Archive for the ‘Guest posts’ Category
Prem ki naiyya dol rahi hai
Posted on: December 4, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4156 | Post No. : | 15324 | Movie Count : |
4221 |
Today’s song is from film Utho Jago-1947, a completely obscure film.
1947 was a very important year, not only for India, but also for the Indian Film Industry. Creation of Pakistan , on the basis of Religion, and Partition of India prompted an unprecedented exchange of people across the borders. Millions of people left their life earnings and ran to the other side of the border to save their lives. In this melee, millions died and millions lost their properties. More than any other industry, film line was affected more because it had the maximum mixture of Muslims with Hindus and films were made at Bombay as well as Lahore. These two centres now belonged to different countries and the film industries at both places were in turmoil.
However, in India, there was a second line of artistes ready to fill in the gaps created by the migration of Muslim artistes to Pakistan. Further, there were more centres of film making- other than Bombay- available in India, like Madras, Calcutta, Poona, Kolhapur, Bangalore etc. Therefore the damage to Indian film industry was redeemable faster, compared to Pakistan, which was left with only Lahore as a film centre. All they had now was what was left by Indians who left Pakistan, in addition to people who went from India to Pakistan- without a second line of artistes to take over after this generation was out.
The partition of India was expected for an year or so, ahead of actual happening, so film makers were in a hurry to complete their projects, before migration started. This led to making of films in quantity at the cost of quality. This resulted in the highest number of films being made in 1947- a total of 181 Hindi films. This was a record for a period of 54 years (1931 to 1985). This was broken only in 1985 when 187 Hindi films were made in one year.
Even in 1947, some good and musical films were made like Aap ki sewa mein, Bhook, Do Bhai, Doli, Dard, Elaan, Gaon, Jugnu, Kasam, Leela, Meera, Mehandi, Mirza Sahiban, Netaji Subhash, Pagdandi, Parwana, Saajan, Shadi se pehle, Shehnai, Sindoor etc etc. In this year maximum films made were obscure and made in haste.
Amongst all these films, film Utho jago came and went without notice. It neither had well known popular actors, nor a famous music director. The cast of the film included, Shehzadi, Ashiq Hussain, Jamshed ji, Baby Nalini, Aziz khan and others. The director was Pramod Chandra and the music was composed by Aziz Khan and Ibrahim. I do not know if this Ibrahim was the younger brother of Music director Ghulam Mohd. Ibrahim was an excellent harmonium player and he worked with Naushad for a very long time. Ibrahim had died even before Ghulam Mohd. died.
The hero Ashiq Hussain had started his career with film Talash-E-huq-1935, in which Nargis made her debut as a child artiste Baby Rani. He went on doing 25 films. Utho jago was his last film.After this film he married its heroine Shehzadi and both migrated to Pakistan. He had also sung 32 songs in 13 films in the beginning. Even in film Utho Jago-47, he had sung 2 solos and 1 duet with Amirbai Karnataki.
The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.
This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.
Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.
There is one new name in the cast – Jamshed ji. His full name was Jamshed ji Bairam ji, Khan Saheb. In some films, he was credited as Khan saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting by that time.
He started with Silent films like Pyari Mamta, Madhuri, Sohni Mahiwal, pooran Bhagat, Gulshan E Arab, Hoor E Baghdad and Indira. His first talkie film was Daulat ka nasha-31 and Noorjahan-31. He acted in about 50 films. His last known film was Andaz-1949.
Jamshed ji, also gave music to 3 films- Naya Zamana-35, Zaate Shareef-36 and Jagat kesari-37.
Today’s song is sung by Mohd. Rafi. This is from his early years as a singer. Rafi came on the scene in 1944. for the first few years, he had to struggle but he came into films when it was going through a transition. Older generation actor singers had to stop singing because the public tastes were changing and newer composers opted for newer singers who were exclusive singers and not 2 in 1, like earlier actor singers.
These days I was reading a book “Rafinama” by noted film Historian and author Isak Mujawar. In this book he has brought out some very interesting facts about Rafi. The book is more a statistical data book than his biography. In today’s post I would bring out to you few of these interesting details. When Rafi started his singing in 1944, many of the erstwhile actor singers took the opportunity of stopping their singing – which was thrust on them – and Rafi actually replaced them. The book gives the details. Few cases are here…
Ashok Kumar’s singing spree stopped when Rafi sang for him in film Saajan-47.
Ishwarlal stopped singing when Rafi sang for him in film Sharbati Aankhen-45
Shahu Modak stopped after Chakradhari(1954).
W.M.Khan after Aalam Ara (1956).
Master Nissar ater Boot polish(1954).
G.M.Durrani after Lal Pathar(1971).
Karan Dewan after Duniya(1949).
N M Charlie after Zameen ke Tare(1960).
Balak Ram after Shri Ram Bharat Milan (1965).
Moti Sagar after Paak Daman (1957).
Man Mohan krishna after Basant bahar (1956).
Mohd. Rafi even sang for some composers who used to sing in films
S N Tripathi -Pawanputra Hanuman (1957).
Snehal Bhatkar-Bawre Nain-(1950) ( he was doing a Beggar’s role) and
Sudhir Sen- Saat Phere (1970)
Rafi was the only male playback singer who sang with 3 major singer actresses
Noorjehan-Jugnu (1947).
Khursheed- Aage Badho- (1947) and
Suraiya- many (13) films.
Rafi sang with some old time female singers, about whom the new generation may not know much. He sang with Nirmala Devi, Paro, Shamim, Uma Devi, Chandbala, Chand Burke, Gandhari(Rane), Laxmi Roy (sister of Geeta Roy), Kumudini Dikshit, Kaumudi Munshi, Laxmi shankar, Pramodini Desai, Vinodini Desai, Malti Pande (Popular Marathi singer), Pushpa Huns, Kamal Barot, Jagjit kaur, Minu Purushotham, Madhubala Zaveri, Usha Timothi, Krishna Kalle, Chandrani Mukherjee, Dilraj kaur, Sushama Shreshtha Kanchan, Sulakshana Pandit etc etc.
Mohd. Rafi sang maximum songs with Asha Bhosle-806 ….Maximum in O P Nayyar’s films-92 duets. In film Basant-60 he sang 11 duets with Asha Bhosle.
Rafi sang maximum songs with (First five)..Laxmikant Pyarelal…369 songs, Shankar Jaikishan…341, Chitragupta…247, Ravi…235 and O P Nayyar…197 songs.
There are many more aspects of Rafi’s singing….but more about it in some other post.
With this song film Utho jago (1947) makes its Debut on the Blog.
Song- Prem ki Naiyya dol rahi hai (Uthho Jaago)(1947) Singer- Mohd. Rafi, Lyricist- Not known, MD- Aziz Khan and Ibrahim
Lyrics
prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
bojh hriday ka taul rahi hai
bojh hriday ka taul rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
prem mein aisi soorat bigdi
prem mein aisi soorat bigdi
sar par joote, paanv mein pagdi
sar par joote, paanv mein pagdi
izzat ke pat khol rahi hai
izzat ke pat khol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
Mem>aise dhanwaalon ke laal
ud gaye jinke sar ke baal
aise dhanwaalon ke laal
ud gaye jinke sar ke baal
haan haan ud gaye jinke sar ke baal
dekho, ud gaye jinke sar ke baal
sar ki taat bhi bol rahi hai
sar ki taat bhi bol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
prem na aaya tumko raas
prem na aaya tumko raas
kahe ye tumse gappu daas
kahe ye tumse gappu daas
haan haan kahe ye tumse gappu daas
kya, neeat daanwaadol rahi hai
neeat daanwaadol rahi hai
prem ki naiyya
haye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
prem ki naiyya aa aa aa
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4155 | Post No. : | 15323 |
#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # 89 #
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Welcome all to this post where once again I take you all back to the songs of seventies.
I originally wanted to present this post during the ‘Diwali festival’ since this song brings back my memories of ‘Diwali vacation’ days of my childhood. L liked this song as well as the other songs from this movie.
The song is from the ‘1975 movie ‘Warrant’. I was around seven years old then when the movie was released in 1975.
‘Warrant-1975’ had Dev Anand in lead role. And today 3rd December 2019 is the eighth ‘remembrance anniversary’ (26.09.1923-03.12.2011) of actor, producer, director Dev Anand.
We pay our tributes to him and will always be grateful for some of the great roles he played in the Hindi movies and also for the memorable and everlasting music which was a part of most of his movie.
Many new Dev Anand movies were getting released in those years when I was growing, but we were not getting to watch them then. Here when I say new movies means movies like ‘Ishq Ishq Ishq’, ‘Ameer Ghareeb’, ‘Warrant’, ‘Jaaneman’, ‘Bullet’, ‘Kalaabaaz’, ‘Darling Darling’, ‘Sahib Bahadur’ etc.
Instead in our colony club’s weekly movie screening we were getting to watch many of his old ‘black and white’ movies, like ‘Sarhad’, ‘Bambai Ka Babu’, ‘Jab Pyaar Kisise Hota hai’, ‘Pocketmaar’, ‘Taxi Driver’, ‘Teen Deviyaan’ etc.
And some the movies like ‘Shareef Badmaash’ I watched in a ‘touring talkies’ may be in 1974-75, and I think I watched some of the movies like ‘Joshilaa’, ‘Des Pardes’ during end seventies or early eighties.
I was not a big fan of Dev Anand in my childhood. But my father was a very big fan of him and because of that I became aware of his old movies and songs from them.
And I vaguely remember to have watched ‘Hare Rama Hare Krishna’, ‘Ye Gulistaan Hamaara’, ‘Heera Panna’, and ‘Chhupa Rustam’ with my father when I was a child.
Later on, I watched many of Dev Anand movies between 1981-1988 and after that. However, for this post I am restricting myself and the discussion to the decade 1971-1980 only. In all the movies which I watched later including his ‘coloured’ and ‘black & white’ movies I always liked his acting, dialogues deliveries and his style.
However, I am still to watch many of his movies from the seventies which weren’t successful but their music was always very good.
Let us have a look at the Dev Anand movies released from 1971-1980:
| Sno. | Movie Title | Year | Passed by Censor Board | Director | Music Director | Lyricist |
|---|---|---|---|---|---|---|
| 1 | Gambler | 1971 | 16.02.1971 | Amarjeet | S.D. Burman | Neeraj |
| 2 | Hare Rama Hare Krishna | 1971 | 09.12.1971 | Dev Anand | R.D. Burman | Anand Bakshi |
| 3 | Tere Mere Sapne | 1971 | 13.05.1971 | Vijay Anand | S.D. Burman | Neeraj |
| 4 | Yeh Gulistaan Hamaaraa | 1972 | 30.12.1972 | Atmaram | S.D. Burman | Anand Bakshi |
| 5 | Banarasi Baaboo | 1973 | 20.03.1973 | Shankar Mukherjee | Kalyanji-Anandji | Rajinder Krishan |
| 6 | Chhupaa Rustom | 1973 | 07.05.1973 | Vijay Anand | S.D. Burman | Neeraj, Vijay Anand |
| 7 | Heeaa Pannaa | 1973 | 15.11.1973 | Dev Anand | R.D. Burman | Anand Bakshi |
| 8 | Joshilaa | 1973 | 26.09.1973 | Yash Chopra | R.D. Burman | Sahir Ludhianvi |
| 9 | Shareef Badmaash | 1973 | 31.03.1973 | Raj Khosla | R.D. Burman | Anand Bakshi |
| 10 | Ameer Ghareeb | 1974 | 26.07.1974 | Mohan Kumar | Laxmikant-Pyarelal | Anand Bakshi |
| 11 | Ishq Ishq Ishq | 1974 | 08.11.1974 | Dev Anand | R.D. Burman | Anand Bakshi |
| 12 | Prem Shaastra | 1974 | 08.07.1974 | B.R. Ishara | Laxmikant-Pyarelal | Anand Bakshi |
| 13 | Warrant | 1975 | 01.11.1975 | Pramod Chakravarti | R.D. Burman | Anand Bakshi |
| 14 | Bullet | 1976 | 28.12.1976 | Vijay Anand | R.D. Burman | Anand Bakshi |
| 15 | Jaan-E-Man | 1976 | 30.07.1976 | Chetan Anand | Laxmikant-Pyarelal | Anand Bakshi |
| 16 | Darling Darling | 1977 | 11.05.1977 | Gogi Anand | R.D. Burman | Anand Bakshi |
| 17 | Kalaabaaz | 1977 | 13.05.1977 | Ashok Roy | Kalyanji-Anandji | Anand Bakshi |
| 18 | Sahib Bahaadur | 1977 | 11.05.1977 | Chetan Anand | Madan Mohan | Rajinder Krishan |
| 19 | Des Pardes | 1978 | 24.04.1978 | Dev Anand | Rajesh Roshan | Amit Khanna |
| 20 | Lootmaar | 1980 | 27.09.1980 | Dev Anand | Rajesh Roshan | Amit Khanna |
| 21 | Manpasand | 1980 | 26.06.1980 | Basu Chatterjee | Rajesh Roshan | Amit Khanna |
The songs from this movie ‘Warrant-1975’ are nostalgic for me since my childhood days, and even though I had never watched this movie until I watched it online this year on ‘Diwali’ day.
I think we watched more movies in the summer vacations than the Diwali vacations, naturally because summer vacations would be longer than Diwali vacations.
I always had a very big nostalgia for the famous three movies and their songs which I remember to have watched during the Diwali festival which were released in the same year in 1974.
These are ‘Bidaai’, ‘Roti’, and ‘Roti Kapda Aur Makaan’. I have vague memories of watching these movies with elders in the family or may be all of them viz. my grandmother (my grandfather was still against watching of movies), aunts, uncles, parents and cousins.
I have mentioned about this in my ‘song nostalgia’ on the blog here.
Later I read somewhere that these three movies were released on the same day during Diwali of that year i.e.1974 (14.10.1974, knowledgeable readers can please correct me if I am wrong). Though, now equipped with the information in HFGK if we see the dates of their being given the Censor Certificates are;
Bidaai-09.10.1974, Roti-11.10.1974 and Roti, Kapadaa Aur Makaan-13.09.1974.
And those days ‘hit’ movies always used to run over fifteen weeks to twenty-five weeks. So, people like us staying in near by towns from the city would get to watch the movies on holidays or during the vacations when all family members would visit the city where my grand parents were staying.
‘Warrant-1975’ was passed by Censor Board on 01.11.1975 and I think it was around ‘Diwali’ of that year that this movie must have hit the theatres. And that is why I am reminded of its’ song during ‘Diwali festival’ every year. (The songs from this movie were frequently played either on loud speakers or on radio then and that is why they must have made their way to my impressionable mind then.
I also remember the songs of ‘Ameer Ghareeb’ which were played frequently and I didn’t like them then and they were very irritating to me).
Well, all the three movies that I mentioned above viz. ‘Bidaai’, ‘Roti’, and ‘Roti Kapda Aur Makaan’ were declared as hit or super hit movies of that time. However, in comparison to the above movies I was under impression that the today’s movie ‘Warrant-1975’, was not a successful one, but now sources mentioned that it was among the top ten grossers of that year.
‘Warrant-1975’ was directed by Pramod Chakravarty for N.P. International, Bombay.
It was produced by N.P. Singh.
Here is again one more movie which is dedicated to the ‘police forces’ in the country;
“Dedicated to those Officers and men of our police force who suffered and sacrificed their lives so that their countrymen can live in peace”
‘Warrant-1975’ had Dev Anand, Zeenat Aman, Pran, Dara Singh, Ajit, Satish Kaul, Sulochana, Madan Puri, Jankidas, V.Gopal, Bunty, Aparna Choudhary, Kuljeet, Seema Kapoor, Jagdish Raj, Narbada Shankar, Praveen Paul, Rajan Kapoor, Kirti, Viju Khote, Lambha, Raja Saigal, Rajan Kumar, Manjit, Paul Sharma, Habib, Ujagar, Rajnish, Dhanna, Pehlwan, Birbal, Kirti Kumar, Devdas, Hercules, and many others.
Lalita Pawar, Joginder and Sujit Kumar make friendly appearance in this movie.
Story and screenplay of this movie was written by Sachin Bhowmick. Dialogues were written by Vrajendra Gaur.
Editing of this movie was done by Narinder Arora.
The movie is an interesting movie to watch except few action scenes where Dev Anand is jumping over the buildings and like that are not easy to digest’😊. They could have been avoided and fight scene suitable to Dev Anand’s image would have been much better.
All the stars perform well to their character in the movie and the movie keeps one engaged till the end.
And most importantly music of this movie is very nice and all songs are very good.
The movie had four songs written by Anand Bakshi and composed to music by R.D. Burman.
Kishore Kumar and Lata Mangeshkar gave their voices to the songs in this movie where Kishore Kumar had two solos and one duet with Lata Mangeshkar, and other than the duet Lata Mangeshkar had sung one solo song in this movie.
(*HFGK also mentions the name of Asha Bhonsle in the singer’s list of this movie however movie title clearly mentions the name of Lata Mangeshkar and Kishore Kumar only).
Only one song from this movie featured in the ‘annual ‘Binaca geetmala’ of 1975’ ranking at number twenty-ninth, and it improved by featuring two songs from this movie in the annual ‘Binaca geetmala of 1976 i.e. Ruk jaana o jaana at number twenty-three and ‘main tumse mohabbat karti hoon’ at number thirty-one.
And so, very rightly these two songs have already been posted on the blog and in accordance of their popularity too. 🙂
| Song | Posted on |
|---|
| Ruk jaana o jaana hamse do baatein karke chali jaana | 18.09.2008 |
| Main tumse mohabbat karti hoon | 19.11.2014 |
Today’s song happens when Mehra (Pran) – Chief of Police and his team (read Jagdish Raj and others) are looking for Jailor Arun (Dev Anand) who is on the run with a murder accused. Police is having the information that Arun would be attending the marriage function of Pyara Singh (Dara Singh)’s sister Guddo (Seema Kapoor).
Pran plays the father of Dev Anand and is a Chief of the Police. Dev Anand being a Jailor also and son of the Police Chief is wanted by Police and is on the run. Jailor Arun had helped and eloped with the accused Dinesh and is sheltering him. The reason being that during a revolt by the prisoners and an attempt of ‘jail-break’ Dinesh saves the life of the Jailor.
Jailor (Dev Anand) wants to know that why a ‘murderer’ saved his life and when he could have run to avoid his hanging which was going to take place soon.
So our Jailor wants to know the ‘truth’ and also look for the ‘asli gunahgaar or qaatil’ of a scientist (Madan Puri), after the accused Dinesh finally breaks the ‘secret’ of his being wrongly ‘trapped’ in the ‘murder-case’ and real ‘qaatil’ and ‘culprits’ are some other people and not him.
The plot is interesting and the presentation is having all the ingredients of the ‘seventies’ movies and one can enjoy the movie and the ‘thrill’ of watching it.
Let us now enjoy the song where Dev Anand and Zeenat Aman perform in disguise (for the police and not for us – the viewers) hiding their real identity in the movie.
Zeenat Aman plays Rita Verma who is the daughter of the deceased scientist Madan Puri and is looking for the killer of her father to take revenge of her father’s death. (But here there is a ‘twist’, and I am leaving that for those interested and want to watch this movie) 😊
As mentioned above the song is composed by R.D. Burman and lyrics are by Anand Bakshi.
Kishore Kumar and Lata Mangeshkar have given their voices for Dev Anand and Zeenat Aman respectively in this energetic bnagra style dance song.
I hope you will like this song and enjoy it …:)
Today also happens to the birthday of our own Khyati Ben. We wish her a very happy birthday.
Video
Audio
Song-Ladi najariya ladi chali re phuljhadi(Warrant)(1975) Singers-Kishore Kumar, Lata, Lyrics-Anand Bakshi, MD-R D Burman
Both
Lyrics
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
arri ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
yeh ghadi khadi hai
haathon mein
liye prem hathkadi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
yeh ghadi khadi hai
haathon mein
liye prem hathkadi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
dekh rahe ho kyun saahib
aap hamaara yoon chehra
gori ka ghoonghat dekho
saajan ka dekho sehra
aa aa aa aa
aa aa aa
dekh rahe ho kyun saahib
aap hamaara yoon chehra
gori ka ghoonghat dekho
saajan ka dekho sehra
ek prem kahaani kehti hai
phoolon ki har ladi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
yeh ghadi khadi hai
haathon mein
liye prem hathkadi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
hum jaise bhai jiske
khush-kismat hai woh dulhan
khade huye munh dekhte hain
pyaar mohabbat ke dushman
arre hum jaise bhai jiske
khush-kismat hai woh dulhan
khade huye munh dekhte hain
pyaar mohabbat ke dushman
haay tauba kiske chehre pe
meri nazar jaa padi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
yeh ghadi khadi hai
haathon mein
liye prem hathkadi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
achcha ab chup ho jaao
mushqil hai ab kuchh kehna
aisi ek khushi hai yeh
bheeg gaye jismein naina
aa aa aa
aa aa aa
achcha ab chup ho jaao
mushqil hai ab kuchh kehna
aisi ek khushi hai yeh
bheeg gaye jismein naina
nainon se saawan bhaado ki
lag gayi jaise jhadi
hadippa ladi
hadippa ladi
hadippa ladi ee ee ee
ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
ari ladi najariya ladi
chali re phuljhadi
badi shubh ghadi
yeh ghaddi khadi hai
haathon mein
liye prem hathkadi
hadippa ladi
hadippa ladi
hadippa ladi
hadippa ladi
hadippa ladi
hadippa ladi
——————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————–
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी ई
अरे लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी ई
ये घडी खड़ी है
हाथों में लिए प्रेम हथकड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी
ये घडी खड़ी है
हाथों में लिए प्रेम हथकड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
देख रहे हो क्यों साहिब
आप हमारा यूं चेहरा
गोरी का घूँघट देखो
साजन का देखो सेहरा
आ आ आ आ आ आ
देख रहे हो क्यों साहिब
आप हमारा यूं चेहरा
गोरी का घूँघट देखो
साजन का देखो सेहरा
एक प्रेम कहानी कहती है
फूलों की हर लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी
ये घडी खड़ी है
हाथों में लिए प्रेम हथकड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
हम जैसे भाई जिसके
खुश किस्मत है वो दुल्हन
खड़े हुए मुंह देखते हैं
प्यार मोहब्बत के दुश्मन
अरे हम जैसे भाई जिसके
खुश किस्मत है वो दुल्हन
खड़े हुए मुंह देखते हैं
प्यार मोहब्बत के दुश्मन
हाए तौबा किसके चेहरे पे
मेरी नज़र जा पड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी
ये घडी खड़ी है
हाथों में लिए प्रेम हथकड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
अच्छा अब चुप हो जाओ
मुश्किल है अब कुछ कहना
ऐसी एक ख़ुशी है ये
भीग गए जिसमें नैना
आ आ आ आ आ आ
अच्छा अब चुप हो जाओ
मुश्किल है अब कुछ कहना
ऐसी एक ख़ुशी है ये
भीग गए जिसमें नैना
नैनों से सावन भादों की
लग गयी जैसे झड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी ई
अरे लड़ी नजरिया लड़ी
चली रे फूलझड़ी
बड़ी शुभ घडी
ये घडी खड़ी है
हाथों में लिए प्रेम हथकड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी
हडीप्पा लड़ी ई ई ई ई ई
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4155 | Post No. : | 15322 |
Hullo Atuldom
We are into the last month of 2019. There are a lot of messages being forwarded on WhatsApp and other social media platforms urging the reader to enjoy the last TEEN year in a long time to come, after this the new millennium will be on the threshold of adulthood (India has 21 as the official age at which a person is considered an adult).
Here is the first birthday post for the month. Let us all wish the “raunaq e blog”- titled bestowed on the recipient two years ago on this date- a very Happy Birthday. May she be forever healthy happy cheerful and full of life, as she has been described by Atulji and Sudhirji in their posts in the blog.
I have not gone looking for hitherto unposted Talat Mehmood songs as Atulji had suggested two years back but went with my regular practice of mixing this birthday girl with the flamboyant, evergreen, forever PACHCHEES (25) actor of the 50s, 60s, 70s and 80s who was forever hyperactive. And going by what the two Sutradhars of our blog have written, our birthday gal sounds to be ‘hyperactive’ and may she be forever PACHCHEES or shall I say “Aththara” (18). Wish you a very happy birthday Ben Katie a.k.a Khyatiben. Lets us have a great time today on your birthday. Let the music begin and play through the day from this end of the globe to your end.
tum jiyo hazaaron saal saal ke din hon pachaas hazaar,
sau saal jiyo tum jaan meri , or the evergreen baar baar din ye aaye.
Let all these and other birthday songs available here and elsewhere be played on loop (as kids we used to say rewind and replay the cassette). Let our dear birthday gal choose a song she likes; we shall play that too on LOOP.
Today we also remember Raju “Guide” on his 8th Remembrance Day with a song that showcases him with his typical mannerisms which I feel he adopted after around 30-35 years in the industry. That typical nod, crooked smile that made ladies go weak at the knees (or was that smile always a killer) etc. This is from the 1982 release “Swami Dada” which was produced and directed by Dev Anand and had a large cast. The ladies in the movie were Rati Agnihotri, Padmini Kolhapure (she was still a teenager), Urmila Bhatt, Sushma Seth, Naaz, Christine O’Neil, Beena, Baby Khushboo etc. The male cast was headed by Dev Anand, Mithun Chakravarty, Naseeruddin Shah, Shakti Kapoor, Kulbhushan Kharbanda, Tom Alter, Bharat Kapoor, Sudhir etc, this was Jackie Shroff’s first credited screen appearance playing Shakti Kapoor’s confidant.
The first song from this movie was posted exactly seven years back for the same occasion; at that time, I had found this on IMDB.com –
Hari Mohan is a saintly person who organizes Hindu prayers and discourses in a warm and welcoming atmosphere. He is called “Swami Dada” by everyone. He has many followers, and devotees who throng in large numbers to hear his sermons. What they do not know that Hari Mohan is a professional thief, and is now conspiring with a young woman, and a group of orphaned children to steal the temple jewellery.
On revisiting imdb I found a little more to go with the above –
Dev Anand is one of the tapori gang, handled by Kulbhushan Kharbanda. He escapes to Western country, only to come back and see that the members of the gang living in same conditions. He, himself have become a spiritual person. Named Swami. In order to break the gang, Dev poses himself as Ringo Dada. Hence the name Swami Dada
Hari Mohan is a saintly person who organizes Hindu prayers and discourses in a warm and welcoming atmosphere. He is called “Swami Dada” by everyone. He has many followers, and devotees who throng in large numbers to hear his sermons. What they do not know that Hari Mohan is a professional thief, and is now conspiring with a young woman, and a group of orphaned children to steal the temple jewellery.
“Swami Dada” had music by RD Burman and Anjaan was the lyricist. The playback for today’s song is by Lata Mangeshkar and Kishore Kumar.
Thinking of the style icon, winner of Dadasaheb Phalke award (2002), Padma Bhushan (2001), and three-time filmfare award recipient one of which was the life-time achievement in 1993, and a darling of the masses for nearly sixty years who is still an inspiration and will remain one for generations to come thanks to the legacy he has left behind. I am not trying to describe the kind of movies he was associated with or anything about his biography here. Let us just get on to the song.
Song-Galiyon galiyon khaak bahut din humne chhaani (Swaami Dada)(1982) Singers-Lata, Kishore Kumar, Lyrics-Anjaan, MD-R D Burman
Lyrics
paanch ke note mein ab kya dam hai
ho o o dus ka note cigarette ko bhi kam hai
ho o ab hare note ka mol hai kya
socho kuchh oonchi baat zara
ab baat karo toh laakhon ki
dekhenge khwaab karodon ke
galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani
ho ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani
badla hai ab daur badal jaayegi kahaani
ho o ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani
aaj sanwar ke dekha jo darpan
apni nazar se sharma gayi ee
kiske hunar ka chal gaya jaadoo
kahaan thi kahaan se kahaan aa gayi
ho mera haar
iss heere ke haar mein kya hai
apna mol toh aanko
tum kya ho kya ban sakte ho
apne dil mein jhaanko
jhoothhe nakli sapne dekhe
jhoothhe nakli sapne dekhe
asli baat na jaani ho o o
galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani
mil ke mere saath chalo toh
woh duniya dikhlaoon
jeete ji woh jannat kaise
milti hai batlaoon
tumko masheeha maan liya hai
ab jaana hai aur kahaan aan
tumse mile toh dekhe ujaale
varna dhuaan thhe donon jahaan
badlen hum aur yoon badlen
badlen hum aur yoon badlen
ho duniya ko hairaani ho o
galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani
ho ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani
This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4154 | Post No. : | 15321 |
As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi. It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.
Sir,
Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books. Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.
The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.
I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.
In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice. As opposed to valour. The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.
But this is an era of “tamashbeen”. A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.
I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.
One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.
It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence, rot. No new civilisation can emerge from such decayed rot.
So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.
Regards.
I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article. I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction :).
Now I simply must quote this from the article :
It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.
Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’. And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.
May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day. The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.
If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway. The life we are living is like a tight rope walk of ‘pul-e-siraat‘. One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.
But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :
mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai
So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001). The singer is Srinivas and composers are Shankar-Ehsan-Loy. Yeah, the name of composers has a message in it. I can try and translate the middle one i.e. ‘Ehsan’.
We all are familiar with word ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning. It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.
The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas. The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream, full moon, in a dreamy halo of light and roshni. In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter. Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.
Video
Audio
Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy
Lyrics
kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-
कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
Main kaun hoon
Posted on: December 2, 2019
- In: Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Haunting song | Lata solo | Lata song | Lyrics contributed by readers | Post by Avinash Scrapwala | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1970s (1971 to 1980) | Songs of 1980 | Yearwise breakup of songs
- 6 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4154 | Post No. : | 15320 |
#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 88 #
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Welcome all to this post which comes after a long gap. I call it a ‘Long gap’ because this post was conceived by me ‘long back’ like many other posts of mine which remained unfinished aften getting started due to various reasons.
My last post on the blog was on 20th November. It was posted when I going through some health-related issues. I had to visit a Hospital in Nairobi, which is around 125 kms from my base station. Since some tests were to be conducted, I had to stay in Nairobi for four days. I stayed with colleagues working there in the Head Office. That didn’t allow me to concentrate on posts though I continued listening to music and watching songs. I even kept reminding our authors about movies that were falling under the ‘blog-ten-year challenge’.
The visit to the Hospital and Doctor made me recall many Hindi movies that had stories woven around ‘medical profession or serious medical complications’ (or diseases, if it is the right word?).
This time I had to specially visit ‘Dil Ka Doctor’. Its English translation ‘cardiologist’ has entirely different connotations from the Hindi word. This offers me material for a separate post provided I came across a suitable song to go with that proposed article.
.
T was another Doctor in India (in ‘Atulites WhatsApp’ group) who was already aware about my ‘dil ka haal’, and was already providing me guidance on the symptoms so that ‘I can bounce back’ without thinking that ‘beemaari ho to aisi ho jiska naam kisi Viceroy se kam naa lage’:)😊
The tests were conducted and results were awaited after two days (due to weekend holidays), I had realized that the problem was not serious and everything was going to be ok. The worries were mainly ‘Beemari ka shaq’like Doctor Kulkarni’s ‘Main usi shaq ka ilaaj karta hoon’, and hence the ‘tests’:)
Finally, the results were ‘declared’ and everything was well in order except a minor ‘Blood Pressure’ on the higher side. I thanked both the Doctors!!!
***
The movie of today’s song has a storyline around ‘Doctors’ or medical profession. But today’s post has nothng to do with that. This covers an an entirely different story behind it.
People of different generations have different taste for music and naturally everybody’s musical nostalgia keeps growing according to the surroundings they grow in and/or even the circumstances they live in (I think so).
Music lovers have their musical nostalgia, which depends on factors like the generation/ backgrounds/ circumstances in which they grow up. This musical nostaligia gets triggered up whenever they are reminded of those days.
Sometimes, people of different generations/ background/ circumstances pass on their brand of musical nostalgia to another (viz younger generation) music lovers. This results in the curious situation when music lovers in their teenns or twenties start loving vintage era music created during the times of his forefathers.
People coming in contact with me are slowly coming to know about my love for Hindi songs and Hindi movies. Some of them who become close friends have also come to know about our blog and my activities for the blog.
Assuming that you are considered a music lover, sometimes people approach you with their music related query. A query , that can stump even music “experts” is when we are asked to tell the details of a song whose details are known only partially or vaguely.
Most of the times I am able to provide the details or answer mkost of the time, but sometimes the challenge is quite tough.
For instance, take the example of a song which someone has heard but he remembers very few details of the song. And hewants you to find that song for him, without providing the usual details about mukhda of the song, or its tune, the artists, or the movie. Only thing he can tell is that this song is picturised on a ‘lady wearing white-blue saree and singing with some ladies sitting around a sea-beach or kisi nadi ke kinaare?
With such sketchy details, you are asked to find the song, because you claim to be a music expert songs and movies? You are also challenged and mocked that if you cannot find this song then
you should not talk about songs of movies 🙂 , chhod do gaane sun’na aur filmon ki baatein karna 😊 .
Anybody in my place would feel like my honour is at stake, and would definitely give this challenge a serious try, so I did …
It happened on one such week-end get together on Saturday evening here in the camp (where we are staying in Kenya). We regularly have such get togethers. If the get together is big and the occasion so demands, then listening to songs and even dancing becomes customary. This calls for a separate detailed post in future. 😊
It was in one such get together that our friend a QC guy, fifteen years younger to me challenged me when we were enjoying listening to songs. This guy wanted me to find a song for him. He must have watched this song on TV somewhere. What he remembered of it was that it is sung by a lady in ‘blue-white saree’ with ‘some ladies sitting around a ‘river bank’ or ‘sea-beach’ (he was not sure).
This guy who was born in early 1980s had one favourite Hindi song.
Guess which?
‘Do ghoont mujhe bhi pilaa de o saaki dekh phir hota hai kya’
He had listened to this song somewhere while he was with his friend on a long drive and since then this song was the most liked Hindi song for him. He is from Andhra so he is not aware of that much of Hindi songs, except few like the above. And, whenever there is a party, he would ask us to play this song so that he can enjoy it 🙂
We are aware that this song is from the movie ‘Jheel Ke Us Paar’ and the year of the movie is 1973 🙂 (and surprisingly this song has not been posted yet on the blog 🙂 )
Now given the challenge, I had to find him this song lip synced by a lady with a blue or white saree, so I was looking for hints. 🙂
The first song that readily came to my mind was the title song from ‘Jheel Ke Us Paar’ and the second thing I made up in my mind was that the song he was looking for must be a ‘haunting song’ or somewhat sad song like ‘naa koi umang hai’ so I started searching on YouTube by entering terms like ‘woman singing a song near sea-beach, river’, woman in white saree singing a song, heroine singing along river bank, sea-beach etc etc
I was sure that the song this guy was looking for must be a ‘haunting song’ (and not his fault though) because I know ‘gham ke chhod ke manaao rang raili’ was not in a white saree, then I thought white saree means should be a widow singing a song or like that.
After browsing couple of songs like ‘naina barse’ I turned to the songs of ‘Mera Saaya’ and ‘Anita’. Now, searching in YouTube has an advantage of suggestions appearing according to your search. (And over the years I have also learnt entering ‘out of the box’ search terms to find a song, it had successfully worked many times 🙂 )
And there with the songs of Anita in the suggestions I found this song …
Can you guess this song my friend was looking for was ‘sun ri pawan, pawan purvaiyya’…
My friend bowed to me, but I told him my friend it is not a white saree song but a blue saree with white border song !!
But I must admit that while my friend was correct in mentioning the scenario. It was I who interpreted it wrong and I was searching with wrong terms and still landed on the right song …
Also, he never mentioned that the song he was looking for is where the heroine is making a ‘baalu ka ghar’ (sand home 🙂 or is it a ‘mud-home’?) on the sea-beach.
Incidentally both the songs that my friend likes are the songs where the heroine is blind.
And our team member Pam Harvey has on his blog covered some blind women songs from Hindi movies in his article here.
And finally, the song we were looking for was a ‘happy song’ instead of a ghost song or haunting song which I presumed it should be.
For today’s post I am presenting a song which I think fits with the theme which I imagined was the theme for song my friend was looking for. 🙂
This song is from the 1980 movie ‘Bandish’, and it is performed on screen by Hema Malini where she is trying to ‘trap’ Rajesh Khanna by posing as a ‘bhatakti aatma’.
I remember to have watched this movie in our colony club during regular weekly screening may be in 1982-1983, I think.
‘Bandish-1980’ was directed by K. Bappaiah for ‘Suresh Productions, Madras’. It was produced by D. Rama Naidu. It had Rajesh Khanna, Hema Malini, Danny, Om Prakash, Asrani, Jeevan, Om Shivpuri, Madan Puri, Mohan Choti, Pinchoo Kapoor, Jagdish Raj, Maruti, Yousuff, Ranveer, Umesh Khanna, Prem Kumar, Dharmesh, Vijay Kumar, Shashiraj, Ganesh Nagpal, Raj Baldev Raj, Vijay Kumar, Kiron, Bedi, Pradeep Jain, Bindiya Goswami, Nalini Jaywant, Manorama, Preeti Ganguly and Tanuja, Padmini Kapila, Vakkalanka Padma, Ashoo, Munni.
Story of this movie was written by V.C. Kuganathan. K.A. Marthand was the Chief Editor of this movie. This movie was passed by Censor Board on 07.10.1980.
The movie had five songs composed by Laxmikant-Pyarelal. Lyrics of all the songs were written by Anand Bakshi.
So far only one song from this movie – ‘Rang bhare mausam se rang churaa ke’ has been posted on the blog and that was on 04.08.2011.
Asha Bhonsle, Kishore Kumar and Lata Mangeshkar had given their voices to the songs in this movie.
Incidentally there was only one Lata song – solo song – in this movie and this song is the one being presented here today.
(PS: recently there was a comment by Peevesie’s Mom ji regarding this ‘song searching or finding a song type issue which I am forgetting where it was, though I had noted the point earlier for this post 😊 )
Video
Audio
Song-Main kaun hoon (Bandish)(1980) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
main kaun hoon oon oon
main kaun hoon oon
ae chaand taaron
main kaun hoon oon oon
ae chaand taaron
mera naam le ke
koyi pukaaro o o
main kaun hoon oon
ae chaand taaron
main kaun hoon oon oon
Pyaasa mera man n n
Pyaase mere nainaa aa
Pyaasa mera man n n
Pyaase mere nainaa
Kya dhoondhte hain ae ae
Saari saari rainaa
Kuchh to kaho jaago
Neend ke maaro o
Main kaun hoon oon
Ae chaand taaron o
main kaun hoon oon
ae chaand taaron
haan ye wahi hai ae
phoolon ki galiyaan
haan ye wahi hai ae
phoolon ki galiyaan
main rakh gayee thhi ee
yahaan kuchh kaliyaan
unka huaa kya
bolo o bahaaron
Main kaun hoon oon
Ae chaand taaron o
main kaun hoon oon
ae chaand taaron
Dekhe hain kisne ae ae
Jhonke hawaa ke
Dekhe hain kisne ae ae
Jhonke hawaa ke
Dekho naa mujhko o o
Haath lagaa ke
Door se meri zulfen sanwaaro o
Main kaun hoon oon
Ae chaand taaron o
Mera naam le ae ke
Koyi pukaaro o
Main kaun hoon oon
Ae chaand taaron o
Main kaun hoon oon oon
Main kaun hoon oon
Main kaun hoon oon oon
—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
आ आ आ
आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ
मैं कौन हूँ ऊँ ऊँ
मैं कौन हूँ ऊँ
अय चाँद तारों
मैं कौन हूँ ऊँ ऊँ
अय चाँद तारों
मेरा नाम ले के
कोई पुकारो ओ ओ
मैं कौन हूँ ऊँ
अय चाँद तारों
मैं कौन हूँ ऊँ ऊँ
प्यासा मेरा मन अं अं
प्यासे मेरे नैना आ
प्यासा मेरा मन अं अं
प्यासे मेरे नैना
क्या ढूंढते हैं ए ए
सारी सारी रैना
कुछ तो कहो जागो
नींद के मारो ओ
मैं कौन हूँ ऊँ
अय चाँद तारों ओ
मैं कौन हूँ ऊँ ऊँ
अय चाँद तारों
हां ये वही है ए
फूलों की गलियाँ
हां ये वही है ए
फूलों की गलियाँ
मैं रख गयी थी ई
यहाँ कुछ कलियाँ
उनका हुआ क्या
बोलो ओ बहारों
मैं कौन हूँ ऊँ
अय चाँद तारों ओ
मैं कौन हूँ ऊँ ऊँ
अय चाँद तारों
देखें हैं कितने ए ए
झोंके हवा के
देखें हैं कितने ए ए
झोंके हवा के
देखो ना मुझको ओ ओ
हाथ लगा के
दूर से मेरी जुल्फें संवारो ओ
मैं कौन हूँ ऊँ ऊँ
अय चाँद तारों
मेरा नाम ले के
कोई पुकारो ओ
मैं कौन हूँ ऊँ
अय चाँद तारों ओ
मैं कौन हूँ ऊँ ऊँ
मैं कौन हूँ ऊँ
मैं कौन हूँ ऊँ ऊँ
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4150 | Post No. : | 15316 | Movie Count : |
4220 |
‘Shaap Mochan’ (1955, Bangla film) was based on a story of the same name written by the Bengali novelist Falguni Mukhopadhyay. The film was directed by Sudhir Mukherjee. The main actors in the film were Uttam Kumar, Suchitra Sen and Pahadi Sanyal. The film is available on-line for viewing without English sub-titles.
The film is about a musical family in which one of the forefathers had been cursed by a Guru that any one in his family who takes up singing would die prematurely or become invalid for insulting him for non-acceptance as Guru. Devendra (Pahadi Sanyal) became blind while taking up the singing as the career forcing him to give up the singing. Because of the curse, he gets the assurance from his younger brother, Mahendra (Uttam Kumar) that he would also not practice singing.
In order to sustain the family, Devendra sends his brother Mahendra to Kolkata to his friend for getting him a job. Mahendra stays with him who has a daughter, Madhuri (Suchitra Sen). During the course of their inter-action, Madhuri comes to know that Mahendra is a talented singer. She encourages him to become a singer. He reveals to her as to why he can not take up singing. However, Madhuri does not believe in the superstition.
It so happens that Mahendra remains unemployed which forces him to become a singer for earning. Over a period of time, he becomes a famous singer and earns good money in his profession. Madhuri and Mahendra fall in love. However, the curse falls on Mahendra and he becomes seriously ill. Madhuri tends him and gets him to fully recover from his serious illness. With this, the family’s superstitious belief in curse is broken. The film has a happy ending.
The film has 6 songs of which one song is in Hindi. That song is a bandish, ‘kaliyan sang karata rang raliyaan’ which is rendered by Pandit D V Paluskar in Raag Bahar as Chhota Khayal. The bandish was written by Kiniwaale Ram. Although Hemant Kumar has been accredited as the music director for all the six songs in the film, it is apparent that Pandit D V Paluskar had a say in the composition of the tune in Raag Bahar.
Earlier, I was under the impression that Pandit D V Paluskar sang as a playback singer in only one film – Baiju Baawra’ (1952). His jugalbandi song, aaj gaawat man mero jhoom ke, rendered with Ustad Amir Khan is par excellence among the Hindustani classical raag-based Hindi film songs. It was G N Joshi of HMV who had suggested to Naushad saab to take Ustad Amir Khan and Pandit D V Paluskar for this jugalbandi song. Naushad first approached Ustad Amir Khan who agreed to sing provided Pandit D V Paluskar was his ‘opponent’ and he would not mind losing in the jugalbandi to him. This showed the respect Pandit D V Paluskar commanded from his equally illustrious classical vocalist. Incidentally, both Ustad Amir Khan and Pandit D V Paluskar never sang this jugalbandi in their respective public concerts despite the demand from the audience.
Pandit D V Paluskar (28/05/1921 – 25/10/1955), the Hindustani classical vocalist rendered mostly khayal and tarana in his own style without attaching himself to the orthodox Gharanas. But experts in Hindustani classical music believe that his singing style was close to Gwalior Gharana. In the short span of 34 years of his life, he had become one of the foremost among the Hindistani classical vocalist. Those who had witnessed his concerts had observed that he was a classical vocalist with a difference – he sang for the common man blending the classical renditions with popular appeal. He also sang bhajans in Hindustani classical raags.
G N Joshi of HMV who was also an illustrious Hindustani classical vocalist and the music director had mentioned in one of his articles that Pandit D V Paluskar had a rare quality of recording any Hindustani classical raag within the disc space of about 3:25 minutes in 78 RPM gramophone records incorporating all the ‘alankars’ (ornamentations) that generally go with the Khayal type of renditions. Pandit D V Paluskar was also known for his exquisite aalaaps and taans which are evident in the bandish under discussion.
The bandish describes the spring season during which bees are flirting with new flower buds. Gardens are in full bloom. Peacocks are calling and koels are singing. Trees, laden with blossoms are waving in the breeze. Women are out in groups with buckets to bring water from the river. Overall, the scenarios gladden the heart of everyone.
I am not sure whether I have captured all the sargam in lyrics for the second half of the chhota khayal as Pandit ji’s rendition of sargam taan is very fast.
A more elaborate rendition ( nearly 15 minutes) of this bandish in Raag Bahar by Pandit D V Paluskar is now available on-line here which he had performed on All India Radio’s National Programme of Music sometime in early 1950s.
Video Clip:
Audio Clip:
Song-Kaliyan sang karta rang raliyaan(Shaap Mochan)(1955) Singer-Pt D V Paluskar, Lyrics-Kiniwaale Ram, MD-Hemant Kumar
Lyrics (Based on Video Clip)
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
kaliyan sang karta rang raliyaan
kaliyan sang karta rang raliyaan
bhanwar gunjaare phooli phulwaare
chahoon oar mor bole
koyal ki kook suni hook uthhi
kaliyan sang karta rang raliyaan
kaliyan sang karta
kaliyan sang karta
lehrat leharaata
sab birachhan mori
le naar gadhwaa bharan aayi
aaj baag mein pukaare
‘Kiniwaale Ram’ bole
har baar baar
kaliyan sang karata rang raliyaan
[dialogues in Bengali]
aaaaaaa aaa aaaaaaaaaa
aa aaaa aaaa aaaa aaaa
aaaaaaa aaa aaaaaaaaa
aaaaa aa aaaaaaa
kaliyan sang karata rang raliyaan
aa aaa aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa aaa aa
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaa aa
kaliyan sang karata rang raliyaan
ae ae ae ae
kali……sang……
kaliyan sang karata rang raliyaan
kali eeeeeeeeeeeeeeeee ee ee ee…yan
kaliyan ee ee…yan….sang………..karata rang raliyaan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaa aa
kaliyan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaaa aa
kaliyan sang karata rang raliyaan
kaliyan sang karata
aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan sang
ga ma pa ni sa
ni dha sa ni dha ni sa ni s ani sa
kaliyan sang karata
ga ma pa ni sa ni dha
sa ri ga ri ri s ani ga ri sa
sa ni sa ma pa ga ma sa ni pa
ga ma pa ni sa
kaliyan sang karata rang raliyaan
ga ma pa ni sa sa sa dha
sa ri sa pa ni sa ma pa ni pa ga
ma ni pa ga ma pa ni sa
kaliyan sang karata rang raliyaan
kaliyan aa
kaliyan aa
kaliyan sang karata rang raliyaaaaaa…..aan
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4146 | Post No. : | 15312 | Movie Count : |
4218 |
Hullo Atuldom
24th November 2019 is the 75th birthday of Amol Palekar – the actor who played a common man or the boy next door character so convincingly that it jolted the audience when they saw him play a cold-blooded murderer in Vinod Chopra’s “Khamosh” (1985). He played a similar grey-shaded character in “Teesra Kaun” (1994) and “Aanchal” (1980). So, it is not as if he always stuttered in front of a strict boss as in “Golmaal” (1979), “Damaad” (1978), a person who is hyper worried that he will die of some grave illness, leaving his beautiful young wife grieving – “Meri Biwi Ki Shaadi” (1979) etc.
In between he also attempted playing a different kind of character in “Pyaasi Aankhen” (1983). At least that is what I have deduced from the video that is accompanying today’s song. To be truthful, I had never heard of this movie or its songs till I thought of writing this post. I have heard two songs from the movie and they seem to portray a different kind of Amol Palekar. The movie feels like it will be a heavy, 4-5 handkerchief movie, as tear-jerker movies used to be called back then. This movie was directed by Ram Kelkar who was essentially a screenplay/ dialogue/ script writer for many movies like “Piya Ka Ghar”, “aasha”, “Aap Ki Kasam” and many more successful films. On further googling information on Ram Kelkar we find that he has directed only one other movie- “Duniyadari” in 1977.
“Pyaasi Aankhen” had star cast of Waheeda Rehman- Shabana Azmi- Asha Sachdev- Amol Palekar- Om Prakash, with music by Usha Khanna. Indeevar and Rana Saheri (never heard this name) wrote the songs which were sung by Asha Bhonsle Usha Khanna and Kishore Kumar. This is all the information I could gather on the internet;
I would love to know what the story is and why there is a romantic number between Asha Sachdev and Amol Palekar. Also, I would love to know if Waheeda Rehman played his all sacrificing mother, who is an eye-sore for the haughty daughter-in-law played by Asha Sachdev (my assumption) as I found a song that preached the story of a son who plucks out the mother’s heart because the d-i-l asked for it.
I also found a dance number where Amol Palekar and Shabana have actually done a Bollywood-style folk number. We have always seen this pair in semi-serious avatar as in “Apne Paraye”, Kumar Sahani’s “Tarang” (an art film), and a few more (cannot recollect off-hand).
Today we have a lively song sung by Kishore Kumar and Usha Khanna. After seeing the video, I must admit Amol Palekar is a person with a sense of rhythm and moves well to the beats, he didn’t make a spectacle of himself. He is joined by Om Prakash, Sundar and Shabana and we see Waheeda Rehman being dragged into the dance towards the end. Asha Sachdev is seen enjoying herself. This song from a lesser known movie is a discovery for me.
Song-Kya chamatkaar hai tere ik baar ke deedaar mein (Pyaasi Aankhen)(1983) Singers-Kishore Kumar, Usha Khanna. Lyrics-Indeewar, MD-Usha Khanna
Female chorus
Male chorus
All chorus
Lyrics
hey ae ae
ho o o o
h ooooooo ho ho
oooooo
he ae ae ae ae
ho ho oooooo
kya chamatkaar hai
tere ik baar ke deedaar mein
kya chamatkaar hai
tere ik baar ke deedaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
aaa aaaa aaaa aaaa
aaaaa aaaaa aaaaaa
aaaaa aaaaaaa
aankh banke tujh ko hi takta rahoon
galiyon mein teri bhatakta rahoon
aankh banke tujh ko hi takta rahoon
galiyon mein teri bhatakta rahoon
tere liye kaanton pe chalna toh kya
sooli pe hanske latakta rahoon
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
ho ho ho ho
oo
aaaaaaa aaaaa
ho ho ho ho ho ho
aaaaaaa aaaaa
maangoon mein rab se wafaayein teri
yun hi sunta rahoon bas sadaayein teri
maangoon mein rab se wafaayein teri
yun hi sunta rahoon bas sadaayein teri
jo lakha kitaabaan sikha na sakin
sikha gayin woh mujhko adayien teri
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
jogi
jogi
jog chhad ke
jog chhad ke
aa aye hain sansaar mein
jogi
jogi
jog chhad ke
jog chhadke
aa aye hain sansaar mein
pyaar ke ae ae
naam par
maine pooja tujhe
har moorat mein ae ae
maine toh dekha tujhe
pyaar ke naam par maine pooja tujhe
har moorat mein maine toh dekha tujhe
teri khushi par vaaroon apni khushi
jo pyaara tujhe woh hai pyaara mujhe
jogi jog chhad ke
he aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
kya chamatkaar hai
tere ik baar ke deedaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
ye baat hai
o zara jam ke
o zara khul ke
he turr
haan
hoye hoye hoye hoye
hey hey
ye baat hai
zara imaandaari se
arre baja baja
aha
ha
ha ha
ha ha
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4144 | Post No. : | 15310 | Movie Count : |
4217 |
‘Aalor Pipasa’ (Thirst for Light) was a Bangla film released in January 1965. The film was directed by Tarun Majumdar. The film is available on-line with English sub-titles. The story of the film is about a courtesan (Sandhya Roy) who sacrifices her life for the betterment of her son. The entire story is depicted in the film by way of flash back when a senior doctor (Pahadi Sanyal) tells the story of the courtesan to his junior doctor (Asit Baran). The junior doctor happens to be the courtesan’s son.
Obviously, the story of the film revolves around Sandhya Roy and I must say that she has given an outstanding performance in the film. Hitherto, my knowledge about Sandhya Roy was limited to her Hindi films like ‘Asli Naqli’ (1962), ‘Pooja Ke Phool’ (1964), ‘Jaane Anjaane’ (1971) etc. But in Hindi films she had only secondary roles like Dev Anand’s ‘munhboli bahen’ (adoptive sister) in ‘Asli Naqli’ (1962) where she displays her combative but soft at heart attitudes. The song from the film laakh chupaao chhup na sakega was picturised on her.
In Bangla films, Sandhya Roy has been one of the prominent actresses who has been active in Bangla film industry for over 5 decades starting with lead roles and switching over to character roles. She has worked in more than 100 films. She is also in politics having successfully contested parliamentary election from Mednipur in 2014 on Trinamul Congress ticket.
Sandhya Roy (born 11/04/1941) was born in Nabadwip (West Bengal). However, her family belonged to Khulna (now in Bangla Desh) where her grand father was a landlord. In her childhood, she lost her parents. She was brought up by her maternal uncle at Khulna where she had her early education.
In 1957, Sandhya Roy returned to Kolkata and stayed with her sister. This was the beginning of her unexpected journey to Bangla films. While watching the shooting of the film ‘Mamlar Fol’ (1957), the director saw her and offered her a role in the crowd. Her first full-fledged film was ‘Antariksha’ (1957). After the success of this film, she started getting offers of lead roles in many Bangla films. She remained one of the leading actresses in Bangla films during 1960-80. During this period, she was paired with Biswajeet in about 20 films.
Sandhya Roy had her stint in Hindi films with ‘Asli Naqli’ (1962) which was followed by ‘Pooja Ke Phool’ (1964), ‘Raahgir’ (1969), ‘Jaane Anjaane’ (1971), Bandagi’ (1972) etc. The last Hindi film she acted was ‘Ek Anaar Sau Bimaar’ (2008). However, despite her good acting, she could not actively pursue her career in Hindi films.
From 1980s onward, Sandhya Roy continues to work in Bangla films as a character actress beside pursuing her political career.
Sandhya Roy married Tarun Majumdar, one of the leading directors of Bangla films who had also directed Hindi films, ‘Balika Badhu’ (1967) and ‘Raahgir’ (1969).
‘Aalor Pipasa’ (1965) had nine songs of which as many as 5 songs were Hindi semi-classical songs. This was to be expected since the story of the film revolves around a courtesan who entertains her clients by singing and dancing. The film also has a Sanskrit strotra (hymns) which has been rendered by Hemant Kumar as a background song when credit titles roll in the film.
In the film, Lata Mangeshkar sings two solos for Sandhya Roy of which I have selected the song ‘ghir aayi badariya piya naahi aaye’. The song has been written by Kaifi Azmi which has been set to music by Hemant Kumar.
Song-Ghir aayi badariya piya naahin aaye (Aalor Pipaasa)(Bangla)(1965) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar
Lyrics
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahi aaye
tan man jale mora birha sataaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
jaa jaa re badra tu pi ko manaa laa
jaa jaa re badra……aa aa aa aa aa
jaa jaa re badra tu pi ko manaa laa
pi ke bina mohe kachhu hi na bhaaye
pi ke bina mohe
pi ke bina mohe kachhu hi na bhaaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
megha re kaahe ko jhariya lagaaye
megha re kaahe ko
megha re kaahe ko jhariya lagaaye
ghir aayi badariya piya naahin aaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye….ye ye
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