Advertisements

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

Archive for the ‘Guest posts’ Category


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.

Genius of Jaidev – 60
——————————–

1982 color film ‘Trikon Ka Chautha Kon’ was produced, written and directed by Madhusudan. The main actors in the film are Vijayendra Ghatge, Swaroop Sampat and Priyadarshani who formed the triangle of the story. The film has four songs, written by Mahadevi Varma, Shahryar and Maya Govind, which are set to music by our genius Jaidev. In an earlier post, it was written that the film has only three songs, but the singer of the forth song Chhaya Ganguli, herself told me that her song “Kaise Un Ko Paaun Aalee” was definitely recorded for this film only and may be, was later removed from the DVD, VCD or video cassette.

The film failed at the box office and with it, all gems of songs, both in terms of musical compositions and lyrical contents were completely forgotten. The unlucky music director was none other than our Jaidev.

Jaidevji, in his usual style has used many singers totally new to filmdom, and this beautiful ‘heer’ type singing by Shobha Joshi, in her open throat style, is the unique example.  What a song and what meaningful lyrics!  Really, ‘Hats off’ to singer, lyricist and MD.  The full song  had two antaraas, but the video on YouTube had only second antara. I have uploaded full song on Youtube with both the antaraas.

Dear Sadanand ji had seen the film and had written the synopsis of the film in his earlier article for the song “Dil Dhadakne Ki Awaaz Ki Khamoshi. . .“.

And also, with this post, all songs of this film are now represented on our musical blog. Which means that the film ‘Trikon Ka Chautha Kon’ now joins the Yippeee list.


Song – Pyaar Hai Amrit Kalash (Trikon Ka Chautha Kon) (1986) Singer – Shobha Joshi, Lyrics – Mahadevi Verma, MD – Jaidev

Lyrics

pyar hai
amrit kalash
ho o oo oo oo
ho o o o o

pyar hai amrit kalash ambar tale
pyar hai amrit kalash ambar tale
pyar banta jaye jitna baant le
pyar banta jaye jitna aa baant le
 
pyar wo kanta nahin jo paaun mein chubh jaaye
pyar wo
pyar wo kanta nahin jo paaun mein chubh jaaye
phool ye aisa nahin jo dhoop mein murjhaaye
pyar wo sikka hai jo
pyar wo sikka hai jo khota nahin hota
pyar pal bhar ki tarha chhota nahin hota
pyar ko tu pyar se
pyar ko tu pyar se sweekaar le
pyar banta jaye jitna baant le
pyar banta jaye jitna aa baant le
 
ek suraj vishw ko kiranen lutata hai
ek suraj
ek suraj vishw ko kiranen lutata hai
ek jharna pyaas kitnon ki bujhata hai
pyar jeewan ke liye
pyar jeewan ke liye vardaan hota hai
pyar maanav ke liye bhagwan hota hai
pyar ka deepak sada
han aa
pyar ka deepak sada dil me jale
pyar banta jaye jitna baant le
pyar hai amrit kalash ambar tale
pyar banta jaye
pyar bata jaye jitna baant le …
pyar banta jaye jitna baant le
ho oooo oo
ho ooo ooo oooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

प्यार है
अमृत कलश

हो ओ ओss ओss ओss
हो ओ ओ ओ ओ

प्यार है अमृत कलश अंबर तले
प्यार है अमृत कलश अंबर तले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

प्यार वो काँटा नहीं जो पाँव में चुभ जाये
प्यार वो
प्यार वो काँटा नहीं जो पाँव में चुभ जाये
फूल ये ऐसा नहीं जो धूप में मुरझाए
प्यार वो सिक्का है जो
प्यार वो सिक्का है जो खोटा नहीं होता
प्यार को तू प्यार से
प्यार को तू प्यार से स्वीकार ले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

एक सूरज
एक सूरज विश्व को किरणें लुटाता है
एक झरना प्यास कितनों की बुझाता है
प्यार जीवन के लिए
प्यार जीवन के लिए वरदान होता है
प्यार मानव के लिए भगवान होता है
प्यार का दीपक सदा
हाँ आ॰॰
प्यार का दीपक सदा दिल में जले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

हो ओsss ओs
हो ओss ओss ओsss ओss

Advertisements

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the film Captain India-1960. Not only this film is making a Debut on the Blog, but its Music Director- Hemant Kedar- too is making his Debut here. It is a rare occasion these days that a music Director makes his Debut in the blog, because we have covered so many MDs already ( at my last count, we have covered 462 MDs on this Blog). However, there are still a large number of MDs whom we have yet to listen. From 1931 to till today, as per a rough estimate, there could be almost 500 to 700 Music Directors.

Of these, MDs who gave music in less than 5 films could be about 50 to 100, those who composed for 5 to 15 films may be 100, from 15 films to 50 films may be about 150, from 50 to 100 films will be around 100, from 100 to 200 films may be another 50, more than 200 films may be about 50 or so. Add to this one film wonder MDs- almost 200.

These are simply wild guesses, without any solid base. Well known Music Directors who have given music in many films are a large group and Music lovers are conversant with their names. What is of interest to a student of HFM is those Music Directors who have given music in less than 5 films and One Film Wonders( like Pt. Amarnath Chawla of Garm Coat-55, for example).

Have you ever heard the name of a composer called HEMANT KEDAR ? No, it is not a pair like Shankar Jaikishan, Kalyanji Anandji or Laxmikant Pyarelal .It is a misleading one name( like another such single name Shyamji Ghanashyam ji, for example). OK, did you ever know about R.K.Shinde or Ram Shinde ? I am sure , most of the readers may not have heard these names. These are the names of Ramkrishna Shinde. This reminds me of composer Snehal Bhatkar who used 5 different names as composer.

The composer of today’s film Captain India-60, Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C.Ramchandra,Naushad, Husnlal-Bhagatram, Shanker-Jaikishen etc were in their best performing period and had hogged almost all the major production houses as their Patrons. In this flood of Musical Tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without Luck were soon forgotten.

Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra Coastal Belt. He was eldest amongst 2 brothers and 2 sisters When he was 9 yr. old, his father died and the faily was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took training in vocals fro Pt.Sitaram and learnt Sitar from Pt. Madhav rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met Dancer Parvati kumar and Tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.

His first Hindi film as a composer was Manager-47, followed by Kiski Jeet-48 and then Bihari-48, with Naresh Bhattacharya. Not getting films anymore,he turned to giving music to Dance Ballets. He became so famous in that, that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving Dance Music in Usha kiran’s film Gauna-50.

he returned to Hindi films again. This time as Hemant kedar. Reason for this name- his favourite Raagaas were hemant and Kedar. He gave music to

Khaufnak Jungle-55
Police Station-59 and
Captain India-60.

Hemant Kedar ( Like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than than his released films. Some of his Unreleased films were

1. Hamari kahani
2. Avinash
3. Sati mahananda
4. Jannat ki Hoor
5. Peeli kothi
6. Paataal Devta ( This was the film in which actress Mumtaz had Debuted, but this movie was not released)

Hemant Kedar gave music in two Marathi films. Side by side, he did 5-6 programmes on All India Radio. After the advent of Television, he started giving music in TV Ballets and was in great demand for such programmes. He did about 15 Ballets on TV. He became ill and expired on 14-11-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job. (Thanks to http://www.beetehuedin.blogspot.com for this information.)

Film Captain India-60 was produced by Rajaram Saqi and directed by C.Kant. It was a stunt film featuring Kamran, Krishnakumari and others. There were 5 songs, all written by the Producer himself-Rajaram Saqi. Kamran Khan Rizvi was a regular Stunt Hero and I used to enjoy his films. He started his film career with Baghi Sipahi-36, a film made by East India Film Co, Calcutta. A.R.Kardar was its Director. Later on Kamran came to Bombay, along with kardar, who was his Patron for quite some time.

Hero Kamran and Heroine Nazi was a popular combination of 12 stunt films, those days. Kamran worked in 52 films. In 1963, film Bachpan was being directed by Nazar Ahmed. He had some disputes with the Producer and he left the film midway. The Debutant Hero Salim ( father of actor Salman Khan) and Debutant Heroine Menaka ( sister of Daisy and Honey Irani…all daughters of Mrs. P.N. Irani, a greedy mother, who spoiled the childhood of her children for money) were in trouble. Kamran stepped in and completed the film by directing the balance part, without taking any money. During this period, he fell in love with menaka and they got married. Her film career ended there only. They had one son and one daughter ( Actor, compere, Director Sajid Khan and famous Choreographer and Director Farah khan).

Kamran stopped getting Hero’s roles, as stunt films were not being made to that extent in the 70s and later period. He decided to become producer and Director. This proved to be his nemesis. He failed miserably, lost everything and became an alcoholic. He divorced Menaka, who worked as a Housekeeper in a 5 star hotel (Hotel Sea Rock) and he lived in his big flat in Versova with 2 children but no money. He died in 1985.

Kamran directed 11 films from Panch Ratan-65 to Ban Manush-80. His last film as an actor was Nastik-83.

During the period 1950 to 1960, lot of stunt, action, and fiction films from Hollywood used to come . Among them my favourites were from Republic Serial films like “Trip to the Moon’, Hurricane’, Time machine, Superman,The 4 D man etc. There was one film “Captain Marvel”, which was my favourite and I saw it 5 times. I had thought that Captain India-60 was also like that film and went to see the film and came back hugely disappointed . The story of the film was-

Seth Mohan lal was a rich merchant in Burma. He decides to return to India, with his only daughter Krishna and settle in Roop Nagar to lead a retired life. Gangster Rajan from Rangoon comes to know that the Havel Mohan lal is to buy has some great secret hidden in it. If he can get that secret he can rue the world. So, he follows Mohanlal to India.

Meanwhile krishna meets Shekhar- a Press Reporter by job, Lover boy by habit and an all round spy as a hobby. After singing the mandatory love songs and doing exercise around Trees, they decide to marry and tell her father about their love. Rajan is very business minded and so, Mohan lal gets killed and the young couple is frightened with the existence of Ghosts etc in the Haveli.

Madhu is the moll of Rajan and she too loves Shekhar. She reveals the actual plan of Rajan and about the secret formula in the Haveli. Suddenly, Madhu gets killed in the arms of Shekhar. She is murdered by Rajan. Now he is after the lives of Krishna and Shekhar and they are on the run. With the help of the Police, Rajan is caught red handed, but he sets fire to the Haveli and the secret formula gets burnt.

All is well that ends well. After the end, audience is well and goes home cursing the film.


Song-Main padh rahi hoon tumko (Captain India)(1960) Singers-Sudha Malhotra, Talat Mehmood, Lyrics-Rajaram Saqi, MD- Hemant Kedar
Both

Lyrics

main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho
main padh raha hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh rahi hoon tumko

kaanon se sun raha hoon
main saaz zindagi ka
aankhon se pee raha hoon
meri sharaab tum ho

ye raat mohabbat ki
saugaat mohabbat ki
main pyaar ka samandar
phool hoon ke chaand tum ho
ho
fasle bahaar aayi
gulshan mein zinagi ke

main mad bhari mahak hoon
rangeen gulaab tum ho
main padh rahi hoon tumko
meri kitaab tum ho
mere sawaal tum ho
mere jawaab tum ho

main padh raha hoon tumko

baaqi raha na kuchh bhi
dil mein siwa tumhaare
sab kuchh luta ke hamne
paaya wo raaj tum ho

jo khwaab zindagi ke
poore huye na mere
khwaabon mein unko dekha
tabeer e khwaab tum ho
ho o
manzil wahi puraani
raahen wahi puraani
yoon lag raha hai jaise
sadiyon se saath tum ho

main padh rahi hoon tumko


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 Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

रोक सकता हमें ज़िन्दान-ए-बला क्या मजरूह
हम तो आवाज़ हैं दीवार से छन जाते हैं

Rok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.

[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].

This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was  associated with the Progressive Writers Association (PWA), a left-oriented ideological group.  Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA  to a lyricist in the film industry.

Today, May 24th 2017 is the 17th Remembrance Day of Majrooh Sultanpuri (01/10/1919 – 24/05/2000) who ruled the Hindi film industry as a lyricist for over 5 decades. His long innings in Hindi film industry can be gauged by the fact that he wrote lyrics for music director Naushad in 1946 to A R Rahman in 2000. He wrote lyrics for the three generation of Kapoor family –  for Raj Kapoor in ‘Andaz’ (1949) to Randheer Kapoor in ‘Rampur Ka Lakshman’ (1972)  and to Karishma Kapoor in ‘Ham To Mohabbat Karega’ (2000). These are the testimonies of his smooth adaptation of the changing environments in Hindi film music. He achieved this without much diluting the quality of his lyrics.

Majrooh Sultanpuri was initially a reluctant lyricist if I go by his as well as others’ interviews. In 1945, he had accompanied his mentor, Jigar Moradabadi to Bombay (Mumbai) for participation in a Mushaira. Many film producers and directors saw such mushaira as an opportunity to select budding poets to write songs for their films. One of the producer-directors who attended the mushaira was AR Kardar. He  was producing and directing ‘Shah Jahan’ (1946) and was keen to engage Jigar Moradabadi to write songs for the film. However, Jigar Moradabadi declined the offer and instead suggested him to take his disciple, Majrooh Sultanpuri who had impressed the audience with his poetry in the mushaira.

Majrooh Sultanpuri was reluctant to write songs for the films as he felt that his association with films would affect his shaayari. However, at the end, he could not say no to his mentor and agreed to write the songs for ‘Shah Jahan’ (1946). This was the start for a reluctant lyricist which culminated into a very long and a successful filmy career.

After the success of his iconic songs ‘Shah Jahan’ (1946) such as gham kiye mushtakil, Majrooh Sultanpuri  also wrote songs for Naushad in films such as  ‘Qeemat’ (1946) and ‘Andaz’ (1949) and for Bulo C Rani in ‘Anjuman’ (1948) and ‘Nazaare’ (1949) among others. The success of ‘Andaz’ (1949) and ‘Aarzoo’ (1950) firmly established Majrooh Sultanpuri as a lyricist. However, his filmy career got a setback sometime in 1950 when the then Government of Bombay arrested him for inciting the workers through his recitation of poems. Although the Government gave him an opportunity to apologise his action, he refused and instead spent 2 years in Arthur Road Jail along with Balraj Sahani.

After his release from the jail, he found it hard to get the assignments. The absence of 2 years in Hindi film industry is a long period to successfully restart the career. By this time, Naushad had Shakeel Badayuni, SD Burman had Sahir Ludhinavi, Raj Kapoor with Shankar-Jaikishan had Shailendra and Hasrat Jaipuri. During this period, Majrooh Sultanpuri got work to write one or two songs in a few films. Perhaps, his jail stint thought him a lesson that he had to keep his ideological views separate from his filmy career. Thanks to his calibre and with some luck, his second inning started with a good number of films albeit with a gap.

In 1953, 9 films in which Majrooh Sultanipuri contributed lyrics were released. However, almost all these films did not fare well on the box office front although they had some very good songs. Among his 1953 released films, ‘Fareb’ (1953) had two beautiful songs aa mohabbat ki basti basaayenge ham and husn bhi hai udaas udaas ishq bhi gham se choor hai.  ‘Baaghi’ (1953) had hamaare baad ab mehfil mein afsaane bayaan honge. ‘Footpath’ (1953) had shaam e gham ki kasam aaj ghamgeen hain ham and ‘Hamdard’ (1953) had tera haathh haathhon mein aa gaya.

The year 1954 was a  milestone  in the filmy career of Majrooh Sultanpuri along with  OP Nayyar and Guru Dutt who all were associated with the film ‘Baaz’ (1953). Despite good songs, the film had failed at the box office. Guru Dutt’s next venture ‘Aar Paar’ (1954) was hopping to recoup the financial losses. The film became a super hit at the box office. For Majrooh Sultanpuri, it was a successful departure from the poignant songs which he used to write earlier to light-hearted songs like appeasement song (ye lo main haari piya huyi teri jeet re) and Hinglish/Bambaiyya/nok jhonk/teasing song (arrey na na na na na tauba tauba).

The success of ‘Aar Paar’ (1954) proved that Majrooh Sultanpuri was also an expert in writing light-hearted songs and that he could easily write songs for pre-set tunes without much compromising in the use of appropriate words in the lyrics. Later he wrote many such songs in films like ‘Mr and Mrs 1955’ (1955), ‘CID’ (1956), ‘Nau Do Gyaarah’ (1957),  ‘Paying Guest’ (1957), ‘Chalti Ka Naam ghaadi’ (1958), ‘Dilli Kaa Thug’ (1958) and many more.

With over 2000 songs in about 350 films during 1946-2000, it is not possible to discuss  the full career of Majrooh Sultanpuri in a single article. So I will skip his works with music directors like SD Burman, OP Nayyar, Chitragupt, Roshan, Madan Mohan, Ravi etc during the 1960s and with music directors like Laxmikant-Pyarelal, Rajesh Roshan, Anand- Milind, Jatin-Lalit, Bappi Lahiri, Anu Malik etc 1970s onward. However, I feel that I must include here the unique and the long lasting association of Majrooh Sultanpuri with  RD Burman.

When Nasir Hussain signed Majrooh Sultanpuri as lyricist for ‘Teesri Manzil’ (1966), the music director for the film was not finalised.  Majrooh Sultanpuri suggested the name of RD Burman as the music director. However, the name had to be vetted by Shammi Kapoor, the lead actor of the film as it was generally known that he would prefer OP Nayyar or Shankar-Jaikishan as the music director. After a presentation by RD Burman, Shammi Kapoor was so much impressed by the tunes of the songs composed by RD Burman that he instantly gave his nod.

The ‘khushnuma’ songs of Majrooh Sultanpuri which RD Burman composed the folk-based tunes with some elements of  rock, jazz and latino became an instant hit with the young generation. Personally, I feel that the songs of ‘Teesri Manzil’ (1966) was the beginning of the end of the golden era of Hindi film music. A new and modern style of Hindi film music started which was well received not only by the  younger  generation but also many of my generation. Majrooh Sultanpuri’s lyrics acted as a continuum during the change of Hindi film musical eras. And what a contrasting style of lyrics he wrote during 1966 itself!  For example, he wrote  o mere sona re sona re sone re, de dungi jaan juda mat hona re for ‘Teesri Manzil’ (1966) and also  chhupa lo yoon dil mein pyaar mera ke jaise mandir mein lau diye ki in ‘Mamata’ (1966).

I had called RD Burman-Majrooh Sultanpuri combination an unique one. The reason is that after listening to the songs of ‘Teesri Manzil’ (1966), one can immediately feel the vast differences in the types of songs composed earlier with that of the songs of Teesri Manzil. But the lyrical style of Majrooh Sultanpuri remains more or less the same. So it was a sort of blend of the golden era style of lyrics with modern melodies and rhythm.

Majrooh Sultanpuri wrote songs for RD Burman in as many as 75 films during 1966-1996 – the highest number of films he did with a music director. Laxmikant-Pyarelal ranked a distant second with 42 films during 1964-1992 and Chitragupt with 23 films ranked third. His association with music directors like SD Burman, OP Nayyar, Rajesh Roshan, Anand-Milind etc resulted in writing songs for films ranging between 15 and 20. But the fact remains that he worked with almost all the top music directors of his time.

An interesting observation about the association of Majrooh Sultanpuri with then upcoming music directors is in order. The first film which some of them did with him became the turning point for the successful takeoff in their career. Examples are Laxmikant-Pyarelal (Dosti, 1964), RD Burman (‘Teesri Manzil’, 1966), Rajesh Roshan (‘Kunwara Baap’, 1975) and Anand-Milind (‘Qayamat Se Qayamat Tak’, 1985).

In 1993, Majrooh Sultanpuri was conferred with the prestigious Dadasaheb Phalke Award, the first film lyricist to get the award.

As happens in any filmy career, Majrooh Sultanpuri’s  career got a set back during the second half of the 1990s. His favourite music directors were not in much demand and probably he could not adjust to the lyrical demands of the third generation of music directors.

One silver lining during this lean period for Majrooh Sultanpuri was Asha Bhonsle’s non-film pop album ‘Jaanam Samjha Karo’ (1997) in which all the eight songs were written by Majrooh Sultanpuri. This album was sold like a hot cake mainly because of the popularity of the song jaanam samjha karo which won MTV and V Channel award for Asha Bhonsle in 1997. I remember that not a single day passed on the TV musical channels without playing this pop song when the song’s  video was made public. While the younger generation may have liked the pop music and the way the video was shot on Milind Soman and Helen Brodie, I liked more for its lyrics and Asha Bhonsle’s rendition. At that time, I was not even aware that it was written by Majrooh Sultanpuri.

Just a few months before his death on May 24, 2000, one of his fellow lyricists had met him and enquired as to what he was doing. Majrooh Sultanpuri replied in Hindi ‘andhon ke shahar mein aaina bech raha hoon’. (I am selling mirrors in the city of blinds). This, by and large, sums up the status of lyricists in the neo-modern era of Hindi film music.

On the occasion of 17th Remembrance Day of Majrooh Sultanpuri, I recall his five of the six songs he wrote for the film ‘Garam Coat’ (1955), the 6th song being a Meera bhajan.  Five songs were rendered by Lata Mangeshkar for which she did not take any remuneration. Five songs from the film have already been covered in the blog. The film was produced by Rajinder Singh Bedi and was directed by Amar Kumar. The star cast included Balraj Sahani, Nirupa Roy, Vijaylaxmi, Jayant, Brahm Bhardwaj, Baij Sharma, Rashid Khan etc.

Here is the 6th song ‘Nanha Mora Dole Mori Anganiyaa’. The song was set to music by Pandit Amarnath Chawla, who was the senior most disciple of Ustad Amir Khan. The song is picturised on Vijaylaxmi who plays with her kid and admires his aimless walk in the courtyard of her village house. The background of this song is that Balraj Sahani has lost his entire salary on the salary day and his debtors would be asking for the money he owes them. He decides to commit suicide by coming in front of the train. However, by the time he reaches the spot, the train had just passed. A dejected Balraj Sahani waits for another train to come when he suddenly hears humming of a song sung by a mother for her child from a house on the other side of the railway track.  He reaches near the house and what he sees bring some smile on his face. Instead of committing suicide, Balraj Sahani goes back to his home.

Majrooh’s lyrics in this song is the true reflection of the village settings about 60 years back which are  still valid even in the 21st century for many of the villages in India. I have come across a couple of Hindi words used in the lyrics such as ‘humak’ (toddler’s walking attempts), ‘kilkaari’ (toddler’s loud sound when happy) after a long time.

[Ed Note: With this post, the film ‘Garam Coat’ joins the list of films with all songs covered on this blog. Yippeee time. . . ]


Song – Nanha Mora Doley Mori Anganiaa (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..

nanhe re..e..e..
munne re..e..e..

hmm hmm hmm hmm
hmm hmm hmm hmm
nanha mora doley 
mori anganaiya
nanha mora doley 
mori anganaiya
door se dekhoon aur musakaaun
door se dekhoon aur musakaaun
moond ke ankhiyaan paas bulaaun
moond ke ankhiyaan paas bulaaun
natkhat hans ke chale paiyaan paiyaan
nanha mora doley
mori anganiyaa
nanha mora doley

komal aisa 
mora albela
komal aisa 
mora albela
aankh pade to
rang ho maila
aankh pade to
rang ho maila
daare phiroon main to achra ki chhaiyaan
nanha mora doley 
mori anganiyaa
nanha mora doley

humak humak chaley 
maare kilkaari
humak humak chaley 
maare kilkaari
chhoti chhoti batiyaan 
laage pyaari pyaari
chhoti chhoti batiyaan 
laage pyaari pyaari
laage nazar nahi 
le loon balaiyaan
nanha mora doley 
mori anganiyaa
nanha mora doley

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

नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰

नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰

हम्म मम्म मम्म मम्म
हम्म मम्म मम्म मम्म
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
मोरी अंगनइया
दूर से देखूँ और मुसकाऊँ
दूर से देखूँ और मुसकाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
नटखट हंस के चले पइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले

कोमल ऐसा
मोरा अलबेला
कोमल ऐसा
मोरा अलबेला
आँख पड़े तो
रंग हो मैला
आँख पड़े तो
रंग हो मैला
डारे फिरूँ मैं तो
अचरा की छइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले

हुमक हुमक चले
मारे किलकारी
हुमक हुमक चले
मारे किलकारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
लागे नज़र ना
ले लूँ  बलइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, May 24, 2017 is the Remembrance Day of Bulo C Rani,  the music director and the singer who left this day 24 years ago under unfortunate circumstances. A contemporary of music directors like Anil Biswas, Ghulam Haider, Naushad, C Ramchandra and Khemchand  Prakash, it is a sad commentary on Hindi film industry that Bulo C Rani could not attain the stature of these music directors. And this is despite the fact that he was associated with the Hindi film industry for over 2 decades and had churned out some immortal compositions.

I started listening to Hindi film songs on the radio as a teenager and in my younger days, the music directors like Naushad, C Ramchandra, S D Burman, Husnlal-Bhagatram, Shankar-Jaikishan, Roshan, Madan Mohan, OP Nayyar etc were familiar to me. But I had not heard of Bulo C Rani and other lesser known music directors. However,  I was very familiar with a few of the songs composed by him like Prwaanon Se Preet Seekh Len, Hamen To Loot Liya Mil Ke Husn Waalon Ne and Maangne Se Jo Maut Mil Jaati. At that time, for me, these songs and the singers were inseparable without caring to know about the lyricists and composers of the songs.

It was during early 70s when I was first exposed to the old Hindi films songs of 40s and 50s by my friend, when I heard in his house Sundarta Ke Sabhi Pujaari. In a way, this song served not only to be my introduction to the film ‘Jogan’ (1950) but also to Bulo C Rani. Over a period of time, I became familiar with his contributions to Hindi film industry as a music director. After joining this Blog, I was  pleasantly surprised to know that during his stint as a music director, he had composed  as many as 584 songs in 70 Hindi films.

Bulo C Rani (06/05/1920 – 24/05/1993) was born in Hyderabad (Sindh) in a Sindhi family. His father Chandiram was a musician who was the music director in some of the films of early 1930s. I find from the internet that three films, viz. ‘Insaan Ya Saitaan’ (1933), ‘Prem Pariksha’ (1934) and ‘Yaasmin’ (1935) have Chandiram as the music director. So the young Bulo C Rani may have got the inspiration from his father to develop his interest in the music.

Sometime in the early 40s, Bulo C Rani visited Lahore with the intention of working under Ghulam Haider who had become a household name with the runaway success of his songs in ‘Khazaanchi’ (1941). However, after finding that he has not become even assistant to Ghulam Haider,  he shifted to Bombay (Mumbai) on the advice of DN Madhok, lyricist and the then ‘king maker’ in Hindi film industry. He took Bulo C Rani to Ranjit Studios where he was got employment as assistant to Khemchand Prakash and Gyan Dutt, the main music directors of Ranjit Movietone at that time.

Bulo C Rani got the chance to compose two songs for the film ‘Paighaam’ (1943) thanks to Gyan Dutt who was the music director for the film. It was in the early 1944 that he got the independent assignments as a full-fledged music director in Ranjit Movietone’s two films ‘Pagli Duniya’ (1944) and ‘Carvaan’ (1944). Both these films were directed by Aspi Irani. There were total of 27 songs in these two films of which as many as 15 songs were sung by Amirbai Karnataki. In these two films, Bulo C Rani also sang 5 songs with a psuedo name ‘Bhola’.

And what a musical start for Bulo C Rani! In ‘Caravaan’ (1944), two songs, Sooni Padi Hai Pyaar Ki Duniya Tere Baghair sung by Amirbai Karnataki and Aankhon Mein Intezaar Ki Duniya Liye Huye sung by Zohrabai Ambalewaali became very popular. In ‘Pagli Duniya’ (1944), I like the song Dil Dard Se Bharpoor Hai Aankhon Mein Hai Paani and “Gar Hum Ko Jalaaoge Duniya Ko Jalaa Denge’, both sung by Amirbai Karnataki. Unfortunately for Bulo C Rani, despite good music, ‘Pagli Duniya’ (1944) failed miserably at the box office and ‘Caravaan’ (1944) registered only a modest success.  Additionally, in terms of public tastes,  Bulo C Rani could not match his compositions in these two films with that of songs of his boss, Khemchand Prakash in ‘Bharthari’ (1944) and ‘Bhanwara’ (1944) which were released in the same year.

In the remaining of the 1940s, Bulo C Rani had on an average 5 films per year thanks to Ranjit Movietone where he was a full time employee. By the end of 1946, both Khemchand Prakash and Gyan Dutt had turned free-lance music directors thus giving Bulo C Rani more opportunity to get the films from Ranjit Movietone. A few of the popular songs composed by him during this period were Badariya Baras Gayi Us Paar from ‘Moorti’ (1945), Jaa Parwaane Jaa Kahin Shama Jal Rahi Hai from ‘Rajputaani’ (1946), Wo Teer Kaleje Par Ik Shokh Ne Maara Hai from ‘Anjuman’ (1948) etc.

Discussion on Bulo C Rani would not be complete without ‘Jogan’ (1950) which was produced by Chandulal Shah under the banner of Ranjit Movietone. This film was finalised with Dilip Kumar and Nargis, the two prominent actors of that time as lead actors. However, the financial condition of Ranjit Movietone was so precarious that the company had money to sustain for only one month. Kidar Sharma who had already left Ranjit Movietone to produce and direct films under his own banner was approached with a request to start the shooting to complete the film in one month.

Kidar Sharma accepted the challenge and started shooting during the day time and the post production work in the night time for which he had to stay in Ranjit Studio. Bulo C Rani was entrusted with the music direction of the film with 15 songs to be composed and recorded. The film was completed in less than a month and was released. The film was a box office hit and became the 5th highest grosser at the box office for 1950. The success of the film was attributed mainly to 15 songs of which 6 songs were Meera Bai’s Bhajans. The highlight of film was that all the 15 songs became very popular. Bulo C Rani’s real recognition as a music director came with the success of these songs.

The success of ‘Jogan’ (1950) did not add value to Bulo C in terms of his musical career. In fact, during 1951, he had only one film “Pyaar Ki Baaten’ (1951) which got released. During 1950s, one of his films which was critically acclaimed for its music was ‘Bilwamangal’ (1954). My favourite songs from the film are Parwaanon Se Preet Seekh Len and Hum Ishq Ke Maaron Ko Do Dil Jo Diye Hotey.

In the greater part of 1950s, Bulo C Rani was relegated to some B grade films and in 1960s, he was getting films mostly belonging to the genre of  action/costume/fantasy/mythology.  Producers of such B and C grade films will have limited budget which prevents them, among other things, hiring the top playback singers for the music directors. During 1950 to 1966, Bulo C Rani composed nearly 300 songs of which Lata Mangeshkar and Mohammed Rafi, who had become the top playback singers, sang for him only 22 and 31 songs respectively.

During his stint with B and C grade films,  Bulo C Rani appears to have been influenced by the qawwali genre of songs and that too by Yusuf Azad/Ismail Azad. There were qawwalis in ‘Noor E Yaman’ (1956), ‘Jahaazi Lootera’ (1957), ‘Al Hilal’ (1958), ‘Black Tiger’ (1960), ‘Pedro’ (1960), ‘Room No.17’ (1961), ‘Jaadoo Mahal’ (1962), ‘Madam Zorro’ (1962) and ‘Jadoo’(1966). In ‘Son of Hatimtai’ (1965), there was qawwali sung by Rafi and Jaani Babu Qawwal.

‘Sunehre Qadam’ (1966) was Bulo C Rani’s last film after which he kept himself away from the Hindi film industry. It is said that during this period, he started teaching music to students. He also composed music for a couple of Sindhi films and some non-filmy songs.  I feel that his musical career was tied with the fate of Ranjit Movietone. The moment, Ranjit Movietone’s factory-like film production stopped, Bulo C Rani lost his comfort zone.  It was difficult for him to face the competitions from the likes of Naushad, C Ramchandra, S D Burman, Shankar-Jaikishan, OP Nayyar, Roshan, Madan Mohan etc during 1950s and 60s.

It is a well-known fact that in any vocation, not all becomes successful even if the persons have more or less the same talent. What differentiates between a successful and not so successful person is the extra punch (in today’s parlance ‘extra toppings’) the successful persons apply in their approach to work. I guess, Bulo C Rani may have lacked that extra punch in his work. Additionally, one also requires luck to be on his side for attaining the success. Luck was obviously not in favour of Bulo C Rani as he did not have good banners to support him as was the case with his compatriot music directors in the 1950s and 60s. In this context, one of the songs written by Kaif Irfani and composed by  Bulo C Rani for the film ‘Gul Sanobar’ (1953) aptly applies to him:

isse na aur lootiye
ye dil bahut gareeb hai
naseeb se main kya kahoon
naseeb to naseeb hai

Bulo C Rani was a good singer. In fact, he started his filmy career as a singer with “Roothna Pyaar Mein Karwat Ka Badal Jaana Hai’ in the film ‘Mehmaan’ (1942) under the music direction of Khemchand Prakash. By the time he became a full-fledged music director in 1944, he had already sung 14 songs in 10 films. During his entire filmy career, he sang 43 songs in 24 films. All these songs were sung under the music direction of Gyan Dutt and Khemchand Prakash in addition to his own music direction.

On the 24th Remembrance Day of Bulo C Rani, I have selected a rare ghazal from the film ‘Madhur Milan’ (1955) which I came across only a few days back. In fact, I was under the impression that I had listened to all the songs of this film as early as in early 1970s in my friend’s house. But it was not so.

The song is “Ye Chaandni, Ye Hawa, Ye Samaa Bahaaron Ka’ composed and sung by Bulo C Rani. The songwriter is Jaan Nisar Akhtar. The video of this rare song was not available on the internet. So I have made a video from mp3 clip and uploaded the same a few days back on YT. The highlight of this song is that Bulo C Rani has rendered the ghazal in a style which is the reminiscence of KL Saigal era.


Song – Ye Chaandni Ye Hawa Ye Samaa Bahaaron Ka (Madhur Milan) (1955) Singer – Bulo C Rani, Lyrics – Jaan Nisar Akhtar, MD – Bulo C Rani

Lyrics

ye chaandni
ye hawaaa aa aa
ye samaa baha..aron kaa aa
chali hai raat liye kaarwaan sitaaron kaa aa
chali hai raat

kuchh is mazey se
haan aan aan aan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kabhi khayaal bhi aataa nahin kinaaron kaa aa
chali hai raat

ae aeeeeee
jo tum nigaah uthaao oo
to ye fiza jaage ae ae
jo tum nigaah uthaao
to ye fiza jaage ae
abhi to naam hai jaage huye nazaaron kaa aa
chali hai raat

ye soch lo
ke mohabbat kaa kya taqaaza hai
ae ae ae
ae ae
ye soch lo
ke mohabbat kaa kya taqaaza hai
ye dekh lo
ye dekh lo ke ishaara hai kya bahaaron kaa
chali hai raat liye

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

ये चाँदनी
ये हवा॰॰आ
ये समा बहा॰॰आरों का॰॰आ
चली है रात लिए
कारवां सितारों का
चली है रात

कुछ इस मज़े से
हाँ आं आं आं
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कभी ख्याल भी आता नहीं किनारों का
चली है रात

ए॰॰ एsss
जो तुम निगाह उठाओ॰॰ओ
तो ये फिज़ा जागे॰॰ए॰॰ए
जो तुम निगाह उठाओ
तो ये फिज़ा जागे॰॰ए
अभी तो नाम है जागे हुये नज़ारों का॰॰आ
चली है रात

ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ए॰॰ए॰॰ए॰॰ए
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ये देख लो
ये देख लो के इशारा है क्या बहारों का
चली है रात लिए


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.

The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.

In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.

Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film.  However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.

‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.

The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.

Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.

His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.

The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.

In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.

Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.

Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.

The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.

The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).

This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.

Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.

Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata MangeshkarLyrics – Majrooh Sultanpuri, MD – Pt Amarnath

Lyrics

kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re

ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare

kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे

एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे

कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया 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.

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 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


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 – 31
– – – – – – – – – – – – – – –

The year 1964 saw the release of two films with titles starting with ‘Pahaadi’. One is titled ‘Pahaadi Jawaan’ and the second one is ‘Pahaadi Nagin’. Very rare, very obscure. Small mercies that at least one of them – ‘Pahaadi Nagin’ has some of its songs traceable. ‘Pahaadi Jawaan’ – nothing traceable so far.

The essential basics of the film ‘Pahaadi Nagin’ – the film is directed by  S Azeem for the banner of MGA Films, Bombay. The star cast of this film reads like Azaad, Indira, BM Vyas, Ram Mohan, Dalpat, Babu Rajey, Sadhna Khote, a set of wrestlers by the names Pehalwan (yes, just that), Baburao  Pehalwan, Babu Sandow, Julian, and a set of simply first names that reads like Mona, Birju, Butter (yes. . .), Dilip, Yusuf (yes, both), Habin, Beena, Sushma, Jilani, Gulab, Mansoor, Baasha, Gaffaar, Kumar, Mubarak, Akram, and a child artist, Master Deep. Quite an interesting list of characters.

Geet Kosh lists 6 songs for this film. The music is from the mind of Iqbal, and the words are from the pen of Farooque Kaiser. Today, we bring on board the first song from this film. The singing voice is that of Mubarak Begum. An attractive song – might have captured more attention from the listeners, had this film been better known or had been a better success.

And we also request other knowledgeable friends and readers to please add more information about this film. Nothing more is apparently available / traceable.

Song – Dil Ki Na Jaane Anaadi Balma (Pahaadi Nagin) (1964) Singer – MMubarak BegumLyrics – Farooque Kaiser, MD – Iqbal

Lyrics

dil ki naa jaane anaadi baalma
haaye
dil ki naa jaane anaadi baalma
kaise bataa doon bhala main saari batiyaan
kaise bataa doon bhala main saari batiyaan
dil ki naa jaane anaadi baalma
dil ki naa jaane anaadi baalma

le gaya dil ka haan
le gaya dil ka chain udaa ke
mar gayi main to nain milaa ke
dil ko jalaaye
sataaye
rangeeli ratiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

pyaar tumhaare haaye
pyaar tumhaare
jaan se pyaara
poochh lo aa ke haal hamaara
bhejin jahaan se
chhupa ka
hazaaron patiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

mehki rut haan ji
mehki zulfen
nain kateeley
mil gaye us par balmaa hatheeley
haaye naa jaane
naa mane
hamaari batiyaan
dil ki naa jaane anaadi balma
haaye
dil ki naa jaane
kuchh bhi naa jaane
dil ki naa jaane anaadi balma

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

दिल की न जाने अनाड़ी बालमा
हाए
दिल की न जाने अनाड़ी बालमा
कैसे बता दूँ भला मैं सारी बतियां
कैसे बता दूँ भला मैं सारी बतियां
दिल की न जाने अनाड़ी बालमा
दिल की न जाने अनाड़ी बालमा

ले गया दिल का हाँ
ले गया दिल का चैन उड़ा के
मर गई मैं तो नैन मिला के
दिल को जलाते
सताये
रंगीली रतियाँ
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा

प्यार तुम्हारा हाए
प्यार तुम्हारा
जान से प्यारा
पूछ लो आ के हाल हमारा
भेजीं जहां से
छुपा के
हजारों पतियां
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा

महकी रुत हाँ जी
महकी ज़ुल्फें
नैन कटीले
मिल गए उस पर बलमा हठीले
हाए ना जाने
ना माने
हमारी बतियां
दिल की न जाने अनाड़ी बलमा
हाए
दिल की न जाने
कुछ भी ना जाने
दिल की न जाने अनाड़ी बलमा


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


Advertisements

Important Announcement

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

What is this blog all about

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

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

Number of movies covered in the blog

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

Total visits so far

  • 9,316,243 hits

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

Join 2,069 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

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