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 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.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4200 Post No. : 15384

Today’s song is from the first decade of the talkie era and from one of the very popular Saigal films coming from New Theatres, Calcutta, ‘President’ (1937).

Ardeshir Irani of Imperial Film Co. won the race with Calcutta’s Madon Theatres and released the first talkie film of India – ‘Alam Ara’ (1931) and a revolution took place in the Indian Film Industry ! With just one shot, scores of Anglo-Indian actresses of the silent era became jobless, because they could not speak Hindi or sing a song. Smaller producers of silent films just shut their shops, because now, a single talkie film needed 4 times more investment compared to cheaper varieties of silent films produced earlier. The financial wizards understood the new opportunity of making money by investing in talkie film production. The number of staff of film companies increased and the big players with sound finances, became ready to grow bigger.

By 1934, the production of silent films ceased completely. Some of the noted film makers like V Shantaram, for example, who had shunned the talkie films initially as a temporary aberration, now took keen interest in making talkie films. They realised that talkie films could be an excellent vehicle for giving out social reform messages to the society. Initially, though the talkie films were made on folk tales, Parsi dramas and mythological stories, after 4-5 years the trend changed in its content and we can see a variety of genres in films then.

The playback was introduced in 1935 at Calcutta and in 1937 at Bombay – both by Bengali MDs. So, in 1937 films became mature. The other major highlights of 1937 were. . .
1.The first songless film – ‘Naujawan’ – was made by the Wadias
2. First English poem was used as a song in a Hindi film – which is available even today.
3. Younger MDs like Gobind Ram, Gyan Dutt, Ram Gopal Pande etc started their film careers.
4. Prabhat Films brought out their first film on social reforms – ‘Duniya Na Maane’. Same time New Theatres gave ‘Mukti’, ‘Ánath Ashram’ and ‘President’, on social issues.
5. First colour film – ‘Kisan Kanya’, indegenously shot and processed by Imperial, was released.

In 1937, a total of 176 films were made in India, out of which 102 were Hindi films. 14 films were made in Calcutta, 2 in Poona, 1 each in Kolhapur and Lahore and 83 films were made in Bombay alone, establishing itself as the undisputed Capital of Film Industry. In Bombay, the major players (film companies) made films in 1937 alone, thus – Prabhat-2, Ranjit-8, Sagar-6, Bombay Talkies-4, Minerva-2, Huns Pictures-3, Wadias-4, Prakash-3 and the maximum films were made by Imperial-9. The rest films were made by dozens of smaller production houses and individual producers under their banners. The major companies made 41 films, which was a major chunk of the 83 Bombay made films, in 1937.

Out of this, some notable films were – ‘Khwab Ki Duniya’ made by Prakash, was based on the famous novel and a subsequent Hollywood film ‘The Invisible Man’ (1933). The trick scenes were lapped up by the audiences. ‘Mahageet’ made by Sagar, heralded the playback singing in Bombay. ‘Savitri’ made by Bombay Talkies, was Ashok kumar’s first mythological film (he acted in another film ‘Úttara Abhimanyu’ (1946) later on). ‘Naujawan’ was Wadia’s first songless talkie film of India.

By 1937, the film music had also undergone total change. From stage drama style music, now MDs tried various other original melodies. Thus music became one of the major attractions of a film. Particularly some film songs are such that they occupy a special place in our heart. Many such songs of Hindi films are known to all of us and at some point of time we all had also got carried away with such songs. The other day, I was reading the book- “Golden period of film music 1931-1960” by film historian and writer Isak Mujawar ( चित्रपट संगीताचा सुवर्णकाळ १९३१-१९६०), in which he has related an anecdote…

When Producer Director Raj Khosla was a small boy, his father used to love Saigal songs. They had an ancient type of gramophone and his father would always play Saigal’s song “Ik Bungala Bane Nyaara” from film ‘President’-1937. It was his favourite song. Even Raj used to like this song. As he grew older he always used to remember his father and this song. In 1969, when he made film “Do Raaste”, he created a scene in it, in which Balraj Sahani – the eldest  of the three brothers in the film, always listens to this song on his gramophone. The same song is played in the film many times. In fact,the entire film story is built around that song.”
(free translation from Marathi).

When I read this, out of curiosity I opened my laptop and went to You Tube. I searched for the film ‘Do Raaste’ and watched it. Lo and behold ! The song indeed is played by Balraj Sahani and I too – along with Balraj Sahani – enjoyed the song again. Nowadays, we find in many films, old songs are played. Our own Sudhir ji is also running a series of such songs on this blog.

About a month back, I came across 2 song snippets, from film President-37, which I found were not covered in the Blog so far. The problem was, one song was of only 40 seconds and the other was of 50 seconds. Next day, I had urgent engagements till next 10 days, so I left the matter at that. However, when I became free, I sent those snippets to Atul ji and Sudhir ji. Sudhir ji informed me that the shorter song was opening part of the famous song “Ek Bangala Bane Nyaara” and was already covered in the blog. However the other 50 second snippet needed some work on it. Sudhir ji restored it by editing, cutting, joining and adding the missing song lines to it, etc. to make it a song of respectable duration of 2+ minutes. It included some dialogues also. He even uploaded it. I thank Sudhir ji for mending, amending and sending the song to me for presentation.

As per HFGK, there are 8 songs in film President. 6 songs are already discussed. In these posts, lot of information about the film and related matters has already been given , so there is nothing left to write about these matters. However, I have found that the synopsis of the film given by the Encyclopedia of Indian Cinema takes a different angle of the story than what is already given in the blog. So I am reproducing it here to know what it means. . .

A famous Saigal musical narrating a strange love story set against 1930s industrialisation and worker-management relations. The 16-year-old Prabhavati (Chandrabati Devi/Kamlesh Kumari) inherits a mill and turns it into an extremely profitable enterprise.

Prakash (Saigal) is a worker who designs a more efficient machine for the factory for which he first gets sacked and then is re-employed. He falls in love with Prabhavati’s sister Sheila (Leela Desai), who later makes way for Prabhavati who is also in love with Prakash.

Her withdrawal distresses Prakash, causing him to bully the workers who then go on strike. Prabhavati realises the problem and presumably commits suicide (she disappears into an office and locks the door) for the good of her sister and of the business. The hint is about her death.

The unmistakable thrust of the story is that the ‘personal’ (i.e. relations with women) should not be allowed to interfere in male pursuits like business or management, equated with social good. The film has Saigal’s classic number Ek bangla bane nyara. The plot echoes the Guru Dutt script for the unfinished Baharain Phir Bhi Ayengi.

Let us now listen to this reborn 7th song. Some dialogues come free with the song…


Song – Door. . . Bahut Door (President) (1937) Singer – Bikram Nahar, Lyricist – [Unattributed], MD – Pankaj Mullick
Leela Desai
Jagdish Sethi

Lyrics (Provided by Sudhir)

[jeejee
ae ree jeejee
toone jo kiya thheek kiya
tujhe ye sab kuchh chhod kar chala jaana hoga
door
bahut door
bahut door
]

door
bahut door
phir bhi tum itne nahin door
jitna aankhon se noor
phir bhi tum itne nahin door
jitna aankhon se noor

[damn it
daam aankhen
damn noor
]

ras bhari vaani se to
man ki kali
khil gayi
khil gayi
hic
theeeeeeee
kathor vachan
hic
sunte hi
murjhaayi
hic

[Vikram
ye bakwaas band karoge ya nahin]

[. . .]
[..clipped dialogues..]
[. . .]

[apne us rascal se keh dena ki
uski daal ab yahaan nahin galegi

Sheela darling us’se nafrat karti hai

Sheela dear. . .]

[tum isi laayak ho

raat khatm hone waali hai
jee bhar ke ro sako to ro lo
savere tak dil ki bhadaas nikal jaayegi
ghabraane ko koi baat nahin
]

mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat
mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat

haar mein hoti hai jeet
yahi ee
hai
preeet ki reeeet

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

[जीजी
ए री जीजी
तूने जो किया ठीक किया
तुझे ये सब छोड़ कर चला जाना होगा
दूर
बहुत दूर
बहुत दूर]

दूर
बहुत दूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर

[डैम इट
डैम आँखें
डैम नूर]

रस भरी वाणी से तो
मन की काली
खिल गई
खिल गई
हिक
थी॰॰॰
कठोर वचन
हिक
सुनते ही
मुरझाई

[विक्रम
ये बकवास बंद करोगे या नहीं]

[. . .]
[..संवाद कट..]
[. . .}

[अपने उस रास्कल से कह देना कि
उसकी दाल अब यहाँ नहीं गलेगी

शीला डार्लिंग उससे नफरत करती है

शीला डियर ॰ ॰ ॰]

[तुम इसी लायक हो

रात खत्म होने वाली है
जी भर कर रो सको तो रो लो
सवेरे तक दिल कि भड़ास निकाल जाएगी
घबराने कि कोई बात नहीं]

मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात
मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात

हार में होती है जीत
यही॰॰॰
है
प्रीत कि रीत


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4178 Post No. : 15355 Movie Count :

4233

Songs Repeated in Hindi Films – 14
– – – – – – – – – – – – – – – – – –

An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.

Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.

I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.

Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.

The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.

This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.

 

Song – Aaj Phir Jeene Ki Tamanna Hai  (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman

Lyrics

ho o o
kaanton se kheench ke ye aanchal

tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
ko
i bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

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

हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ

आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा 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.

Blog Day :

4176 Post No. : 15353 Movie Count :

4232

Songs Repeated in Hindi Films – 13
– – – – – – – – – – – – – – – – – –

A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.

We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.

Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.

Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.

He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.

He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.

The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.

There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.

Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.

And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.

The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.

Memories of Rafi Sb, shaken and enlivened by these reminiscences.

The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.

This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀

As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.

Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.

So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.

Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂

And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.

Song – Badan Pe Sitaare Lapete Huye  (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan

Lyrics

lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
 
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
 
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
 
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
 
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum

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

लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला

ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला

परपप्पा
परपप्पा
परपप्पा
परपप्पा

पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा

रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

[तुरही वादन]

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

 


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

Blog Day :

4156 Post No. : 15325 Movie Count :

4222

Hindi Songs in Bangla Films – 10
– – – – – – – – – – – – – – – – – –

‘Saheb Bibi Golam’ (1956, Bangla film) was based on a story by the same title, written by Bangla novelist, Bimal Mitra. The film was directed by Kartik Chattopadhyay. The main star cast of the film was Uttam Kumar, Sumitra Devi, Anubha Gupta, Chhabi Biswas, Chhaya Devi, Nitin Mukherjee and Padma Devi. The story of the film relates to the time when the aristocracy of feudal lords was on the decline under the British rule by the end of 19th Century. The story revolves around the platonic relationship between the feudal lord’s neglected wife (Sumitra Devi) and a clerk (Uttam Kumar). The film was not only critically acclaimed, it was also a box office success.

The Hindi version of the film titled ‘Saheb Bibi Aur Ghulam’ (1962) was produced by Guru Dutt and directed by Guru Dutt’s right hand man, Abrar Alvi. Although the Hindi version of the film was released 6 years after the release of the Bangla version of the film, the idea to produce the Hindi version of the film was put forward to Guru Dutt by SD Burman as early as 1956 when he saw the shooting of the Bangla version  on his visit to Calcutta (now Kolkata) where Guru Dutt was already doing location hunting for his film ‘Pyaasa’ (1957). Guru Dutt had a meeting with novelist Bimal Mitra in SD Burman’s house in Calcutta, after which he decided to produce and direct the film with SD Burman as the Music Director.

When Guru Dutt  heard the story, he had decided that it had to be Meena Kumari who would be performing the role of Chhoti Bahu, the central character in the film. However, Kamal Amrohi, Meena Kumari’s husband declined the offer saying that she did not have dates. So, after failing to find any alternative actress for the role, the film was put in the back burner. It was only after the box office success of ‘Chaudhvin Ka Chaand’ (1960), Guru Dutt decided to revive ‘Saheb Bibi Aur Ghulam’ (1962). This time, after a lot of hard bargaining, Kamal Amrohi agreed with a raise in her fees and also giving bulk dates of 45 days at a stretch from January 1, 1962. He also put a condition that she would not travel to Calcutta to shoot in the haveli. So, the sets of Chhoti Bahu’s rooms in the haveli had to be created in a Mumbai studio.

Biswajit was identified for the role of Bhootnath, the clerk. But he did not agree for a condition of the exclusive contract with Guru Dutt Films. Shashi Kapoor was approached for the role which fell through as he came considerably late to discuss the role by which time Guru Dutt had decided to act in the film for the role of Bhootnath.

The film’s shooting started on January 1, 1961, exactly one year before Meena Kumari’s shooting schedule was to start. Probably, ‘Saheb Bibi Aur Ghulam’ (1962) was the first film from the stable of Guru Dutt Films which was ready in the cans in the record time except Meena Kumari’s part and the picturization of the songs which had to be postponed as the music director, SD Burman was ill during the first half of 1961. When he had recovered from his illness, he was selected by the Government of India to be part of the cultural delegation to the then USSR and other European countries. Guru Dutt lost his patience with SD Burman and entrusted the music direction to Hemant Kumar.

When SD Burman returned from his foreign trip, he was dismayed to find that he was no longer the music director of ‘Saheb Bibi Aur Ghulam’ (1962). Instead Hemant Kumar was roped in his place. SD Burman was very much upset as he felt that it was Hemant Kumar who had maneuvered to take over the music direction during his absence. He was so much involved with the film that he had already composed tunes for some songs with dummy lyrics without waiting for a formal contract. After this incidence, the relations between SD Burman and Hemant Kumar got affected. This explains as to why Na Tum Hamen Jaano Na Hum Tumhen Jaane from ‘Baat Ek Raat Ki’ (1962) was the last song Hemant Kumar sang for SD Burman.

[Note: Information in this article about what went behind the making of ‘Saheb Bibi Aur Ghulam’ (1962) is mainly based on (1) ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ (2008) by Sathya Saran, (2) ‘Meena Kumari – The Classical Biography’ (2013) by Vinod Mehta and (3) ‘S D Burman – The Prince Musician’ (2018) by Anirudha Bhattacharjee & Balaji Vittal.]

The Hindi version of the film was not a frame by frame remake of its Bangla version film. Instead, the screen-play/dialogue writer and director Abrar Alvi and Bimal Mitra had a month-long sittings to finalise the screen-play and dialogues in tune with the taste of Hindi film audience without diluting the basic theme of the story. As a result, the visualization of scenes in Hindi version is quite different from the Bangla version. Let me give an example of the scene in which Bhootnath meets Chhoti Bahu for the first time.

In Bangla version, Bhootnath visits Chhoti Bahu’s (Sumitra Devi) room when she was about to complete her daily puja with her back to the camera. And then she looks back and tells  Bhootnath to sit down on the chair. Bhootnath introduces himself to Chhoti Bahu. There is not much movements in camera angles. In Hindi version, Chhoti Bahu calls him to sit as soon as he enters her room. The camera is focused on her feet the first time Bhootnath sees her. Even when she walks to her chair, the camera is still focused on her feet. But Bhootnath instead of sitting on the chair, he sits on the floor with his his dropping eyes. When he introduces himself as Bhootnath, the camera suddenly focuses on Chhoti Bahu’s  face and she tells him that it is a lovely name. It is at this point, Bhootnath who was speaking to her with eyes down looks up to see her face and is surprised that she was not amused by his name as it has been his experience with others. On the contrary, she says it is one of many names of the God. Also, there is a  empty bed shown while both of them are conversing symbolising the state of her marital life.

The Bangla version of the film kept the end as per the original story, that is Bhootnath (Uttam Kumar) does not get to marry Jaba (Anubha Gupta). But in Hindi version, there is an indirect hint by way of a dialogue and the last scene in which Bhootnath (Guru Dutt) travels with Jaba (Waheeda Rehman) in a horse cart. Since story has been told in the film in the flash back mode, it was possible in Hindi version of the film to change some sequences in the narration of the story.

The Bangla version of the film had 5 songs of which 2 songs were semi-classical songs in Hindi. Hindi version of the film had 7 songs. The background song in the Bangla version was in Hindi  using a part of a traditional dadra, ‘Ab Ke Saawan Ghar Aaja’ whereas in Hindi version, it was a haunting song, Koi Door Se Aawaaz De Chale Aao.

I am presenting another Hindi song from a Bangla film – ‘Saheb Bibi Golam’ (1956), ‘Kankar Mohe Laage Paniya Bharan Kaise Jaaun’ which has been rendered by Sandhya Mukherjee in dadra style. Lyrics are traditional which have been set to music by Robin Chatterjee. In the film, it has been picturised as mujra song. The equivalent song picturised in Hindi version of the film is Saaqiyaa Aaj Mujhe Neend Nahin Aayegi.

Song – Paniya Bharan Kaise Jaaun, Kankar Mohey Laage  (Saheb Bibi Golam) (1956) Singer – Sandhya Mukherjee, Lyrics – Traditional, MD – Robin Chatterjee

Lyrics

aa aaa aaaaaa aaa aaaa
paniya bharan kaise jaaun
aa aa aa aa
paniya bharan kaise jaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage  
paniya bharan kaise jaaun
paniya bharan kaise jaaun  
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
natkhat roke
meri dagariya aa

natkhat roke
meri dagariya aa

laakh bachaa ke chalun najariya
laakh bachaa ke
laakh bachaa ke chalun nazariya
gher let hai bairi saanwariyaa aa
gher let hai bairi saanwariyaa
kaise paanv badhaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
paniya bharan kaise jaaun
haaye ram
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage

kankar mohe laage
kankar mohe laage
kankar mohe laaaaa…..ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 

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

आ आss आsssss आss आsss
पनिया भरन कैसे जाऊँ
आ आ आ आ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

नटखट रोके
मेरी डगरीया॰॰आ
नटखट रोके
मेरी डगरीया॰॰आ
लाख बचा के चलूँ नजरिया
लाख बचा के
लाख बचा के चलूँ नजरिया
घेर लेत है बैरी साँवरिया॰॰आ
घेर लेत है बैरी साँवरिया
कैसे पाँव बढ़ाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
हाय राम
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4121 Post No. : 15274

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 49
——————————————————————————————

OK, so a norm need not always be effected. In my previous post of this series, I had mentioned in the beginning that – “The blog was in its childhood –”. On 29th October of 2009, the departure was that only one song was posted. Ah yes, sometimes it used to happen even then. One song has become kind of a norm these days. 🙂

The solo song that day was from the film ‘Pehli Jhalak’ of 1954. The film had made its debut that day with philosophical song “Zameen Chal Rahi Aasmaan Chal Raha Hai” in the voice of Hemant Kumar. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Geet Kosh lists 10 songs for this film, with the above mentioned song appearing in the film as a two part song. All the songs are written by Rajinder Krishan, and the music is by C Ramchandra. Over the subsequent six years, till 1st December 2015, eight of the remaining 9 songs appeared on the blog with a certain irregular regularity. Check out the posting status in the table below.

 

Zameen Chal Rahi Aasmaan Chal Raha Hai Pehli Jhalak 1954 2102 29-Oct-09
Naa Maaro Nazariyaa Ke Baan Pehli Jhalak 1954 2430 24-Apr-10
Charandas Ko Peene Ki Jo Aadat Naa Hoti Pehli Jhalak 1954 2633 17-Jul-10
Chhodi Ji Chhodo Kalaayi Koi Dekh Legaa Pehli Jhalak 1954 2891 2-Sep-10
Oonchi Oonchi Dukaan Phheeka Phheeka Pakwaan Pehli Jhalak 1954 3078 6-Oct-10
Kaise Bhaaye Sakhi Rut Saawan Ki Pehli Jhalak 1954 8642 5-Sep-13
Achchi Soorat Hui Ya Museebat Gali Mein Aana Jaana Band Pehli Jhalak 1954 10950 11-Mar-15
Zamaane Se Niraala Hai Meri Ulfat Ka Afsaana Pehli Jhalak 1954 10963 21-Mar-15
Mohabbat Ne Mujhe Maara Pehli Jhalak 1954 11619 1-Dec-15

The last song of this film was posted almost four years ago. And since that day, 1st Dec, 2015, this film has been patiently waiting to be yippeee’d. The reason being that this last remaining song of this film was not available online all this time. Checking for it again some days back, I am finally able to locate online, the audio of this song, which was posted just recently in August of 2019. And interestingly, just 6 views so far, as I write these lines.

The film ‘Pehli Jhalak’ is produced by Seth Jagat Narayan, under the banner of Jagat Pictures, Bombay. It is directed by MV Raman. The start cast of this film includes Vaijayantimala, Kishore Kumar, Pran, Shammi, Roopa Varman, Anil, Jawahar Kaul, Shivraj, Kamlakant, Om Prakash, Dara Singh, and Baby Asha Parekh.

So finally, we are announcing today, the yippeee status for this film, with the posting of this song. The song is in the voice of Shamshad Begum. The song appears to be a gambling related song, with the words exhorting the gambler to play on – money is a thing that comes and goes. Do not worry about it – “सोच ना बाबू ऐसा ना वैसा; just play the game and place your bet – “दांव लगाने में फिर डर कैसा“. It is a fast paced song sung with her usual verve by Shamshad ji.

Listen and enjoy.

 


Song – Aata Hai Paisa, Jaata Hai Paisa (Pehli Jhalak) (1954) Singer – Shamshad Begum, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics

aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
mail hatheli ki hai paisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
soch na baabu aisa na waisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
(la la la la la)
jaata hai paisa
(la la la la la)
daanv lagaane mein phir darr kaisa..aa
(la la laa laa laa laa la la)

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

आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
मैल हथेली की है पैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
सोच ना बाबू ऐसा ना वैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
(ला ला ला ला ला)
जाता है पैसा
(ला ला ला ला ला)
दांव लगाने में फिर डर कैसा॰॰आ
(ला ला लाs लाs लाs लाs ला ला)


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

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

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे


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.

Blog Day :

4098 Post No. : 15244

There are some very special memories related to this song. Memories of certain flights of fancy, associated with the expressions and emotions contained here in.

Greetings to Usha Khanna ji, on her 78th birthday today (7th October). It is sixty years now that she made her debut as a music director, way back in 1959 – ‘Dil Deke Dekho’, a film by Filmalya’s Sashadher Mukherjee. She recounts with a glee now, but then she was very nervous. Of course, just seventeen, recently out of school, and so miraculously given a break for a big name Shammi Kapoor starrer film. The first song recorded was “Megha Re Boley. . .”.  She walked into the recording studio with Sonik, who was the arranger for that film. She recalls that some musicians actually whistled at her as she made her way toward the group. And then Sonik told them that she is the music director. Quite a silence of disbelief followed.

Her nervousness was heightened by the fact that she would be directing Rafi Sb for her first song. The rehearsals and the recordings happened. Then at the end of the recording Rafi Sb asked her whether the song was recorded to her satisfaction. She recounts that she was too dazed and overcome by just his presence, and that she stammered in agreement. Then Rafi Sb told her – you are the music director. No matter who the singer is, but you are the boss. Even if I make a mistake, then you should correct me. Usha Khanna says that she was forever in Rafi Sb’s debt for giving her that encouragement and that advise.

More than 4 decades of active career and about 200 films in her portfolio, there are many a memorable songs and melodies that she has created – one of those music directors who would make you hear again. Ah, this one! Usha Khanna? Wow.

Listening to her music, one feels a lot of similarity with OP Nayyar. Of course that was the era that Nayyar Sb ruled with his rhythmic melodies, and other music directors would try to create music inspired by him. So Usha Khanna was also influenced by that style, but then she is not limited to style alone. There is definitely a lot of her own creativity that has gone into her work, else she would not have survived in this industry for four decades. And that too, being of a gender that generally is not associated with the work of a music director. The earlier names we can think of – Jaddan Bai, Bibbo, Saraswati Devi – all names from 1930s and 40s, when the classical music was the forte, and these ladies were trained and grounded in the classical mould.

Not Usha Khanna. She in fact, has no formal training in music. Her father, Manohar Lal Khanna, a lyricist active in the industry from late 1940s to 1960s, was her segue into music. He would write the lyrics and she would informally compose tunes for his songs at home. It was a creative spark and something special about her melodies that capture attention of her fathers industry friends like OP Nayyar and Indeewar. One thing led to another, and she was placed before Sashadher Mukherjee for an interview. The conversation started uncomfortably with singing, and ended very comfortably with music direction. S Mukherji, impressed with her tenacity and consistency (he had asked her to create two new tunes and present to him every day, for a year – think about doing that!!) gave her the first break with ‘Dil Deke Dekho’, and followed it up with ‘Hum Hindustani’ (1960). After these two films, Usha was quite much on her way. That she was able to sustain her standing in the industry for four decades, speaks volumes about her talent and her approach. Might we also notice that contemporaneous to her, and subsequently, we do not hear of any other lady music director in the industry whose performance has left a mark on the music history of Indian cinema.

Ah yes, about the flights of fancy that I mentioned about, in the first para. Regulars are aware that this song forms a part of a tandem pair. The accompanying song is the hit sung by Mukesh – “Barkha Rani, Zara Jam Ke Barso”. Yes of course, that is the better known and the more popular song in comparison. However, this rendition by Suman Kalynapur is no less pleasant, alluring and engaging. Rather more so. So when this film was released, the teenager in me was still at school. And as with a boy’s fancies at that age, of course, I do not have to put it in words. Suffice to say that right from the time I heard these two songs for the first time, my liking has always been for the Suman Kalyanpur version. The fancy connected with the Mukesh song is that there would be a charming princess for whom the boy in me would sing this song. However, the fancy associated with the Suman Kalyanpur song is that there would be charming beautiful princess who would be singing this song for me. That appealed so much more to me, that my flight of fancy those days was someone singing this song for me. Aaye haaye – the heart still takes a swing at this thought. 🙂

Quick summary – the film is ‘Sabak’ from 1973, produced and directed by Jugal Kishore, songs written by Sawan Kumar and Hasrat Jaipuri, and music by Usha Khanna. The star cast of this film is listed as Shatrughan Sinha, Poonam, Jaishri T, Jugal Kishore, Ranjan, KN Singh, Nazeer Hussain, Master Satyajeet, Chandrashekhar, Brahmchari, Hercules, Mumtaz Begum, Ramesh Dev, Seema, Rajnibala, Maruti, Rajpal, Kishan Kaul, Ved Sharma, Rajan Kapoor, Moolchand, Bholanath, Manohar, Jerry, Omi Chopra, Uma Dutt, Pritam Kumar, Raj Verma, Kishan Billa, and Sundar Singh.

Once again, wishing Usha ji a very happy birthday and praying for many more healthy and comfortable returns of this day.

Ah yes, the lyrics of this song have been sent in by our dear Prakashchandra ji.

 

Song – Barkha Bairan, Zara Tham Ke Barso  (Sabak) (1973) Singers – Suman Kalyanpur, Lyrics – Saawan Kumar Tak, MD – Usha Khanna

Lyrics (Provided by Prakashchandra)

barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee se hai mera milan
kyon hai ree tujh ko jalan
pee se hai mera milan
kyon hai ree tujh ko jalan
haaye re paapan zaraa ruk jaa
zara tham jaana re
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee ko mere aane de
ang se lag jaane de
pee ko mere aane de
ang se lag jaane de
phir tu dushman
yun barasna
jaane paayen wo na re..e..e
barkha bairan
zaraa tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

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

बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी से है मेरा मिलन
क्यों है री तुझको जलन
पी से है मेरा मिलन
क्यों है री तुझको जलन
हाए रे पापन ज़रा रुक जा
ज़रा थम जा ना रे
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी को मेरे आने दे
अंग से लग जाने दे
पी को मेरे आने दे
अंग से लग जाने दे
फिर तू दुश्मन
यूं बरसना
जाने पाएँ वो ना रे॰॰ए॰॰ए
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन


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.

Blog Day :

4095 Post No. : 15241

Today, 4th October, is the 88th birthday of Sandhya Mukherjee. The grand old dame is one of the premier playback singers in Bangla cinema. In Hindi films, her contribution is limited to about 30 songs. Her involvement in Hindi films starts with the 1948 film ‘Jhoothi Kasmen’, and her singing assignments are spread over a decade and a half, till the mid 1960s.

A chance encounter with this song prompted the preparation of this post. I came across this song just a few hours ago, and listening to it was love at first hear. Such a lovely melody and arrangement, and such wonderful rendition, this song belongs to that category of unknown and hidden gems, which surprise the listener with their simplicity and beauty. I have listened to it many times since I discovered it earlier in the evening, and I do not seem to be getting enough of it.

The film is ‘Ratnadeep’ from 1952. The film is produced and directed by the legendary Debaki Kumar Bose, for the banner of Chitramaya, Calcutta. The cast of actors is listed as Anuva Gupta, Manju Dey, Molina Devi, Chhaya Devi, Tangamani, Harini, Bakul Ghosh, Abhi Bhattacharya, Pahadi Sanyal, Niteesh Mukherji, Tulsi Chakravarty, Kamal Mishra, Raj Kumar Soni, Sudheer  Chakraborty, Gokul Mukherji, and Gauri Shankar. The film is based on the Bangla novel of the same name, written by Prabhat Kumar Mukherjee.

Eight songs are listed for this film. The music director is Robin Chatterji. Two of the songs are traditional bhajans originally composed by Meerbai and Vidyapati. The remaining six songs have been written by the songwriters Pandit Madhur and Mahendra Pran. However, the lyricist for each individual song is not specifically identified.

We wish Sandhya ji a very happy 88th birthday. May she be blessed with many more years of good health and happiness.

Song – Raat Ne Aa Ke Din Ko Chooma, Saanjh Suhaani Aayi  (Ratnadeep) (1952) Singers – Sandhya Mukherji, Lyrics – [Unattributed], MD – Robin Chatterji

Lyrics

raat ne aa ke
din ko chooma
saanjh suhaani aayi aayi
saanjh suhaani aayi
saanjh suhaani aayi manwa doley
raat ne aa ke
din ko chooma
saanjh suhaani aayi

chanda karey ishaare
koi mujhe pukaare
chanda karey ishaare
kya jaanun main aaj bhala kyon
mann hi mann sharmaai
saanjh suhaani aayi aayi

baalapan ke sapne jaage
jaagi mast jawaani
haaye jaagi mast jawaani
duniya ki har ?? suhaani
?? ban karv itraai
tum ban jaao main o saajan
aawo main tum ban jaaun
ye madmaati saanjh salona
ye madmaati saanjh salona
salona sandesa laai
saanjh suhaani aayi aayi

aankhon se tum dil mein aaye
phir bhi rahe kyon praaye
phir bhi rahe kyon praaye
itna to batla do kyon tum
aaj baney harjaai
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi
saanjh suhaani aayi aayi

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

रात ने आ के
दिन को चूमा
साँझ सुहानी आई आई
साँझ सुहानी आई
साँझ सुहानी आई मनवा डोले
रात ने आ के
दिन को चूमा
साँझ सुहानी आई

चंदा करे इशारे
कोई मुझे पुकारे
चंदा करे इशारे
क्या जानूँ मैं आज भला क्यों
मन ही मन शरमाई
साँझ सुहानी आई आई

बालपन के सपने जागे
जागी मस्त जवानी
हाए जागी मस्त जवानी
दुनिया की हर ?? सुहानी
?? बन कर इतराई
तुम बन जाओ मैं ओ साजन
आवो मैं तुम बन जाऊँ
ये मदमाती साँझ सलोना
ये मदमाती साँझ सलोना
सलोना सँदेसा लाई
साँझ सुहानी आई आई

आँखों से तुम दिल में आए
फिर भी रहे क्यों पराये
फिर भी रहे क्यों पराये
इतना तो बतला दो क्यों तुम
आज बने हरजाई
साँझ सुहानी आई आई
साँझ सुहानी आई आई
साँझ सुहानी आई आई

 


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.

Blog Day :

4093 Post No. : 15237 Movie Count :

4188

Just like so many more human endeavors, wherein the concepts and philosophical models of ‘-isms’ are all so correct and convincing, and their practical implications and implementations are so faulty and distorted that the discussions about the defects and flaws, also sounds very convincing in the hindsight.

Take Communism for example. The writings of Karl Marx, Friedrich Engels and Vladimir Illych Lenin – as they write about the class struggle between the ‘haves’ and the ‘have nots’, and lucidly present their ideas on how to address this social divide, for the betterment of humanity – are so very a convincing, palpable and substantial, that it is easy to be convinced about the failings and deficiencies of the capitalist / imperialistic model of the world order, which should be replaced everywhere with the model of Communist social order. When Marx passed away in 1883, the debate on this subject was quite vigorous both amongst the elite and the working class in the countries of Europe.

Not long thereafter, the revolution of the working class came about in 1917, in Russia, under the leadership of Lenin. A new model of state and governance, and a new social order was established. The history is replete with the narrative of violence and misery that accompanied this change, but the Communist movement had come on to stay. Over the next three decades, this model of a new social order spread to other neighboring states – towards the west of the erstwhile USSR, which formed the countries in eastern European bloc and towards the South East, i.e. China.

For all the populism and the PR that was a big budget activity in the USSR, the model did not quite stick for very long. Within our own lifetimes, we have witnessed the downfall of Communism in 1980s – the so called perestroika or restructuring of the social order and government in the USSR, now Russia. The theories of the great philosophers of the late 19th century, did not quite hold on together when implemented and the rubber met the road. Although China still holds out with their powerful Communist Party supported by their strong army, the Communistic form of social order did last, albeit just for about seven decades.

A similar pageant has played out and is playing out, in India. The ‘-ism’ that is associated with Mahatma Gandhi, that Munna Bhai so endearingly likes to call ‘Gandhi-giri’ (‘Lagey Raho Munna Bhai’, 2006), has seen its prime during the early decades of the twentieth century, and its subsequent devaluation in the closing decades of the same twentieth century. I remember – in the 1980s and 90s, around the time of his birth anniversary (2nd October) every year, one was treated to editorials and articles in newspapers, and panel discussions on Doordarshan, with titles that were variations on “The Relevance of Gandhi Today”. Even then, my mind used to react that as a society, we have apparently lost Gandhi and his ideals, if now that the intelligentsia is beginning to discuss the relevance. Just so strongly underscores the fact that the question of relevance comes to fore, when the storm of doubts and disbelief is surging strong in the society. That discussion still continues.

Where and what are the fault lines? I had read his autobiography – ‘The Story of My Experiments with Truth’ way back when I was in college. I was, and honestly I still am, deeply impressed, influenced, overwhelmed by honesty and simplicity with which he has laid bare his persona and his internal turmoils, his candid admissions of his faults, expressions of his ideals and idealistic resolutions, and the strength of character to personally follow and implement those ideals in practical life. It is a frightening tale of development of a human mind from the basic animalistic existence to literally a sainthood. It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”

A time was, at the turn of the century, when the nation was seeking a simple philosophy in leadership. Here was a teacher, who did not just teach. In fact he refused to teach or direct others, for things that he himself had not practiced and not lived through himself. A hallmark of a true saint, whose existence within his own mind, and as seen by those around him, is starkly the same. My readings about the Tolstoy Farm that he established in South Africa in 1910, are such an impactful influence. And also a conviction that this soul is an honest and truthful spiritual leader, who will not lead his flock astray for personal or ideological gains.

For all his goodness and his saintly leadership of the people, his words and his teachings stand at crossroads today. The retinue of his followers diminishing over time, and bevy of protesters calling out their criticisms and insults – their tribe is incessantly increasing. Where is the fallacy? Is there an aberration that we see on the radar of history?

A lot has been written and continues to be written about him. But I really wonder how many of us are actually, really reading him. He has written extensively, and not just one book. His complete works including his articles and speeches, will form a complete section of a good size library. Many years ago, maybe more than three decades ago, I read the following in one of his articles printed in 1927 in the journal ‘Young India’. Countering all that I had read till then, and had been hearing about his philosophy of ahimsa (non-violence), here was a paragraph that stunned me with its clarity of thought and perfection of logic.

“My creed of non-violence is an extremely active force. It has no room for cowardice or even weakness. There is hope for a violent man to be someday non-violent, but there is none for a coward. I have therefore said more than once in these pages that if we do not know how to defend ourselves, our women and our places of worship by the force of suffering, i.e., nonviolence, we must, if we are men, be at least able to defend all these by fighting.”

All his life, he incessantly tried to differentiate for his followers, the distinction he made between non-violence and cowardice. In the same journal, in another article, even earlier in 1920, he writes,

“I do believe that, where there is only a choice between cowardice and violence, I would advise violence…. But I believe that non-violence is infinitely superior to violence, forgiveness is more manly than punishment. Forgiveness adorns a soldier. But abstinence is forgiveness only when there is the power to punish; it is meaningless when it pretend to proceed from a helpless creature.”

At another place, his words on this same theme are

“Where choice is set between cowardice and violence, I would advise violence. . . I prefer to use arms in defense of honor rather than remain the vile witness of dishonor. . .”

Are we, in this age and these circumstances, aware of this strong advocacy of the above distinction he makes between the oh so terribly misunderstood themes of non-violence vs cowardice? And are we teaching, nay even projecting the correct understanding of all that this great soul stood for all his life?

The generation that had spent time with him, that had experienced his influence and his aura first hand, is already relegated to history. Well, almost. The survivors of that generation are very few. In another few years, maybe a decade or so, we shall not be hearing of a Gandhian anymore. For the newer crop of followers that we see, Gandhi is more of a political crutch, and face to be put on the currency notes, nothing much more than that.

Where lies the answer to the ‘WHY’ connected with this scenario? I do not know. There are many an ill of the human tendencies and human traits that we can expound to explain. But probably the answer lies deeper – deeper inside the very constitution of this existence itself. A simple axiom that makes up the destiny of everything that we can observe. Simply put – everything decays. Ensconced in these two simple words is the terrible and profound truth that applies to everything in this universe, and to the universe itself. I will posit it from two different directions that I am aware of.

One – our scriptures. It is written in our scriptures, in the sections where the creation of this universe is described, that when He created this universe, it was perfect, in every possible way that can be thought of. But this perfection lasted for just that first instant of creation. This perfect universe started to decay in the very next instant. It is stated so, in our books. And this decay encompasses everything that is material and even non-material in existence. That is the progression of the ‘yugas’ (eras) that we are so familiar with in our scheme of the universe and its passage through time. The good shall diminish and the things will always be progressively worse.

Two – from the perspective the study of the physical nature of this universe as a subject – Physics. There is a branch of this study called Thermodynamics, which deals with the energy within a system, and all aspects related to it. This branch of physics was formalized as a subject through the research work, both physical and philosophical, of scientists in the 18th and 19th centuries – names like Count Rumford, Sadi Carnot, William Thomson, Gibbs, James Maxwell etc. Based on their works, this branch now has a set of laws called the Laws of Thermodynamics, which are time tested and form the foundations of a huge segment of physical sciences. The second of these laws has a very simple, very interesting statement, and a very profound implication for the entire universe itself. The law states that –

“The total entropy of an isolated system can never decrease over time.”

The key element to understand in this statement is ‘entropy’. Simply defined, entropy is the measure of the state of disorderliness in a physical system. Going by this law, a deduction that can be inferred immediately is that in any physical system, the disorderliness will always increase with time. To put it even more simply, and bluntly, every system will always and only, decay with time. That brings us back to a concurrence with the assertions contained in our scriptures.

And so, as with everything, the social systems will also decay with time. I am sure I do not need to explain this statement further. People with awareness of history, and also, the awareness of the experiences of a lifetime, will concur.

Truth, however, remains unchanged. In all the rigmarole of the eras and human evolution, and the transitions of history that we are aware of, the only thing that remains unchanged is the Truth. In Hindi, the word is ‘सत्य’ which comes from the root ‘सत्’. If I may draw an analogous word from the English language, it would be ‘stat’ or ‘static’, which also means – un-moving, at rest, unchanging. Truth, in this creation, and as a conceptual idea, remains static unchanged, in this tumultuous ocean of creation that is eternally in a chaos of constant change and decay.

The concept of this unchanging Truth is discussed and described quite at length in our scriptures. A basic characteristic of this Truth is that not just that it is unchanging, but it is also inert and passive. It does not DO anything. It just IS.

That thread now brings us back to the Mahatma again. Here is one person who realized quite early in life, the nature of this Truth, as is evident from the title of his autobiography – ‘The Story of My Experiments with Truth’. Understanding the passive and inactive nature of Truth, he set out on a journey to experiment with it, to understand it better. That realization, and his unflinching endeavor to pursue and investigate it, is what makes him stand out as a giant amongst men. He belongs to that list of a handful people in the history of the human civilization who have raised this query within themselves, and have encountered the answer. For that, he is a Mahatma – the extraordinary soul, and a notch above the Atma – the ordinary souls, who can be counted in millions.

The song being presented today, belongs to the 1978 film ‘Nasbandi. The period of history covered in this film is that of June 1975 to January 1977, during which Emergency was proclaimed in our country. I am not going into the politics behind this episode. Enough to say that in 1977, when the elections were held, the powers that proclaimed and benefitted from this state of emergency, lost, and a new political equation was written into history of India. The film deals with the topic of forced sterilization of menfolk, one of the key ingredients of the political battle in 1977.

The film is produced by Johar Films, and is directed by IS Johar. The name is sufficient to give an idea of what kind of a comical spoof this film is. Especially when we have IS Johar and Rajendranath playing the lead roles.

Geet Kosh lists seven songs for this film, written by Indeewar, Rajendra Krishan and Hullad Muradabaadi. This particular song is written by Indeevar and the music is composed by Kalyanji Anandji. This is a background song in the film, rendered by Kishore Kumar.

The song is a regretful complaint about the state of the nation, and a supplication to the Mahatma – as to the social and political conditions prevailing. That the dream of a disciplined and amiable social edifice that the Mahatama had envisioned, was in shambles. The instances of regrets are many, and the passing years and decades, have only added to them. None of them have been is taken away.

And that brings us back to the thread of the continuous decay, everywhere.

The philosophies and the visions of great men are like beacons of light in the thick fog of chaos and uncertainty that this universe, this existence is. And that existence is steadily moving towards more chaos, more uncertainty. That is the nature of existence itself. These great men – Nanak, Buddha, Abraham, Moses Prophet Mohammed, Christ, Socrates, Gandhi, Zoroaster, Kabeer, and many more – have been the extraordinary souls that have realized the Truth of this existence. Their messages to the humankind are an effort to make more of us ordinary souls understand this path, and its goal. But this world is what it is. Despite that so many extraordinary souls have visited and tried to spread this message. Or maybe, we can say that this world is what it is today, because of these enlightened souls – it would have been even a worse present, had these men not visited this earth.

O Gandhi, the vision of society that you shared with us, lies unread in books no one reads anymore, in libraries that no one visits any more.

And thieves have stolen the ‘बकरी’ (goat) whose milk had nourished your soul.

Song – Gandhi Tere Desh Mein Ye Kaisa Atyachaar  (Nasbandi) (1978) Singers – Kishore Kumar, Lyrics – Indeewar, MD – Kalyanji Anand ji
Chorus
Kishore Kumar + Chorus

Lyrics

janta ki awaaz hai ye
sun le o bapu gandhi
ye kaisa hahaakaar desh mein
ye kaisi aag ki aandhi

kahaan gayi wo teri ahinsa. . .
kahaan gayi wo teri ahinsa
kahaan gaya wo pyaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar
ek bharat mein ban gaye
jalianwaale baagh hazaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

tu ne jab awaaz lagaai..ee..ee
saara hindustan utha
saara hindustan utha
angrezon ke dil bhi dehle..ea..ea
aisa ik toofaan utha
aisa ik toofaan utha
khushi khushi tere kehne par
bharatwaasi jail gaye
seene par goli jhel gaye
apne praanon par khel gaye
apne praanon par khel gaye
naam pe tere par laakhon jawaan
duniya ke sab sukh bhool gaye
dulhan ka ghunghat bin khole hi
phaansi par jhool gaye
phaansi pe wo jhool gaye
tu swaraaj le aaya. . .
tu swaraaj le aaya
hum to phir bhi rahe lachaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

azaadi ki jung ladaa tha
isi liye kya hindostan
isi liye kya hindostan
arey nyaye maangne nyayaalay mein
ja na sakey koi insaan
ja na sakey koi insaan
kitne hi nirdosh yahaan
misa ke andar band huye
andhe kuen mein kitne hi
azaad samandar band huye
azaad samandar band huye
ismat loota karte hain jo
ban kar raaj ke pehredaar
apni satta rakhne ko jo
chheene janta ke adhikar
chheene janta ke adhikar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

dekhi kahin kalam-bandi
dekhi kahin zubaan-bandi
dekhi kahin zubaan-bandi
darr ki hukumat har dil par bhi
saara hindostan bandi
saara hindostan bandi
nasbandi ke naam pe zulm huye
wo dukhion deenon par
lagta tha latka ho jaise
prajatantr sangeenon par
prajatantr sangeenon par
prajatantr sangeenon par
turkmaan wo gate aasmaan
toota jahaan zameenon par
chala diye bulldozer jab
bebas logon ke seenon par
bebas logon ke seenon par
bebas logon ke seenon par
apnon ke haathon hi..ee..ee..ee
apnon ke haathon apnon pe
goli ki bauchhaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

saare desh par zulmon sitam ke
ghor andhere jab chhaaye
ghor andhere jab chhaaye
tab prakash ki kirnen le kar
jai prakash aage aaye
jai prakash aage aaye
gandhi tere naam ki
ab hogi jai jaikaar
gandhi tere name ki
ab hogi jai jaikaar
arey jo bhi hukumat zulm karegi
uski hogi haar
jo bhi hukumat zulm karegi
uski hogi haar

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

जनता की आवाज़ है ये
सुन ले ओ बापू गांधी
ये कैसा हाहाकार देश में
ये कैसी आग की आँधी
कहाँ गई वो तेरी अहिंसा॰ ॰ ॰
कहाँ गई वो तेरी अहिंसा
कहाँ गया वो प्यार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार
एक भारत में बन गए
जालियाँवाले बाग हज़ार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

तूने जब आवाज़ लगाई
सारा हिन्दोस्तान उठा
सारा हिन्दोस्तान उठा
अंग्रेजों के दिल भी दहले
ऐसा एक तूफान उठा
ऐसा एक तूफान उठा
खुशी खुशी तेरे कहने पर
भारतवासी जेल गए
सीने पे गोली झेल गए
अपने प्राणों पर खेल गए
अपने प्राणों पर खेल गए
नाम पे तेरे लाखों जवाँ
दुनिया के सब दुख भूल गए
दुल्हन का घूँघट बिन खोले ही
फांसी पर झूल गए
फांसी पे वो झूल गए
तू स्वराज ले आया॰ ॰ ॰
तू स्वराज ले आया
हम तो फिर भी रहे लाचार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

आज़ादी की जंग लड़ा था
इसीलिए क्या हिन्दोस्तान
इसीलिए क्या हिन्दोस्तान
अरे न्याय मांगने न्यायालय में
जा ना सके कोई इंसान
जा ना सके कोई इंसान
कितने ही निर्दोष यहाँ
मीसा के अंदर बंद हुये
अंधे कूंए में कितने ही
आज़ाद समंदर बंद हुये
आज़ाद समंदर बंद हुये
इस्मत लूटा करते हैं जो
बन कर राज के पहरेदार
अपनी सत्ता रखने को जो
छीनें जनता के अधिकार
छीनें जनता के अधिकार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

देखी कहीं कलम-बंदी
देखी कहीं ज़ुबान बंदी
देखी कहीं ज़ुबान बंदी
डर की हुकूमत हर दी पर भी
सारा हिन्दोस्तान बंदी
सारा हिन्दोस्तान बंदी
नसबंदी के नाम पे ज़ुल्म हुए
वो दुखिओं-दीनों पर
लगता था लटका हो जैसे
प्रजातंत्र संगीनों पर
प्रजातंत्र संगीनों पर
तुर्कमान वो गेट आसमान
टूटा जहां ज़मीनों पर
चला दिये बुलडोज़र जब
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
अपनों के हाथों ही॰॰ई॰॰ई॰॰ई
अपनों के हाथों अपनों पे
गोली की बौछार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

सारे देश पे ज़ुल्म ओ सितम के
घोर अंधेरे जब छाए
घोर अंधेरे जब छाए
तब प्रकाश की किरणें ले कर
जयप्रकाश आगे आए
जयप्रकाश आगे आए
गांधी तेरे नाम की
अब होगी जय जयकार
गांधी तेरे नाम की
अब होगी जय जयकार
अरे जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार
जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार


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.

Blog Day :

4092 Post No. : 15235 Movie Count :

4187

Songs Repeated in Hindi Films – 11
– – – – – – – – – – – – – – – – – –

I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.

Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.

The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.

Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.

And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.

And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.

The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.

The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.

The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.

When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.

On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.

Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.

The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.

And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.

Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye  (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .

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

हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1180
Total Number of movies covered =4241

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Active for more than 4000 days.

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