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Teri Chaahat Mein Jiyen, Teri Hasrat Mein Maren

Posted by: on: December 31, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is the 17300th post on this blog.

Blog Day :

 5279 Post No. : 17300

What is going on today? I am sure this question is worrying the minds of quite a few if not many or all regulars of this blog. Atul ji seems to be in a big hurry today. Seven posts already since his first good morning call at 5 am. Aha, so getting to the century number it seems. Yeah, ok, that’s it, he wants to complete the century, and make the century post today. But why? What is the tearing need? Is there a birthday not known to anybody? Is it a special day for someone on the bandwagon or in the industry? The anniversary page has no listing for today. ये क्या हो रहा है? क्या चल रहा है?

So yes, a mystery has been created by today’s blog activism. Already 7 songs on the board, and of course, the century strike is still to come. Well, here now. 😀

Ok so let me reveal the story in the background. This mystery scramble started less than 24 hours ago. About 5 days back, Atul ji and I exchanged some messages and decided that this century milestone will be an Asha Bhosle special. Some very interesting numbers are co-inciding. So we agreed to search and locate some special and rare song for this event. It took me about day to zero in on the song. I told Atul ji about it, and he agreed. So we planned to make the century post with this song.

So far, we were not in a scramble. Taking it easy, one or two posts a day, maybe get to the century milestone by 5th Jan or so. That suddenly changed last evening. Around 6.40, I got a message from Atul ji. He asked me whether we can make the century post tomorrow, i.e. today, 31st December. And he also shared the reason. As soon as I heard that, I was excited too. We agreed for the scramble, and the scramble happened.

Okay, okay – sorry for the long prelude. I will explain. First, the Asha Bhosle angle. We are coinciding two century milestones for her with this post. I wonder if the regulars have noticed that we have not be posting any Asha Bhosle songs for the past few days. Well, the reason is that Asha ji is at 2999th song on this blog, before this one. So this becomes her 3000th song being showcased here.

Ah, but wait, there is more. Asha ji is also at 1499th solo song with us. So this is now her 1500th solo on the blog. That makes today’s post a dual century milestone for her.

Before her, the two stalwart singers who have crossed these milestones are of course Lata ji and Rafi Sb.  Lata ji is currently at 3829 songs overall, and 2479 solos. Rafi sb is at the second place with 3222 songs overall and 1511 solos.

Now coming to the date, and the reason for the scramble. This is a piece of co-incidental information that Atul ji dug out yesterday. Most likely he was looking at the ten year challenge data for the BTYC 2022 series. So all it takes to guess this angle is to look at the songs posted ten years ago on 31st December 1912. The last song of that day, the New Year’s Eve of 2012, was the 7300th song on the blog. And so now, I am sure the numbers will fall in place in the minds.

Exactly ten years ago, were exactly ten thousand songs before this post. Ten years – ten thousand songs, that is a very telling achievement. Just for comparison, let’s see what came before that. From 19th July, 2008 to 31st December 2012, it is a few days less than 4 and a half years. In that period, we clocked 7300 posts. OK, so the comparison is nowhere balanced. The first 4.5 years come at an average of 1622 songs per year. And the next ten years come at an average if 1000 songs per year. That is quite a difference, which portrays the drop in the pace of posting over the years.

But in my mind, there is another very crucial observation to be made. Just in the fact of sustenance. In the known world of online blogging and entertainment and music, our blog most likely stands out as being the most consistent, the most sustained and the most continuing presence online – among the blogs that are run and managed by an individual or a small group. Yes there are other blogs that continue to thrive and continue to be regular, but they are mostly with corporate or external support and sponsorship. I am sure we all are aware of many blogs related to Indian Cinema and Hindi film songs, that we have visited over the years, but then with time, majority of them have lost steam, or slowed down. There is definitely a fatigue factor associated with this activity too. Sustaining the effort to continue is a big factor. And then, to ensure this sustenance on a day to day basis – I am confident to claim that our blog is without a peer across the wide internet.

So that is the story behind the eight posts that have been pulled together at a scramble within less than 24 hours.

Another coincidence I would like to mention here. Asha ji also figures in the 7300th post ten years ago. The song in that post is “Mohabbat Ka Haath Jawaani Ka Palla” from the 1958 film ‘Howrah Bridge’. The song is a duet by Rafi Sb and Asha ji. As noted in that post, that was the 300th duet song of this pair. Before this we were not noting and announcing century milestones for duet songs. It started with the post 7300.

And so, Asha ji then a centurion, and today too, Asha ji is a centurion.

Coming to the song in this post today. When Atul ji had sent me a query about some very special song of Asha ji for this milestone post, my mind went to this song, and for some very good reasons.

The song itself is very obscure and a rare discovery. As are many of the creations of the music director Sajjad Husain. Yes, the music for today’s song is from the mind of this genius music director, who was not given his due by the industry. The reasons can be discussed and debated, but the quality and the composition of his music cannot be. Par excellence is what comes to mind when we talk of this maverick music director.

The film is ‘Mera Shikar’ from 1973. After his 1963 venture with ‘Rustom Sohrab’, he was lost in the mists of forgotten anonymity for all of ten years. Then we see his name in this obscure and less heard of film that comes in 1973. An then it also disappears without a splash. Other than the fact that it is recorded in the Censor Board registers, and on account of that, it also appears in the Geet Kosh, no one had heard of or mentioned this film for many decades. With the coming of the internet, as access to many obscure things became easier, the aficionados started searching for lost and obscure songs of lesser heard music directors and singers and lyricists.

The difficulty with this film is that a. no gramophone records at all were made and b. the film itself is not available.

The songs of this film were presumed lost for a long time. And then they were discovered. On a spool tape. So now at least the songs are available, albeit it has been a difficult and anonymous journey.

A total of three songs are listed and identified for this film. One of the songs, in the voice of Rafi Sb, is already showcased on our blog – “Teri Mehfil Mein Aaye Hain”. This song was posted more than eleven years ago on 17th June, 2011.  The other two songs have not become available online, although they have been with private collectors for some time now. I first got these songs from my dear friend Girdhari Lal ji of Jodhpur. Then later, these songs also came to me once again thru another dear friend, Zafar Shah of Delhi. When the discussion for this post started, and my mind came to this song, I checked with Zafar Bhai, and he indicated that this song is already uploaded by him on his YouTube channel about six months ago. And so we have this song now available, to be played today as the 3000th song and 1500th solo song of Asha ji.

A vintage Sajjad creation, this song has such an endearing and yet intriguing melody. The verse lines are short and Sajjad Sb has knitted them into his music very beautifully. When we agreed to do this song for this post, I have since then heard this song repeatedly tens of times. And I am not getting tired of listening to it again and again. The rhythm and the arrangements are simply enchanting.

And then of course, the rendition by Asha ji. All I can say is – just listen to the song. And I think you will be bowled over, as I am.

The lyricist – Shakeel Nomani (or Numani) is once again a lesser known personality in the film world. He was a writer and wrote in newspapers and magazines in Urdu, Hindi and English. His name appears as the songwriter in a few films in 1950s and 60s. He wrote all the songs for four films – ‘Panchaayat’ (1958), ‘State Express’ (1961), ‘Daku Maan Singh’ (1971) and ‘Mera Shikar’ (1973). In addition he has written songs in ones and twos for the following films – ‘Sair e Paristan’(1958), ‘Lady Robinhood’ (1959), ‘Dil Bhi Tera Hum Bhi Tere’ (1960), ‘Tu Nahin Aur Sahi’ (1960), ‘Flight To Assam’ (1961), ‘Reporter Raju’ (1962), and ‘Magic Carpet’ (1964). Besides writing songs, he has also appeared as an actor in about 20 films. Our blog carries 16 songs already of this lesser known writer.

Shifting gears again – it is the closing hours of the year 2022. Tomorrow will be a new day and the beginning of a New Year. For some time now, I have wondered occasionally, what does a New Year mean. As the day dawns and the sun rises, it will be a day no different than today, or any other day that we have lived through. And when we talk of New Year, there are so many occasions during the 12 months that New Year is celebrated by different societies, different groups of people on different dates. Any way, apologies, I will not continue with my tangential musings.

It is a block time of 12 months that get a new number tomorrow. Different thoughts and different people will associate different expectations and measures and resolutions and plans with this next block of 12 months. And so, wishing all good luck and happiness with all their expectations and plans in the coming year. Also wishing good health to everybody, and a contented peace of mind to go along with it.

Let’s bring on 2023.

Listen to the mesmerizing sounds of the mandolin play, as only one master of mandolin could play. That is Sajjad Husain. Listen to lilting rendition by Asha ji, as she tells about expectations and desires that rise in the mind when one is in love with another. . .

teri chaahat mein jeeyen
teri hasrat mein maren
hai ye armaan. . .

Listen to this wonderful creation – and wonder sometimes, why was this master musician always relegated to the sidelines.

Amen.

Song – Teri Chaahat Mein Jiyen, Teri Hasrat Mein Maren  (Mera Shikar) (1973) Singer – Asha Bhosle, Lyrics – Shakeel Numani, MD – Sajjad Husain

Lyrics

haan . . .

ho o o
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
o meri jaan
o meri ja..aan

oo oo
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
o meri jaan
o meri ja..aan

saaqiya jaam badha
saaqiya jaam badha
hum bhi hain tere deewaane. . .
lab pe hain tere afsaane. . .
hum bhi hain tere deewaane. . .
lab pe hain tere afsaane. . .
ho oo oo
justju teri rahe
aarzoo teri rahe
hai ye armaan
o meri jaan
o meri ja..aan

jaaneman dekh zara
jaaneman dekh zara
toote na dil ka paimaana. . .
tujhse hai rang e maikhaana. . .
toote na dil ka paimaana. . .
tujhse hai rang e maikhaana. . .
oo oo oo
yun na kar hum pe sitam
teri ulfat ki kasam
hai ye armaan
o meri jaan
o meri ja..aan

dil ne di aisi sada
aa aa aa
dil ne di aisi sada
aa aa aa
aayegi manzil aayegi
laayegi khushiyaan laayegi
aayegi manzil aayegi
laayegi khushiyaan laayegi
ho oo oo
saamna ho to kahen
teri nazron se piyen
hai ye armaan
o meri jaan
o meri ja..aan

oo oo oo
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
aa aa aa
o meri jaan
aa aa aa
o meri ja..aan

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

हाँ॰ ॰ ॰

हो ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰

ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰

साक़िया जाम बढ़ा
साक़िया जाम बढ़ा
हम भी हैं तेरे दीवाने॰ ॰ ॰
लब पे हैं तेरे अफसाने॰ ॰ ॰
हम भी हैं तेरे दीवाने॰ ॰ ॰
लब पे हैं तेरे अफसाने॰ ॰ ॰
हो ओ ओ
जुस्तजू तेरी रहे
आरज़ू तेरी रहे
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰

जानेमन देख ज़रा
जानेमन देख ज़रा
टूटे ना दिल का पैमाना॰ ॰ ॰
तुझसे है रंग ए मयखाना॰ ॰ ॰
टूटे ना दिल का पैमाना॰ ॰ ॰
तुझसे है रंग ए मयखाना॰ ॰ ॰
ओ ओ ओ
यूं ना कर हम पे सितम
तेरी उल्फ़त की क़सम
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰

दिल ने दी ऐसी सदा
आ आ आ
दिल ने दी ऐसी सदा
आ आ आ
आएगी मंज़िल आएगी॰ ॰ ॰
लाएगी खुशियाँ लाएगी॰ ॰ ॰
आएगी मंज़िल आएगी॰ ॰ ॰
लाएगी खुशियाँ लाएगी॰ ॰ ॰
हो ओ ओ
सामना हो तो कहें
तेरी नज़रों से पिएं
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰

ओ ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
आ आ आ
ओ मेरी जां
आ आ आ
ओ मेरी जां॰ ॰ ॰

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Koi Ummeed Bar Nahin Aati

Posted by: on: November 29, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5247 Post No. : 17248

He was only 48 years old when he passed away in 1951. One of the pioneering luminaries of cinema in Bengal, as it was emerging in the 1920s and 30s, he was a multi skilled cinema person who was an actor, a producer, director, script writer, cinematographer, film editor, make-up specialist, lighting specialist – yes, quite a portfolio of skills.

Remembering Pramthesh Chandra Barua, on his remembrance day today. He passed away this day, in 1951.

Born on 24th October, 1903, he was the son of the royal family of Gauripur (in Assam). His school and college education happened in Calcutta. He got married at the age of 18, while still at college. Later in life, he would be married again twice. His third wife was actress Jamuna, who appeared opposite him in the Bengali version of ‘Devdas’ (1935) produced at New Theatres.

His introduction to the world of cinema was quite accidental. While at Shantiniketan, he got introduced to Dhirendranath Ganguly, who then introduced him to the fledgling films industry in Bengal. In 1926, he joined the film company British Dominion Films. His screen appearances start from 1929, as he appeared in ‘Panchashar’ (debut film) directed by Debaki Bose, and ‘Takay Ki Na Hay’ directed by Dhirendranath Ganguly.

His urge was to have his own studio and produce his own films. The opportunity came in 1930, when he had to travel to England for medical treatment. He obtained a letter of introduction from Gurudev Rabindranath Tagore for French film maker M Rogers. After his treatment in London, he met M Rogers in Paris, and learnt the skills of cinematography from him.  He also visited the Fox Studio and Elstree Studios in London and learned the techniques of lighting and scenario composition.

He returned to Calcutta (now Kolkata) with a load of camera and lighting equipment and set up the Barua Studio and Barua Film Unit. In 1931 he produced his first film ‘Apradhi’ which was directed by Debaki Bose. He played the lead role in this film. The film ‘Apradhi’ is a path breaking film for Indian cinema, from a technology perspective. This is the first film that was shot under artificial lighting. Prior to this experiment, the films were always shot using natural lighting. The use of artificial lighting also brought in the need to change the method of make-up of actors. It is notable that in the experimentation on lighting and make-up techniques, Barua wasted almost 50,000 feet of stock footage, and that in an era when raw stock was difficult to obtain, and was costly. But the film production brought in significant changes to the film making techniques and the technical know-how for film directors and cinematographers.

In 1932, he produced ‘Nisher Dak’ and ‘Ekada’. The latter was directed by Sushit Mazumdar, with story by Barua himself. He also appeared in the role of a villain in the film ‘Bhagyalaxmi’ produced by Indian Cinema Arts and directed by Kali Prasad Ghosh.

In 1932, he produced his first talkie film – ‘Bengal-1983’. It was a brave attempt by the young film maker to tackle a futuristic subject. The film was inaugurated by Gurudev Rabindranath Tagore. But the film turned out to be a commercial disaster, and Barua was forced to close down his studio due to financial difficulties.

In 1933, BN Sircar invited Barua to join New Theaters. With the skills at hand, and the encouraging environment at New Theatres, Barua excelled in his film making. New Theaters brought him to the zenith in his career as a film maker. His first directorial venture was ‘Rooplekha’ released in 1934. He played the lead role opposite to Uma Shashi. With this film, Barua introduced another new technique for the first time in Indian cinema – use of flashback for storytelling.

Then in 1935 came ‘Devdas’. Barua directed all the versions – the Hindi, Bangla and Assamese, and played the lead role in the Bangla version. Critically acclaimed, Barua’s portrayal of the tragic hero was so lively that it made him a legend. He was all but 32 years old at that juncture.

‘Devdas’ was an instant commercial success. It is hailed as the first social film to enjoy success and popularity as never before. From a technical perspective also, the film is rated very high – for the use of multiple techniques – close up, montage, wipe, dissolve, fade-in fad-out etc. The film also uses flashback and introduced a new technique – ‘intercut telepathy shot’.

In 1936 he directed ‘Manzil’ and in 1937 came ‘Mukti’. Both films were bold and much ahead of their times in terms of the subject matter. Taking off from ‘Devdas’, Barua explores the human relations and love triangles which are extremely poignant and thought provoking. The film ‘Mukti’ is notable in that it is a pioneering effort of outdoor shooting. A major part of the film is shot in the scenic outdoors of Assam. It took almost two decades for the rest of industry to become seriously interested in using outdoor shooting for storytelling.

In 1937, he directed ‘Rajat Jayanti’ which turned out to be a roaring riot of laughter. Considered as the first serious attempt at a full length comedy feature, this film was commercially and critically a success. In the same year, he also directed ‘Adhikar’, which is another path breaking film in that questioned the divisions in society and overtly advocated class struggle.

Bimal Roy and Phani Majumdar started their film careers working under Barua at New Theaters.

In 1940, after directing ‘Zindagi’ starring KL Saigal (coming together once again after ‘Devdas’ of 1935), Barua moved from New Theaters and started work once again as an independent and freelancer. Except for one or two, there are no notable films that came from his work in this period post New Theaters. One needs to mention ‘Shap Mukti’ (1940), which he directed for Krishna Movietone, ‘Jawaab’ (1942) which he directed for MP Productions, and ‘Shesh Uttar’ (1942) produced and directed by himself. It appears that Barua and New Theaters was the magic mix, which faded away when he moved out of New Theaters.

In this phase, he took to drinking heavily, and his health began to deteriorate. He passed away in 1951, on this date.

The song I present today is presumably not released on 78 rpm records. I present an edited clip extracted from the video of the film. Unfortunately, the first line of this rendition is not available in the original film clip that I have. On screen, this is actually a two part song that is listed as separate songs in the Geet Kosh. This song itself is a very thoughtful construction. The hero (Prashant, role played by Barua) is in a phase of depression. His earlier marriage with Chitra (role played by Kanan Devi) is a failed venture and post divorce he moves to rural Assam, where he stays in a local inn managed by Pahari (role played by Nawab), and his wife Jharna (role played by Menaka Devi). The couple takes to this depressed young man very kindly. Pahari and Prashant become very good friends.

A passage is shown where Prashant is off in the woods, and in his melancholic despair is singing two couplets from the original ghazal by Mirza Ghalib – ‘Koi Ummeed Bar Nahin Aati’. Incidentally Jharna is also close by, having come to fetch water from the river. She hears him sing these depressing lines, and then she responds with the second part of this song which is an effort to inspire and encourage the young man.

The notable thing is how the director has constructed this scenario. He takes two couplets from a famous ghazal of a legendary poet, and then attempts to juxtapose that against a positive and encouraging thought that answers to the points of despair raised in the original lines. The response is written by Aarzoo Lakhnavi, and is indeed a masterpiece in itself, as it tries to confront Mirza Ghalib, by showing the other side of the picture.

The music is composed by Pankaj Mullick. There is no mention about the identity of the singing voices. And I have indicated that as such below. Are these the voices of the on screen actors themselves? I do not know, and do not want to make an uninformed guess. I request our more knowledgeable readers to please help to identify and confirm the singing voices in this song.

Remembering PC Barua. An attempt to keep alive the memories of this multi skilled pioneer film maker, whose many path breaking contributions have enriched the film making technology and techniques. May these memories be sustained for the future generations.

Song – Koi Ummeed Bar Nahin Aati (Mukti) (1937) Singer – Unidentified Male Voice, Unidentified Female Voice, Lyrics – Ghalib, Aarzoo Lakhnavi, MD – Pankaj Mullick

Lyrics

[koi ummeed bar nahin aati]
koi surat nazar nahin aati
nahi aati

hum wahaan hain
jahaan se hum ko bhi
kuchh hamaari khabar nahin aati
marte hain aarzoo mein marne ki
maut aati hai
par nahin aati
nahin.. aati

hai gila kis ka
koi ummeed bar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi

rakh tu be-aasi pe baaki
aas ka bhi silsila
tu kisi aalam mein bhi hoga
khabar aa jaayegi
tu kisi aalam mein bhi hoga
khabar aa jaayegi

hai museebat ki bhi ek hadd
is se ghabraana hi kya
ghabraana hi kya
maut ki to kya khabar
raahat magar aa jayegi
maut ki to kya khabar
raahat magar aa jayegi

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

[कोई उम्मीद बर नहीं आती]
कोई सूरत नज़र नहीं आती
नहीं आती

हम वहाँ हैं
जहां से हम को भी
कुछ हमारी खबर नहीं आती
मरते हैं आरज़ू में मरने की
मौत आती है
पर नहीं आती
नहीं॰॰ आती

है गिला किसका
कोई उम्मीद बर आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी

रख तू बे-आसी पे बाकी
आस का भी सिलसिला
तू किसी आलम में भी होगा
खबर आ जाएगी
तू किसी आलम में भी होगा
खबर आ जाएगी

है मुसीबत की भी इक हद
इस से घबराना ही क्या
घबराना ही क्या
मौत की तो क्या खबर
राहत मगर आ जाएगी
मौत की तो क्या खबर
राहत मगर आ जाएगी

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Tum Ho Na Ho Hamaare, Hum Ho Gaye Tumhaare

Posted by: on: November 25, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5243 Post No. : 17242

The Nightingale of Punjab – the sobriquet given to her by the film industry and the media. Today, she would have completed 93 years.

Remembering the zestful singer Surinder Kaur on her birth anniversary today.

Born in Lahore in 1929, her family moved to Ghaziabad near Delhi when the Partition happened. It was the same year that she also got married. She was already a singing star in undivided Punjab, and had made her debut as  singer on the Lahore radion station in 1943. Between 1943 and 1947, she and her elder sister Prakash Kaur recorded a number of Punjabi folk song with HMV. These songs have created a genre of their own, and continue to be the gold standard in Punjabi folk music even today, more than seventy five years after being originally recorded.

Her husband, Prakash Singh Sodhi, a professor of Punjabi Literature at Delhi University was very supportive of her career as a singer, and encouraged her to go to Bombay (now Mumbai) and make a mark for herself in the Hindi film industry. She came to Bombay in 1948, and immediately got a break, with music director Ghulam Haider giving her a chance to sing three songs in the film ‘Shaheed’. During the next four years, till 1952, she recorded more than fifty four songs in Hindi films. And then took a decision to return to Delhi. The reason that was cited was a disagreement with the climate of Bombay.

She was conferred the Sangeet Natak Akademi Award for Punjabi Folk Music in 1984, by the Sangeet Natak Academi, the Millennium Punjabi Singer award, and Padma Shri award in January 2006 for her contribution in Arts. The Guru Nanak Dev University conferred on her a doctorate degree in the year 2002.

Later in the year 2006, her health took a turn for the worse, and she went to United States for treatment, and to be with her daughters who are settled there. Her condition worsened and she passed away in a New Jersey hospital on 14th June, 2006. She was 77 years old.

Each of the songs that she has sung in Hindi films is a gem. The tone and character of her voice is so distinct, and her diction carries a touch of north India, and Punjab in particular. I present today this wonderful song from the 1948 film ‘Naao’. The lyrics are from the pen of DN Madhok and the music is from the mind of Gyan Dutt.

A song that tells of the state of the heart of the lady, whose beau is leaving for distant lands. The words and their rendition is simply too good –

तुम तो चले हो लगी तोड़ के
हम कित जाएँ

you are departing, breaking this alliance of hearts
alas, where can I go

 

Listen to this lovely melody, and the wonderful rendition – the voice of Surinder Kaur.

[Note: The lyrics of this song have been sent by dear Prakashchandra ji.]

Song – Tum Ho Na Ho Hamaare, Hum Ho Gaye Tumhaare (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics (provided by Prakashchandra)

tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

ae ji o ji ye adaayen na bhaayen
ae ji o ji ye adaayen na bhaayen
tum to chale ho lagi tod ke
hum kit jaayen
tum to chale ho lagi tod ke
hum kit jaayen
do nainon ke maare
o lo ji hum ho gaye tumhaare
do nainon ke maare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

o ji o ji dil sataaye hum ko
o ji o ji dil sataaye hum ko
din na kisi se katey
raat ki dil se pooch lo
din na kisi se katey
raat ki dil se pooch lo
kya jaadu kar daale
o lo ji hum ho gaye tumhaare
kya jaadu kar daare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

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

तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ए जी ओ जी ये अदाएं ना भाएँ
ए जी ओ जी ये अदाएं ना भाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ओ जी ओ जी दिल सताये हमको
ओ जी ओ जी दिल सताये हमको
दिन ना किसी से कटे
रात की दिल से पूछ लो
दिन ना किसी से कटे
रात की दिल से पूछ लो
क्या जादू कर डाले
ओ लो जी हम हो गए तुम्हारे
क्या जादू कर डारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

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Teri Preet Ne Tadpaaya

Posted by: on: November 24, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5242 Post No. : 17240 Movie Count :

4642

Uma Devi the singer – most people, especially of the more recent generations may not even recognize this name. And if they are film buffs, they may surely be familiar with the comedienne Tun Tun. However, they may not connect these two names to the same person.

Remembering Uma Devi on her remembrance day today. She left this world on 24th November in the year 2003, at the age of 80.

As a singer, we see her active from 1946 to 1959. The earliest reference as a singer is from the film ‘Wamiq Azra’ of 1946. And her last singing assignment is for the 1959 films ‘Jungle King’ and ‘Hero No. 1’.

As an actress, rather as a comedienne, she started appearing on screen from the 1950 film ‘Babul’. And she continued to be active till 1990. The last film she appeared on screen is ‘Dhandhe Ki Kasam’. In the 1950s and 1960s she was quite popular presence in Hindi films. During her career she teamed with many male counterparts such as Bhagwan Dada, Agha, Sunder, Mukri, Dhumal, Johnny Walker and Keshto Mukherjee. In the span of four decades, she appeared in about 200 films.

The song that I bring on board today is from a lesser known film of 1949. The film name is ‘Sumitra’. The names of the lyricist and music director are given, however both are completely  unfamiliar. Checking through the Geet Kosh I find that this is the only film where these two names are appearing. The lyricist is KF Contractor and the music director is HD Subham. I request our more knowledgeable readers to please add more information about these artists.

This is a love song in which the lady is expressing her feelings of being completely captured by love. A rare and very less heard / unheard song.

Song – Teri Preet Ne Tadpaaya (Sumitra) (1949) Singer – Uma Devi, Lyrics – KF Contractor, MD – HD Subham

Lyrics

teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

jaane kaise jeet liya o tu ne mera jiya
jaane kaise jeet liya o tu ne mera jiya
tere bina mera jiya chain nahin laage piya
tere bina mera jiya chain nahin laage piya
preet ne tadpaaya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

chaar aankhon ne mil kar dil se
chaar aankhon ne mil kar dil se
kar leen dil ki baaten
kar leen dil ki baaten
aao aapas mein ab to kar len
aao aapas mein ab to kar len
do dil ki mulaqaaten
aao aapas mein ab to kar len
do dil ki mulaqaaten
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya
teri preet ne tadpaaya
teri preet ne tadpaaya
pardesiya.. mera sab kuchh chheen liya

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

तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

जाने कैसे जीत लिए ओ तूने मेरा दिल
जाने कैसे जीत लिए ओ तूने मेरा दिल
तेरे बिना मेरा जिया चैन नहीं लागे पिया
तेरे बिना मेरा जिया चैन नहीं लागे पिया
प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

चार आँखों ने मिल कर दिल से
चार आँखों ने मिल कर दिल से
कर लीं दिल की बातें
कर लीं दिल की बातें
आओ आपस में अब तो कर लें
आओ आपस में अब तो कर लें
दो दिल की मुलाकातें
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया
तेरी प्रीत ने तड़पाया
तेरी प्रीत ने तड़पाया
परदेसिया॰॰ मेरा सब कुछ छीन लिया

 

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Jaa Ri Laadli Apne Ghar Ko

Posted by: on: November 23, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5241 Post No. : 17238

Today we celebrate a combined anniversary of two singers. Two singers who were contemporary, two singers who were very good friends, two singers whose voices were considered almost similar. It is the birth anniversary of Geeta Dutt (nee Roy), and the remembrance day of Meena Kapoor.

23rd November – Geeta Ji was born in the year 1930 in Idilpur village (now in Bangladesh), into a zamindar family. In early 1940s, they moved to Calcutta (now Kolkata) and then to Bombay (now Mumbai) in mid 1940s.  The same date in 2017, Meena ji passed away in Kolkata, after some years of illness. She was in Delhi till 2003, the year when Anil Da (Anil Biswas) passed away, and then she moved to Kolkata.

Geeta ji started her singing career in 1945, with the film ‘Aadhaar’ under the music direction of SN Tripathi. Her last released film is ‘Anubhav’ from 1971, and then ‘Midnight’ from 1972, which remained unreleased.

Meena ji started her career in 1946. Two films with her playback singing were released that year – ‘Door Chalen’ under the music direction of KC Dey, and ‘Eight Days’ under the music direction of SD Burman. Her last singing assignment is recorded for the 1965 film ‘Chhoti Chhoti Baaten’, with music by Anil Biswas.

As I thought of writing a combined post for these two singing ladies, I tried to search for a duet sung by them. As per the Geet Kosh, I am able to locate only three duets they have sung. Two of them are already posted here on our blog. The first one is from the film ‘Aadhi Raat’ (1950) – “Main Ne Balam Se Poochhaa Miloge Kahaan”, and the second one is from the film ‘Jalte Deep’ also from 1950 – “Aayi Milan Ki Raat Karo Meethhi Meethhi Baat”. The third duet listed in Geet Kosh is from 1951 film ‘Ghaayal’. The song is “Tera Kisi Pe Aaye Dil…”. This song is not yet posted on our blog. And for good reason. This song is not yet traceable in public domain. The funny thing is that the song on the ‘palat’ (other) side of the record (GE 8739) is very much available – “Dil Toota Hua, Pal Pal Tujhe Pukaare” (singer is Meena Kapoor) and also posted on our blog. But as I started inquiring yesterday evening from my trusted circle of collector friends, all of the replied that this song is somehow not yet available.

But then today late morning, I got information about two other duet songs of this pair, which was very heartening. Just as a side, film ‘Ghaayal’ of 1951 has one other song in which the voices of these two ladies appear. However, this one is a trio song accompanied by GM Durrani. It is a long song, on both sides of the record (no. GE8740) which means it is about 6 minutes long. I was actually preparing to use this trio song for today’s post, but then I got two responses from two dear friends, both sharing information about one duet song each. Very interesting development indeed.

First I got to see a message from dear Gajendra Khanna ji (Bengaluru based) in which he shared info about another duet song. This one is from the 1948 film ‘Hip Hip Hurray’ (aka ‘Chaube ji’) and the song title is “Hum Jaan Gaye Jaan Gaye Jaan Gaye Ji”. The Geet Kosh does not list the singer names for this song. I tried to confirm this information, checking with another dear friend Zafar Bhai (based in Delhi-6), and he sent me the image of the record of this song. The reason that GK does not list the singer names is because the record itself does not carry these names. On checking back with Gajendra Ji, he shared with me the audio of the song, and said that the identification is based on the voices on the track. So we found another duet song.

And then almost immediately Zafar Bhai also responded with an additional song. This turns out to be a NFS duet, that makes it all the more rare. The fact that there are really very rare duet NFS songs (of any pair of singers), being able to locate one with these two voices, which have otherwise also not sung too many songs together, makes is rarer than rare.

I decided to go ahead with this NFS song, and dear Zafar Bhai immediately obliged by posting it on YouTube. All the additional delays that bring this post to almost 9 pm in the evening, are my doing. :D) :D)

The lyrics of this song are from the pen of Madhukar Rajasthani, an eminent poet of his time. Music is from the mind of Vedpal Verma, one of the lesser heard names in Hindi films, who has otherwise a notable portfolio of 70 songs from about a dozen films (this info is till 1980, and there may be more work done by this MD beyond 1980).

The song is a ‘bidaai’ song. A hoary tradition of this land – a song that is sung to bid farewell to a new bride as she starts her journey to a new home, a new family and a new life partner. The words are so wonderfully appropriate. My identification of the voices is that the first stanza is in the voice of Geeta ji and the second stanza is in the voice of Meena ji. I may be wrong, as I am not a good judge of voices. The record label unmistakably carries both names. In case my identification is in error, please let me know and I will make necessary changes.

In the beginning of the song there are a few lines that have been recited by an unidentified male voice. Could it be the poet himself? I cannot say.

Two very beautiful voices, and two very beautiful ladies. Good friends, but singing together only occasionally. Enjoy this very rare treat of an NFS duet song, with lots of thanks to Zafar Bhai for making my day.

 

Song – Jaa Ri Laadli Apne Ghar Ko (NFS) (1952) Singer – Geeta Roy (Dutt), Meena Kapoor, Lyrics – Madhukar Rajasthani, MD – Vedpal Verma

Lyrics

kaisa milan ye kaisa bichhudna
kaisa milan ye kaisa bichhudna
kaisi jag ki reet re
kaisi jag ki reet
de di bida mohe hanste hanste
de di bida mohe hanste hanste
kaise hain ye meet
goonj raha kaanon mein ab tak
wahi vidaai geet
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli

oo oo oooo
bachpan ke sab sangi saathi
bachpan ke sab sangi saathi
bhulat naahin bhulaaye
man chhoda babul ki nagri
man chhoda babul ki nagri
tan doli mein jaaye
tan doli mein jaaye
door kahin wo le ke bansi
baar baar ye gaaye
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli

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

कैसा मिलन ये कैसा बिछुड़ना
कैसा मिलन ये कैसा बिछुड़ना
कैसी जग की रीत रे
कैसी जग की रीत
दे दी बिदा मोहे हँसते हँसते
दे दी बिदा मोहे हँसते हँसते
कैसे हैं ये मीत
गूंज रहा कानों में अब तक
वही विदाई गीत
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली

ओ ओ ओ
बचपन के सब संगी साथी
बचपन के सब संगी साथी
भूलत नहीं भुलाए
मन छोड़ा बाबुल की नगरी
मन छोड़ा बाबुल की नगरी
तन डोली में जाये
तन डोली में जाये
दूर कहीं वो ले के बांसुरी
बार बार ये गाये
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली

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Neel Gagan Mein Maadal Baaje

Posted by: on: October 31, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5218 Post No. : 17208

Dada Burman – the senior doyen of the music directors of Indian cinema. A music director who, unlike many other music dirrctors,  maintained  consistency in his work all through his career. His fans, critics and observers of music, journalists and industry biggies – whatever they may say about his work, all agree that Sachin Da has consistently maintained a very high quality and a very high standard of his music direction work, across all his films.

Remembering SD Burman on the anniversary of his passing away – 31st October, 1975, i.e. 47 years ago.

He started his career as a singer with the Calcutta Radio Station in the late 1920s. There are some other interesting trivia about his early career which are probably not well known. That he made his debut as a singer in the New Theatres production ‘Yahudi Ki Ladki’ (1933), but the songs recorded by him were not used. They were rercorded in the voice of Pahadi Sanyal. Then in 1934, he appeared on screen in the film ‘Selima’, in which is played a role of a singer. In 1935, he made another similar on screen appearance in the Bangla film ‘Birodhi’. The same year he also sang in another Bangla film – ‘Sanjher Pidim.

Before entering the cinema world as a music director, he worked for the Bangla theatre in Calcutta, and composed music for famous plays such as ‘Sati Tirath’ and ‘Janani’. In Bangla cinema, his first film as a music director was ‘Sudurer Priye’ in 1935. In the next decade, from 1935 to 1945, he composed music for 18 Bangla films. In 1945, he moved to Bombay as the invitation of Sashadhar Mukherjee of Filmistan. In 1946, Filmistan released two films with his music – ‘Shikari’ and ‘Eight Days’. Big time success came his way the subsequent year when ‘Do Bhai’ (1947) was released. The iconic song “Mera Sundar Sapna Beet Gaya” in the voice of Geeta Dutt became and all time great hit. And the rest, as they say, is history.

In a career that spans four decades, Sahin Da has composed music for about 110 films – both Hindi and Bangla.

Almost five decades have gone by since he bid farewell to this life. And it seems that we have not heard all of his music; that there are still more of his creations to be explored and enjoyed. As I was searching today for a song to go with this post, I stumbled upon this wonderful melody from thr 1954 film ‘Radha Krishna’. A song in the voice of Asha Bhosle, this is an exquisite piece of melody and poetry that is such a pleasing listen. After a long time I use the phrase ‘love at first listen’, as I started to hear this song for the first time, earlier in the day today.

The lyrics are wonderful poetry by Narendra Sharma. The words tell of an expected tryst between the Eternal Lovers – Radha and Krishna. The poet writes such exquisite lines – “. . .ghir ghir aayi milan yaamini, kabhi na hogi bhor. . .”. The sound of chorus is so beautifully used in this composition.

A must listen song – I am sure you will fall in love with.

Song – Neel Gagan Mein Maadal Baaje (Radha Krishna) (1954) Singer – Asha Bhosle, Lyrics – Narendra Sharma, MD – SD Burman
Chorus

Lyrics

neelgagan  mein maadal baaje
maadal baaje. . .
neelgagan  mein maadal baaje
angnaa mein naache mor sakhi ri ali
angnaa mein naache mor. . .
ghir ghir aayi milan yamini
kabhi na hogi bhor sakhi ri ali
kabhi na hogi bhor. . .
neelgagan  mein maadal baaje

sapne mein aaye manhar saiyyan
hans kar pakdi baiyyan ho
hans kar pakdi baiyyan
laaj ke maare mar mar jaaun
padun sajan ke paiyyan
paiyyan
hans kar pakdi baiyyan
jhagad ke hum ne baanh chhudaai
angnaa ki tooti kor sakhi ri ali
angnaa ki tooti kor. . .
neelgagan  mein maadal baaje

naath kahi meri ek na maani
piya kare manmaani ho
piya kare manmaani
jitna sataaye ati mann bhaaye
reet hai ye anjaani
piya kare manmaani
pag pag par mujhe rokat mori
anchal ka pakde chhor sakhi ri ali
anchal ka pakde chhor. . .
neelgagan  mein maadal baaje

kabhi milan kabhi bichhdan waali
preet ki reet niraali ho
preet ki reet niraali
ho oo neend ke maare lag gayi akhiyaan
rooth gaye banmaali
rooth gaye banmaali. . .
jaag jaag mann bhaavan aaye
bhavnaan mein mach gaya shor sakhi ri ali
bhavnaan mein mach gaya shor. . .
neelgagan  mein maadal baaje
angnaa mein naache mor sakhi ri ali
angnaa mein naache mor. . .
ghir ghir aayi milan yamini
kabhi na hogi bhor sakhi ri ali
kabhi na hogi bhor. . .
neelgagan  mein maadal baaje. . .

maadal baaje
maadal baaje
maadal baaje
aa aaa aaa aaaa
aa aaa aaa

maadal baaje
maadal baaje
maadal baaje
aa aaa aaa aaaa
oo oo oo

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

नीलगगन में मादल बाजे
मादल बाजे॰ ॰ ॰
नीलगगन में मादल बाजे
अंगना में नाचे मोर सखी री आली
अंगना में नाचे मोर॰ ॰ ॰
घिर घिर आई मिलन यामिनी
कभी ना होगी भोर सखी री आली
कभी ना होगी भोर॰ ॰ ॰
नीलगगन में मादल बाजे

सपने में आए मन हर सैंय्यां
हंस कर पकड़ी बैंय्यां हो
हंस कर पकड़ी बैंय्यां
लाज के मारे मर मर जाऊँ
पड़ूँ सजन के पैंय्यां
पैंय्यां
हंस कर पकड़ी बैंय्यां
झगड़ कर हमने बांह छुड़ाई
अंगना की टूटी कोर सखी री आली
अंगना की टूटी कोर॰ ॰ ॰
नीलगगन में मादल बाजे

नाथ कही मेरी एक ना मानी
पिया करे मनमानी हो
पिया करे मनमानी
जितना सताये अति मन भाए
रीत है ये अनजानी
पिया करे मनमानी
पग पग पर मुझे रोकत मोरे
अंचल का पकड़े छोर सखी री आली
अंचल का पकड़े छोर॰ ॰ ॰
नीलगगन में मादल बाजे

कभी मिलन कभी बिछड़न वाली
प्रीत की रीत निराली हो
प्रीत की रीत निराली
हो ओ
नींद के मारे लग गई अखियां
रूठ गए बनमाली
रूठ गए बनमाली॰ ॰ ॰
जाग जाग मन भावन आए
भवनां में मच गया शोर सखी री आली
भवनां में मच गया शोर॰ ॰ ॰
नीलगगन में मादल बाजे
अंगना में नाचे मोर सखी री आली
अंगना में नाचे मोर॰ ॰ ॰
घिर घिर आई मिलन यामिनी
कभी ना होगी भोर सखी री आली
कभी ना होगी भोर॰ ॰ ॰
नीलगगन में मादल बाजे॰ ॰ ॰

मादल बाजे
मादल बाजे
मादल बाजे
आ आ आ आ
आ आ आ

मादल बाजे
मादल बाजे
मादल बाजे
आ आ आ आ
ओ ओ ओ

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Dil To Niraala Hi Sharaabi Hai

Posted by: on: October 7, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5194 Post No. : 17175

Greetings and Happy Birthday wishes to Usha Khanna ji.

Born this day in 1941, she is all of 81 years old today. With a reign lasting from 1959 to 2003, she may be the most prolific and accomplished lady music director in the Hindi film industry. In the early decades of Hindi cinema, we have been earlier introduced to lady music directors viz., Bibbo, Jaddan Bai and Saraswati Rane. Then after a gap of maybe a decade, the teenaged Usha Khanna (she was 18 years when ‘Dil Deke Dekho’ was released in 1959) made her debut.

And the audience and the industry took notice of this new and attractive sound of music. After a slow beginning, she went on to become one of the mainline music directors in the industry. Over the period of about four and a half decade, she has composed music for more than 160 films. Her last film was released on 2003 – ‘Dil To Pardesi Hai’. We do not see more films from her after this, although technically she has not formally announced her retirement from an active career.

The song that I bring up today is from the 1964 film ‘Awaara Baadal’. This is a song performed on screen by Helen. And true to the spirit of this fabulous danseuse, the composition is so lilting and magical. On screen we see a dance being  performed by Helen and a group of supporting dancers. The performance is being viewed by Niranjan Sharma.

The lyrics of the song have been penned by Javed Anwar and the singing voice is that of Asha Bhosle.

A quick reminder for the readers, regarding the lyricist. Javed Anwar is a pseudonym for a team of two songwriters working together. Javed is the name that is used by Manohar Khanna, who is the father of Usha Khanna in real life. And Anwar is the pen name of the second songwriter – Raheel Gorakhpuri.

Wishing Usha ji for good health and many more such celebrations to come.

I invite you to listen to this foot tapping melody that is so apt for a Helen dance song.

Song – Dil To Niraala Hi Sharaabi Hai (Awaara Baadal) (1964) Singer – Asha Bhosle, Lyrics – Javed Anwar, MD – Usha Khanna

Lyrics

dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
o nasheeli aankhon waale sun
oo oo oo
o raseeli aankhon waale sun
ho
ho
ho
ho oo
o nasheeli aankhon waale sun
oo oo oo
o raseeli aankhon waale sun
in aankhon se
hamen peene de
hamen jeena hai
hamen jeene de
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
laakh rokega zamaana ye
oo oo oo
jhoomta rahega deewaana ye
ho
ho
ho oo
laakh rokega zamaana ye
oo oo oo
jhoomta rahega deewaana ye
samjhega ye
mastaana kya
mastaane ko
samjhaana kya
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

oo oo oo
aa gayin hain wo hawaayen bhi
oo oo oo
chhaa gayin hain wo ghataayen bhi
haaye
haaye
haaye
aa gayin hain wo hawaayen bhi
oo oo oo
chhaa gayin hain wo ghataayen bhi
saari duniya
chaahe roothegi
tauba tooti hai
tauba tootegi
ho
ho
ho oo oo
dil to niraala hi sharaabi hai
kehta hai un aankhon mein gulaabi hai
thodi si pee loon to kya kharaabi hai
haaye maasha allah maasha allah
maasha allah maasha allah

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

दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
ओ नशीली आँखों वाले सुन
ओ ओ ओ
ओ रसीली आँखों वाले सुन
हो
हो
हो
हो ओ
ओ नशीली आँखों वाले सुन
ओ ओ ओ
ओ रसीली आँखों वाले सुन
इन आँखों से
हमें पीने दे
हमें जीना है
हमें जीने दे
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
लाख रोकेगा ज़माना ये
ओ ओ ओ
झूमता रहेगा दीवाना ये
हो
हो
हो ओ
लाख रोकेगा ज़माना ये
ओ ओ ओ
झूमता रहेगा दीवाना ये
समझेगा ये
मस्ताना क्या
मस्ताने को
समझाना क्या
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

ओ ओ ओ
आ गईं हैं वो हवाएँ भी
ओ ओ ओ
छा गईं हैं वो घटाएँ भी
हाए
हाए
हाए
आ गईं हैं वो हवाएँ भी
ओ ओ ओ
छा गईं हैं वो घटाएँ भी
सारी दुनिया
चाहे रूठेगी
तौबा टूटी है
तौबा टूटेगी
हो
हो
हो ओ ओ
दिल तो निराला ही शराबी है
कहता है उन आँखों में गुलाबी है
थोड़ी सी पी लूँ तो क्या खराबी है
हाए माशा अल्लाह माशा अल्लाह
माशा अल्लाह माशा अल्लाह

Tags: , , , , , ,

Ae Mere Dil, La La La La

Posted by: on: October 6, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5193 Post No. : 17173 Movie Count :

4624

I first met him on screen in 1971. The film was ‘Mere Apne’, a story of a destitute old lady fallen on to hard times, intersecting with gang wars between young street smarts. I had heard his name before. In 1968, when Sunil Dutt launched his younger brother Som Dutt via his home production ‘Man Ka Meet’, one also read in the news that another new face was being introduced – name Vinod Khanna.

Remembering Vinod Khanna on his birth anniversary today. He would have been celebrating his 76th year on this planet. He passed away five years ago, on 27th April, after losing a battle with the dreaded cancer.

As the decade of 1960s came to a close, the latter half introduced a few handsome young men to the the Hindi screen, that would go on to make big name for themselves over next few decades – Rishi Kapoor, Rajesh Khanna, Jeetendra, Amitabh Bachchan – and yes, Vinod Khanna.

I was verily impressed by his screen presence in ‘Mere Apne’. An attractive physique, a stoic and solemn demeanor that is not easily ruffled, a determined and earnest quietness, an un-agitated dialogue delivery that conveys a commanding confidence. His screen presence felt good and comfortable.

As the decade would progress, there would be more impressive performances that added to his stature as an accomplished actor in Hindi cinema. Starting with the villain’s role in ‘Man Ka Meet’, he went on to doing side roles or shared leads in films like ‘Purab Aur Paschim’, ‘Mastaana’, ‘Aan Milo Sajna’ and ‘Sachcha Jhootha’ (all 1970) and ‘Reshma Aur Shera’ (1971), he moved into the lead role with the film ‘Hum, Tum Aur Who’ (1971) opposite Bharati. That year also witnessed two more of his great perfromances – ‘Mere Apne’ by Gulzar and ‘Mera Gaon Mera Desh’ by Raj Khosla. In the former he share the lead with Shatrughan Sinha, and in the latter with an established Dharmendra. And he stood his ground well in both these outings.

In 1972, we see him as the best friend of the hero in Gulzar’s ‘Parichay’. All this while, his presence in films is growing rapidly. In 1973 he plays the role of an army officer inadvertently caught in an illicit love triangle in ‘Achanak’, a film by Gulzar and KA Abbas. This role earned him a lot of critical acclaim.

In 1974, another very impressive performance in ‘Imtihan’ and also in ‘Haath Ki Safai’. For the latter performance, he got the Filmfare’s Best Supporting Actor award for the year. From 1976 I remember his roles in ‘Shaque’ and ‘Hera Pheri’. Moving on to bigger and better in 1977, we see him in ‘Parvarish’, the outstanding cops and robbers story ‘Inkaar’ and the blockbuster hit ‘Amar Akbar Anthony’.

1978 turned out to be yet another big year for him with films like ‘Main Tulsi Tere Aangan Ki’ and ‘Muqaddar Ka Sikandar’. 1979 saw him play the role of Rana ji in Gulzar’s ‘Meera’. And in 1980 he made it big with films like ‘Qurbani’ and ‘The Burning Train’. From 1981 I remember him in ‘Kudrat’, a film by Chetan Anand.

Although Vinod Khanna went on to a brilliant career, the above listed films are the ones that are in my mind as mine, my selection – I have watched them on the big screen.

In 1982, Vinod took a break in his career, to be with Acharya Rajneesh, his spiritual Guru. That break ended in 1986, as he returned to India, after Acharya Rajneesh was made to leave the US by the authorities. Coming back, Vinod rejoined the industry and continued with his career. We see him active in the industry all the way up to 2015. Later, the medical issues overtook his life and he passed away in 2017. His last role was in a film released posthumously in 2020 – ‘Guns Of Banaras’.

The song I present today is from the 1974 film ‘The Cheat’ aka ‘Farebi’. The film is from Jaimini Dewan Productions. (Readers will recall that Jaimini Dewan was the elder brother of actor Karan Dewan). It is directed by Sudesh Issar. The cast of the film is listed as Vinod Khanna, Maushumi Chatterjee, Nirupa Rai, Anwar Hussain, Fariyal, Ranjeet, Randhir, Uma Dutt, Jankidas, Dubey, Naidu, Nishan Singh, Haroon Khan, Madhu Chauhan, Shah Agha, Soni, Ratan Gaurang, Jawahar Chopra, Sunil Sharma, Sat Prakash, and Bindu.

The film has six songs, all have been penned by Verma Malik. Music is composed by Laxmikant Pyaarelal. The singing voice is that of Kishore Kumar. With this song, the film ‘The Cheat’ makes its debut on our blog.

The lyrics of this song have been provided by dear Prakash ji.

Video

Audio

Song – Ae Mere Dil, La La La La  (The Cheat) (1974) Singer – Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil
la la la la
khushi se machal
la la la la
poori karunga main teri tamanna
aaj mere kadmon me duniya
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

ye dil fareb din nasheen
ye moorten haseen haaen
ye dil fareb din nasheen
ye moorten haseen haaen
ye roop ki numaaishen
ye shokh shokh naazneen
thaam loon baahon ko
main rokun teri raahon ko
dil na mila na sahi
mila gaeen nigaahon ko
mila gaeen nigaahon ko
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

bhara bhara ye jaam hai
ye mehki mehki shaam hai
bhara bhara ye jaam hai
ye mehki mehki shaam hai
ae dil mere bharam na kar
ye sab tumhaare naam hai
ye mere dil ki pyaas hai
ye zindagi ki aas hai
aaj tum se door jo
wo kal tumhare paas hai
wo kal tumhare paas hai
ae mere dil
la la la la
khushi se machal
la la la la
poori karunga main teri tamanna
aaj mere kadmon me duniya
ae mere dil
la la la la
khushi se machal
la la la la
ae mere dil

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

ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
पूरी करूंगा मैं तेरी तमन्ना
आज मेरे कदमों में दुनिया
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल

ये दिल फरेब दिलनशीं
ये मूरतें हसीं हसीं
ये दिल फरेब दिलनशीं
ये मूरतें हसीं हसीं
ये रूप की नुमाइशें
ये शोख शोख नाज़नीन
थाम लूँ बाहों को
मैं रोकूँ तेरी राहों को
दिल ना मिला ना सही
मिला गईं निगाहों को
मिला गईं निगाहों को
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल

भरा भरा ये जाम है
ये महको महकी महकी शाम है
भरा भरा ये जाम है
ये महको महकी महकी शाम है
ए मेरे दिल भरम ना कर
ये सब तुम्हारे नाम है
ये मेरे दिल की प्यास है
या ज़िंदगी की आस है
आज तुमसे दूर जो
वो कल तुम्हारे पास है
वो कल तुम्हारे पास है
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
पूरी करूंगा मैं तेरी तमन्ना
आज मेरे कदमों में दुनिया
ए मेरे दिल
ला ला ला ला
खुशी से मचल
ला ला ला ला
ए मेरे दिल

Tags: , , , , , , ,

Dil Hoom Hoom Kare Ghabraaye

Posted by: on: September 8, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5165 Post No. : 17132


A stalwart of many talents, a multi faceted personality who was single handedly responsible for bringing to life the endeavors of Assamese cinema, bringing international recognition to the age old music and culture of far eastern India.

Remembering Dr Bhupen Hazrika on the anniversary of his birth – he would have been 96 today. He is known as ‘Shudha Kontho’ – the one with the nectar of amrit (shudha, sudha) in his throat.

He was born in Sadiya, Assam in 1926. Even as a child, his musical and singing talents were evident. In 1939, at the tender age of 12, he recorded his first song for the Assamese talkie film ‘Indramalati’ (1939). His traveled to faraway Benaras for his education (BA and MA degrees in Political Science, 1944 and 1946), and then to the US for his PhD to New York (Columbia University, 1952). However, the association that was established in childhood would be sustained and strengthened over the years. 

He became recognized as a renowned film maker in the east. As a renowned musician, and a multi lingual lyricist and vocalist, he was the representative face of the music and culture of that region. And more than that, he was the cultural ambassador of India to the rest of the world.

Many awards and accolades came to him throughout his illustrious career, most notable being the Sangeet Natak Academy award in 1987, Dadasaheb Phalke lifetime achievement award in 1993, and the Padma Bhushan in 2001. He was the president of the Sangeet Natak Academy from 1999 to 2004. As a creator of films and film music, he has been conferred many honors by film associations and critics associations in the US, Japan, Bangladesh, besides India.

Bhupen Hazarika breathed his last on 5th November, 2011.

‘Rudaali’, a 1993 production by the feminist film maker and director, Kalpana Lajmi, is a story about the life and tribulations of Shanichari (Dimple Kapadia), a poor woman, abandoned by her own family as a child, and later in life, abandoned by the man whom she loves. A caustic and a weather beaten personality, her life is dogged by one misfortune after another. But the character within is stronger than steel, and she faces the world without a tear in her eye. The strength of her resolve is at conflict with her profession of a mourning woman, rudaali, in the villages of interior Rajasthan. The film is a powerful commentary on the traditional status of women in rural India. The film itself, and the portrayal if the central character by Dimple Kapadia, has won many awards and recognitions, both national and international.

The lyrics of this film are penned by Gulzar, and the haunting music is from the mind of Bhupen Hazarika. This particular song is rendered both by Bhupen Hazarika and Lata Mangeshkar. The deep baritone voice of Bhupen Hazarika so strongly brings to life the powerful verses.

The song tells about the personal sorrows and tribulations of the protagonist – Shanichari, a rudaali woman in rural Rajasthan. Bhupen Hazarika version plays in the background, as we the entire life of Shanichari crumbling and wasted around her. We see her sitting next to her husband’s funeral pyre, slowly removing all her jewellery and adornments. Later in the song, she is face to face with Raj Babbar, her lover, who has also abandoned her. The words are so evocative and portray the sadness that reigns inside her. “Teri Oonchi Ataari, Maine Pankh Liye Katvaaye” – your adobe is at such a height, and the miserable me has shorn off her wings.

A deeply moving experience about life itself.

Bhupen Hazaarika Version

Lata Mangeshkar Version

Song – Dil Hoom Hoom Kare Ghabraaye  (Rudaali) (1993) Singer – Bhupen Hazaarika, Lata Mangeshkar, Lyrics – Gulzar, MD – Bhupen Hazarika

Lyrics

Bhupen Hazarika version

dil hoom hoom kare ghabraaye,
ghan dham dham kare garjaaye
ik boond tabhi paani ki
mori akhiyon se barsaaye
dil hoom hoom kare ghabraaye

teri jhori daarun
sab sookhe paat jo aaye
tera chhua laage
meri sookhi daal hariaaye
dil hoom hoom kare ghabraaye

jis tan ko chhua tune
us tan ko chhupaaun
jis mann ko lagey naina
woh kisko dikhaaun
o more chandrama aaa
teri chaandani ang jalaaye
oonchi tor ataari
maine pankh liye katwaaye

dil hoom hoom kare ghabraaye,
ghan dham dham kare garjaaye
ek boond kabhi paani ki
mori akhiyon se barsaaye
dil hoom hoom kare ghabraaye

Lata Mangeshkar version

dil hoom hoom kare ghabraaye,
ghan dham dham kare garjaaye
ik boond tabhi paani ki
mori akhiyon se barsaaye
dil hoom hoom kare ghabraaye

teri jhori daarun
sab sookhe paat jo aaye
tera chhua laage
meri sookhi daal hariaaye
dil hoom hoom kare ghabraaye

jis tan ko chhua tune
us tan ko chhupaaun
jis mann ko lagey naina
woh kisko dikhaaun
o more chandrama aaa
teri chaandani ang jalaaye
teri oonchi ataari
maine pankh liye katwaaye

dil hoom hoom kare ghabraaye,
ghan dham dham kare garjaaye
ek boond kabhi paani ki
mori akhiyon se barsaaye
dil hoom hoom kare ghabraaye

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

भूपेन हज़ारीका

दिल हूम हूम करे घबराए
घन धम धम करे गरजाये
इक बूंद तभी पानी की
मोरी अखियों से बरसाए
दिल हूम हूम करे घबराए

तेरी झोरी डारूं
सब सूखे पात जो आए
तेरा छुआ लागे
मेरी सूखी डाल हरीआये
दिल हूम हूम करे घबराए

जिस तन को छुआ तूने
उस तन को छुपाऊँ
जी मन को लागे नैना
वो किसको दिखाऊँ
ओर मोरे चन्द्रमा आ
तेरी चाँदनी अंग जलाए
ऊंची तोर अटारी
मैंने पंख लिए कटवाए

दिल हूम हूम करे घबराए
घन धम धम करे गरजाये
इक बूंद तभी पानी की
मोरी अखियों से बरसाए
दिल हूम हूम करे घबराए

लता मंगेशकर

दिल हूम हूम करे घबराए
घन धम धम करे गरजाये
इक बूंद तभी पानी की
मोरी अखियों से बरसाए
दिल हूम हूम करे घबराए

तेरी झोरी डारूं
सब सूखे पात जो आए
तेरा छुआ लागे
मेरी सूखी डाल हरीआये
दिल हूम हूम करे घबराए

जिस तन को छुआ तूने
उस तन को छुपाऊँ
जी मन को लागे नैना
वो किसको दिखाऊँ
ओर मोरे चन्द्रमा आ
तेरी चाँदनी अंग जलाए
तेरी ऊंची अटारी
मैंने पंख लिए कटवाए

दिल हूम हूम करे घबराए
घन धम धम करे गरजाये
इक बूंद तभी पानी की
मोरी अखियों से बरसाए
दिल हूम हूम करे घबराए

Tags: , , , , , , ,

Saare Jahaan Se Achchha Hindostan Hamaara

Posted by: on: August 15, 2022


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 5141 Post No. : 17103

75 years. A passage of history that belongs to us. And we belong to it. Most of us have our conscious memories completely inside of this phase. There are those who have seen the phase prior to this. And may God Almighty give them, and all of us, good health and long years, to share and to love.

History is a but continuous flow of time and events and experiences. It is impossible to record them all. Each individual is a universe all its own. And then groups of people, tracts of geographies, ideas and movements, nations and natural phenomena – in fact an endless list of entities and experiences that have a history all of their own. Some of it is recorded, some resides in memories and lives through word of mouth. How exact and accurate it is, is anybody’s guess.

And outside of the history, life continues – regardless. Every era, every passage, every unit of time, every phase – each has specialties of its on connected with it. And for that passage, for that unit of time, that experience is the prime most. In the minds of those who are living through it, nothing else comes close in terms of the intensity of the experience. It is that in-the-moment (or in-that-passage) experience that is paramount. Nothing else before it compares with it. Of course it does not, it cannot. We have not experienced that past, which disqualifies us from the comparative experience judgment.

1947 – 15th August. A nation that we call our motherland – India, or any other name – started a new passage, a new chapter. The change that defined the novelty, the distinctiveness, the difference from the before-to-the-after was the event of a political change. The entity that we consider as our nation, was under the control of a foreign agency before this event. And then, on the day of that change – 15th August in the year 1947, the control passed into the hands of the native people. History has recorded and uniquely identified almost a century, or more, prior to this distinctive event, as a period of struggle to gain back this very political control that had been usurped quite deceivingly by the said foreign agency.

In a land as huge as this nation, a fairly large segment of population was impacted by this change, and the manner in which this change was put into effect. And then, there was another segment of the population, equally fairly large, or maybe even larger, for whom, nothing really changed as a matter of day to day living. The course of events made some transformation in the matters of political control and governance. Outside of that, it was life as usual, for most of them who were a witness to and were a part of this change.

Famously addressed as a significant tryst in the course of destiny, the natives of this land took control, and that was that. The rest was, as they say, business-as-usual.

That is a perspective of the historians. A dispassionate noting of the record of events, as pertaining to this entity that we call India.

And then, there is another perspective – the more passionate, the more emotional experience that comes from being connected, with a sense of belonging, a sense of deep attachment which is felt by individuals. Individuals who were part of what the historians call the period of struggle, individuals who were passive supporters of the struggle, and also people whose desires were aligned with the objectives of the struggle.

And when that event came to pass, on the definitive date of 15th August, 1947, there was also a whooping celebration, an expression of euphoria, and a sense of victory – having achieved the desired target, as a result of the efforts of a very large number of people.

The emotions that are tied to this event have been expressed by many who were involved, in their own unique ways. One of the manners of expression was the articulation in words – that sense of belonging, that sense of pride and ownership, that sense of honor one would associate with a land that we call as our own.

And when we look back further into the history, this expression, this articulation of the sense of pride and belonging, goes all the way back to the roots of our culture. When we look through the Vedas, the essential origin of all our knowledge and idioms, we come across this timeless expression stated therein – “जननी जन्मभूमिश्च स्वर्गादपि गरीयसी” – that the land where we are born, the pride of the sense of belonging to that “भूमि” – land, is beyond any experience – real or imagined. The so mentioned “स्वर्ग”, or the heavens in this adage, is an experience that one only talks about. Heaven – an imagined state of existence that is purportedly perfect, that is blemish-less, devoid of any defects and problems, a state of incomparable bliss that cannot be experienced in our material existence.

And so the adage goes on to propound that our land of birth, that we lovingly refer to as our motherland, is even greater and more fulfilling than the conceptual heaven. This is a prime thought, which creates a strong sense of affinity to our land – because nothing is better than it – not even the so called heaven.  “Saare Jahaan Se Achcha Hindostan Hamaara”.

Many a mortal men of letters have touched this emotion, and have gained immense strength from it. And this strength, this power of character, this intense experiential phenomena, has inspired and aroused a sentimental excitement in the minds. And the words then flowed from their minds, from their lips, and onto the paper. And verses and songs have been created, applauding the sense of extreme goodness and integrity of the emotional bond with the roots that tie oneself to the land of birth, giving a sense of a powerful identity. And that identity is what defines the existence for every individual – a sense of belonging, a sense of rooted security, a sense of a safe haven, where one is free to be oneself.

One such great man of letters that graced this land, during the passage of that which we identify as the period of struggle, is Allama Iqbal, one of the most significant writer and poet of our times. He put down these verses in the honor of this land – the land we refer to as Hindustan – “Sare Jahan se Achcha, Hindostan Hamaara”. The adage from the Vedas that is mentioned above – “जननी जन्मभूमिश्च स्वर्गादपि गरीयसी”, the thought and the concept so effortlessly and lovingly flows into the burden of this song.

This set of verses formed the song that is formally known as ‘Tarānah-e-Hindi’ – the Anthem of the People of Hindustan. The poem was first published in the weekly journal ‘Ittehad’ on 16 August 1904. It was publicly recited for the first time by Iqbal the following year at Government College, Lahore. Iqbal was a lecturer at the College at that time. He was invited by a student Har Dayal Mathur (later to become famous as Lala Har Dayal, one of the foremost freedom fighters and a leader of the Gadar Party), to preside over a function. Instead of delivering a speech, Iqbal sang “Saare Jahan Se Achcha”. The song embodied yearning and attachment to the land of Hindustan, and invoked a cultural memory that took the hearts of the young listeners at the function. In 1905, the 27-year-old Iqbal viewed the future society of the subcontinent as both a pluralistic and composite Hindu-Muslim culture.

After that rendition, it quickly became the sacred song of opposition to the British Raj. The song, an ode to Hindustan—the land comprising present-day Bangladesh, India and Pakistan, was later published in 1924 in the Urdu book ‘Bang-i-Dara’. The song has remained popular, and continues to be sung and performed at events of national significance, and even otherwise, as a song of patriotism for children.

The complete song consists of nine verses. Following is the complete text of this song.
[Acknowledgement – The full text of the song is taken from rekhta.org web site.]

saare jahāñ se achchhā hindostāñ hamārā
ham bulbuleñ haiñ is kī ye gulsitāñ hamārā

ġhurbat meñ hoñ agar ham rahtā hai dil vatan meñ
samjho vahīñ hameñ bhī dil ho jahāñ hamārā

parbat vo sab se ūñchā ham-sāya āsmāñ kā
vo santarī hamārā vo pāsbāñ hamārā

godī meñ kheltī haiñ is kī hazāroñ nadiyāñ
gulshan hai jin ke dam se rashk-e-jināñ hamārā

ai āb-rūd-e-gañgā vo din hai yaad tujh ko
utrā tire kināre jab kārvāñ hamārā

maz.hab nahīñ sikhātā aapas meñ bair rakhnā
hindī haiñ ham vatan hai hindostāñ hamārā

yūnān o misr o ruumā sab miT ga.e jahāñ se
ab tak magar hai baaqī nām-o-nishāñ hamārā

kuchh baat hai ki hastī miTtī nahīñ hamārī
sadiyoñ rahā hai dushman daur-e-zamāñ hamārā

‘iqbāl’ koī mahram apnā nahīñ jahāñ meñ
mālūm kyā kisī ko dard-e-nihāñ hamārā

 

Translation

Better than the entire world, is our Hindustan,
We are its nightingales, and it is our garden abode

If we are in an alien place, the heart remains in the homeland,
Consider us too to be right there where our heart would be

That tallest mountain, that neighbor of the sky,
It is our sentinel, it is our protector

In its lap frolic a thousand rivers,
Whose vitality makes our garden the envy of Paradise

O the flowing waters of the Ganga, do you remember the day
When our caravan first arrived on your banks

Religion does not teach us to bear animosity among ourselves
We are of Hind, and our homeland is Hindustan

In a world from where ancient Greece, Egypt, and Rome have all vanished
Therein still flourishes our name and identity

There is something blessed about us that our identity is never erased
Though in every period this world has been an adversary for centuries

Iqbal! We have no confidant in this world
What does anyone know of our hidden pain?

This song has also appeared in many Indian films. Two occasions of this song are already showcased on our blog, namely “Saare Jahaan Se Achcha Hindustan Hamaara” from the film ‘Bhai Behan’ (1950) and “Saare Jahaan Se Achcha Hindustan Hamaara” from the film ‘Ye Gulistan Hamaara’ (1972). Incidentally, the title of the latter film is also taken from this song – it is the second half of the second line in the first verse – “ham bulbuleñ haiñ is kī ye gulsitāñ hamārā”.

Today’s presentation is from the film ‘Hamaara Ghar’ from 1964. This is a children’s film made by KA Abbas. The film is produced under the banner of Naya Sansar, Bombay. The film features 6 songs, 5 of which are written by Ali Sardar Jafri. The sixth song, which is this song, is by Iqbal. Jag Phool Kaushik is the music director. Geet Kosh lists the name of singer as Vijaya Chaudhry and chorus. However, there are more voices in the song that are not identified.

This version of the song includes three verses from the original song.

75 years and counting. Maybe some of us will be here to witness the 100th year in 2047. Let that be a community resolution, that we shall celebrate together, the century of India’s independence.

As they say in our culture, word is eternal. And so this song will still be sung when we reach the century milestone. And that proclamation is contained within the verses of this song itself.

kuchh baat hai ki hastī miTtī nahīñ hamārī
sadiyoñ rahā hai dushman daur-e-zamāñ hamārā

 

Song – Saare Jahaan Se Achchha Hindostan Hamaara  (Hamara Ghar) (1964) Singer – Vijaya Majumdar, Lyrics – Allama Iqbal, MD – JP Kaushik
Unidentified Child Voice
Unidentified Male Voice
Male Chorus
Female Chorus
All Chorus

Lyrics

saare jahaan se achchha
hindostan hamaara
hindostan hamaara
saare jahaan se achchha
hindostan hamaara
hindostan hamaara
o o o
hum bubulen hain iski
ye gulsitan hamaara
ye gulshitan hamaala
saare jahaan se achchha
(aaa aaa aaaa)
hindostan hamaara
(aaa aaa aaaa)

laa
lallall lallall laa
laa
lallall lallall laa
laa
lallall lallall lallall lallall lallall laa

ghurbat mein hon agar hum
rehta hai dil watan mein
ghurbat mein hon agar hum
rehta hai dil watan mein
rehta hai dil watan mein
samjho wahin hamen bhi
samjho wahin hamen bhi
dil ho jahaan hamaara
hamaara
dil ho jahaan hamaara
saare jahaan se achchha
(aaa aaa aaaa)
hindostan hamaara
(aaa aaa aaaa)

lallal laa
ho ho ho

o o o
aaa aaa o

parbat wo sabse ooncha
aaa aaa haaa aaaa
parbat wo sabse ooncha
humsaaya aasmaan ka
humchhaaya aashmaan ka
wo santri hamaara
wo santri hamaara
wo paasbaan hamaara
hamaara
wo paasbaan hamaara
saare jahaan se achchha
(aaa aaa aaaa)
hindostan hamaara
(aaa aaa aaaa)

laa
lallall lallall laa
laa
lallall lallall laa
laa
lallall lallall lallall lallall lallall laa

mazhab nahin sikhaata
aapas mein bair rakhna
mazhab nahin sikhaata
aapas mein bair rakhna
aapas mein bair rakhna
hindi hain hum
hindi hain hum
hindi hain hum watan hai
hindostan hamaara
hamaala
hindostan hamaala
saare jahaan se achchha
(aaa aaa aaaa)
hindostan hamaara
(aaa aaa aaaa)

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

सारे जहां से अच्छा
हिन्दोस्तां हमारा
हिन्दोस्तां हमारा
सारे जहां से अच्छा
हिन्दोस्तां हमारा
हिन्दोस्तां हमारा
ओ ओ ओ
हम बुलबुलें हैं इसकी
ये गुलसितां हमारा
ये गुलशितां हमाला
सारे जहां से अच्छा
हिन्दोस्तां हमारा

ला
लल्लल्ल लल्लल्ल ला
ला
लल्लल्ल लल्लल्ल ला
ला
लल्लल्ल लल्लल्ल लल्लल्ल लल्लल्ल लल्लल्ल ला

ग़ुर्बत में हों अगर हम
रहता है दिल वतन में
ग़ुर्बत में हों अगर हम
रहता है दिल वतन में
रहता है दिल वतन में
समझो वहीं हमें भी
समझो वहीं हमें भी
दिल हो जहाँ हमारा
हमारा
दिल हो जहाँ हमारा
सारे जहां से अच्छा
(आ आ आ)
हिन्दोस्तां हमारा
(आ आ आ)

लल्लल्ल ला
हो हो हो
ओ ओ ओ
आ आ ओ

परबत वो सबसे ऊंचा
आ आ हा आ
परबत वो सबसे ऊंचा
हमसाया आसमां का
हमछाया आशमां का
वो संतरी हमारा
वो संतरी हमारा
वो पासबां हमारा
हमारा
वो पासबां हमारा
सारे जहां से अच्छा
(आ आ आ)
हिन्दोस्तां हमारा
(आ आ आ)

ला
लल्लल्ल लल्लल्ल ला
ला
लल्लल्ल लल्लल्ल ला
ला
लल्लल्ल लल्लल्ल लल्लल्ल लल्लल्ल लल्लल्ल ला

मज़हब नहीं सिखाता
आपस में बैर रखना
मज़हब नहीं सिखाता
आपस में बैर रखना
आपस में बैर रखना
हिन्दी हैं हम
हिन्दी हैं हम
हिन्दी हैं हम वतन है
हिन्दोस्तां हमारा
हमाला
हिन्दोस्तां हमाला
सारे जहां से अच्छा
(आ आ आ)
हिन्दोस्तां हमारा
(आ आ आ)

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