds. But the ‘man on the moon’ event has this envious and non-duplicate-able quality about it – what more to say. The US scientists and NASA took almost 8 years to accomplish the target that their famous president had set for them. Long before that, the Indian cinema had already responded with the film ‘Rocket Girl’, in 1962, and with this humorous and lilting melody created by Prem Dhawan and Chitragupt.

Searching for an appropriate song for this celebration, I chanced to discover this fabulous gem of a song that has probably been considered lost and consigned to the deep. I tried to search for songs with reference to ‘chaand’. Another song from this film – “Na Jaane Chaand Kaisa Hoga” – is an iconic, popular hit song that is already posted on the blog. When I read the words of the mukhda of this, I was very curious to search and pull out this song, because the mukhda kind of hints at traveling to the moon. With some time spend, I am able to locate this song in my collection. As far as I could check online, this song is not yet available. So I prepared and uploaded this song, and here am presenting it for this celebration today.

Listening this song, I am so surprised that this song has remained obscure all these years. A vintage Chitragupt melody that takes the listener on a journey of lilting extravaganza – so beautifully tuned and so exquisitely arranged. The humming composition simply is not getting out of my mind at this time – the lady wants to travel to the land of the moon and have a romance amongst the stars, and gentleman is not at all convinced that they would reach there alive. 🙂  The words of the song are so interestingly crafted – it is a veritable treat to listen to.

‘Rocket Girl’ is a film from 1962, produced under the banner of Film Sansar, Bombay and is directed by Nanabhai Bhatt. The cast of actors is listed as Naaz, Sudesh Kumar, Jagdish Raj, Nilofer, Kanchanmala, Brahm Bhardwaj, Genius, Lal Bahadur, Mohammad Bhai, Ameer, Sandow, Shafi, Shammi, and Bhagwan Dada. Six songs are listed for this film, all from the pen of Prem Dhawan, with wonderful music compositions coming from the mind of Chitragupt.

I have no idea whether this film is about space travel, and visit to the moon. Listening to the two songs, it appears that his film is about space travel, I request our more knowledgeable readers to add more information about this film.
[Ed Note: Details about the film ‘Rocket Girl’ have already been posted by Arun ji, our in-house encyclopedia, with the earlier posted song of this film – “Na Jaane Chaand Kaisa Hoga”. The same are also available at Atul Movies – Rocket Girl (1962). Thanks to Aero Survey for this reminder.]

Fifty years of moon landing – and a surprisingly wonderful song to go along with – enjoy.

 

Song – Aa Ja Chalen Piya Chaand Waale Des Mein  (Rocket Girl) (1962) Singer – Suman Kalyanpur, Manna Dey, Lyrics – Prem Dhawan, MD – Chitragupt

Lyrics

aa ja chalen piya chaand waale des mein
taaron mein hum jaa ke pyaar karenge
aa ja chalen piya chaand waale des mein
taaron mein hum jaa ke pyaar karenge
teri kasam wahaan khair nahin jaan ki
marna hi hai to yahin pe marenge

basti nai sitaaron mein basaayenge
gaye jo wahaan palat ke naa aayenge
basti nai sitaaron mein basaayenge
gaye jo wahaan palat ke naa aayenge
aisi baaton se hum nahin darenge
na na na na
teri kasam wahaan khair nahin jaan ki
marna hi hai to yahin pe marenge
oo oo oo
aa ja chalen piya chaand waale des mein
taaron mein hum jaa ke pyaar karenge

jhoothe hain sabhi ye kisse chaand waand ke
le chaloon tujhe main zulfon mein baandh ke
jhoothe hain sabhi ye kisse chaand waand ke
le chaloon tujhe main zulfon mein baandh ke
jaao akele hum aahen bharenge
na na na na
aa ja chalen piya chaand waale des mein
taaron mein hum jaa ke pyaar karenge
oo oo oo
teri kasam wahaan khair nahin jaan ki
marna hi hai to yahin pe marenge

kehte the tumhin
sitaare doonga tod ke
honge meri jaan
ye waade kisi aur ke
mil ke jiye hain mil ke hi marenge
na na na na
teri kasam wahaan khair nahin jaan ki
marna hi hai to yahin pe marenge
oo oo oo
aa ja chalen piya chaand waale des mein
taaron mein hum jaa ke pyaar karenge
oo oo oo
teri kasam wahaan khair nahin jaan ki
marna hi hai to yahin pe marenge. . .

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

आ जा चलें पिया चाँद वाले देस में
तारों में हम जाके प्यार करेंगे
आ जा चलें पिया चाँद वाले देस में
तारों में हम जाके प्यार करेंगे
तेरी क़सम वहाँ खैर नहीं जान की
मरना ही है तो यहीं पे मरेंगे

बस्ती नई सितारों में बसाएँगे
गए जो वहाँ पलट के ना आएंगे
बस्ती नई सितारों में बसाएँगे
गए जो वहाँ पलट के ना आएंगे
ऐसी बातों से हम नहीं डरेंगे
ना ना ना ना
तेरी क़सम वहाँ खैर नहीं जान की
मरना ही है तो यहीं पे मरेंगे
ओ ओ ओ
आ जा चलें पिया चाँद वाले देस में
तारों में हम जाके प्यार करेंगे

झूठे हैं सभी ये किस्से चाँद वांद के
ले चलूँ तुझे मैं ज़ुल्फों में बांध के
झूठे हैं सभी ये किस्से चाँद वांद के
ले चलूँ तुझे मैं ज़ुल्फों में बांध के
जाओ अकेले हम आहें भरेंगे
ना ना ना ना
आ जा चलें पिया चाँद वाले देस में
तारों में हम जाके प्यार करेंगे
ओ ओ ओ
तेरी क़सम वहाँ खैर नहीं जान की
मरना ही है तो यहीं पे मरेंगे

कहते थे तुम्हीं
सितारे दूँगा तोड़ के
होंगे मेरी जान
ये वादे किसी और के
मिल के जिये हैं मिल के ही मरेंगे
ना ना ना ना
तेरी क़सम वहाँ खैर नहीं जान की
मरना ही है तो यहीं पे मरेंगे
ओ ओ ओ
आ जा चलें पिया चाँद वाले देस में
तारों में हम जाके प्यार करेंगे
ओ ओ ओ
तेरी क़सम वहाँ खैर नहीं जान की
मरना ही है तो यहीं पे मरेंगे


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 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 : 4008 Post No. : 15114

If someone pops up the name Jethalal, and asks for an identification, I am sure you will be puzzled to start with. Yes, surely a strange name, that many of the folks interested in Hindi films, will not be familiar with. This name belongs to the dear and popular actor of Hindi films – Sanjeev Kumar. His full real name was Harihar Jethalal Jariwala. Ah yes, now very familiar, right? 🙂

Remembering Sanjeev Kumar on the anniversary of his birth today. Had he been alive, he would have been 81 years old, having been born in the year 1938.

Sanjeev Kumar – an out and out product of stage and theatre, started his acting career at a very young age with IPTA (Indian People’s Theatre Association) and later continued with Indian National Theatre. He was born in Surat. The family moved to Bombay when he was young. After attending a training program at a local acting school, he joined the theatre while still in his late teens.

From the theatre, the progression to films was but natural for a performer as talented as he was. His first appearance was in the film ‘Hum Hindustani’ of 1960, in which he played a very small role. His first film as a hero was ‘Nishaan’ in 1965. For a few years his assignments were confined to C grade stunt and fantasy films. Then he 1968, he graduated into A grade cinema, with a sizeable role the 1968 film ‘Sunghursh’, alongside the likes of Dilip Kumar, Balraj Sahni, Iftekhar, Ulhas and Jayant. This year became a turning point in his career – ‘Raja Aur Runk’ became a runaway success, and ‘Anokhi Raat’ became the debut film of our blog. 🙂

The most powerful thing about Sanjeev Kumar’s performances has been that he never allowed himself to be typecast into any straitjacket. Whatever may have been the stage of his career, he willy nilly took such diverse variety of roles, regardless of the age and the temper of the character. When he was just 22, he played the role of a 60 year old in a stage play, father of 6 children. Positive or negative, he was simply concerned with a sincere portrayal. In ‘Anokhi Raat’ he plays the role of a dacoit. His comic roles are unforgettable – ‘Seeta Aur Geeta’, ‘Pati Patni Aur Who’, ‘Manchali’, ‘Angoor’, ‘Namkeen’, ‘Manoranjan’ . . . you name it. The diversity and the versatility of his performances is what brought the audiences into the cinema halls, just to see his roles. And for a surprising change, the viewing public never rejected him for his variety,

Today’s song is from the 1967 film ‘Gunehgaar’. From the era when he was still in the C grade stunt and crime thrillers, ‘Gunehgaar’ is the film in which he plays the role of an upright police inspector. His love interest is Kumkum, who later turns out to be the daughter of Sheikh Mukhtar, a wanted gangster. The film takes certain interesting and predictable turns, given the specifics of the relationships, and it ends with note of ‘All Is Well, That Ends Well’.

The film is produced under the banner of Simla Productions, and is directed by R Thakar. The cast of actors includes Sheikh Mukhtar, Sanjeev Kumar, Kumkum, Bhagwan, Madan Puri, Uma Dutt, Neelam, Nandini, Tuntun, Sulochana Chatterjee, Lakshmi Chhaya, Kundan, Dilip Dutt, and Tiwari.

The film has six songs, one of which – “Aankhen Pyaasi Lab Hain Pyaase” is already showcased here on our blog. The songwriting credits are shared equally between Akhtar Romani and Naqsh Lyallpuri. This song is from the pen of Naqsh Lyallpuri. Music direction is by Vedpal.

The song comes in at the start of the romantic relationship between Sanjeev Kumar and Kumkum – it is that initial getting to know each other type of song, performed partly on a beach and partly in a garden. Singing voices are Mahendra Kapoor and Usha Mangeshkar. A liltling and a very hummable song. Listen and enjoy.


Song – Nai Nai Hain Manzilen Naye Naye Hain Raaste (Gunehgaar) (1967) Singer – Mahendra Kapoor, Usha Mangeshkar, Lyrics – Naqsh Lyallpuri, MD – Vedpal
Mahendra Kapoor + Usha Mangeshkar

Lyrics

nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste

nai nai hain manzilen
naye naye hain raaste
ho chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen

aaaa aaaaa aaaaaaa
aaaa aaaaa aaaaaaa

ik chaand humsafar mila
kitni haseen baat hai
wo haath khushnaseeb hai
jis mein tumhaara haath hai
hum aaj is tarah miley
dil ki haseen raah mein
laakhon hi chaand ho gaye
roshan meri nigaah mein
tamaam kaayenaat aa gai
meri panaah mein
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen

aaaaa aaaa aaaaaa aaaa
aaaaa aaaa aaaaaa aaaa

jhukti hui nigaah mein
meri wafaa ka raaz hai
naghma bani hain dhadkanen
dil mera ek saaz hai
dekha jo tum ne pyaar se
har phool muskura diya
mehki hui bahaar ne
sajde mein sar jhuka diya
nisar mein us husn ke
jis ne khuda bhula diya

nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen

aaaaa aaaa aaaaaa aaaa
aaaaa aaaa aaaaaa aaaa

ooooo oooo oooooo oooo
ooooo oooo oooooo oooo

hmmmm hmmm hmmmmmm hmmm
hmmmm hmmm hmmmmmm hmmm

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

नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते

नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें

आsss आssss आssssss
आsss आssss आssssss

इक चाँद हमसफर मिला
कितनी हसीन बात है
वो हाथ खुशनसीब है
जिस में तुम्हारा हाथ है
हम आज इस तरह मिले
दिल की हसीन राह में
लाखों ही चाँद हो गए
रोशन मेरी निगाह में
तमाम कायनात आ गई
मेरी पनाह मेँ
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें

आssss आsss आsssss आsss
आssss आsss आsssss आsss

झुकती हुई निगाह मेँ
मेरी वफा का राज़ है
नग़मा बनी हैं धड़कनें
दिल मेरा एक साज है
देखा जो तुमने प्यार से
हर फूल मुस्कुरा दिया
महकी हुई बहार ने
सजदे मेँ सर झुका दिया
निसार मैं उस हुस्न के
जिसने खुदा भुला दिया

नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें

आssss आsss आsssss आsss
आssss आsss आsssss आsss

ओssss ओsss ओsssss ओsss
ओssss ओsss ओsssss ओsss

हम्ममम हम्म हम्मममम हम्म
हम्ममम हम्म हम्मममम हम्म


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4002 Post No. : 15103 Movie Count :

4147

Today’s song is from film ‘Jeena Seekho’ (1946). The film was made by Prabhakar Pictures, Bombay, which belonged to Bhalji Pendharkar, the elder brother of Baburaao Pendharkar – the hero of this film. Pendharkar brothers were quite big names in Maharashtra for film making. In fact, the whole clan of Pendharkar was connected with other famous people from film line, like Master Vinayak and V.Shantaram. Let us see how.

Bhal ji Pendharkar (Bhalchandra Gopal Pendharkar) was the son of Dr.Gopal Pendharkar, the Royal Physician of Shahu Maharaj of Kolhapur state and his partner Radhabai. Dr. Gopal was already married to another lady. This couple gave birth to Bhalji and Baburao Pendharkar. Their mother Radhabai left Dr. Gopal Pendharkar and married Damodar Karnataki. They had two sons – Master Vinayak, the famous actor, director, producer and a studio owner (also father of Baby Nanda), and his brother Vasudev – who became a Cameraman. Kamalabai, the younger sister of Radhabai married Rajaram Vankudre and they had 2 sons – V.Shantaram, famous actor, director, producer and a studio owner and his brother V Avadhoot – equally famous cinematographer.

Thus all the stalwarts were related to each others and everyone of them made a name in the film industry – both Hindi and Marathi.

Baburao Pendharkar had an illustrious career in films. He worked in different capacities, acted in Marathi and Hindi films and even directed a Tamil film. As per the entry in The Encyclopedia of Indian Cinema, by Rajadhyksha and Willeman,

Baburao Pendharkar (1896-1967) was a pioneer Marathi actor and producer born in Kolhapur. Actor-manager of Maharashtra Film (1919); then a manager in Prabhat (1929); manager and main star at Kolhapur Cinetone (1933) and for several years associated with Master Vinayak at Hans Pics (1936) and Navyug Chitrapat; then producer with Navhans (1943). Best-known work after the mid-40s was with V. Shantaram at Rajkamal Kalamandir, including the classic role of the Chinese general in ‘Dr Kotnis Ki Amar Kahani’ (1946), and with his brother, the director Bhalji Pendharkar. Noted actor as a villain in mythologicals (e.g. in Shantaram’s ‘Ayodhyecha Raja / Ayodhya Ka Raja’ (1932), Kans in Vasant Joglekar’s ‘Nand Kishore’ (1951), and Keechaka in Pethkar’s ‘Keechaka Vadha’ (1959)) and for character roles in socials by Atre (the crotchety grandfather in ‘Shyamchi Aai’ (1953); the title role in ‘Mahatma Phule’ (1954)). Directed Prabhat’s only major Tamil film, ‘Seeta Kalyanam’, a landmark in Tamil cinema. Also a noted stage actor. His autobiography (1961/1983) is also an important record of Marathi film history. From ‘Jalti Nishani’ (1932) to ‘Amrapali’ (1966), he worked in 69 films in all.

The music for the film Jeena Seekho was given by Pt. Hanuman Prasad (Sharma) aka HP Sharma. To my mind the name Hanuman creates an image of a Pehelwan (wrestler). When I was in school and college in the 50’s decade, there was a craze of wrestling shows all over India. Many big names like King Kong, Hercules, Phantom, The Masked Man, Zorawar Singh, Gama-Gunga and many other unspellable names from Europe and Middle East came to India to show their wrestling prowess to an excited gallery of thousands of people in big stadiums.

It was during this period, Dara Singh won many wrestling matches. He had a record of not losing a single match in his entire wrestling career. Then he entered films.  I saw a Dara singh and King Kong wrestling match in Fateh Maidan stadium in Hyderabad. Guru Hanuman’s akhada in the North India was very famous. I also remember that there was a woman wrestler named Hamida Banu and that she had defeated many male wrestlers.

However, this Hanuman Prasad was not a wrestler. He was actually a very soft spoken, good natured person. He was a multi faceted artiste. Besides giving music to 18 films, he had acted in a film ‘Aasuon Ki Duniya’ (1936); wrote lyrics in films – ‘Gaali’ (1944), ‘Rasilee’ (1946), ‘Jasoos’ (1947) and ‘Saudagar’ (1951); directed a film – ‘Rasilee’ (1944) and even sang a song in this film ! Apart from this, he was a qualified Kathak dancer. Due to his expertise in music, he was called Pt Hanuman Prasad and due to his excellence in dancing, he was called Ustad Hanuman Prasad !

He was born in 1920 at Sujangarh in Rajasthan . He attained proficiency in music and dance. He came to Bombay and started teaching dance and music in the music school run by Pt Gouri Shankar in Hindu colony, Dadar. One day he heard the singing of a young girl, who lived with her family in top floor of the same building as his. This you girl was Geeta Roy. Attracted by her voice he met her father Devendra Roy Chaudhuri and requested him to allow her to sing in his film. He gave her one line each in 4 songs, in the chorus. Only two of these are now available. Though she was uncredited, her voice is identifiable in those songs. The rest is history – as they say. Hanuman Prasad thus engraved his name forever in the history.

He has one more claim to fame(?). He was the first husband of yesteryear actress AMBU aka Lalita Pawar. She divorced him later and married GP Pawar. She divorced him also and finally married Gupta – a producer.

First time, he gave music in the film ‘Chowringhee’ (1942). In this film his co-MD was Kazi Nazrul Islam – Bengal’s revolutionary poet and writer. HP composed 11 songs, whereas Kazi Nazrul Islam composed and wrote 2 songs. HP was impressed with Sajjad Hussain, who was a struggler at that time. Sajjad’s mastery over a number of instruments mesmerised HP and he took Sajjad as his assistant. HP also gave a break to Sajjad Hussain in film ‘Gaali’ (1944), in which Sajjad composed 3 songs and HP composed 9 songs.

HP was an expert in classical music, which he used in ‘Draupadi’ (1944), a film made by Baburao Patel (of magazine Film India fame) for his wife Susheela Rani. She sang 9 solo songs in it. She had also acted in it. The film was a flop.

The films of HP were , ‘Chowringhee’ (1942), ‘Ismat’ (1944), ‘Gaali’ (1944), ‘Draupadi’ (1944), ‘Rasilee’ (1946), ‘Nai Maa’ (1946), ‘Jeena Seekho’ (1946), ‘Bhakta Prahlad’ (1946), ‘Jasoos’ (1947), ‘Middle Fail’ (1948), ‘Hip Hip Hurray’ (1948), ‘Jannat’ (1949), ‘Daulat’ (1949), ‘Chilman’ (1949), ‘Bhool Ka Shikar’ (1950), ‘Apni Chhaaya’ (1950), ‘Saudaagar’ (1951) and ‘Usha Kiron’ (1952).

HP’s music was outdated in the new decade. He realised it and gave up this line. He spent all his time in teaching dance and music to students. He was a Saibaba devotee. Hanuman Prasad died in 1972 in Bombay.
(Adapted from an article in book ‘Rahen na rahen hum’ by Shantaram Mankikar and ‘Yadon ki Baraat’ by Shirish Kanekar, with thanks).

Today’s song is sung by my favourite singer – Saraswati Rane (real name Sakina Bi aka Chhotu Tai). Born on 4-10-1916, she was the youngest daughter of legendary Maestro of Kirana Gharana, Ustad Kareem Khan and Tarabai Maane. Her siblings in music fields were Suresh Babu Maane (real name Abdul Rehman) and Hirabai Badodekar (real name Champakali). She was one of the finest ever singers in India. She cut more than 200 records of classical singing. She won many awards too.

As per HFGK, her name appears for 26 songs in 11 films. However, she sang many more film songs, for which her name does not appear in HFGK, for whatever reasons. An example is today’s song, which is not credited in HFGK to anyone. It is thanks to the uploader, music expert and reputed collector Shri Girdharilal Vishwakarma ji (of Jodhpur), who provided the names of singer and the lyricist (Veer Mohammed Puri – what a strange name !). Singer Saraswati Rane died on 10-10-2006. She was the last of the children of Ustad Kareem Khan. I have not repeated her bio data as it was already given in 2015, in my write up for the song “Uhoon Uhoom Shikaar Na Khel“.

When you listen to this song, you will realise how an ordinary tune and music sounds sweet and melodious with Saraswati Rane’s singing. With this song, the film ‘Jeena Seekho’ of 1946 makes its debut on the blog.

 

Song – Sansaar Banaane Waale, Aisa Sansaar Bana De Re (Jeena Seekho) (1946) Singer – Saraswati Rane, Lyrics – Veer Mohammed Puri, MD – Hanuman Prasad

Lyrics

sansaar banaane waale
sansaar banaane waale
aisa sansaar bana de
bana de
bana de re
sansaar banaane waale
sansaar banaane waale
aisa sansaar bana de
bana de
bana de re

ik prem bhari duniya ho
ik prem bhari duniya ho
ik hulka phulka mann ho
ik hulka phulka mann ho
armaanon mein jeevan ho
armaanon mein jeevan ho
halka sa
halka sa ?? ?? ho
halka sa ?? ?? ho
main hoon mera saajan ho
main hoon mera saajan ho
aur gaada sa bandhan ho
us bandhan ke dhaagon mein
pyaara sa pyaar bana de
bana de
bana de re
sansaar banaane waale

mann saajan ki godi mein
mann saajan ki godi mein
aasha ?? ?? jagi ho..oo..oo
oo..oo..oo
meethe meethe
meethe swar mein
meethe meethe
meethe swar mein
sukh ki veena bajti ho..oo..oo
sukh ki veena bajti ho..oo..oo
duniya ho
duniya ho kar matwaali
duniya ho kar matwaali
preetam preetam bhajti ho
preetam preetam bhajti ho
us veena ke taaron mein
us veena ke taaron mein
aisi ?? bana de
bana de
bana de re
sansaar banaane waale
aisa sansaar bana de
bana de
bana de re
sansaar banaane waale

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

संसार बनाने वाले
संसार बनाने वाले
ऐसा संसार बना दे
बना दे
बना दे re
संसार बनाने वाले
संसार बनाने वाले
ऐसा संसार बना दे
बना दे
बना दे re

इक प्रेम भरी दुनिया हो
इक प्रेम भरी दुनिया हो
इक हल्का फुल्का मन हो
इक हल्का फुल्का मन हो
अरमानों में जीवन हो
अरमानों में जीवन हो
हल्का सा
हल्का सा ?? ?? हो
हल्का सा ?? ?? हो
मैं हूँ मेरा साजन हो
मैं हूँ मेरा साजन हो
और गाढ़ा से बंधन हो
उस बंधन के धागों में
प्यारा सा प्यार बना दे
बना दे
बना दे रे
संसार बनाने वाले

मन साजन की गोदी में
मन साजन की गोदी में
आशा ?? ?? जगी हो॰॰ओ॰॰ओ
ओ॰॰ओ॰॰ओ
मीठे मीठे
मीठे स्वर में
मीठे मीठे
मीठे स्वर में
सुख की वीणा बजती हो॰॰ओ॰॰ओ
सुख की वीणा बजती हो॰॰ओ॰॰ओ
दुनिया हो
दुनिया होकर मतवाली
दुनिया होकर मतवाली
प्रीतम प्रीतम भजती हो
प्रीतम प्रीतम भजती हो
उस वीणा के तारों में
ऐसी ?? बना दे
बना दे
बना दे रे
संसार बनाने वाले
ऐसा संसार बना दे
बना दे
बना दे re
संसार बनाने वाले


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 :

3948 Post No. : 15023 Movie Count :

4118

Missing Films of 1960s – 106
– – – – – – – – – – – – – – –

Today, we bring on board the 1968 film ‘Balram Srikrishna’. We are now down to some of the most obscure films on this list of pending films of 1960s. However, the film itself is available, and the video clip of this song is uploaded. As the name suggests, it is a mythological / historical film based on our scriptures. It depicts some of the episodes from the stories related to the Sri Krishna avataar of the Supreme Lord. And Balram is the name of the elder brother of Sri Krishna in this incarnation.

The film is produced under the banner of Joy Films, Bombay and is directed by Chandrakant. The star cast listed for this film is very very impressive – Dara Singh, Shahu Modak, Premnath, Nana Palsikar, Randhawa, Azad, Ashish Kumar, Gemini Ganesh, Prithviraj, Savitri, Jaishri Gadkar, Geetanjali, Madhumati, Bela Bose, Padma Rani, Sushma, Uma Khosla, Aruna Irani, Sulochana Chatterjee, Babu Raje, Sherry, BM Vyas, Anand Joshi, Arvind Pandya, Bhale Rao, Radheshyam, and Pal Sharma.

There are nine songs listed for this film. All songs are from the pen of Kavi Pradeep. The music composition is by C Ramchandra. This song is rendered by Asha Bhosle, supported by a chorus of voices.

On screen this song is performed by Geetanjali, accompanied by a group of sahelis. I have not seen this film, but my intuition tells me that Geetanjali is playing the role of Rukmani, the daughter of Bhishmaka, the king of Vidarbha. As per the descriptions in the Puranas, Rukmani is the incarnation of Goddess Lakshmi. In this incarnation, she is born on this earth as the daughter of Bhishmaka. At a young age, she learns about Lord Krishna, His beauty and His virtues. She starts to love Him in Her heart, and takes a vow that She would be married only Him. As is logical even, for Goddess Lakshmi cannot be betrothed to anyone other than the Supreme Lord Vishnu himself, because they are the Eternal Couple.

The later part of the stories tell about how Her brother Rukmi announces Her betrothal to Shishupal, the crown prince of Chedi. This is to please Jarasandh, the King of Magadh. Jarasandh is a sworn enemy of Krishna, as he is the father-in-law of King Kamsa of Mathura, whom Krishna had slain in hand-to-hand combat. The detailed stories are quite intricate. Suffice to say that Rukmini becomes aware of Rukmi’s plans to get Her married to Shishupal. Having made a personal vow to Herself, that She would marry Krishna only, She sends a message to Him through a brahmin. On receiving the message, Krishna, who is now the King of Dwarka, sets out in His chariot to reach Vidarbha at the earliest. Balram, His elder brother, follows him with the army, quite correctly anticipating trouble, when Krishna would reach Vidarbha.

Bhishmaka, Rukmani’s father, is in favor of his daughter marrying Krishna, but is helpless in the face of Rukmi’s arrogant insistence. On the morning of the wedding day, Rukmani goes to the temple for prayers. Krishna is waiting there, all set with His chariot and horses. They elope from the temple, and start Their journey towards Dwarka. When Rukmi learns about this elopement, gathers his army and sets out in chase of the fleeing Couple. The two armies catch up. While Balram with his army vanquishes the army of Rukmi and Jarasandh, Krishna engages in a duel with Rukmi and defeats him. He is just going to behead him, when Rukmani begs that Her brother be forgiven. Krishna relents and spares Rukmi’s life.

As mentioned earlier, the complete description is very detailed and intricate. Only a brief summary has been presented above to establish the context. This song, from the lyrics and the performance, is most likely from the time when Rukmani has realized Her love for Krishna in Her heart, and She is pining to meet Him and see Him. The verses tell of the depth of Her anxious eagerness to meet Him.

A very melodious song, that I have heard for the first time, as I prepare for this post. A lost gem that should have been better known. Listen and enjoy.

Song – Jis Ki Sohni Hai Soorat, Mann Mohini Hai Moorat  (Balram Srikrishna) (1968) Singer – Asha Bhosle, Lyrics – Kavi Pradeep, MD – C Ramchandra
Chorus

Lyrics

aa aaa aaaa aaaaa

koi bata do
pata piya ka
kahaan mera chit chor
main wo prem deewaani
jis ka preetam
nand kishore

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

door disha mein muraliya boley
taan taan par jiya mera doley
door disha mein muraliya boley
taan taan par jiya mera doley
muraliya boley
jiyara doley
jis ka naam bansi waala
jis ne chhup chhup jaadu daala
aise natkhat se mere kab ladenge nayan
aise natkhat se mere kab ladenge nayan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
aayenge sainyaan
pakdenge bainyaan
jin ka sunder hai badan
jin ka roop mann mohan
aise prabhu mujhe denge kab darshan
aise prabhu mujhe denge kab darshan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
baadal chhaate
yaad wo aate
jis ko maana mann hi mann
maine apna jeevan dhan
aise piya ji ki main kab banungi dulhan
aise piya ji ki main kab banungi dulhan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

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

आ आss आss आssss

कोई बता दो
पता पिया का
कहाँ मेरा चित चोर
मैं वो प्रेम दीवानी
जिसका प्रीतम
नन्द किशोर

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
मुरलीया बोले
जियरा डोले
जिसका नाम बंसी वाला
जिस ने छुप छुप जादू डाला
ऐसे नटखट से मेरे कब लड़ेंगे नयन
ऐसे नटखट से मेरे कब लड़ेंगे नयन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
आएंगे संईयां
पकड़ेंगे बंईयां
जिनका सुंदर है बदन
जिनका रूप मन मोहन
ऐसे प्रभु मुझे देंगे कब दर्शन
ऐसे प्रभु मुझे देंगे कब दर्शन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
बादल छाते
याद वो आते
जिसको माना मन ही मन
मैंने अपना जीवन धन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन


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 : 3923 Post No. : 14989

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Atul Song-A-Day 15K Song Milestone Celebrations – 2
– – – – – – – – – – – – – – – – – – – – – – – – – – – –

Welcome all to this special occasion where we are now celebrating Fifteen thousand song-posts on the blog!!!  My heartiest congratulations to Atul ji, Sudhir ji and our respected senior and other team members on the blog and to all of our readers and well-wishers of this blog.

Well, my ‘love story’ (‘Prem Kahaani’, pehle ‘affair’ likhnewaala tha, phir ‘relationship’, phir thhik karke ‘love story’ likha  🙂 ) with this blog started around 2009 and it was because of Sahir Saab’s song ‘Dil Karta O Yaara Dildaara Mera Dil Karta’ (which I was looking because it was in my memory and nostalgic for me). So, thanks are very much due to Sahir Saab and I thank him for that. (I am sure he is accepting it there 🙂 )

My first comment was also on a song penned by Sahir Saab ‘Kashti Ka Khamosh Safar Hai’ – that was in 2009. Still, it took me three years more to become a contributor on this blog which happened in 2012.

How much I loved this blog and how HFM was my hobby earlier and became a passion later, and how HFM and this blog became an important part of my life thereafter, has been mentioned by me in few of my other posts on the blog. So, I will not go into more details on that. Rather I would like to write what I have not said earlier.

I came into writing when I was studying into eighth standard and my first article was published from a district newspaper from Akola then. It was an article about Chetan Chauhan when he was dropped from the playing side of India in test cricket. After that few more articles, all on cricket, were published in the same newspaper that time. Simultaneously after that I was approaching tenth standard and the board examinations, but still cricket was always on top in my mind. I did send few articles to the popular magazines in circulation then, but they were returned with some suggestions to me and that gave me a learning on how to plan and arrange the articles.

However, everything changed after I passed out matriculation and joined vocational subjects in eleventh instead of the subjects I liked most i.e. ‘Arts’. I have mentioned that journey on the blog in this article here. And during these two years I was more on movies and cricket and so as expected I failed in the examination. After that I joined a construction company and start working there and continued to working after that.

Now between all these years i.e. 1985 to 2009 I was working and continuing with my hobby of collecting cassettes, watching movies, listening music. And that was the biggest recreation and motivation for me during all those years. It so happened in 2009 that my close friends working in the same company with me in Kachchh but in different units/departments, push me to take up writing and that is how I started my blog and after that my younger daughter who used to write regularly became a part of that blog.

So finally the circle came to round and life brought me back to my passion of writing after a gap of almost twenty-seven years. And when I came into contact with this blog and started sending my contribution for lyrics earlier in 2012 I thought to give a try for writing articles and my first article appeared on the blog in 2013.

When I became a lyric contributor to the blog, that was my ‘new birth’ and at that point, life started again for me with new purpose, new energy, inspiration and motivation. And all these factors – purpose, energy, inspiration, motivation, celebration, and nostalgia keep growing further as my journey with the blog has been continued and still going …

Many childhood memories of watching movies, of songs from movies of yesteryears, keep surfacing and it was like one memory triggering other memory and bringing close to its related vague memories of those beautiful years. I started getting connected to many incidences which were lying dormant in my memory or which I had forgotten. And, I must say that since coming into the contact with the blog and specially after having HFGK Vol-V (1971-1980) when I started sharing song posts of songs with the seventies, I had been transformed to that era only when my age was growing between eight to fifteen years.

In my circles whenever someone asks my age, I always used to tell them that ‘I am only seventeen years old and do not to grow more than that’. But the blog has reduced my age between eight-fifteen and I keep shuffling in that ‘age-era’ only i.e. if I considered up to 1983. And if I considered up to 1980 then my age is twelve years only.

I think I have also mentioned this earlier that finding this blog and being a part of this was a feeling like ‘this was the destination of my life’ and ‘all these years of life I was alive for this purpose only’. Always feeling fortunate and blessed to be a part of this journey and a member of this team …

Meeting some of the team members and seniors in the group during the ‘gang-outs’ has given many unforgettable memories and those are the most cherished moments of my life. And it is going to continue in future too 🙂 . The joy from discussions during such meetings and sharing of thoughts also cannot be expressed in words. And most importantly during such meetings I also got a chance to meet many respected and dedicated ‘like-minded peoples’ who in their own capacity are not less than a ‘encyclopaedia’ about yesteryears Hindi films and Hindi film music.

Thanking again to Atul ji and all other members and this wonderful blog. . . I am trying to express my feelings in the following ‘poem’;

उन यादों को, उन किस्सों को,
उस कहानी को,
शायद इसी दिन के लिए संभाला था
मन गुंजन करता ये भंवर
शायद इसी पल के लिए बेताब था

 दिल का ये भंवर
नादान ही तो था
कुंज कुंज करता गुंजन
भीतर भीतर बेचैन था
मिले जो आप तो ये चहकने लगा
सुरीली यादें बिखेरने लगा
बचपन फिर से मुस्काया
जवानी ने जैसे ली अंगडाई
एक कहानी को मंजिल मिली
कुछ यादों को भूली हुयी तारीख मिली
कुछ किस्सों को एक पड़ाव मिला
तन्हाई को एक महफ़िल मिली
साथी नए नए मिले
सुरीले सफ़र का कारवां मिला

 

And let us now enjoy the song with a vintage Kishore voice from the 1971 movie ‘Kal Aaj Aur Kal’. (Yes, the year of this movie is to be corrected as ‘1971’ on the blog and for the two posts already posted on the blog. Though in the second post one tag ‘songs of’ is correct i.e. ‘songs of 1971’)

‘Kal Aaj Aur Kal’ was directed by Randhir Kapoor for R.K. Films, Bombay. This was Randhir Kapoor’s first movie too and he was introduced or launched in style with also given direction of this movie. It was produced by Raj Kapoor.

It had Prithviraj Kapoor, Raj Kapoor, Babita, Narendranath, Roopesh Kumar, Achala Sachdev, David, Tiwari, Iftekhar, Abhi Bhattacharya, Vishwa Mehra, Sarita, Aarti, Asha Chandra, Shri Ram Shastri, Mansaram, Sumita Khurana, Pardesi, Uma Dutt, Rashid Khan, Mandhir Siyal, Prakash Mishra, Ranveer Raj, Ghanshyam Rohida and others.

Story, Screenplay and Dialogues of this movie were written by Virendra Sinha. Editing of this movie was done by S.R. Kabre. It was passed by Censor Board on 11.11.1971.

This movie has six songs penned by three lyricists – Hasrat Jaipuri (two songs), Neeraj (three songs) and Shaily Shailendra (one song). Music for this movie is composed by Shankar-Jaikishan. Asha Bhonsle, Kishore Kumar, Manna Dey, Mukesh, and Sharda had given their voices to the songs in this movie.

I think I have watched some part of this movie or may be the whole movie on TV or somewhere else, but I do not remember it now except I remember vaguely about its storyline. Knowledgeable readers may kindly throw more light on this movie and its songs please.

Two songs from this movie have already been posted on the blog earlier. And the today’s song is the third song of this movie being presented on the blog on the special occasion of ‘Blog’s 15k Songs Festival’ 😊

Today is also the 97th birth anniversary of songwriter Hasrat Jaipuri.


Song – Bhanwre Ki Gunjan Hai Mera Dil (Kal Aaj Aur Kal) (1971) Singer – Kishore Kumar, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Chorus

Lyrics

bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye

mujhe kab se thhi pyaar ki justaju
meri zindagaani mein hai tu hi tu
mujhe kab se thhi pyaar ki justaju
meri zindagaani mein hai tu hi tu
main aaya hoon duniya mein tere liye
mere dil mein jhoomein teri aarzoo
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye

tere liye
hmm hmm hmm
aa ha haa
hmm hmm hmm
tere liye
hmm hmm hmm
hmm hmm hmm

gagan se bhi ooncha mera pyaar hai
tujhi par mitoonga ye iqraar hai
gagan se bhi ooncha mera pyaar hai
tujhi par mitoonga ye iqraar hai
tu itna samajh le
mere humsafar
tere pyaar se mera sansaar hai
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye

bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye

hmm hmm hmm
he he he ae
hmm hmm hmm
ho ho ho ho

tiri ri ri ri ri ri ee ee ee
hmm hmm hmm
tudu du du du du oo oo oo
hmm hmm hmm
tiri ri ri ri ri ri ee ee ee
hmm hmm hmm
tudu du du du du oo oo oo

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-

भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए

भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए

मुझे कब से थी प्यार कि जुस्तजू
मेरी ज़िंदगानी में है तू ही तू
मुझे कबसे थी प्यार कि जुस्तजू
मेरी ज़िंदगानी में है तू ही तू
मैं आया हूँ दुनिया में
तेरे लिए
मेरे दिल में झूमें
तेरी आरज़ू 
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए

तेरे लिए
हम्म हम्म हम्म
आ हा हा
हम्म हम्म हम्म
तेरे लिए
हम्म हम्म हम्म
हम्म हम्म हम्म

गगन से भी ऊंचा मेरा प्यार है
तुझी पर मिटूंगा ये इक़रार है
गगन से भी ऊंचा मेरा प्यार है
तुझी पर मिटूंगा ये इक़रार है
तू इतना समझ ले
मेरे हमसफ़र
तेरे प्यार से मेरा संसार है

भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए

भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए

हम्म हम्म हम्म
हे हे हे ए
हम्म हम्म हम्म
हो हो हो हो

टीरी रि रि रि रि ई ई ई
हम्म हम्म हम्म

टुडू डू डू डू डू ऊ ऊ ऊ
हम्म हम्म हम्म
टीरी रि रि रि रि ई ई ई
हम्म हम्म हम्म
टुडू डू डू डू डू ऊ ऊ ऊ

 


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 :

3897 Post No. : 14941 Movie Count :

4081

Missing Films of 1960s – 97
– – – – – – – – – – – – – – –

Goodness, what a lovely duet this one is. The film is ‘Sampooran Teerath Yatra’ from 1970. I have heard of this film earlier, but never did get an opportunity to listen to its songs. As I planned to bring this film on board in this series, I was checking out the songs of this film. And when I played this duet, I am verily bowled over by the sweetness of this composition.

The film is produced by Roopesh Pictures, Bombay. Now this is a very interesting co-incidence that I notice. The previous song in this series, “Ae Aasmaan Waale Is Waqt Tu Kahaan Hai”, is from the film ‘Ziarat Gahe Hind’. As discussed in that write up, that film is a story of pilgrimage to the Muslim places of worship. Today’s film is a story of pilgrimage to the Hindu places of worship. And guess what, both are produced by the same company – Roopesh Pictures, Bombay. And both released in the same year – 1970. Very, very interesting. 🙂

The film ‘Sampooran Teerath Yatra’ is directed by Dhirubhai Desai. The cast of actors includes Sushma, Ashish Kumar, Jeevan, Niranjan Sharma, Anand Tiwari, SK Shukla, Sahu Modak, Lata Arora, Zeba, Radha, Rajshri, Pal Sharma, Vishnu Pandey, Hari Ram, Dalpat, Master Kukku, Vidya, Ramlal, Deenanath, and Dalda.

Geet Kosh lists 5 songs for this film. All the songs are written by Madan. The music is composed by Pt Shivram. The singing voices are of Mahendra Kapoor and Hemlata. On screen, the song is performed by Ashish Kumar and Sushma.

It appears to be a wedding night song. The couple is meeting for the first time in their private chambers. And they sing this duet of promises of love that go across the cycles of birth and death, and even transcends the aeons. It is such a beautifully constructed song, and has been equally charmingly rendered by Mahendra Kapoor and Hemlata. Mahendra ji is at his softest best – yes, actually in some places, the voice of Hemlata overshadows his voice.

A lovely song, a must listen.

Song – Hum Hain Tumhaare Tum Hamaare  (Sampooran Teerath Yatra) (1970) Singer – Mahendra Kapoor, Hemlata, Lyrics – Madan, MD – Shivram
Mahendra Kapoor + Hemlata

Lyrics

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

akaash pe chalta chaand
dhara pe chalti meri
prem kahaani re sainyyaan
ho oo oo morey sainyyaan
is yug se kya yug yug se hamaari
preet puraani
ho sajni
preet puraani
ho oo oo mori sajni
milan ki madhur ghadi phir se aai hai
aao ye waada kar len hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

chaahe laakh uthe toofaan magar
mera saath naa chhoote
ho sainyyaan
saath naa chhoote
ho oo oo morey sainyyaan
ye jag roothe to roothe magar
mera pyaar na roothe
dekho ji
pyaar na roothe
ho oo oo mori sajni
sajan is dukh sukh ki duniya mein reh kar
jeeyenge jab tak tum aur hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

oo oo oo oooo oo
oo oo oo oooo oo

mmm mmmm mmmmm mm
mmm mmmm mmmmm mm

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

आs आs आsssss आss
आs आs आsssss आss

आs आs आsssss आss
आs आs आsssss आss

हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

आकाश पे चलता चाँद
धरा पे चलती मेरी
प्रेम कहानी रे सैंया
हो ओ ओ मोरे सैंया
इस युग से क्या युग युग से हमारी
प्रीत पुरानी
हो सजनी
प्रीत पुरानी
हो ओ ओ मोरी सजनी
मिलन की मधुर घड़ी फिर से आई है
आओ ये वादा कर लें हम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

चाहे लाख उठे तूफान मगर
मेरा साथ ना छूटे
हो सैंया
साथ ना छूटे
हो ओ ओ मोरे सैंया
ये जग रूठे तो रूठे मगर
मेरा प्यार ना रूठे
देखो जी
प्यार ना रूठे
हो ओ ओ मोरी सजनी
सजन इस दुख सुख की दुनिया में रह कर
जिएंगे जब तक हम और तुम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

ओs ओs ओsssss ओss
ओs ओs ओsssss ओss

म्मम म्ममम म्मममम म्म
म्मम म्ममम म्मममम म्म


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 : 3897 Post No. : 14940

The Many Colors of Love #29 – The Covenants of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

kar le dil ka sauda dil se
dil milta hai mushkil se
(‘Yahudi Ki Ladki’, 1957)

The transactions of heart are bound, but by just one covenant – it is the treasures of heart in exchange only for treasures of heart. No other exchange is possible, no other exchange is expected, nothing else in this whole wide world can be traded for the treasures of heart. For those who may want to, or expect to transact this exchange for something else, then they do not understand the true meaning of love.

And this thought brings up this song today. The burden of this song reiterates this maxim –

deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

For the longest of time, I was under the impression that this song is already posted. And the reason for that is, that the song “Jhooth Bole Kauwwa Kaate” has been around on the blog for almost two years now. Being familiar with the film, one clearly remembers that these two songs are tandem songs, presented on screen one after the other – rather one flows into the next. Yes, true that Geet Kosh lists these two songs separately, but somehow in my mind, I have carried this impression that these two are a single song.

So when I posted the song by Narendra Chancalon 10th March (“Beshaq Mandir Masjid Todo“), and I reviewed the status of this film on our blog, I realized that this song is not yet posted – we are following the Geet Kosh convention. Since the day I have posted “Beshaq Mandir Masjid. . .”, it has been kind of an eagerness within, to see this movie yippeee’d here. Part of that is being surprised that songs of this film are not yet all on here.

This particular song is performed on screen by Premnath and Rishi Kapoor.  We are into about a third of the film. The two young hearts are now committed to each other, beyond any repair. Although not of legal age yet, but they want to get married and be partners for life. Premnath is non-committal, in the sense that he would do whatever makes his daughter happy. Pran, on the other hand, is a calculating and a manipulative person, eyeing this relationship with suspicion. As he sees the intensity of his son’s emotions, he decides to make a manipulative move, in an attempt to drive a wedge between the young lovers.

He asks his son to invite his beloved and her family for dinner. The young man is extremely excited. Not worldly wise as his businessman father, he thinks his father is a great man and is agreeing with his son’s wishes and choice for a life partner. Little does he know what his father has planned.

With this joyful and amiable news, he rushes to his beloved’s home, to present the invite himself. At her place, a fishermen’s neighborhood, another wedding is in progress. The ambiance is celebratory. There is singing and dancing, congratulations and the auspicious throwing of rice – in short, the mood is just right to share the supposedly wonderful news.

Without much preamble, Rishi delivers the invite to Premnath. The latter accepts forthwith with the comment that for his daughter’s happiness, he will gladly bow his head at the door of anyone, but he will never bend his knees. And to explain his comment, he breaks out in this song – that in the matters of love it is only the treasure of the heart which is to be exchanged for another treasure of heart. There is no other bargaining chip in the matters of love. Rishi readily joins in this song – the theme is so easily understood and reflected in his own mind. For him too, love is simply a give and take of the treasures of the heart.

Manna Dey starts this song, giving playback for Premnath. Shailendra Singh joins in for Rishi Kapoor. As always, it is a delight to watch a song in an RK film. The complete scenario and the ambiance are so totally focused on the song, its emotions and its renditions. Midway through the song, Dimple makes an appearance, as she is preparing for the next part of the song – yes, “Jhooth Boley. . .”. She is just there for now, not participating – but her face, her eyes are going along with the song that her beau is singing. The emotions expressed by her are so endearing, so freshly young, as she coyly and silently expresses herself in response to the lines that Rishi is performing. This small interlude is so charming, so. . . so winning. Dimple simply stole a million hearts right here in this song. Yes – you guessed it right, I too was smitten, and was in love. 🙂

One word in the lyrics had intrigued me right from the start. It is the word ‘ghe’, ‘घे’. Over the decades, this word has been presented variously and almost always erroneously. Some lyrics wrote this down as ‘khe’, ‘खे’; other places would write it down as ‘le’, ‘ले’; even today, the hindi-geet-mala web page for this song has actually written it down as ‘khel’, ‘खेल’. Wonder how they got to it, it does not even fit into the rendered metre of this line.

Once the internet was available, I had done the search for this word in Konkani language. Given that the entire scenario was a Goan neighborhood, it was only logical to seek this word in the local lingua. In Konkani, the word ‘ghe’, ‘घे’ means ‘to take’. The expression follows the lines which say

deta hai dil de
badle mein dil ke

And the young man, and the chorus responds with

ghe ghe ghe ghe
ghe re saaiba

saying – hey young man, just take this bargain, take.. take.. take.. take..  Once this meaning is known, the lyrics fall in place so beautifully.

‘Bobby’ is so close to the heart, and I mean the film, and Bobby. It appeals to an age, a mind set, and emotions – that I am never going to grow out of. It is 1973 forever.

And the talisman for life is forever – “प्यार में सौदा नहीं”.

[Editor’s Note: The initial lines of this song, which are in Konkani, have been provided by Dr Pradeep Shetty ji, in his comment below. The line is now added to the lyrics below. Thanks Dr Pradeep ji.]

[Video – Song Reprised at the end of the film.]

Song – Na Chaahoon Sona Chaandi (Bobby) (1973) Singer – Manna Dey, Shailendra Singh, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyaarelal
Chorus

Lyrics

aagey naari
tujya matyancha phoolan paaya saoree
aagey naari
tujya matyancha phoolan paaya saoree

laallallall laa la llallall laa llallall laa
laallallall laa la llallall laa llallall laa

[Dialogue between Premnath and Rishi Kapoor]

na chaahoon sona chandi
na chaahoon heera moti
ye mere kis kaam ke

aaaa aaaaa aaaaaaaa aaaa aaa

na maangu bangla baadi
na maangu ghoda gaadi
ye to hain bas naam ke

aaaaa aaaaaa

deta hai dil de
badle mein dil ke
deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe

ghe re saaiba
pyaar mein sauda nahin

o lall o lall laa laa
lallal laa laa laa
lallaa laa laa laa laa laa
lallal lallal laa laa

na jaanu mulla qaazi
na jaanu kaaba kaashi
main to hoon prem piyaasa re
mere sapnon ki rani
hogi tum ko hairaani
main to tera deewaana re
deti hai dil de
badle mein dil ke
deti hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

pyaar mein sauda nahin

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

आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी
आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी

लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला
लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला

[प्रेमनाथ और ऋषि कपूर की बात चीत।]

ना चाहूँ सोना चाँदी
न चाहूँ हीरा मोती
ये मेरे किस काम के

आsss आssss आsssssss आsss आss

ना माँगूँ बंगला बाड़ी
ना माँगूँ घोड़ा गाड़ी
ये तो हैं बस नाम के

आssss आsssss

देता है दिल दे
बदले में दिल के
देता है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे

घे रे सायबा
प्यार में सौदा नहीं

ओ लल्ल ओ लल्ल ला ला
लल्लल ला ला ला
लल्ला ला ला ला ला
लल्लल लल्लल ला ला

ना जानूँ मुल्ला क़ाज़ी
ना जानूँ काबा काशी
मैं तो हूँ प्रेम पियासा रे
मेरे सपनों की रानी
होगी तुमको हैरानी
मैं तो तेरा दीवाना रे
देती है दिल दे
बदले में दिल के
देती है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं

प्यार में सौदा नहीं


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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.

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