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

Archive for the ‘Love song’ Category


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

Last of the Music Moguls. Not that there have not been more prolific artists and music directors after him. One can readily name a few – Anu Malik, AR Rahman, Ilayaraja. But me, personally speaking, will not put the follow on ‘champs’ in the same bracket. Something ended when he left us, twenty three years ago. Times were-a-changing even as the 1960s played itself out. And he himself was singularly instrumental in that transformation.

The standard set by himself with the music of ‘Teesri Manzil’ was steep, as well as dignified. The queen melody of the 1950s stepped away from the dias and in came the fusion, a change of instruments, new experiments in how a song can be constructed. The “Zulfon Waali Haseena” was a brand new sound trend, that had been in the making for some years then. And with ‘Teesri Manzil’ it came into its own – a level of maturity that was both new as well as enchanting.

What Pancham Da had, that most other music directors in the new crop did not, was a solid grounding in the classical earth of this land, and a gentle hand on his back of one of the greatest maestros of classical and folk – his own father, SD Burman. His experimentations with newer orchestral combinations, his search for tunes that were a departure from the mould of golden era, his innovations capturing the mood essence – resulted in a body of musical work that attracted the new generation big time, and yet, kept a hold on the previous generations who were hooked to the music of his father and his father’s contemporaries. His orchestral escapades still have a enchanting character to them, touching on the memories of the golden era, but pushing forward with variations in pace and rhythm. And still, he would create music that was hallmark of the soft and melodic past when he touched films like ‘Amar Prem’ (1971), ‘Buddha Mil Gaya’ (1971), ‘Parichay’ (1972), ‘Anaamika’ (1973), ‘Raja Rani’ (1973), ‘Aandhi’ (1975), ‘Dharam Karam’ (1975), ‘Khushboo’ (1975), ‘Balika Badhu’ (1976), ‘Kinaara’ (1977), ‘Ghar’ (1978). . . I could go on and on.

As I sift through the films he composed for and the songs in those films, I keep picking up favorite gems of the first water, film after film, year after year. If he composed “Pyaar Ka Fasaana, Banaa Le Dil Deewaana” for ‘Teesra Kaun’ in 1965, he also composed “Kajre Badarwa Re, Marzi Teri Hai Kya Zaalima” for ‘Pati Patni’ (1966); if I pick up “Chunri Sambhaal Gori, Udee Chali Jaaye Re” from ‘Bahaaron Ke Sapne’ (1967), I am also so enchanted by “Kis Kaaran Kaamini Sharmaaye” from ‘Chandan Ka Palna’ (also 1967). If it is “Waadiyaan Mera Daaman, Raaste Meri Baahen” from ‘Abhilasha’ (1968) that strums the strings of my heart, it is also “Tum Bin, Jaaun Kahaan” of ‘Pyaar Ka Mausam’ (1969) that creates the poignant yet lovely mood of love. If it is “Jis Gali Mein Tera Ghar Na Ho Baalma” from ‘Kati Patang’ (1970) that touches the essence of expressions of love, then it is also “Kis Liye Maine Pyaar Kiya” from ‘The Train’ that gets to me. If I think the classical mould of ‘Aayo Kahaan Se Ghanshyam’ from ‘Buddha Mil Gaya’ (1971) is just excellence in music, then “Goria Kahaan Tera Des Re” of ‘Carvaan’ (1971) takes me into the rural folk expressions of exuberance. If “Tu Pyaar, Tu Preet, Tu Chaand, Tu Raat” from ‘Paraaya Dhan’ (1971) sounds like an ultimate in lover’s tete-a-tete, then the “lakk tunu tunu” phrase of “Yaari Ho Gayi Yaar Se” from ‘Do Chor’ (1972) simply refuses to leave the mind. When I listen to “O Mere Dil Ke Chain” from ‘Mere Jeevan Saathi’ (1972), it feels there is no better expression of velvet touch of soft love; but then I hear the strains of “Saanson Mein Kabhi, Dil Mein Kabhi” from ‘Parchhaaiyaan’ (1972) and I feel there no better song to express promises of love. But then I get to hear “Jab Tak Rahe Tan Mein Jiyaa, Waada Raha O Saathiya” from ‘Samadhi’ (1972), and I am torn for preferences. From ‘Rampur Ka Laxman’ (1972), the song that simply is unforgettable for the hearts in first love is “Gum Hai Kisi Ke Pyaar Mein, Dil Subah Shaam”. If the protagonist of ‘Anamika’ (1973) is heartbroken with “Meri Bheegi Bheegi Si Palkon Pe Reh Gaye”, that sadness is jusxtaposed by the succor of finding love in “Zindagi Mein Aap Aaye, Ho Gayi Duniya Haseen” from ‘Chhalia’ (1973). If the sadness of separation is flowing with the music of “Kis Ka Rasta Dekhe, Ae Dil Ae Harjaai” from ‘Joshila’ (1973), then from ‘Raja Rani’ (1973) we have the touching synthesis of love in “Main Ik Chor Tu Meri Rani”. (I am so surprised this song is not yet on the blog). If the frolic of love is no better expressed than “Neend Chura Ke Raaton Mein” in ‘Shareef Badmaash’ (1973), then the stealing of hearts is epitomized in “Chura Liya Hai Tumne Jo Dil Ko” from ‘Yaadon Ki Baraat’ (1973). If the expectations of love are no better expressed than “Kahin Karti Hogi Wo Mera Intezaar” in ‘Phir Kab Milogi’ (1974), then the epitome of sadness could be “Din Jaa Rahe Hain Ke Raaton Ke Saaye” from ‘Doosri Seeta’ (1974).

As always, I could simply go on and on. Apologies that I got carried away. But I just noticed that I have not even touched a complete decade yet, with the sampling above. And the mind thinks – fifty five years is no age to go. ‘What would have been’ is a question that has no answers, save the speculations. What remains behind is a pleasure collection of a wonderful musical legacy.

Today’s song is one of those favorites from radio listening days, when the details of the artists etc. was never a priority. It would be much later that this song would get bracketed with the favorites from Pancham Da. This lovely lover’s song, I am somewhat surprised that it has stayed away from the blog so far. The film is ‘Gomti Ke Kinaare’, from 1972. A film that was supposed to be the launch vehicle for Sameer Khan, of the Feroze-Sanjay-Akbar Khan lineage, youngest of the brothers. It turned out to be the swan song for the exceptional thespian of the Indian screen – Meena Kumari.

The words are from the pen of Majrooh Sb. The singing voices are of Kishore Kumar and Lata Mangeshkar. On screen, the song is performed by Sameer Khan and Mumtaz. The debutante hero quite seems lost, as he tries to woo the seasoned young heroine of that era, and we find he is no match for her. The launch vehicle did not quite work for him, and he would quickly fade away from the silver screen after this offering.

Ah, but the song, such a delectable fare, for the taste buds of the aural variety. Expressions of love will probably never cease to be new. But then each one has a new flavor to impart. As is this lovely song of love. Pancham Da, at his best.

Song – Jeene Ka Din Mar Jaane Ka Mausam (Gomti Ke Kinaare) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – RD Burman

Lyrics

laa la la la la la la laaa
haa aaa
aaa aaa haa aaa haa

jeene ka din
mar jaane ka mausam
hai in nazaaron mein
is dil ka kya haal karoon
aisi bahaaron mein
jeene ka din
mar jaane ka mausam
hai in nazaaron mein
main apna kya haal karoon
keh do ishaaron mein

chhone se mere surkh labon ki kaliyan
aa haa
nikhri
o ho
jaise
aa haa
khul ke
aaj talak jo dil mein dabey hain armaan
hmmm mmmmm
keh doon
hun hoon
sajna
hun hoon
khul ke
la la la la la la la la laaa
chupke ke kyon baat chaley
chaahat ke maaron mein
jeene ka din
mar jaane ka mausam
hai in nazaaron mein
is dil ka kya haal karoon
aisi bahaaron mein

aaj mujhe dekhen ye nazaare jaise
hmm mmm
main hoon
hun hoon
sunder
hun hoon
sapna aa..aaa
aaj to ye gulzar ye gul ye shaakhen
aa haa
rokey
hmm mmm
chaahen
aa haa
jitna
la la la la la la la la laaa
choom hi legi meri nazar
tumko hazaaron mein
jeene ka din
mar jaane ka mausam
hai in nazaaron mein
main apna kya haal karoon
keh do ishaaron mein

hmmm mmm
hmm mmm mmm mmm
hmmm mmm
la la la la la
hmmm mmm
hmm mmm mmm mmm

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

लाs ला ला ला ला ला ला लाss
हा आ
आ आ हा आ हा

जीने का दिन
मर जाने का मौसम
है इन नज़ारों में
इस दिल का क्या हाल करूँ
ऐसी बहारों में
जीने का दिन
मर जाने का मौसम
है इन नज़ारों में
मैं अपना क्या हाल करूँ
कह दो इशारों में

छूने से मेरे सुर्ख लबों की कलियाँ
आ हा
निखरी
आ हा
जैसे
आ हा
खुल के
आज तलाक जो दिल में दबे हैं अरमां
हम्म मम्म
कह दूँ
हुं हूँ
सजना
हुं हूँ
खुल के
ला ला ला ला ला ला ला ला लाsss
चुपके से क्यों बात चले
चाहत के मारों में
जीने का दिन
मर जाने का मौसम
है इन नज़ारों में
इस दिल का क्या हाल करूँ
ऐसी बहारों में

आज मुझे देखें ये नज़ारे जैसे
हम्म मम्म
मैं हूँ
हुं हूँ
सुंदर
हुं हूँ
सपना ॰॰आ
आज तो ये गुलजार ये गुल ये शाखें
आ हा
रोके
हम्म मम्म
चाहें
आ हा
जितना
ला ला ला ला ला ला ला ला लाsss
चूम ही लेगी मेरी नज़र
तुमको हजारों में
जीने का दिन
मर जाने का मौसम
है इन नज़ारों में
मैं अपना क्या हाल करूँ
कह दो इशारों में

हम्म मम्म
हम्म मम्म मम्म मम्म
हम्म मम्म
ला ला ला ला ला
हम्म मम्म
हम्म मम्म मम्म मम्म

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

In a calendar year we celebrate special anniversaries of personalities related to HFM in almost all the months. Moreover, we pay our respect and homages on the remembrance day of such personalities too.

We also celebrate birth anniversaries of our team members and their family members and other ‘special days’ in their life, through posts/songs on the blog.

Sometimes it so happens that some months have multiple occasions of celebrations and give us the opportunities to express our feelings and celebrate such special occasions with songs. And so that particular month also becomes ‘a very special month’ in our life and it does triggers ‘reason to celebrate’ and ‘memories coming back’.

Take the month of June!!

For me (and I think, may be for others too) this month brings back many memories of childhood particularly because after the summer vacations schools start the New Year during this month. And most importantly this is the period when ‘monsoon’ starts (in Maharashtra generally it reaches by 7th June every year and this date is considered as the starting of ‘monsoon’).

Then the crucial ‘board exam results for SSC exams’ were also declared in this month in 1983 (and I passed the exams successfully. 🙂

The same year we saw India winning the ‘World Cup’ in Cricket for the first time under Kapil Dev on 25th June’1983.

Coming to the anniversaries, my parents’ marriage anniversary falls in this month (on 7th June, and 30 years later I got married in this same month). My elder daughter was born on 11th June. We have our beloved Arun ji and Atul ji’s birthdays in this same month of June. And then we do have the ‘World music day’ in this month.

Another important day close to my heart is the ‘World environment day’ which is celebrated on 5th June (on the same day I launched my own blog too).

In this same month we have birth anniversaries (as per the ‘Anniversary Dates Page’ on the blog) of many film personalities – Mohan Kumar, Nargis, Nutan, Bina Rai, Sunil Dutt, Vasant Desai, Shyama, Prem Dhawan, Bharat Bhushan, Hemant Kumar, David, Rehman, and many others.

Day before yesterday we remember Madan Mohan ji and today we remember R.D.Burman – ‘Pancham’ on his birth anniversary.

On this occasion here is a song from the ‘1977’ movie ‘Karm’ composed by R.D.Burman.

Lyrics of this song are by Inderjeet Singh Tulsi and it is sung by Asha Bhonsle and Kishore Kumar. On screen the song plays in the background, as the pair of love birds – Vidya Sinha and Rajesh Khanna – move from summer in plains to winters in the mountains. (I am holding the details of the movie and its songs and other information to be covered in next song of this movie.) 🙂

A special song for a ‘special day’!!! Enjoy!!!


Song – Maine Dekha Tujhe Tu Ne Dekha Mujhe (Karm) (1977) Singer – Kishore Kumar, Asha Bhosle, Lyrics – Inderjeet Singh Tulsi, MD – RD Burman
Kishore Kumar + Asha Bhosle

Lyrics

maine dekha tujhe
tu ne dekha mujhe
maine dekha tujhe
tu ne dekha mujhe
aankhon aankhon mein dono ke dil mil gaye
dil se dil jo mile
chal pade silsile
dil se dil jo mile
chal pade silsile
sharm aur shokhiyon ke kamal khil gaye
maine dekha tujhe
tu ne dekha mujhe

phool milne lage
chupke shaakhon taley
aa aa o o o
phool milne lage
chupke shaakhon taley
maine suraj ki jalti kiran choom li
saare gulshan mein charche chhide pyaar ke
saare gulshan mein charche chhide pyaar ke
prem ke dhaage mein do jism sil gaye
maine dekha tujhe
tu ne dekha mujhe

parwaton pe barf sa pighalta badan
aa aa
aa aa aa
parwaton pe barf sa pighalta badan
dharti aur ye gagan ka tadapta milan
ye hawaaon ki galiyaan jamey raaste
ye hawaaon ki galiyaan jamey raaste
saans banke hain saanson me ghul mil gaye
maine dekha tujhe
tu ne dekha mujhe

preet ke gaaon mein
dhoop mein chhaaon mein
baandh kar manzilon ko chale paaon mein
raat ke munh pe hamne sawera kiya
raat ke munh pe hamne sawera kiya
baat kuchh na kahi phir bhi lab hil gaye

maine dekha tujhe
tu ne dekha mujhe

aankhon aankhon me dono ke dil mil gaye
maine dekha tujhe
———————————————————-
Hindi script lyrics (Provided by Ashwini Scrapwala)
———————————————————-

मैंने देखा तुझे
तूने देखा मुझे
मैंने देखा तुझे
तूने देखा मुझे
आँखों आँखों में दोनों के दिल मिल गए

दिल से दिल जो मिले
चल पड़े सिलसिले
दिल से दिल जो मिले
चल पड़े सिलसिले
शर्म और शोखियों के कमल खिल गए

मैंने देखा तुझे
तूने देखा मुझे

फूल मिलने लगे
चुपके शाखों तले
आ आ ओ ओ ओ
फूल मिलने लगे
चुपके शाखों तले
मैंने सूरज की जलती किरण चूम ली
सारे गुलशन में चर्चे छिड़े प्यार के
सारे गुलशन में चर्चे छिड़े प्यार के
प्रेम के धागे में दो जिस्म सिल गए
मैंने देखा तुझे
तूने देखा मुझे

पर्वतों पे बर्फ सा पिघलता बदन
आ आ
आ आ आ
पर्वतों पे बर्फ सा पिघलता बदन
धरती और ये गगन का तड़पता मिलन
ये हवाओं की  गलियाँ जमे रास्ते
ये हवाओं की गलियाँ जमे रास्ते 
सांस बनके हैं साँसों में घुल मिल गए
मैंने देखा तुझे
तूने देखा मुझे

प्रीत के गाँव में
धूप में छाओं में
बाँध कर मंजिलो को चले पाऊँ में
रात के मुंह पे हमने सवेरा किया
रात के मुंह पे हमने सवेरा किया
बात कुछ न कही फिर भी लब हिल गए

मैंने देखा तुझे
तूने देखा मुझे

आँखों आँखों में दोनों के दिल मिल गए
मैंने देखा तुझे


 


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from film ‘Anban’ (1944) (pronounced as un-bun). So far, only one song from this film has been discussed on our blog in 2011. This is, therefore, the second song from this film. No songs of this film are available anywhere like You Tube etc. Then, how did I get introduced to  this song ? There is a story behind this.

Mr. Jayaraman Subramaniam ji must be in his mid 70s now. He is one of the most famous and very well known record collectors of India. I found his name mentioned in several books on HFM. I have never met him, nor have I ever spoken to him on phone, though he stays in Dombivali, a suburb of Mumbai (actually, it is in Thane district). From the information I gathered from his friends, Jay ji has been in this hobby since 1960. He is one of the major names in the field of record and song collections in India and Pakistan.

He had been a regular member of RMIM group on the internet. I have been following his comments – both past and recent ones – in the group and I find that almost all senior RMIM members all over the world do respect Jayaraman ji for his extraordinary knowledge about songs, MDs and singers. He is an expert in voice identification, so he can pinpoint the singers quite accurately. This quality of Jay ji has been helpful in solving many mysteries of songs and singers, where it is not mentioned or wrongly mentioned in HFGK.

I am happy that I am on his mailing list and he writes to me often about songs etc. He seems to have accepted me as “an eminent writer” and “a serious student of old HFM “. He stays alone in his flat at Dombivali. His wife expired few years back and two sons live separately.

Mr. Jayaraman ji worked in Indian Railways and retired after a long service record. Jay ji, through his BCSP (Bharatiya Cine Sangeet Parampara) holds listening sessions of rare songs on every Sunday and some of his old friends visit him on that occasion.

I have been told that recently he has sold his entire collection, for an undisclosed value, of records and songs to our friend Deepak Chowdhari ji of Paratwada, Amaravati (Maharashtra). You will recall that Deepak ji has attended our last held Gangout at Mumbai, some time back. However, Jay ji seems to have preserved all his songs on G Cloud- from where he discusses such songs with RMIMers and other Facebook music lovers.

Recently, he had mailed this song (today’s song) from film ‘Anban’ (1944) to RMIMers, including me of course. I fell in love with this song, when I heard it. I requested Jay ji to allow me to use his song to be discussed on our blog for the benefit of our readers and he magnanimously said yes by return of mail. So a big Thank You to Jay ji. Also my thanks to our own Sudhir ji, for kindly uploading this song from his own collection on You Tube, on my request. (Sudhir ji’s copy of the song is 30 seconds longer than the one sent in by Jay ji. Also the quality of the song recording is much better.)

Here is how Jayaraman ji got this song – in his own words, “Ek bahut hee madhur TRIO gaana jise MD: Jnan Dutt ne mujhe 1973 mein diya apni ek purani sanduk se. Meri passion for cine music mehsoos kar uss ne poora sanduk dae dala jisme kareeb 150 recorden 78 rpm ke thae (cover nahin thae) aur kafi achhi condition mein thee.

Aise aise film thae unke sangeet mein jo uss wakt (1973) mein maine kabhi naam bhi sune nahin thae…aur kaha: Yeh sab tumhare liye hai – lae jaao aur sun ke hamein bathana bhoolna mat !!Ussee sanduk mein se yeh ek ‘tri-gaan’ aap sab shrotajan ke liye pesh karta hoon….ussee passion ke sath aaj 43 saalon baad , HD format par. ”

‘Anban’ (1944) was a Bharat Productions film. It was directed by Niren Lahiri. He was born on 17-7-1908 in Calcutta. He started his directorial activity with Bangla film ‘Mahakabi Kaalidas’ (1942). His Hindi films are ‘Anban’ (1944), ‘Ban Phool’ (1945), ‘Arabian Nights’ (1946), ‘Vijay Yatra’ (1948) and ‘Shobha’ (1954). Niren Lahiri died in 1972.

The cast of the film is listed as Nargis, Pahadi Sanyal, Shahnawaz, David, Mubarak, Shobhana Samarth, Jagirdar etc. The odd sounding name of Pahadi Sanyal is that of a Bengali actor, who did Bangla and Hindi films with equal ease. Normally, Bangla stars (just like the south Indian stars) had a Himalayan problem of speaking Hindi and its diction, but not Sanyal. He was an expert in speaking Hindi and Urdu. But for his Bangla looks and mannerisms, he could have been a great addition to Bombay stars. Nevertheless, he acted in 53 Hindi films, made both at Calcutta and Bombay, from 1933 to 1970. Notably he never went to Lahore to work in any film.

Though his real name was Nagendranath Sanyal, having born in the hill station Darjeeling, he was nicknamed Pahari Sanyal (one from the hills) and the name continued throughout his professional career. He was born on 22-2-1906

From his childhood itself, Sanyal was extremely fond of music and he took training under several famous music teachers of the day. Finishing his school, he joined the engineering course at the Benaras Hindu University but soon left to study Indian classical music at the Morris College of Music in Lucknow. In Lucknow, the young Pahari came in contact with the poet and composer Atulprasad Sen and soon earned fame as one of the best exponents of Atulprasad’s songs. In 1931, he joined the service of the Maharaja of Dewar as his private secretary.

In 1932, Sanyal came to Kolkata and got introduced to PC Barua through his friend the cinematographer Krishna Gopal. Sanyal got a chance to act in the New Theatres production ‘Rooplekha’ (1934) but due to contractual problems he was ultimately unable to appear in the film. But he caught the eye of Debaki Bose and joined the New Theatres as an actor on a monthly salary of Rs 150.

Pahari Sanyal made his screen debut as a singer-actor in Debaki Bose’s musical ‘Meerabai’ (1933) (in Bangla) as Chand Bhatta, a role he also did in the Hindi version ‘Rajrani Meera’ (1933). Both the films were very popular and helped in establishing him as one of the major film stars of the day. In the same year, the famous music director Pankaj Mullick used him to re-record all the songs sung originally by SD Burman for ‘Yahudi Ki Ladki’, a New Theatres Production, directed by Premankur Atorthi. As he was fluent in both the languages, Pahari Sanyal starred in most of the Hindi/Urdu versions of the Bengali films produced by New Theatres.

In the 1930s, he had a string of hits as an actor and singer in Bengali/Hindi bilinguals like ‘Bhagyachakra/Dhoop Chhaon’ (1935), ‘Devdas/Devdas’ (1935), ‘Millionaire/Karorepati’ (1936), ‘Bidyapti/Vidyapati’ (1937), ‘Sapurey/Sapera’ (1939), ‘Abhinetri/Haar Jeet’ (1940) and ‘Naukadubi/Milan’ (1946). ‘Bhagyachakra’, one of the first films in India to use playback singing, had Sanyal singing the evergreen “Keno Paran Holo Bandhan Hara” while in its Hindi version he sang “Prem Ki Naiyaa Chali Jal Mein Mori”. In ‘Karorepati’, he had the hit song “Jo Naukri Dila De” – a duet with the legendary KL Saigal. In ‘Haar Jeet’ he sang another wonderful duet, “Mast Pawan Shake Hein” with Kanan Devi. “Wo Kahen Aap Ki Do Chaah Ka Inaam Mujhe“, a song sung by him in the film ‘Milan’ was also very popular. Pahari Sanyal’s performance as Jhumro, a young and audacious snake-charmer who elopes with the heroine Chandan (Kanan Devi) in the film ‘Sapurey/Sapera’ was extremely well appreciated by both the general audience and critics.

In 1941, he received the Best Actor Award from the Bengal Film Journalists Association (BFJA) for his brilliant performance as Kumarnath in the film ‘Pratisruti’ directed by Hemchandra Chunder. After this, he went to Mumbai and acted in films like ‘Mouj’ (1943), ‘Mohabbat’ (1943), ‘Insaan’ (1944), ‘Anban’ (1944), ‘Preet’ (1945), ‘Milan’ (1946) and ‘Shravan Kumar’ (1946). In all, Sanyal worked in 53 Hindi films, both at Calcutta and Bombay. His first film was ‘Rajrani Meera’ (1933) and the last one was ‘Dharti’ (1970) in Hindi. Sanyal also sang about 42 Hindi songs in 19 films.

He is perhaps, the only male actor who has worked with KL Saigal in maximum number of films

Sanyal played the role of a Hindu ascetic (the Swami ji) in the Merchant-Ivory film ‘The Householder’ (1963). He won the BFJA Award as the Best Supporting Actor for his efforts in ‘Jaya’ (1965), a film by Chitta Basu. He also had significant roles in ‘Grihadaha’ (1967), Shakti Samanta’s ‘Aradhana’ (1969) – an understanding and sympathetic father to the heroine Sharmila Tagore, ‘Nimantran’ (1971) and ‘Shesh Parba’ (1972). ‘Kaya Hiner Kahini’ (1973) was his final film.

Sanyal’s first wife died in child birth. Later he married actress Meera Devi. Their daughter Luku Sanyal became Doordarshan’s first English newsreader and did this from 1970 to 1980. Pahari Sanyal was an extremely sophisticated man in real life. He was fluent in Bangla, Hindi, Urdu and English and read French literature in the original language. When he died on 10 February 1974, Indian cinema lost one of its leading lights. (Thanks to Upperstall for select information from its article, used in this bio sketch).

‘Anban’ (1944) film story was about king size ego and its side effects. The story of the film is summarized below.

Madhav Pandit (Jagirdar) and Pandey (Shahnawaz) are very good friends, though their thinking is different. Pandit is old fashioned and traditional, having pride for Indian customs etc. Pandey on the other hand is a liberal person accepting the good in western culture, but not having anything against our old traditions.

Madhav Pandit has a son Yadav and two daughters – Madhavi (Shobhana Samarth) and Malati (Nargis). Pandey has one son – Vijay (Pahadi Sanyal). While Yadav and Vijay are good friends, Vijay has a soft corner for Malati. Eventually, their love blooms. They, together open a school in their town to train the new generation.

The elders fix their marriage also. Pandey wants to donate some amount to the school and so he makes some suggestions to the children. Pandit resents the suggestions. He also declines the donation of Pande. Both Pandit and Pandey have a hot argument, then a quarrel and they stop talking to each other.

The marriage of Vijay and Malati is broken. In his anger, Pandit marries his elder daughter Madhavi to an older, drunkard person – Ranjan ( Mubarak), who hails from a noble family. This marriage takes place against the opposition of everybody.

Not only this, but Pandit also fixes Malati’s marriage with an old jagirdar widower. One day Pandit’s son-in-law, Ranjan is caught red handed by Vijay, when Ranjan is selling his wife’s (Madhavi’s) gold ornaments for his drinks. Vijay fires him. Ranjan, as a revenge, goes and tells false stories to Pandit about Vijay, thereby spoiling his impression.

On the day of marriage, when the baraat is to come, it is found that Malati is missing. Not only that even Vijay is missing. Pandit is shocked and very much worried for his daughter. Afraid that she might commit suicide, he is scared.

Meanwhile baraat arrives and the groom angrily blames Pandit for doing injustice to his daughter, when her marriage was already fixed. Pandit repents, meanwhile Vijay and Malati arrive. They are married by a priest in a temple. Pandey comes there and gives a lecture on controlling anger and false ego. Pandit realises his mistake. He begs every one’s pardon and Vijay and Malati are married in the same place. The groom for Malati is on her side already, convinced by Vijay about their love. All is well that ends well. (635)

The film has 8 songs, composed by Gyan Dutt and written by Pt. Madhur. Today’s song is sung by GM Durrani, Ameerbai Karnataki and Hameeda Bano, as per HFGK. Enjoy this melody. You will love the music and the tune, I am sure.


Song – Hum Aage Badhte Jaayen Duniya Peechhe Peechhe Aaye (Anban) (1944) Singer – GM Durrani, Amirbai Karnataki, Lyrics – Pt Madhur, MD – Gyan Dutt
GM Durrani + Amirbai Karnataki
GM Durrani + Amirbai Karnataki + Hamida Bano

Lyrics

hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye
jo soye
so khoye
jo soye
so khoye premi
jo jaage so paaye re
jo jaage so paaye
jo soye
so khoye premi
jo jaage so paaye re
jo jaage so paaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

udd udd kar panchhi ke jodey
chhaaya karte jaayen
udd udd kar panchhi ke jodey
chhaaya karte jaayen
hawaa ke jhonke nai jawaani
jholi bhar bhar laayen
hawaa ke jhonke nai jawaani
jholi bhar bhar laayen
hum chalte chalte gaayen
duniya thakte thakte gaaye re
thakte thakte gaaye
hum chalte chalte gaayen
duniya thakte thakte gaaye re
thakte thakte gaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

hare hare sab ped hamen
jhuk jhuk ke deven badhaai
hare hare sab ped hamen
jhuk jhuk ke deven badhaai
nadiyon ki lehren ban jaayen
shaadi ki shehnaai
nadiyon ki lehren ban jaayen
shaadi ki shehnaai
baanson ki har pori
bansi ban ke hamen lubhaaye re
ban ke hamen lubhaaye
baanson ki har pori
bansi ban ke hamen lubhaaye re
ban ke hamen lubhaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

kadam kadam pe hasi khushi hon
armaanon ke gaanen
kadam kadam pe hasi khushi hon
armaanon ke gaanen
hum pahunche us jageh jahaan par
baste hon deewaane
hum pahunche us jageh jahaan par
baste hon deewaane
raat sunaaye. . .
raat sunaaye apni beeti
chanda sunta jaaye re
chanda sunta jaaye
raat sunaaye. . .
raat sunaaye apni beeti
chanda sunta jaaye re

chanda sunta jaaye
hum aage badhte jaayen
duniya peechhe peechhe aaye re
peechhe peechhe aaye

hum aage badhte jaayen

hum aage badhte jaayen

hum aage badhte jaayen

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

हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये
जो सोये
सो खोये
जो सोये
सो खोये प्रेमी
जो जागे सो पाये रे
जो जागे सो पाये
जो सोये
सो खोये
जो सोये
सो खोये प्रेमी
जो जागे सो पाये रे
जो जागे सो पाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

उड़ उड़ कर पंछी के जोड़े
छाया करते जाएँ
उड़ उड़ कर पंछी के जोड़े
छाया करते जाएँ
हवा के झोंके नई जवानी
झोली भर भर लाये
हवा के झोंके नई जवानी
झोली भर भर लाये
हम चलते चलते गाएँ
दुनिया थकते थकते गाये रे
थकते थकते गाये
हम चलते चलते गाएँ
दुनिया थकते थकते गाये रे
थकते थकते गाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

हरे हरे सब पेड़ हमें
झुक झुक के देवें बधाई
हरे हरे सब पेड़ हमें
झुक झुक के देवें बधाई
नदियों की लहरें बन जाएँ
शादी की शहनाई
नदियों की लहरें बन जाएँ
शादी की शहनाई
बाँसों की हर पोरी
बंसी बन के हमें लुभाए रे
बन के हमें लुभाए
बाँसों की हर पोरी
बंसी बन के हमें लुभाए रे
बन के हमें लुभाए
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

कदम कदम पे हंसी खुशी हों
अरमानों के गाने
कदम कदम पे हंसी खुशी हों
अरमानों के गाने
हम पहुंचे उस जगह जहां पर
बसते हों दीवाने
हम पहुंचे उस जगह जहां पर
बसते हों दीवाने
रात सुनाये॰ ॰ ॰
रात सुनाये अपनी बीती
चंदा सुनता जाये रे
चंदा सुनता जाये
रात सुनाये॰ ॰ ॰
रात सुनाये अपनी बीती
चंदा सुनता जाये रे
चंदा सुनता जाये
हम आगे बढ़ते जाएँ
दुनिया पीछे पीछे आये रे
पीछे पीछे आये

हम आगे बढ़ते जाएँ

हम आगे बढ़ते जाएँ

हम आगे बढ़ते जाएँ


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

In the 1940s, Lala Jagat Narayan of Jagat Talkies Distribution was one of the biggest controller of the chains of theatres and film distributions network in Northern India having his office at Chandni Chowk in Delhi. He was regarded as an undisputed king of film distribution and exhibition. By virtue of his experience in film distribution and exhibition business, he was in a better position to assess the likes and dislikes of the film audience.

In 1948, Jagat Narayan decided to diversify into the film production business and set up a separate entity named Jagat Pictures. As a businessman, he was attempting for a vertical integration of film productions with his existing business of distribution and exhibition. As a student of economics, I would call his attempt as a backward linkage in that he would have some flexibility in supply chain for film distribution and exhibition.

Jagat Narayan had not done anything new. My understanding is that earlier, Imperial Film Company of Ardeshir Irani had done the same vertical integration albeit in a different way. In 1929, Ardeshir Irani set up Sagar Films (later known as Sagar Movietone) as a subsidiary of Imperial Film Company. In 1930, he roped in Chimanlal Desai and Ambalal Patel, as partners of Sagar Films. They were already the owners of Select Film Circuit in Bangalore which was the sole distributors for South India of the films from Imperial film Company. After sometime, Ardeshir Irani left Sagar Films and Desai and Patel became the sole proprietors of Sagar Films. With this, Desai and Patel had film productions and distributions under their command.

The vertical integration business model was later replicated by some prominent film distributors such as NN Sippy of Prithvi Pictures in 1960, Tarachand Barjatya of Rajshri Film Production in 1962, Gulshan Rai of Trimurti Films in 1970 etc. There are, however, pros and cons for the vertical integration of film business in terms of the risk-reward perception.

Coming back to the Jagat Pictures, ‘VEENA’ (1948) directed by JP Advani was its maiden offering. The star cast included Rehman, Sulochana Chatterji, Veera, Yakub, Hemavati, Leela Mishra, Girdhari etc. It was a social film with familiar story line of a love triangle. The gist of the story of the film based on a review published in December 1948 issue of ‘Sound’ magazine is as under:

Madan (Rehman), a poet, having lost his mother and father in the childhood has been brought up by his grand-mother (Leela Mishra). She gets worried about Madan who spends most of his time in idleness. After having lost in her efforts to make him work, the grand-mother decides to follow the traditional remedy, that is, to get him married. She chooses a girl, Veena (Veera) who is a doctor. Madan is not ready for the marriage. So he runs away from the home.

After days of traveling, Madan reaches a village where he falls in love with Ratna (Sulochana Chatterji), the village girl. He becomes the guest of Ratna’s brother Manglu (Yakub), a vagabond. In the village, Manglu loves Myna (Hemavati) but he is not aware that she also loves him. This leads to a situational comedy. At last, he takes the help of Madan to guide him to woo Myna. He succeeds.

In the meanwhile, Madan and Ratna’s love for each other results into the engagement. However, soon he gets the news that his grand-mother is on the death bed and he must visit her. At first, Madan was not ready but Ratna convinces him to visit so that he also gets blessings from his grand-mother for their impending marriage. So Madan visits her grand-mother. Just before her death, grand-mother places Veena’s hand with his hand and dies before Madan could reveal to her that he was already engaged to Ratna. Much against his wish, Madan gets married to Veena.

After the marriage, Madan tells Veena that she could get anything from him but not his love. But Veena was interested only of his love and nothing else. Madan deserts her and goes back to Ratna. But Veena takes it as a challenge to win over her husband. Veena gets an opportunity to prove her point. When Ratna gets seriously ill, it is Veena who is called upon to perform surgery on Ratna which result in saving her life. Madan has a change of heart and with Ratna’s advice, he goes back to his wife, Veena.

The film was reported to be a box office success. And why not? Being produced by a person who has been in the film distribution and exhibition business for long, his maiden film had all the ingredients of a box office formula – drama, romance, comedy, 12 songs, a couple of dances etc.

The film had 12 songs written by three songwriters, viz. Pt. Narendra Sharma (5), Swami Ramanand Saraswati (4) and Prem Dehlvi (3). All songs were set to music by Anil Biswas. 10 songs are available on YT of which 7 songs have been covered in the blog.

I am presenting one of the two rare songs which were not available on YT. The song is ‘Mera Mann Banphool Phoola Na Samaaye Re’ sung by Shamshad Begum. The words are written by Pt. Narendra Sharma.

An unusual feature of this song is that the musical interludes take place even during the singing of mukhda and antara parts in addition to the usual interludes. These musical interludes are as pleasant to the ears as the song. The long flute interlude during the first antara of the song may be the work of Pt. Pannalal Ghosh.

The musical orchestration gives me an impression of a dance song in a rural setting which means that it may have been picturised on Sulochana Chatterji.


Song – Mera Mann Banphool Phoola Na Samaaye Re (Veena) (1948) Singer – Shamshad Begum, Lyrics – Pt Narendra Sharma, MD – Anil Biswas

Lyrics

mera mann banphool
phoola na samaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

kabhi hanse kabhi gaaye
kabhi hanse kabhi gaaye
kabhi sharmaaye re
mera mann banphool
phoola na samaaye
mera mann banphool

naache ban bel sang
naache ban bel sang
aaj mere ang ang
naache ban bel sang
naache ban bel sang
aaj mere ang ang
kaun jo ragon mein meri
ras ban jaaye re
kaun jo ragon mein meri
ras ban jaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

saadh huyi meri poori
saadh huyi meri poori
door do dilon ki doori
saadh huyi meri poori
door do dilon ki doori
koi sapnon ke phool-doley mein jhulaaye re
koi sapnon ke phool-doley mein jhulaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool 
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

कभी हँसे कभी गाये
कभी हँसे कभी गाये
कभी शरमाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
कौन जो रगों में मेरी
रस बन जाये रे
कौन जो रगों में मेरी
रस बन जाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

साध हुई मेरी पूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
कोई सपनों के फूल-डोले में झुलाए रे
कोई सपनों के फूल-डोले में झुलाए रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल


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

अब क्या मिसाल दूँ में इस प्यारी आवाज़ की
इन्सान बन गई है तरंग वीणा के तार की

वीणा, माँ सरस्वती के हाथ की वीणा – जो सब ज्ञान का स्रोत है, जो समस्त सृष्टि के संगीत का उद्गम स्थान है, जो वाणी और ध्वनि का आरंभ है।

Veena, that is in the hand of Goddess Saraswati; veena, that is the source of all knowledge and all that is music in this creation.

Yes, the voice of Lata ji. A voice that is adorned in many a thousand ways, a voice that lives in the minds and memories through many a thousand songs, in Hindi films, in films of other regions, and songs that don’t belong to films. The legacy is a treasure. Quite so much has been written about this voice, my adding more would simply be repeating what has been said before. And much of that discussion is an overbearing analysis of the phases and careers, that are after all moot points, when arrayed against the qualities of the voice itself. That discussion is like ‘गूंगे की शक्कर’ – the description of the sweetness of sugar as expressed by a person who cannot speak. He would place the sugar on your palm, and tell you silently, to taste it, to eat it. After that tasting, no words are necessary, to discuss what sugar is. 🙂

The voice descends inside like sweetened ‘मलाई’. I do not know what word to use in English; I can’t recall if there is a corresponding word for it in English. The smoothness and the sweetness – is all that matters to the taste buds of the mind.

And the special today. Yes, a very significant milestone is reached. With this post, we now have 3200 songs sung by Lata ji showcased on our blog. If we take the overall number of songs posted – this is almost one fourth the number. Almost 25% of the song population on our blog belongs to this gifted voice.

As we get more and more songs on to the blog, then searching for an appropriately wonderful song for such milestones, becomes a non-trivial task. It happened so with SD Burman’s 600th song just a few days ago. And so it happened today too, trying to search for a song by Lata ji, when more than half her portfolio is already represented here. But with little effort, and little bit of luck, I am so far able to get to real wonderful songs for such milestones.

Today’s song is from an as yet unrepresented film on the blog – ‘Mukti’.  Ah yes, I know there are two films by this name already present in our blog. There is this famous film from New Theatres, from 1937, and then the comparatively recent one from 1977. In between, there was another film by this name, released in 1960.

About this film – this film is produced and directed by a gentleman named N Buli, for the banner of Gurudev Pictures, Bombay. The film is a social drama with the lead pair billing in the list of actors being given as Motilal and Nalini Jaywant. Other members of the cast include Sulochana, Krishna Kumari, Anant Kumar, SN Bannerji, Bhudo Advani, Prem Kumar, Tuntun, Indira Bansal, Kiranmala, Hemlata, and a host of other names that are very unfamiliar.

The films has 9 songs. Two of these song are written by Aarzoo Lakhnawi, a name that is very familiar to the regulars in the group, and the remaining seven are from the pen of Munir Aarzoo Kazmi. This second name is totally new and unfamiliar, making a debut on the blog. This song is one of the seven that he has written.  The music director’s name is another new and unfamiliar one – Malay Chakravarty. The name does not appear anywhere else in the Geet Kosh, except for one regional film (a Chhatisgarhi film – ‘Kahin Debe Sandes’ from 1965). For these two unfamiliar names, I request other knowledgeable readers and friends to please add more information if available.

The song itself is a very soft and sweet song, that will endear itself into your hearts. A lady beseeching her lover, not to forget her, not to pain her tender heart that pines so much for him. There is a short list of lovely and soft love songs that I have put together for myself. This song is getting added to that list today.

The words are just lovely. Had this post happened yesterday or before, I would decidedly have requested Avinash to add the following lines to his write up for the World Environment Day,

chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein

What a thought, what a beautiful shining thought, what a construction of the verse; wish we had more to listen from the writer of these lines.

3199 beautiful melodies so far, before this one. Listen now today, to the 32 hundredth addition.

Song – Dil Lubha Ke Mere Saathi Bhool Jaana Na (Mukti) (1960) Singer – Lata Mangeshkar, Lyrics – Munir Aarzoo Kashmiri, MD – Malay Chakravarty

Lyrics

hmm hmm hmmm hmmmm
hmmm hmmm hmmmm
hmm hmmmmmm hmmmmmmm

dil lubha ke mere saathi
bhool jaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha ke. . .
bhool jaana na

baat nainon se hui
raaton ki neend gayi
baat nainon se hui
raaton ki neend gayi
baar baar aaye khayaalon mein
ye keh na saki
ik tadpte dil ko tum
meri kasam tadpaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na

chaandni bhi khil uthi
neele gagan ke baag mein
chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
aas ke taaron ko baadal mein chhipaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha..aa ke. . .
bhool jaana na

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

हम्म हम्म हम्मम हम्ममम
हम्म हम्मम हम्ममममम
हम्म हम्ममममम हम्मममममम

दिल लुभा के मेरे साथी
भूल जाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

बात नैनों से हुई
रातों की नींद गई
बात नैनों से हुई
रातों की नींद गई
बार बार आए ख़यालों में
ये कह न सकी
इक तड़पते दिल को तुम
मेरी कसम तड़पाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
आस के तारों को बादल में छिपाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना


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

Missing Films of 1960s – 29
– – – – – – – – – – – – – – –

With this post, I introduce another missing film from the 1960s. The film is ‘Khufia Mahal’ from 1964. As I checked out the songs of this film, I find some very lovable compositions. And why not. The music is from the mind of that one another unsung genius of that era – Pardesi. With a career that was limited to just four films, one sees him active from 1960 to 1972. And after that, lost in the dusks of anonymity. Nothing much more is available in terms of information, other than the 30+ songs he has created, some of which are real gems.

As the name would suggest, this film is a fantasy tale, produced under the banner of Amar Films, Bombay and is directed by Akku. Times were that Jairaj, a hero from the late 30s and 40s, was still appearing as the male lead in such categories of films. The leading lady is Chitra, a veteran of stunt and action films alongside the likes of Ranjan and Kamraan. Other members of the cast include Mohan Sherry, Tuntun, Sheikh, Mohana, Jilaani, Baburao Pehalwan, JG Goldstein, King Kong, Ape Man, Gorilla and a fish named ‘Mermaid’. With such a list of cast, one can expect that this film would have some interesting man-to-man and man-to-monkey wrestling bouts.

The seven songs of this film are penned by Shyam Hindi and Zafar Rahi. This specific song is written by Zafar Rahi. Music is by Pardesi and the singing voice is that of Suman Kalyanpur. On screen, this song is performed by Chitra.

A song to be enjoyed, more by the ears and mind. The soft lilting melody has an immediate draw of liking. Listen and enjoy.

Song – Sar Se Aanchal Dhalakne Laga Hai (Khufia Mahal) (1964) Singer – Suman KalyanpurLyrics – Zafar Rahi, MD – Pardesi

Lyrics

aaa aaaaaa aaaaa
aaaaaa aaaaaa

la la la la la la lala. . . aaaaa
la la la la la la lala laa. . . aaaaa

oo oo ooo ooooo

sar se aanchal dhalakne laga hai
jaane dil kyon behekne laga hai
aisi uljhan hai kyon
tez tadpan hai kyon
aisi uljhan hai kyon
tez tadpan hai kyon
is se pehle kabhi aisa aalam na tha
sar se aanchal dhalakne laga hai
jaane dil kyon behekne laga hai

chaunk padti hoon main baithe baithe
jaise mujhko kisi ne pukaara
oo oo oo
chaunk padti hoon main baithe baithe
jaise mujhko kisi ne pukaara
dekhtin hoon to kuch bhi nahin hai
sirf hai apne dil ka ishaara
dekhtin hoon to kuch bhi nahin hai
sirf hai apne dil ka ishaara
aisi uljhan hai kyon
tez tadpan hai kyon
aisi uljhan hai kyon
tez tadpan hai kyon
is se pehle kabhi aisa aalam na tha
sar se aanchal dhalakne laga hai
jaane dil kyon behekne laga hai

mere khaamosh hothon ki haalat
keh rahi hai nai dastaan ko
oo oo oo
mere khaamosh hothon ki haalat
keh rahi hai nai dastaan ko
aisa lagta hai angdaaion se
badh ke chhoo loongi main aasmaan ko
aisa lagta hai angdaaion se
badh ke chhoo loongi main aasmaan ko
aisi uljhan hai kyon
tez tadpan hai kyon
aisi uljhan hai kyon
tez tadpan hai kyon
is se pehle kabhi aisa aalam na tha
sar se aanchal dhalakne laga hai
jaane dil kyon behekne laga hai
aisi uljhan hai kyon
tez tadpan hai kyon
is se pehle kabhi aisa aalam na tha
sar se aanchal dhalakne laga hai
jaane dil kyon behekne laga hai

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

आs आssss आsss
आssss आssss

ला ला ला ला ला ला लला॰॰॰ आssss
ला ला ला ला ला ला लला लाss॰॰॰ आssss

ओ ओ ओs ओsss

सर से आँचल ढलकने लगा है
जाने दिल क्यों बहकने लगा है
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
इससे पहले कभी ऐसा आलम ना था
सर से आँचल ढलकने लगा है
जाने दिल क्यों बहकने लगा है

चौंक पड़ती हूँ मैं बैठे बैठे
जैसे मुझको किसी ने पुकारा
ओ ओ ओ
चौंक पड़ती हूँ मैं बैठे बैठे
जैसे मुझको किसी ने पुकारा
देखतीं हूँ तो कुछ भी नहीं है’
सिर्फ है अपने दिल का इशारा
देखतीं हूँ तो कुछ भी नहीं है’
सिर्फ है अपने दिल का इशारा
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
इससे पहले कभी ऐसा आलम ना था
सर से आँचल ढलकने लगा है
जाने दिल क्यों बहकने लगा है

मेरे खामोश होठों की हालत
कह रही है नई दास्तान को
ओ ओ ओ
मेरे खामोश होठों की हालत
कह रही है नई दास्तान को
ऐसा लगता है अंगड़ाइओं से
बढ़ के छू लूँगी मैं आसमां को
ऐसा लगता है अंगड़ाइओं से
बढ़ के छू लूँगी मैं आसमां को
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
इससे पहले कभी ऐसा आलम ना था
सर से आँचल ढलकने लगा है
जाने दिल क्यों बहकने लगा है
ऐसी उलझन है क्यों
तेज़ तड़पन है क्यों
इससे पहले कभी ऐसा आलम ना था
सर से आँचल ढलकने लगा है
जाने दिल क्यों बहकने लगा है


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

Atul ji’s 10K Song Milestone Celebrations – 13
———————————————————————-

गाता जाये बंजारा

That is the image that forms in the mind. A distant, unfamiliar scenario. A solitary person trudging along a dusty road that leads through farms and fields, passing through towns big and small.

There is a purpose in the pace. There is a steadiness in the tread. There seems to be an unhurried and patient urgency in the forward movement.

Is he searching for someone, for something? Is he expecting a certain destination? I don’t know. The landmarks, they come and go, the milestones pass by. But he appears not to halt anywhere, never seems to take rest. Just a pause at a milestone, sees it with a searching eye, takes another breath, and then presses on.

He seems to be carrying something, slung on the shoulders. Is that an instrument of music? Or is it something else? What is it, I am not able to make out.

The vision is distant. I cannot see clearly what he does with his hands, or with the thing he carries. All I can make out is the unyielding, the constant and lasting forward move. And the ears continue to pick up things – words, notes, wafts of melodies, strains of music. Some are familiar, have been heard before. Others are unfamiliar, new. And the mind scrambles to capture and become familiar. But before I can assimilate these distant new sounds, he takes another step and the ears hear yet another pleasing tune.

And on and on he moves, not faltering, not stopping, playing out a new song with every stride he puts forward.

I follow him, trying to keep pace, trying to catch up. His constant unrelenting march – I am not able to match.

It is a distant vision – a vision that is now a placeholder in life. Every time I get my personal breather, and am able to raise up my head and look ahead on that dusty road, he is there.

He is always there. The same figure, the same appearance, the same movement – with an ever new refrain of enchanting strains, with an always new refreshing canticle. As if a gift divine – दिने दिने नवम् नवम् । And I sense a rising emotion that I am not able to identify. A pleasing emotion that feels superlative, all encompassing.

Sometimes, I try to call out to him. Sometimes, he will respond. Sometimes, he turns his neck and looks back, where the sound is coming from. I am still far behind to make out his face. The smile that I encounter is more felt than seen. I feel he is smiling, though I cannot see that far clearly. He seems to recognize me, my voice. I can make out – he waves his hand at me, as if beckoning me to follow him. And then, he turns the head, looking forward, and continues his march unabated, undisturbed.

I try to speed up. I try to catch up and be with him. But my pace is not as energetic. I try to speed up. But he always remains ahead, remains distant in front. And then another emotion starts to take shape within. A feeling emerges. The feeling slowly forms into belief. And the belief begets assurance – and a sensation of confidence begins to grow. His momentary wave to me is a connect – his acknowledgement to me that we are together. And that he knows we are. And that he knows that now I know that he knows. And a relief washes down into my being. Maybe distant, but the journey has found an accomplice.

The hours and days now have passed into ages. The beat does not falter. The milestones of amazement have been left far behind now. And yet there is a new amazement at every step. The unexpected is the expected; and the expected is always startling.

That superlative emotion continues to linger in back alleys of the mind. The landscape keeps changing. We have passed the oceans by the beach, with their exuberant waves reaching out to the land, and the faint strains carried in the winds “तू प्यार का सागर है॰ ॰ ॰”. We have passed the mountains, full of trees and flowers. Wafting fragrances please the aroma buds singing “वादियाँ मेरा दामन॰ ॰ ॰”. We have passed the snow laden mountains, lovely shining white scenarios, with a set of footprint tracks in snow, as we walk past the peaks and valleys where the echoes tell us “ये पर्वतों के दायरे॰ ॰ ॰”. We have passed the farmers in their fields, joyful at the sight of “हरियाला सावन॰ ॰ ॰”, and proud of their bounty. Sometimes familiar faces will turn towards us and wave, their feet “नाच रे धरती के प्यारे॰ ॰ ॰”. We have passed the divinity of rivers and the boatmen humming “गंगा आए कहाँ से॰ ॰ ॰”. We have trekked along the dusty roads on and on with a horse carriage going by us, the coachman telling us “आई बहार आज आई बहार॰ ॰ ॰”. Across the fields and the waving produce, sometimes we have seen the steaming plume of a train going by, and the ears catch the faint words “पल दो पल का साथ हमारा॰ ॰ ॰”. At times a powered cycle will pass by, and the rider whizzes away singing “इक रास्ता है ज़िंदगी॰ ॰ ॰”. Sometimes a heavy truck chugs along, and the bearded driver gives a smiling wave and tells us “ले चला जिधर ये दिल निकाल पड़े॰ ॰ ॰”. Sometimes there is a celebration in the village beyond the farmlands; there is color and lights and a group of ladies singing “मनभावन के घर जाये गोरी॰ ॰ ॰”. Sometimes there is a fair; a big crowd is seen in the grounds across the river, and the beating drums announce “आई झूम के बसंत॰ ॰ ॰”. Sometimes under the shade of a tree, a ruffled mendicant is waiting for alms, intoning “सबकी हो खैर बाबा॰ ॰ ॰”. Passing a damaged bridge, there is group of workers singing “साथी हाथ बढ़ाना॰ ॰ ॰”. In the grassland next to the road, children play, and they teach – “नानी तेरी मोरनी को॰ ॰ ॰”. At another place, there is cluster of young ladies, teasing a belle “अखियाँ भूल गई हैं सोना ॰ ॰ ॰”. A jeep passes by, and the rider is humming “यारो नीलाम करो ॰ ॰ ॰”. On a parallel path, a convoy of soldiers marches on, and they are singing “चलते ही जाना ॰ ॰ ॰”. A multitude of such simple to life encounters.

The dusks descend at their usual time every day, and a smattering of lights will start burning across the landscape. The trek continues unabated. There is a lonely figure somewhere nearby, lost in the darkness of trees; is slowly singing, probably to himself “रुक जाना नहीं ॰ ॰ ॰”. Sometimes, in the falling darkness of the night, a flute is heard, that pulls the mind. And from a nearby dwelling, the voice of a belle is softly telling “ये बंसी क्यों गाये ॰ ॰ ॰”. The sky is littered with stars and the ways of the milky clouds. The trudge is incessant, and continues to move ahead unrelenting. Passing by another home, a mother is putting a child to sleep “टिम टिम करते तारे ॰ ॰ ॰”.  A lantern is seen waving in space, and I close in on a bullock cart, plodding along the road; and as I pass by, I catch the straining words “जीवन से लंबे हैं ॰ ॰ ॰”. The night carries on. The darkness goes and comes again. The wind is rustling the leaves, making the sounds of “ओ रात के मुसाफिर॰ ॰ ॰”.

And then on the eastern edge the stars begin to fade slowly. The greying skies tell of the advent of yet another day. That figure ahead of me is still at the same place in sight. In the darkness of night he would have crossed one, maybe two more milestones. The day begins to gather strength, the movement of farms and animals begins, the birds are out of nests and out to gather breakfast. A village belle walks by with a ‘गागर’ of fresh water from the well. She is humming “ज्योति कलश छलके ॰ ॰ ॰”. On a distant hill a temple bell is heard – “॰ ॰ ॰भगवान का घर है॰ ॰ ॰”. A fresh new day is here. There are new melodies that he has taught me over the previous day. The music is still lingering, playing in the mind. He looks back and waves, yet again. And then, as before, he faces ahead and continues to move.

The sounds that were prancing around in the bylanes of the mind all of the previous evening, form themselves into words, and the lips start to hum a familiar aria.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

And with that also arises again that unnamed superlative emotion that has been playing hide and seek in the mind since many a day. Who are you, I ask of it. All I get to feel as if there is a smile behind a cloud of smoke. A smile that is beckoning me, a smile that is urging me to follow and find out more, and to know. The words are not heard but are felt inside the heart. Who is it, what is it, I am not able to pin point. A young village lad goes past riding a bullock cart, and he is singing “॰ ॰ ॰ पूर्वा के झोंकवा में आइओ रे संदेसवा॰ ॰ ॰”. I turn and face ahead once again – that figure walking ahead of me, looks back and I can feel the same smile once again. Yes, he is there, he continues to move ahead, and continues to share the music. The path crosses a patch of blooming flowers. I strain and in the winds I can pick up the words “फूलों से दोस्ती है॰ ॰ ॰ कैसे मज़े की प्यारे ज़िंदगी हमारी है॰ ॰ ॰”. With every sound, with every ditty, there is a bump in the heart and a lump in the throat. I look up ahead. He is not looking back at me now. But I know. He is smiling. And he is enjoying.

The emotion swirling inside seems to take a diffused shape, and momentarily diffuses again. Eyes espy a young man and a belle, walking along the hedges of the wheat fields. They are seen at distance, and the words carry through “गुम है किसी के प्यार में॰ ॰ ॰”. Something familiar stirs inside. And a bevy of thoughts gather, vying with each other to fly the open skies. The feminine voice goes by prancing “अर्र रर पायल मोरी खनके हो॰ ॰ ॰”. And the young male voice presses for a tryst by the river “गोरी मिलना हो मिलना हो नदिया के पार॰ ॰ ॰”. Momentarily, the voices team up and the winds carry the words “॰ ॰ ॰मैंने दिल तुझको दिया॰ ॰ ॰”. The pathway skirts a shallow ravine. A row of young lasses is walking by, singing. I can decipher the strains faintly “चले जा चले जा चले जा, जहां प्यार मिले॰ ॰ ॰”. It all appears to be pulling together. The emotion rises again, and washes my being with a very pleasant fragrance.

I call out to him again. Loudly this time. For once, he turns his head and looks at me. “कहाँ ले चले हो॰ ॰ ॰”, the question forms on my lips. A big smile appears to cover all of his face. The words travel back to me “॰ ॰ ॰ जहां तक घटा चले॰ ॰ ॰”. He turns, and continues on, this time with a vigorous wave of his hand, pressing me to keep following.

I look up ahead. He is in the same mood, in the same mode. And I see him drop something. I quicken my pace, just to see. I try to call him. He continues moving, but responds with a wave of his hand. I reach that thing he has dropped. I pick it up. It is a piece of paper. On it are scribbled some words. It is a short and a simple message that is probably for me. The paper has the words “प्यार बांटते चलो॰ ॰ ॰”. I read. The swirling effusion rises to realization – oh yes, this is the purpose he walks on and on. I look up ahead. He is facing forward and moving on. In my mind’s eye, that smile appears once again.

The elation almost lifts me off my feet. It is love. It is that feeling of affection that rises and spreads to cover the world. The mind is free, the heart is joyous, and this world is the most beautiful place to be. The memories of all the thousands of milestones passed, suddenly appear and pass through the mind like a storm. Every melody that we shared across time and space. Every emotion that was spawned by the melodies. Every little molecule of joy and happiness that came with these emotions. Every stop of the journey flashes by in the portals of the mind. Ah, this journey, this detachment from the desires of reaching a destination, this freedom to keep going till we reach the “घटा” at the edge of the horizon. The ecstasy is so rejuvenating. And the mind remembers – “ये हंसता हुआ कारवां॰ ॰ ॰ तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर॰ ॰ ॰”. It seems all that is life, is here and now with us. I look up again towards him. And this time, again, he turns his head, gives a big smile and, as if reading my mind, nods in the affirmative.

We continue moving forward. We pass many, many more stops and the melodies are acknowledged. The heart is in delight, the steps are springy and light, and the only desire is “॰ ॰ ॰ ना बीते कभी ये सफर॰ ॰ ॰”. After so many more milestones, he drops me another note. I quicken my pace to pick it up again. The words, they bring a thrill into my being. His note says “॰ ॰ ॰ ये प्यार हमारा हमेशा रहेगा॰ ॰ ॰”. A feeling of love with a touch of divinity, steals through the labyrinths of the mind. And the heart knows, this is one promise that is forever. The journey, the companionship, the melody – nothing much more remains to be desired in life. The ‘Fiddler’ is walking ahead of me. All I know now is that I follow him. He has this thing slung on his shoulder. There is music and there is a song, wafting in from practically everything, every person we meet and see on this trek. And the images in the mind only get stronger.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

गाता जाये बंजारा

[SK – The words of this song say it all, I will add no more. Except that, Atul ji, I have run out of hats to doff at your achievements.]

Song – Aap Ka Shukriya Aap Ki Meharbaani (Anokhi Pehchaan) (1972) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

aap ka..
shukriyaa
aap ki.. meharbaani
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
kya suhaana samaa hai
ye mausam jawaan hai
aaj har cheez pe hai jawaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap ki yaad aaye
to dil behal jaaye
dijiye aisi koi nishaani
aap ka..
shukriyaa
aap ki.. meharbaani

pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
yaad rakhna ye baaten
nai hain mulaqaaten
ye mohabbat magar hai puraani
aap ka..
shukriyaa
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
क्या सुहाना समा है
ये मौसम जवां है
आज हर चीज़ पे है जवानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप की याद आए
तो दिल बहल जाये
दीजिये ऐसी कोई निशानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
याद रखना ये बातें
नई हैं मुलाकातें
ये मोहब्बत मगर है पुरानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी


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

With this post, the blog has now clocked thirteen thousand two hundred unique songs. It may be so that these century milestone are now an expected regularity. But then, it is these (now) minor milestones, that come together and collectively put together and characterize the larger milestones – A journey of a thousand steps is made up of a thousand steps.
Read more on this topic…


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

Atul ji’s 10K Song Milestone Celebrations – 9
——————————————————————–

I am an Atulite and I am proud of it. It is an honor to be associated with a blog that drips pure love of music. Like almost all Indians I love Hindi film music. But I cannot claim to be knowledgeable about it. I do know many songs but that is not a qualification. There are thousands of songs out there, many of which have fallen into oblivion. It is the die-hard music lovers that keep track of these songs and chase them with an assiduity that would make Sherlock Holmes feel jealous.

I am amazed when some of my friends are able to name the movie, singer, lyricist and music director as soon as the song is mentioned. Some Atulites could also tell you charming little stories behind the making of each song. Delving here, I have discovered gorgeous songs that not much known but are as precious as Koh-i-Noor.
Read more on this topic…


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

Atul ji’s 10K Song Milestone Celebrations – 8
——————————————————————–

Mukesh and His Co-Singers – 3
—————————————-

The thought had crossed my mind a few months back. To calculate the sum of all the posts of contributors and subtract it from the grand total which would have given the obvious number. A number big enough to just admire, thank and congratulate with high gratitude. Thankfully, the pen and paper (and well a calculator) did not meet and so we had Sudhir ji planning his modus-operandi.

Else who knows, I would have written a common mail to both which I usually do and spoiled all the fun.

I got to know of Sudhir ji’s plans which he told me in person when I met him for a short visit to his house. Now wait. Isn’t our meeting a celebration to write a post? Yes indeed, but that shall wait for another day.
Read more on this topic…


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(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13378

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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