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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

ae kaash kisi
deewaane ko
hum se bhi mohabbat ho jaaye

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

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

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

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

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

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

ए काश किसी
दीवाने को
हम से भी मोहब्बत हो जाये

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

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

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

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

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

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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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyrics

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

Lyrics

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Missing Films of 1960s – 31
– – – – – – – – – – – – – – –

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

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

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

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

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

Lyrics

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[Video]

[Audio]

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

Lyrics

(Video Version)
main aahen bhar nahin sakta

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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

One more film to add to the list. Today’s Yippeee film is ‘Hamaare Gham Se Mat Khelo’ from 1967. Being a film of relatively recent vintage, I am surprised that I am not able to find this song online. This song was heard fairly frequently on the radio in those days, but it seems to have dropped out of the collective memory.

The film is a stunt genre directed by Kunwar Shankar Singh Tomar (assisted by Pal Premi) for the banner of Himachal Pictures, Bombay. The star cast of the film reads as – Kunwar Shankar Singh Tomar, Bharati, Nazir Husain, Sajjan, Murad, Mukri, Maruti, Bela Bose, Niranjan Sharma, Tarun Bose, Amarnath etc. A note in the Geet Kosh indicates that the director cum hero of this film was a resident of Kanpur in his later years, and the compiler, Shri Harmandir Singh ji had met him personally and confirmed / updated the details about this film. I was a little surprised to note that this film is listed as a stunt film. In my mind, the title of this film suggested itself to be more a social drama rather than anything else.

Coming to the songs, this film has six songs, written by three song writers. Three songs are written by Nyay Sharma, two songs (including the song in this post) are written by Shireesh, and one song is a ghazal from the pen of Asraar. As I checked the Geet Kosh for the work of these song writers, I find some interesting notes. The songwriter Asraar seems to have one solitary song of this film, to his credit; his name appears nowhere else in the documented information in Geet Kosh. The name Nyay Sharma appears just in three films, viz. ‘Anjali’ (1957), ‘Kinaare Kinaare’ (1963) and this film – all having the music of Jaidev. In all 24 songs from 3 films. The name Shireesh appears for four films and a total of eight songs. The films are ‘Anokha Jungle’ from 1956, then ‘Hero No. 1’ from 1959, one unreleased film ‘Gypsy’ from 1960s and this film. Outside of this film, Shireesh seems to have worked only with music director Iqbal. Very limited careers, and very limited contributions. I request our more knowledgeable readers and friends to please add more information about these songwriters.
[Ed Note: Mahesh ji Mamadapur has sent me a message identifying one more film for Nyay Sharma – ‘Peele Parbat Kaale Chor’. This film remained incomplete. The music director was Madan Mohan.
One more clarification – the data presented above is based on information available in the Geet Kosh. Which implies that this data is complete till 1980, and does not contain additional data from 1981 and beyond.]

Another interesting thing I noted about this film is that the three songs in this film that are sung by Mahendra Kapoor are probably the only songs that he has recorded for Hindi films with Jaidev. I believe there are one (or more) non film songs that are probably recorded by Jaidev in Mahendra Kapoor’s voice. But in films, this seems to be the only film where Jaidev has used this voice.

List of the songs of this film posted earlier, is given below, with names of the songwriters indicated.

 

1.       Aansoo Chhupaaye Aankh Mein Shireesh
2.       Gar Ye Zameen Nahin Asraar
3.       Ye Khaamoshi Kyun Ye Madhoshi Kyun Nyay Sharma
4.       Kahiye Kya Hukm Hai Nyay Sharma
5.       Ye Bahaar Ka Samaa Nyay Sharma

As our dear Arun ji has noted in another post earlier in the day today (“Hum Punjabi, Hum Bangaali”, from the film ‘Hum Ek Hain’, 1969), the era of 1960s still had the fervour of national pride and nation building. As an independent self governing country, India was still in its teens. The fifties and early sixties were the heady days of growth and modernization of the country, under the prime minister-ship of Jawaharlal Nehru. Then in 1962, 1965 and 1971, we had three wars with our neighbouring countries. The feelings of nationalism were at their peak, and the same was reflected proportionately in our films and film songs.

This song is a wonderful such example of exhorting the nouveau young generation to take on the reins of managing the nation building process. The children of the 1950s who were taught “Hum Laaye Hain Toofaan Se Kishti Nikaal Ke, Is Desh Ko Rakhna Mere Bachcho Sambhaal Ke” (film ‘Jaagriti’, 1954), were now maturing into young men and women. This song seems to take off where the ‘Jaagriti’ song had left off, a decade earlier.

The song carries the fervour of that era, and there is a specific mention of the Five Year Planning process that had been put in place by the first government of independent India. The words of this song encourage the younger generation folks who are now turning into active adults, to take charge and carry forward the progress and the pride of this country.

As I listen to this song again today after so many years, and as I write these words, a thought comes to my mind. The message of this song is not limited to that era. The message is timeless and it applies to every generation, as it transitions into mature and responsible adults. Will this message, this song mean the same to the young people of today? An interesting question to be debated. The message is true, and is equally necessary in this age, as it was five decades ago. But in my opinion, there is a disillusionment of the general masses with the governing system and the political party-ism that has corrupted this nation beyond belief. Would the young adults of this age be impressed by the timelessness of this message, and the words of this song? I invite the readers and friends to comment on this.

Meanwhile, enjoy this song that captures the spirit of an era in recent history. The song has been rendered so appropriately, as only Mahendra Kapoor can deliver – the rising octaves taking the emotions to the heights of the sky – the rendition expresses so truly, the spirit of the words in the song.

And yes, we have this film, ‘Hamaare Gham Se Mat Khelo’, join the ranks of Yippeee’d films on our blog. 🙂

Song – Naye Yug Waalo Nai Umr Waalo (Hamaare Gham Se Mat Khelo) (1967) Singer – Mahendra KapoorLyrics – Sheerish, MD – Jaidev

Lyrics

naye yug waalo..oo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo

tumhen aaj apne watan ne pukaara
zameen ne pukaara gagan ne pukaara
utho apni taaqat ka..aa
utho apni taaqat ka le kar sahaara
watan hai hamaara
watan hai tumhaara
sajaa lo
naye yug waalo
bahaaron se apne chaman ko sajaa lo
bahaaron se apne chaman ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

kadam hum ko mil ke badhaana padega
ab har haal mein muskuraana padega
tiranga gaga mein lehraana padega..aa
tiranga gaga mein lehraana padega
ye khwaab e jawahar sajaana padega
sajaa lo
naye yug waalo
nai yojana  se watan ko sajaa lo
nai yojana  se watan ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

utho desh ki uljhanon ko mita do
utho ab watan ko gulistaan banaa do
utho saathiyo apna parcham sambhaalo..oo
utho saathiyo apna parcham sambhaalo
utho apne haathon mein hindostaan lo
utha lo
naye yug waalo
watan ko himalay se ooncha utha lo
watan ko himalay se ooncha utha lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
naye yug waalo
naye yug waalo
naye yug waalo..oo..

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

नए युग वालो॰॰ओ॰॰
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो

तुम्हें आज अपने वतन ने पुकारा
ज़मीन ने पुकारा गगन ने पुकारा
उठो अपनी ताक़त का॰॰आ॰॰
उठो अपनी ताक़त का लेकर सहारा
वतन है हमारा
वतन है तुम्हारा
सजा लो
नए युग वालो
बहारों से अपने चमन को सजा लो
बहारों से अपने चमन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

कदम हमको मिलके बढ़ाना पड़ेगा
अब हर हाल में मुसकुराना पड़ेगा
तिरंगा गगन में लहराना पड़ेगा॰॰आ॰॰
तिरंगा गगन में लहराना पड़ेगा
ये ख्वाब ए जवाहर सजाना पड़ेगा
सजा लो
नए युग वालो
नई योजना से वतन को सजा लो
नई योजना से वतन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

उठो देश की उलझनों को मिटा दो
उठो अब वतन को गुलिस्ताँ बना दो
उठो साथियो अपना परचम संभालो॰॰ओ॰॰
उठो साथियो अपना परचम संभालो
उठो अपने हाथो में हिन्दोस्तां लो
उठा लो
नए युग वालो
वतन को हिमालय से ऊंचा उठा लो
वतन को हिमालय से ऊंचा उठा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
नए युग वालो
नए युग वालो
नए युग वालो॰॰ओ॰॰


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.

Aah, the Yippeee sound for today. The film is from 1962 – ‘Apna Banaa Ke Dekho’. And the song – and elusive and obscure entity that I had not heard before myself. As I waded through the possible candidates, searching for the song that would complete the itinerary for the particular film, my fingers paused as this 1962 film. I was under the impression that this film would already be Yippeee’d, given the familiarity level and the comparative availability of songs. As I checked the numbers, I myself was surprised – that after six songs having been posted for this film, there still was a seventh song waiting to be brought on.

I checked the song lists, and the remaining candidate seemed so unfamiliar that it intrigued me. I tried to search for the song, but could not locate it online. Then began the search in my own collection, and lo, here was one number that I had practically forgotten. A surprising delight of a rendition by Asha Bhosle – a song that sounds like a dance song, that tells of the happiness and beauty of love fulfilled. What a lovely set of verses written by Shamsul Huda Bihari, what a wonderfully paced rhythm and melody tuned by Ravi, and what a lilting expression that has been enlivened by the voice of Asha ji.

Most of the songs of this film are quite well known, especially the first and the second ones in the following list,

1.       Raaz E Dil Unse Chhupaayaa Naa Gayaa
2.       Ham Pyaar Tumhe Karte Hain Hamen Apna Banaa Kar Dekho
3.       Tere Sadqe Mila De Mera Yaar Ooperwaale
4.       Kachchi Dagar Panghat Ki Chalat Darr Laage Re Laage Sakhi Ri
5.       Miley Hain Aap Jab Se Zindagi Kitni Suhaani Hai
6.       Hum To Pehli Hi Nazar Mein De Chuke Hain Dil Tumhen

The leading pair in this film are Manoj Kumar and Asha Parekh. The rest of the star cast list reads as – Nazeer Husain, Sunder, Achla Sachdev, Sajjan, Mohan Choti, Johnny Whisky, Shirley, Ram Singh, Narbada Shankar, Lakshmi and many more. The film is directed by Jagdish Narula for the banner of Chitra Sangam, Bombay. Of the seven songs in this film, four are penned by SH Bihari and three are the creation of Asad Bhopali.

This last song is surely a surprise find, a delightful gem that has been sitting obscure for all these years. It is posted now for your listening pleasure and that brings this film into the list of films Yippeee’d on our blog. Enjoy.

Song – Chaahat Ka Deewaana Dil (Apna Banaa Ke Dekho) (1962) Singer – Asha BhosleLyrics – Sh  Bihari, MD – Ravi

Lyrics

chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

masti si fizaa mein chaai hai
aur pyaar mein doobi raaten hain
khushion ke taraane goonj rahe
aur naghmon ki barsaaten hain
kitni hai rangeen hamaare
armaanon ki ye mehfil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

armaan ki kaliyaan khil jaayen
ye khwaab haqeeqat ban jaaye
jo dard hai meetha sa dil mein
wo dard mohabbat ban jaaye
duniya ki saari khushiaan phir
ho jaayen mujhko haasil
chaahat ka deewaana dil
ulfat ka parwaana dil
dhoondh raha hai aaj kisi ki
aankhon mein apni manzil
chaahat ka deewaana dil
ulfat ka parwaana dil

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल

मस्ती सी फिज़ा में छाई है
और प्यार में डूबी रातें हैं
खुशिओं के तराने गूंज रहे
और नग़मों की बरसातें हैं
कितनी है रंगीन हमारे
अरमानों की ये महफिल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल

अरमान की कलियाँ खिल जाएँ
ये ख्वाब हक़ीक़त बन जाये
जो दर्द है मीठा सा दिल में
वो दर्द मोहब्बत बन जाये
दुनिया की सारी खुशियाँ फिर
हो जाएँ मुझको हासिल
चाहत का दीवाना दिल
उलफत का परवाना दिल
ढूंढ रहा है आज किसी की
आँखों में अपनी मंज़िल
चाहत का दीवाना दिल
उलफत का परवाना दिल


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

A film by name ‘Shobha’ is already present on our blog. That film is from the year 1942. As I was checking the film lists in the 1950s, I find that there is another film by the same name in the year 1954. This latter film is still to open its account on the blog. Well, that was just before this post came online. Today’s debut film is ‘Shobha’ from 1954.

Checking the Geet Kosh, I find the following details for this film. This film is a social drama, directed by Niren Lahiri, for the production banner of SB Productions, Bombay. The star cast includes Usha Kiran, Abhi Bhattacharya, Chhabi Biswas, Manju De, Shikha Bagh, Purnendu Mukherji, Rani Bannerji, Rekha Chatterji, Trilochan Jha, amongst others. Viewing the list of actors, gives me a feeling that majority of artists associated with this film are of Bangla origin. And there is more to it. The films is based on a story written by Sarat Chandra Chatterjee. And yes, the music director is Robin Chatterjee 🙂 . And yes, surely enough, as I tried to look for more information, I found one comment that says this film was simultaneously made in Hindi and Bengali, and that the name of the Bangla version is ‘Shubhada’.

The film has eight songs which are shared amongst two lyricists – Kaif Irfani and Mahendra Pran. This song is from the pen of Mahendra Pran. The singing voice is that of Asha Bhosle.

The song is a story song – actually a tota-maina story. The audio clip that I can locate for this song starts with the line that are captioned in the title. However, when I reference the Geet Kosh, this song has a couple of lead in lines, the first one of which reads – “Maina Boli Sun Re Totey, Aaj Hai Teri Baari…”. And as we come to the end of the song, one of last lines is “Maina Hans Ke Boli Sun Re Totey. . .”. So it seems like a story telling session, probably a mother telling a story to put a child to sleep. And the tale is told as the traditional story telling conversation between a ‘tota’ and a ‘maina’. I am sure few more film songs will blink on in the mind, which also are presented as a ‘tota – maina’ exchange.

So enjoy this simple and short story being told, about a princess who is lonely and sad, but then the prince charming appears on the scene, and they live happily ever after – well, almost precisely to that effect. 🙂

And yes, the 1954 film ‘Shobha’ makes its debut on our blog today.

Song – Hothon Par Fariyaad Chhupaaye Nainon Mein Barsaat (Shobha) (1954) Singer – Asha BhosleLyrics – Mahendra Pran, MD – Robin Chatterjee

Lyrics

hothon mein fariyaad chhupaaye
nainon mein barsaat
neel gagan ki rajkumari
roti thi din raat
hothon mein fariyaad chhupaaye
nainon mein barsaat
neel gagan ki rajkumari
roti thi din raat

sapnon ke toote mahalon mein
ujaley mein andhiyaara
bindiya na kaajal ghar mein
soona jeevan saara
sapnon ke toote mahalon mein
ujaley mein andhiyaara
bindiya na kaajal ghar mein
soona jeevan saara

aankhon se paani bhi rootha
rooth gaya bhagwan
kood padi gehre paani mein
dene apni jaan
aankhon se paani bhi rootha
rooth gaya bhagwan
kood padi gehre paani mein
dene apni jaan

saagar roya
lehren royin
behti nadi royee
saagar roya
lehren royin
behti nadi royee
dukhiaari ke mann ki peeda
jaan na paaya koi

roopnagar se ek salona
rajkumar jo aaya
aaa aaa aaa
roopnagar se ek salona
rajkumar jo aaya
neel kamal ka phool ek
lehron mein paaya

koelen kookeen
bhanwaron ne kaliyon ko geet sunaaye
koelen kookeen
bhanwaron ne kaliyon ko geet sunaaye
raja ne raani ke nainon se
pyaar bhare nain milaaye

chaand hasaa taare muskaaye
maina hans ke boli
sun re totey
des ko phaunchi jaa un ki doli
sun re totey
des ko phaunchi jaa un ki doli

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
होठों में फरियाद छुपाए
नैनों में बरसात
नील गगन की राजकुमारी
रोती थी दिन रात
होठों में फरियाद छुपाए
नैनों में बरसात
नील गगन की राजकुमारी
रोती थी दिन रात

सपनों के टूटे महलों में
उजले में अँधियारा
बिंदिया ना काजल घर में
सूना जीवन सारा
सपनों के टूटे महलों में
उजले में अँधियारा
बिंदिया ना काजल घर में
सूना जीवन सारा

आँखों से पानी भी रूठा
रूठ गया भगवान
कूद पड़ी गहरे पानी में
देने अपनी जान
आँखों से पानी भी रूठा
रूठ गया भगवान
कूद पड़ी गहरे पानी में
देने अपनी जान

सागर रोया
लहरें रोईं
बहती नदिया रोई
सागर रोया
लहरें रोईं
बहती नदिया रोई
दुखियारी के मन की पीड़ा
जान ना पाया कोई

रूपनगर से एक सलोना
राजकुमार जो आया
आ आ आ
रूपनगर से एक सलोना
राजकुमार जो आया
नीलकमल का फूल एक
लहरों में पाया

कोएलें कूकीं
भँवरों ने कलियों को गीत सुनाए
कोएलें कूकीं
भँवरों ने कलियों को गीत सुनाए
राजा ने रानी के नैनों से
प्यार भरे नैन मिलाये

चाँद हसा तारे मुसकाए
मैना हंस के बोली
सुन रे तोते
देस को पहुंची जा उनकी डोली
सुन रे तोते
देस को पहुंची जा उनकी डोली


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

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

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

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

The three songs of this film posted earlier are

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

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

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

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

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

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

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

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

Lyrics

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

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

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

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

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

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

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


This article is 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.

Time to Yippeee another film. Today’s film is ‘Humjoli’ – not the one from 1970, but the one from way back in 1946. This film has 10 songs listed in the Geet Kosh. Nine songs have already been showcased here on our blog. The last song for this film was posted in November last year. In that post, Atul ji has commented that the 10th song appears to be elusive, and is yet to be uploaded online. Today, as I checked for this song, I am unable to track it anywhere as yet. I could be wrong, as I have been earlier, maybe just limited by the way I searched for it. So I decided to upload this from my collection.

As per the Geet Kosh, the songs for this film have been written by Anjum Pilibhiti. Once again, not too much information is available about this songwriter, other than he was born in 1917 in the town Pilibhit; that he had a talent for poetry right from childhood, and that he got his first break in the industry with producer director Mehboob Khan, in the film ‘Najma’ from 1943. The songs of this film became very popular and contributed to the commercial success of this film. With that, Anjum became a regular songwriter for films produced by Mehboob Khan. In his entire career, he wrote approximately a little over hundred songs in about two dozen films. His last recorded credit as a songwriter is for the film ‘Akaash Pari’ from 1958. His notable films are ‘Humayun’ (1945), ‘Zeenat’ (1945), ‘1857’ (1946), ‘Anmol Ghadi’ (1946), ‘Anokhi Ada’ (1948), ‘Vidya’ (1948) etc.

The music for this film was created by Hafiz Khan (not to be confused with Khan Mastaana i.e. Hafeez Khan Mastaana, as many online and print sources do).

The star cast for this film includes Noorjehaan, Jairaj, Ghulam Mohammed, Jillo Bai, Mukri, Zeenat, Agha Jaan, Shabnam, Hussaini, Majid, amongst others. The film is produced under the banner of K Abdullah Productions, Bombay and is jointly directed by Ismail Meman and Lukman Ahmed.

The earlier posted nine songs of this film are listed below.

1.       Ye Desh Hamaara Pyaara Hindustan Jahaan Se Nyaara
2.       Koyaliya Boley Jiya Mora Doley
3.       Mori Bipat Suno Girdhaari
4.       Dukh Dard Se Jag Mein Koi Azaad Nahin Hai
5.       Raaz Khulta Nazar Nahin Aata
6.       Phoolon Mein Nazar Ye Kaun Aaya
7.       Kab Tak Teri Duniya Mein Ye Andher Rahega
8.       Jag Ki Sewa Kar Le Bande
9.       Wafaayen Meri Aazmaaoge Kab Tak

 

Although not indicated anywhere in the Geet Kosh, the last song in the above list “Wafaaye Meri Aazmaaoge Kab Tak” is reportedly written by Shams Azimabadi, as per the person who has uploaded that song online.

In terms of the storyline, I have not been able to locate any information so far. I request other knowledgeable and more resourceful friends and readers to please add more information about this film and its songs.

About this song too, there seems to be a little difference about the name of the singer. As we listen to the audio clip, the voice sounds quite much that of Shamshad Begum. This is also the opinion expressed by some other friends. However, the Geet Kosh lists the singer’s name for this song as Noorjehaan. It is possible that the error may be due to what may be printed in the booklets and other print material used as the source for information. Given that Noorjehaan was the leading lady of this film, and given the content of this song, it is my personal opinion that this song would not possibly have been performed on screen by the leading lady. And since Noorjehaan sang playback mostly for her own self, this song’s playback credit to Noorjehaan is most likely an error. However, the other side of the argument also cannot be dismissed as is – which says that the possibility for the on screen voice and the voice on 78 rpm record could be different, as is the case in some known instances. So once again, I request our more knowledgeable readers to kindly add more information to clarify / confirm the correct situation as far as this song is concerned.

With this post, we close the account for this song on our blog – with 10 perfect hits to the boundary. Time to sing the ‘Yippeee’ ditty once again. 🙂

Song – Mori Chanchal Jawaani Muskaaye Re (Humjoli) (1946) Singer – Shamshad BegumLyrics – Anjum Pilibhiti, MD – Hafiz Khan

Lyrics

mori chanchal jawaani muskaaye re
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye
mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

seene mein morey halchal na daaro
dekho ji akhiyaan na maar
seene mein morey halchal na daaro
dekho ji akhiyaan na maaro
aisa na ho kahin ae morey raja
aisa na ho kahin ae morey raja
tumri nazar lag jaaye re
haaye re
tumri nazar lag jaaye re
lag jaaye re
oo oo
sabka jiya lalchaaye
mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

chhed karo na main binti karat hoon
chhed karo na main binti karat hoon
torey painyyaan parat hoon
torey painyyaan parat hoon
bhaaye na mohey ye jora jori
bhaaye na mohey ye jora jori
patli kamar bal khaaye re
haaye re
kaahe mohey kalpaaye re
haaye re
kaahe mohey kalpaaye re
oo oo
sabka jiya lalchaaye

o mori chanchal
o mori chanchal jawaani muskaaye re
ithlaaye re
ho oo sabka jiya lalchaaye

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

मोरी चंचल जवानी मुसकाए रे
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये
मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये

सीने में मोरे हलचल ना डारो
देखो जी अखियाँ ना मारो
सीने में मोरे हलचल ना डारो
देखो जी अखियाँ ना मारो
ऐसा ना हो कहीं ए मोरे राजा
ऐसा ना हो कहीं ए मोरे राजा
तुमरी नजर लग जाये रे
हाए रे
तुमरी नजर लग जाये रे
लग जाये रे
ओ ओ सबका जिया ललचाये
मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये

छेड़ करो ना मैं बिनती करत हूँ
छेड़ करो ना मैं बिनती करत हूँ
तोरे पंईय्यां परत हूँ
तोरे पंईय्यां परत हूँ
भाए ना मोहे ये जोरा जोरी
भाए ना मोहे ये जोरा जोरी
पतली क़मर बल खाये रे
हाए रे
काहे मोहे कलपाए रे
हाए रे
काहे मोहे कलपाए रे
कलपाए रे
ओ ओ सबका जिया ललचाये

ओ मोरी चंचल
ओ मोरी चंचल जवानी मुसकाए रे
इठलाये रे
हो ओ सबका जिया ललचाये


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What is this blog all about

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

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

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

Total number of songs posts discussed

13273

Number of movies covered in the blog

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

Total visits so far

  • 9,322,789 hits

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Historical dates

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