Archive for the ‘Devnagri script lyrics by Sudhir’ Category
Barkha Bairan, Zara Tham Ke Barso
Posted on: October 7, 2019
- In: Devnagri script lyrics by Sudhir | Expecting the beloved | expression of love | Feelings of heart | Guest posts | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sudhir | Rain song | Songs of 1970s (1971 to 1980) | Songs of 1973 | Suman Kalyanpur solo | Suman Kalyanpur songs | Waiting for love | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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
- In: "chaayageet" song | "Growing up" song | Calling the beloved | Coming of Age Song | Devnagri script lyrics by Sudhir | Evening song | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Sudhir | Romantic song | Sandhya Mukherji Solo Song | Sandhya Mukherji Songs | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 2 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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
- In: Car Repair Garage Song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Radio Song | Song used in more than one film | Songs of 1990s (1991 to 2000) | Songs of 1991 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 ॰ ॰ ॰
- In: "reconciliation" song | Devaki Pandit Songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Happy-Sad song | Kumar Sanu - Devaki Pandit Duet | Kumar Sanu Song | One singer singing for several actors | Party song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Yearwise breakup of songs
- 3 Comments
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 : | 4092 | Post No. : | 15234 |
hamaare baad ab mehefil mein afsaane bayaan honge
bahaaren humko dhoondengi na jaane hum kahaan honge
rahen naa rahen ham mehakaa karenge
ban ke kali, ban ke sabaa, baag e wafaa mein
ek din bik jaayega maati ke mol
jag mein reh jaayenge pyaare tere bol
duje ke hothon ko dekar apne geet
koyee nishaanee chhod, phir duniya se dol
These three songs of Majrooh saab and some more are of the eminence that would have been categorised as poems of repute if they were not film songs.
Remembering Majrooh Sultanpuri (01/10/1919 – 24/05/2000) today on his birth centenary. In fact, Majrooh Saab’s birth centenary celebrations commenced on September 30, 2018 with a 2-day National Seminar on his contributions to Hindi films and the Urdu literature which was held at the Kalina campus of Mumbai University. Thereafter, a few more such celebrations were also held elsewhere. For instance, Hindustan Academy celebrated his centenary at Prayagraj on August 19, 2019. Paasbaan-e-Adab also arranged Majrooh Saab’s birth centenary celebrations on December 22, 2018 at Yeshwantrao Chavan Auditorium in Mumbai in which his non-filmy ghazals were show-cased in the form of songs by upcoming singers. In Delhi, Jashn-e-Rekhta scheduled a special session on Majrooh Saab in its annual conference in December 14, 2018. I am sure many more such celebrations would have taken place all over India.
Like Shailendra, Majrooh Saab had a reluctant entry into the film world as a lyricist. But once he got associated with his first film ‘Shahjahan’ (1946), he ruled the Hindi film industry as a lyricist for nearly 6 decades with over 2000 songs in about 350 films. He wrote lyrics for the first generation hero, KL Saigal under the baton of the first generation music director, Naushad for Shahjahan’ (1946) to the third generation hero, Shah Rukh Khan and the third generation music director, AR Rahman for ‘1 To Ka 4’ (2001). This is the testimony of his smooth adaptation of the changing environments in Hindi film music. He achieved this stature on his own terms throughout his filmy career.
Naturally, with his long association with Hindi films, the range of the songs Majrooh Saab wrote varied. Some samples of his different genres of songs : Gham Kiye Musthakil , C A T Cat, Cat Maane Billi, Bade Bhole Ho Hanste Ho Sun Ke Duhaai, Dhalki Jaaye Hamaari Chundariyaa Ho Raam, Raahi Manwa Dukh Ki Chinta Kyun Sataati Hai, Aa Ja Aa Ja Main Hoon Pyaar Tera, Papa Kehte Hain Bada Naam Karega etc. He also wrote a few pop songs like Raat Shabnami Bheegi Chaandni. The list is endless.
Much has been said about Majrooh Saab in both the print and electronic medias. I had also written two articles on him for the blog. So, I will skip his biographical part and would confine my discussion mainly with his contributions as a lyricist and a poet.
Some of Majrooh Saab’s contemporary lyricists like Sahir Ludhianvi, Shailendra, Kaifi Azmi, Prem Dhawan were already associated with Progressive Writers Association (PWA), a group of writers with leftist ideology, when they got associated with Hindi film industry. For Majrooh Saab, it was in the reverse order. He joined PWA only after he got associated with Hindi films in 1946. But he was the most fearless among PWA lyricists. In 1949, he was arrested in Mumbai for reciting an inflammatory poem written by him in the gathering of the mill workers in Mumbai (earlier Bombay). He was given an option to apologise or spend two years in prison. He opted for the latter despite the fact that with the box office success of his film ‘Andaz’ (1949) and his songs becoming popular among the public, his filmy career had brightened up. Probably, Majrooh Saab was the only one among PWA lyricists who had gone to jail in India in the post-independent period.
Two years of absence from the Hindi film industry is a long enough for anyone to be forgotten. Majrooh Saab is perhaps the only lyricist who made a successful comeback in the Hindi film industry after two years of his hibernation in jail. But it was not a smooth sailing for his comeback. Naushad for whom he wrote successful songs in ‘Shahjahan’ (1946) and ‘Andaz’ (1949) refuse to work with Majrooh Saab saying that he would not work with non-believers. (Generally, followers of leftist’s ideology were regarded as atheist). Of course, later they made up, and worked together in ‘Saathi’ (1968), and still later became ‘sambandhi’ (relatives by marriage of their kins).
While Majrooh Saab got opportunities to write one or two songs for some films of 1951-52, it was in 1953, he got for the first time after ‘Andaz’ (1949) to exclusively write songs for ‘Baaghi’ (1953) working with Madan Mohan, ‘Fareb’ (1953) with Anul Biswas and ‘Baaz’ (1953) with OP Nayyar. Unfortunately, despite having good songs, these films failed miserably at the box office. However, the versatility of Majrooh Saab as a lyricist became evident from these films which had different genres of songs. In a way, one can say that Majrooh Saab’s writing of light-hearted songs began with ‘Baaz’ (1953).
It was ‘Aar Paar’ (1954) which once more brought together the Guru Dutt-OP Nayyar-Majrooh Saab combination. And this time, they became a winning combination. The fortunes of this combo changed for the better and they repeated their feat with ‘Mr and Mrs 1955’ (1955) and ‘CID’ (1956). Generally, we talk about the catchy tune. But in these films, for the first time, Hindi film industry got the taste of ‘catchy lyrics’ of Majrooh Saab who until then, had been identified with melancholic songs of ‘Shahjahan’ (1946), and ‘Andaz’ (1949).
Majrooh saab is known as a master craftsman in writing lyrics for a pre-set tune. His choice of appropriate words which not only fit best in the metre of the line but also suited to the ‘meend’ (ascending or descending notes in the metre) and ‘murki’ (short taan in the metre) for pre-set tunes. As a result, listeners would believe that he wrote the lyrics first and the music director set the tune later. There are hundreds of such examples of his songs written on pre-set tunes. I will just discuss a couple of his songs which have been written on a pre-set tunes:
chhupaa lo yoon dil mein pyaar meraa
ke jaise mandir mein lau diye ki
hide away (protect) my love in your heart
like the flame of a lamp in a temple
This is a song from ‘Mamta’ (1966) set to tune based on raag Yaman by Roshan. This song has been written in pure Hindi. The second line of the mukhda has an unusual imagery which gets repeated in each of the antaraas. But at each place, the meaning of the imagery changes based on the previous lines. It is a wonder as to how Majrooh Saab could imagine and conceive the right emotion with right words. I feel that literary quality of this song makes it fit enough to be included in the curriculum of Hindi poems in the high school.
Now see the contrast in the second example of the song of a different genre written in Hindi-Urdu mix:
He: hum ne to dil ko aap ke qadmon pe rakh diyaa
iss dil ka kya karenge yeh ab aap sochiye
She: hum aap ki wafaa ki qasam khaa rahen hain aaj
kaise wafaa karenge yeh ab aap sochiye
He: i have kept my heart at your feet
now it is up to you to think what to do with it
She: i swear by your faithfulness today
now you decide how to sustain this faith
This is a deleted song from the film ‘Mere Sanam’ (1965) set to music by OP Nayyar. Again, these lines show the mastery of Majrooh Saab in using appropriate words on a pre-set tune without disturbing the metre of the song. On top of it, as a bonus to the listeners, he has written the song in a ‘shaayaraana andaz’ – ghazal style (but it is not a ghazal). The song belongs to the genre of romance but it is also a soft ‘nok jhonk’ (quick repartee) song.
How one can forget the contributions of Majrooh Saab in reviving the interest in duet songs which had seen a declining trend in the early 1950s. Majrooh Saab held the view that it was not the fault of producers-directors but of lyricists and music directors who did not pay much attention to the duet songs. As a result, directors reduced the duet song situations in their films.
Hindi films had the best duet songs during 1955-70 mainly from Majrooh Saab in combination with Burman Da and OP Nayyar which were mostly in the genre of romantic comedy. The films which had a few popular duets were ‘Aar Paar’ (1954), ‘Mr and Mrs 1955’ (1955), ‘Nau Do Gyaarah’ (1957), Paying Guest (1957), ‘Tumsa Nahin Dekha’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Dil Deke Dekho’ (1959), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Teen Deviyan’ (1965), ‘Mere Sanam’ (1965), ‘Mohabbat Isko Kehte Hain’(1965), ‘Teesri Manzil’(1966) and many more.
From the mid-1960s onward, Majrooh Saab started working with the second generation of music directors also. Laxmikant-Pyarelal (LP) and RD Burman were two promising music directors amongst them. But both were struggling to get themselves firmly established in Hindi film industry since early 1960s. One may call it a sheer co-incidence that when Majrooh Saab worked with them for the first time in ‘Dosti’ (1964) and ‘Teesri Manzil’ (1966) respectively, the films and their songs became super hit. Although LP’s ‘Parasmani’ (1963) was a box office success with its songs becoming very popular, it was only after the extra-ordinary success of ‘Dosti’ (1964) that LP started getting big banner films. Same was true for R D Burman after the success of ‘Teesri Manzil’ (1966). From these two films onward, both LP and RD Burman got a tremendous boost to their filmy career. Majrooh Saab worked with RD Burman in as many as 75 films churning out around 350 songs. With LP, he worked in 42 films with around 200 songs.
Next in the line of the second generation of the music directors with whom Majrooh Saab worked are, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among others. Again, whether it was a co-incidence or the magical lyrics of Majrooh Saab, his first association with them also turned out to be their first successful film at the box office. The films were ‘Kunwaara Baap’ (1974), ‘Qayaamat Se Qayaamat Tak’ (1988) and ‘Jo Jeeta Wohi Siknadar’ (1992) respectively.
There is another side of Majrooh Saab’s personality and that is as an Urdu poet of repute. And he kept this side of his personality distinct from that of a lyricist of Hindi film songs making it sure that his ideological views do not seep into his film lyrics. Though Majrooh Saab had written many meaningful lyrics, he never considered them to be part of his poems. So, if one wishes to know the real personality of Majrooh Saab, one has to read his ‘taraqqi-pasand’ (progressive) ghazals. I have gone through the ghazals that are available online. His hardcore revolutionary call was evident in most of his ghazals which he wrote in the 1940s. An example:
jalaa ke mashaal-e-jaan hum junoon-sifaat chale
jo ghar ko aag lagaaye wo hamaare saath chale
Majrooh Saab is regarded as a pioneer in writing modern progressive ghazals, breaking away from the conventional style of ghazals of the classical poets. He gave a different interpretation of some of the common metaphors used in the conventional ghazals, in his progressive ghazals. For instance, the word ‘manzil’ is often used in the conventional ghazal to reach out to the beloved. But Majrooh Saab has used ‘manzil’ in plural form in the ‘matla’ she’r of one of his popular progressive ghazals to mean that the attainment of objectives (manzilen) becomes easy when someone joins hands with him (comradeship):
mujhe sahal ho gayi manzilen, wo hawaa ke rukh bhi badal gaye
teraa haath haath mein aa gayaa, ke charaag raah mein jal gaye
Most of Majrooh Saab’s ghazals written in 1940s are filled with heavy doses of Arabic and Persian words. But it is not surprising, as he had studied Arabic and Persian in school. Once he got associated with Hindi films, probably, Majrooh Saab could not devote much time to Urdu literature. Hence his output in terms of published works is limited. ‘Kulliyat-e-Majrooh Sultanpuri’ seems to be the only published works of his ghazals.
Majrooh Saab’s journey of six decades of prolific song writer of Hindi films ended on the planet of earth on May 24, 2000 but not before he was conferred with the prestigious Dadasaheb Phalke Award in 1993 – the first Hindi film lyricist to get this award. He left around 2000 of his Hindi film songs for us to cherish his memory for eternity.
On the occasion of birth centenary of Majrooh Saab, I have chosen an apt song written by him from the film ‘Kabhi Haan Kabhi Naa’ (1994) which was directed by one of my favourite directors, Kundan Shah. The song is ‘Wo To Hai Albela Hazaaron Mein Akela’ a duet sung by Devaki Pandit and Kumar Sanu. The song is set to music by Jatin-Lalit.
One of the interesting features of the picturization of the song is that both Devaki Pandit and Kumar Sanu lip sync for multiple actors. Devaki Pandit lip syncs for Shashi Sahay, Sadia Siddiqui, Reeta Bhaduri and Kumar Sanu lip syncs for Nasiruddin Shah, Tiku Talsania, Satish Shah and Anjaan Srivastav. On the sound track, both the singers sing a few lines together but, in the film, their voices are for the entire group of actors and actresses.
A reading of Majrooh Saab’s lyrics of this song reminds me to say that his style of song writing remained, more or less, the same throughout his filmy career. I do not think that other Hindi song lyricists would have used the words like ‘aib’ (vice) and ‘hunar’ (virtue) in their songs in the 1990s.
Audio
Video
Song – Wo To Hai Albela, Hazaaron Mein Akela (Kabhi Haan Kabhi Naa) (1994) Singer – Devaki Pandit, Kumar Sanu, Lyrics – Majrooh Sultanpuri, MD – Jatin-Lalit
Devaki Pandit + Kumar Sanu
Lyrics
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
jaana hai jise patthar
heera hai wo to heera
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
hazaaron mein akela
wo to hai albela aa
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
diye ki maati dekhi
dekhi na us ki jyoti
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai… albela aa
———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
जाना है जिसे पत्थर
हीरा है वो तो हीरा
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला॰॰आ
हजारों में अकेला
वो तो है अलबेला॰॰आ
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
दिये की माटी देखी
देखी ना उसकी ज्योती
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है॰ ॰ ॰ अलबेला॰॰आ
- In: Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Aspirations of Love | Blog ten year challenge (2009-2019) | Dance song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1967 | Twin Dance Song | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4078 | Post No. : | 15217 |
———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 44
——————————————————————————————
Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂 🙂 .
Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.
| Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai | Shair | 1949 | 2nd | Yippeee’d |
| Aaj Gaawat Man Mero | Baiju Baawra | 1952 | 6th | Yippeee’d |
| Ae Kaash Chalte Mil Ke | Manzil | 1960 | 3rd | Yippeee’d |
| Ek Baat Kahoon Wallah Ye Husn Subhan Allah | Shrimaan Satyawaadi | 1960 | 2nd | Yippeee’d |
| Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste | Hum Dono | 1961 | 5th | Yippeee’d |
| Aap Jabse Kareeb Aaye Hain | Noorjehaan | 1967 | Deb | 3 of 8 |
| Zindagi Khwaab Hai | Jaagte Raho | 1956 | 2nd | Yippeee’d |
The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.
I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.
Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.
The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.
Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar
Lyrics
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
- In: "paayal" song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Geeta Dutt songs | Geeta Dutt-Mahendra Kapoor duet | Guest posts | Love song | Lover's tête-à-tête | Lyrics by Nitin Shah | Lyrics contributed by readers | Mahendra Kapoor songs | Post by Sudhir | Songs of 1950s (1951 to 1960) | Songs of 1960 | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 4066 | Post No. : | 15202 |
“Jaane Jaana Yoon Na Dekho Aaj Nafrat Se Mujhe” – this lovely lilting from the 1963 film ‘Faulaad’, is the creation of the songwriter Anjaan. A poet who has given us some of the most wonderful gems of the Hindi screen. Songs like “Pipraa Ke Patwaa Sarikhe Doley Manwaa” (‘Godaan’, 1963), “Bahaaro Thaam Lo Ab Dil, Mera Mehboob Aata Hai”(‘Namaste ji’, 1965), “Aap Ke Haseen Rukh Pe Aaj Nayaa Noor Hai”(‘Bahaaren Phir Bhi Aayengi’, 1966), “Aaj Tumse Door Ho Kar, Aise Royaa Mera Pyaar”(‘Ek Raat’, 1967), and “Bina Badraa Ke Bijuriyaa Kaise Chamke”(‘Bandhan’, 1969) – and on to “Rotey Huye Aate Hain Sab, Hansta Hua Jo Jaayegaa. . .”(‘Muqaddar Ka Sikandar’, 1978), “Maano To Main Ganga Maa Hoon, Naa Maano Te Behtaa Paani”(‘Ganga Ki Saugandh’, 1978), “O Khaike Paan Barnaaras Waala” (‘Don’, 1978), “Pag Ghunghroo Baandh Meera Naachi Thi” (‘Namak Halaal’, 1982), “Gori Hain Kalaayi’aan, Tu La De Mujhe Hari Hari Choodiyaan” (‘Aaj Ka Arjun’, 1990). And many more.
Remembering Anjaan on the 22nd anniversary of his passing away, earlier this week (3rd September).
Today, I present another wonderful song penned by him – a song that has been forgotten and has remained obscure for decades. The film is equally obscure – ‘Lady of the Lake’ from 1960. The film is produced and directed by AM Khan, under his own banner of AM Khan Productions, Bombay. It is a fantasy cum stunt film. The list of actors includes Azad, Krishna Kumari, Shaam Kumar, Sherry, Jai, Neelima, Shahgul, Ram, Fani Tinchar, Jilani, Jameela, Baby Leela, OK, Avtar, Maqbool, Robert, and Burhan etc.
The film has nine songs shared between three songwriters. Five songs are written by Anjaan, one by Saba Afghani and the remaining three by Munshi Naayab. Two songs of this film are already represented on our blog. Today’s song is also from the pen of Anjaan. Music for all the songs is composed by the music director duo of Suresh-Talwar.
The lyrics of this song have been sent in by Nitin Shah.
This song is a duet in the voices of Geeta Dutt and Mahendra Kapoor. Here is duet combination of two well known singers, who came together very rarely during their careers. There may probably be fifteen or maybe less, songs that they have sung together.
A wonderful lilting melody that should have been heard more often. I am sure you would agree.
Song – Sun Re O Chhalia, Boley Kya Paayaliya (Lady Of The Lake) (1960) Singers – Geeta Dutt, Mahendra Kapoor, Lyrics – Anjaan, MD – Suresh-Talwar
Lyrics (Provided by Nitin Shah)
sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja
o tere bina ratiya
o re mann basiya
soona laage sansaar
sajanwa aaj na ja
balamwa aaj na ja
kab se baithi raah mein teri
baalam aas lagaaye
ho oo oo balam aas lagaaye
itne din ke baad miley bhi
to tum rahe paraaye
ho oo oo
do dil milne na paaye
behki adaayen
tujh ko bulaayen
dil hai bada beqraar
sajanwa aaj na ja
balamwa aaj na ja
jaadu ajab chalaaye gori
tera roop suhaana
ho oo oo tera roop suhana
pehli jhalak mili jab teri
dil ho gaya deewana
haaye ab isey kahaan hai jaana
ruk ja re ruk ja
palkon mein chhup ja
kar le ji bhar pyaar
sajanawa aaj na ja
balamwa aaj na ja
o sun re o chhaliya
boley kya paayaliya
chhed ke dil ke taar
sajanawa aaj na ja
balamwa aaj na ja
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा
ओ तेरे बिना रसिया
ओ रे मन बसिया
सूना लगे संसार
सजनवा आज न जा
बलमवा आज न जा
कब से बैठी राह में तेरी’
बालम आस लगाए
हो ओ ओ बालम आस लगाए
इतने दिन के बाद मिले भी
तो तुम रहे पराये
हो ओ ओ
दो दिल मिलने ना पाये
बहकी अदाएँ
तुझ को बुलाएँ
दिल है बड़ा बेक़रार
सजनवा आज न जा
बलमवा आज न जा
जादू अजब चलाये गोरी
तेरा रूप सुहाना
हो ओ ओ तेरा रूप सुहाना
पहली झलक मिली जब तेरी
दिल हो गया दीवाना
हाय अबे इसे कहाँ है जाना
रुक जा रे रुक जा
पलकों में छुप जा
कर ले जी भर प्यार
सजनवा आज न जा
बलमवा आज न जा
ओ सुन रे ओ छलिया
बोले क्या पायलिया
छेड़ के दिल के तार
सजनवा आज न जा
बलमवा आज न जा
Recent comments