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

Archive for the ‘Post by Sudhir’ Category


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

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

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

Today, we are celebrating the 3400th day that this blog has been operating.

And we Yippeee a film that has been waiting for more than two years for the final song to come online. 🙂

Sometimes, Atul ji springs a wonderful surprise. And at a very short notice too. It is 8.30 pm in the night (on 7th Nov). I am just casually checking my emails. Plop. There is a message from him. We have a significant and a very different type of milestone lined up for tomorrow (8th Nov). The immediate next sentence, he is quickly clarifying that no, the said milestone has nothing to do with demonetization anniversary or any other subject of Indian economy. The next sentence he clarifies, without building any suspense or delays in his words. 8th Nov is exactly the 3400th day of the continued existence of our blog. A few lights start blinking inside the head. Wow, – thanks ji, – what a surprise, – such a different type of milestone, – gosh tomorrow, – what a scramble, – and in a secret corner, another light blinks that says – अरे सर, थोड़ा एडवांस नोटिस तो देना चाहिए॰ ॰ ॰ खैर॰ ॰ ॰

Blinking lights aside, many congratulations to all members, friends and readers, and welcome to the 3400th edition of Atul Song A Day, in which, I must emphasize, at the cost of repetition, that the phrase song-a-day has been redundant for, well, let us see – 28th Aug, 2008, i.e. 40 days less, that is 3360 days – I mean the period of redundancy of this phrase. You see, 28th Aug, 2008 was the day (41st in the history of this blog) that Atul ji shifted gears and posted 3 songs in a single day, for the first time. See, that is how long his solemn promise lasted. In just forty days, he was so overwhelmed and got carried away that instead of song-a-day, it was three-songs-a-day that day.

[Tongue in cheek] – I am sure folks in all parts of this subcontinent will be aware and will agree; the tradition is to celebrate the 40th day after childbirth, as the day when the mother of the newborn child, is allowed to start moving outside the confines of the household. There is a celebration and a ceremony to mark this event. (Of course in the current times, quite a few people do not bother to abide by this tradition, which, if I may be allowed to emphasize, has very important reasons of health and well being behind it). But we note that Atul ji quite religiously followed this tradition, and stayed put on one song per day for forty days. And then he ventured out further – starting with the song “Aap Ke Anurodh Pe Main Ye Geet Sunaata Hoon” (film ‘Anurodh’, 1977), on the forty first day. I must add that Atul ji has been a very conscientious ‘mother’, for the first forty days, and for all the days thereafter. 🙂

So, in the tradition of adding new feathers to the caps, we are now adding one more dimension by which we measure the robustness of our blog and its level of enthusiasm / commitment  / entertainment value. No of days that we have been in operation. Today – it is 34 hundred days that are completed. And counting. . .

Changing the topic briefly – I would like to touch upon the query that was raised yesterday by Peevesie’s Mom, regarding the number of posts and the number of songs contained therein. Although we count one post only once, there are many occasions that a single post carries more than one song.

Yes, there are posts that have multiple songs on account of the songs being present more than once in the film, or have been sung by different singers in the same film. Sometimes the multi singer songs are exactly the same, and sometimes they have different antaraas. Same for multi part songs. In some cases, the multiple appearances of the song in the film carry the same lines, and in some cases, they carry different lines.

In cases where the multiple appearance of the song is in the voice of the same singer, and the words are unchanged, then we count them as one song only. However, if the singing voice is different then we count them as multiple songs. Also, if the singing voice being the same, if the words and lines are different, then also we count them as multiple songs.

Another criteria that we follow is to adhere to the listings in the HFGK. In the Geet Kosh, songs which are multi part, or multi singer are listed separately. And so we also follow that scheme to count the songs. An interesting aside here is that the Geet Kosh counts the different parts of the multi-lingual songs, as separate songs. And so do we, counting each part of the multi lingual song as a separate song. The case in point is the last line in the table below. This is the muti lingual song from the film ‘Teen Batti Chaar Raasta’ (1953) “Orey Oo Poraan Bondhu Re. . .”. This song is the post number 10967 (dt 24Mar2015). Geet Kost lists this song as seven separate lines, one for each language covered. And so, on our blog too, we count them as 7 songs, albeit contained in one post.

A few posts carry the original song as well as the version song, which is not carried in the film. E.g. the song “Chhupo Na Chhupo Na Chhupo Na” from film ‘My Sister’ (1944); both the versions – in the voices of KL Saigal and Pankaj Mullick – are contained in the post no. 807 (dt. 26Feb2009), although the film carries the Saigal Sb version only.

Please note that the audio and video versions of the same song are not counted as extras.

When the blog arrived at the 13700th milestone on 4th November just passed, the total number songs contained within these posts reached the number of 14200, exactly five hundred more than the number of posts.

The breakup of multi-songs within posts is as follows,

  • Posts containing 2 songs counted – 410 –  410 extra
  • Posts containing 3 songs counted – 34     –  68 extra
  • Posts containing 4 songs counted – 4       –  12 extra
  • Posts containing 5 songs counted – 1        –   4 extra
  • Posts containing 6 songs counted – 0
  • Posts containing 7 songs counted – 1        –   6 extra

In the above listing, the first number in the row is the number of posts for that category (2 songs or 3 songs etc.), and the second number is the number of additional songs that we count, because of this phenomena. The above list tells us that there are a total of 450 posts out of 13,700, which carry more than one song. This number is the total of the first column in the above lines. The total of the second column gives us the number of additional songs that are carried in these posts, which round figure of 500 extra songs (till 4th Nov that is).

A thought here is that we can request Atul ji to also publish the number of songs, along with the number of posts, on the home page.

Now coming to the song for today. At first, I had some courageous and wishful thoughts to try and search for a song that has something to do with ‘thirty four thousand’ or even ‘thirty four’, you know, just like we had a readymade song for the 11000th post (“Gyaarah Hazaar Ladkiyaan”). But I very soon gave up that pursuit as impractical. And so, in consultation with Atul ji, I bring on board a Yippeee song – a rare one that was not even available online so far. The film is ‘First Love’ from 1961. This film carries six songs. Five of these songs are already posted here. These are

  1. Beete Huye Din Kuchh Aise Hi Hain
  2. Maano Ya Na Maano
  3. Mujhe Mil Gayi Hai Muhabbt Ki Manzil
  4. Wo Dekho Aayi Bahaaren Laayi
  5. Mere Pyaar Mein Ya Wafa Na Thhi

The first two songs listed above, were posted in Dec 2011. The third song came on board in Jun 2012. Then after almost two years, the fourth song made its appearance in Apr 2014. Exactly a year later, the 5th song arrived in Apr 2015. After that, likely the lack of online availability of this song disallowed this film from being Yippeee’d. i.e. till now, more than two and half years later.

This last song which is a wonderful duet by Suman Kalyanpur and Kamal Barot, has now been uploaded and the Yippeee call for this film can now be made. The words are from the pen of Gulshan Bawra and the music is by Dattaram. The very prominent Dattu ‘theka’ rhythm of dholak is very prominently heard in the antaraas.

The list of actors in this film includes Mehmood, Naaz, Preetibala, Raj Mehra, Amar, SN Bannerji, amongs others. The list contains only these two names of lady actors. Possibly this song could have been picturized on Naaz and Preetibala, but that is just a guess.

So, 3400 days, 13710 posts (yes, this post is no. 13710), and 14210 songs. So many milestones and measuring dimensions, and counting. But anyway, do listen to this fantastic duet song, with such an endearing rhythm created by Dattaram. And enjoy.

Song – Kis Ko Aai Hai Tu Mil Ke Mil Ke (First Love) (1966) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Gulshan Bawra, MD – Dattaram
Suman Kalyanpur + Kamal Barot

 

Lyrics

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . . pyaara
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laai
dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laali
aaj kya baat hai
dil pe kyon haath hai
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
pyaar ki
kya khabar
lad gai
kab nazar
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

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

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰ प्यारा
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
आज क्या बात है
दिल पे क्यों हाथ है
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
प्यार की
क्या खबर
लड़ गई
कब नज़र
किसको आई है तू मिल के
मिल के
फूल बनी है कली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

 


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.

Fabulous Foot Tappers – 8
– – – – – – – – – – – – – –

“What a find. Such a rollicking song.”

This the comment by our own Ava Suri ji, that I find on the YouTube upload page of this song. Yes, ‘rollicking’ is just the right word to describe the tenor of this song. By the way, the YouTube channel on which this is posted is titled ‘The Edwina Channel’. And for those who are familiar, this channel is managed by Dan Thomas (aka Thomas Daniel). Dan has been actively collaborating with dear Greta Memsaab, for cleaning and sprucing up digital videos of old Hindi films, subtitling them and putting them up on the YT. Our dear Raja ji is also part of this effort.

The eighth edition of this series comes on after a long gap. The previous (7th) episode was posted on 5th April earlier this year (which itself was posted after a gap of almost one and a half years after the 6th one). The delay is all mine, and so is the loss. In the interim, at least two or three songs that I had short listed for this series, got posted otherwise. 😦 🙂 So anyway, the search is on for more Fabulous Foot Tappers from the 1950s and 60s.

The Rock n Roll genre of music took shape and evolved in the United States during late 1940s and early 1950s. The phrase “rocking and rolling” originally described the movements of a ship on the ocean. Later, this phrase was used to describe the spiritual fervor of church rituals, especially the Afro-American church denominations. The phrase also started to be used as a term for amorous tryst between lovers. 😉

Developing from a combination of gospel music, jazz music and the R&B (rhythm and blues) of the Afro-American people, this music very soon caught the fancy of the white teenager population in the growing urban centres in America. Moving on from the origins, where the primary musical instrument used to be a piano or a saxophone, in the early 1950s, the guitar took the centre stage, supported by the drums. And soon, as the electric guitar came along, it became by itself, or in combination with the normal guitar, the lead instrument for this music. As this music became popular across the race divide in the US, radio stations started to dedicatedly play this music, and started to refer to it as Rock n Roll.

Hindi films could not be far behind in adapting this music genre into the film songs. From the mid 1950s onwards, we see quite a number of music directors that took this genre and constructed many a wonderful pieces. Listening to them, there is an urge to tap your feet, or even get up and start dancing to these fabulous rocking sounds.

Today’s treat is a great sampling of this genre. Coming from the obscure film ‘Love And Murder’ (1966), this fast paced song is composed by OP Nayyar. Right from the word go, the drum beats take the centre stage, and in the accompanying visuals we see a group of young men and women dancing to the tune of this wonderful rock n roll song. The dancers are led by Edwina. The other young lady accompanying her in the lead movements is identified as Aruna, as per the YT post by Dan.

If this song had not been so positively rollicking, I would have been tempted to use it in the other series titled “Rare Performances – Things Unique and Unexpected”. We have a surprise – an actor who I see lip syncing a song on screen for the first time – Hiralal, the noted villain character from many a films of the Golden Era. He is accompanied very enthusiastically by Suresh. There is one more bearded young man who accompanies them in the lead singing; I request for help from other knowledgeable readers to identify this actor.

I have noted this as a “diversion” song. As the opening shot shows, this song is being performed during late evening time, on open street in front of a building that carries the sign board of a bank. As the song proceeds, we are treated to some shots which explain what is happening – the plan is to rob the bank. Some members of the gang are inside the bank and are attempting to blast open the vault with explosives. Another part of this gang is on the road outside the bank, with loud music, singing and fireworks, obviously to mask the explosive sounds of the misdeeds of the miscreants inside the bank.

The words of this song are penned by Shewan Rizvi. The music, the drum rhythms, the quick-burst paced singing and the energetic dance action on the street, all combine to make a wholly fabulous foot tapper. When I started exploring this film for songs, and came across this one, I am simply not able to resist listening to it every so often for the past few days. As Ava ji has said it, and I repeat – “Such a rollicking song”.

I suggest you put on your dancing shoes, before playing it. 😉

 

Song – Dekhne Waale Dekh Karishma Yaaron Ka (Love And Murder) (1966) Singer – Mohammed Rafi, Lyrics – Shewan Rizvi, MD – OP Nayyar
Chorus
Rafi + Chorus

Lyrics

dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

dekh palat ke dhyaan kidhar hai
kisi ki topi kisi ke sar hai
haath safaai bada hunar hai
naam hamaara jaadugar hai
hosh udaa de badey badey hoshiyaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

chhuri bagal mein ram ka naara
galey lagaa ke phere aara
aankhen ho to dekh nazaara
raat mein suraj
din mein taara
kehl yahaan pe paise ki jhankaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

ajab hai naksha aaj shehar ka
kahin chataakha kahin pataakha
door kahin par hua dhamaaka
koi na samjha shukar khuda ka
shehar mien hoga shor ye kal akhbaaron ka
dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

dekhne waale dekh karishma yaaron ka
takht mila ya hoga takhta chaaron ka

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

देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

देख पलट के ध्यान किधर है
किसी की टोपी किसी के सर है
हाथ सफाई बड़ा हुनर है
नाम हमारा जादूगर है
होश उड़ा दे बड़े बड़े होशियारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

छुरी बगल में राम का नारा
गले लगा के फेरें आरा
आँखें हों तो देख नज़ारा
रात में सूरज दिन में तारा
खेल यहाँ पे पैसे की झंकारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

अजब है नक्शा आज शहर का
कहीं चटाखा कहीं पटाखा
दूर कहीं पर हुआ धमाका
कोई ना समझा शुकर खुदा
शहर में होगा शोर ये कल अखबारों का
देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का

देखने वाले देख करिश्मा यारों का
तख्त मिला या होगा तख़्ता चारों का


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 – 36
– – – – – – – – – – – – – – –

Aisa to hota hi hai. The name of the film sometimes is not so interesting; it seems to automatically convey a B/C grade stunt cum familiar crime and punishment fare. And so we tend to pass over such names in our search of favorites. But as always, unfailingly, it is such films that carry some of the best music that we have heard. Plus, as I realized while checking out this film, the music director is OP Nayyar. The year is 1966, and OPN is quite much in the running as one of the top music directors in the industry. And the film that I am un-packaging on this blog for the first time – it is ‘Love And Murder’.

Sure you will say, with such a name, who would pay attention. Plus the star cast – lead pair is Ramesh Deo and Jaimala. Well, who would pause at this film while browsing the lists. Aah, but we err here. If there is Helen in the cast, and the music is by OPN, one can expect some real good songs with Asha Bhosle singing and Helen doing her moves on the screen. Yes, we need to be more sensitive to such tell tale signs as we look for songs to post. Plus given that this film is available, and all its songs are available online – that sure is an error on our part.

So the film ‘Love And Murder’ makes its debut on our blog today, with this signature Helen dance song. It surely caught my fancy as soon as I heard it, and I have repeated heard it many times over the past two three days. And there is more in this film – the other songs are no less exquisite.

This is a stunt film from the banner of Adarshlok, Bombay, and is directed by Raja Paranjape. Cast of actors includes Prithiviraj Kapoor, Ramesh Deo, Jaimala, Helen, Heeralal, Kammo and Chandrakant Ghokale, amongst others. This list is taken from the Geet Kosh details, and possibly more names can be added. One, maybe, in this song itself. Onscreen we see Helen and Ramesh Deo. Later during the performance, Jaimala makes an entry. There is one more familiar face in this clip; the gentleman who gets up and approaches Jaimala as she enters the scene. Is this the actor Suresh? I am guessing, and I request other knowledgeable readers and friends to please confirm or correct my statement.

The film has six songs. Geet Kosh lists names of three songwriters – Shewan Rizvi, SH Behari and Aziz Lucknawi. Of the six songs, two are attributed to Aziz Lucknawi and one each to Shewan Rizvi and SH Behari. Two songs are listed with no name of lyricist attached to it. Today’s song is one of those two songs without an attribution of a songwriter.

OPN + Asha Bhosle + Helen, the combination makes for some very good music and dance performance. This song is no exception. The rhythm and the beats in the song are just superb. OPN shifts between drums for the mukhda and the interludes, and tabla for the antaraas. A typical OPN style that can be seen is some more of his creations.

Enjoy this wholesome debut, wonderful music, and Helen – what more one can ask for. 🙂

 

Song – Mere Dil, Meri Jaan  (Love And Murder) (1966) Singer – Asha Bhosle, Lyrics – [Unattributed], MD – OP Nayyar

Lyrics

ha aa aa ha ha ha
ha aa aa ha ha ha
ha aa aa ha ha ha
ha aa aa ha ha haaa. . .

mere dil
meri jaan
tu keh de to kar daaloon main dil ka haal byaan
ho mere dil
meri jaan
tu keh de to kar daaloon main dil ka haal byaan..aa..aan

ho laara ho laara
ho laara ho laara
ho laara ho laara ho laara ho oo oo

khamoshi kehti hai
bechaini rehti hai
khamoshi kehti hai
bechaini rehti hai
tanhaai ki raaten hain
deewaaron se baaten hain
tanhaai ki raaten hain
deewaaron se baaten hain
ho ja re mujh par zara meharbaan
ho ja re mujh par zara meharbaan

ho mere dil
ho oo
meri jaan
haaaye
tu keh de to kar daaloon main dil ka haal byaan
ha ha ha ha ha
ho mere dil
ho oo
meri jaan
ho oo oo
tu keh de to kar daaloon main dil ka haal byaan..aa..aan

ho ra la ho la ho
o la la ho la ho
ra la ho ra ho ra ho oo oo

aankhon mein tu hi tu
saanson mein tu hi tu
aankhon mein tu hi tu
saanson mein tu hi tu
aa ja meri baahon mein
jannat hai in raahon mein
aa ja meri baahon mein
jannat hai in raahon mein
sun le mere pyaar ki daastaan
sun le mere pyaar ki daastaan

ho mere dil
ho oo
meri jaan
ho oo
tu keh de to kar daaloon main dil ka haal byaan
ha ha ha ha ha
ho mere dil
meri jaan
ho oo oo
tu keh de to kar daaloon main dil ka haal byaan..aa..aan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हा आ आ हा हा हा
हा आ आ हा हा हा
हा आ आ हा हा हा
हा आ आ हा हा हा॰ ॰ ॰

मेरे दिल
मेरी जाँ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हो मेरे दिल
मेरी जाँ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं

हो लारा हो लारा
हो लारा हो लारा
हो लारा हो लारा हो लारा हो ओ ओ

खामोशी कहती है
बेचैनी रहती है
खामोशी कहती है
बेचैनी रहती है
तनहाई की रातें हैं
दीवारों से बातें हैं
तनहाई की रातें हैं
दीवारों से बातें हैं
हो जा रे मुझपे ज़रा महरबां
हो मेरे दिल
हो ओ
मेरी जाँ
हा॰॰ए
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हा हा हा हा हा
हो मेरे दिल
हो ओ
मेरी जाँ
हो ओ ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं

हो रा ला हो ला हो
ओ ला ला हो ला हो
रा ला हो रा हो रा हो ओ ओ

आँखों में तू ही तू
साँसों में तू ही तू
आँखों में तू ही तू
साँसों में तू ही तू
आजा मेरी बाहों में
जन्नत है राहों में
सुन ले मेरे प्यार की दास्ताँ
सुन ले मेरे प्यार की दास्ताँ
हो मेरे दिल
हो ओ
मेरी जाँ
हो ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां
हा हा हा हा हा
हो मेरे दिल
मेरी जाँ
हो ओ ओ
तू कह दे तो कर डालूँ मैं दिल का हाल बयां॰॰आ॰॰आं


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.

Ah yes, saving the best for the last. What a wonderful lilting song this one is. With this post we bring to completion the list of all songs for the film ‘Maan’ (1954). So, another Yippeee moment for this blog. Congratulations to all readers and all members of this musical bandwagon.

‘Maan’ is a costume drama which is produced by Rajendra Jain for the banner of Filmkaar Ltd., Bombay. The film is directed by Safdar ‘Aah’ Sitapuri, who has also penned five of the nine songs in this film. The remaining four songs are shared between Raja Mehdi Ali Khan (1) and Kaif Bhopali (3). Music is from the mind of Anil Biswas (assisted by Ram Singh). The cast of actors includes Ajit, Chitra, Durga Khote, Jaagirdar, Kumar, Achala Sachdev, Yashodhara Katju, Kamlesh Kumari and Chanda Bai etc.

As per the footnotes in the Geet Kosh, originally eleven songs in all were recorded for this film. Two songs were later cancelled and not included in the film. The mukhdas of the songs are – “Aati Na Yun Bahaaren. . .” in the voice of Lata Mangeshkar, and “Ye Achha Sauda Hum Ne Kiya. . .” in the voice of Shamshad Begum. It appears that these two songs, although recorded, were not released on gramophone records. No other information or trace of these songs is available as yet.

The eight songs posted earlier are listed below, in the order of their appearance on the blog. The Geet Kosh serial no. is added in brackets at the end of each line.

  1. Dam Bhar Ka Thaa Daur Khushi Ka (7)
  2. Mere Pyaar Mein Tujhe Kyaa Milaa (4)
  3. Allah Bhi Hai Mallah Bhi Hai (8)
  4. Keh Do Ke Muhabbat Se Na Takraaye Zamaana (6)
  5. Guzra Hua Ulfat Ka Zamaana (5)
  6. Main Kya Karoon Rukti Nahin Ashqon Ki Rawaani (1)
  7. O O O Phaili Hai Khabar (2)
  8. Kya Bataayen Chheen Kar Mutthi Mein Wo Kya Le Chale (9)

The foot notes in the Geet Kosh carry a very interesting side story. And it has to do with the iconic film ‘Mughal e Azam’ (1960). As per the foot note, which is short and cryptic, the song at serial no. 8 (in GK) – “Allah Bhi Hai Mallah Bhi Hai” was originally recorded for the film ‘Mughal e Azam’ by Anil Biswas, and later this song was included in this film.

A little more detailed background is available from the annual publication of Society of Indian Record Collectors (SIRC). When K Asif planned for this film originally in the mid 1940s, the mantle for being the music director was assigned to Anil Biswas. The original cast of actors included Chandramohan, Nargis, Sapru, and Veena. Apparently, the roles to be played were assigned as Chandramoha – Shahenshah Akbar, Sapru – Salim, Nargis – Anarkali and Veena – Jodha Bai. During the remaining part of the decade, all the original planning was disturbed. Partition was foisted upon this country. The financier for this film migrated to the new nation of Pakistan in 1947. And in 1949, Chandramohan passed away. Sapru, who was a rising star in 1945, turned out to be not so popular a hero over the next 3 to 4 years. A few reels of this film were already shot.

With all these adverse changes forced by the circumstances, K Asif revamped his planning. By the time 1950s came about, he had brought in Prithviraj Kapoor in place of Chandramohan and Dilip Kumar in place of Sapru. Dilip Kumar and Nargis were already working together in Asif Sb’s other venture – ‘Hulchul’ which was released in 1951. Asif faced quite a bit of turbulent time on the sets with this lead pair. The relations between the two were very strained, and ‘Hulchul’ was somehow completed. Beyond 1951, Asif Sb realized the futility of having this lead pair to continue together for ‘Mughal e Azam’. He made a decision to replace Nargis, retaining Dilip Kumar in the role of Salim. Later on, Madhubala was approached for the role of Anarkali.

Now coming to the music director. Asif Sb in his productions seems not to have tied himself to any one music director. His first film, ‘Phool’ released in 1945, has Ghulam Haider Sb as the music director. Then the initial announcement of ‘Mughal e Azam’ had Anil Biswas as the MD. When this film was put on hold, and Asif Sb started to work on ‘Hulchul’, he contracted Sajjad Husain Sb for being the music director. The working relationship between the two was not amiable, and Sajjad Sb opted out before the music work was complete. Asif Sb then brought in Mohammed Shafi to complete the MD’s work for the film. Three of the ten songs of ‘Hulchul’ are composed by Shafi Sb. The next – as the work in ‘Mughal e Azam’ got restarted, we find Naushad Sb in the role of MD. I have not been able to locate any information as to why this change was made.

As per Geet Kosh, the song “Allah Bhi Hai Mallah Bhi Hai”, was originally recorded for ‘Mughal e Azam’. As I scan the list of songs of ‘Mughal e Azam’, my intuition says that in the final version of the film, the song “Bekas Pe Karam Kijiye Sarkaar e Madina” took the place of “Allah Bhi Hai . . .”. However, my intuition actually goes one step further. After I read about original recordings by Anil Biswas, I scanned the song lists of the two films and tried to do a comparison. It is possible that there may have been more songs originally created by Anil Biswas. In my mind, I can locate at least one more coincidence. The song from the final version of ‘Mughal e Azam’ – “Zindabad Zindabad, Ae Mohabbat Zindabad”, is very likely a replacement song for the original – “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. The fervor and the rebellious tone of the both the songs is quite similar in intensity.

So much for the digression, let me come back to the song for today. And the singer – Meena Kapoor. The mention of this name immediately brings to the mind the iconic song “Rasiya Re Man Basiya Re” from the 1957 film ‘Pardesi’. And then some others – “Kuchh Aur Zamaana Kehta Hai” from ‘Chhoti Chhoti Baaten’ (1965), “Kachchi Hai Umariya, Kori Hai Chunariya” from ‘Chaar Dil Chaar Raahen’ (1959), “Laagi Naahi Chhote Raama, Chaahe Jiya Jaaye” from ‘Sautela Bhai’ (1962), again from ‘Pardesi’ – “Rimi Jhimi Barse Paani Ho Aaj Morey Angnaa”. And the iconic “Mori Atariya Pe Kaaga Boley, Mora Jiya Doley” from ‘Aankhen’ (1950). And yes, she is the accompanying singer to C Ramchandra in another iconic, nay, almost a cult song – “Aana Meri Jaan Meri Jaan Sunday Ke Sunday” from ‘Shehnaai’ (1947). In a career that spanned two decades from 1946 to 1965, Meena ji has sung approximately 160 songs in Hindi films.

Meena ji was born on 27th August, 1930 in Calcutta, literally in the lap of New Theatres. Her father, Birkam Kapoor, was a character artist with the New Theatres at that time. He was a close associate and a good friend of KL Saigal, KC Dey, Prithviraj Kapoor and Pahadi Sanyal. We have seen him in films like ‘Karwaan e Hayaat’ (1935), ‘Dhoop Chhaaon’ (1935), ‘President’ (1937), and ‘Street Singer’ (1938). In 1940-41, when we see an exodus of the premier stars from Calcutta to Bombay, Bikrma Kapoor also moved to Bombay with his family. The young Meena grew up in the company of stalwart uncles, and the lights and cameras of shooting studios.

Not much details are available about her early years and her development as a singer. When she was sixteen, KC Dey gave her the first break as a singer in the film ‘Door Chalen’ (1946). KC Dey was the music director for this film. Meena ji sang three songs in this film, two duets (with KC Dey) and one solo – “Aa Gayi Aa Gayi Zindagi Mein Ik Nayi Kahaani Aa Gayi”. In the same year, SD Burman, who was making his debut in Hindi films with ‘Eight Days’ also gave her an opportunity to sing under his music direction – “Kisi Se Meri Preet Lagi Ab Kyaa Karoon”. Then 1947 happened to be, and the nation wide popularity of “Sunday Ke Sunday” made her a household name. With a sweetness and a scampering youthfulness in her voice, she soon became a singer popular and in demand with the music directors. Till 1954, she was a busy artist with almost 110 songs from about 60 films.

Many of her songs became very popular. A sampling – “Main Birhan Baithi Jaagun” (film ‘Gopinath’, 1948); “Yaad Rakhna Chaand Taaron” (film ‘Anokha Pyaar’, 1948); “Boot Polish Karwa Le Baabu” (film ‘Ghar Ki Izzat’, 1948); “Main Reh Gayi Ankhiyaan Malti Re” (film ‘Anyaay’ (1949); “Lo Jawaani Ka Zamaana Aa Gayaa” (film ‘Aadhi Raat’, 1950); “Kabhi Tum Khwaab Mein Chupke Se Aa Jaate” (film ‘Gul Sanobar’ (1953); “Chaand So Gaya Taare So Gaye” (film ‘Raahi’, 1953); “Ek Kali Aur Do Patiyaan” with Hemant Kumar (also from ‘Raahi’, 1953);“Aag Chhidak Gai Chaandni Morey Gorey Badan Pe” (‘Aagosh’, 1953); “Ek Dharti Hai Ek Hai Gagan” (film ‘Adhikaar’, 1954); “Mere Chanchal Naina Ras Ke Bhare” (‘Angulimaal’, 1960); “Dil Hamko Dhoondhtaa Hai” (film ‘Return of Mr Superman’, 1960); and many more in between.

As per Geet Kosh listings, her voice appears once again in the film ‘Suhaani Raat’ which was released in 1974. The music director is Ram Ganguly. It is noted that this film was produced much earlier, but its release was delayed significantly. I have not yet located more information on this film, and I request our more knowledgeable readers and friends to kindly add more information about this film if available. The Geet Kosh notes that Meena Kapoor’s voice is used in this film, but singer names against individual songs are not specified.

The song being presented today, is my favorite from the list of songs of this film. Other than “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. In a list of songs (of this film) that has many superb creations, I like this song for its natural perkiness, and a joyous celebration of having discovered the emotion of love. Simple words, simply rendered, but oh so effectively tuned together, bringing out the brimming happiness, even so that the play of words is unmindful of the words themselves. This is the first time I have come across the word ‘dilaar’, spoken in conjunction with ‘dilbar’ and ‘dildaar’, the latter one itself is somewhat accentuated as ‘dil e daar’. The lighthearted pleasure in the construction of the lines and cheerful levity in their rendering make this song so delightful and endearing.

Enjoy this lovely creation – Anil Biswas, Safdar ‘Aah’, and Meena Kapoor – superbly done.

[Ed Note: The song has been uploaded on YouTube by our very own Sadanand Kamath ji.]

Song – Dilbar Dilaar Dil e Daar Ho  (Maan) (1954) Singer – Meena Kapoor, Lyrics – Safdar Aah Sitapuri, MD – Anil Biswas

Lyrics

dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

hothon ne kuchh na kaha
chitwan ne bol diya..aa..aa
chitwan ne bol diya
dil mein chhupaaye huye
raazon ko khol diya
raazon ko khol diya
aankhen jo hum se huin chaar ho oo oo
aankhen jo hum se huin chaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

laayegi rang naye do dil ki dhadkan
laayegi rang naye do dil ki dhadkan
daalo na jalte huye deepak pe daaman
daalo na jalte huye deepak pe daaman
bhole mere sarkaar ho oo oo
bhole mere sarkaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

होठों ने कुछ ना कहा
चितवन ने बोल दिया॰॰आ॰॰आ
चितवन ने बोल दिया
दिल में छुपाए हुये
राज़ों को खोल दिया
राज़ों को खोल दिया
आँखें जो हमसे हुईं चार हो ओ ओ
आँखें जो हमसे हुईं चार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

लाएगी रन नए दो दिल की धड़कन
लाएगी रन नए दो दिल की धड़कन
डालो न जलते हुये दीपक पे दामन
डालो न जलते हुये दीपक पे दामन
भोले मेरे सरकार हो ओ ओ
भोले मेरे सरकार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो


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.

 

पल दो पल का साथ हमारा
पल दो पल के याराने हैं
इस मंज़िल पर मिलने वाले
उस मंज़िल पर खो जाने हैं
 
pal do pal ka saath hamaara
pal do pal ke yaaraane hain
is manzil par milne waale
us manzil par kho jaane hain

This thought, expressed in these words, probably first came about four decades ago (film is ‘The BurningTrain’, 1980). It was March of 1980 that this film hit the theatres around the country. This qawwaali gained a good amount of popularity in its time, and still continues to be a part of selection of lists of qawwaalis in Hindi films. And in a matter of few months, the writer of these lines arrived at the manzil, from where, he was lost to us. 25th October of the same year. The iconic poet Abdul Hayee, decided to abandon this world – an act, a thought that he had expressed multiple times in his verses, over the previous three decades or so, of his career as a songwriter in Hindi films.

Remembering Sahir Sb on the anniversary of his passing away (25th October).

About thirty five years earlier, the listeners started to get the first glimmer of the grimness of life as he saw it. He made his debut in films, in 1948, with the film ‘Azaadi Ki Raah Par’. Scanning the sonography of his writings for films, one has to wait till 1954, and the film ‘Taxi Driver’, to catch the first expressions of listlessness and despair with life.

maayusiyon kaa majmaa hai jee mein
kyaa rah gayaa hai is zindagi mein
rooh mein hai gham dil mein dhuaan

Yes, the iconic song “Jaayen To Jaayen Kahaan. . .” (film ‘Taxi Driver’). Before we come to 1954 and to these verses, there is very little despair, and very little sadness in his poetry for films. I keep stressing ‘for films’, because his non film writings have carried this helpless angst against what this world and this existence is. His very first collection of poetry, published while he still was in college in Lahore, is titled ‘Talkhiyaan’ – which literally translates to ‘bitternesses’. But in his writings for films, we encounter this expression first time in ‘Taxi Driver’.

And then, as if a dam has broken loose. It is 1955 and film is ‘Devdas’. Sahir writes

agar iss jahaan ka maalik kahin mil sake to poochhen
mili kaun si khaataa par hamen is qadar sazaayen

(from the song “Wo Na Aayenge Palat Kar. . .“)

It is 1955 again, and the film is ‘House No. 44’. The verses are

teri duniya me jeene se to behtar hai ke mar jaayen
wohi aansoo wohi aahen wohi gham hai jidhar jaayen

Then again, in ‘Marine Drive’ he writes

zafaaon per zafaa bedaad per bedaad hoti hai
hamaari zindagi kya maut bhi barbaad hoti hai
hamen itnaa to batlaa de jiyen ham yaa ke mar jaayen
bataa ai aasmaan waale tere bande kidhar jaayen

1955 again, and the film is ‘Munim ji’. The verses make an experienced announcement about the reality of this life.

jeevan ke safar mein raahi, miltey hain bichhad jaane ko
aur de jaate hain yaadien, tanhaai mein tadpaane ko

Yet again in 1955, the film is ‘Railway Platform’, and this time the lines tell of another face of life’s reality.

kadam kadam par honi baithhi apnaa jaal bichhaaye
is jeewan ki raah mein jaane kaun kahaan rah jaaye
basti basti parwat parwat gaataa jaaye banjaaraa
lekar dil kaa iktaaraa. . .

Come 1956, and the film ‘Chandrakanta’. The song tells us

maine chaand aur sitaaron ki tamanna ki thi
mujhko raaton ki siyaahi ke siwaa kuchh na mila

 And as if this was not emphatic enough, he goes on to write in the film ‘Funtoosh’,

apne liye kab hain ye mele
ham hain har ek mele mein akele
kyaa paayegaa usmein rahkar
jo duniyaa jeevan se khele
dukhi man mere sun mera kahnaa
jahaan nahin chainaa vahaan nahin rahna

With ‘Pyaasa’ (1957), this bitterness reaches its zenith; and he writes

jahaan ik khilaunaa hai insaan ki hasti
ye basti hai murda paraston ki basti
yahaan par to jeevan se hai maut sasti
ye duniya agar mil bhi jaaye to kyaa hai

And as if this was not convincing enough, his exhortations rise in intensity, and he screams out the words

jalaa do ise phoonk daalo ye duniya
mere saamne se hataa lo ye duniya
tumhaari hai tum hi sambhaalo ye duniya
ye duniya agar mil bhi jaaye to kyaa hai

In ‘Light House’, in 1958, the lines of the song are

lo aaj hamne tod diyaa, rishtaa-e-ummeed
lo ab kabhi gilaa na karenge kisi se ham
tang aa chuke hain kashmakash e zindagi se hum
thukra na den jahaan ko kahin be-dilee se hum

And then, he added another song, which says

saare jag mein apna koi nahin
sukh kyaa dukha ka sapnaa koi nahin
kis jagah jaayen, kis ko dikhlaayen
zakhm-e-dil apnaa

‘Dhool Ka Phool’ came in 1959. His frustrations and anger at the divisive forces in the society burst out in the lines

maalik ne har insaan ko insaan banaayaa
humne usse hindu yaa musalmaan banaayaa
kudrat ne to bakshi thi hamein ek hi dharti
humne kahin bhaarat kahin iraan banaayaa

In 1960, there came the iconic qawwaali in the film ‘Barsaat Ki Raat’. A set of verses that touched upon a variety of emotions of love and the very existence of the individual itself. His own disenchantment, probably, trickles through, in the lines

mere naamuraad junoon kaa hai ilaaj koyi to maut hai
jo dawaa ke naam pe zahar de usi chaaraagar ki talaash hai

Then it was the film ‘Dharamputra’ in 1961. The poet in him raised his voice against the senseless communal divide, and its manipulation. The words are starkly put together

dharti ki sulagti chhaati ke bechain sharaare poochhte hain
yeh kis ka lahoo hai kaun mara

The wrenching torture of loneliness inside, came spewing out in the film ‘Hum Dono’, again from 1961.

kaun rotaa hai kisi aur ki khaatir ai dost
sabko apni hi kisi baat pe ronaa aayaa
kabhi khud pe, kabhi haalaat pe ronaa aayaa
baat nikli, to har ik baat pe ronaa aayaa

‘Gumraah’ was released in 1963. His personal demons fighting with himself inside, brought out these verses

wo afsaanaa jise anjaam tak laanaa naa ho mumkin
use ik khooboorat mod dekar chhodnaa achchhaa
chalo ik baar phir se, ajnabi ban jaayen ham dono

Also in 1963 came the musical history of ‘Taj Mahal’. And the soul of Sahir rose up to challenge the creator Himself with the lines

ye qatl o khoon kaa riwaaz kyun hai
ye rasm e jang o jadaal kyaa hai
jinhe talab hai jahaan bhar ki
unhi kaa dil itnaa tang kyun hai
. . .
jahaan mein jashn e wafaa ke badle
ye jashn e teer o tafang kyun hai
khudaa e bartar teri zameen par
zameen ki khaatir ye jang kyun hai

The vagaries of his personal destinies starkly reflects in the lines he wrote the 1964 film ‘Chaandi Ki Deewaar’,

ye bebasi bhi kisi ba’ddua se kam to nahin
ke khul ke jee na sakey aur maut bhi na miley
kahin qaraar na ho aur kahin khushi na miley
hamaare baad kisi ko ye zindagi na miley

Again in 1964, the intensity of his despair with life would insistently glare back through the lines in the film ‘Shagun’

bujhaa diye hain khud apne haathon
mohabbaton ke diye jalaa ke
meri wafaa ne ujaad di hain
ummeed ki bastiyaan basaa ke

That I am highlighting the agony and the despair in this selected anthology of his verses, does not imply that his other expressions do not measure up. Not at all. His poetry of love and romance is equally, if not more, expressive of amorous emotions of the human heart. A discourse of the brighter side of his love poetry merits a separate write up. And his grasp of human emotions across the spectrum, is visible in the songs that otherwise would simply be categorized as situational in the movies. That set of writings too, have the power to capture the heart in ways more than one.

Beyond the mid 1960s, the agony within his writings begins to show less and less. In the external environment, the modes of cinematic expressions were changing, and the music of the films was being transformed away and beyond the melodic gems of the golden era. He simply seemed to have withdrawn himself within, pulling all his despair and sorrow, to the inside. But some rare moments did come along.

1973 saw the release of ‘Joshila’, and quite unexpectedly, his writings touched upon the pain of loneliness once again.

jhoothaa bhi naataa nahin chaahon mein
tu hi kyon doobaa rahe aahon mein
koyi kisi sang mare, aisaa nahin hone waalaa
koyi nahin jo yoon hi jahaan mein, baante peer paraayi
ho, kis kaa rastaa dekhe ai dil ai saudaai
meelon hai khaamoshi barson hai tanhaai. . .

In 1975, came ‘Ek Mahal Ho Sapnon Ka’ and in a moment of release, his pen created the lines

dekha hai zindagi ko kuchh itna qareeb se
chehre tamaam lagne lage hain ajeeb se

It was back in 1964, that he wrote his epitaph for himself (film is ‘Dooj Ka Chaand’).

ye raah akele katati hai
yahaan saath na koi yaar chale
us paar na jaane kya paaye
is paar to sab kuchh haar chale
lo apna jahaan duniya waalon
hum is duniya ko chhod chale

On 25th October in 1980, Sahir Sb is duniya ko chhod gaye, leaving behind a body of work in form of seven hundred plus film songs, that are an immense treasure of personal emotions in all the shades of human experiences. In 1980, along with qawwaali that I started this article with, he also wrote another nazm that was featured in the film ‘Kabhi Kabhi’. Yes, I talk of the immensely impressive “Main Pal Do Pal Ka Shaayar Hoon”. (Interesting to note the repetition of the phrase ‘pal do pal’, in both these songs.)

In this song, Sahir Sb has said something, which probably is the only one place where I would disagree with him. Totally. You would remember the lines

kal aur aayenge naghmon ki khilti kaliyan chun’ne waale
mujhse behtar kehne waale. . .

No Sahir Sb, I sincerely disagree from the depths of my heart. None will follow who may express it better than you. All songwriters will say it, definitely in different ways, and definitely in ways that are measures of excellence, in their own unique expressions. But no one will be able to say

dil jaley to jaley
gham paley to paley
kisi ki na sun gaayeja. . .

Quite in contrast to the mood of the article, today’s song is a lilting gem that has been created by Sahir Sb and N Dutta for the 1959 film ‘Naach Ghar’ – one of his handful of films that is still waiting to be Yippeee’ed on our blog. Sung by Lata ji, this song is such an endearing expression of expectation; the heart is calling out to the beloved, and is giving so many reasons describing the wait, exhorting for the lover to pay heed, and come. This is such a lovely creation of words and music that I was for a moment surprised that this song is still waiting in the wings.

Listen and enjoy.

Song – Door Se Yun Na Tarsaao  (Naach Ghar) (1959) Singer – Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – N Dutta

Lyrics

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

deep jal chuke
saaye dhal chuke
ab to aa jaao
deep jal chuke
saaye dhal chuke
ab to aa jaao
mere pyaar ko
intezaar ko
yun na thukraao
aji tum yun na thukraao
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

raat raat bhar
jaag jaag kar
sapne bunti hoon
raat raat bhar
jaag jaag kar
sapne bunti hoon
baithi raah mein
kab se chaah mein
kaliyan chunti hoon
aji main kaliyan chunti hoon
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

nain mil chuke
phool khil chuke
ab katraana kya
nain mil chuke
phool khil chuke
ab katraana kya
pehle loot ke
peechhe rooth ke
dil tadpaana kya
aji yun dil tadpaana kya
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए

दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

दीप जल चुके
साये ढल चुके
अब तो आ जाओ
दीप जल चुके
साये ढल चुके
अब तो आ जाओ
मेरे प्यार को
इंतज़ार को
यूं ना ठुकराओ
अजी तुम यूं ना ठुकराओ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

रात रात भर
जाग जाग कर
अपने बुनती हूँ
रात रात भर
जाग जाग कर
अपने बुनती हूँ
बैठी राह में
कब से चाह में
कलियाँ चुनती हूँ
अजी मैं कलियाँ चुनती हूँ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
पहले लूट के
पीछे रूठ के
दिल तड़पाना क्या
अजी यूं दिल तड़पाना क्या
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के 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.

Greetings to all readers and friends. A very Happy Diwali to all.

 

Song – Aa Haa Haa Deewaali  (Diwaali Ki Raat) (1956) Singer – Asha Bhosle, Lyrics – Pt Faani, MD – Snehal Bhatkar
Male Chorus
Female Chorus
All Chorus

Lyrics

deewali ke deep seep ke moti
moti rang birange
jhar jhar jhar jhar moti jalte
jhar jhar jhar jhar moti jalte
dharte praan patange
dharte praan patange
in ka pyaar anokha jag mein
in ka pyaar anokha jag mein
in ka pyaar anokha jag mein
ey inki preet niraali..ee
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali

kaali raat amaavas ki
kaali raat amaavas ki
ye gori se bhi gori
ye gori se bhi gori
deep deep ko chaand samajh ke
deep deep ko chaand samajh ke
naache aaj chakori
sapne le kar aai suhaani
sapne le kar aai suhaani
raat ye kaali kaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali

deewali ki dulhan saj ke
deewali ki dulhan saj ke
deewali ki dulhan saj ke
phuljhadion se khele
phuljhadion se khele
naya saal aur nai umangen
naye naye nit mele
bichhdon ko hai galey milaati
amrit ki ye pyaali
aa ha ha deewaali
aa ha ha deewaali
aaaa aaa aaaaaaa aaaa deewaali
aa ha ha deewaali
aa ha ha deewaali
aa ha ha deewaali

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिवाली के दीप सीप के मोती
मोती रंग बिरंगे
झर झर झर झर मोती जलते
झर झर झर झर मोती जलते
धरते प्राण पतंगे
धरते प्राण पतंगे
इनका प्यार अनोखा जग में
इनका प्यार अनोखा जग में
इनका प्यार अनोखा जग में
ए इनकी प्रीत निराली॰॰ई
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

काली रात अमावस की
काली रात अमावस की
ये गोरी से भी गोरी
ये गोरी से भी गोरी
दीप दीप को चाँद समझ के
दीप दीप को चाँद समझ के
नाचे आज चकोरी
सपने लेकर आई सुहानी
सपने लेकर आई सुहानी
रात ये काली काली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

दिवाली की दुल्हन सज के
दिवाली की दुल्हन सज के
दिवाली की दुल्हन सज के
फूलझड़ियों से खेले
फूलझड़ियों से खेले
नया साल और नई उमंगें
नए नए नित मेले
बिछड़ों को है गले मिलाती
अमृत की ये प्याली
आ हा हा दिवाली
आ हा हा दिवाली
आss आs आsssssss आsss दिवाली
आ हा हा दिवाली
आ हा हा दिवाली
आ हा हा दिवाली

 


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.

 

नभ: स्पृशम् दीप्तम्

Touch the Sky with Glory

What an appropriate motto this is, for the flying heroes of our national force that is responsible for the defense of our nation’s skies, and the keepers of our aerial security. The Indian Air Force, the aerial arm of our armed forces, celebrated its 85 anniversary yesterday – 8th October, 2017.

War is never a good thing. No one wins in a war. Everyone loses. Behind the victories claimed by the conquerors, there always are brutal losses which one does not speak of. But then, if a war is thrust upon someone, then standing up and fighting for what is right is the inevitable path to be taken.  The lines written by Kaifi Azmi in this song, express this so well,

jung rahmat hai ke laanat, ye sawaal ab na uthe
jung jab aa hi gayi sar pe to rahmat hogi

जंग रहमत है के लानत, ये सवाल अब ना उठे
जंग जब आ ही गई सर पे तो रहमत होगी

This post is a salute to the fearless warriors of our armed forces, and especially our Air Force, on this day of celebrating its 85 years of history.

The origins of the Indian Air Force are in the Royal Air Force of Great Britain. India was under the British rule in 1932, when the decision was taken to set up an auxiliary air force unit in India, under the larger umbrella of the Royal Air Force.

In 1928-29 the Government of India (under British rule) decided to induct some Indians in the Royal Air Force. The first six Indians selected to undergo two years of flying training at the Royal Air Force College, Cranwell were Subroto Mukherjee, Harish Chandra Sircar, Aizad Baksh Awan, Bhupendra Singh, Amarjeet Singh and JN Tandon. After completing their training at Cranwell, the Indian pilots passed through the Army Cooperation School at Old Sarum in Wiltshire. After the completion of their training, five of these men were commissioned into service with the Royal Air Force. JN Tandon, on account of his short stature, was reverted to a logistic role, and not commissioned for flying.

On 8th October, 1932, the Indian Air Force Act was passed by the Indian Legislative Assembly, and the Indian Air Force was born. The Indian Air Force was established as an auxiliary air force of the Royal Air Force. The new force adopted the uniforms, badges, brevets and insignia of the Royal Air Force.

The first five pilots commissioned into the IAF were the same five who had been inducted into the Royal Air Force after completing their training at RAF Cranwell – Harish Chandra Sircar, Subroto Mukerjee, Bhupendra Singh, Aizad Baksh Awan and Amarjeet Singh. All of them were commissioned as Pilot Officers. Subroto Mukerjee later went on to become the IAF’s first Indian Chief of the Air Staff.

On 1 April 1933, the Indian Air Force got its first flying machines – four Westland Wapiti biplanes. The IAF commissioned its first squadron, No. 1 Squadron, at Karachi (now in Pakistan) with five Indian pilots listed above. The Indian pilots were led by RAF Commanding officer Flight Lieutenant (later Air Vice Marshal) Cecil Bouchier.

Subsequent batches inducted before World War II included Aspy Engineer, KK Majumdar, Narendra, Daljit Singh, Henry Runganadhan, RHD Singh, Baba Mehar Singh, SN Goyal, Prithpal Singh and Arjan Singh. Here is another name that is very familiar to all – Arjan Singh went on to become the first and only Air Chief designated as the Marshal of the Air Force (MAF). He is the only five star officer in the history of our Air Force. MAF Arjan Singh recently passed away (16th September, 2017) in Delhi, at the age of 98.

In recognition of the services rendered by the IAF during the World War II, King George VI conferred the prefix “Royal” in 1945. Thereafter the IAF was referred to as Royal Indian Air Force. In 1947, when the British left the Indian sub-continent, and the partition of this country happened the military forces were also partitioned. On 15th August, 1947, the Royal Indian Air Force gave up 3 divisions which were geographically based in the newly formed territories of Pakistan, and the Royal Pakistan Air Force was born.

Although the nation supposedly attained independence on 15th Aug, 1947, it continued to be a Dominion within the British Commonwealth of Nations, which means that we as a nation, were actually still paying our allegiance to the British Crown. In January 1950, when India adopted their own Constitution, and became a republic, the prefix “Royal” was dropped and the force became truly the Indian Air Force. However, the person at the head of the Air Force continued to be a non-Indian till 1954. As per seniority and age, the Air Force continued with three more Air Chief Marshals from 1947 to 1954. In 1954, the last of the Birtish chiefs superannuated from the top position, and the mantle of the top official came to Air Marshal Subroto Mukherjee, the first Indian head of the Indian Air Force.

The IAF has seen serious action in the four wars that have been fought with Pakistan (1948, 1965, 1971 and 1999). The force was not utilized during the 1962 conflict with China, despite being the superior air power in the region at that time. China’s forays into the Himalayan regions were recent at that time and their air force did not have the reach to come up to the Indo-China borders. A lack of political will and vision, one may say, and the IAF was utilized only for supplying the front lines.

Although a child (in single digits) at that time, my memories of the 1965 war are still quite detailed. The Pakistan Air Force was supposedly the superior force, equipped with American supplied F-86 Sabre jets, with the Indian Air Force flying the comparatively puny Gnat and Mystere aircrafts. But the valor and the heroism of the Indian pilots is now the stuff of a very proud history. The supposedly puny Gnat fighter planes were responsible for downing 6 Sabre jets, and earned the nickname of ‘Sabre Slayers’. Names like Sqadron Leader Keelor (actually two brother flyers – Trevor and Denzill) and Flying Officer Nebb, became household heroes, as the news poured in every day about the victories of the Indian Air Force.

The force was led by Air Marshal Arjan Singh during this period of conflict. Retired and past officers of the Air Force remember him dearly as a valiant leader who led from the front. While the conflict was in progress, the Air Marshal refused to stay put in Delhi, and was constantly visiting the front line airfields, meeting his officers and pilots, each one of them personally. So many of his people have consistently mentioned his reaching out to his men, how he would remember the names of each one of them, how he would be interested in knowing the details of their exploits in the air. And not just that, he reached out personally to the families of the heroes, and taking care to connect with the widowed wives and children of the flyers who laid down their lives in action.

He put the interest and safety of his airmen before his own. Close friend and former Air Chief Marshal NC Suri narrates an episode that underlines this. The Canberra bomber planes, one of the planes with the IAF, had a peculiar design. The pilot’s seat was designed as an ejection seat (that allows the pilot to eject automatically from the aircraft, in case of an emergency). However, the navigator seat was not, and the navigator, in the time of an emergency, had to physically disengage himself from the seat, break open some window and jump out of the aircraft. Whenever Arjan Singh flew a Canberra, he would refuse to take out the safety pin of the pilot seat’s ejection mechanism, rendering it ineffective. In other words, he was also incapable of ejecting from the aircraft, if an emergency arose. ACM NC Suri adds “So here is a man who felt that his navigator was equally important to him, which was very remarkable.”.

Yes, ‘Touch the Sky with Glory’, a motto that MAF Arjan Singh believed in and also lived by. The saga of our nation’s Air Force is full of numerous such people and their acts of valor and heroism.

As a salute to the brave airmen of our Air Force, I present this rousing song of bravery and leadership, from the 1973 film ‘Hindustan Ki Kasam’. Folks will remember this film one of the very few films made on the theme of Indian Air Force, its airmen and their exploits and triumphs. The time frame it was released indicates that it covered the events of the then recent past, i.e. the 1971 war with Pakistan.

The song itself needs no introduction – it has been one of the most popular patriotic songs to emerge from Hindi films. The words are from the pen of Kaifi Azmi, and the rousing marching music comes from the baton of Madan Mohan. The singing voices are of Rafi Sb and Manna Dey. In the film, this song appears at 3 places. In the beginning when the titles start to roll, somewhat later once again when the war with the enemy is in full swing, and at the end, as the film comes to a close. Interestingly enough, the titles of the film do no start till almost twelve and a half minutes into the film. (So this song cannot be categorized as the film opening song.)

We see a few characters in the video clip, especially in the first part. There is Rajkumar, Chetan Anand, Balraj Sahni, Veena, Vijay Anand, Priya Rajvansh, Parikshit Sahni etc. I have edited to present all the three parts of this song as a single clip. I have retained a few seconds of the scene just prior to the start of the first part – I really like the dialogue rendered by Rajkumar, just as the song starts.

So here is a salute and a tribute – to the daring ‘jaanbaaz’ flyers and the brave ground and support staff, that man this valiant Air Force – the safe keepers of the Indian airspace.

नभ: स्पृशम् दीप्तम्
Jai Hind.

[Ed Note: This song is the fourth and final one from this film to be posted on our blog. With this post, the film ‘Hindustan Ki Qasam’ joins the list of films with all songs posted.]

Song – Hindustan Ki Qasam  (Hindustan Ki Kasam) (1973) Singer – Mohammed Rafi, Manna Dey, Lyrics – Kaifi Azmi, MD – Madan Mohan
Rafi + Manna Dey
Chorus

Lyrics (Provided by Prakashchandra)

Part 1

[Dialogue]

hindustan ki kasam

hindustan ki kasam

hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

[Dialogue]

o ho o o o
oho ho ho o o
ho ho o o o ho o o

jinhein pyaar hai watan se
wo jaan se khelte hai
khwaabon se khelte hain
armaan se khelte hain
miley raah mein jo toofaan
toofaan se khelte hain
na rukenge hum kisi se
is udaan ki kasam
hindustan ki kasam
ho ho ho o o o
hindustan ki kasam

o o o
ho ho ho o o
o o o ho ho ho

[Dialogue]

phir imtihaan na hoga
yoon imtihaan denge
khayenge zakham hans ke
khush ho ke jaan denge
mit jaayenge zubaan par
hum jab zabaan denge
hai issi mein shaan apni
issi shaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

ho o ho o o o
ho o ho o o o
ho o ho o o o

Part 2

jung rahmat hai ke laanat
ye sawaal ab na uthe
jung jab aa hi gayi sar pe
to rahmat hogi
aa haa
to rahmat hogi
door se dekho
na bhadke huye sholon ka jalaal
isi dozakh ke
kisi koney mein jannat hogi
aa haa
wo jannat hogi
jannat hai apni manzil
aasmaan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o ho o o
hindustan ki kasam

Part 3

dil hoga jitna ghaayal
utnaa magan rahega
duniya ko
yaad apnaa
ye baankpan rahega
lehraayega tiranga
jab tak razm rahega
yeh nishaan hai hamaara
iss nishaan ki kasam
yeh nishaan hai hamaara
iss nishaan ki kasam
hindustan ki kasam
hindustan ki kasam
na jhukega sar watan ka
har jawaan ki kasam
hindustan ki kasam
ho ho o o o
hindustan ki kasam
ho ho o o o
hindustan ki kasam
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

भाग १

हिंदुस्तान की कसम

हिंदुस्तान की कसम

हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

[संवाद]

ओ हो ओ ओ ओ
ओहो हो हो ओ ओ
हो हो ओ ओ ओ हो ओ ओ

जिन्हें प्यार है वतन से
वो जाँ से खेलते हैं
ख्वाबों से खेलते हैं
अरमां से खेलते हैं
मिले राह में जो तूफां
तूफां से खेलते हैं
ना रुकेंगे हम किसी से
इस उड़ान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

ओ ओ ओ
हो हो हो ओ ओ
ओ ओ ओ हो हो हो

[संवाद]

फिर इम्तिहान ना होगा
यूं इम्तिहान देंगे
खाएँगे जख्म हंस के
खुश हो के जान देंगे
मिट जाएँगे जुबां पर
हम जब जुबां देंगे
है इसी में शान अपनी
इसी शान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ
हो ओ हो ओ ओ ओ

भाग २

जंग रहमत है के लानत
ये सवाल अब ना उठे
जंग जब आ ही गई सर पे
तो रहमत होगी
आ हाss
तो रहमत होगी
दूर से देखो
ना भड़के हुये शोलों का जलाल
इसी दोज़ख के
किसी कोने में जन्नत होगी
आ हाss
वो जन्नत होगी
जन्नत है अपनी मंज़िल
आसमान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम

भाग ३

दिल होगा जितना घायल
उतना मगन रहेगा
दुनिया को याद अपना
ये बाँकपन रहेगा
लहराएगा तिरंगा
जब तक रज़्म रहेगा
ये निशान है हमारा
इस निशान की कसम
ये निशान है हमारा
इस निशान की कसम
हिंदुस्तान की कसम
हिंदुस्तान की कसम
न झुकेगा सर वतन का
हर जवान की कसम
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम
हो हो ओ हो ओ ओ
हिंदुस्तान की कसम


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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).

When born in 1919, he was named Asraar ul Hasan Khan. His father, who worked in the Police department, wanted him to have the traditional education, and learn to be a doctor. The young Asraar studied at the traditional Masrasa, and took up Unaani medicine, to become a ‘hakeem’. These are efforts made by the worldly wise in the family, to get the young man settled in life. But the voice of the revolutionary poet turned to be more strong and it was his shaayari that ascended to claim his life to be its own. Influenced and encouraged by the stalwarts of his era, namely Faiz, Majaaz and Jigar Moradabaadi, he found himself to be much more at home in mushairas and gatherings of writers. He came to Bombay to participate in one such gathering of poets. AR Kardar was present at this mushaira. The impressions made led to a meeting between Kardar, Naushad and this young poet. The outcome was the songs of the film ‘Shahjehan’. The rest, as is often said, is history.

The innings lasted for five and a half decades, probably the longest inning by a songwriter in the Hindi film industry. The body of work consists of more than 2300 songs written for almost 350 films over a period of 55 years. Songs that have entertained generation after generation of movie buffs and radio listeners. The longevity and the creativity can be gauged from the popularity of his writings at the two ends of this long 55 year spectrum. At one end of this spectrum are gems like “Yun To Aapas Mein Bigadte Hain Khafaa Hotey Hain” (‘Andaaz’, 1949) and “Sun Sun Sun Sun Zaalima. . .” (‘Aar Paar’, 1954), and at the other end are the contemporary innovative hits like “Baahon Ke Darmiaan. . .” (‘Khamoshi – The Musical’, 1996) and “Ae, Kya Bolti Tu. . . Aati Kya Khandaala” (‘Ghulam’, 1998). And in between these two ends are crammed a couple of thousand popular hit songs across the decades, that cannot be justifiably dealt with in a single article.

Romanticism apart, the writings of Majrooh touch upon the variety of human sentiments, and have carried an attraction that has appealed to generations. His creativity and his touch of the current in-vogue sentimentalism made him a successful partner of four generations of music directors from Naushad and Ghulam Mohammed all the way to Jatin-Lalit and AR Rahman. That is a prowess and a success that probably no other songwriter in the industry can lay a claim to.

For today’s celebration, I have picked this Mukesh – Usha Mangeshkar duet from the 1966 film ‘Mere Lal’. The music is created by the duo of Laxmikant Pyaarelal. Another significant reason to celebrate today’s anniversary is that we are on the 1,000th post of Majrooh Sb’s songs on our blog. Back in 1993, Majrooh Sb became the first songwriter in the film industry to be honored with the coveted Dada Saheb Phalke Award. And today, he becomes the first songwriter to breach the 1000th milestone on our blog.
[Note: Rajinder Krishan is very close, also in the 990s. The next closest is Anand Bakshi, still a little further behind at 875.]

Today’s song is a roadside tamasha song, as we see a roving entertainer with his trained monkey’s act, present a performance to the roadside public. And now we have a film song to go along with it. 🙂 The singing voices are of Mukesh and Usha Mangeshkar. The latter is singing for assistant of the lead performer.

In the video clip, we hear two antaraas. However, the longer more complete song is available as an audio clip only. Also, the Geet Kosh lists this song twice, and apparently, the second reprise of the song in the film is a solo sung by Usha Mangeshkar. This reprise has only one antaraa, which is a repeat of the first antaraa of the main part of this song. The lyrics noted are based on the longer audio version of the song.

I request the more knowledgeable readers to help identify this performer duo who enact this song on screen.

Note: Avinash ji informs us that the young assistant lip syncing the voice of Usha Mangeshkar, is Mahesh Kothare, who was later active in the Marathi film industry as an actor, producer and director.

Video

Audio (Longer)

Song – Jab Tak Ye Sansaar Nachaaye  (Mere Lal) (1966) Singer – Mukesh, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Laxmikant Pyaarelal
Mukesh + Usha Mangeshkar

 

Lyrics (Based on the longer audio version)

Part 1
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

tauba tera mukhda
haaye teri jawaani
o tera naach jo dekhe
prem nagar ki rani
mar jaaye sun sun ke
teri ghunghroo ki baani
andhi hai ye duniya
teri qadar na jaani
tujhko kya koi aaye na aaye
tujhko kya..aa
tujhko kya koi aaye na aaye
ghunghroo baandh ke naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre dekh rukey naa
chaahe bahey paseena
o teri raah takey hai
kahin koi haseena
sapnon mein basar ho
chaahe kai maheena
shiqwa mat kariyo
pyaare yahi hai jeena
jab tak pag betaal na jaaye
jab tak pag betaal
jab tak pag betaal na jaaye
yun hi umar bhar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

Part 2
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya

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

भाग १
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

तौबा तेरा मुखड़ा
हाए तेरी जवानी
ओ तेरा नाच जो देखे
प्रेम नगर की रानी
मर जाये सुन सुन के
तेरी घुँघरू की बानी
अंधी है ये दुनिया
तेरी कदर ना जानी
तुझको क्या कोई आए ना आए
तुझको क्या
तुझको क्या कोई आए ना आए
घुँघरू बांध कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे देख रुके ना
चाहे बहे पसीना
ओ तेरी राह तके है
कहीं कोई हसीना
सपनों में बसर हो
चाहे कई महीना
शिकवा मत करियो
प्यारे यही है जीना
जब तक पग बेताल ना जाये
जब तक पग बेताल
जब तक पग बेताल ना जाये
यूं ही उमर भर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

भाग २
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या

अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या


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.

Feroze Khan – a name that forever spells flamboyance and style. Almost sounding like the Kingdom of the Pathaan. A popular and likeable persona who had to face near disapproval as a leading man, till quite many years into his career. And that too, when he decided to take on the industry on his own terms, and set up his own production house, delivering one hit film after another.

Remembering Feroze Khan on his 78th anniversary of birth today (25th September).
Read more on this topic…


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

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Active for more than 3250 days.

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