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

Archive for the ‘Devnagri script lyrics by Sudhir’ Category


This article is written by Peevesie’s mom, 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.

Hullo Atulwaasis

I know many followers of this blog are also fans of cricket. I am sure many have their favourite cricket commentators. I will not say Sunil Gavaskar is my favourite commentator but yes, I remember many points that he has made over the years in his commentary. Specially in the period when he had just taken to commentary after his stint as a successful cricketer. This is a point he has made regularly, it can be taken as his advice to young cricketers. He has said and I quote: “always try to reach your milestone run of 50 or 100 with a four or two, never a single.”

He gives an explanation to support this thought “it covers for any short run, or any run which the batsman has scored which has inadvertently been credited to extras.” He further used to advice that in case it was a single that took you to 50 or 100 then it is always good to follow it up with a single or two to cover up for inadvertent wrong markings. It seems this was the advice his coach gave him. It makes sense but must have been true for the age and time when computers had not yet stepped in and replaced manual score cards.

Why did I start my post with the above thoughts? Is today’s post of mine cricket based? No! it is just my first single after my double hundred. I remember I had waited for about six balls oops! 😉 days after my first hundred to write a post or find an occasion to write. But this time around I have found the perfect ball (occasion) to hit a defensive stroke needed for a quick single.

Today our dear Golden Zulfonwali turns a year older. She used to say her name was “Chin Chin Chu” asked us to live life whole heartedly as “Kitty Kelly”. And I hope we have not run out of songs picturised on her considering we have 237 of her songs on the blog already. She must be the only female actor whose songs we have as a separate category on our blog.

Oh yes, I am talking of Helen Khan a.k.a Helen Ann Richardson meaning our very own Helen. She has always had a special place in the hearts of cine-lovers. I have heard people relate how at one time distributors used to force producers and directors to insert a situation so that a dance by Helen could be included in the movie. Also costume designers have related how she used to patiently wait when they used to stitch her various outfits on her body and how she had developed a habit of picking up accessories like hats, feathers, stoles and furs etc on her various trips, things which she later used on her costumes. She has acted in about 700 movies (not sure of the exact number). I have seen her in two Tamil songs too- one with Shivaji Ganesan and other with Rajnikanth in “Billa” (a remake of ‘Don’) where she had the role of Kamini as in the original “Don”

Wishing our darling Helen, a very healthy semi-retired life. I say semi-retired as she makes an appearance on-screen once every few years when she finds roles appropriate to her age. She has danced in a few of them too. Today we have song from the time when she was at her peak. It is a dance where her outfit has fruits stuck in them. Then she has the top of a lampshade for a cap. the song shows her enjoying herself. It is a song where Radha Saluja fantasises that her husband Kiran Kumar is being willingly seduced by Helen in the 1973 film ‘Aaj Ki Tazaa Khabar’. It is sung by Asha Bhonsle, written by Hasrat Jaipuri and music is by Shankar Jaikishan.

Wish you a very Happy Birthday dear Helen.


Song-Khilta hua shabaab hai (Aaj Ki Taaza Khabar)(1973) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

ha ha haha hahaha
aa jaa

khilta hua shabab hai
aise me kuchh
ha ha haha hahaha

khilta hua shabab hai
aise me kuchh kaho
mausam bhi  lajawaab hai
aise me kuchh kaho
ye hey
ey hey
ye hey
ooooooo
khilta hua shabab hai
aise me kuchh kaho
mausam bhi  lajawaab hai
aise me kuchh kaho

ae
hmmmm
hahaha haha
aankhon mein bhi nasha hai
baahon mein bhi nasha hai
saanson mein bhi nasha hai
aahon me bhi nasha hai
aankhon mein bhi nasha hai
baahon mein bhi nasha hai
saanson mein bhi nasha hai
aahon me bhi nasha hai
ey hey
oo ho
ho ho
nasha hai
sara badan sharaab hai
aise me kuchh kaho
mausam bhi lajawaab hai
aise me kuchh kaho

arre
hmm
ha haha
ye raat naujawaan hai
khoya hua kahaan hai
masti bhara samaan hai
koi na darmiyaan hai
ye raat naujawaan hai
khoya hua kahaan hai
masti bhara samaan hai
koi na darmiyaan hai
re re
ru ru
re re
oooooooo
aur pyaar behisaab hai
aise me kuchh kaho
mausam bhi lajawaab hai
aise me kuchh kaho
hey hey
hey hey
hey hey
hahaha haha

khilta hua shabaab hai
aise me kuchh. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

हा हा हाहा हाहाहा
आ जा

खिलता हुआ शबाब है
ऐसे में कुछ
हा हा हाहा हाहाहा

खिलता हुआ शबाब है
ऐसे में कुछ कहो
मौसम भी लाजवाब है
ऐसे में कुछ कहो
ये हे
ए हे
ये हे
ऊ॰ ॰ ॰
खिलता हुआ शबाब है
ऐसे में कुछ कहो
मौसम भी लाजवाब है
ऐसे में कुछ कहो


हम्मम
हाहाहा हाहा
आँखों में भी नशा है
बाहों में भी नशा है
साँसों में भी नशा है
आहों में भी नशा है
आँखों में भी नशा है
बाहों में भी नशा है
साँसों में भी नशा है
आहों में भी नशा है
ए हे
ओ हो
हो हो
नशा है
सारा बदन शराब है
ऐसे में कुछ कहो
मौसम भी लाजवाब है
ऐसे में कुछ कहो

अरे
हम्मम
हा हाहा
ये रात नौजवान है
खोया हुआ कहाँ है
मस्ती भरा समां है
कोई ना दरमियां
ये रात नौजवान है
खोया हुआ कहाँ है
मस्ती भरा समां है
कोई ना दरमियां
रे रे
रु रु
रे रे
ऊ॰ ॰ ॰
और प्यार बेहिसाब है
ऐसे में कुछ कहो
मौसम भी लाजवाब है
ऐसे में कुछ कहो

हे हे
हे हे
हे हे
हाहाहा हाहा
खिलता हुआ शबाब है
ऐसे में कुछ॰ ॰ ॰

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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.

“Neki Aur Badi” (1949) was an Oriental Pictures presentation. It was directed by Kidar Sharma. The movie had Geeta Bali, Pesi Patel, Nazira, Madhubala, Kidar Sharma, Uma Dutt etc in it.

“Neki Aur Badi”(1949) had ten songs in it. Seven of these songs have been covered in the blog.

Here is the eighth song from “Neki Aur Badi”(1949) to appear in the blog. This song is sung by Amirbai Karnataki and a couple of unidentified male voices. Kidar Sharma is the lyricist. Music is composed by Roshan, of course.

I have failed to get the lyrics right at many places. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

I also request our knowledgeable readers to help identify the unknown male voices in the song.

With this song, now two songs from the movie are left undiscussed. These two songs are “Ae ree jaa le aa more kaant ka sandeswa” and “man mein prem ki jyoti jale”. Even the details of singers of these songs are missing in HFGK. So unless these two songs get located, this movie will remain unYIPPEED in the blog. I request our knowledgeable readers to keep a watch for these as yet unavailable songs and sound us out as and when these songs become available.

———————————————————-
Translation (Provided by Sudhir)
———————————————————
‘dahaan’ = mouth, opening
‘zhakhm’ = wound
‘dahaan e zakhm se’ = from the lips of the wounds
‘kissa e gham’ = tale of miseries
‘karam’ = blessings, His grace
‘zaa’id’ = surplus, overflowing
‘be-zaa’id’ = lacking, deficient
‘aabileh’ = plural of ‘aabilah’ – wound, blister
‘farsh’ = floor, carpet
‘farsh e khaaq’ = carpet of ashes, carpet of dust
‘naaleh’ = lamentations, cries, moans

 

hamen na roko hamen unke paas jaane do
dahaan e zakhm se kissa e gham sunaane do

Do not hinder us
Allow us to go near them
And permit us to narrate
Our tales of miseries
From the lips of our wounds

ye lambi taan ke sotey rahe hain sadiyon tak
zamaana badla hai ab to inhen jagaane do

They have been sleeping in peace
From centuries now
Times have changed
Allow us to wake them up (into today’s reality)

ye motiyon ke qadrdaan karam se be-zaaid
jigar ke phaile huye aabileh dikhaane do

They play in wealth
And they give rewards of pearls
But they so lack His blessings and grace
Permit us to show them
The blisters that spread on our heart

ye chand aish karen aur ye saikdon royen
ye mehlon mein, aur ye farsh e khaaq par soyen

These few enjoy the luxuries
And these thousands weep in misery
They sleep in their palaces
And these on the carpet of dust

isi ko kehte hain insaaf aasmaan waale
khalq hila ke rahenge ghareeb ke naale

(If) this is Your justice and rightesouness
O Our Lord in heavens
Be it so then
That the lamentations of the weak and the poor
Shall shake the foundations of this creation itself


Song-Hamen na roko hamen unke paas jaane do (Neki Aur Badi)(1949) Singers- Feroze Dastur, Amirbai Karnataki, Unknown Male Voice, Lyrics-Kidar Sharma, MD-Roshan
Male Chorus

Lyrics

hamen na roko
hamen unke paas jaane do
hamen na roko
hato
unke paas jaane do
hamen na roko
hamen unke paas jaane do
aahe waah
unke paas jaane do
dahaan e zakhm se
kissa e gham sunaane do
dahaan e zakhm se
kissa e gham sunaane do

jaao
ey
hota hai

ye lambi taan ke
sote rahe hain
sadiyon tak

haan aa aa
ye lambi taan ke ae
sote rahe hain aen
sadiyon tak a a
zamaana badla hai
ab to inhen jagaane do
zamaana badla hai
ab to inhen jagaane do

ye motiyon ke kadrdaan
karam se be-zaa’id
haan
karam se be-zaa’id
haan
karam se be-zaa’id
jigar ke phaile huye
aabileh dikhaane do
jigar ke phaile huye
aabileh dikhaane do

ye chand aish karen aen aen
aur ye saikdon..on..on..on royen
ye oonche mahlon mein
ye farsh e khaakh par soyen aen aen
isi ko kehte hain
insaaf aasmaan waale
khalq hilaa ke rahenge
gareeb ke naaleh
gareeb ke naaleh

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

हमें ना रोको
हमें उनके पास जाने दो
हमें ना रोको
हटो
उनके पास जाने दो
हमें ना रोको
हमें उनके पास जाने दो
आहे वाह
उनके पास जाने दो
दहान ए ज़ख्म से
किस्सा ए ग़म सुनाने दो
दहान ए ज़ख्म से
किस्सा ए ग़म सुनाने दो

जाओ

होता है

ये लंबी तान के
सोते रहे हैं
सदियों तक
हाँ॰॰आ॰॰आ
ये लंबी तान के
सोते रहे हैं
सदियों तक
ज़माना बदला है
अब तो इन्हें उठाने दो
ज़माना बदला है
अब तो इन्हें उठाने दो

ये मोतियों के क़दरदां
करम से बे-ज़ा’एद
हाँ करम से बे-ज़ा’एद
हाँ करम से बे-ज़ा’एद
जिगर के फैले हुये
आबिलेह दिखाने दो
जिगर के फैले हुये
आबिलेह दिखाने दो

ये चंद ऐश करें॰॰एं॰॰एं
और ये सैंकड़ों॰॰ओं॰॰ओं॰॰ओं रोएँ
ये ऊंचे महलों में
ये फर्श ए खाक पर सोएँ॰॰एं॰॰एं
इसी को कहते हैं
इंसाफ आसमान वाले
ख़ल्क़ हिला के रहेंगे
ग़रीब के नाले
ग़रीब के नाले


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

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

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

 

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

Lyrics

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Lyrics

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

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

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

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

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

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

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

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

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

 


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

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

“What a find. Such a rollicking song.”

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

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

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

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

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

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

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

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

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

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

 

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

Lyrics

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

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

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

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

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

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

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

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

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

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

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


This article is 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.

“Saudaagar”(1951) was produced by S V Moongre and directed by M I Dharmsey for West Hind Pictures, Bombay. The movie had, Rehana, Naseer Khan, Suraiyya Choudhary, Bhudo Advani, Shakuntala, Ratan Kumar, Balam, K N Singh etc in it.

This movie had ten songs in it that were sung by six singers, penned by three lyricists and composed by two music directors.

One song from the movie has been covered in the past.

Here is the second song from “Saudaagar”(1951) to appear in the blog. This song is sung by Lata. P L santoshi is the lyricist. Music is composed by C Ramchandra.

Only audio of this song is available. My guess is that this song was picturised on Rehana.

The audio skips at one place and I have not been able to get the lyrics right at that place (or may be at some more places). I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song – Kahaan jaaoge huzoor meri nazron se door (Saudaagar) (1951) Singer – Lata, Lyrics – PL Santoshi, MD – C Ramchandra

Lyrics

kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor

aankhon se aaye thhe
dil mein samaaye thhe
hamne teri khaatir sadme kya kya na uthaaye thhe
kyun chhod chale bedardi
kyun chhod chale bedardi
kiya aisa kya kusoor
kahaan jaaoge huzoor
kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor

ho o o o
jisko tu aabaad karey
usko hi barbaad karey
phir bhi dil rotey rotey
tujhko hardam yaad karey
tujhko hardam yaad karey
ho o o o o
jisko tu aabaad karey
usko hi barbaad karey
phir bhi dil rotey rotey
tujhko hardam yaad karey
tujhko hardam yaad karey
aisi meri haalat kar di
anokha ye ulfat ka dastoor
kahaan jaaoge huzoor
kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor
meri nazron se door
bachke jaaoge huzoor
kahaan jaaoge huzoor

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

कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर

आँखों से आए थे
दिल में समाये थे
हमने तेरी खातिर सदमे क्या क्या ना उठाए थे
क्यों छोड़ चले बेदर्दी
क्यों छोड़ चले बेदर्दी
किया ऐसा क्या क़ुसूर
कहाँ जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर

हो ओ ओ ओ
जिसको तू आबाद करे
उसको ही बर्बाद करे
फिर भी दिल रोते रोते
तुझको हरदम याद करे
तुझको हरदम याद करे
हो ओ ओ ओ
जिसको तू आबाद करे
उसको ही बर्बाद करे
फिर भी दिल रोते रोते
तुझको हरदम याद करे
तुझको हरदम याद करे
ऐसी मेरी हालत कर दी
अनोखा ये उलफत का दस्तूर
कहाँ जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर
मेरी नज़रों से दूर
बचके जाओगे हुज़ूर
कहाँ जाओगे हुज़ूर


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.

“Nishaan Danka” (1952) was directed by Jayant Desai for Vikas Productions, Bombay. This “costume” movie had Ranjan, Shyama, Jeevan, baby Tabassum etc in it.

Thmovie had seven songs in it. Three of these songs have been covered in the past.

Here is the third song from the movie. This song is sung by Geeta Dutt. Hasrat Jaipuri is the lyricist. Music is composed by Basant Prakash.

HFGK listing of songs for this movie does not mention this song. However, the song index mentions this song as belonging to “Nishaan Danka” (1952).

Only the audio of this song is available and so it is difficult to tell how and on whom this song was picturised. I request our knowledgeable readers to throw light on this matter.


Song-Kisi ke pyaar ko hans hans ke thhukraana nahin achcha (Nishaan Danka)(1952) Singer-Geeta Dutt, Lyrics-Hasrat Jaipuri, MD-Basant Prakash

Lyrics

kisi ke pyaar ko hans hans ke thukraana nahin achcha
kisi ke pyaar ko hans hans ke thukraana nahin achcha
jo tum par jaan de us par sitam dhaana nahin achcha
kisi ke pyaar ko hans hans ke thukraana nahin achcha

jawaani hans ke aati hai magar ro ro ke jaati hai
jawaani hans ke aati hai magar ro ro ke jaati hai
arre do din ke saathi par ye itraana nahin achcha
jo tum par jaan de us par sitam dhaana nahin achcha
kisi ke pyaar ko hans hans ke thukraana nahin achcha

hamaare jab nahin bante to apni yaad bhi le lo
hamaare jab nahin bante to apni yaad bhi le lo o o
yaad bhi le lo
khayaalon mein kisi ke aa ke tarsaana nahin achcha
jo tum par jaan de us par sitam dhaana nahin achcha
kisi ke pyaar ko hans hans ke thukraana nahin achcha

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

किसी के प्यार को हंस हंस के ठुकराना नहीं अच्छा
किसी के प्यार को हंस हंस के ठुकराना नहीं अच्छा
जो तुम पर जान दे उस पर सितम ढाना नहीं अच्छा
किसी के प्यार को हंस हंस के ठुकराना नहीं अच्छा

जवानी हंस के आती है मगर रो रो के जाती है
जवानी हंस के आती है मगर रो रो के जाती है
अरे दो दिन के साथी पर ये इतराना नहीं अच्छा
जो तुम पर जान दे उस पर सितम ढाना नहीं अच्छा
किसी के प्यार को हंस हंस के ठुकराना नहीं अच्छा

हमारे जब नहीं बनते तो अपनी याद भी ले लो
हमारे जब नहीं बनते तो अपनी याद भी ले लो॰॰ओ॰॰ओ
याद भी ले लो
ख़यालों में किसी के आ के तरसाना नहीं अच्छा
जो तुम पर जान दे उस पर सितम ढाना नहीं अच्छा
किसी के प्यार को हंस हंस के ठुकराना नहीं अच्छा


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.

“Didi”(1948) was produced by Mukund Masurekar for Navbharat Pictures, Bombay. This “social” movie had Ranjana, Ghanshyam, Shobha Rani, Charubala, Pandey, Anand, amrit, Narsi, Cuckkoo etc in it.

This extremely obscure movie had eleven rare songs in it that were penned by two lyricists and sung by five singers.

Here is the third song from “Didi”(1948) to appear in the blog. This song is sung by Shankar Dasgupta. Saraswati Kumar Deepak is the lyricist. music is composed by Mukund Masurekar.

Tune of the song is reminiscent of Mukesh’s immortal song “dil jalta hai to jalne de”, but unlike that song, this song from “Didi” (1948) has been forgotten.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

I have not been able to get a word (may be more) right in the lyrics. I request our readers with keener ears to help fill in the words/ suggest corrections, as applicable.


Song-Kisi ka deep jalta hai kisi ka deep bujhta hai(Didi)(1948) Singers-Shankar Dasgupta, Lyrics-Saraswati Kumar Deepak, MD-Mukund Masurekar

Lyrics

kisi ka deep jalta hai
kisi ka deep bujhta hai
kisi ki zindagi ka ek pal mein
rang badalta hai
kisi ka deep bujhta hai
kisi ka deep jalta hai
kisi ka deep bujhta hai

koi paata koi khota
koi hansta hi rehta hai
koi rokar ke behkaata
sabhi ko dasta rehta hai
kisi ka deep jalta hai
kisi ka deep bujhta hai

koi uljhan ko uljhaata
koi dariya ban behta hai
kisi ne phool raunde hain
koi kaanton par chalta hai
kisi ka deep jalta hai
kisi ka deep bujhta hai

koi apna bana leta
koi apne bhi khota hai
koi mohtaaj tukdon ka
koi moti pirota hai
kisi ka deep jalta hai
kisi ka deep bujhta hai
kahin jal jal ke bujhta hai
kahin bujh bujh ke jalta hai
kisi ka deep jalta hai
kisi ka deep bujhta hai
kisi ka deep jalta hai
kisi ka deep bujhta hai

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

किसी का दीप जलता है
किसी का दीप बुझता है
किसी की ज़िंदगी का एक पल में
रंग बदलता है
किसी का दीप बुझता है
किसी का दीप जलता है
किसी का दीप बुझता है

कोई पाता कोई खोता
कोई हँसता ही रहता है
कोई रोकर के बहकाता
सभी को डसता रहता है
किसी का दीप जलता है
किसी का दीप बुझता है

कोई उलझन को उलझाता
कोई दरिया बन बहता है
किसी ने फूल रौंदे हैं
कोई काँटों पर चलता है
किसी का दीप जलता है
किसी का दीप बुझता है

कोई अपना बना लेता
कोई अपने भी खोता है
कोई मोहताज टुकड़ों का
कोई मोती पिरोता है
किसी का दीप जलता है
किसी का दीप बुझता है
कहीं जल जल के बुझता है
कहीं बुझ बुझ के जलता है
किसी का दीप जलता है
किसी का दीप बुझता है
किसी का दीप जलता है
किसी का दीप बुझता 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.

Missing Films of 1960s – 36
– – – – – – – – – – – – – – –

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

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

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

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

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

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

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

 

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

Lyrics

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

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

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

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

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

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

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

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

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

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

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

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

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


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

The small girl in the song with this post celebrates her 52nd birthday today—unbelievable she is so young. The birthday list on our blog says she is 1965 born, also the Filmfare awards list page says she was all of 15 when in 1980 she won the Best Supporting Actress award for her depiction of a rape victim (in ‘Insaaf Ka Taraazu’). She seems to have been around forever. I just do not want to use the phrase ‘past her prime.’ Come to think of it she is younger to the Khans who are ruling the industry these days.

Born as the eldest child to Pandarinath Kolhapure – a cousin of the Mangeshkars – she was cast as a child actor for the first time in Dev Anand’s ‘Ishq Ishq Ishq’ in 1975. From there she has not looked back and worked with all the three pillars of Bollywood- with Dev Anand in ‘Ishq Ishq Ishq’, Raj Kapoor cast her in ‘Satyam Shivam Sundaram’ (1978) and then later in ‘Prem Rog’ (1982), and Dilip Kumar was her co-star in ‘Vidhaata’ (1982). Added to that her filmography shows that there was hardly any big star who has not acted with her; the sole exception being Amitabh Bachchan. She was romantically paired opposite Rajesh Khanna and Jeetendra. She got a best supporting actress for her performance in B.R.Chopra’s ‘Insaaf Ka Tarazu’. That same year saw her in her first heroine role in ‘Zamaane Ko Dikhaana Hai’ opposite to Rishi Kapoor. But her best actress award was for Raj Kapoor’s ‘Prem Rog’. She also got a special award for ‘Ahista Ahista’ (1981).  She took a break after marrying Tutu (Pradeep) Sharma in 1989 and made a comeback in a Marathi film “Chimani Pakhar” in 2003. Last I remember seeing her in a serial on Sony TV with her friend Poonam Dhillon as costar.

Here is wishing this multi-talented, cute, sweet, baby-faced actor a Very Happy Birthday. This song, from the 1978 film ‘Saajan Bina Suhaagan’, is filmed on Nutan, Radha Bartake, Arati Chopra and Padmini Kolhapure – today’s birthday gal. It is written by Indivar, and Usha Khanna is the music director. The film is produced by Sawan Kumar Tak. The playback singers are Arati Mukherjee, Chandrani Mukherjee and ShivangiKolhapure.

 

(Audio)

(Video)

Song – Happy Birthday To You (Saajan Bina Suhaagan) (1978) Singer – Aarti Mukherji, Chandrani Mukherji, Shivangi Kolhapure, Lyrics – Indivar, MD – Usha Khanna
Aarti + Chandrani + Shivangi

Lyrics

apna sab ko roop dikhaun
jab ishwar ke mann mein aaya
tab maa us ne tujhko banaaya
tujh mein apna roop sajaaya
aaj tera maa janam din aaya
happy birthday to you
o mamma
dear mamma
happy birthday to you
o mamma dear mamma
happy birthday to you

la lala
lala lala
lallaa la la laaa

la lala lalaallaa la la
la la laalla la la lalla
la lalla la la

jeewan ke jitne pal hum ne
god me teri guzaare
jeewan ke jitne pal hum ne
god me teri guzaare
maa wo pal jeevan mein humko
lagte hain sabse pyaare
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

pyaar ko tu anuraag samajh ke
sab kuchh hum pe lutaaye
pyaar ko tu anuraag samajh ke
sab kuchh hum pe lutaaye
laakhon hi upkar kare
upkar kabhi na jataaye
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

hum hain tere pyaar ki kaliyaan
tu mamata ki daali
hum hain tere pyaar ki kaliyaan
tu mamata ki daali
janam divas ho tujh ko mubaarak
hum ko janam dene waali
o mamma dear mamma
o mamma pyaari mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you
o mamma
dear mamma
happy birthday to you

laa lala
lala lala
lallaala lallaala laa

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

अपना सबको रूप दिखाऊँ
जब ईश्वर के मन में आया
तब माँ उसने तुझको बनाया
तुझ में अपना रूप सजाया
आज तेरा जनम दिन आया
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा डियर माम्मा
हॅप्पी बर्थडे टू यू

ला लाला
लाला लाला
लल्ला ला ला ला॰॰॰

जीवन के जीतने पल हमने
गोद में तेरी गुज़ारे
जीवन के जीतने पल हमने
गोद में तेरी गुज़ारे
माँ वो पल जीवन में हमको
लगते हैं सबसे प्यारे
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

प्यार को तू अनुराग समझ के
सब कुछ हमपे लुटाये
प्यार को तू अनुराग समझ के
सब कुछ हमपे लुटाये
लाखों ही उपकार करे
उपकार कभी ना जताए
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

हम हैं तेरे प्यार की कलियाँ
तू ममता की डाली
हम हैं तेरे प्यार की कलियाँ
तू ममता की डाली
जनम दिवस हो तुमको मुबारक
हमको जनम देने वाली
ओ माम्मा डियर माम्मा
ओ माम्मा प्यारी माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू
ओ माम्मा
डियर माम्मा
हॅप्पी बर्थडे टू यू

ला लला
लाला लला
लल्लाला लल्लाला ला


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

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