Archive for the ‘Happy song’ Category
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | Introduction song | joie de vivre | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5663 | Post No. : | 18165 |
Today’s song is from a costume film ‘Raj Pratigya’ (1958).
This is yet another film, with a story of King and Queen. I have seen this film and have its story with me. Otherwise also, the film’s title and the cast are a clear giveaway enough to declare this film as a Raja-Rani film. The only difference is, this film’s story is based on the background of 2 warring kingdoms, Magadh and Malawa, which existed in olden times in India. After seeing such films, one gets the answer why and how the Mughals or the Europeans could win in India and managed to rule it despite the population being majority Hindus and the rulers in a disciplined minority. The majority was busy fighting among themselves rather than with the invaders jointly !
This costume dominated film was produced by Gauri Shankar Goyal for Dinesh Films, Bombay. It was directed by Jaswant Zaveri, who had directed 14 films in the span of 18 years – from 1946 (‘Hoor e Jungle’) to 1964 (‘Hameer Hath’). The decade of the 1950’s was an unique one. A total of 1125 films were censored from 1951 to 1960 and these included almost every possible film genre. This was probably the only decade which had offered a variety of entertainment to every type of audience. The decade had films from genres like mythology and religion (124 films), costume dramas (93 films), adventure, patriotic, murder and mystery, detective, horror, comedy, tragedy, musicals, family drama, social, crime, folk story, stunt, action, historicals, imaginary, romantic etc.
Directors like Jaswant Zavery and banners specialized in making costume or stunt films falling under B or C grades, slowly disappeared after the 50’s, once these types of films being made diminished due to changing public taste. The music director of this film was a name which is not very famous or well known – Sanmukh Babu Upadhyaya. The story of Sanmukh Babu Upadhya, is not uncommon in the Hindi film industry.
I am sure not many will know about this composer. He was one of those artistes in the film industry who had immense talent but luck did not favor him.
Sanmukh Babu Upadhyaya was born on 13-9-1920 in Surat, Gujarat. His father Manibhai and brother Dinanath were music experts, thus Sanmukh had music as a traditional asset. Soon he acquired expertise in playing jal tarang and violin. Later in his life he became a well known violin player of Gujarat. In 1940, he met Gujarat’s famous singer Master Vasant (also from Surat) and he had a chance to play his instruments in the courts of Porbandar, Jamnagar, Baroda, Udaipur, Bikaner, Bhopal etc.
In 1942 Sanmukh Babu came to Bombay. He happened to meet Dinkar Rao Amembal, an official in All India Radio, by chance. Sanmukh Babu was taken in AIR services and he served for the next 5 years. He also went to Africa for one year to do stage shows.
After coming back, he joined Avinash Vyas as an assistant in the work of a Gujarati film and later in the famous Hindi film ‘Har Har Mahadev’ (1950). He was an expert in jal tarang and violin. His service at AIR had given him exposure to many famous musicians and this helped him a lot. Next few years he participated in many ballets and dance dramas in Gujarati and Hindi, along with Avinash Vyas.
He got his first break as an independent music director of Hindi film ‘Lalkar’ (1956), with the help of Kavi Pradeep. He gave music to 7 Hindi films – ‘Lalkar’ (1956), ‘Amar Singh Rathod’ (1957), ‘Sati Pariksha’ (1957), ‘Naag Padmini’ (1957), ‘Raaj Pratigya’ (1958), ‘Amar Prem’ (1960) and ‘Hamir Hath’ (1964).
When it became clear that he was getting only C grade films – action or historical and that no big banner ever offered him a film, he left the film industry. Next few years he devoted his time in directing ballets and dance dramas in Hindi and Gujarati. He cut several private records of his music. He also gave solo performances of violin all over the country.
It is unfortunate that his melodious music did not get enough opportunities or recognition, in the changing environment of film music of the 60s and the 70s, but he had no regrets. Sanmukh Babu Upadhyaya died on 24-2-1984, simply adding yet another name to the list of talented but less known composers.
The cast of the film was Nirupa Roy, Jairaj, Arun Ahuja (father of actor Govinda), BM Vyas (younger brother of Bharat Vyas, the lyricist of this film), Arvind Pandya (hero and singer of Gujarati stage and films), Sunder (one time hero and singer), Ramesh Sinha, Sabita Chatterjee, Sadiq Ali (once called ‘The Prince of Minerva’), Praveen Pal, Dar Kashmiri (elder brother of actor Jeevan) and many others. The lead pair of Nirupa Roy and Jairaj were famous for acting in historical and costume films like today’s film. They acted in 20 such films together. I have special feelings for Jairaj as he not only hailed from Nizam state, from where I too come, but also we studied in the same college – Nizam College, not together of course.
Born on 28-9-1909 in Karimnagar (Hyderabad state, now Telangana State) in a cultured family, young Jairaj was schooled in Rishi Valley school. Thereafter he joined the Nizam’s college where he participated in Shakespearean plays. He hailed from a very cultured family with lofty connections – his mama was married to Sarojini Naidu. His father, a government official, passed away and his mother followed suit when he was barely 19 and the youngest among three brothers, Jairaj was totally heartbroken and shifted to Mumbai.
“He wanted to join the Navy but he was delayed for the recruitment. He befriended his filmi neighbors, who urged him to join films because of his strapping physique. He was nearly six feet tall,” relates Deepa, his daughter in her interview.
His film career took off as a body-double stuntman in the Sharda Film company. He would be interested in all aspects of film making – from camera work, edit to lab processing. Not before long, he got his first acting break as the hero’s friend and his body-double during stunt scenes in ‘Jagmagati Jawani’ (1929) and graduated to playing the hero. His distinguished looks and physique landed him the lead role. However, his second venture ‘Raseeli Rani’, was his first release. He acted in as many as 11 silent films between 1929-1931. Jairaj in an earlier interview had elaborated on how silent films were made – “All shooting took place in natural sunlight. Our day began and ended early. We reached the sets by 7.30 in the morning and packed up by 5 in the evening… We all learnt the craft by trial and error. We discussed the story together, developed it and then started shooting… It was a challenge, you had to make people laugh, cry or get angry through facial expressions and gestures only. Charles Chaplin is the best example of this art. But then, cinema, unlike the stage, is a visual medium. That was why silent movies had universal appeal.”
After the first talkie film, ‘Alam Ara’, in 1931, Jairaj also switched over to talkies. Being a Hyderabadi, he was fluent in Urdu and that proved to be a big asset for him. ‘Shikari’ (1932), replete with tigers, lions and snakes, was his first talkie.
With sound came songs and Jairaj was handicapped by the fact that he was no singer. Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The music director of the film ‘Patit Paawan’ (1933) was Prof BR Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed – “Prem Magan Sakhi”. Jairaj had sung it so badly, that the song was removed from the film from the second show itself. Jairaj is probably the only hero of those days who never sang in films. Even after playback singing became the norm, Jairaj has ip-synced only 28 songs on screen despite acting in nearly 215 movies! But he managed to stay in the reckoning by starring in action films. With the introduction of playback singing, he forged forth with films like ‘Rifle Girl’, ‘Bhabhi’, ‘Panna’ and ‘Mahasagar No Moti’ – which were all hits.
The 1950s and early ’60s was Jairaj’s golden era as an actor as he essayed a variety of roles of hero, villain and even comedian. He was, however, celebrated for his wide range of historical roles, playing Chandrashekhar Azad, Amar Singh Rathore, Prithviraj Chauhan, Rana Pratap, Shaheed Bhagat Singh and Tipu Sultan. “Papa was a natural rider and that helped,” opines Deepa.
Jairaj featured in over 200 films during which he romanced all the top heroines of his times – Devika Rani, Khursheed, Nigar Sultana, Nadira, Shakila, Durga Khote, Nirupa Roy, Nimmi, Suraiya, Madhubala and Meena Kumari. “He was the first kissing star of his times, he was lip-locked with his heroine Madhuri in ‘Jagmagati Jawani’. “He was also the first superman of the Indian screen,” informs Rajan Shahi about the on-screen shenanigans of his nana ji.
“Although Papa was famous for his parties, he was never involved in any scandal. All his heroines regarded him as their close friend. I remember, Nargis had knitted him a sweater monogrammed with his initials!”, Deepa reminisces fondly.
Jairaj started accepting character roles from the mid 60s. His roles in ‘Insaniyat’, ‘Baharon Ke Sapne’, ‘Neel Kamal’, ‘Raaste Aur Manzil’ are memorable. Also his most cameos in ‘Don’, ‘Masoom’ and ‘Khoon Bhari Maang’ are known to viewers today. Jairaj had also acted in three international films, the Russian co-production with KA Abbas ‘Pardesi’, MGM’s ‘Maya’ and 20th Century Fox’s ‘Nine Hours To Rama’. The last film was based on Mahatma Gandhi’s assassination and was banned in India!.
Jairaj produced and directed ‘Saagar’ starring Nargis, Dilip Kumar and Bharat Bhushan in 1951. “It was based on Lord Tennyson’s poem ‘Enoch Arden’. It was a story about two brothers living in a seaside town and the younger brother sacrifices his love as the elder brother is in love with his sweetheart. But papa lost all his money in his maiden production,” Deepa recalls sadly. Jairaj had confessed in an earlier interview, “I did not have the business acumen to produce and promote a film. Unlike others producers, I had invested my own money,” he had admitted regretfully. Jairaj was forced to sell his office and it was the most frustrating period of his career. He went back to acting and recovered.
He also directed films like ‘Mala’ (1941, jointly with Mahendra Thakur), ‘Pratima’ (1945), ‘Saagar’ (1951) and ‘Mohar’ (1959). He also directed two television serials – ‘Taana-Baana’ and ‘Katha Sagar’. In all Jairaj acted in 215 Hindi films and directed 4 films in his career.
Jairaj was hailed as the industry’s friend. He was a keen sportsman and an artiste. He would organize all the charity cricket matches that stars played. He also designed musical shows and award ceremonies. He also took keen interest in the propagation of classical dance and music. “While he managed the entire show by drawing sketches of the stage to star performances, veteran character artiste David would compere the shows,” Deepa recalls.
He was close friends with the Kapoors. “So much so that both our families would go on vacations together,” Deepa recalls happily how Prithviraj and his sons were like their extended family.
Prithviraj Kapoor and Jairaj were the founder members of the Cine Artistes’ Association in 1939. In 1981 Jairaj was honored with the prestigious Dada Saheb Phalke award for his outstanding contribution to Indian cinema, a most deserving honor. Interestingly, Jairaj starred in Gujarati and Marathi films but never in Telugu, which was his mother tongue.
Prithviraj’s father had arranged his marriage to a Punjabi girl from Delhi and the two were blessed with six children. Of his two sons Dileep Raj even starred in KA Abbas’ ‘Sheher Aur Sapna’ (1963) and ‘Aasmaan Mahal (1965) and was then hailed as the ‘next Raj Kapoor’. “But he couldn’t sustain his success. He now writes films and serials, while Jai Tilak, our second brother, became an engineer and he settled in Chicago. All of us four sisters were married out of Mumbai and out of the film industry,” updates Deepa.
Rajan, his grandson, is the sole torchbearer of Jairaj’s showbiz legacy. “Nana ji advised me to build goodwill in the industry. Name and fame will come and go, only your good will see you through, he said. That’s the most valued mantra for me,” admits his grandson gratefully.
Jairaj passed away on August 11, 2000 at the ripe age of 91, leaving behind a rich legacy. (Based on the interview of Deepa Shahi, with thanks, and my notes).
Today’s song is sung by Asha Bhosle. Enjoy….
Song- Mera naam Saanwri main aayee tere gaanv ree (Raaj Pratigyaa)(1958) Singer- Asha Bhosle, Lyricist-Bharat Vyas, MD- Sanmukh Babu
Lyrics
dil ko chain miley
jab miley preet ki chhaanv
sawaa haathh ka ghoonghat kheenchey ae ae
aayee tere dwaar
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadu daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
kaari kaari koyaliya ki
kuhu chura kar laayi
phool kee khushboo udaa kar laayi
pawan ka pankh lagaa kar aayi
ke naina khol de re
umad ghumad saawan ke jaisi
ghata main ban ke aayi
poonam ki chhata main ban kar aayi
roop atpata main ban kar aayi
ke waah waah bol de re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
jab main nikloon ban thhan ke to
jab main nikloon ban thhan ke to
log dekh chakraayen
phool bagiya ke khil khil jaayen
chandrma badlee mein chhup jaaye
main chamkoon chaandni re
jab main naachoon gher ghaaghre
ka mera lehraaye
ke jisko dekh mor sharmaaye
hiraniyon ki kataar ruk jaaye
main aisi kaamini re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadoo daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayee tere gaanv ri
mera naam saanwri
main aayee tere gaanv ri
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दिल को चैन मिले
जब मिले प्रीत की छांव
सवा हाथ का घूँघट खींचे॰॰ए
आई तेरे द्वार
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
कारी कारी कोयलिया की कुहु चुरा कर लाई
फूल की खुशबू उड़ा कर लाई
पावन के पंख लगा कर आई
के नैना खोल दे रे
उमड़ घुमड़ सावन के जैसी घटा मैं बन कर आई
पूनम की छटा मैं बन कर आई
रूप अटपटा मैं बन कर आई
के वाह वाह बोल दे रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
जब मैं निकलूँ बन ठन के तो
जब मैं निकलूँ बन ठन के तो
लोग देख चकराएँ
फूल बगिया के खिल खिल जाएँ
चंद्रमा बदली में छुप जाये
मैं चमकूँ चाँदनी रे
जब मैं नाचूँ घेर घाघरे का मेरा लहराए
के जिसको देख मोर शरमाये
हिरणीयों की कतार रुक जाये
मैं ऐसी कामिनी रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
- In: "Zindagi" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1956 | Yearwise breakup of songs
- 3 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5509 | Post No. : | 17953 |
Today’s song is from a C grade costume film ‘Aan Baan’ (1956).
I was in two minds while searching for songs of this film on YouTube. Firstly, whenever I tried to find a song of this film, invariably YouTube presented songs from the film ‘Aan Baan’ made in 1972. After getting tired of this behaviour of YT, I got an idea and I asked for songs from ‘Aan Baan’ (1972). Lo and behold ! YT promptly gave me songs from ‘Aan Baan’ (1956) ! I was in a fix whether to pat my back for this idea or to curse YT for its dumbness.
Secondly, I was very happy that my coined word ‘Same Name Confusion’ and my pioneering work on this subject which troubled the HF history students no end, had even influenced YT which got confused with the same name film title !!
Out of 7 songs of this film 5 songs are already on the Blog. Today’s song will be the 6th song. The 7th and the last song of this film is available on You Tube, waiting to make this film Yippeed !
This film was a routine C grade costume film, having a story involving a King, Queen and wicked Vazir – a story which was used by hundreds of such films. Anyway, as long as there was a fixed audience the such films were made and the makers made a lot of money too. These films were made with a stringent budget but had a wide market all over.
The story of this film was. . .
When the Maharani of Shivgarh was on the deathbed, she asked others of the family to take care of her daughter Jai Kumari. But all the others were of different natures. Her father was an old warrior. Elder brother Devi Singh believed in peace and co-existence. Younger brother Amar Singh believed in the might of the sword and wanted the throne for himself.
When Devi Singh fell in love with a dancer Heera, Amar Singh wanted to rebel against him, but Jai Kumari supported elder brother and got him married to Heera. Amar Singh, however, continued troubling the family. Fed up, the king took back all his ranks and honors and boycotted him from the family. Only Jai Kumari helped him to regain all his honors.In the meantime, Jai Kumari fell in love with Karan Singh, Prince of the neighboring enemy state Raigarh. Taking this opportunity, Amar Singh waged a war with the king and his elder brother Devi Singh. Amar Singh won the battle and the king and brother were arrested and sent to jail. Jai Kumari herself went to jail along with father and brother.
When Karan Singh came to know this, he attacked the state with the help of sympathizers in Shivgarh. The king, brother and sister are freed and Amar Singh gets killed in the battle. Devi Singh becomes the king. Jai Kumari and Karan Singh get married. Thus all is well. The audience jumps up like a child and goes back to their homes, greatly relieved !
Despite being a Ccostume film the actors and the MD were good, because the producer and director was DD Kashyap. The film was made under his banner Kashyap Films. He had a good taste. The music directors Husnlal-Bhagatram are one of my favorite composers from the older generation.
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with ‘Chand’. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 53 films (of which two are unreleased) and most films’ music became popular. Although Bhagatram was the elder of the two brothers, their name was famous as Husnlal–Bhagatram. During the peak of their career, the handsome, good looking Husnlal’s name was linked to the upcoming singer of those days – Lata Mangeshkar. This episode is described by C Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husnlal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husnlal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husnlal was a performer par excellence in khayal, thumri, dadra, ghazal, and bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of taans, like his Guru Vedi Ji.
Pandit Husnlal was an accomplished Violinist, a renowned classical singer and an ace music director. He, along with his elder brother Bhagatram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of Husnlal-Bhagatram. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named ‘Chand’, after which they never looked back. They gave super hit melodies for 53 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film ‘Badi Behan’ (1949) is a classic in the history of Indian cine music. Besides the most popular song, “Chup Chup Khade Ho Zaroor Koi Baat Hai” there are other seven numbers which gave the audiences the pleasure of music as an art form – “Wo Pass Rahen, Ya Door Rahen“, “Tum Mujhko Bhool Jaao, Ab Hum Na Mil Sakenge“, “Likhne Waale Ne Likh Dee Meri Tqdeer Mein Barbaadi” and “Bigdi Banaaney Waale, Bigdi Banaa De” (Suraiya) and “Mohabbat Ke Dhoke Mein Koi Naa Aaye” (Mohammed Rafi).
In the songs “Chaley Janaa Nahin Nain Mila Ke” and “Jo Dil Mein Khushi Ban Kar Aaye” Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husnlal on Lata’s 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husnlal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Ae Duniya Waalo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was written by Rajendra Krishan and composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of the set of two 78 rpm discs of this recording were sold, within one month.
Husnlal-Bhagatram worked with famous playback singers like Ameerbai Karnataki, Suraiya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, Mukesh, among others. They also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husnlal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s, this pair parted company with each other. Husnlal’s father in law was an influential person. With his help, Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognized him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition, working for other composers. He passed away in 1973, in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan.
[Author’s Note: I had the opportunity to speak to Shri Ashok Sharma ji, about his father, a few months back].
Once Lady Luck turns her back on someone, destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny,
Some things happen in life differently – for example, as Shankar was a good dancer, he danced with dholak, in ‘Pyaar Ki Jeet’ (1948), and the music directors were the then first pair of Hindi film music Husnlal Bhagatram who were brothers. Husnlal was a good violinist and Bhagatram was a harmonium master. When they were assigned the film ‘Pyaar Ki Jeet’, Shankar was their assistant and played dholak and tabla and being a dancer himself, danced in the film as stated above.
It is destiny, that Shankar made a pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time.
Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director. Husnlal took to play violin. And Bhagatram, sorry to say, being alone, started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction. . . What would you call it. . .? Destiny?
Here is their filmography by year.
[Author’s Note: Thanks to dear Mahesh ji for preparing the following table for HB’s filmography.]
| Composer | Year | Name of the Films | No of Films | |
|
Bhagatram |
1939 | Midnight Mail, Bahadur Ramesh, Bhedi Kumar, Chashmawali | 4 | |
| 1940 | Tatar Ka Chor, Sandesha, Hatimtai Ki Beti, Deepak Mahal | 4 | ||
| 1941 | Hamara Desh | 1 | ||
| Husnlal and Bhagatram |
1944 | Chand | 1 | |
| 1945 | Nil | |||
| 1946 | Hum Ek Hain, Nargis | 2 | ||
| 1947 | Heera, Mirza Sahiban, Mohan, Romeo And Juliet | 4 | ||
| 1948 | Aaj Ki Raat, Lakhpati, Pyaar Ki Jeet | 3 | ||
| 1949 | Amar Kahani, Balam, Badi Bahen, Bansariya, Hamari Manzil, Jal Tarang, Naach, Raakhi, Sawan Bhadon | 9 | ||
| 1950 | Aadhi Raat, Apni Chhaya, Birha Ki Raat, Chhoti Bhabhi, Gauna, Meena Bazaar, Pyar Ki Manzil, Sartaj, Surajmukhi | 10 | ||
| 1940s | Bambi (UR) | 1 | ||
| 1951 | Afsana, Rajput, Sanam, Shagun, Stage | 5 | ||
| 1952 | Kafila, Raja Harishchandra | 2 | ||
| 1953 | Aansoo, Farmaish | 2 | ||
| 1954 | Shama Parwana | 1 | ||
| 1955 | Adl e Jehangir, Kanchan | 2 | ||
| 1956 | Aan Baan, Mr Chakram | 2 | ||
| 1957 | Dushman, Jannat, Krishna Sudama | 3 | ||
| 1958 | Trolley Driver | 1 | ||
| 1959 | Nil | |||
| 1960 | Nil | |||
| 1950s | Kya Baat Hai (UR) | 1 | ||
| 1961 | Apsara | 1 | ||
| 1962 | Nil | |||
| 1963 | Shaheed Bhagat Singh | 1 | ||
| 1964 | Nil | |||
| 1965 | Tarzan And Circus | 1 | ||
| 1966 | Sher Afghan | 1 | ||
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog ‘Songs of Yore’ published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview,
The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….“DD Kashyap, who was directing ‘Chaand’ (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ”
Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.
[Author’s Note: Thanks to Blog ‘Songs of Yore’ for this information.]
Almost all the songs in this film are good. Today’s song also is sung by Asha Bhosle very nicely.
Song – Jhoom rahi hai zindagi (Aan Baan)(1956) Singer – Asha Bhosle, Lyricist – Qamar Jalalabadi, MD – Husnlal-Bhagatram
Lyrics (Provided by Prakashchandra)
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
tera hazaar shukriya
pyaar ka dard de diya
dard mein hai badaa mazaa
aur ise badhaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
aankhon mein aankhen daal ke
kaisa pila diya nasha
kaisa pila diya nasha
hosh kahe sambhal sambhal
dil kahe ladkhadaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
pehlu se dil nikaal ke
kadmon pe tere rakh diya
chaahe ise rulaaye jaa
chaahe ise hansaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
तेरा हज़ार शुक्रिया
प्यार का दर्द दे दिया
दर्द में है बड़ा मज़ा
और इसे बढ़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
आँखों में आँखें डाल के
कैसा पिला दिया नशा
कैसा पिला दिया नशा
होश कहे संभल संभल
दिल कहे लड़खड़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
पहलू से दिल निकाल के
कदमों पे तेरे रख दिया
चाहे इसे रुलाये जा
चाहे इसे हसाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
Saawan Barse Tarse Dil
Posted on: August 4, 2023
- In: "saawan" song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Happy song | Hariharan Song | Hriharan - Sadhna Sargam Duet | joie de vivre | Love song | Lyrics contributed by readers | Post by Sadanand Kamath | Rain song | Sadhna Sargam Songs | Songs of 1990s (1991 to 2000) | Songs of 1999 | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5495 | Post No. : | 17935 | Movie Count : |
4794 |
‘Dahek’ (1999) was produced by Milan Jhaveri and was directed by Lateef Binny. The cast included Akshay Khanna and Sonali Bendre in the lead roles supported by Danny Denzongpa, Dalip Tahil, KK Raina, Anang Desai, Achala Sachdev, Anjana Mumtaz, Heena Qureshi, Achyut Potdar, Anil Nagrath, Rahul Singh etc. For both the producer, Milan Jhaveri and the director, Lateef Binny, this was their maiden film. According to director, Lateef Binny, the film took over 3 years to complete and another 2 years to get released.
Milan Jhaveri is the son of film financier, Chandrasen Jhaveri. After this film, he turned writer and director under a new name – Milap Milan Zaveri. He directed ‘Jaane Kahaan Se Aayi Hai’ (2010), ‘Mastizaade’ (2016), ‘Raakh’ (2016) and ‘Satyamev Jayate (2018). Lateef Binny came from the theatre background as an actor and director. He has assisted Rajkumar Santoshi for 8 years.
The film is about the inter-faith romance and the obstacle the boy and the girl faced from their family. The political and religious elements in both the religious groups create a divide between two communities even though the boy and the girl fall in love without the knowledge of the religion of each other. Their end is tragic. The gist of the film’s story is as under:
Sameer Roshan (Akshay Khanna), a Hindu and Neelima Bakshi (Sonali Bendre), a Muslim fall in love with each other when they first meet at the post office. They have a common interest in becoming the doctors. Their love is blossomed after they frequently meet, unmindful of their religion as their names are deceptive to get any clue to their respective religion. After a few meetings, they get to know each other’s religion and decide to break the relationship as their parent would not accept the marriage. However, they soon realise that they cannot live apart. They decide to get married.
Neelima is afraid to reveal her intention to her uncle Jabbar Bakshi (Danny Denzongpa), the head of the family. For, he is an orthodox Muslim who will not approve the marriage. Also, Jabbar has recently returned from jail after serving 12 years of imprisonment for killing the husband of his sister, Sabina (again the role played by Sonali Bendre) for marrying without his consent, even though her husband was a Muslim. Sameer’s father Bhushan (Dalip Tahil) has reservation about this marriage as he does not want a showdown with Jabbar.
Jabbar comes to know about Neelima’s affairs with Sameer. He is infuriated as Neelima is planning to get married to Sameer who is a Hindu. His attempt to get Neelima married to a Muslim boy proves futile. Having failed in his intimidating tactics with Sameer, Jabbar decides to get rid of both of them in the same way as he had done with his sister’s husband 12 years back for violating the family’s code of conduct. Jabbar’s younger brother Naseem (KK Raina) and Sameer’s father Bhushan mend ways but Jabbar is adamant. Sameer and Neelima elope from the city to an unknown place. The next morning, their elopement becomes the headline in the newspapers.
The elopement triggers the communal violence and riots turning the family issues into a political conspiracy by the interested groups. In the meanwhile, Jabbar is able to get the whereabouts of Sameer and Neelima and proceeds to kill them with a sword. Nassem, his younger brother, follows him to avoid the bloodshed. He tries to prevent Jabbar from killing them by his sword. But he is accidentally killed by Jabbar. Jabbar is arrested and put in the police custody. In the night when Sameer and Neelima come out from their hiding to meet each other, they are shot dead by those who are opposed to their relationship. The love story of Sameer and Neelima results in a tragic end.
The story of the film is contemporary and would have been great if it was handled better. It may be due to delay in the completion of the film as the director has limited options fulfilling his requirements in the delayed project. As a result, the film does not create an aura of sensitivity on the subject as it should have generated. Incidentally, the screenplay was written by the director himself. By the time the film was released, films with more or less similar theme, ‘Bombay’ (1994) and ‘Zakhm’ (1998) got released. The result was that ‘Dahek’ (1999) failed at the box office.
There are six songs in the film of which one song has two versions. The songs were written by Majrooh Sultanpuri (2), Dev Kohli (2), Madan Pal (1) and Shyam Raj (1). The songs written by Majrooh Sultanpuri were set to music by Anand-Milind. Rest of the 4 songs were composed by Aadesh Shrivastava.
I present the first song “Saawan Barse Tarse Dil” from the film to appear on the Blog to time with the Hindu calendar month of Saawan. The song is rendered by Hariharan and Sadhana Sargam which is written by Majrooh Sultanpuri and set to music by Anand-Milind.
The background of the song is that Sameer (Akshay Khanna) sends a letter to Neelima (Sonali Bendre) asking her for a date. Though it is raining, both set out from their respective houses and are determined reach their destination with whatever the mode of transport available. Sameer travels even on road roller and handcart to finally reach their meeting point.
According to an article, ‘The Stories Behind Five of the Best Rain Songs in Hindi Cinema’ which appeared in scroll.in, the film’s director, Lateef Binny has been quoted as saying that the song under discussion was shot over three years and was shot all over Mumbai – in Goregaon, Andheri and South Mumbai. At the time of the shooting of the song, both Akshay Kumar and Sonali Bendre were newcomers. Being unrecognized faces, it was possible to shoot them in live rains in Mumbai. While Sonali Bendre did the shooting in the rains enthusiastically, Akshay Khanna was the reluctant participant. Nearly 70 percent of the song was shot in live rains, while the rest was shot indoor due to the delay by which time, the actors became the known faces.
This song reminds me of, more or less. a similar scene in the iconic rain song in Lata Mangeshkar’s version, “Rimjhim Gire Saawan Sulag Sulag Jaaye Mann” in ‘Manzil’ (1979).
Video
Audio
Song – Saawan Barse Tarse Dil (Dahek) (1999) Singer – Hariharan, Sadhna Sargam, Lyrics – Majrooh Sultanpuri, MD – Anand Milind
Male Echo
Female Echo
Lyrics
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaisa beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ki intezaar mein
ek mohabbat ka deewaana
dhoondhata sa phire
koi chaahat ka nazaraana
dilruba ke liye
ho ek mohabbat ka deewaana
dhodhata sa phire
(dhoondhate sa phire)
koyi chaahat kaa nazaraana
dilruba ke liye
(dilruba ke liye)
chham chham chale paagal pawan
aaye maza bheege balam
bheege balam
phisle kadam
barkha bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
ek haseena idhar dekho
kaisi bechain hai
raaste par lagey kaise
uske do nain hai
ho ek haseena idhar dekho
kaisi bechain hai
(kaisi bechain hai)
raaste par lagey kaise
uske do nain hai
(uske do nain hai)
sach poochhiye to mere yaar
dono ke dil beikhtiyaar
beikhtiyaar
hain pehli baar
pehli bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahin to kya hai
(ye pyaar nahin to kya hai)
dekho kaisa beqraar
hain bhare baazaar mein
yaar ek yaar ki intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक मोहब्बत का दीवाना
ढूँढता सा फिरे
कोई चाहत का नज़राना
दिलरुबा के लिए
हो एक मोहब्बत का दीवाना
ढूँढता सा फिरे
(ढूँढता सा फिरे)
कोई चाहत का नज़राना
दिलरुबा के लिए
(दिलरुबा के लिए)
छम छम चले पागल पवन
आए मज़ा भीगे बलम
भीगे बलम
फिसले कदम
बरखा बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक हसीना इधर देखो
कैसी बेचैन है
रास्ते पर लगे कैसे
उसके दो नैन हैं
एक हसीना इधर देखो
कैसी बेचैन है
(कैसी बेचैन है)
रास्ते पर लगे कैसे
उसके दो नैन हैं
(उसके दो नैन हैं)
सच पूछिए तो मेरे यार
दोनों के दिल बेइख्तियार
बेइख्तियार
हैं पहली बार
पहली बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
Dukki Pe Dukki Ho Ya Satte Pe Satta
Posted on: May 2, 2023
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5401 | Post No. : | 17723 |
This is the song, part of which is shot near to the Thajiwas glacier, near Sonamarg, Kashmir. This is the route going to Laddakh, travelling east of Srinagar. Further on this road falls Kargil area, about which many people have told me is much too beautiful to miss. Laddakh is a sight to behold too. I have missed both Laddakh and Kargil, but hope to visit in future, in-sha-Allah.
When we spoke to local people and guides in the valley at Sonamarg, one of them told us that many Hindi film songs are filmed in the area and very near to the Thajiwas glacier. He mentioned a song from the 1982 film ‘Satte Pe Satta’. I forgot all about this and only discovered this song accidentally. It is indeed filmed nearer to the glacier, than we could travel. A few decades ago, the vehicles were allowed to go up to the valley where the glacier is near, and the rivers and waterfalls start, fed by the Thajiwas glacier. Obviously, the location is visible from the highway, but far away for us city people to walk up or even ride a horse. I clicked great many photos, to capture different fingers of the main glacier, whatever I could see from one side i.e. the highway and Sonamarg side. It must be magnificent to look at from the other sides, which are truly remote and not habitable areas. This is only one glacier of the 10,000 which fall in the Indian territory. One needs several lives to fully watch and savour the magnificence of the Himalayan Mountain range, and its various attributes and aspects. The Himalayas were formed due to the friction and constant northward movement of the Indian plate against the Asian plate, over thousands of years.
This is my previous post on Kashmir visit – “Jiya Jiya Re Jiya Re“.
Todays’s song is from the film ‘Satte pe Satta’ (1982), which is mostly shot in Kashmir over 40 years ago, and one part of it is near the famous glacier. Must be in fair weather, the full star cast of the film went up there to shoot in bright sunlight. But they all returned to the base farmhouse/ farmstead where rest of the song is filmed. The singers are RD Burman, Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty and the music is composed by RD Burman. The lyricist is Gulshan Bawra and it is the title song of the film.
Interestingly, Gulshan Bawra has rhymed the words satte pe satta with the word albatta. This gives us a unique word, and as far as I am aware, used only once in a Hindi film song. The word is a common usage affirmative / emphasising in cultured chaste Urdu. In old Hindi films this word is common, in dialogues, where the speaker wants to say or assert a view, despite this or inspite of that, ‘albatta‘, the truth prevails 😊.
اَلبَتَّہکےاردومعانی پوشیدہ فعلمتعلق یقیناً، قطعیطورپر، بےشک، ضرور، یقینہےکہ، لیکن، مگر، اتناضروریہے
albatta. अलबत्ताالبتہ. although, but, on the other hand. Isth
This explains the origin of the word.
Is the English word ‘albeit’ derived from the Urdu word ‘Albatta’?
No, the word ‘albeit’ is not derived from the Urdu word ‘Albatta’. ‘Although’ is a conjunction that means ‘in spite of the fact that’ or ‘even though’. It is derived from the Old English word ‘þeah’ which means ‘even though’ or ‘although’. The Urdu word ‘albatta‘ is a conjunction that means ‘although’ or ‘notwithstanding’. It is derived from the Arabic word ‘al-batta‘ which means ‘however’ or ‘despite’.
I have fond memories of watching this film at Minerva (or was it Apsara?) in 1982. We lived in the BEST officer’s quarters and the many families decided to watch the film collectively. The tickets were booked through the theater management, via the PSU’s good offices, as the supplier of electricity. I remember the theater management had put up a welcome message for the BEST officers and their families on screen, before the start of the film.
I am truly amazed to have had such unique experiences of movie watching, in theaters. Some memories, like being hit with a clothes hanger, and being forced to go to watch ‘Muqaddar ka Sikander’ (1978); and leaving the Liberty cinema in interval after not watching ‘Lekin’ (1990), walking up to Maratha Mandir to watch a re-release matinee show of ‘Mughal-e-Azam’ (1960) in knee deep water-logged streets; the experience of watching coins being thrown at the screen on the song “Tere Chehre Mein Wo Jaadu Hai” in a dilapidated theatre in Belgaum while watching ‘Dharmata’ (1975) sometime in the mid 80’s; the best of which is my friend being told by the usher, “No madam, it is waiting for you” at Regal cinema where we were late for the show of ‘Gone With The Wind’ (1939), in reply to her question “Has the movie started?”. There are more such memories, which will surface in time. I will share them in future posts.
Song – Dukki Pe Dukki Ho Ya Satte Pe Satta (Satte Pe Satta) (1982) Singer – Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty, Lyrics – Gulshan Bawra, MD – RD Burman
Chorus
Lyrics
hey…
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
haan
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
tu mere dil ka raja hai
ya tere dil ki main raani
tu mere dil ka raja hai
ya teredil ki main raani
o o o
tu meri baahon mein aa
main teri baahon mein hoon
pyar to hoga jaani
banegi wohi kahaani
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
wow
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
ho ho ho
ah ha haa
oh ho ho ho ho ho ho
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
o o purab se paschim ki ee
uttar se dakshin ki ee
mil jaati hain rekhayen
laakhon pehre lagaayen
atak gaya
kyun
ka ko ka ko ka ka
ka ka kao kao
bolo bolo bolte raho
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
ho dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dono ka ek matlab hai
dil de de ya to dil le le
ho dono ka ek matlab hai
dil de de ya to dil le le
ho….
sadiyon se hota hai jo
aakhir ko wohi hoga
lagte hain pyar ke mele
jaayenge sabhi akele
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे ॰ ॰ ॰
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हाँ
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
ओ ओ ओ
तू मेरी बाहों में आ
मैं तेरी बाहों में हूँ
प्यार तो होगा जानी
बनेगी वही कहानी
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
वॉव
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो हो हो
आ हा हा
ओह हो हो हो हो हो हो
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
ओ ओ पूरब से पश्चिम की॰ ॰ ॰
उत्तर से दक्षिण की॰ ॰ ॰
मिल जाती हैं रेखाएँ
लाखों पहरे लगाएँ
अटक गया
क्यों
का को का को का का
का का काओ काओ
बोलो बोलो बोलते रहो
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
हो॰ ॰ ॰
सदियों से होता है जो
आखिर को वोही होगा
लगते हैं प्यार के मेले
जाएँगे सभी अकेले
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
Wo Ladki Hai Kahaan
Posted on: April 25, 2023
- In: "Dream of Wide Awake Eyes" | "Searching for Beloved" Song | "Searching for something" song | Dance song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Group Dance | Guest posts | Happy song | joie de vivre | Kavitha Krishnamurthy Songs | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Shaan - Kavita Krishnamurthy Duet | Shaan Songs | Songs of 2000s (2001 to 2010) | Songs of 2001 | Yearwise breakup of songs
- 7 Comments
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 : |
5394 | Post No. : | 17699 |
It really has been a while– I do not follow the current Hindi films scene on a regular basis. I think this started in mid 1980s. One factor was that my life became quite mobile as far as my work situation was concerned. Moving to Bombay (now Mumbai) in 1987, then on to US in 1988, back in Delhi 1996, change of workplace two times, and then back again in the US in 2000. Back in Delhi 2009/10, and then more ongoing travel albeit shorter and less frequent.
There are two more factors that I can think of. My deep interest in Hindi films and film music has been with me since I was a student of 3rd/4th grade school. A big chunk of my memory is full of many items starting from that period. However, as we get on to 1980s, and beyond the mid 1980s, the flavors of music in films were changing. For good or bad, I do not make this judgment, but it became different from the likeable and favorite stock stored in me. And so the interest started to wane somewhat. 1980s was also a period of significant transition and churn in terms of the artists and persona who had molded my interest and my love for this art form. Many left us, and many others were sidelined, for reasons I once again do not want to make a judgment on. Bottom line was that the music that was being created in the industry was holding less and less attraction and interest for me.
No, this is not a blanket dismissal of everything that has happened in the industry since mid 1980s. Just that there were progressively lesser artifacts that would catch my attention, and get added to my list of favorites in the memory stores.
Another factor that started becoming more prominent in life relates to the advent of the internet in the 1990s. Being in the IT industry, we were always at the forefront of the changes that were being brought in technology. Email appeared, messaging appeared, and network connectivity in some limited manner became available. Working in IT companies, I was always connected to whatever was the extent of the online net availability. Public networks and home connectivity was still a few years ahead, but from the offices, we had the luxury of being able to access whatever online resources were available then.
I remember I was on an assignment in San Dimas, close to LA in California. While browsing the internet from my office I stumbled upon a web site that had been put up by a gentleman named Amarjeet Singh Anand, who lived in San Fernando, further south from where I was. I discovered a gold mine – songs that were heard on radio in the 60s and 70s, and then never heard of again. The recordings were very low bit rate – the networks could not support high volumes. But I latched on to this website, and my entire weekends were spent in office, dedicated to downloading everything I could. The websites were not restricted, the concept and ability to download was not well known, and the office networks also did not have any controls as yet. Once having figured out the download capability, it was a trip into a wonderland of music of the years gone by, the music that was burnt onto the hard drives in my memory.
Then started this new phase of my passion for this music. Now the trip became to collect Hindi film songs in digital form. As time progressed, more and more online resources were discovered. Also one started getting introduced to more people who were doing such collections – the network grew and so did the collections by exchange and sharing.
And so, the interest in the current Hindi cinema and its music never really took any roots inside. The search still continues. This activity brought me in contact with many more like minded collectors, archivists and film history buffs. Geet Kosh came into life and a lot changed after that. And then Atul ji stepped into my life through Atul-Song-A-Day. And of course, the things in life were never the same again.
So in the current times, viewing of films and listening to music is more as per recommendations from friends and family members. I continue to read enough news to keep abreast of the current happenings in Hindi cinema, but only rarely do I get motivated to see any films of the new crop.
But that does not mean that my contact with current cinema is zero. As I said, based on recommendations I do keep in touch. The film ‘Dil Chaahta Hai’ (2001) – I had heard good things about this film. A maiden production effort by Farhan Akhtar ; a story revolving around the lives of three very close friends, and their fortunes in personal relationships.
I was based in San Jose at that time. I think I got to see this film probably in 2003 or 2004. A junior Indian colleague at work coaxed me to see this film. He expressed surprise that I had not seen this film. He promptly made a DVD disc for me, to view at leisure.
In many ways, it was a first introduction to many an actor from the newer generation. It was the first time to find out that Farhan Akhtar is the son of Javed Akhtar (from his earlier marriage with Honey Irani). Also the first time to be introduced to the lyrics from the pen of Javed Akhtar. Also to know that the tradition of duo and trio music directors in Hindi cinema is still alive with Shankar-Ehsaan-Loy. And to be introduced to the new crop of actors – Aamir, Priety, Saif, Akshay (Khanna), Sonali et al. And to find out to my dismay that my sweet little Bobby, the heartthrob of my college days, had actually aged.
The film is about love, about different flavors of it. That different people view it differently, treat it differently, have different interpretations and expectations. The fundamental message being that each person has a different opinion of love, and it is a great fortune to meet someone who has the similar view in life. Yes, truly a great fortune. Having been fed on primarily happy ending fairy tales that I had been viewing since childhood, the mindset of the child within was that there is always a smooth ride and a happy outcome of a love story. No, not that I have not viewed films at variance with this view, but still. After a gap of having kept distance from Hindi films, ‘Dil Chahta Hai’ was a wonderful refresher course in looking at filmy love stories once again.
I liked the film at first viewing itself. And also the music and songs. A learning for me that yes, music can be refreshing coming from artists whose names I had never heard before, and names that did not inspire any confidence. And yet, this film and its music entered my list of favorites. And that too, post 2000.
Four songs of this film are already on the blog. I present today a lilting exchange between the girl-boy pair in their effort to find the perfect match in life. There is a certain old world charm and a slowly sinking in surrealism in the presentation of this song. Sameer (role played by Saif Ali Khan) and Pooja (role played by Sonali Kulkarni) are friends who go to see a film. The magic happens in the cinema hall, and we come face to face with another “dream of wide awake eyes” experience. Immersed in the music, both Sameer and Pooja fancy themselves to be the protagonists on the screen. The love song being played is “dreamed” of as being enacted by them. There is disbelief at first, which is then followed by a disarming acceptance of a shared experience that brings to surface realizations that they have probably been nurturing inside.
And the surrealism comes to a sharp pitch at the end of the song sequence, when the entire audience inside the hall joins the love birds in chorus, acknowledging the presence of an “Aha” moment amidst them. A cute presentation. The song picturization, the dress up, the dance steps all are an enlivening throwback on the earlier decades of Hindi cinema.
This song once again further emboldens the firm belief that all it takes to make love and consent appear between the supposed love birds is three minutes (in this case five), i.e. the duration of a song. All that is in doubt is set right, all that is hidden beneath surprised appearances surfaces, the smiles come on, and the hand-in-hand arms entwined happy outcome is signaled at the end of the three minutes. Well, somethings will probably never change. And thankfully so. 😀
Getting close to time out and I must pause to make this post online. The century marker trumpet is just waiting behind me to tootle the announcement of the 177th century milestone. So without much further ado, take a listen to this song and then on to the milestone.
Happy listening.
Song – Wo Ladki Hai Kahaan (Dil Chaahta Hai) (2001) Singer – Shaan, Kavita Krishnamurthy, Lyrics – Javed Akhtar, MD – Shankar, Ehsaan, Loy
Lyrics
jise dhoondhta hoon main har gali
jo kabhi mili mujhe hai nahin
mujhe jiske pyaar par ho yakeen
wo ladki hai kahaan
jise sirf mujhse hi pyaar ho
jo ye kehne ko bhi taiyaar ho
suno tum hi mere dildaar ho
wo ladki hai kahaan
jo tumhaare khwaabon mein hai basi
wo haseen murti pyaar ki
miliegi tumhen kabhi na kabhi
zara dekho yahan wahan
chalo dhoondhte hain hum tum kahin
wo pari wo hoor wo naazneen
jise dekho to kaho tum wahi
arey ye to hai yahaan
jaane kyon
khayaal aaya mujhe
ke wo ladki kahin tum to nahin..een
tum mein hain
wo saari khoobiyaan
hai jinko dhoondhta
main har kahin
tumhen dhokha lagta hai ho gaya
mujhe hai samajh liya jaane kya
na main hoon pari na hoon apsara
karo tum na ye gumaan
jise dhoondhta hoon main har gali
jo kabhi mili mujhe hai nahin
mujhe jiske pyaar par ho yakeen
wo ladki hai kahaan
maan lo
agar main ye kahoon
ke mere khwaabon mein
tum hi to ho..oo..oo
jaan lo
mera armaan hai
ke mere saath hi
ab tum raho..oo..oo
mujhe tumne kya ye samjha diya
mere dil ko kaise dadhka diya
mere tan badan ko pighla diya
wo sunaai daastaan..aan
jise dhoondhta hoon main har gali
jo kabhi mili mujhe hai nahin
mujhe jiske pyaar par ho yakeen
wo ladki hai kahaan
wo ladki hai yahaan
wo ladki hai kahaan
wo ladki hai yahaan
wo ladki hai kahaan
wo ladki hai yahaan
wo ladki hai kahaan
wo ladki hai yahaan
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
जिसे ढूँढता हूँ मैं हर गली
जो कभी मिली मुझे है नहीं
मुझे जिसके प्यार पर हो यकीं
वो लड़की है कहाँ
जिसे सिर्फ मुझसे ही प्यार हो
जो ये कहने को भी तैयार हो
सुनो तुम ही मेरे दिलदार हो
वो लड़की है कहाँ
जो तुम्हारे ख्वाबों में है बसी
वो हसीन मूर्ति प्यार की
मिलेगी तुम्हें कभी ना कभी
ज़रा देखो यहाँ वहाँ
चलो ढूंढते हैं हम तुम कहीं
वो परी वो हूर वो नाज़नीं
जिसे देखो तो कहो तुम वही
अरे ये तो है यहाँ
जाने क्यों
खयाल आया मुझे
के वो लड़की कहीं तुम तो नहीं॰॰ईं
तुम में हैं
वो सारी खूबियाँ
है जिनको ढूँढता
मैं हर कहीं
तुम्हें धोखा लगता है हो गया
मुझे है समझ लिया जाने क्या
ना मैं हूँ परी ना हूँ अप्सरा
करो तुम ना ये गुमाँ
जिसे ढूँढता हूँ मैं हर गली
जो कभी मिली मुझे है नहीं
मुझे जिसके प्यार पर हो यकीं
वो लड़की है कहाँ
मान लो
अगर मैं ये कहूँ
के मेरे ख्वाबों में
तुम ही तो हो॰॰ओ॰॰ओ
जान लो
ये मेरा अरमान है
के मेरे साथ ही
अब तुम रहो॰॰ओ॰॰ओ
मुझे तुमने क्या ये समझा दिया
मेरे दिल को कैसे धड़का दिया
मेरे तन बदन को पिघला दिया
वो सुनाई दास्तान॰॰आं
जिसे ढूँढता हूँ मैं हर गली
जो कभी मिली मुझे है नहीं
मुझे जिसके प्यार पर हो यकीं
वो लड़की है कहाँ
वो लड़की है यहाँ
वो लड़की है कहाँ
वो लड़की है यहाँ
वो लड़की है कहाँ
वो लड़की है यहाँ
वो लड़की है कहाँ
वो लड़की है यहाँ
Bikhre taar miley phir mann ke
Posted on: December 22, 2022
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | Lyricist-MD | Post by Avinash Scrapwala | Rare song | Semi Classical song | Songs of 1970s (1971 to 1980) | Songs of 1973 | Vani Jairam solo songs | Vani Jairam songs | Yearwise breakup of songs
- 4 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5270 | Post No. : | 17279 | Movie Count : |
4653 |
#the Decade of Seventies – 1981 – 1990 #
———————————————————–—-
#Bhoole-Bisre Geet # (missing movies of 1973 – A tribute to Vasant Desai)
————————————
Today, 22nd December 2022 is forty-seventh remembrance anniversary of yesteryear’s legendary music composer Vasant Desai. He was born on 9th June 1912 and passed away on 22nd December 1975 at the age of 63 years.
For me, Vasant Desai is one of the great names which I am admirer of and have always been fascinated by his wonderful musical creations. I have been listening to the songs he composed for Hindi Film Music. There is a long list of my favorites of him from Hindi as well as Marathi film music. Today as a tribute to him I am presenting a song from a movie ‘Grahan’ (1973). Some sources also mention this movie as from the year 1976. I think this was an obscure movie of its time. No video of this movie is available on online platform, I guess.
‘Grahan’ (alias ‘The Acceptance’) was directed by Manjul Prabhat for AK Films, Bombay. It had Nutan, Basant Choudhary, Suhasini Muley, Subhash Ghai, Ajay, Vaishali, Shashi Puri, BB Bhalla and others. This movie was passed by Censor Board on 29.12.1973.
This movie has two songs composed by Vasant Desai. Lyrics for one song are taken from a ‘traditional folk song’. The song being presented today is penned by Vasant Desai himself. Mahendra Kapoor and Vani Jairam are the voices used for the songs in this movie. Today’s song is sung by Vani Jairam.
As mentioned above only the audio of this song is available.
I would request knowledgeable readers who have any information about this movie or have watched this movie in those years to share as possible here.
Let us now listen to today’s song and pay our tributes to Vasant Desai.
With this song this movie ‘Grahan’ makes its debut on the blog.
Song-Bikhre taar miley phir mann ke (Grahan)(1973) Singer-Vani Jairam, Lyrics-Vasant Desai, MD-Vasant Desai
Lyrics
bikhre taar miley
phir mann ke ae
bikhre taar miley
phir mann ke ae
bikhre taar miley
aa aa aa aa aa
sur saje ae jeewan ke ae ae
bikhre taar miley ae
phir mann ke ae
bikhre taar miley ae
aa aa aa aa aa
prem raagini ee ee
sargam chhede ae ae ae
prem raagini ee ee
sargam chhede ae
gaaye geet milan ke ae ae ae ae ae
prem raagini ee ee
sargam chhede ae ae ae
ae ae ae ae
ae ae ae ae
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
prem raagini ee ee
sargam chhede ae ae ae
gaaye geet milan ke ae ae ae ae
gaaye geet milan ke ae ae ae ae
bikhre taar miley
phir mann ke
bikhre taar miley ae
aa aa aa aa aa
aa aa aa aa aa
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
बिखरे तार मिले
फिर मन के
बिखरे तार मिले
फिर मन के
बिखरे तार मिले
आ आ आ आ आ
सुर सजे॰॰ जीवन के॰॰
बिखरे तार मिले फिर मन के
बिखरे तार मिले
आ आ आ आ आ
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
प्रेम रागिनी॰॰ई॰॰ई
सरगम छेड़े॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
गाये गीत मिलन के॰॰ए॰॰ए
बिखरे तार मिले
फिर मन के
बिखरे तार मिले॰॰ए॰॰ए
आ आ आ आ आ
आ आ आ आ आ
Masti bhare hain shokh nazaare
Posted on: October 19, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5206 | Post No. : | 17191 |
“Zingaaro”(1963) was directed by Chandrakant for Jai Films, Bombay. This “costume drama” movie had Jairaj, Jabeen Jaleel, Tiwari, Bela Bose, Laxmi Chhaaya, Aruna Irani, Maruti, Mridula, Babu Raje, Poonam Kapoor, Baburao Pahalwan, Radheshyam, Moolchand, Ghani, Pahalwan, Julien etc in it.
The movie had six songs in it. Three songs have been covered in the past.
Here is the fourth song from “Zingaaro”(1963) to appear in the blog. This song is sung by Suman Kalyanpur. Prem Dhawan is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song.
This rare song is the 400th song in the blog from movies released in 1963. To put things in perspective, there were 580 songs in all in movies released in 1963.
Song-Masti bhare hain shokh nazaare (Zingaaro)(1963) Singer-Suman Kalyanpur, Lyrics-Prem Dhawan, MD-S N Tripathi
Lyrics
Masti bhare hain shokh nazaare
Masti bhare hain shokh nazaare
nikli hoon main bhi zulfen sanwaare
Masti bhare hain shokh nazaare
nikli hoon main bhi zulfen sanwaare
aaja re aaja piyaa
aaja piyaa
aaja piyaa
ho ho ho ho ho ho ho
keh do hawa se mohe chhede naa aa
paa ke akeli mohe ghere naa
yoon na udaaye anchra mera
ghunghraali laten yoon bakhere na
nainon mein bhar ke sapne tumhaare ae
nainon mein bhar ke sapne tumhaare
nikli hoon main bhi ee zulfen samwaare
aaja re aaja piyaa
aaja piyaa
aaja piyaa
ho ho ho ho ho ho ho
bijli si chamke ghataaon mein aen
kaise chaloon main sooni raahon mein
darr darr jaaun main toofaanon se ae
mujhko chhupa le tu nigaahon mein
lahraa ke aaye badra kaare ae
lahraa ke aaye badra kaare
nikli hoon main bhi ee zulfen sanwaare
Masti bhare hain shokh nazaare
nikli hoon main bhi ee zulfen sanwaare
aaja re aaja piyaa
aaja piyaa
aaja piyaa
ho ho ho ho ho ho ho
- In: Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Happy song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey Suman Kalyanpur duet | Post by Sudhir | Songs of 1950s (1951 to 1960) | Songs of 1958 | Suman Kalyanpur songs | Yearwise breakup of songs
- Leave a Comment
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.
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Blog Day: |
4909 | Post No. : | 16723 |
———————————–
This Week, That Year – 8
———————————–
07Nov – 13Nov, 2011
OK yes, the tag line is correct, but the date is definitely out of sequence. Sincere apologies for this parallax effect. This is not the week of 7th Nov. This post should have come at least 6 weeks ago. And truly, the post template and lyrics and all the tag stuff was ready then, but the words to compose the post were trapped behind some real and imagined ‘constraints’.
Ah but you will say, why pitch in with the week of 7th Nov now, six weeks later. Well surely, for a special reason. That was a special week, with a very special milestone reached by the blog. On Saturday, the 13th November, 2011, we reached the 5000th post. That day, the blog had been in existence for 1,213 days – exactly 3 years, 3 months and 26 days. And we completed 5,000 posts, at a simple daily average of 4+ songs – day on day.
Superlatives have become repetitive on this blog now, as we have written time and again about the blog’s progress over the years. But the wonder is that the wonder simply does not cease to amaze – the wonder of the blog itself, of being on the blog, of being part of the bandwagon. Whether the pace is slow or fast, we have never been without steam.
Looking back then, from this 13+ years vantage point, it seems like just a speck on the past time line. But just think about it – about the feelings then, on arriving at the 5000th station of this journey. And I am sure, as we looked ahead at the future, this 16,700+ post compendium, was not even visible on the time line. And probably not even in the minds of the bandwagoneers. Some member or members did mention 10,000, maybe. But going beyond that, then crossing the 15,000 mark, and still continue to merrily chug along – probably that thought did not even cross anyone’s mind. The ambience has changed so much since those days 10 years ago. Now, the feeling is that nothing is impossible for this bandwagon and its fearless leader.
It was a dhamaaka celebration. A celebration that store the hearts of everyone – literally. The blog ne loot liya mil ke gaana sun’ne waalon ko. . .
It was a calculated and a planned choice – the song I mean. Lyrics from the pen of Shewan Rizvi, music composed by Bulo C Rani and rendered with such zest and fervor by Ismail Azaad Qawwaal. And on screen, a name that we had some hard time digging up and confirming – Sheikh, the comedian. Yes, the qawwaali “Hamen To Loot Liya Mil Ke Husn Waalon Ne”. The qawwali that merits to be counted amongs the top 5 iconic qawaalis in Hindi films. That was the choice for the 5000th milestone song for the blog. The write up that day was a shared effort by Atul ji, Raja ji and yours truly. It truly is an honor to be part of that write up.
Ten years later, as we look back, it surely is a major joy that we picked this song for the 5000th milestone.
Now let’s play the numbers game for the week that was – from 7th to 13th November. A whopping 50 songs were posted that week, for an average of little above 7 songs per day. Quite a prolific week that was. Total number films showcased were 43. The film ‘Khel’ of 1950 made four appearances, the film ‘Mayur Pankh’ of 1956 made 3 appearances and ‘Anurodh’ from 1977 made two. The film name ‘Taqdeer’ appeared twice in that week, albeit from different years – 1943 and 1967.
The decade of 1941-50 was represented by 11 songs, the decade of 1951-60 by 12 songs, the decade of 1961-70 by 17 songs, the decade of 1971-80 by eight songs, and the 80s and 90s were represented by one song each. And so 1960s was the prominent decade with almost 30% songs posted that week.
As many as 13 films made their debut this week, and yes, 3 films also got Yippeee’d already. All three films are from 1970s – ‘Amar Prem’ (1971), ‘Mili’ (1975) and ‘Anurodh’ (1977). Since that week was done, 18 more films that appeared in that week are Yippeee’d by now.
We had two major artist milestone also come up that week. Hasrat Jaipuri completed 300 appearances on the blog, on 12th November with the song “Tu Kyun Mujhko Pukaare” from the film ‘Mayur Pankh’. And then on the 13th, the 5000th post also celebrated the century of songs composed by Bulo C Rani.
Here is the week’s data in table form.
| Blog Ten Year Challenge (2011-2021) Series | |||||||||
| Sl.No. | Movie Name | Year | HFGK NoS | ASAD NoS | Possible UT | Deb/Yip | Milestone | Film Status | Pending |
| 7-Nov-11 | |||||||||
| 1 | Khel | 1950 | 9 | 9 | Yippeee’d | ||||
| 2 | Stree | 1961 | 11 | 8 | 1 | Pending-c | 2+ 1 UT | ||
| 3 | Hum Deewaane | 1965 | 8 | 3 | 1 | D | Pending-c | 4+ 1 UT | |
| 4 | Paalki | 1967 | 10 | 9 | Pending | 1 | |||
| 5 | Chhoti Si Mulaaqaat | 1967 | 7 | 7 | Yippeee’d | ||||
| 6 | Pyaar Ki Baazi | 1967 | 5 | 2 | 1 | D | Pending-c | 2+ 1 UT | |
| 7 | Anurodh | 1977 | 6 | 6 | Yippeee’d | ||||
| 8 | Rudaali | 1993 | 8 | 4 | Pending | 4 | |||
| 8-Nov-11 | |||||||||
| 1 | Dharam | 1945 | 10 | 4 | 3 | D | Pending-c | 3+ 3 UT | |
| 2 | Patanga | 1949 | 10 | 10 | Yippeee’d | ||||
| 3 | Hum Matwaale Naujawaan | 1961 | 7 | 6 | Pending | 1 | |||
| 4 | Samson | 1964 | 5 | 5 | Yippeee’d | ||||
| 5 | Dara Singh, The Iron Man | 1964 | 6 | 3 | Pending | 3 | |||
| 6 | Mere Sanam | 1965 | 9 | 9 | Yippeee’d | ||||
| 7 | Mom Ki Gudiya | 1972 | 5 | 5 | Yippeee’d | ||||
| 8 | Kinaara | 1977 | 8 | 6 | Pending | 2 | |||
| 9-Nov-11 | |||||||||
| 1 | Village Girl | 1945 | 12 | 11 | 3 | Yc | 3 UT | ||
| 2 | Khel | 1950 | 9 | 9 | Yippeee’d | ||||
| 3 | Mastaana | 1954 | 8 | 9 | Yippeee’d | ||||
| 4 | Doctor Z | 1959 | 8 | 5 | 2 | D | Pending-c | 1+ 2 UT | |
| 5 | Raaz | 1967 | 8 | 7 | 1 | Yc | 1 UT | ||
| 6 | Sachcha Jhootha | 1970 | 6 | 5 | Pending | 1 | |||
| 7 | Mili | 1975 | 3 | 3 | Y | Yippeee’d | |||
| 8 | Kotwal Sahab | 1977 | 3 | 3 | D | Yippeee’d | |||
| 10-Nov-11 | |||||||||
| 1 | Lahore | 1949 | 10 | 9 | Pending | 1 | |||
| 2 | Nageena | 1951 | 8 | 8 | Yippeee’d | ||||
| 3 | Chalti Ka Naam Gaadi | 1958 | 8 | 8 | Yippeee’d | ||||
| 4 | Aas Ka Panchhi | 1961 | 7 | 7 | Yippeee’d | ||||
| 5 | Asli Naqli | 1962 | 7 | 7 | Yippeee’d | ||||
| 6 | Watan Se Door | 1968 | 5 | 3 | D | Pending | 2 | ||
| 7 | Shubh Chintak | 1989 | 3 | 1 | D | Pending | 2 | ||
| 8 | Man Jeete Jag Jeet | 1973 | 10 | 2 | D | Pending | 8 | ||
| 11-Nov-11 | |||||||||
| 1 | Namoona | 1949 | 9 | 7 | Pending | 2 | |||
| 2 | Taqdeer | 1967 | 8 | 8 | Yippeee’d | ||||
| 3 | Duniya | 1968 | 6 | 7 | Yippeee’d | ||||
| 4 | Inquilaab | 1956 | 8 | 8 | Yippeee’d | ||||
| 5 | Mayur Pankh | 1953 | 6 | 6 | D | Yippeee’d | |||
| 6 | Anurodh | 1977 | 6 | 6 | Y | Yippeee’d | |||
| 12-Nov-11 | |||||||||
| 1 | Khel | 1950 | 9 | 9 | Yippeee’d | ||||
| 2 | Bhai Saahab | 1954 | 10 | 6 | 2 | D | Pending-c | 2+ 2 UT | |
| 3 | Mayur Pankh | 1953 | 6 | 6 | AC – 300 (Hasrat Jaipuri) | Yippeee’d | |||
| 4 | Kavi Kaalidas | 1959 | 9 | 10 | Yippeee’d | ||||
| 5 | Mulzim | 1963 | 7 | 5 | 5 | Yc | 5 UT | ||
| 6 | Amar Prem | 1971 | 6 | 6 | Y | Yippeee’d | |||
| 13-Nov-11 | |||||||||
| 1 | Taqdeer | 1943 | 10 | 4 | 2 | D | Pending-c | 4+ 2 UT | |
| 2 | Jagbeeti | 1946 | 9 | 4 | 5 | D | Yc | 5 UT | |
| 3 | Khel | 1950 | 9 | 9 | Yippeee’d | ||||
| 4 | Mayur Pankh | 1953 | 6 | 6 | Yippeee’d | ||||
| 5 | Miss Coca Cola | 1955 | 8 | 8 | Yippeee’d | ||||
| 6 | Al Hi Laal | 1958 | 8 | 2 | 2 | D | BC – 5000/AC – 100 (Bulo C Rani) | Pending-c | 4+ 2 UT |
Since 13th November of 2011, after this iconic qawwaali was posted, just one more song from the film ‘Al Hi Lal’ has appeared on the blog. That song is “Amma Main Bada Hoke Bahut Kaam Karoongaa” which appeared on the blog on 29th July, 2017. Here is one more song from this film – a duet sung by Manna Dey and Suman Kalyanpur. This is a lilting melodious song af a lovers’ tete-a-tete – a typical running-around-the-tree love song. On screen, this song is lip synced by Mahipal and Shakila.
The song is written by Shewan Rizvi, music composed by Bulo C Rani. The lovers are complaining about stolen hearts, and are naming each other as the thief responsible for it. Apparently it seems that once the qawwaali became the big hit that it is, somehow the remaining songs got very little attention from the listeners. This song is a wonderful one in its own right, but not so well known. I too got to hear it for the first time as I was searching for other songs of this film.
Listen to this lovely duet, I am sure you will like it.
Song – Tum Ho Dil Ke Chor, Kare Dil Shor (Al Hi Laal) (1958) Singer – Manna Dey, Suman Kalyanpur, Lyrics – Shewan Rizvi, MD – Bulo C Rani
Manna Dey + Suman Kalyanpur
Lyrics
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya. . .
o ho ho haan
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya
aa haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya
bedard ne deke dard
kiya dil sard
nigaahen pher ke
teri chaah ne
dil ki aah ne loota
raah mein hamko gher ke
laakh bachaaya
bach nahin paaya
dil ye hamaara
tum par aaya
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya
o mast nazar
jaata hai kidhar
ik teer sa dil pe maar ke
badnaam na ho
badnaam na kar
ilzaam na de bekaar ke
raaz hamaara
tu ne jaana
jaan na le
bedard zamaana
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya
sharma ke na ja
tadpa ke na ja
iqraar to kar le pyaar ka
jab aankh jhuke
aur lab na hiley
ye matlab hai iqraar ka
neechi nigaahen
dil ki kahaani
pyaar ki hai ye
khaas nishaani
o ho ho haan
tum ho dil ke chor
kare dil shor
tumhen pehchaan liya
aaj khula ye raaz
hamaara raaz
kisi ne jaan liya
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया॰ ॰ ॰
ओ हो हो हाँ
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया
आ हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया
बेदर्द ने देके दर्द
किया दिल सर्द
निगाहें फेर के
तेरी चाह ने
दिल की आह ने लूटा
राह में हमको घेर के
लाख बचाया
बच नहीं पाया
दिल ये हमारा
तुम पे आया
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया
ओ मस्त नज़र
जाता है किधर
इक तीर सा दिल पे मार के
बदनाम ना हो
बदनाम ना कर
इल्ज़ाम ना दे बेकार के
राज़ हमारा
तू ने जाना
जान ना ले
बेदर्द ज़माना
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया
शर्मा के ना जा
तड़पा के ना जा
इक़रार तो कर ले प्यार का
जब आँख झुके
और लब ना हिले
ये मतलब है इक़रार का
नीची निगाहें
दिल की कहानी
प्यार की है ये
खास निशानी
ओ हो हो हाँ
तुम हो दिल के चोर
करे दिल शोर
तुम्हें पहचान लिया
आज खुला ये राज़
हमारा राज़
किसी ने जान लिया
Ye Zaalim Nigaahon Ki Ghaat
Posted on: November 14, 2021
- In: "Advice" song | Asha Bhonsle solo | Asha Bhonsle songs | Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 1 Comment
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4867 | Post No. : | 16659 |
Today, November 14, 2021 is the 4th Remembrance Day of Shyama (real name – Khurshid Akhtar) who enthralled the Hindi film buffs with her blinks and smiles in her Hindi films of 1950s. There was a spontaneity and energy in her performances reflecting, what I guess, her joie de vivre nature.
My earliest memory of watching Shyama was in ‘Aar Paar’ (1954) on its repeat release sometime in 1974 as a part of Guru Dutt’s Film Perspectives. I became familiar with her face when some of the songs picturised on her from the films like my all-time favourite, ‘Aar Paar’ (1954), ‘Bhai Bhai’ (1956), ‘Bhaabhi’ (1957), ‘Sharda’ (1957), ‘Mr Qartoon MA’ (1959), ‘Barsaat Ki Raat’ (1960) and many more, used to be telecast on Mumbai Doordarshan’s ‘Chhaaya Geet’ programme. Some of her songs have remained in the limelight even today. I can never get tired of watching those songs pictuirsed on Shyama.
Shyama (07 Jun, 1935 – 14 Nov, 2017) was born in Lahore but her family had shifted to Mumbai in early 1940s. She did her schooling in Anjuman-E-Islam High School in South Mumbai. Shyama’s foray into her first Hindi film, ‘Zeenat’ (1945) was an accidental one. When she was on a visit to watch the film’s shooting along with her school friends, the film’s director, Shaukat Hussain Rizvi invited her to be the part of the chorus singers for the picturization of the qawwali song, “Aahen Na Bhari Shiqwe Na Kiye”. At that time, she was 9. Thereafter, she did small roles as a child actor and side roles as a teenager in around 35 films. At a young age, she had become the bread-earner for her large family. Her screen name, Shyama was given by Prakash Pictures’ Vijay Bhatt when working in his film, ‘Nai Maa’ (1946) as a child artist.
Everything was not roses on the way to reach the stardom for Shyama. She had to struggle very hard to get roles during the early stage of her life when she was growing from her childhood to a teenager. Her struggling days got over when she bagged her first lead role in Filmistan’s ‘Shrimati ji’ (1952) with Nasir Khan. Thereafter, there was no dearth of work for her in the films.
During her filmy career of over 4 decades, Shyama worked in around 175 films. Some of her notable films are ‘Hum Log’ (1951), ‘Sazaa’ (1951), ‘Dil-E-Naadan’ (1953), ‘Shart’ (1954), ‘Aar Paar’ (1954), ‘Musaafirkhaana’ (1955), ‘Chhoo Mantar’ (1956), ‘Bhai Bhai’ (1956), ‘Shaarda’ (1957), ‘Bhaabhi’ (1957), ‘Johnny Walker’ (1957), ‘Mr. Qartoon MA’ (1958), ‘Laala Rukh’ (1958), ‘Chhoti Bahen’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Zabak’ (1961), ‘Bahurani’ (1963). From 1960’s onwards, Shayma switched over to character roles. She was active till the end of 1970s. However, after the death of her husband in 1979, she virtually took retirement from the films. Shyama faced the camera for the last time in ‘Hathyaar’ (1989).
I was going through her filmography from 1952 when she started getting lead actor’s roles to 1960 when her career was in the waning stage as a lead actor. It is amazing to note that during 1952-60, she worked in as many as 84 films making an average of nearly 10 films per year. I do not recall any other actress of her time achieved this distinction. The main reason for her large number films was that she accepted both the lead as well as supporting actor’s roles. Her films covered a variety of genres with a large assortments of lead actors like Motilal, Ashok Kumar, Premnath, Shammi Kapoor, Bharat Bhushan, Karan Diwan, Guru Dutt, Balraj Sahni, Sunil Dutt, Kishore Kumar, Johnny Walker, Ranjan, Mahipal, Talat Mehmood etc.
Shyama faced her worst financial and emotional turmoil in 1953 when she decided to marry director and cinematographer Fali Mistry. They fell in love on the sets of ‘Sazaa’ (1951). The marriage was opposed by her father and her brothers. She had revealed her agony in her article in the Urdu film magazine ‘Shama’, published in November 1954, the English translation of which is available in Yasir Abbasi’s book ‘Yeh Un Dinon Ki Baat Hai’ (2018).
According to Shyama, apparently the problem for her large family was that having got used to living lavishly on her earnings, they feared that her marriage with Fali Mistry would strip them off comforts and luxuries. When she decided to go ahead with the marriage, she was forced to leave her own house without her money and jewelry as her father and brothers confiscated all her assets including the bank balances. She and her supporting mother had to stay with the family of producer-director M Sadiq for a month before she could buy her own house by arranging money. It took another six months for Shyama and Fali Mistry to get married. But the marriage was not revealed in public for a long time for fear of film producers avoiding her to sign the new films.
Shyama spent her financially secured retired life, socializing with her close friends like Nanda, Shakeela, Waheeda Rehman, Jabeen Jaleel etc. Just about 5 years before her death, she got a paralysis attack making her movements restricted. However, she majorly recovered from the paralysis. She breathed her last on November 14, 2017 due to lung infections, leaving behind her two sons and a daughter. Her elder son, Faroukh Mistry is a Cinematographer in Hindi feature films and has directed many documentary and advertising films. The second son, Rohinton Mistry is settled in London as a businessman. Both her elder son and her daughter, Shirin were with her while she breathed her last.
As a tribute to Shyama on the occasion of her 4th Remembrance Day, I have chosen a song pictuirsed on her in the film ‘Khota Paisa’ (1958). This film was among four films in which Shyama acted opposite Johnny Walker in lead role. The other three films in this combination were ‘Chhoo Mantar’ (1956), ‘Johnny Walker’ (1957) and ‘Mr Qartoon MA (1958). Incidentally, all these three films had OP Nayyar as the music director.
‘Khota Paisa’ (1958) had 7 songs of which 5 songs have been covered on the Blog. All the songs were written by Rajinder Krishan which were set to music by Madan Mohan. I am presenting the 6th song, “Ye Zaalim Nighaaon Ki Ghaat” which is sung by Asha Bhosle. It is a club song during which NA Ansari, the menacing pipe smoking villain, is present along with his henchmen.
It is interesting to note that in the record version there is some changes in wordings of the song as under:
| Film Sound Track Version | Record Version |
| Mukhda ye zaalim NIGHAAON ki GHAAT badi tikhi badi NATKHATI |
Mukhda ye zaalim MOHABBAT ki CHAAT badi tikhi badi CHATPATI |
| Antara-2 GAA le ZARA jahaan mein NAGMA to aashiqi kaajo NAYE pyaar ki RAT RATI |
Antara-2 LE le MAZA jahaan mein DAM BHAR LO aashiqi kaajo NA THHI pyaar ki PHATPATI |
| Antara-3 KATNE bhi de khushi se ye BAHAAR ke zamaane |
Antara-3 LOOTNE bhi de khushi se ye PYAAR ke zamaane |
Other features of this song is that Asha Bhosle seems to imitate the style of Geeta Dutt and Madan Mohan’s musical composition of the song closely resembles that of OP Nayyar.
Video
Audio
Song – Ye Zaalim Nigaahon Ki Ghaat (Khota Paisa) (1958) Singer – Asha Bhosle, Lyrics – Rajinder Krishan, MD – Madan Mohan
Lyrics
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo nazar na milaayi
na jigar pe chot khaayi
us dil kaa faayda kya
jo kisi pe aa na jaaye
hai wo zindagi bhi koi zindagi
jo mohobbat kiye bin kati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo huwa na kisi ka
dushman hai zindagi ka
gaa le zara jahaan mein
nagma to aashiqi ka
tu jiya bhi to kya
do ghadi ke liye
jo na ye pyaar ki rat rati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
ye dil kaun jaane
lut jaaye kis bahaane
katne bhi de khushi se
hain bahaar ke zamaane
lut gaye dil kai
mit gaye dil kai
par mohobbat kabhi na ghati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो नज़र ना मिलाई
ना जिगर पे चोट खाई
उस दिल का फायदा क्या
जो किसी पे आ ना जाए
है वो ज़िंदगी भी कोई ज़िंदगी
जो मोहब्बत किए बिन कटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो हुआ ना किसी का
दुश्मन है ज़िंदगी का
गा ले ज़रा जहां में
नग़मा तो आशिक़ी का
तू जिआ भी तो क्या दो घड़ी के लिए
जो ना ये प्यार की रट रटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
ये दिल कौन जाने
लुट जाये किस बहाने
कटने भी दे खुशी से
हैं बहार के जमाने
लुट गए दिल कई
मिट गए दिल कई
पर मोहब्बत कभी ना घटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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