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

Archive for the ‘Century songs for the blog’ Category


This article is written by Sadanand Kamath, 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 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.

After the partition in 1947, prominent music directors like Ghulam Haider, Khwaja Khursheed Anwar, G A Chisti, Feroze Nizami, Rafique Ghaznavi , Innayat Hussain migrated to Pakistan. Most of them were born or brought up in western part of Punjab of undivided India which became a part of Pakistan. So rather than calling the process as migration, they actually returned to their original places.

There were two music directors who had started their filmy career in the 1940s but decided to migrate to Pakistan in early 1960s. They were Nashaad from Delhi and Nisaar Bazmi from Jalgaon, Maharashtra. They did very well in Pakistani film industry. While Nashaad was reportedly persuaded by producer-director-lyricist, Nakhshab Jarchavi to accompany him to Pakistan, Nisaar Bazmi migrated to Pakistan after getting an offer from Producer Fazli to compose songs for his films ‘Aisa Bhi Hota Hai’ (1965).

Syed Nisaar Ahmed a.k.a. Nisaar Bazmi (1/12/1924 – 22/03/2007) was born in Naseerabad in the present day Jalgaon district of Maharashtra. His family did not have any kind of musical background nor did Nisaar Bazmi have any formal training in music in his childhood. In 1936, he came to Bombay and joined as one of the accompanists for the Qawwali singer Yasin Qawwal of Bombay (Mumbai). This association developed his interest in singing.

Nisaar Bazmi came into contact with Ustad Aman Ali Khan of Bhendi Bazar Gharana. He accepted him as his disciple after observing his aptitude for music. He taught him various raagas for about 4 years. During this period (around 1939), he joined All India Radio as an artist.

In 1944, Ammembal Dinkar Rao, (also known as D. Amel, A. Dinkar Rao), the then Programme Executive in-charge of music, All India Radio (AIR) entrusted Nisaar Bazmi to compose songs for a play ‘Nadir Shah Durrani’ which was broadcasted on AIR. All the songs were sung by Rafique Ghaznavi and Ameerbai Karnataki. The songs became very popular. Producer-director, A R Zamindar after listening to his compositions in the play, offered him the opportunity to compose songs for his film ‘Jamna Paar’ (1946).

After getting his first film, Nisaar Bazmi bid good bye to both his permanent job in AIR and also his desire of becoming a singer. He also changed his name from Syed Nisaar Ahmed to Nisaar Bazmi. During his stint in India, he was music directors for around 40 films of which 28 films were released. These included ‘Pickpocket’ (1946), ‘Kaufnaak Aankhen’ (1947), ‘Dagabaaz Dost’ (1947), ‘Roop Lekha’ (1949). ‘Gazab’ (1951), ‘Kyon Ji’ (1952), ‘Khoj’ (1953), ‘Halla Gulla’ (1954), ‘Toofaan Mail’ (1955), ‘Zarina’ (1956), ‘Jungle Queen’ (1956), ‘Kal Kya Hoga’ (1958), ‘Shola Jo Bhadke’ (1961). His last film in India was ‘Mr. Toofaan’ (1963). From the names of the films and their star casts, it can be observed that most of his films belonged to stunt/action genre of ‘B’ and ‘C’ grade.

Probably, Nisaar Bazmi would have continued to get B and C grade films in India. But a chance visit to Lahore, Pakistan sometime in 1962 to meet his relatives and also to bring back to India son of his friend from Jalgaon, changed Nisar Bazmi’s fortunes. In Lahore, he met Fazal Karim Fazli [probably a brother of Fazli Brothers, the film producer who had produced films like ‘Qaidi’ (1940), ‘Maasoom’,(1941), ‘Fashion’ (1943), ‘ Dil’ (1946), Duniya’ (1949) etc] and accepted the offer to compose songs for his film ‘Aisa Bhi Hota Hai’ (1965).

Nisar Bazmi was a fan of Noor Jahan. However, he could not get any opportunity to compose songs for her during pre-partition years. Probably, the chance of his missed opportunity as well as his disappointment with the way his filmy career was shaping in India may have prompted to try his luck in Pakistan. For his very first film in Pakistan, he got opportunity to compose songs for Noor Jahan. The film was a hit. With this, while the son of his friend did return to India, Nisaar Bazmi got permanently settled in Pakistan due to his continuous busy schedule in Pakistani film industry during 1960s and 1970s.

In Pakistan, Nisaar Bazmi did around 65 films during 1965-1985. It is really a remarkable feat for Nisaar Bazmi, a new comer in Pakistan film industry, to create a niche for himself in the midst of some of the well-known music directors like Khwaja Khursheed Anwar, Rashid Attre, G A Chisti, Feroze Nizami, Inayat Hussain etc. It is said that once Nisar Bazmi got his foothold in Pakistani film industry, he would accept the music direction assignments only after he has read the film story and also as to who would be directing the film. He did not like interference from the directors in compositions and orchestrations. He was one of the few music directors in the Indian sub-continent who would not only composed the tune but also arrange the orchestra for the songs.

Nisar Bazmi spent the last 20 years of his life in Karachi teaching music to students and lived a contended life of a Sufi. He left for the heavenly abode on March 22, 2007.

[With resources from a write-up on Google Groups based on the meeting with Nisaar Bazmi in January 2000, articles in DAWN, March 28, 2007 and IN STEP News, April 1, 2007].

Nisaar Bazmi is known for his iconic song chanda kaa dil toot gayaa hai from ‘Khoj’ (1953) among his songs from Indian films. Like-wise, among the hit songs from the Pakistani films, he is known for his song ranjish hi sahi dil hi dukhaane ke liye aa, a ghazal by Ahmed Faraaz and rendered by Mehdi Hasan in film ‘Mohabbat’ (1968).

Today, I am presenting a rare song composed by Nisaar Bazmi for the film KHOJ (1953) which I recently heard for the first time on one of the Radio Ceylon programmes. The song is ‘aaye thhe thhodi der ko betaab kar gaye’, sung by Ashima Bannerji. The song is written by Hasrat Jaipuri.

KHOJ (1953) was produced by C R Dogra and was directed by Balwant Bhatt. The star cast included Mahipal, Shammi, Lalita Kumari, Satish, Kesari, Habib, Nagpal, Kishore Dogra, Helen etc. The film had 7 songs of which 1 song has been covered in the Blog. Songs were written by Raja Mehdi Ali Khan (4), Hasrat Jaipuri (2) and Anjum Jaipuri (1).

I wonder how this beautifully rendered song remained unknown on the internet for so long while the other song from the film ‘chanda kaa dil toot gaya hai’ had been popular for a long time.


Song-Aaye thhe thhodi der ko (Khoj)(1953) Singer-Ashima Bannerji, Lyrics-Hasrat Jaipuri, MD-Nisar Bazmi

Lyrics

aaye thhe thhodi der ko
betaab kar gaye
aankhon mein rang de ke wo
aansoo bhi bhar gaye ae
aaye thhe thhodi der ko

un se mili thhi aaj nazar
mil ke reh gayi
dil ki kali khili thhi magar
khil ke reh gayi
jhonke hawa e shauk ke
aa kar guzar gaye ae
betaab kar gaye ae
aaye thhe thhodi der ko

dekha thha ek khwaab sa
jo toot kar raha
daaman khushi ka haathon se
ab chhoot kar raha
meri hadeekasi se wo
sautan ke ghar gaye ae
betaab kar gaye ae
aaye thhe thhodi der ko

dil dhoondhta thha yaad ki
duniya liye huye
armaan bhatak rahe hain
tamanna liye huye
paimaane zindagi ke ab
aansoo se bhar gaye ae
betaab kar gaye ae
aaye thhe thhodi der ko
betaab kar gaye
aankhon mein rang de ke wo
aansoo bhi jhar gaye ae ae
aaye thhe thhodi der ko

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

आए थे थोड़ी देर को
बेताब कर गये
आँखों में रंग दे के वो
आँसू भी भर गए
आए थे थोड़ी देर को

उन से मिली थी आज नज़र
मिल के रह गई
दिल की एक कली खिली थी मगर
खिल के रह गई
झोंके हवा ए शौक के
आ कर गुज़र गए
बेताब कर गये
आए थे थोड़ी देर को

देखा था एक ख्वाब सा
जो टूट कर रहा
दामन खुशी का हाथों से
अब छूट कर रहा
मेरी हदीकसी से वो
सौतन के घर गए
बेताब कर गये
आए थे थोड़ी देर को

दिल ढूँढता था याद की
दुनिया लिए हुये
अरमान भटक रहे हैं
तमन्ना लिए हुये
पैमाने ज़िंदगी के अब
आँसू से भर गए
बेताब कर गये
आए थे थोड़ी देर को
बेताब कर गये
आँखों में रंग दे के वो
आँसू भी भर गए
आए थे थोड़ी देर 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.

अब क्या मिसाल दूँ में इस प्यारी आवाज़ की
इन्सान बन गई है तरंग वीणा के तार की

वीणा, माँ सरस्वती के हाथ की वीणा – जो सब ज्ञान का स्रोत है, जो समस्त सृष्टि के संगीत का उद्गम स्थान है, जो वाणी और ध्वनि का आरंभ है।

Veena, that is in the hand of Goddess Saraswati; veena, that is the source of all knowledge and all that is music in this creation.

Yes, the voice of Lata ji. A voice that is adorned in many a thousand ways, a voice that lives in the minds and memories through many a thousand songs, in Hindi films, in films of other regions, and songs that don’t belong to films. The legacy is a treasure. Quite so much has been written about this voice, my adding more would simply be repeating what has been said before. And much of that discussion is an overbearing analysis of the phases and careers, that are after all moot points, when arrayed against the qualities of the voice itself. That discussion is like ‘गूंगे की शक्कर’ – the description of the sweetness of sugar as expressed by a person who cannot speak. He would place the sugar on your palm, and tell you silently, to taste it, to eat it. After that tasting, no words are necessary, to discuss what sugar is. 🙂

The voice descends inside like sweetened ‘मलाई’. I do not know what word to use in English; I can’t recall if there is a corresponding word for it in English. The smoothness and the sweetness – is all that matters to the taste buds of the mind.

And the special today. Yes, a very significant milestone is reached. With this post, we now have 3200 songs sung by Lata ji showcased on our blog. If we take the overall number of songs posted – this is almost one fourth the number. Almost 25% of the song population on our blog belongs to this gifted voice.

As we get more and more songs on to the blog, then searching for an appropriately wonderful song for such milestones, becomes a non-trivial task. It happened so with SD Burman’s 600th song just a few days ago. And so it happened today too, trying to search for a song by Lata ji, when more than half her portfolio is already represented here. But with little effort, and little bit of luck, I am so far able to get to real wonderful songs for such milestones.

Today’s song is from an as yet unrepresented film on the blog – ‘Mukti’.  Ah yes, I know there are two films by this name already present in our blog. There is this famous film from New Theatres, from 1937, and then the comparatively recent one from 1977. In between, there was another film by this name, released in 1960.

About this film – this film is produced and directed by a gentleman named N Buli, for the banner of Gurudev Pictures, Bombay. The film is a social drama with the lead pair billing in the list of actors being given as Motilal and Nalini Jaywant. Other members of the cast include Sulochana, Krishna Kumari, Anant Kumar, SN Bannerji, Bhudo Advani, Prem Kumar, Tuntun, Indira Bansal, Kiranmala, Hemlata, and a host of other names that are very unfamiliar.

The films has 9 songs. Two of these song are written by Aarzoo Lakhnawi, a name that is very familiar to the regulars in the group, and the remaining seven are from the pen of Munir Aarzoo Kazmi. This second name is totally new and unfamiliar, making a debut on the blog. This song is one of the seven that he has written.  The music director’s name is another new and unfamiliar one – Malay Chakravarty. The name does not appear anywhere else in the Geet Kosh, except for one regional film (a Chhatisgarhi film – ‘Kahin Debe Sandes’ from 1965). For these two unfamiliar names, I request other knowledgeable readers and friends to please add more information if available.

The song itself is a very soft and sweet song, that will endear itself into your hearts. A lady beseeching her lover, not to forget her, not to pain her tender heart that pines so much for him. There is a short list of lovely and soft love songs that I have put together for myself. This song is getting added to that list today.

The words are just lovely. Had this post happened yesterday or before, I would decidedly have requested Avinash to add the following lines to his write up for the World Environment Day,

chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein

What a thought, what a beautiful shining thought, what a construction of the verse; wish we had more to listen from the writer of these lines.

3199 beautiful melodies so far, before this one. Listen now today, to the 32 hundredth addition.

Song – Dil Lubha Ke Mere Saathi Bhool Jaana Na (Mukti) (1960) Singer – Lata Mangeshkar, Lyrics – Munir Aarzoo Kashmiri, MD – Malay Chakravarty

Lyrics

hmm hmm hmmm hmmmm
hmmm hmmm hmmmm
hmm hmmmmmm hmmmmmmm

dil lubha ke mere saathi
bhool jaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha ke. . .
bhool jaana na

baat nainon se hui
raaton ki neend gayi
baat nainon se hui
raaton ki neend gayi
baar baar aaye khayaalon mein
ye keh na saki
ik tadpte dil ko tum
meri kasam tadpaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na

chaandni bhi khil uthi
neele gagan ke baag mein
chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
aas ke taaron ko baadal mein chhipaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha..aa ke. . .
bhool jaana na

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

हम्म हम्म हम्मम हम्ममम
हम्म हम्मम हम्ममममम
हम्म हम्ममममम हम्मममममम

दिल लुभा के मेरे साथी
भूल जाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

बात नैनों से हुई
रातों की नींद गई
बात नैनों से हुई
रातों की नींद गई
बार बार आए ख़यालों में
ये कह न सकी
इक तड़पते दिल को तुम
मेरी कसम तड़पाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
आस के तारों को बादल में छिपाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना


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.

“Majboori” (1954) was directed by Ram Daryani for Murli Movietone, Bombay. This forgotten movie had Balraj Sahani, Shyama, Gope, Kumar, Jeevan, Gulab, Pramila etc in it.

The movie had eight songs in it. One song from the movie has been covered in the past.

Here is the second song from “Majboori” (1954) to appear in the blog. This song is sung by Asha Bhonsle. D N Madhok is the lyricist. Music is composed by Robin Chatterji.

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

When I began this blog all those years ago, I was not even aware of D N Madhok. So I felt quite proud of myself when D N Madhok reached 100 songs in the blog as a lyricist.

With this song, D N Madhok (22 october 1902- 9 july 1982) now completes 300 songs in the blog as a lyricist, a feat that I would not have believed possible in the past. But that has actually happened. D N Madhok becomes the 11th lyricist in the blog to have 300 or more songs in the blog. Seeing that he made his debut as a lyricist as far back as in 1932, he is the seniormost lyricist to have reached this figure in the blog.


Song-Ye bahta hua paani samjha raha hai (Majboori)(1954) Singer-Asha Bhonsle, Lyrics-D N Madhok, MD-Robin Chatterji

Lyrics

ye bahta hua paani
samjha raha hai
ke wo din aa raha hai
aa raha hai
ye bahta hua paani
samjha raha hai
ke wo din aa raha hai
aa raha hai
ye udta hua panchchi
kuchh ga raha hai
ke wo din aa raha hai
aa raha hai

jab tum hamaare
hum tumhare honge
jab tum hamaare
hum tumhare honge
munh se kuch na kahenge
ishaare honge
mera dil mujhse kahe ja raha hai
ke wo din aa raha hai
aa raha hai
ye udta hua panchchi
kuchh ga raha hai
ke wo din aa raha hai
aa raha hai

wo raaten wo baaten
wo ghaaten pyaar waali
wo raaten wo baaten
wo ghaaten pyaar waali
khaali khaali zindagi mein
lo aane lagi hariyaali
mera dil mujhse kahe ja raha hai
ke wo din aa raha hai
aa raha hai
ye udta hua panchchi
kuchh ga raha hai
ke wo din aa raha hai
aa raha hai

o o o o
o o o o
o o o
kaagaz ki naav kisne ae ae
kaagaz ki naav kisne
paani mein hai bahai
kisi toote hue dil ki
fariyad bahti aayi
kisi toote hue dil ki
fariyad bahti aayi
ishaara muhjko diya ja raha hai
ke wo din aa raha hai
aa raha hai
ye bahta hua paani
samjha raha hai
ke wo din aa raha hai
aa raha hai


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.

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.

Saigal – the divine, the inimitable, the ultimate zenith of the singing voices. He came on right in the beginning of the age of talking cinema in India, and departed all too soon. This year, it is seventy years that he left this mortal existence. And to wit – no other singer since then, has ever been able to match his singing abilities, nor has been able to achieve the quality and the depth / breadth of renditions. Saigal – is Saigal. He is a class unto himself, with none other besides him.

He appeared in 36 full length feature films (28 Hindi + 7 Bangla + 1 Tamil). The stature of his persona, and the standing of the production houses, has ensured that majority of the body of his work is available today in public domain. There are a few films in the period 1932 to 1935 – namely ‘Mohabbat Ke Aansoo’ (1932), ‘Subah Ka Sitaara’ (1932), ‘Zinda Laash’ (1932), ‘Daaku Mansoor’ (1934), ‘Rooplekha’ (1934), ‘Pooran Bhagat’ (1933), ‘Raajrani Meera’ (1933), ‘Yahudi Ki Ladki’ (1933), and ‘Kaarwaan e Hayaat’ (1935), which seem to have been lost forever. Of these nine films the first five have been erased, with even no music / songs / records traceable. A few songs of the remaining four films is the priceless legacy that has survived to attest a substantive existence of these films.

Part of that history changes today. One of the above listed films is getting introduced back into the public domain. ‘Kaarwaan e Hayaat’, so far thought to be lost forever, has been traced, and after a pursuit of more than two years, yours truly has been able to acquire a complete video copy of this film. The saga of these two years is nothing more remarkable than a persuasion, a waiting game, negotiations, and allowing time for a decision to precipitate.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I introduce one such song from the film today. This is a gypsy revelry song that is being sung at the gypsy camp. The night is falling, and the singing and dancing members of the camp are saying that sleep is the furthest from the eyes – it is a time for joy, and singing, and dancing – Oye Hoye Re. We can see Parvez, dressed as a commoner, sitting with gypsies, and singing along with them. In between, as the dancing members increase, he will get up and join the dancers. Around the start of clip, we can see one male singer enter the frame from the right, walks across the frame, and when he passes by Parvez (or Naazu), he pinches his nose in a friendly gesture. This is Raahat, one of the lead gypsies in the camp (role played by Pahadi Sanyal). Along with him, we see a lady who joins the singing and dancing and accompanies Raahat in the dancing sequence, is Sonia (role played by Molina). In the beginning of this clip, and then once again later in the clip, we see a bored looking person, busy beating mosquitoes, as he waits, guarding the horses. This is Suhail, the sidekick friend of Parvez. Then, in the dancing sequence, we see a heavy set old lady enter the frame from the left. She has a bent back, and pock marked face. She is the old woman of the gypsy camp, who has a finger in everything that goes on in the camp. The surprising twist here is that the role is played by none other than Nemo, a male actor – folks will remember him as the rich Seth Sonachand Dharmanand in the film ‘Shri 420’ (1955). More of the story in some subsequent posts.

So flows the Pageant of Life (Kaarwaan e Hayaat), describing a small sequence of events in the lives of a few characters on the stage of this world. This film is great entertainment stuff.

Produced by New Theatres, the direction of the film is credited to Premankur Atorthy and another gentleman named Hem Chandra Chunder. As I searched for more information, I came across a very interesting item – that this film was produced at the Lahore centre of New Theatres. Now this is definitely news to me, that New Theatres produced films in Lahore. When I view the credits, I see a thank you note for the Nawab of Bahawalpur for using his armed forces for some of the scenes in the film. Now the erstwhile Bahawalpur state now forms a part of what currently is Pakistan. This lends credence to info that this film could have been produced at the Lahore center. Harmandir ji (of Geet Kosh) has confirmed that New Theatres did have a distribution office in Lahore, and it is possible that this film was shot in that location.

The music is credited to Mihir Bhattacharjee. There is some discussion around this credit, since surprisingly, the available gramophone records of this film carry the name Timir Baran as the music director. This shall need a separate discussion with inputs from some stalwart historians. The name of the song writer is not specifically mentioned, but other sources identify the name as Ahmad Shuja Pasha. This name appears in the credits of the film as the dialogue writer.

This is primarily a chorus song, within which we can surmise certain individual voices (of KL Saigal, Pahadi Sanyal and Molina) as they sing some individual lines, while the chorus of other singers continues.

A century marker that records a remarkable find. Welcome to the world of ‘Kaarwaan e Hayaat’.

Song – Nindiya Mori Bairan Oye Hoye Re (Karwaan e Hayaat) (1935) Singer – Molina, Pahadi Sanyal, KL Saigal,  Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya . . .

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया॰ ॰ ॰

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे



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.

जब मैं छोटा बच्चा था, (and my, not just then. . . even now). . .

No, no I am not going to start a description of my ‘शरारती’ pranks and naughtiness. I am going to tell somethings about my favorite actor and songs; that my favorite male performer was Dev Anand. There was a charismatic attraction in his face, his smile with one out of line canine, his mannerism, and his style of dialogue delivery – all put together made for a striking package,  that would steal hearts. I am talking of the time when films like ‘Baazi’ and ‘Jaal’ and ‘Taxi Driver’ continued to be popular in re runs, and continued to be discussed as iconic films. This popular set of films was shown more than once on TV, and it would be a gala Saturday/Sunday when a Dev Anand film was scheduled. Those were days when the weekly film shows were split across the two last days of the week. And needless to say, the break was very irritating. 🙂

That was for the days of the film shows. And for the rest of the week – well, it was the songs that would occupy the mind. My favorite of all times was (and is) “Ye Raat, Ye Chaandni. . .” from ‘Jaal’. As I look back on those days of childhood, and surmise, I realize that there is a set of songs that stood apart, even amongst the other thousand favorites. And practically all these songs belonged to Dev Anand on screen. Be it “Jaayen To Jaayen Kahaan”, or “De Bhi Chuke Hum Dil Nazraana. . .”, or “Hum Hain Raahi Pyaar Ke. . .”, or “Chup Hai Dharti. . .”, or “Dukhi Mann Mere. . .”, or “Haaye Haaye Haaye Ye Nigaahen. . .” or “Hai Apna Dil To Awaara. . .”, or “Khoya Khoya Chaand. . .” or “Dil Ka Bhanwar Kare Pukaar. . .”, or “Chupke Se Miley, Pyaase Pyaase. . .”, or “Gaata Rahe Mera Dil. . .”,or “Ye Dil Na Hota Bechaara. . .” and more. Mind you, all these songs were first heard on radio, and by association of the film name, one concluded that Dev Anand would have sung them on screen. And then, when the opportunity came to watch the film on TV, or in some cases, many years later, in the morning show re runs, when we would bunk the morning classes at college to go and see a favorite. Most of such films were seen, only to view the songs – how a wonderful favorite had been presented on screen. And for a Dev Anand movie, I would travel miles to the other end of the city even.

It was many years later, as the interest grew in film music, and the awareness spread from just knowing the lyrics and the tune of the song, to learning about the other members of the team who collaborated to create these wonderful melodies, that the realization settled in. That all these lovely songs of Dev Anand, that I adored and loved to sing to myself, had one thing in common – the music was composed by SD Burman. That added a new dimension to my awareness and appreciation of film music, and the name Sachin Da became associated with great music, all time and every time.

After this understanding settled in, I became more careful in noting the names of music directors and lyricists when I heard a song that would pull at the strings of the heart. And with that, I began to search for songs and films of this creator of magical music, other than those of Dev Saab. And with every film that I came across, I had these ‘Aha’ moments – OKay, so this song, which I have been liking for so long, is also a creation of Sachin Da, wow.

Let me pause and tell about the special occasion. You are right, we are not near any of his anniversaries. And the occasion was so imminent, we could not have waited for one of his days to come along. The special thing is that this post celebrates the 600th song of Sachin Da to be posted on our blog. Given that his portfolio of film songs numbers a little above 650, means that we have almost 90% of his work already accounted for on our blog. That certainly speaks volumes about his work.

Hailing from the north east part of the country,Sachin da is a princely composer, or we can also say, a prince of composers. He belongs to the royal families of Tripura and Manipur. His grandfather was the king of Tripura, and his mother was the daughter of the king of Manipur. His father was trained in classical music, and was a major inspiration in the life of Sachin Da. His father’s untimely and unexpected departure created some difficult situations in the household. The young Sachin decided to leave home. He spent time in the villages and forests of Tripura, and then went on to Calcutta, where he joined the radio station in 1932 as a singer. It was in 1932 itself that he recorded his first song on a 78 rpm record. One side of that record carries the classical composition “Ee Pathery Aaj Eso Priyo” and the second side has a folk song “Dakle Kokil Roj Bihaane”.

His reputation as a singer of note spread in Calcutta, and Pankaj Babu invited him to sing for New Theatres – for the film ‘Yahudi Ki Ladki’ (1933). However, the recording never took place, as in a shift of casting, Pahadi Sanyal was brought on board, replacing the young Sachin. It is noted that he played small singing roles in Hindi film ‘Selima’ (1935) and Bangla film ‘Bidrohi’ (1935). He went on to sing for some more Bangla films, and continued to record non film songs. His non-film repertoire is on the better side of 130, but majority of it is in Bangla. By the end of 1930s, he started getting independent assignments for composing music for films, starting with ‘Rajgee’ in 1937. The music of the film ‘Rajkumarer Nirbashan’ (1940) became very popular. He went on to compose for 17 Bangla films, in this phase of his career.

Not satisfied with the success and its rewards in Calcutta, he decided to move to Bombay in 1944. Veterans like Prithviraj Kapoor and KL Saigal, friends like Manna Dey (Sachin Deb had part of his training under KC Dey), had preceded him, and he too chose to head to the Bombay center. Filmistan’s ‘Shikari’ and ‘Eight Days’ were the first assignments that he bagged. The year was 1946. More films followed – ‘Chittor Vijay’ and ‘Dil Ki Rani’ both in 1947. And then, in 1947 came ‘Do Bhai’, and the Geeta Roy gem – “Mera Sunder Sapna Beet Gaya”. Rest, as they, is history, that lasted till 1975.

Coming to the song for today. As noted above, almost 90% of his work is already accounted for on our blog, and so, searching for a special song for today has not been easy. As I pored through the song lists of his films, I came across this wonderful folk melody, which I instantly picked for this post. Two reasons I did. For one, this song is one of those which, for the longest time, I did not know that it is composed by Sachin Da. The connect with the film, ‘Sitaaron Se Aagey’ (1958) did not happen till quite recently. The song has been a favorite since the radio listening days. The pace at which it flows is remarkable. A very heartening composition – the line “. . . bhool jaana naa. . .”, simply gets into the strings of the heart.

And yes, the second reason for this song, I was surprised that such a lovely melody has managed to keep away from the eyes of the team on this blog. And I wondered, how come this song is not posted so far. Anyway, we are getting to it today, as we celebrate six hundred songs of this peerless composer.

Majrooh Sultanpuri is the songwriter. The singing voice is that of Asha Bhosle. On screen, this song is performed by a very energetic Vijayantimala, and a chorus of dancing ladies. This is a stage song, and apparently, this is a audition performance. The seats in the theatre are empty and there are just two people in the audience – Ashok Kumar and Jagdish Sethi. Actually there is a third person also, sitting in the row behind these two, but I am not able to place a name. In the wings, there are other people present, notably Iftekhar and two others, who look familiar but once again, I am not able to place a name to them. The gentleman standing ahead of Iftekhar; is that Prem Dhawan? (yes, the name appears in the list of actors). The lady in this group turns away almost immediately as the camera pans in. I have feeling it is Raja Sulochana. I request other friends and readers to place confirm or correct.
[Ed Note:  With inputs from Prakash ji and Nayan Yagnik ji, we now confirm that the third person sitting behind Ashok Kumar and Jagdish Sethi is Kundan; and that the persons standing in the wings with Iftekhar are Prem Dhawan and Raja Sulochana. Thanks Prakash ji, Nayan ji.]

It is a village scene, complete with fields, a scarecrow, a machaan, and also a peacock thrown in for good measure. The song is about calling home the beau, who has gone to faraway lands. The message is that the fields are blooming with the crop of ‘sarson’ (mustard), and it is time now to come home for the harvest. A lovely song, and as I said, a favorite from the radio listening days. The song leaves behind a feeling of cheerfulness in the heart. Enjoy.

Song – Aaj Kal Parson Mein Phoole Jab Sarson (Sitaaron Se Aage) (1958) Singer – Asha BhosleLyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics

oo oo ooooo oo
ho oo oooo ooooo oo
oo oo aaa aaa aaa aaa aaaaaa

ho ho ho ho ho. . .
ho oo oo ooooo

aaj kal parson..on..on..on
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

jeth mein jalan se. . .
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
oy latt bikhraa jaana
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

jhoome kaare badra. . .
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
galey se lipta jaana
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

hariyaali chhaaye. . .
hariyaali chhaaye
pawan lehraaye
kadam taley aa jaana
bhool jaana na
bhool jaana na
kadamb taley aa jaana
hariyaali chhaaye
pawan lehraaye
kadamb taley aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

aaa aaa ja
aa ja aa ja re aa ja

aaa aaa ja
aa ja aa ja re aa ja

aaj kal parson
mein phoole jab sarson
aaj kal parson
mein phoole jab sarson
videsi piya aa  jaana
videsi piya aa  jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओ ओsss ओ
हो ओ ओss ओsss ओ
ओ ओ आs आs आs आs आssss

हो हो हो हो हो॰॰॰
हो ओ ओ ओsss

आज कल परसों॰॰ओं॰॰ओं॰॰ओं
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

जेठ  में जलन से॰॰ए॰॰ए
जेठ में जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
ओय लट बिखरा जाना
जेठ मे जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

झूमे कारे बदरा॰॰आ॰॰आ
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
गले से लिपटा जाना
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

हरियाली छाए॰॰ए॰॰ए
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
कदम्ब तले आ जाना
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा

आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा

आज कल परसों
में फूले जब सरसों
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना



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.
With this post, the blog now carries 700 songs by Laxmikant Pyaarelal.

The story of Laxmikant Pyaarelal reads like a dream rags-to-riches story. But it is also a story of hard work and persistent effort. Laxmikant, the senior partner in the team, was three years elder to Pyaarelal. Interestingly, both were born on 3rd of the month, Laxmikant in November and Pyaarelal in September. Pyaarelal is the son of the renowned musician Ram Prasad Sharma. Although active in the film industry since the latter part of 1930s, Ram Prasad did some films independently from 1947 to 1950. Not adept with commercial acumen, his financial status was poor most of his life. Pyaarelal, his eldest son, had to start working as a musician in recording studios at the age of 12, to support his family. The story of Laxmikant’s childhood is even more depressing. He was raised in the slums of Vile Parle in Bombay. His father passed away when he was just a toddler. A friend of his father supported him and guided him towards learning music. With time, his talent shone through, and he too started working as a musician in the film industry.

Remembering Laxmikant Shantaram Kudalkar on the 19th anniversary of his passing away today (25th May).

Growing up in financially difficult times, the childhood of these two great musicians and music directors kind of weaved through the same threads. Laxmikant got the opportunity to learn violin from Husnlal (of Husnlal-Bhagatram duo), and from Bal Mukund Indorekar. Pyaarelal learnt from his father, and other contemporaries of his father, like Anthony Gonsalves.

The two young musicians met in Sureel Kala Kendra, a center for teaching music to young children. This center was run by the Mangeshkar family. Lata ji was very impressed with the talent of this pair, and through her references, they started getting work as musicians for the recordings of some of the main line music directors of that era. The melody was in the making and the 1950s was the time that this pair of youngsters learnt their trade working under the stalwarts like Naushad, C Ramchandra, SD Burman etc. By the later part of 1950s, the career of Kalyanji Anand ji team was taking off, and Laxmi-Pyaare’s team was working as assistants to them. Although both worked together as a team, Pyaarelal was more incharge of orchestration and arrangements, and Laxmikant was more towards composition and vocals. By early 1960s, this team started to get independent offers. What came about in the short space of 5 to 7 years was a string of memorable hits and Jubilee films, that established Laxmi-Pyaare as a force to reckon with in the industry. Sample their successes from the 1960s – ‘Parasmani’ (1963), ‘Dosti’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Mr X In Bombay’ (1964), ‘Hum Sab Ustad Hain’ (1965), ‘Lutera’ (1965), ‘Shriman Funtoosh’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Pyaar Kiye Jaa’ (1966), ‘Milan’ (1967), ‘Pathat Ke Sanam’ (1967), ‘Shagird’ (1967), ‘Night In London’ (1967), ‘Farz’ (1967), ‘Jeene Ki Raah’ (1969), ‘Inteqam’ (1969), ‘Do Raaste’ (1969) – the list simply goes on and on.

Many readers may be aware that Laxmikant made an appearance as himself in the 1983 film ‘Teri Kasam’.  There is a sequence wherein a song is being recorded for a rising young star, role played by Gaurav Kumar. The initial part of this song is pictruized inside a recording studio, where Laxmikant is sitting in the control room. Incidentally we also see Kersi Lord, one of the expert music arrangers of our industry, also present, working on the recording machinery.

For the anniversary today, I bring this last remaining song of the film ‘Aaye Din Bahaar Ke’ from 1966. Six of the seven songs of this film are already posted on our blog. A quick look as the list below, and you can imagine, what a musical treat this film is – one of the early films of Dharmendra as he is taking off as a romantic hero.

1.       Mere Dushman Tu Meri Dosti Ko Tarse
2.       Suno Sajna Papeehe Ne
3.       Khat Likh De Sanwariya Ke Naam Babu
4.       Mera Mehboob Hai Bemisaal
5.       Phoolon Se Mukhde Waali
6.       Ye kali jab talak phool ban ke khiley

This last song is an all female duet, which is sung by Asha Bhosle and Lata Mangeshkar. On screen, it is performed by Nazima and Asha Parekh. The words are from the pen of Anand Bakshi. An important note here about the association of this duo music directors and this song writer. This combination has been one of the most prolific songwriter – MD combinations in the industry. Over the decades, they have produced more than 300 songs together, a majority of which have been significant hits.

With a tribute to Laxmikant today, listen to this wonderful expression of aspirations of falling in love, and the simultaneous advice against it. The words are superb, and the composition is very attractive. And yes, with this song, the film ‘Aaye Din Bahaar Ke’ completes its tally of songs on the blog. Time for another ‘Yippeee’ call.

With this song, Laxmikant Pyarelal now have 700 songs in the blog as music directors. They become only the second music directors, behind Shankar Jaikishan to reach this figure in the blog.

[Ed Note: Harish ji Raghuvanshi (of Surat) has informed in a separate email that Laxmikant-Pyaarelal are the only music directors in Hindi films to have crossed the 500 films milestone. There may be other names from South film centers, but as far as Hindi films is concerned, L-P are the leaders.]


Song – Ae Kaash Kisi Deewaane Ko (Aaye Din Bahaar Ke) (1966) Singers – Asha Bhosle, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyarelal

Lyrics

ae kaash kisi
deewaane ko
hum se bhi mohabbat ho jaaye

ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

hai waqt abhi tauba kar lo
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

tum maloom nahin shaayad
kitne be-dard sanam hongey
tum maloom nahin shaayad
kitne be-dard sanam hongey
ye aap ne sach farmaaya hai
ulfat mein laakh sitam hongey
ulfat mein laakh sitam hongey
hain laakh sitam manzoor hamen
bas ek inaayat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
tum aaj agar ik nagma ho
tumko fariyaad banaa daaley
tumko fariyaad banaa daaley

gairon se to ho shiqwe tumko
khud se bhi shikaayat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har ek khataa ki is duniya ki
is ke khataa se behtar hai
har ek khataa ki is duniya ki
is ke khataa se behtar hai
ye pyaar nahin ik dard sahi
ye dard dawaa se behtar hai
ye dard dawaa se behtar hai
bas chain hamen aa jaaye jo
bechain tabiyat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
allah museebat ho jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ए काश किसी
दीवाने को
हम से भी मोहब्बत हो जाये

ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

है वक़्त अभी तौबा कर लो
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
ये आपने सच फरमाया है
उलफत में लाख सितम होंगें
उलफत में लाख सितम होंगें
हैं लाख सितम मंजूर हमें
बस एक इनायत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
तुम आज अगर इक नग़मा हो
तुमको फरियाद बना डाले
तुमको फरियाद बना डाले
गैरों से तो हो शिक़वे तुमको
खुद से भी शिकायत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
ये प्यार नहीं इक दर्द सही
ये दर्द दवा से बेहतर है
ये दर्द दवा से बेहतर है
बस चैन हमें आ जाये जो
बेचैन तबीयत हो जाये’
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये


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.

Today, it is the turn of this 1973 Vinod Khanna starrer – ‘Dhamki’ to join the list of Yippeee films on our blog.

In 1973, it had been five years since Vinod Khanna made his debut with the film ‘Man Ka Meet’ (1968) and two years since he got his first break as a hero (in ‘Hum, Tum Aur Woh’ (1971)). He started his career as a villain, and continued to work with negative and also supporting roles in many films, before graduating into leading roles. His image as an energetic action person, actually brought to him more roles as an action hero. Many of his initial roles are either as a dacoit chief or a police inspector. The film ‘Dhamki’ is not much different. He plays the role of a CBI inspector who works to foils the plans of some foreign agents, trying to take over the control of a small erstwhile kingdom, by eliminating the new teenager heir to the throne. Vinod Khanna, helped by Mehmood Junior takes on this gang and saves the heir and the kingdom from falling into foreign hands.

This film was released, sandwiched between two other significant films of Vinod Khanna, in which he has played very sensitive roles which became better known films of that year. The first is ‘Achaanak’, which reprises the famous Nanavati murder case, and adds another dimension to it. The second is ‘Imtihaan’ in which Vinod Khanna has played the role of a college professor, taking on an educationist role very seriously. In comparison, ‘Dhamki’ may have been treated as just another cops and robbers tale.

The film is directed by Parvez for the banner of Tasveer Movies, Bombay. Interesting to note that Vinod, almost a debutante hero in 1973 was cast opposite to Kum Kum, who by this time was a veteran actress of a little over two decades, although her age does not show that on screen. Others in the list of actors are Ramesh Deo, Bela Bose, Junior Mehmood, Jaishree T, Meena T, Imtiaz, Tiwari, Sham Kumar, Brahm Bhardwaj, Munshi Munakka, Johnny Whisky etc. with special appearances by Helen, Ranjeet and Subhash Ghai.

There are five songs listed for this film. One song, “Kali Se Nazaaron Se Bahaaron Se” is penned by Verma Malik. The remaining four songs have been penned by Asad Bhopali. With the posting of this song, songwriter Asad Bhopali touches the double century milestone. He now has two hundred songs showcased on our blog.

The music is from the mind of that prodigal genius – Ganesh. The readers of this blog are by now very familiar with this name. Associated with an illustrious family of musicians, he is the son of Ram Prasad Sharma, and younger brother to Pyaarelal Ram Prasad Sharma (of the Laxmikant Pyaarelal duo).  In the beginning of 1960s, the name of Ganesh came to be acknowledged as the key contributor to the success of the music of Laxmikant Pyaarelal.  The effect of this impression in the industry was so strong that by the mid 1960s, he got about 10 assignments as an independent music director, even before a single film with his music had even got to the studio floors.

Ganesh was an expert with many instrument and a genius with creating tunes. He had the ability to create newer, fresher melodies that one had to stop and pay attention to. Pick up any film done by him (of which there sadly aren’t many), any song created by him, and as you listen, and if you are not aware of the identity of the music director, you will surely wonder who would it be, the creator of such a lovely melody. Somehow, the combination of the tones, the octaves and the emphases make the tunes created by this hugely talented musician simply touch a very endearing nerve, and the heart simply wants to sing along with the flow of the song.

But alas, recognition and success was not in his destiny. His songs, buzzing with hummable and memorable tunes, played themselves out in B and C grade cinema productions. Some of his songs escaped this banishment to the C grade world, and found a place on the radio waves, and in the mind and memories of listeners. Some such songs have remained in the memories; but then there are many other remarkable creations from him that are being rediscovered through this blog.

The earlier songs of this film that have been posted are,

1.       Chaand Kyaa Hai Roop Ka Darpan
2.       Hamsafar Ho Hamsafar Gham Na Kar
3.       Kali Se Nazaaron Se Bahaaron Se
4.       Yaaron Mujhe Peene Do

Today’s song is a stage dance song, which is performed on screen by Kum Kum, accompanied by. . .  an actress I am not able to place. She is either Jaishree T or Meena T. I request other readers and friends to kindly confirm. As is apparent from the sequence in this video clip, the plan is to eliminate the young heir to the throne by making him sit under a large glass chandelier, which will be made to fall on him at the end of the performance. The hero CBI officer and his side kick have been overpowered and are tied to water pipes in the basement. From the looks of it, all the members of the ‘evil’ gang are present in the audience. I can make out Sham Kumar and Ramesh Deo, and many more that I am not able to name, including a lady in yellow dress. Again, request to the more knowledgeable readers to help identify more people in this clip.

With this song, music director Ganesh now has 57 songs posted on our blog. Given that his total body of work is around 80 to 85 songs, we are close to getting all his songs on board. But for today, ‘Dhamki’ joins the list of films with all songs poster here. Time for another ‘Yippeee’ call.

[Ed Note: Dear Prakash ji has confirmed that the dancer on stage with Kum Kum is Jaishree T. And the lady in yellow dress, sitting in the audience, is Meena T. Prakash ji has also pointed out an error in the list of songs of this film – a case of incorrect cut and paste from another file. He has also pointed out the correction that there are two lyricists credited for this film. Prakash ji, thanks so much for your vigilant inputs, and for helping to update the correct information into this post. 🙂 ]

Song – Kaun Wafadaar Hai Kaun Bewafaa Hai (Dhamki) (1973) Singer – Asha Bhosle, Usha Mangeshkar,  Lyrics – Asad Bhopali, MD – Ganesh
Asha Bhosle + Usha Mangeshkar

Lyrics

kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
raaz hai jo dil mein
paraai mehfil mein
hum kaise bataayen bataayen
kaun khatavaar hai
kaun be-khata hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai

jhhoothi
ye duniya jhhoothi
deti rahi hai dhokha sabhi ko
hoga
jo hona hoga
jee bhar ka chaaho tum bhi kisi ko
saagar
chhalke
aanchal
dhalke
aao naa. . .
aaao naa pyaar karen
haan karen
deewaano
raat mazedaar hai
baat bevajaah hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai

aankhen
do pyaasi aankhen
kehti hain rakh do
seene pe sar bhi
socho
haan itna socho
kal ki to kya
nahin pal ki khabar bhi
jalwe
le main
dil se
hoon main
aao naa. . .
aaao naa pyaar karen
haan karen
deewaano
ang lachakdaar hai
rang phool sa hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
raaz hai jo dil mein
paraai mehfil mein
hum kaise bataayen bataayen
kaun khatavaar hai
kaun be-khata hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko hi pata hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
राज़ है जो दिल में
पराई महफिल में
हम कैसे बताएं बताएं
कौन खतावार है
कौन बे-खता है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है

झूठी
ये दुनिया झूठी
देती रही है धोखा सभी को
होगा
जो होना होगा
जी भर के चाहो तुम भी किसी को
सागर
छलके
आँचल
ढलके
आओ ना॰॰॰
आओ ना प्यार करें
हाँ करें
दीवानों
रात मज़ेदार है
बात बेवजह है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है

आँखें
दो प्यासी आँखें
कहती हैं रख दो
सीने पे सर भी
सोचो
हाँ इतना सोचो
कल की तो क्या
नहीं पल की खबर भी
जलवे
ले मैं
दिल से
हूँ मैं
आओ ना॰॰॰
आओ ना प्यार करें
हाँ करें
दीवानों
अंग लचकदार है
रंग फूल सा है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
राज़ है जो दिल में
पराई महफिल में
हम कैसे बताएं बताएं
कौन खतावार है
कौन बे-खता है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है


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.

“Agra Road” (1957) was produced and directed by Ravindra Dave for Nagina Films, Bombay. This crime movie had Shakila, Vijay Anand, Nanda, Bhagwan, Satish Vyas, Amarnath, Krishnkant, Dhumal, Nazi etc in it.
Read more on this topic…


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.

Gopal Singh Nepali (11 aug 1911-17 april 1963) was born in Bettiah (Bihar). He made his mark in Hindi literature at a young age. His first poem “Bharat Gagan Ke Jagmag Sitaare” was published in 1930 in a children’s magazine edited by Ramvrikshh Benipuri.

Gopal Singh Nepali had made his mark as a poet and he would get invited in kavi sammelans. It is in 1944 that he arrived Bombay to participate in an all Indian kavi sammelan. Sashdhar Mukherji was present in the audience and he was impressed with Gopal Singh Nepali’s poems. Filmistan owner Seth Tularam Jalan signed him up for a four years long contract at Rs 200 per month.
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.

With this post, the blog has now clocked thirteen thousand two hundred unique songs. It may be so that these century milestone are now an expected regularity. But then, it is these (now) minor milestones, that come together and collectively put together and characterize the larger milestones – A journey of a thousand steps is made up of a thousand steps.
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 13300 song posts by now.

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

Total number of songs posts discussed

13378

Number of movies covered in the blog

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

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