Archive for the ‘Devnagri script lyrics by Sudhir’ Category
Ae Kaash Kisi Deewaane Ko
Posted on: May 25, 2017
- In: "Advice" song | Artist century song in blog | Asha Bhonsle songs | Baag/Bagiya song | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lata -Asha Bhonsle duet | Lata song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1966 | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
With this post, the blog now carries 700 songs by Laxmikant Pyaarelal.
The story of Laxmikant Pyaarelal reads like a dream rags-to-riches story. But it is also a story of hard work and persistent effort. Laxmikant, the senior partner in the team, was three years elder to Pyaarelal. Interestingly, both were born on 3rd of the month, Laxmikant in November and Pyaarelal in September. Pyaarelal is the son of the renowned musician Ram Prasad Sharma. Although active in the film industry since the latter part of 1930s, Ram Prasad did some films independently from 1947 to 1950. Not adept with commercial acumen, his financial status was poor most of his life. Pyaarelal, his eldest son, had to start working as a musician in recording studios at the age of 12, to support his family. The story of Laxmikant’s childhood is even more depressing. He was raised in the slums of Vile Parle in Bombay. His father passed away when he was just a toddler. A friend of his father supported him and guided him towards learning music. With time, his talent shone through, and he too started working as a musician in the film industry.
Remembering Laxmikant Shantaram Kudalkar on the 19th anniversary of his passing away today (25th May).
Growing up in financially difficult times, the childhood of these two great musicians and music directors kind of weaved through the same threads. Laxmikant got the opportunity to learn violin from Husnlal (of Husnlal-Bhagatram duo), and from Bal Mukund Indorekar. Pyaarelal learnt from his father, and other contemporaries of his father, like Anthony Gonsalves.
The two young musicians met in Sureel Kala Kendra, a center for teaching music to young children. This center was run by the Mangeshkar family. Lata ji was very impressed with the talent of this pair, and through her references, they started getting work as musicians for the recordings of some of the main line music directors of that era. The melody was in the making and the 1950s was the time that this pair of youngsters learnt their trade working under the stalwarts like Naushad, C Ramchandra, SD Burman etc. By the later part of 1950s, the career of Kalyanji Anand ji team was taking off, and Laxmi-Pyaare’s team was working as assistants to them. Although both worked together as a team, Pyaarelal was more incharge of orchestration and arrangements, and Laxmikant was more towards composition and vocals. By early 1960s, this team started to get independent offers. What came about in the short space of 5 to 7 years was a string of memorable hits and Jubilee films, that established Laxmi-Pyaare as a force to reckon with in the industry. Sample their successes from the 1960s – ‘Parasmani’ (1963), ‘Dosti’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Mr X In Bombay’ (1964), ‘Hum Sab Ustad Hain’ (1965), ‘Lutera’ (1965), ‘Shriman Funtoosh’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Pyaar Kiye Jaa’ (1966), ‘Milan’ (1967), ‘Pathat Ke Sanam’ (1967), ‘Shagird’ (1967), ‘Night In London’ (1967), ‘Farz’ (1967), ‘Jeene Ki Raah’ (1969), ‘Inteqam’ (1969), ‘Do Raaste’ (1969) – the list simply goes on and on.
Many readers may be aware that Laxmikant made an appearance as himself in the 1983 film ‘Teri Kasam’. There is a sequence wherein a song is being recorded for a rising young star, role played by Gaurav Kumar. The initial part of this song is pictruized inside a recording studio, where Laxmikant is sitting in the control room. Incidentally we also see Kersi Lord, one of the expert music arrangers of our industry, also present, working on the recording machinery.
For the anniversary today, I bring this last remaining song of the film ‘Aaye Din Bahaar Ke’ from 1966. Six of the seven songs of this film are already posted on our blog. A quick look as the list below, and you can imagine, what a musical treat this film is – one of the early films of Dharmendra as he is taking off as a romantic hero.
| 1. Mere Dushman Tu Meri Dosti Ko Tarse |
| 2. Suno Sajna Papeehe Ne |
| 3. Khat Likh De Sanwariya Ke Naam Babu |
| 4. Mera Mehboob Hai Bemisaal |
| 5. Phoolon Se Mukhde Waali |
| 6. Ye kali jab talak phool ban ke khiley |
This last song is an all female duet, which is sung by Asha Bhosle and Lata Mangeshkar. On screen, it is performed by Nazima and Asha Parekh. The words are from the pen of Anand Bakshi. An important note here about the association of this duo music directors and this song writer. This combination has been one of the most prolific songwriter – MD combinations in the industry. Over the decades, they have produced more than 300 songs together, a majority of which have been significant hits.
With a tribute to Laxmikant today, listen to this wonderful expression of aspirations of falling in love, and the simultaneous advice against it. The words are superb, and the composition is very attractive. And yes, with this song, the film ‘Aaye Din Bahaar Ke’ completes its tally of songs on the blog. Time for another ‘Yippeee’ call.
With this song, Laxmikant Pyarelal now have 700 songs in the blog as music directors. They become only the second music directors, behind Shankar Jaikishan to reach this figure in the blog.
[Ed Note: Harish ji Raghuvanshi (of Surat) has informed in a separate email that Laxmikant-Pyaarelal are the only music directors in Hindi films to have crossed the 500 films milestone. There may be other names from South film centers, but as far as Hindi films is concerned, L-P are the leaders.]
Song – Ae Kaash Kisi Deewaane Ko (Aaye Din Bahaar Ke) (1966) Singers – Asha Bhosle, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyarelal
Lyrics
ae kaash kisi
deewaane ko
hum se bhi mohabbat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hai waqt abhi tauba kar lo
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
tum maloom nahin shaayad
kitne be-dard sanam hongey
tum maloom nahin shaayad
kitne be-dard sanam hongey
ye aap ne sach farmaaya hai
ulfat mein laakh sitam hongey
ulfat mein laakh sitam hongey
hain laakh sitam manzoor hamen
bas ek inaayat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
tum aaj agar ik nagma ho
tumko fariyaad banaa daaley
tumko fariyaad banaa daaley
gairon se to ho shiqwe tumko
khud se bhi shikaayat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
har ek khataa ki is duniya ki
is ke khataa se behtar hai
har ek khataa ki is duniya ki
is ke khataa se behtar hai
ye pyaar nahin ik dard sahi
ye dard dawaa se behtar hai
ye dard dawaa se behtar hai
bas chain hamen aa jaaye jo
bechain tabiyat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
allah museebat ho jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ए काश किसी
दीवाने को
हम से भी मोहब्बत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
है वक़्त अभी तौबा कर लो
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
ये आपने सच फरमाया है
उलफत में लाख सितम होंगें
उलफत में लाख सितम होंगें
हैं लाख सितम मंजूर हमें
बस एक इनायत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
तुम आज अगर इक नग़मा हो
तुमको फरियाद बना डाले
तुमको फरियाद बना डाले
गैरों से तो हो शिक़वे तुमको
खुद से भी शिकायत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
ये प्यार नहीं इक दर्द सही
ये दर्द दवा से बेहतर है
ये दर्द दवा से बेहतर है
बस चैन हमें आ जाये जो
बेचैन तबीयत हो जाये’
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
Nanha Mora Doley Mori Anganiaa
Posted on: May 24, 2017
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
रोक सकता हमें ज़िन्दान-ए-बला क्या ‘मजरूह’
हम तो आवाज़ हैं दीवार से छन जाते हैंRok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.
[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].
This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was associated with the Progressive Writers Association (PWA), a left-oriented ideological group. Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA to a lyricist in the film industry.
Today, May 24th 2017 is the 17th Remembrance Day of Majrooh Sultanpuri (01/10/1919 – 24/05/2000) who ruled the Hindi film industry as a lyricist for over 5 decades. His long innings in Hindi film industry can be gauged by the fact that he wrote lyrics for music director Naushad in 1946 to A R Rahman in 2000. He wrote lyrics for the three generation of Kapoor family – for Raj Kapoor in ‘Andaz’ (1949) to Randheer Kapoor in ‘Rampur Ka Lakshman’ (1972) and to Karishma Kapoor in ‘Ham To Mohabbat Karega’ (2000). These are the testimonies of his smooth adaptation of the changing environments in Hindi film music. He achieved this without much diluting the quality of his lyrics.
Majrooh Sultanpuri was initially a reluctant lyricist if I go by his as well as others’ interviews. In 1945, he had accompanied his mentor, Jigar Moradabadi to Bombay (Mumbai) for participation in a Mushaira. Many film producers and directors saw such mushaira as an opportunity to select budding poets to write songs for their films. One of the producer-directors who attended the mushaira was AR Kardar. He was producing and directing ‘Shah Jahan’ (1946) and was keen to engage Jigar Moradabadi to write songs for the film. However, Jigar Moradabadi declined the offer and instead suggested him to take his disciple, Majrooh Sultanpuri who had impressed the audience with his poetry in the mushaira.
Majrooh Sultanpuri was reluctant to write songs for the films as he felt that his association with films would affect his shaayari. However, at the end, he could not say no to his mentor and agreed to write the songs for ‘Shah Jahan’ (1946). This was the start for a reluctant lyricist which culminated into a very long and a successful filmy career.
After the success of his iconic songs ‘Shah Jahan’ (1946) such as gham kiye mushtakil, Majrooh Sultanpuri also wrote songs for Naushad in films such as ‘Qeemat’ (1946) and ‘Andaz’ (1949) and for Bulo C Rani in ‘Anjuman’ (1948) and ‘Nazaare’ (1949) among others. The success of ‘Andaz’ (1949) and ‘Aarzoo’ (1950) firmly established Majrooh Sultanpuri as a lyricist. However, his filmy career got a setback sometime in 1950 when the then Government of Bombay arrested him for inciting the workers through his recitation of poems. Although the Government gave him an opportunity to apologise his action, he refused and instead spent 2 years in Arthur Road Jail along with Balraj Sahani.
After his release from the jail, he found it hard to get the assignments. The absence of 2 years in Hindi film industry is a long period to successfully restart the career. By this time, Naushad had Shakeel Badayuni, SD Burman had Sahir Ludhinavi, Raj Kapoor with Shankar-Jaikishan had Shailendra and Hasrat Jaipuri. During this period, Majrooh Sultanpuri got work to write one or two songs in a few films. Perhaps, his jail stint thought him a lesson that he had to keep his ideological views separate from his filmy career. Thanks to his calibre and with some luck, his second inning started with a good number of films albeit with a gap.
In 1953, 9 films in which Majrooh Sultanipuri contributed lyrics were released. However, almost all these films did not fare well on the box office front although they had some very good songs. Among his 1953 released films, ‘Fareb’ (1953) had two beautiful songs aa mohabbat ki basti basaayenge ham and husn bhi hai udaas udaas ishq bhi gham se choor hai. ‘Baaghi’ (1953) had hamaare baad ab mehfil mein afsaane bayaan honge. ‘Footpath’ (1953) had shaam e gham ki kasam aaj ghamgeen hain ham and ‘Hamdard’ (1953) had tera haathh haathhon mein aa gaya.
The year 1954 was a milestone in the filmy career of Majrooh Sultanpuri along with OP Nayyar and Guru Dutt who all were associated with the film ‘Baaz’ (1953). Despite good songs, the film had failed at the box office. Guru Dutt’s next venture ‘Aar Paar’ (1954) was hopping to recoup the financial losses. The film became a super hit at the box office. For Majrooh Sultanpuri, it was a successful departure from the poignant songs which he used to write earlier to light-hearted songs like appeasement song (ye lo main haari piya huyi teri jeet re) and Hinglish/Bambaiyya/nok jhonk/teasing song (arrey na na na na na tauba tauba).
The success of ‘Aar Paar’ (1954) proved that Majrooh Sultanpuri was also an expert in writing light-hearted songs and that he could easily write songs for pre-set tunes without much compromising in the use of appropriate words in the lyrics. Later he wrote many such songs in films like ‘Mr and Mrs 1955’ (1955), ‘CID’ (1956), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Chalti Ka Naam ghaadi’ (1958), ‘Dilli Kaa Thug’ (1958) and many more.
With over 2000 songs in about 350 films during 1946-2000, it is not possible to discuss the full career of Majrooh Sultanpuri in a single article. So I will skip his works with music directors like SD Burman, OP Nayyar, Chitragupt, Roshan, Madan Mohan, Ravi etc during the 1960s and with music directors like Laxmikant-Pyarelal, Rajesh Roshan, Anand- Milind, Jatin-Lalit, Bappi Lahiri, Anu Malik etc 1970s onward. However, I feel that I must include here the unique and the long lasting association of Majrooh Sultanpuri with RD Burman.
When Nasir Hussain signed Majrooh Sultanpuri as lyricist for ‘Teesri Manzil’ (1966), the music director for the film was not finalised. Majrooh Sultanpuri suggested the name of RD Burman as the music director. However, the name had to be vetted by Shammi Kapoor, the lead actor of the film as it was generally known that he would prefer OP Nayyar or Shankar-Jaikishan as the music director. After a presentation by RD Burman, Shammi Kapoor was so much impressed by the tunes of the songs composed by RD Burman that he instantly gave his nod.
The ‘khushnuma’ songs of Majrooh Sultanpuri which RD Burman composed the folk-based tunes with some elements of rock, jazz and latino became an instant hit with the young generation. Personally, I feel that the songs of ‘Teesri Manzil’ (1966) was the beginning of the end of the golden era of Hindi film music. A new and modern style of Hindi film music started which was well received not only by the younger generation but also many of my generation. Majrooh Sultanpuri’s lyrics acted as a continuum during the change of Hindi film musical eras. And what a contrasting style of lyrics he wrote during 1966 itself! For example, he wrote o mere sona re sona re sone re, de dungi jaan juda mat hona re for ‘Teesri Manzil’ (1966) and also chhupa lo yoon dil mein pyaar mera ke jaise mandir mein lau diye ki in ‘Mamata’ (1966).
I had called RD Burman-Majrooh Sultanpuri combination an unique one. The reason is that after listening to the songs of ‘Teesri Manzil’ (1966), one can immediately feel the vast differences in the types of songs composed earlier with that of the songs of Teesri Manzil. But the lyrical style of Majrooh Sultanpuri remains more or less the same. So it was a sort of blend of the golden era style of lyrics with modern melodies and rhythm.
Majrooh Sultanpuri wrote songs for RD Burman in as many as 75 films during 1966-1996 – the highest number of films he did with a music director. Laxmikant-Pyarelal ranked a distant second with 42 films during 1964-1992 and Chitragupt with 23 films ranked third. His association with music directors like SD Burman, OP Nayyar, Rajesh Roshan, Anand-Milind etc resulted in writing songs for films ranging between 15 and 20. But the fact remains that he worked with almost all the top music directors of his time.
An interesting observation about the association of Majrooh Sultanpuri with then upcoming music directors is in order. The first film which some of them did with him became the turning point for the successful takeoff in their career. Examples are Laxmikant-Pyarelal (Dosti, 1964), RD Burman (‘Teesri Manzil’, 1966), Rajesh Roshan (‘Kunwara Baap’, 1975) and Anand-Milind (‘Qayamat Se Qayamat Tak’, 1985).
In 1993, Majrooh Sultanpuri was conferred with the prestigious Dadasaheb Phalke Award, the first film lyricist to get the award.
As happens in any filmy career, Majrooh Sultanpuri’s career got a set back during the second half of the 1990s. His favourite music directors were not in much demand and probably he could not adjust to the lyrical demands of the third generation of music directors.
One silver lining during this lean period for Majrooh Sultanpuri was Asha Bhonsle’s non-film pop album ‘Jaanam Samjha Karo’ (1997) in which all the eight songs were written by Majrooh Sultanpuri. This album was sold like a hot cake mainly because of the popularity of the song jaanam samjha karo which won MTV and V Channel award for Asha Bhonsle in 1997. I remember that not a single day passed on the TV musical channels without playing this pop song when the song’s video was made public. While the younger generation may have liked the pop music and the way the video was shot on Milind Soman and Helen Brodie, I liked more for its lyrics and Asha Bhonsle’s rendition. At that time, I was not even aware that it was written by Majrooh Sultanpuri.
Just a few months before his death on May 24, 2000, one of his fellow lyricists had met him and enquired as to what he was doing. Majrooh Sultanpuri replied in Hindi ‘andhon ke shahar mein aaina bech raha hoon’. (I am selling mirrors in the city of blinds). This, by and large, sums up the status of lyricists in the neo-modern era of Hindi film music.
On the occasion of 17th Remembrance Day of Majrooh Sultanpuri, I recall his five of the six songs he wrote for the film ‘Garam Coat’ (1955), the 6th song being a Meera bhajan. Five songs were rendered by Lata Mangeshkar for which she did not take any remuneration. Five songs from the film have already been covered in the blog. The film was produced by Rajinder Singh Bedi and was directed by Amar Kumar. The star cast included Balraj Sahani, Nirupa Roy, Vijaylaxmi, Jayant, Brahm Bhardwaj, Baij Sharma, Rashid Khan etc.
Here is the 6th song ‘Nanha Mora Dole Mori Anganiyaa’. The song was set to music by Pandit Amarnath Chawla, who was the senior most disciple of Ustad Amir Khan. The song is picturised on Vijaylaxmi who plays with her kid and admires his aimless walk in the courtyard of her village house. The background of this song is that Balraj Sahani has lost his entire salary on the salary day and his debtors would be asking for the money he owes them. He decides to commit suicide by coming in front of the train. However, by the time he reaches the spot, the train had just passed. A dejected Balraj Sahani waits for another train to come when he suddenly hears humming of a song sung by a mother for her child from a house on the other side of the railway track. He reaches near the house and what he sees bring some smile on his face. Instead of committing suicide, Balraj Sahani goes back to his home.
Majrooh’s lyrics in this song is the true reflection of the village settings about 60 years back which are still valid even in the 21st century for many of the villages in India. I have come across a couple of Hindi words used in the lyrics such as ‘humak’ (toddler’s walking attempts), ‘kilkaari’ (toddler’s loud sound when happy) after a long time.
[Ed Note: With this post, the film ‘Garam Coat’ joins the list of films with all songs covered on this blog. Yippeee time. . . ]
Song – Nanha Mora Doley Mori Anganiaa (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath
Lyrics
nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..
hmm hmm hmm hmm
hmm hmm hmm hmm
nanha mora doley
mori anganaiya
nanha mora doley
mori anganaiya
door se dekhoon aur musakaaun
door se dekhoon aur musakaaun
moond ke ankhiyaan paas bulaaun
moond ke ankhiyaan paas bulaaun
natkhat hans ke chale paiyaan paiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
komal aisa
mora albela
komal aisa
mora albela
aankh pade to
rang ho maila
aankh pade to
rang ho maila
daare phiroon main to achra ki chhaiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
humak humak chaley
maare kilkaari
humak humak chaley
maare kilkaari
chhoti chhoti batiyaan
laage pyaari pyaari
chhoti chhoti batiyaan
laage pyaari pyaari
laage nazar nahi
le loon balaiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
हम्म मम्म मम्म मम्म
हम्म मम्म मम्म मम्म
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
मोरी अंगनइया
दूर से देखूँ और मुसकाऊँ
दूर से देखूँ और मुसकाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
नटखट हंस के चले पइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
कोमल ऐसा
मोरा अलबेला
कोमल ऐसा
मोरा अलबेला
आँख पड़े तो
रंग हो मैला
आँख पड़े तो
रंग हो मैला
डारे फिरूँ मैं तो
अचरा की छइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
हुमक हुमक चले
मारे किलकारी
हुमक हुमक चले
मारे किलकारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
लागे नज़र ना
ले लूँ बलइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
- In: "chaand" song | Bulo C Rani Solo Songs | Bulo C Rani Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | Post by Sadanand Kamath | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1955 | Yearwise breakup of songs
- 1 Comment
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today, May 24, 2017 is the Remembrance Day of Bulo C Rani, the music director and the singer who left this day 24 years ago under unfortunate circumstances. A contemporary of music directors like Anil Biswas, Ghulam Haider, Naushad, C Ramchandra and Khemchand Prakash, it is a sad commentary on Hindi film industry that Bulo C Rani could not attain the stature of these music directors. And this is despite the fact that he was associated with the Hindi film industry for over 2 decades and had churned out some immortal compositions.
I started listening to Hindi film songs on the radio as a teenager and in my younger days, the music directors like Naushad, C Ramchandra, S D Burman, Husnlal-Bhagatram, Shankar-Jaikishan, Roshan, Madan Mohan, OP Nayyar etc were familiar to me. But I had not heard of Bulo C Rani and other lesser known music directors. However, I was very familiar with a few of the songs composed by him like Prwaanon Se Preet Seekh Len, Hamen To Loot Liya Mil Ke Husn Waalon Ne and Maangne Se Jo Maut Mil Jaati. At that time, for me, these songs and the singers were inseparable without caring to know about the lyricists and composers of the songs.
It was during early 70s when I was first exposed to the old Hindi films songs of 40s and 50s by my friend, when I heard in his house Sundarta Ke Sabhi Pujaari. In a way, this song served not only to be my introduction to the film ‘Jogan’ (1950) but also to Bulo C Rani. Over a period of time, I became familiar with his contributions to Hindi film industry as a music director. After joining this Blog, I was pleasantly surprised to know that during his stint as a music director, he had composed as many as 584 songs in 70 Hindi films.
Bulo C Rani (06/05/1920 – 24/05/1993) was born in Hyderabad (Sindh) in a Sindhi family. His father Chandiram was a musician who was the music director in some of the films of early 1930s. I find from the internet that three films, viz. ‘Insaan Ya Saitaan’ (1933), ‘Prem Pariksha’ (1934) and ‘Yaasmin’ (1935) have Chandiram as the music director. So the young Bulo C Rani may have got the inspiration from his father to develop his interest in the music.
Sometime in the early 40s, Bulo C Rani visited Lahore with the intention of working under Ghulam Haider who had become a household name with the runaway success of his songs in ‘Khazaanchi’ (1941). However, after finding that he has not become even assistant to Ghulam Haider, he shifted to Bombay (Mumbai) on the advice of DN Madhok, lyricist and the then ‘king maker’ in Hindi film industry. He took Bulo C Rani to Ranjit Studios where he was got employment as assistant to Khemchand Prakash and Gyan Dutt, the main music directors of Ranjit Movietone at that time.
Bulo C Rani got the chance to compose two songs for the film ‘Paighaam’ (1943) thanks to Gyan Dutt who was the music director for the film. It was in the early 1944 that he got the independent assignments as a full-fledged music director in Ranjit Movietone’s two films ‘Pagli Duniya’ (1944) and ‘Carvaan’ (1944). Both these films were directed by Aspi Irani. There were total of 27 songs in these two films of which as many as 15 songs were sung by Amirbai Karnataki. In these two films, Bulo C Rani also sang 5 songs with a psuedo name ‘Bhola’.
And what a musical start for Bulo C Rani! In ‘Caravaan’ (1944), two songs, Sooni Padi Hai Pyaar Ki Duniya Tere Baghair sung by Amirbai Karnataki and Aankhon Mein Intezaar Ki Duniya Liye Huye sung by Zohrabai Ambalewaali became very popular. In ‘Pagli Duniya’ (1944), I like the song Dil Dard Se Bharpoor Hai Aankhon Mein Hai Paani and “Gar Hum Ko Jalaaoge Duniya Ko Jalaa Denge’, both sung by Amirbai Karnataki. Unfortunately for Bulo C Rani, despite good music, ‘Pagli Duniya’ (1944) failed miserably at the box office and ‘Caravaan’ (1944) registered only a modest success. Additionally, in terms of public tastes, Bulo C Rani could not match his compositions in these two films with that of songs of his boss, Khemchand Prakash in ‘Bharthari’ (1944) and ‘Bhanwara’ (1944) which were released in the same year.
In the remaining of the 1940s, Bulo C Rani had on an average 5 films per year thanks to Ranjit Movietone where he was a full time employee. By the end of 1946, both Khemchand Prakash and Gyan Dutt had turned free-lance music directors thus giving Bulo C Rani more opportunity to get the films from Ranjit Movietone. A few of the popular songs composed by him during this period were Badariya Baras Gayi Us Paar from ‘Moorti’ (1945), Jaa Parwaane Jaa Kahin Shama Jal Rahi Hai from ‘Rajputaani’ (1946), Wo Teer Kaleje Par Ik Shokh Ne Maara Hai from ‘Anjuman’ (1948) etc.
Discussion on Bulo C Rani would not be complete without ‘Jogan’ (1950) which was produced by Chandulal Shah under the banner of Ranjit Movietone. This film was finalised with Dilip Kumar and Nargis, the two prominent actors of that time as lead actors. However, the financial condition of Ranjit Movietone was so precarious that the company had money to sustain for only one month. Kidar Sharma who had already left Ranjit Movietone to produce and direct films under his own banner was approached with a request to start the shooting to complete the film in one month.
Kidar Sharma accepted the challenge and started shooting during the day time and the post production work in the night time for which he had to stay in Ranjit Studio. Bulo C Rani was entrusted with the music direction of the film with 15 songs to be composed and recorded. The film was completed in less than a month and was released. The film was a box office hit and became the 5th highest grosser at the box office for 1950. The success of the film was attributed mainly to 15 songs of which 6 songs were Meera Bai’s Bhajans. The highlight of film was that all the 15 songs became very popular. Bulo C Rani’s real recognition as a music director came with the success of these songs.
The success of ‘Jogan’ (1950) did not add value to Bulo C in terms of his musical career. In fact, during 1951, he had only one film “Pyaar Ki Baaten’ (1951) which got released. During 1950s, one of his films which was critically acclaimed for its music was ‘Bilwamangal’ (1954). My favourite songs from the film are Parwaanon Se Preet Seekh Len and Hum Ishq Ke Maaron Ko Do Dil Jo Diye Hotey.
In the greater part of 1950s, Bulo C Rani was relegated to some B grade films and in 1960s, he was getting films mostly belonging to the genre of action/costume/fantasy/mythology. Producers of such B and C grade films will have limited budget which prevents them, among other things, hiring the top playback singers for the music directors. During 1950 to 1966, Bulo C Rani composed nearly 300 songs of which Lata Mangeshkar and Mohammed Rafi, who had become the top playback singers, sang for him only 22 and 31 songs respectively.
During his stint with B and C grade films, Bulo C Rani appears to have been influenced by the qawwali genre of songs and that too by Yusuf Azad/Ismail Azad. There were qawwalis in ‘Noor E Yaman’ (1956), ‘Jahaazi Lootera’ (1957), ‘Al Hilal’ (1958), ‘Black Tiger’ (1960), ‘Pedro’ (1960), ‘Room No.17’ (1961), ‘Jaadoo Mahal’ (1962), ‘Madam Zorro’ (1962) and ‘Jadoo’(1966). In ‘Son of Hatimtai’ (1965), there was qawwali sung by Rafi and Jaani Babu Qawwal.
‘Sunehre Qadam’ (1966) was Bulo C Rani’s last film after which he kept himself away from the Hindi film industry. It is said that during this period, he started teaching music to students. He also composed music for a couple of Sindhi films and some non-filmy songs. I feel that his musical career was tied with the fate of Ranjit Movietone. The moment, Ranjit Movietone’s factory-like film production stopped, Bulo C Rani lost his comfort zone. It was difficult for him to face the competitions from the likes of Naushad, C Ramchandra, S D Burman, Shankar-Jaikishan, OP Nayyar, Roshan, Madan Mohan etc during 1950s and 60s.
It is a well-known fact that in any vocation, not all becomes successful even if the persons have more or less the same talent. What differentiates between a successful and not so successful person is the extra punch (in today’s parlance ‘extra toppings’) the successful persons apply in their approach to work. I guess, Bulo C Rani may have lacked that extra punch in his work. Additionally, one also requires luck to be on his side for attaining the success. Luck was obviously not in favour of Bulo C Rani as he did not have good banners to support him as was the case with his compatriot music directors in the 1950s and 60s. In this context, one of the songs written by Kaif Irfani and composed by Bulo C Rani for the film ‘Gul Sanobar’ (1953) aptly applies to him:
isse na aur lootiye
ye dil bahut gareeb hai
naseeb se main kya kahoon
naseeb to naseeb hai
Bulo C Rani was a good singer. In fact, he started his filmy career as a singer with “Roothna Pyaar Mein Karwat Ka Badal Jaana Hai’ in the film ‘Mehmaan’ (1942) under the music direction of Khemchand Prakash. By the time he became a full-fledged music director in 1944, he had already sung 14 songs in 10 films. During his entire filmy career, he sang 43 songs in 24 films. All these songs were sung under the music direction of Gyan Dutt and Khemchand Prakash in addition to his own music direction.
On the 24th Remembrance Day of Bulo C Rani, I have selected a rare ghazal from the film ‘Madhur Milan’ (1955) which I came across only a few days back. In fact, I was under the impression that I had listened to all the songs of this film as early as in early 1970s in my friend’s house. But it was not so.
The song is “Ye Chaandni, Ye Hawa, Ye Samaa Bahaaron Ka’ composed and sung by Bulo C Rani. The songwriter is Jaan Nisar Akhtar. The video of this rare song was not available on the internet. So I have made a video from mp3 clip and uploaded the same a few days back on YT. The highlight of this song is that Bulo C Rani has rendered the ghazal in a style which is the reminiscence of KL Saigal era.
Song – Ye Chaandni Ye Hawa Ye Samaa Bahaaron Ka (Madhur Milan) (1955) Singer – Bulo C Rani, Lyrics – Jaan Nisar Akhtar, MD – Bulo C Rani
Lyrics
ye chaandni
ye hawaaa aa aa
ye samaa baha..aron kaa aa
chali hai raat liye kaarwaan sitaaron kaa aa
chali hai raat
kuchh is mazey se
haan aan aan aan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kabhi khayaal bhi aataa nahin kinaaron kaa aa
chali hai raat
ae aeeeeee
jo tum nigaah uthaao oo
to ye fiza jaage ae ae
jo tum nigaah uthaao
to ye fiza jaage ae
abhi to naam hai jaage huye nazaaron kaa aa
chali hai raat
ye soch lo
ke mohabbat kaa kya taqaaza hai
ae ae ae
ae ae
ye soch lo
ke mohabbat kaa kya taqaaza hai
ye dekh lo
ye dekh lo ke ishaara hai kya bahaaron kaa
chali hai raat liye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ये चाँदनी
ये हवा॰॰आ
ये समा बहा॰॰आरों का॰॰आ
चली है रात लिए
कारवां सितारों का
चली है रात
कुछ इस मज़े से
हाँ आं आं आं
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कभी ख्याल भी आता नहीं किनारों का
चली है रात
ए॰॰ एsss
जो तुम निगाह उठाओ॰॰ओ
तो ये फिज़ा जागे॰॰ए॰॰ए
जो तुम निगाह उठाओ
तो ये फिज़ा जागे॰॰ए
अभी तो नाम है जागे हुये नज़ारों का॰॰आ
चली है रात
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ए॰॰ए॰॰ए॰॰ए
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ये देख लो
ये देख लो के इशारा है क्या बहारों का
चली है रात लिए
- In: "Kaaga/Crow" song | Bird songs | Brother Sister song | Crow/Kaagaa songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Panchhi songs | Pathos | Poignant Song | Post by Sudhir | sad song | Songs of 1950s (1951 to 1960) | Songs of 1955 | 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.
The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.
In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.
Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film. However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.
‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.
The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.
Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.
His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.
The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.
In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.
Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.
Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.
The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.
The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).
This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.
Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.
Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath
Lyrics
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare
kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे
कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
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.
“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.
Eight songs from this movie have been discussed in the past. Here is the ninth song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Yoonhi aankhon mein aankhen daale sanam (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Lyrics
yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
hamen chhoo na sake
duniya ke sitam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
dil kehta hai tujhko sajde karoon
dil kehta hai tujhko sajde karoon
tere saath jiyoon tere saath maroon
jab tak rahe mere dum mein dum
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
nazren hain jahaan dil bhi hai wahin
nazren hain jahaan dil bhi hai wahin
ye pyaas kabhi bujhne ki nahin
jalwon ki kasam
soorat ki kasam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
ae maalik meri neendon ke
ae maalik meri neendon ke
ae chaand meri ummeedon ke
tera pyaar na ho kabhi dil se kam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
हमें छू न सकें
दुनिया के सितम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
दिल कहता है तुझको सजदे करूँ
दिल कहता है तुझको सजदे करूँ
तेरे साथ जीऊँ
तेरे साथ मरूँ
जब तक रहे मेरे दम में दम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
नज़रें हैं जहां दिल भी है वहीं
नज़रें हैं जहां दिल भी है वहीं
ये प्यास कभी बुझने की नहीं
जलवों की कसम
सूरत की कसम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
ए मालिक मेरी नींदों के
ए मालिक मेरी नींदों के
ए चाँद मेरी उम्मीदों के
तेरा प्यार ना हो कभी दिल से कम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
- In: "roadside tamaasha" song | Dance song | Devnagri script lyrics by Sudhir | Duet | Krishna Kalle - Minoo Purushottam Duet | Krishna Kalle songs | Lyrics contributed by readers | Minu Purushottam Songs | Songs of 1970s (1971 to 1980) | Songs of 1975 | Street singing | Yearwise breakup of songs
- 9 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
With this post, the blog has reached yet another very significant milestone – 1000 films Yippeee’d, i.e. all songs covered.
This blog was started on 19 July 2008 with a modest aim of discussing one song a day. It was expected at that time that the blog would have at the most 2500 songs in all and by that time all the songs worth discussing would have been covered.
Had this blog stuck to this original aim, and continued at the original rate of one song a day, then the blog would have reached 2500 posts on 23 may 2015 (2500th day for the blog) and that would have been it !
As we all know, the blog took on an entirely different course from what was originally intended. The blog began to cover multiple songs in a day beginning from the 41st day itself. 2500th song was covered in the blog in 680 days (on 29 May 2010) with this fantastic composition by Ganesh.
When one looks at comments on this post, one finds just four or five congratulatory comments. And what about the blog coming to a dead end after this song ? Here is what I wrote in that article:
I have chosen to post this song for a very special occasion for this blog. This song is a very special song for this blog in the sense that it is the 2500th song of this blog. When I had started this blog, I had looked up to the figure of 2500 as the holy grail. I had thought that reaching this magic figure would take me ages and that by that time I would have covered all the great songs that were there to be covered.
I was wrong on these counts, of course. I have reached the magic figure in less than two years, and having reached there, I find that I have only scratched the surface as far as covering all the great songs are concerned. I now realise that the journey to cover, uncover and discover the great songs of Bollywood is a very long journey indeed and the holy grail is nowhere in sight. In other words, I will continue to remain busy posting “new” songs in the forseeable future.
From the few comments on the blog, we can only identify Raja and Lalitha’s names. Those were the days when most of our regulars, and by now, strong pillars had not yet joined the bandwagon. The practice of guest posts and lyrics contributions had yet to take root. The first guest article was posted on 26 June 2010 and not surprisingly, it was by Raja. The concept of lyrics contribution by readers began on 31 January 2011 when Atif M became the first lyrics contributor with this song. In other words, the blog was still a one man show by the time 2500th song was posted.
Concepts of guest posts and lyrics contributions took roots and wings from 2011 onwards and that added new dimensions to the blog. From a one man show, it became an online collaboration of like minded music lovers. With time, these music lovers would help add new ideas and concepts in the blog that we now take for granted, but which were not there in the blog during the first few years of its existence.
With increasing number of songs in the blog, pages were introduced that had all the songs listed moviewise, music directorwise and yearwise. One fine day, we got the idea that remaining songs of movies that had most of their songs covered should be covered as well. Mr Arunkumar deshmukh, our beloved inhouse encyclopaedia, pored over all the volumes of HFGK and compared its entries with the moviewise list of songs in the blog. He then listed out the movies that had one or two songs remaining to be covered. That was the beginning of the concept of covering all the songs of movies. This idea occured to us in the blog in April 2012. The name YIPPEE was coined for this feat by Pradeep Raghunathan a few months later.
It is not that movies were not getting YIPPEED before april 2012. They were getting YIPPEED but we were not aware of this fact. When I checked up, I found that the very first movie that got YIPPEED (unnoticed to us at that time) was “Rajnigandha”(1974) on 10 september 2008 when its second and final song was covered in the blog. That was the only YIPPEED movie in the blog in 2008.
8 movies were YIPPEED in 2009, 19 in 2010 and 53 in 2011. 89 movies were already YIPPEED in the blog by the time we hit upon the idea of consciously going for covering all songs of movies.
The first movie which was greeted with a YIPPEE by Pradeep Raghunathan was “Chitralekha”(1964) on 27 october 2012. It was the 117th YIPPEED movie in the blog.
167 movies were YIPPEED in 2012 and 202 in 2013. 131, 167 and 112 movies were YIPPEED in 2014, 2015 and 2016 respectively.
2017 is a year when I decided to achieve one YIPPEE movie everyday. Though this new year resolution could last only upto april 2017, this determined approach towards YIPPYing movies means that we have already achieved 138 YIPPEED movies in 140 days in 2017.
Normally only one movie would get YIPPEED on one day, but there have been several occasions when two and even three movies were YIPPEED on the same day. The record is however four YIPPEED movies in one day, which was achieved on 20 march 2013. The four movies YIPPEED on that date were ‘Mera Gaon Mera Desh’ (1971), ‘Guddi’ (1971), ‘Roti’ (1974), ‘Taqdeer’ (1967). The rare feat was repeated on 23 feb 14 with ‘Kahin Din Kahin Raat’ (1968), ‘Prem Patra’ (1962), ‘Picnic’ (1966), ‘Post box 999’ (1958) YIPPEED on the same date.
Today’s song is from the movie ‘Aandolan’ (1975). This movie was directed by Lekh Tandon for J K Productions. The movie had had Rakesh Pande, Neetu Singh, Pratap Sharma, Nazneen, Uma Shankar, Pinchu Kapoor, Urmila Bhatt, Tiwari, Vishva Mehra, Durrani, Kumar Ajit, W G Doil, Aparna Chaudhury, Shantanu Bhattacharya, Deepak, Rajkumar, Sopariwala, Robert, Vachan Sinh, Ram Awtar, Shrikant, Vikram, Rajesh, Sandeep, Master Ravi etc. in it.
There are four songs in the movie. Three of these songs have been covered in the blog. This fourth and final song from the movie is a rare song. This fun roadside tamasha cum nautanki song is Krishna Kalle and Minu Purushottam. Jaan Nisar Akhtar is the lyricist. Music is composed by Jaidev.
The song is picturised on Neetu Singh and another dancer I am not able to identify. I request our knowledgeable readers to help identify the first dancer.
With this song, ‘Aandolan’ (1975) joins the list of movies that have all their songs covered in the blog. With this song, the blog now has 1000 YIPPEED movies. Seeing that there were around 6000 movies in all in HFM that were released from 1931 to 1980 (the catchment area for this blog), all songs of nearly 1/6th of all movies released during this era are now covered in the blog. It is quite an achievement for the blog seeing that this adds up to about 6800 songs.
[Ed Note: In case you are wondering what is the name GM Durrani doing in the list of tags, watch closely. Of the two gentlemen watching this dance performance, sitting on a charpoy and puffing on hookkaas, the bearded person on the left, with black rimmed spectacles, is none other than GM Durrani. And yes, Rakesh Pandey is visible very briefly, his face covered with the cloth from his saffron pugree.]
Song – Paanch Rupaiya De De Balamwa Mela Dekhan Jaaungi (Aandolan) (1975) Singer – Krishna Kalle, Minoo Purushottam, Lyrics – Jaan Nisar Akhtar, MD – Jaidev
Krishna Kalle + Minoo Purushottam
Lyrics
ho o o
o o o
o o o
ho o o
o o
o o
o o
aah hahaha
hahaah
hahaha
paanch rupaiyya
arre paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ke paav jalebi
baithh sadak pe khaaungi
paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ke paav jalebi
baithh sadak pe khaaungi
paanch rupaiyya
mo pe khile
are mo pe khile gota jari
mope khile chunri hari
gore gale laage bhali
champa kali moti bhari
haaye bichhuwe bhi loongi
main to bichhuwe bhi loongi
kanganwa bhi loongi
tohe pehan balam waari jaaungi
paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch rupaiyya
achcha chaar rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi
arre chaar rupaiyya
kajra laga
kajra laga
gajra saja
ban thhan ke main kab se khadi
chanchal jiyaa
lalche mora
main kaa karoon sar pe padi
champa bhi jaaye
dekho champa bhi jaaye
chameli bhi jaaye
un sang main bhi ho aaungi
chaar rupaiyya de de balamwa
mela dekhan jaaungi
arre chaar rupaiyya de de
arre teen rupaiyya de de balamwa
mela dekhan jaaungi
arre paanch aane ki paav jalebi
baithh sadak pe khaaungi
arre teen hi rupaiyya
main to bhayi
arre main to bhayi balma tori
kaahe take chori chori
garwa tore laagoon tabhi
poori kare jab zidd mori
jhoole pe jhooloon
main to jhoole pe jhooloon
chak dolwa pe doloon
phooli na main samaaungi
arre teen rupaiyya de de balamwa
mela dekhan jaaungi
arre teen hi rupaiyya
bas do hi rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi
tori kasam
tori kasam
kaahu se bhi
naina na main ladaaungi
bas do ghadi chakkar lagaa
saanjh dhale aa jaaungi
lautoongi jab ghar
lautoongi jab ghar
bajariya se thhak kar
painyya pare so jaaungi
do hi rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi
uh
do hi rupaiyya de de
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
हो ओ ओ
ओ ओ ओ
ओ ओ ओ
हो ओ ओ
ओ ओ
ओ ओ
ओ ओ
आह हा हा हा
हा हाह
हा हा हा
पाँच रुपइया
अरे पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी’
बैठ सड़क पे खाऊँगी
पाँच रुपइया
मो पे खिले
मो पे खिले गोटा जरी
मो पे खिले चुनरी हरी
गोरे गले लागे भली
चम्पा कली मोती भरी
हाए बिछवे भी लूँगी
मैं तो बिछवे भी लूँगी
कंगनवा भी लूँगी
तोहे पहन बलम वारी जाऊँगी
पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच रुपइया
अच्छा चार रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
अरे चार रुपइया
कजरा लगा
कजरा लगा
गजरा सजा
बन ठन के मैं कब से खड़ी
चंचल जिया
ललचे मोरा
मैं का करूँ सर पे पड़ी
चम्पा भी जाये
देखो चम्पा भी जाये
चमेली भी जाये
उन संग मैं भी हो आऊँगी
चार रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे चार रुपइया दे दे
अरे तीन रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
अरे तीन ही रुपइया
मैं तो भई
अरे मैं तो भई बलमा तोरी
काहे तके चोरी चोरी
गरवा तोरे लागूं तभी
पूरी करे जब ज़िद मोरी
झूले पे झूलूँ
मैं तो झूले पे झूलूँ
चक डोलवा पे डोलूँ
फूली ना मैं समाउंगी
अरे तीन रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे तीन ही रुपइया
बस दो ही रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
तोरी कसम
तोरी कसम
काहू से भी
नैना ना मैं लड़ाउंगी
बस दो घड़ी चक्कर लगा
साँझ ढले आ जाऊँगी
लौटूंगी जब घर
बजरिया से थक कर
पैंय्यान पड़े सो जाऊँगी
दो ही रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
उह
दो ही रुपइया दे दे
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.
Wow, what a song, what a lovely song, what a lovely marathon of a song; so full of words, so full of emotions, so full of insistence of emotions. Rajendra Krishan has outdone himself in writing this song. And so does C Ram, outshine himself in tying this song into threads of music. And what rendition, Lata ji outshines herself. I am hearing this song for the first time today, and have simply fallen in love with it.
The film is ‘Meenaar’ from 1954. As Atul ji and I exchanged notes about films close to ‘Yippeee’, this film turned up with two songs still to be posted, as per the listing in the Geet Kosh. As I started to explore this film and its songs, it turns out that the two pending songs are actually two parts of the same song. When I checked Geet Kosh for details, I found that these two ‘parts’ of the song are actually residing on the same 78 rpm record, further confirming that these are actually parts of one very long song.
Further searching on the YT, I am able to locate an edited composite video clip that is probably made up of three or maybe four parts – the number of times this song appears in the film, making this a multi part song.
I have not seen this film, but as I watched and played this clip multiple times to write down the lyrics, I get feeling of having encountered this theme and this scenario more than once. Listening and viewing this song brings to the mind snatches of the haunting strains of “Aayega Aayega, Aayega Aanewaala” (from ‘Mahal’ (1949)), “Naina Barsen Rim Jhim Rim Jhim” (from ‘Wo Kaun Thi’ (1964)), “Kahin Deep Jaley Kahin Dil” (from ‘Bees Saal Baad’ (1962)) and more. Watching the video brings in tremors of scenes from ‘Madhumati’ (1958), ‘Mera Saaya’ (1966), ‘Kudrat’ (1981) etc., giving a glimpse into the story line of this film. I would request other knowledgeable readers and friends who may have seen this film, to please comment on the theme and the story line of this film.
On screen this song is presented mostly as a background song, with a couple of places where one can see Beena Rai lip syncing the words in the playback.
And with this composite representation of this multi part song, the film ‘Meenaar’ now joins the ranks of films with all songs posted on our blog. Time to callout ‘Yippeee’ . . .
Song – Barbaad e Mohabbat Ko Kab Tak Ye Sazaa Dogey (Meenaar) (1954) Singer – Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – C Ramchandra
Lyrics
dil e betaab dhadakta hai
dikhaayen kaise
ik shola sa bhadaktaa hai
bujhaayen kaise
ya mere saamne aa
ya mujhe awaaz de
ya bataa de main ye parda uthaaun kaise
barbaad e mohabbat ko
kab tak ye sazaa dogey
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
poochho to zara dil se
main kaun hoon aur kya hoon
toota hua taara hoon
sookha hua dariya hoon
ghaayal ki tadap hoon main
ghaayal ki tadap hoon main
bismil ki tamanna hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
socha bhi na tha ik din
tum dil se bhula dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
ik roz basaaya tha
tum ne hi jahaan mera
raaten thi mohabbat ki
har din tha jawaan mera
main tum se bichhad ke bhi
main tum se bichhad ke bhi
kuchh door nahin tum se
dekhoge agar dil mein
paaoge nishaan mera
dekhoge agar dil mein
paaoge nishaan mera
laut aayengi yaadein jab
maazi ko sadaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
dum bhar ke liye thehro
sun lo mera afsaana
yun shamma talak aa kar
jaata nahin parwaana
beeti hui ghadiyon ko
zaraa dohraayen
beeti hui ghadiyon ko
zaraa dohraayen
ik raat ka kiss hai
kal subah chaley jaana
ik raat ka kiss hai
kal subah chaley jaana
bigdega tumhaara kya
bigdi jo banaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
ye raat ye khaamoshi
ye chaand ye tanhaai
aise mein seenon mein
bajti hui shehnaai
maano to haqeeqat hai
na maano to afsaana
maano to haqeeqat hai
na maano to afsaana
jaago to zaraa zaalim
dekho main chali aayi
jaago to zaraa zaalim
dekho main chali aayi
na meri wafaaon ke
badle mein wafaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
kuchh dard e mohabbat ki
tum ko bhi khabar hogi
chanda ki chakori par
kab tak na nazar hogi
nazron se meri chhup kar
nazron se meri chhup kar
jaana bada mushkil hai
jaaoge to is shab ki
mushkil se sehar hogi
jaaoge to is shab ki
mushkil se sehar hogi
aakhir mujhe pehlu mein
kab tak na jageh dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
दिल ए बेताब धड़कता है
दिखाएँ कैसे
इक शोला सा भड़कता है
बुझाएँ कैसे
या मेरे सामने आ
या मुझे आवाज़ दे
या बता दे मैं पर्दा उठाऊँ कैसे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
पूछो तो ज़रा दिल से
मैं कौन हूँ और क्या हूँ
टूटा हुआ तारा हूँ
सूखा हुआ दरिया हूँ
घायल की तड़प हूँ मैं
घायल की तड़प हूँ मैं
बिस्मिल की तमन्ना हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
सोचा भी ना था इक दिन
तुम दिल से भुला दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
इक रोज़ बसाया था
तुमने ही जहां मेरा
रातें थी मोहब्बत की
हर दिन था जवां मेरा
मैं तुम से बिछड़ के भी
मैं तुम से बिछड़ के भी
कुछ दूर नहीं तुमसे
देखोगे अगर दिल में
पाओगे निशां मेरा
लौट आएंगी यादें जब
माज़ी को सदा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
दम भर के लिए ठहरो
सुन लो मेरा अफसाना
यूं शम्मा तलक आ कर
जाता नहीं परवाना
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
इक रात का किस्सा है
कल सुबह चले जाना
बिगड़ेगा तुम्हारा क्या
बिगड़ी जो बना दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
ये रात ये खामोशी
ये चाँद ये तनहाई
ऐसे में सीनों में
बजती हुई शहनाई
मानो तो हक़ीक़त है
ना मानो तो अफसाना
जागो तो ज़रा जालिम
देखो मैं चली आई
जागो तो ज़रा जालिम
देखो मैं चली आई
ना मेरी वफाओं के
बदले में वफा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
कुछ दर्द ए मोहब्बत की
तुमको भी खबर होगी
चंदा की चकोरी पर
कब तक ना नज़र होगी
नज़रों से मेरी छुप कर
नज़रों से मेरी छुप कर
जाना बड़ा मुश्किल है
जाओगे तो इस शब की
मुश्किल से सहर होगी
जाओगे तो इस शब की
मुश्किल से सहर होगी
आखिर मुझे पहलू में
कब तक ना जगह दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को
Main Aahen Bhar Nahin Sakta
Posted on: May 17, 2017
- In: Calling the beloved | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Ghazal | Guest posts | Lover's Complaint | Lyrics contributed by readers | Mahendra Kapoor - Vijaya Majumdar Duet | Mahendra Kapoor songs | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1965 | Vagaries Of Love | Vijaya Majumdar Songs | Waiting for love | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Missing Films of 1960s – 30
– – – – – – – – – – – – – – –
Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.
The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.
Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.
Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.
The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.
Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.
The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.
Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.
Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.
With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.
Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.
The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.
This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]
Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]
And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.
Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.
More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.
[Video]
[Audio]
Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar
Lyrics
(Video Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko
main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta
ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi
jee khol kar main gaa nahin sakta
sukoon mere dil ko
na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta
zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko
main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko
na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko
zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko
ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi
jee khol kar main gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता
ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता
ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता
(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को
ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को
ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
Kaun hai wo kaun mujhe jisne jagaaya
Posted on: May 15, 2017
- In: "Bhoot" Song | "Diversion" song | "Witch Doctor" song | Asha Bhonsle songs | Comedy song | Devnagri script lyrics by Sudhir | Duet | Fun lyrics song | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Asha Bhonsle duet | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- Leave a Comment
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.
We in this blog had two new resolutions and I had decided to stick to them as long as I can. One was to introduce a “new” movie daily and another was to to close the account of another movie by YIPPying it.
We are in may 2017, and both these resolutions have finally seen breaks. For instance, there was no YIPPEE song on 13 may 2017, a day that had only one post, a post that introduced a “new” song. The string on YIPPEE posts was in fact broken a few days earlier on 6 may itself when I posted a song that I thought was YIPPYing its movie but I was wrong. The “new” post string had got broken a while ago.
However, unlike most new year resolutions, these new year resolutions were not broken due to laziness or lack of motivation, rather than for more pressing reasons like inability to spend enough time near the computer, which is essential for posting article in the blog. So, we can be proud that we achieved quite a lot in the blog thanks to these resolutions.
One resolution (unstated) still continues, and it is the resolution that there would be no dot days in the blog this year.
Over one hour of Today (15 may 2017) is still remaining, so I will use this time to post a YIPPEE song for the day. This song is the sixth and final song from “Waaris”(1969). This movie was directed by Ramanna for Vasu Films, Madras. The movie had Jeetendra, Hema Malini, Sudesh Sharma, Nazima, Manorama, Daisy Irani, Sunder, Prem Chopra, Aruna Irani, Ashokan, David Abraham, Mehmood, Kamini Kaushal, Sachin etc in it.
This sith and final song from “Waaris”(1969) is sung by Asha Bhonsle, Manna Dey and chorus. Rajinder Krishan is the lyricist. Music is composed by R D Burman.
The song is picturised as a faux “jhaad phoonk” song where Hema Malini playacts as a woman who is under the spell of a buri aatmaa which Mehmood plays the hilarious looking witch doctor trying to rid Hema Malini of the buri aatmaa. Lots of other characters of the movie are also visible in the picturisation. This song is a diversion song as well. This song keeps people pre occupied and that gives Jeetendra as opportunity to climp up to the building where all this action is taking place.
With this song, “Waaris”(1969) joins the list of movies that have all their songs covered in the blog.
Song – Kaun Hai Wo Kaun Mujhe Jis Ne Jagaaya (Waaris) (1969) Singer – Lata Mangeshkar, Manna Dey, Lyrics – Rajendra Krishan, MD – RD Burman
Chorus
Lyrics
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai
ye kangana
ye jhumka
aaa..
ye chunri ye kajra kyon
ye mehndi
ye bindiya
ye paayal ye gajra kyon
jaante nahin ho kya
mere sartaaj ko
thehro bulaati hoon
abhi yamraaj ko
kau..aun hai
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai
ye bhutnaa
ye baamna
kyon aaya maala japne
hey..ey..ey..ey
ye bhutnaa
ye baamna
arey kyon aaya maala japne
kya samjhe ye chhalia
dekhe devi ke sapne
jaagi hui devi pe
aankh jo lagaaye ga
yahin baithe baithe wo bhasam ho jaayega
kau..aun hai
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai
haarrup
haarrup
ulya ulya maalampo
ulya kodi bishee
yee..ee..ee
ulya ulya maalampo
ulya kodi bishee
hu..uu..uu..uu
acha kuli kacha kuli kacha kuli kacha kuli
gokhli re gokhli
haiyyaa teri pokhli
gokhli re gokhli
aiyyaa teri pokhli
bol maiyyaa bol
jaldi se khol
ey.. ey..
bol maiyyaa bol
jaldi se khol
aa.. aa..
jaldi se khol de
maanav ki potli
gokhli re gokhli
haiyyaa teri pokhli
haarrup
haa..aap
harrup
haarraa..
chhod de chhod de
pind maiyyaa chhod de
kanya kumari ka mayajaal tod de
haarrup
haarrup
ye kanya kumari hai
deewaan ki dulaari hai
ye kanya kumari hai
deewaan ki dulaari hai
beti bechaari hai
chhod de chhod de
beti bechaari hai
chhod de chhod de
chhod de chhod de
pind maiyyaa chhod de
chhod de chhod de
pind maiyyaa chhod de
bol
(chhod de chhod de)
maiyyaa bol
(pind maiyyaa chhod de)
maiyyaa bol
maiyyaa bol
maiyyaa bo..ol
bol maiyyaa bol
bhog lagaayegi
bol bol ho ke ratan kya khaaegi
charnon mein tere aam kela amrood hai
peene ko maiyyaa boodhi gaaye ka doodh hai
oo hu hu hu hu
bhoo..hoo..hoo
bhoo bhoo
haaye haaye
bhoo bhoo
o maiyyaa bhoo bhoo
hoye hoye
bhoo bhoo
bhool hui bhool hui
maiyyaa maans dhaari hai
phal waale jaa
ab kasaai ki baari hai
hataao kharbuja
hataao tarbuja
arre jaldi se le ke aao
murgi ka chooza
arre murgi ka chalega ya bakre ka maas
aadmi ka chalega to haazir hai daas
bali nahin chaahiye
jo achhe insaan ki
to charbi khilaaun
kisi motey shaitaan ki
chhod
o pind chhod
maiyyaa chhod
o pind chhod
pind chhod
pind chhod
maaya jaal tod
(pind chhod)
pind chhod
pind chhod
maaya jaal tod
(pind chhod)
maaya jaal tod
maaya jaal tod
haa. . .
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है
ये कंगना
ये झुमका
आ॰॰॰
ये चुनरी ये कजरा क्यों
ये मेहंदी
ये बिंदिया
ये पायल के गजरा क्यों
जानते नहीं हो क्या
मेरे सरताज को
ठहरो बुलाती हूँ
अभी यमराज को
कौ॰॰औन है
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है
ये भुतना
ये बामना
क्यों आए हैं माला जपने
हे॰॰ए॰॰ए॰॰ए
ये भुतना
ये बामना
क्यों आए हैं माला जपने
क्या समझे ये छलिया
देखे देवी के सपने
जागी हुई देवी पे
आँख जो लगाएगा
यहीं बैठे बैठे वो भसम हो जाएगा
कौ॰॰औन है
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है
हा॰॰ड़प
हा॰॰ड़प
उल्या उल्या मालमपो
उल्या कोडी बीशी
यी॰॰ई॰॰ई
उल्या उल्या मालमपो
उल्या कोडी बीशी
हू॰॰ऊ॰॰ऊ
अच्चा कुली कच्चा कुली कच्चा कुली कच्चा कुली
गोखली रे गोखली
हईय्या तेरी पोखली
गोखली रे गोखली
अईय्या तेरी पोखली
बोल मैय्या बोल
जल्दी से खोल
ए॰॰ए॰॰
बोल मैय्या बोल
जल्दी से खोल
आ॰॰ आ॰॰
जल्दी से खोल
मानव की पोटली
गोखली रे गोखली
हईय्या तेरी पोखली
हा॰॰ड़प
हा॰॰ड़प
हा॰॰ड़प
हा॰॰ड़ा॰॰
छोड़ दे छोड़ दे
पिंड मैय्या छोड़ दे
कन्या कुंवारी का मायाजाल तोड़ दे
हा॰॰ड़प
हा॰॰ड़प
ये कन्या कुंवारी है
दीवान की दुलारी है
ये कन्या कुंवारी है
दीवान की दुलारी है
बेटी बेचारी है
छोड़ दे छोड़ दे
बेटी बेचारी है
छोड़ दे छोड़ दे
छोड़ दे छोड़ दे
पिंड मैय्या छोड़ दे
बोल
(पिंड मैय्या छोड़ दे)
मैय्या बोल
(पिंड मैय्या छोड़ दे)
मैय्या बोल
मैय्या बोल
मैय्या बो॰॰ल
बोल मैय्या बोल
भोग लगाएगी
बोल बोल हो के रत्न क्या खाएगी
चरणों में तेरे मैय्या आम केला अमरूद है
पीने को मैय्या बूढ़ी गाय का दूध है
ऊ हू हू हू
भू॰॰हू॰॰हू
भू भू
हाए हाए
भू भू
ओ मैय्या भू भू
होये होये
भू भू
भूल हुई भूल हुई
मैय्या मांसधारी है
फल वाले जा
अब कसाई की बारी है
हटाओ खरबूजा
हटाओ तरबूजा
अरे जल्दी से ले के आओ
मुर्गी का चूज़ा
अरे मुर्गी का चलेगा या बकरे का मास
आदमी का चलेगा तो हाज़िर है दास
बाली नहीं चाहिए
जो अच्छे इंसान की
तो चर्बी खिलाऊँ
किसी मोटे इंसान की
छोड़
ओ पिंड छोड़
मैय्या छोड़
ओ पिंड छोड़
पिंड छोड़
पिंड छोड़
मायाजाल तोड़
(पिंड छोड़)
पिंड छोड़
पिंड छोड़
मायाजाल तोड़
(पिंड छोड़)
मायाजाल तोड़
मायाजाल तोड़
हा॰॰॰
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