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

Archive for the ‘Calling the beloved’ 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 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.

Wow, what a song, what a lovely song, what a lovely marathon of a song; so full of words, so full of emotions, so full of insistence of emotions. Rajendra Krishan has outdone himself in writing this song. And so does C Ram, outshine himself in tying this song into threads of music. And what rendition, Lata ji outshines herself. I am hearing this song for the first time today, and have simply fallen in love with it.

The film is ‘Meenaar’ from 1954. As Atul ji and I exchanged notes about films close to ‘Yippeee’, this film turned up with two songs still to be posted, as per the listing in the Geet Kosh. As I started to explore this film and its songs, it turns out that the two pending songs are actually two parts of the same song. When I checked Geet Kosh for details, I found that these two ‘parts’ of the song are actually residing on the same 78 rpm record, further confirming that these are actually parts of one very long song.

Further searching on the YT, I am able to locate an edited composite video clip that is probably made up of three or maybe four parts – the number of times this song appears in the film, making this a multi part song.

I have not seen this film, but as I watched and played this clip multiple times to write down the lyrics, I get feeling of having encountered this theme and this scenario more than once. Listening and viewing this song brings to the mind snatches of the haunting strains of “Aayega Aayega, Aayega Aanewaala” (from ‘Mahal’ (1949)), “Naina Barsen Rim Jhim Rim Jhim” (from ‘Wo Kaun Thi’ (1964)), “Kahin Deep Jaley Kahin Dil” (from ‘Bees Saal Baad’ (1962)) and more. Watching the video brings in tremors of scenes from ‘Madhumati’ (1958), ‘Mera Saaya’ (1966), ‘Kudrat’ (1981) etc., giving a glimpse into the story line of this film. I would request other knowledgeable readers and friends who may have seen this film, to please comment on the theme and the story line of this film.

On screen this song is presented mostly as a background song, with a couple of places where one can see Beena Rai lip syncing the words in the playback.

And with this composite representation of this multi part song, the film ‘Meenaar’ now joins the ranks of films with all songs posted on our blog. Time to callout ‘Yippeee’ . . .

Song – Barbaad e Mohabbat Ko Kab Tak Ye Sazaa Dogey (Meenaar) (1954) Singer – Lata MangeshkarLyrics – Rajendra Krishan, MD – C Ramchandra

Lyrics

dil e betaab dhadakta hai
dikhaayen kaise
ik shola sa bhadaktaa hai
bujhaayen kaise
ya mere saamne aa
ya mujhe awaaz de
ya bataa de main ye parda uthaaun kaise

barbaad e mohabbat ko
kab tak ye sazaa dogey
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

poochho to zara dil se
main kaun hoon aur kya hoon
toota hua taara hoon
sookha hua dariya hoon
ghaayal ki tadap hoon main
ghaayal ki tadap hoon main
bismil ki tamanna hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
socha bhi na tha ik din
tum dil se bhula dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ik roz basaaya tha
tum ne hi jahaan mera
raaten thi mohabbat ki
har din tha jawaan mera
main tum se bichhad ke bhi
main tum se bichhad ke bhi
kuchh door nahin tum se
dekhoge agar dil mein
paaoge nishaan mera
dekhoge agar dil mein
paaoge nishaan mera
laut aayengi yaadein jab
maazi ko sadaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

dum bhar ke liye thehro
sun lo mera afsaana
yun shamma talak aa kar
jaata nahin parwaana
beeti hui ghadiyon ko
zaraa dohraayen
beeti hui ghadiyon ko
zaraa dohraayen
ik raat ka kiss hai
kal subah chaley jaana
ik raat ka kiss hai
kal subah chaley jaana
bigdega tumhaara kya
bigdi jo banaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ye raat ye khaamoshi
ye chaand ye tanhaai
aise mein seenon mein
bajti hui shehnaai
maano to haqeeqat hai
na maano to afsaana
maano to haqeeqat hai
na maano to afsaana
jaago to zaraa zaalim
dekho main chali aayi
jaago to zaraa zaalim
dekho main chali aayi
na meri wafaaon ke
badle mein wafaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

kuchh dard e mohabbat ki
tum ko bhi khabar hogi
chanda ki chakori par
kab tak na nazar hogi
nazron se meri chhup kar
nazron se meri chhup kar
jaana bada mushkil hai
jaaoge to is shab ki
mushkil se sehar hogi
jaaoge to is shab ki
mushkil se sehar hogi
aakhir mujhe pehlu mein
kab tak na jageh dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

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

दिल ए बेताब धड़कता है
दिखाएँ कैसे
इक शोला सा भड़कता है
बुझाएँ कैसे
या मेरे सामने आ
या मुझे आवाज़ दे
या बता दे मैं पर्दा उठाऊँ कैसे

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

पूछो तो ज़रा दिल से
मैं कौन हूँ और क्या हूँ
टूटा हुआ तारा हूँ
सूखा हुआ दरिया हूँ
घायल की तड़प हूँ मैं
घायल की तड़प हूँ मैं
बिस्मिल की तमन्ना हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
सोचा भी ना था इक दिन
तुम दिल से भुला दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

इक रोज़ बसाया था
तुमने ही जहां मेरा
रातें थी मोहब्बत की
हर दिन था जवां मेरा
मैं तुम से बिछड़ के भी
मैं तुम से बिछड़ के भी
कुछ दूर नहीं तुमसे
देखोगे अगर दिल में
पाओगे निशां मेरा
लौट आएंगी यादें जब
माज़ी को सदा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

दम भर के लिए ठहरो
सुन लो मेरा अफसाना
यूं शम्मा तलक आ कर
जाता नहीं परवाना
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
इक रात का किस्सा है
कल सुबह चले जाना
बिगड़ेगा तुम्हारा क्या
बिगड़ी जो बना दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

ये रात ये खामोशी
ये चाँद ये तनहाई
ऐसे में सीनों में
बजती हुई शहनाई
मानो तो हक़ीक़त है
ना मानो तो अफसाना
जागो तो ज़रा जालिम
देखो मैं चली आई
जागो तो ज़रा जालिम
देखो मैं चली आई
ना मेरी वफाओं के
बदले में वफा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

कुछ दर्द ए मोहब्बत की
तुमको भी खबर होगी
चंदा की चकोरी पर
कब तक ना नज़र होगी
नज़रों से मेरी छुप कर
नज़रों से मेरी छुप कर
जाना बड़ा मुश्किल है
जाओगे तो इस शब की
मुश्किल से सहर होगी
जाओगे तो इस शब की
मुश्किल से सहर होगी
आखिर मुझे पहलू में
कब तक ना जगह दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

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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.

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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.

One more Yippeee; the yippeee song for today. The film is ‘Gehra Raaz’ from 1971. In all, the film has four songs listed in the Geet Kosh. Today, we get familiar with the fourth song of this film.

‘Gehra Raaz’ (1971) was directed by Niranjan for Salim Productions, Bombay. This B grade suspense movie had Sujit Kumar, Sofia (a new find of that era), Sheikh Mukhtaar, Abhi Bhattacharya, Satyajit, Brahmchaari, Madhumati, Mohan Sherry, Eshwar, Dinani, Paro, Uma Dutt, Hiralal, Pardesi, Rani, Samson, Jelani, Lohani, Sadhna Khote, Sarla, Master Salim etc in it.

This movie has four songs. Two of them are composed by Salil Chaudhary and other two by a relatively unknown music director called Raj Ravinder. As I tried to search for this name in the Geet Kosh, I am unable to locate any other film where this name appears as a music director, at least in the data reviewed till 1980. And further, no information could be located about him. I request other knowledgeable readers and friends to please add more information about this unknown music director.

The three songs of this film posted earlier are

1.       Zulfon Ko Lehraa Ke Chalo Na Bikhraa Ke
2.       Aayi Hai Ghata Jhoom Ke Bal Khaa Ke Piyenge
3.       Chor chor dekho dil ka chor aaya

The first two songs in this list are composed by Raj Ravinder. The 3rd song and the song posted today are compositions of Salil Chaudhry.  Also, the songs 1, 2 and the song posted today, are written by Akhtar Romani. The song no. 3 above is from the pen of Asad Bhopali.

About the singers and performers, the first song is a duet sung by Mukesh and Krishna Kalle. On screen, this song is performed by Sujit Kumar and the ‘new find’ Sofia. The song at no. 2 is a solo song by Krishna Kalle, and on screen it is performed by the actress Raani. The identification is provided in the comments by our dear Prakash ji. The song at no. 3 is another solo, this time in the voice of Hemlata, and on screen it is performed by Madhumati. Once again, identification provided in the comments by Prakash ji.

Coming to today’s song, this song is a street dance song, which is performed by Sofia, accompanied by a couple of male actors who are playing the dholak and the harmonium. It is clearly a song in which the leading lady is searching for someone, most likely the leading gentleman, viz. Sujit Kumar. As the song progresses, we can see a momentary appearance, as Sheikh Mukhtar walks into the frame. Also, in the crowd of onlookers, there seems to be an interested party – a bearded man wearing dark glasses. I am unable to identify this person. My mind wants to say it is Abhi Bhattacharya, given the broad look of the face. But I am not sure. I request other readers and friends to confirm or suggest the right name.

Given that this is a roadside tamasha song, the expression and the performance are quite provocative. The new actress Sofia, seems to be straining hard to make an impression.

There is a very interesting side note to this video clip available on YouTube. The total duration of the song is indicated as 4 minutes and 36 seconds. However, the tracking bar takes the visual all the way up to 3 minutes and 12 seconds, after which the visual freezes, but the audio continues. The tracking dot has come to the end of the line. This is somewhat strange.

Anyway, with the posting of this song today, the film ‘Gehra Raaz’ now joins the elite club of films with all songs covered on our blog. Another film for Yippee time. 🙂

Song – Mil Ja Mil Ja, Ab To Mil Ja (Gehra Raaz) (1971) Singer – HemlataLyrics – Akhtar Romani, MD – Salil Chaudhry

Lyrics

mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
mil jaa

mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
tu jo mil jaaye mujhe
choomoon jee bhar ke tujhe
kya karoon naya naya pyaar hai mera
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
tumko maloom nahin
wo hai laakhon mein haseen
main phiroon gali gali dhoondhti jisey
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aa ja ae jaane jahaan
main tujhe dhoondhoon kahaan
thak gayi idhar udhar dekhte huye
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
तू जो मिल जाये मुझे
चूमूँ जी भर के तुझे
क्या करूँ नया नया प्यार है मेरा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
तुमको मालूम नहीं
वो है लाखों में हसीं
मैं फिरूँ गली गली ढूंढती जिसे
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आ जा ए जान ए जहान
मैं तुझे ढूँढूँ कहाँ
थक गई इधर उधर देखते हुये
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा


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.

“Laalach”(1960) was produced by B C Sharma and L N Desai and directed by R D Rajput for Sagar Film Company, Bombay. The movie had Kamran, Indira, Sheila Kashmiri, Majnu, Arvind Kumar, Wazeer Mohammad Khan, Jillani, Harish, Heera Sawant, Shakeel Bano Bhopali, Dubey, Badshah Chorbazari, S Badshah, Harun, Ghulab, Kadir, Dalip, Ibrahim, Robert, Anil Kumar, Govind Dada, Aashiq, Begam etc in it.

This B grade movie had five songs in it. Here is the first song from “Laalach”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Lyrics are by Aslam. Music is composed by S Kishan.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Laalach”(1960) makes its debut in the blog.


Song-Aaja aaja jiya nahin laage (Laalach)(1960) Singer-Asha Bhonsle, Lyrics-Aslam, MD-S Kishan

Lyrics

aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin laage
nazaare jage
nazaare jage
aaja aaja ho ho

o o o o
o o o o
dil ki duniya meri jagmagaane lagi
yaad rah rah ke phir teri aane lagi
yaad aane lagi
muskuraane lagi
gudgudaane lagi
gudgudaane lagi
muskuraane lagi
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin lage
nazaare jage
nazaare jage
aaja aaja ho ho

o o o
jeevan bhar tera aur mera balam saath ho
tere haathon mein sada mera balam haath ho
ho suhaana sama
pyaar ki baat ho
pyaar ki baat ho
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja ho ho

o o o o
o o o o
hai suhaana sama
aur tu hai kahaan
ab to kismat bhi hone lagi meharbaan
aur tu hai kahaan
aaj main bhi jawaan
aur tu bhi jawaan
aur tu bhi jawaan
aaj main bhi jawaan
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja


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.

“Naagin aur Sapera” (1966) was directed by Balwant Bhatt for Pramila Productions Bombay. The movie had Manhar Desai, Bela Bose, Padma Chavhan, Sapru, Paro, Rajan Haksar, Raja Nene, Mirza Musharraf, Leela, Shammi, Bhagwan etc in it.

There were five obscure songs in this little heard movie.

Here is the first song from “Naagin aur Sapera” (1966) to appear in the blog. This song is sung by Rafi. Satyapal Verma is the lyricist. Music is composed by Harbans.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Naagin aur Sapera” (1966), the lyricist as well as the music director, make their respective debuts in the blog.


Song-Laut bhi aao o giridhaari (Naagin Aur Sapera)(1966) Singer-Rafi, Lyrics-Satyapal Verma, MD-Harbans

Lyrics

laut bhi aao
o giridhaari
radha neer bahaaye ae ae
laut bhi aao
o giridhaari
radha neer bahaaye
raadha tihaari phir na milegi
raadha tihaari phir na milegi
jo tum der se aaye ae
laut bhi aao o giridhaari
raadha neer bahaaye

pal pal baawri panth nihaare
pal pal baawri panth nihaare
aas ki jyot jalaaye
deepak jal gaya
jal gayi baati
deepak jal gaya
jal gayi baati
paagal manva gaaye
kya bigdega aa aa aa
kya bigdega tera o chhaliye
aake jo dheer bandhaaye ae
laut bhi aao o giridhaari
raadha neer bahaaye

prem deewaani khoj mein phirti ee
prem deewaani khoj mein phirti
apne piya ko paane
pawan se poochhe
poochhe gagan se
pawan se poochhe
poochhe gagan se
paapi ji na maane
o nirmohi ee ee
o nirmohi patthar dil
kahin raadha na mar jaaye ae
laut bhi aao
o giridhaari
radha neer bahaaye
laut bhi aao
laut bhi aao
laut bhi aao


This article is written by Bharat Upadhyay, 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.

Atul ji’s 10K Song Milestone Celebrations – 5
——————————————————————–

Lata’s Songs NOT YET covered on our Blog – 19
————————————————————————-

First, let me congratulate our leader of this Blog for the unsurpassed feat of posting so many songs in one Blog.  I had the rare opportunity to meet him personally in our ‘MumbAtulite’ meet.  My impression is that he does not speak much but when he does, he speaks straight and to the point. (You cricketers use the phrase ‘with the straight bat’, right?)  He is also ‘famous’, or rather ‘infamous’ (pardon me for using the word, but I am using it without any negative shade to it), for not attending most of the Atulite meets.  We all very well know that he plans very much to attend, but his work schedule does not allow him to do so and has to cancel at the last moment.

My selection of today’s song, according to me, is the wish of all us Atulites represented by the first line (asthaayi) of this song by Lata ji, that Atul bhai is most welcome even as a surprise visit.

chaahe chori chori aao
chaahe chhup chhup aao
par ham ko ATUL ji jaroor milna
ho jaroor milna

“Baansariya” (1949) is a Nigaristaan Films Production movie.  It is directed by Ram Narayan Dave. The movie had Ram Singh, Geeta Bali, Om Prakash, Randhir, Kuldip, Sofia, Gulab, Uma Dutt, Shanti Madhok etc in it.

Mulkraj Bhakri is the lyricist. Music is composed by the dual MDs, Husnlal Bhagatram.

Since I do not have HFGK handy here in US, I am unable to state how many songs this film had but according to ‘Lata Samagra’, there were at least four Lata’s solos and all of them are yet to be discussed on our musical Blog, and this is the first one out of them.
[Ed Note: As per Geet Kosh, there are 8 songs in this film; 4 are Lata ji solos, 2 are solos by Geeta Roy, one solo by Rafi Sb and one solo by SD Batish.]

Only the audio of this song is available and so it is difficult to say how and on whom this song is picturised.  I request our knowledgeable readers to throw light on the picturisation of this song. The tune will remind many of so many other songs by the same MDs.  I am also sure that our own Nitinbhai will comment certainly about their recognizable stereo type style.

Now we look forward to the next 10K from Atul ji.


Song – Chaahe Chori Chori Aao Chaahe Chhup Chhup Aao (Baansariya) (1949) Singer – Lata Mangeshkar, Lyrics – Mulkhraj Bhakri, MD – Huanlal Bhagatram

Lyrics

chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
 
jaadoo bhare nainon mein
main piyaji hoon kho gayee
sara jag chhod ke main ek teri ho gayee
ek teri ho gayee
jaadoo bhare nainon mein
main piyaji hoon kho gayee
sara jag chhod ke main ek teri ho gayee
ek teri ho gayee
duniya ki nazaron se door milna
par ham ko piyaaji jaroor milna
ho jaroor milana
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna
 
haal tumhe aaj apne dil ka sunana hai
aana dekhbhaal ke bedard zamana
bedard zamana hai
haal tumhe aaj apne dil ka sunana hai
aana dekhbhaal ke bedard zamana
bedard zamana hai
duniya ki nazaron se door milna
par ham ko piyaaji jaroor milana
ho jaroor milana
chaahe chori chori aao
chaahe chhup chhup aao
par ham ko piyaa ji jaroor milna
ho jaroor milna

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

चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना

जादू भरे नैनों में
मैं पीया जी हूँ खो गई
सारा जग छोड़ के मैं एक तेरी हो गई
एक तेरी हो गई
जादू भरे नैनों में
मैं पीया जी हूँ खो गई
सारा जग छोड़ के मैं एक तेरी हो गई
एक तेरी हो गई
दुनिया की नज़रों से दूर मिलना
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना

हाल तुम्हें आज अपने दिल का सुनाना है
आना देखभाल के बेदर्द ज़माना है
बेदर्द ज़माना है
हाल तुम्हें आज अपने दिल का सुनाना है
आना देखभाल के बेदर्द ज़माना है
बेदर्द ज़माना है
दुनिया की नज़रों से दूर मिलना
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना
चाहे चोरी चोरी आओ
चाहे छुप छुप आओ
पर हमको पिया जी जरूर मिलना
हो जरूर मिलना


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.

‘Nirmohi’, from 1952 is a film produced by Shriram Sharma, and directed by Baij Sharma for the banner of Sheetal Movies, Bombay.  The cast of actors in this social drama includes Nutan, Sajjan, Raj Mehra, Leela Misra, Chaman Puri, Neeru, Amarnath, CL Kavish, Neeru, Kanchan etc. amongst others. The eight songs in this film are shared between Uddhav Kumar, Indeevar and PN Rangeen, as far as song writing is concerned. Music is by Madan Mohan. This particular song is from the pen of Indeevar. The singing voices are those of Kavita and Lalit Mohan.
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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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 33
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“ले के सहारा तेरे प्यार का

OK, back again, even a longer absence this time. About these gaps, the less I say is better, because everything sounds like an old story. So I will let it be. 🙂

Coming the next installment in this series of Rafi Sb songs.  Today, I present a solo by Rafi Sb, from the 1960 film ‘Naache Nagin Baaje Been’.
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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.

“Nausherwan e Adil”(1957) was directed by Sohrab Modi for Minerva Movietone. The movie had Raj Kumar, Mala Sinha, Sohrab Modi, Murad, Naseem, Bipin Gupta, Agha, Shammi, Niranjan Sharma, Sheela Vaz, Heera Sawant, Amir Banu etc in it.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 32
– – – – – – – – – – – – – – – – – – – – – – – – – –

“रहोगे कब तक हमसे दूर

ishq pukaarega tumko aana hi hoga re
aana hi hoga re
aana hi hoga re

Goodness, more than four months now that the previous episode in this series was posted (29th Sep, 2016). Not a record, I must say. There are some other series (by me) (sic) in progress that have been waiting much much longer to be completed. But then, this scenario makes me marvel more and more on how Atul ji is able to pull the progression of this bandwagon, single handedly, day after day after day. I have been excusing myself on account of too much time pressure on my personal side of life. And  then I think, well, my situation is not very unique, and I am sure that there are similar constraints that are present in the lives of everyone else. And thus, I tip my hat to Atul ji, for his tenacity and perseverance. On his shoulders, the bandwagon rolls on and on. . .
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13273

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Movies with all their songs covered =1003 Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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