Archive for the ‘Lyrics by Avinash Scrapwala’ Category
Agar leta hoon tera naam
Posted on: July 11, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3645 | Post No. : | 14474 |
The Hindi movie music has undergone changes with time. It is seen that the music style of the dominant music director of the era is ofter copied by other music directors. For instance, there were occasions when Madan Mohan, Roshan etc copied the music style of O P Nayyar, whereas Kalyanji Anandji’s music sounded like Shankar Jaikishan during late 1950s to mid 1960s. Music directors copied the music style of R D Burman during 1970s.
1980s was the era of disco music and Bappi Lahiri was the most sought after music director of those days. It was a mixed feeling for music lovers to find senior music directors like Laxmikant Pyarelal composing Bappi Lahiri kind of music during 1970s.
Here is a song where as music director like Khayyam has composed a Bappi Lahiri like song. This song is sung by Kishore Kumar and it is picturised on Rajesh Khanna wielding a guitar on stage while many spectators watch his performance. His song seems the have the kind of effect on Jaya Prada (seated among the audience)that this song intended, namely to make her feel like a “bewafa”. Shatrughan Sinha is also seated beside her but he is none the wiser about what is going on in the mind of Jaya Prada.
Naqsh Llayalpuri is the lyricist.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Audio
Song-Agar leta hoon tera naam (Dil e Naadaan)(1982) Singer-Kishore Kumar, Lyrics-Naqsh Llayalpuri, MD-Khayyam
Lyrics(Provided by Avinash Scrapwala)
Nigaahen pher kar mujhse
mera dil todne waale
mujhe raah e mohabbat mein
akelaa chhodne waale
Come on clap
agar leta hoon tera naam
mohabbat hoti hai badnaam
agar leta hoon tera naam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
agar leta hoon tera naam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
wafaa ki justju
karne chalaa thha
bewafaaon mein
main aa baithha thha bhoole se
teri zulfon ki chhaaon mein
banaa kar mujhko tash nakaam
teri chaahat ka toota jaam
teri chhahat ka toota jaam
banaa kar mujhko tash nakaam
teri chaahat ka toota jaam
teri chhahat ka toota jaam
agar leta hoon tera naam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
tu ae mehboob kya jaane
ke hai rasm e mohabbat kya
nahin hai aaj tu apnaa
to phir tujhse shiqaayat kya
milaa ye ulfat ka inaam
ke jeena hai mujh par ilzaam
ke jeena hai mujh par ilzaam
milaa ye ulfat ka inaam
ke jeena hai mujh par ilzaam
ke jeena hai mujh par ilzaam
agar leta hoon tera naam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
kabhi ae doston
ae dost
ae doston
kabhi ae doston
dil ki lagi
tumko na tadpaaye
dua deta hai toota dil
mohabbat tumko raas aaye
kabhi na aaye gham ki shaam
miley khushiyon ka hi paighaam
miley khushiyon ka hi paighaam
kabhi na aaye gham ki shaam
miley khushiyon ka hi paigaam
miley khushiyon ka hi paigaam
agar leta hoon tera naam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
mohabbat hoti hai badnaam
Jai Dharti Maiya Jai Ho
Posted on: April 22, 2018
- In: "gratitude" song | "Mela" song | Devnagri script lyrics by Avinash Scrapwala | Dharti Song | Feelings of heart | Folk song | Freedom song | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | philosophical song | Post by Sudhir | Songs of 1940s (1941 to 1950) | Songs of 1946 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3565 | Post No. : | 14293 |
In the continuum of the vast annals of history, there are tales and legends in every civilization and every system of knowledge and learning, that identify the supreme importance associated with the very support system that we rest upon. In practically every system, this support system, this concept, is endowed with divine qualities – qualities that are almost always endowed with the mother, as the provider of all that is required in life, and more.
In the Greek wisdom, this concept is name as Gaia. In the Roman legends, she is called by the name Terra. In the Norse mythology, she is named as Erda. In the east, in China, she is known as Houtu or Houtushen – the Goddess Queen of Earth. In the Buddhist scriptures that span the South East Asian region, she goes by the name Phra Mae Thorani. She is worshipped as Atira or Awitelin Tsta amongst the native tribes of the Americas, who gives birth to all life. On the African continent, she is known as Odudua, the beautiful black goddess of Earth with a skin of deepest dark ebony.
In our own land and in our culture, she is known by many names, the most important ones being Bhoo Devi – that which makes possible and supports all existence, and Vasudha – the provider of all wealth and riches.
Wherever, in whichever part of the world one may seek, there is a revered acknowledgement of the divinity of the earth as the mother, and the provider of all things. If one may sit down to list all the things that we need, we desire, and we dream – other than the light energy that comes from the Sun, Moon and the stars, the life breath that is the air that swirls around us, and the waters of rain that descend from the skies – all else, and I mean everything else comes forth from the very earth that we stand upon. Our existence and sustenance is – because the earth is.
The world is celebrating today as the Earth Day. The western dogmas consider a once in a year celebration to be an adequate measure of honor and gratitude. In our belief system, it is a celebration and honor that happens on a daily basis. And we celebrate and seek blessing, not just for our family or our country, but for the entire planet as a whole.
The reminder for this celebration and the suggestion of this song came in yesterday from Avinash ji. The film name itself is so appropriate – ‘Dharti Ke Laal’ from 1946. The music is by Pt Ravi Shankar, who was later destined to be the world famous sitar player from India. No other information relating to singer(s) or songwriter is readily available.
The song is in praise and honor of Mother Earth. It is depicted as a folk song in the tradition of Bengal, being performed at the village fair. It is such a wonderful expression of veneration towards the entity that makes all life possible.
A salute to Mother Earth – today, and every day of the year.
Song – Jai Dharti Maiya Jai Ho (Dharti Ke Laal) (1946) Singer – Unidentified Male Voice 1, Unidentified Male Voice 2, Lyrics – [Unattributed], MD – Pt Ravi Shankar
Chorus
Lyrics
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
yahi maati mein jiyan hamro
yahi mein maran hai bhaiyyaa
yahi sagri poonji
yahi hai hamro dhan hai bhaiyya aa
aa aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
god mein tori sukh ke saagar
khelat maiyyaa
aa
yahi mein sona upjey
yahi mein barse amrit maiyyaa
aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
ab maiyya vardaan se tore
sang jiyenge sang marenge
tori chhaati se atyaachaari ko
door karenge ae
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jag taaran haari jai ho
jai ho
jag paalan haari jai ho
jai ho
jag taaran haari jai ho
jag paalan haari jai ho
jag taaran haari jai ho
jag paalan haari
jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwaala)
———————————————————
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
यही माती में जियन हमरो
यही में मरण है भैय्या
यही सगरी पूँजी
यही है हमरो धन है भैय्या आ
आ आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
गोद में तोरी सुख के सागर
खेलत मैय्या
आ
यही में सोना उपजे
यही में बरसे अमृत मैय्या
आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
अब मैय्या वरदान से तोरे
संग जियेंगे संग मरेंगे
टोरी छाती से अत्याचारी को
दूर करेंगे ए
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जग तारण हारी जय हो
जय हो
जग पालन हारी जय हो
जय हो
जग तारण हारी जय हो
जग पालन हारी जय हो
जग तारण हारी जय हो
जग पालन हारी
जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
Aha aha aa ye suhaana safar
Posted on: March 18, 2018
- In: "Jeep" song | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Multiple version song | Post by Raja | Rafi solo | Rafi songs | Songs of 1960s (1961 to 1970) | Songs of 1970 | Suman Kalyanpur solo | Suman Kalyanpur songs | Theme song | Title song | Yearwise breakup of songs
- 5 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3530 | Post No. : | 14178 |
First of all, let me wish all of you a Happy Ugadi and Happy Gudi Padwa today (18 march 2018). I hope those celebrating the occasion are enjoying themselves.
Today also happens to be the birthday of Shashi Kapoor (18 march 1938-4 december 2017), one of our best-known and most loved actors.
The thought is inescapable – and burdened with more than a tinge of sorrow. The thought that, had I written this post on just his previous birthday, I would have been talking of Shashi Kapoor in the present tense. I’d have been saying “is”, instead of “was”.
But that’s life – and death. And we have to accept it.
Ah, Shashi Kapoor!
Where do I start?
Let me start as usual with “my generation”, the 70s.
For me, and I am sure for many Hindi film lovers born in the early 60s, Shashi Kapoor would have been an integral part of their childhood film-watching experience. He was a very familiar face throughout the 70s – whether in solo roles or in multi-starrer films.
Those were the times when Rajesh Khanna (for the first half of the decade) and Amitabh Bachchan (for the second half) ruled. The 70s also saw a whole lot of new actors emerge. There were also some from the earlier decade who continued to enjoy success – Dharmendra, Manoj Kumar, Sanjeev Kumar, Jeetendra to name a few.
And there was Shashi Kapoor.
One thing most people will agree about Shashi Kapoor – he was very handsome. He had this boyishly cute face, bright eyes, and a smile that got accentuated by crooked teeth and a deep dimple. No wonder you often heard of the term “chocolatey good looks” when people talked of Shashi. 🙂
I think girls found Shashi particularly handsome – he was easily my sisters’ favourite. I was very young then in the late 60s, but I still remember that when the one weekly film in our club happened to be a Shashi film, they’d be thrilled. 🙂 Thus I have fond memories of watching at a very young age, in that club, Shashi films like Haseena Maan Jaayegi, Aamne Saamne, Suhana Safar, Ek Shriman Ek Shrimati, Pyar Ka Mausam, Raja Saab, Rootha Na Karo, Jahaan Pyaar Mile and many more. Whether the film was good or not, was secondary. Shashi was a good enough reason to enjoy it. I remember for days after seeing Pyar Ka Mausam, they’d be singing “ni sultana re”. 🙂 And they loved Aamne Saamne’s “nain milaakar chain churaana kiska hai ye kaam”.
Even when we went on holiday to Bombay for the first time in the early 70s, and we decided to watch a movie, the unanimous choice was Sharmeelee, playing at that time. I think my sisters were even hoping to catch sight of Shashi Kapoor somewhere on the streets of Bombay. 🙂 Not even one in a million chance – but one lives on hope. I remember, for days after watching Sharmeelee, the song “khilte hain gul yahaan” was on their lips. 🙂
Back in our village, when we had to travel 25 km to see a film in a cinema hall, they managed to persuade my dad to take them for Jaanwar Aur Insaan (1972). My dad wasn’t into films at all – it’s possible they told him it was a film about animals (jaanwar). Whereas it’s more likely they were interested in the insaan (Shashi). 🙂
Ah, these childhood memories. 🙂
I was fond of Shashi too – from those late 60s films, while my sisters would sing Shashi’s “tum bin jaoon kahaan” in Antakshari, I’d sing “aaye baithe khaaye piye khiske”. A little more matter-of-fact. 🙂
Today, as I am writing this post, with all these memories coming to the fore, it strikes me that even in an era with Rajesh Khanna as superstar (and Amitabh Bachchan later), Shashi had his own following. Like my sisters. 🙂
Sharmeelee (1971) with superhit songs, Jaanwar Aur Insaan (1972), Aa Gale Lag Ja (1973) with superhit songs, Chor Machaye Shor (1974) with the famous “le jaayenge, le jaayenge, dilwaale dulhaniya le jaayenge”, Chori Mera Kaam and Salaakhen (1975), Fakira (1976) with hit songs.
All solo films for Shashi, all successful. Am not counting the multi-starrers, Roti Kapda Aur Makaan (1974), Deewaar (1975) and Kabhie Kabhie (1976).
As the decade progressed, and multi-starrers became more common, Shashi Kapoor was very much part of them, often to be seen opposite reigning superstar Amitabh Bachchan in films like Trishul (1977) and Suhaag (1979).
Yet, he could carry his own in a solo – as was to be seen in Satyam Shivam Sundaram (1978), a film made by his brother, Raj Kapoor.
So Shashi Kapoor was largely a “safe” actor in the 70s – both for viewers and producers. Of course not every film worked (there are many aspect to a film’s success), but, by and large, audiences liked watching him on screen.
Towards the end of the decade, Shashi got into film production too. He produced some well-known films – Junoon (1979), Kalyug (1981), 36 Chowringhee Lane (1981), Vijeta (1982), Utsav (1984).
But in 1984, disaster struck – his dear wife Jennifer passed away, due to cancer. I think after that Shashi was not the same again.
I’ve talked a lot about his films of the 70s, mainly because that’s the decade I have most memories of. Of course his career started much earlier. As a child artiste (a young Raj Kapoor in Aag and Awara), with his first film as an adult being BR Chopra’s controversial Dharamputra (1961). In that film, he had a negative role.
Although he came from the Kapoor khandaan, it was made clear to Shashi that he had to come up on merit. He had his share of struggles early on – and though he managed the odd hit (like in the multi-starrer Waqt), he really had his first mega solo hit only with Jab Jab Phool Khile (1965).
His co-star in that film was, as usual, Nanda. I say “as usual”, because Nanda was his co-star in many films during the 60s. She was a much bigger star than he was – but was happy to be paired opposite him. Shashi later said he was hugely grateful to Nanda for this. Nanda herself said that Shashi was her favourite co-star.
One thing that struck me in obituaries about Shashi Kapoor last December was that almost everyone spoke a lot about Prithvi Theatre. And rightly so.
While there’s no doubt that Shashi Kapoor gained a lot of popularity from cinema, I think in his heart his love was Prithvi Theatre. After all, he had met his wife Jennifer also through theatre in the 1950s. So one of the most satisfying moments for him and for Jennifer must have been to set up Prithvi Theatre in 1978 and fulfil his father Prithviraj Kapoor’s dream of having a permanent location for his Prithvi Theatres (it had been a travelling troupe during Prithviraj’s time).
Many of the obits talked about how dedicated Shashi Kapoor (and Jennifer, when she was alive) was to Prithvi Theatre. Even when he was in very poor health in his final years, he would want to visit and even watch performances.
So no mention of Shashi Kapoor is complete without a mention of Prithvi Theatre.
I’ve not talked about his acting in English-language films or his partnership with Merchant-Ivory. I’ve myself just watched only one of these films – Bombay Talkie (1970), directed by James Ivory. It also starred Jennifer.
I’ve also not mentioned that Shashi Kapoor was considered to be a true gentleman actor. Many of his co-stars, from Sharmila Tagore to Hema Malini to Zeenat Aman, have said this. He was also supposed to have had a good sense of humour, always keeping the set lively.
All in all, Shashi Kapoor was a much-loved person during his lifetime. And for good reason. And you cannot really ask for more than that.
Now for the song for today.
It is from the film “Suhaana Safar” (1970). A film that I remember seeing as a very young boy, but sadly have only very faint memories of. I seem to vaguely remember a bus in which Shashi and Sharmila travel. That’s all I can remember now. 🙂 A good excuse to watch it again. 🙂
The song is the title song. Aha aha aa ye suhaana safar hai, sung by Rafisaab. The lyrics of this song are by Anand Bakshi, music by Laxmikant Pyarelal.
The picturisation is of Shashi Kapoor in a jeep, generally giving out positive vibes, talking about travel, hawa, manzil etc. He finds himself behind a bus, and this infectious positive mood catches on with the travelers in the bus too. They join him in the song. Towards the end of the song, Sharmila Tagore (one of the travelers) looks out of the bus, Shashi waves to her – and it looks like he loses control of his jeep. (Am pretty sure it’s nothing serious :-)).
While watching the video and listening to the lyrics, I could not help thinking that this could be a metaphor for the suhaana safar of Shashi Kapoor’s life itself. And the suhaana safar that we have had following his films for decades. Indeed, it has been a wonderful journey – and we are thankful to him for letting us be part of it.
Interestingly, while I was having these thoughts, I got a message from Avinashji. As usual, when I thought of writing a post for Shashi Kapoor today, he had promptly messaged me, and offered to help me with providing the lyrics. Now, while sending me the lyrics, he echoed the exact same thoughts I had! About the suhana safar of Shashi Kapoor and what we have had with Shashi Kapoor. Serendipity. 🙂
I’ll now leave you with this positive song – and with remembering our suhaana safar with Shashi Kapoor.
There are two versions of this song – one by Rafisaab, the other by Suman Kalyanpur.
Rafi version (Audio)
Rafi version (Video)
Suman Kalyanpur Version (Audio)
Song-Aha aha aa ye suhaana safar (Suhaana Safar)(1970) Singer-Rafi/ Suman Kalyanpur, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female chorus
All chorus
——————————————————-
Lyrics(Provided by Avinash Scrapwala)
——————————————————-
O o
o o o
Aa aa aa aa
Aa aa aa aa
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Ho o o o
Hawaayein jhoom rahi hain
Gulon ko choom rahi hain
Hoye
Hawaayein jhoom rahi hain
Rokoon dil ko main kaise
Aise udaa jaaye jaise
maang liye ho kisi panchhi se parr
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
O o o
Musaafir chaltaa hi jaaye
Kabhi bhi manzil naa aaye
Musaafir chaltaa hi jaaye
Dheere dheere haule haule
Mujhse ye dil boley
Kat jaaye raste mein
Saari umar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya
Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya
Patli kamar mori
Naazuk bainyya
Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya
Ho o o
Mujhe ye raah naa bhulaa de
Kahin ye aur naa pahunchaa de
Mujhe ye raah naa bhulaa de
Kaisi hain ye matwaali
Lambi lambi kaali kaali
Zulf kisi ki hai
Ya ye dagar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Aha aha aa ye suhaana safar
Aha aha aa ye suhaana safar
Aha aha aa ye suhaana safar
—————————————-
(Female version)
—————————————–
Hmm hmm
O o o
o o
o o o
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
Ho o o
Ho o o
Nigaahein jhoom rahi hain
Kisi ko dhoondh rahi hain
Ho
Nigaahein jhoom rahi hain
Koyee mulaakaatee miley
Aisa koyee saathi miley
Jo ban jaaye mera hamsafar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
Ho o o
Abhi to door hai manzil
Dhadakne lagaa abhi se dil
Abhi to door hai manzil
Taubaa taubaa
Haaye haaye
Dil pe kyaa guzar jaaye
Saamne wo aa jaaye agar
Aha aha
aa ye suhaana safar
Ho o
Aha aha
aa ye suhaana safar
Ho o o o
Mere dil bhool na jaana
Ki hain ye rastaa anjaana
Mere dil bhool na jaana
Aise naa machal jaana
Aagey naa nikal jaana
Chhod ke peechhe sanam ka ghar
Aha aha
aa ye suhaana safar
Ho o
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
———————————————
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————————
Male version
———————————————
ओ
ओ ओ ओ
आ आ आ आ
आ आ आ आ
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
हो ओ ओ ओ
हवाएं झूम रही हैं
गुलों को चूम रही हैं
होए
हवाएं झूम रही हैं
रोकूँ दिल को मैं कैसे
ऐसे उड़ा जाए जैसे
बाँध लिए हो किसी पंछी से पर
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
ओ ओ ओ
मुसाफिर चलता ही जाए
कभी भी मंजिल ना आये
मुसाफिर चलता ही जाए
धीरे धीरे हौले हौले
मुझसे ये दिल बोले
कट जाए रस्ते में
सारी उम्र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
छुप छुप छैंया
छैंया
छुप छुप छैंया
पतली कमर मोरी
नाज़ुक बैंया
छुप छुप छैंया
छैंया
छुप छुप छैंया
हो ओ ओ
मुझे ये राह ना भुला दे
कहीं ये और ना पहुंचा दे
मुझे ये राह ना भुला दे
कैसी हैं ये मतवाली
लम्बी लम्बी काली काली
ज़ुल्फ़ किसी की हैं
या ये डगर
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र
————————————
Female version
————————————
हम्म
हम्म
ओ ओ ओ ओ ओ
ओ ओ
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
हो
हो ओ ओ
निगाहें झूम रही हैं
किसीको ढूंढ रही हैं
हो
निगाहें झूम रही हैं
कोई मुलाकाती मिले
ऐसा कोई साथी मिले
जो बन जाए मेरा हमसफ़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
हो ओ ओ
अभी तो दूर है मंजिल
धड़कने लगा अभी से दिल
अभी तो दूर है मंजिल
तौबा तौबा
हाए हाए
दिल पे क्या गुज़र जाए
सामने वो आ जाये अगर
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
हो ओ ओ ओ
मेरे दिल भूल न जाना
कि है ये रास्ता अनजाना
मेरे दिल भूल न जाना
ऐसे न मचल जाना
आगे ना निकल जाना
छोड़ के पीछे सनम का घर
आहा आहा
आ ये सुहाना सफ़र
हो ओ
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
Bheegi bheegi mehki mehki raat hai
Posted on: March 14, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3526 | Post No. : | 14164 |
Today is 14 march 2018. It was on this day 87 years ago , viz 14 march 1931 that a movie that talked in Hindi (Hindustani) was shown for the first time in Bombay. I don’t think that people those days has any idea that it was an event that would change the lives of Indians as few things had done before. In fact, the industry that would get created as a result would go on to influence not just Indians, but non Indians as well. The Industry, now called Hindi film industry or Bollywood is a shining example of the soft power that India has gone on to wield.
I sometimes try to visualise how things were there in India on 14 march 1931. Very few modern day amenities that we take for granted today were available those days. Trains were there, electricity had arrived, and radio was invented a few years earlier. That was all. There were no telephones, no TV, no communication networks that we take for granted today. The fact that movies that talked may have been known to people in Bombay, but the news must have spread to other parts of the country rather slowly.
There were no dedicated movie halls to show films. That would come up subsequently and they would become important landmarks of the city.
Silent movies were already being produced and exhibited at that time in good number and there were many people (most people in fact) who may have felt that these talking movies was a passing fad that would die down and people would continue watching silent movies. In fact, silent movies continued to be made and exhibited till 1934. Talkies gradually gained acceptance at the cost of silent movies which finally stopped being made after 1934.
Coming to talkies, Hindustani movies were quickly followed by talkies in other major languages, and with time some of them would go on to become nearly as major and influential as the Hindustani movie industry. Ideas and personnel from one industry would find use in other language industries as well.
Movies evolved with time. Initially the stories were mythological/ religious/ fairy tales, then one found movies with social themes/ patriotic themes etc becoming popular. Stunt movies, that were considered low brow stuff, would become stuff of mainstream movies later. 🙂
Things have come a long way in 87 years. Now people are in an era where they can watch movies of their choices in the comfort of their homes, and what is more they can share these movies with others from the comforts of their homes !
On 14 march 1931, Movies were one of the very few sources of public recreation. Today there are plenty. 87 years onwards now, I am watching a T20 cricket match between India and Bangladesh played at Colombo, while located in North India. 87 years ago, there was no Bangladesh, no TV, no T20 cricket. 🙂
It is this distraction that has prevented me from posting more song posts today than what I would have liked. Nevertheless, now that there is innings break, I am utilising the opportunity to post this article, just the second article for today.
This song is from “Do Aadmi”(1960). It is sung by Geeta Dutt. Prem Dhawan is the lyricist. Posting of this song tonight is prompted by the fact that SN Tripathi, the music director of this song was born this day in 1913.
Only the audio of this song is available. This movie, which was directed by Dwarka Khosla for Vikas Productions, Bombay, had Jairaj, Shashikala, Jeewankala, Kammo, Rammurthy, Eruch Tarapore, Lamanrao, Jagdish Kamal, Shiv Dutt, Sayyad, Daya Devi, Meera Parel etc in it. The song sounds like a bar dance song, that may have been picturised on one of the many ladies in the cast who fit the bill. Interestingly, I find that the five songs of this movie had five diffetrent female playback singers singing them ! So it is difficult to guess which playback singer sang for whom. I request our knowledgeable readers to help throw light on the movie as well as on the picturisation of this song.
The song itself is quite nice to listen to. It is just the song that one would love to listen to at night.
Song-Bheegi bheegi mehki mehki raat hai (Do Aadmi)(1960) Singer-Geeta Dutt, Lyrics-Prem Dhawan, MD-S N Tripathi
Lyrics (Provided by Avinash Scrapwala)
aa haaa
laalaalaalaalaa
aha
laalaalaalaa
bheegi bheegi mehki mehki raat hai
bheegi bheegi mehki mehki raat hai
tera mera mera tera saath hai
aaj to
meri jaan
keh bhi de jo kehne waali baat hai
bheegi bheegi mehki mehki raat hai
tera mera mera tera saath hai
aa ha ha ha
aa ha ha ha
baar baar ye
mulaakaaten kahaan
baar baar ye
mulaakaaten kahaan
roz roz to aisi raaten kahaan
sun bhi le
dhadkanen
mere dil mein tere dil ki baat hai
bheegi bheegi mehki mehki raat hai
tera mera mera tera saath hai
aa ha ha ha
aa ha ha ha
jhoom jhoom ke zara aankhen mila
jhoom jhoom ke zara aankhen mila
mil-jul ke koi gul to khila
baat ye ban gayi
to ye saari duniya apne haath hai
bheegi bheegi mehki mehki raat hai
tera mera mera tera saath hai
aaj to meri jaan
keh bhi de
jo kehne waali baat hai
bheegi bheegi mehki mehki raat hai
tera mera mera tera saath hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ हा॰॰
लालालालाला
आहा
लालालाला
भीगी भीगी महकी महकी रात है
भीगी भीगी महकी महकी रात है
तेरे मेरा मेरा तेरा साथ है
आज तो
मेरी जान
कह भी दे जो कहने वाली बात है
भीगी भीगी महकी महकी रात है
तेरे मेरा मेरा तेरा साथ है
आ हा हा हा
आ हा हा हा
बार बार ये
मुलाकातें कहाँ
बार बार ये
मुलाकातें कहाँ
रोज़ रोज़ तो ऐसी रातें कहाँ
सुन भी ले
धड़कनें
मेरे दिल में तेरे दिल की बात है
भीगी भीगी महकी महकी रात है
तेरे मेरा मेरा तेरा साथ है
आ हा हा हा
आ हा हा हा
झूम झूम के
ज़रा आँखें मिला
झूम झूम के
ज़रा आँखें मिला
मिल जुल के कोई गुल तो खिला
बात ये
बन गयी
तो ये सारी दुनिया अपने हाथ है
भीगी भीगी महकी महकी रात है
तेरे मेरा मेरा तेरा साथ है
आज तो
मेरी जान
कह भी दे जो कहने वाली बात है
भीगी भीगी महकी महकी रात है
तेरे मेरा मेरा तेरा साथ है
- In: Actor-Singer song | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lover's Complaint | Lover's tête-à-tête | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Melancholic song | Poignant Song | Post by Raja | Rafi songs | Rafi Sulakshana Pandit duet | Songs of 1970s (1971 to 1980) | Songs of 1980 | Sulakshana Pandit Songs | Yearwise breakup of songs
- 2 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3520 | Post No. : | 14136 |
There are many artists for whom I’ve written posts here, remembering them on their birth or death anniversaries. But there are two artists who have featured more than others in this regard. I remember them every day anyway – so on their anniversary it is only a matter of a different intensity. I am grateful to them every single day for their legacy, the treasure trove they have left us behind with. They are long gone now from this world – coincidentally they went within a few months of each other – but they remain, and will always remain, in my heart. And not just my heart, but millions of hearts. Such is the love we have for them, such is the hold they have over us.
I am of course talking about two giants of the industry – Rafi Saab and Sahir Ludhianvi.
Today happens to be the 97th birth anniversary of Sahir – and here I am, writing yet another post in his memory. I have already written many posts on him, so I expect this will be a short one. At least, by my standards. 🙂
From all accounts, Rafi Saab and Sahir were like chalk and cheese. Rafi Saab is reported always having a smile on his lips, a total lack of ego, easy to work with, a generally non-controversial nature – and was one of the most-loved artistes in the industry.
In contrast, Sahir was seen as egoist, not the easiest person to work with. He was seen as often being bitter and rebellious. He had his fair share of controversies – and differences with other artistes. It’s also fair to say that while everyone acknowledged his genius as a poet and lyricist, he didn’t exactly endear himself to one and all.
And yet both of them have a special place in my heart. They were masters of their craft, and when they executed it, whether through the written word (Sahir) or through his voice (Rafi Saab), the words went straight to my heart.
Since this is a post for Sahir’s anniversary, I will keep it to Sahir from here on.
Sahir needs no introduction to anyone here. And if he does, there are far better sources to discuss him than this post, so I would recommend checking out any of them. Here I will only talk briefly about why I love Sahir so much. It goes without saying that Sahir’s poetry (which often found its way in his lyrics) was in a class of its own. In fact, he often dumbed down (simplified) his poetry to make it more understandable for film-going audiences.
Much of Sahir’s poetry is understandably in Urdu – and his lyrics for film songs too have a strong Urdu slant to them. As a big fan of Urdu, I thoroughly enjoy listening to Sahir’s poetry and lyrics, even if I don’t always understand them. 🙂 But if it were only Urdu that attracted me to him, that would be at one level only. After all, I have a great regard for Shakeel Badayuni too – his lyrics were also often Urdu-based, and second to none.
No, it is more than just Urdu that attracts me. It is the poet himself – Sahir, the person.
To the world, his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue might have made him intolerable. To me, I think it is these very qualities that helped him write the poetry he did. You cannot be dispassionate, you cannot be without fire in your belly – and write rousing poetry. It just doesn’t work. An actor might be able to completely keep his persona behind and immerse himself in a role the moment the director screams “Action”. After all, he is an actor – his job is to be somebody he isn’t in real life.
On the contrary, for a poet, his writing is nothing but an expression of himself and his creativity. And that creativity is a function of his mind, heart and soul. So it is only natural that how he thinks or feels will get reflected in his writing. It is possible to of course separate the two – and seasoned poets do – but when the poetry is in sync with the mood, it probably flows much more naturally. I’m guessing this – I’m no poet. 🙂
So Sahir throwing his feelings into his poetry is something I totally approve of. Now, to the content itself.
In his inimitable style, he wrote on a variety of topics. But he is most identified with having a strong opinion on social issues of the day – and never hesitating to express his opinion. He often used his poetry as a medium to convey a strong message. Sometimes showing a mirror to society, sometimes questioning the government of the day. Sometimes exposing hypocrisy, sometimes calling for revolution. Whatever it was, he was not just another poet content to write some lyrics and get paid for them. He was socially sensitive – and clearly the ills in society bothered him deeply. And this is one of the main reasons I SO love Sahir. How I wish we had more poets like him today, with so much awareness and concern for the plight of the common man!
He has written about injustice in society (“Samaaj Ko Badal Daalo”), about the need for unity in a fractured society (“Tu Hindu Banega Na Musalmaan Banega“), about women’s plight in India (“Aurat Ne Janam Diya Mardon Ko”), about hope (“Na Munh Chhupa Ke Jiyo”, “Ponchh Kar Ashq Apni Aankhon Se“, “Wo Subah Kabhi To Aayegi”) and despair (“Ye Duniya Agar Mil Bhi Jaaye To Kya Hai“, “Jinhen Naaz Hai Hind Par Wo Kahaan Hain“, “. . .Rehne Ko Ghar Nahin Hai, Sara Jahaan Hamaara“).
For someone who had a grounding in Urdu, he could write beautiful bhajans like “Tora Mann Darpan Kehlaaye“, “Prabhu Tero Naam“, “Allah Tero Naam“, “Meri Sun Le Araj Banwaari“, and the immortal “Aan Milo Aan Milo Shyam Saanwre“.
Then there is the philosophical Sahir too, exemplified in songs like “Aage Bhi Jaane Na Tu“.
A recurring theme in his writing is the mother-child relationship, maybe based on his own experiences in life. It is well-known that he was particularly close to his mother – and chose her above his much more affluent father when he had to make a choice. So we see beautiful lyrics on mother-child in ‘Dhool Ka Phool’ (“Tu Mere Pyaar Ka Phool Hai“), ‘Mujhe Jeene Do’ (“Tere Bachpan Ko“), ‘Trishul’ (“Tu Mere Saath Rahega Munne“) – and I am sure some other films too.
Then there is the qawwaali Sahir. He excelled in them, with the qawwaalis of ‘Barsaat Ki Raat’, ‘Dharamputra’ and ‘Taj Mahal’ showcasing just some of his work.
And then there is the romantic Sahir. Yes, while he wrote about all other aspects of life, he did not come up short on what was bread-and-butter for most poets – romantic poetry. He could write the most romantic lines – the romantic songs of ‘Gumraah’ and ‘Hamraaz’, for example, just take your breath away. And not just these films – think of songs like “Parbaton Ke Pedon Par” from ‘Shagoon’, and on the same ‘parbat’ theme, “Ye Parbaton Ke Daayare” from ‘Vaasna’.
I can go on and on, discussing his songs, but I think I need to now come to the song for today. It is also a romantic song, but this time from very late in his career. It is no secret that in the 1970s, Sahir was disillusioned with the quality of lyrics on offer in Hindi cinema. Urdu, which offered so much richness to lyrics, was being phased out and replaced with more ‘chaalu‘ lyrics. In general, films (and music too, I might add) had become more loud and less, for want of a better word, classy.
He himself withdrew for a bit – and while he continued to work for the BR Chopra/Yash Chopra banners, he wasn’t as prolific as in the 60s. His disillusionment is probably best expressed in one of his most memorable songs of the decade – “Main Pal Do Pal Ka Shaayar Hoon“.
It is in this context one needs to see the song for today. It is from the 1980 film ‘Chehre Pe Chehra’, a film that makes its debut on the blog today. I remember this film being released – and being a flop. I haven’t seen the film – my understanding is, it’s based on the famous ‘Dr. Jekyll and Mr. Hyde’ story. Sanjeev Kumar plays the dual role. The song is a romantic song – and pleasant enough, even if it doesn’t quite scale to the level of his heady songs of the 1960s. Even so, in comparison to the fare around at the time, I’d say its lyrics are better than most other songs of the time. Of course this is just my personal opinion.
Let’s now listen to the song, sung by Sulakshana Pandit and Rafi Saab. Music is by N Datta, one of his most famous pairings. I leave it to you to judge for yourself what you make of this song. I quite like it.
Lyrics were provided to me by the ever-helpful and reliable Avinash ji. A big thanks to him. He makes it so much easier for me to just focus on the write-up itself.
Video (Partial)
Audio (Complete)
Song – Aaj Socha Hai Khayaalon Mein Bula Kar Tum Ko (Chehre Pe Chehra) (1980) Singer – Sulakshana Pandit, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta
Sulakshana Pandit + Mohammed Rafi
Lyrics (Provided by Avinash Scrapwala)
aaj socha hai. . .
aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai
aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai
aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha paas bulaana hi na thha
aao toote huye
aao toote huye
khwaabon ki jiyaarat kar len
aaj socha hai ae
ranjishen bhi wahin palti hain
jahaan pyaar paley
pyaar hi jis se nahin
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hoon
aur chaahat ki duaaon ka sila kya hoga
ranjishen bhool ke
ranjishen bhool ke
khwaabon ko haqeeqat kar len
aaj socha hai
kya kahoon main tumhen
kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar len
aaj socha hai
aaj socha hai
khayaalon mein bulaakar tumko
pyaar ke naam pe thodisi shikaa …
hmm hmm hmm hmmmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
aaj socha hai. . .
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
आज सोचा है॰॰॰
आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर लें
आज सोचा है
आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर ले ए ए
आज सोचा है
ऐसे बिछड़े हो के जैसे कभी मिलना ही नहीं
ऐसे भूले हो कि जैसे कभी जाना ही नहीं था
अजनबी बन के अगर यूंही सितम ढाना था
पास आना ही न था पास बुलाना ही न था
आओ टूटे हुए
आओ टूटे हुए
ख़्वाबों कि ज़ियारत कर लें
आज सोचा है ए
रंजिशें भी वहीँ पलती हैं
जहाँ प्यार पले
प्यार ही जिससे नहीं
उस से गिला क्या होगा
मेरी उम्मीद है तू
तेरी तमन्ना मैं हूँ
और चाहत की दुआओं का सिला क्या होगा
रंजिशें भूल के
रंजिशें भूल के
ख़्वाबों कों हकीकत कर लें
आज सोचा है
क्या कहूँ मैं तुम्हे
क्या समझा है क्या माना है
मेरी चाहत ने तुम्हें
अपना खुदा माना है
अपना हिस्सा हि तुम्हे मैंने सदा माना है
जान को किसने भला तन से जुदा माना है
जान और तन से
जान और तन से नया अहद-ए-मोहब्बत कर लें
आज सोचा है
आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिका…
हम्म हम्म हम्म हम्मम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
आज सोचा है॰॰॰
Mora laage naahin chit
Posted on: February 27, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3511 | Post No. : | 14104 |
“Intezar” (1973) was produced by Mohan Sehgal and direced by Mohan Singh Kavia for De Luxe Films, Bombay. The movie had Rinku Jaiswal, Baldev Khosa, Padmini Kapila, Vishal, I S Johar, Mohan Choti, Lata Arora, Chandrima Bhaduri, Manhar Desai, Bhushan Tiwari, Kamlakar Date, Bhanumati, Kamal deep, Leela Mishra, Rakesh Pandey (special appearance), Master Rafiq, Baby Reshma, Baby Mumtaz, Narmada Shankar, Radheshyam etc in it.
The movie had five songs in it. Three of these songs have been covered in the past. Here is the fourth song from “Intezar” (1973) to appear in the blog.
The song is sung by Lata. Verma Malik is the lyricist. Music is composed by Chitragupta.
The song is picturised as a Krishn bhajan on Rinku Jaiswal. The picturisation also shows shady looking I S Johar and others. I S Johar is apparently playing a dhongi baba in the picturisation. I have not seen the movie so I am not sure what is going on in the picturisation. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of this song were sent to me by Avinash Scrapwala.
Song-Mora laage naahin chit(Intezar)(1973) Singer-Lata, Lyrics-Verma Malik, MD-Chitragupta
Lyrics(Provided by Avinash Scrapwala)
mora lage naahin chit
mora lage naahin chit
dhoondhoon it ut tum kit
nit nit loon main tera naam
pal pal chhin chhin
pal pal chhin chhin kahoon krishn krishn
kisi din to milan hoga shyaam
mora laage naahin chit dhoondhoon it ut tum kit
nit nit loon main tera naam
panghat pe kabhi ulat diya thha ghoonghat
natkhat yaad karo wahi jamuna ka tat
panghat pe kabhi ulat diya thha ghoonghat
natkhat yaad karo wahi jamuna ka tat
mohe chhedo jhat jhat
maine kaha hat hat
mohe chhedo jhat jhat maine kaha hat hat
jhatpat main to gayi thhi aanchal mein simat
tose laage more nain
tose laage more nain
karoon bain saari rain
chhin gayo mora chain aaraam
mora lage naahin chit dhoondhoon it ut tum kit
nit nit loon main tera naam
poochhi dagar dagar gayi nagar nagar
tori mili na khabar mohe chhaliya re
poochhi dagar dagar gayi nagar nagar
tori mili na khabar mohe chhaliya re
mori yahi hai umang rahoon tore ang sang
rang tore mein hi rang du saanwariya re
harjaai man meet
harjai man meet
kaisi preet ki hai reet
preet reet se main bhai badnaam
mora lage naahin chit dhoondhoon it ut tum kit
nit nit loon main tera naam
Na Jaane Kahaan Se Aayi Hai
Posted on: February 26, 2018
- In: Amit Kumar - Kavita Krishnamurty Duet | Amit Kumar songs | Dance song | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Kavitha Krishnamurthy Songs | Light hearted song | Lover's tête-à-tête | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by Raja | Songs of 1980s (1981 to 1990) | Songs of 1989 | Yearwise breakup of songs
- 7 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3510 | Post No. : | 14101 |
It’s not easy writing this. I’ve written many posts here on the death anniversaries of various artistes – but in all those cases, I’ve had the benefit of distance of time from the event. Even if it is the first death anniversary, at least 365 days have passed since. That does make a difference. Today’s post isn’t a death anniversary post. It’s a tribute post, of course, but the artiste in question has just left us a few hours ago! And we are still in mourning. Which is why I write this post now with a lot of sadness in my heart.
This morning, when I woke up, I got the news that was like a bolt from the blue – that Sridevi, one of the most famous and popular actresses of our times, was no more. When I checked my whatsapp messages today, a regular morning routine, there was a message from one of my nieces – “This Sridevi news has left me so disturbed. She was my all-time favourite”.
I immediately checked Twitter, which is my usual go-to source for latest news. And sure enough – it was real, not a fake news item. Twitter is notorious for fake news being spread – but this time, unfortunately, there was nothing fake about this. Tributes were pouring in on Twitter.
I took a deep breath. It all seemed so unbelievable, it took me a while to digest the news. Sridevi had died a few hours earlier of a cardiac arrest in Dubai. She had gone to attend a family wedding – it turned out to be her last day on this earth. There were pictures of her from just a few hours earlier – she looked just fine. In fact, she looked more than fine, she looked gorgeous – like she’d always looked. I was not aware of any health complaints of any sort. So then how did this suddenly happen?
There are theories floating around, some to do with her diet, pills etc. I do not want to discuss any of this here – it is all in the realm of speculation anyway, and I am sure we will get to hear more about it in the days to come. Right now, all I know is that my thoughts have been with her all day today. I can see Sridevi’s face right in front of my eyes –superbly expressive, that twinkle in her eye, that smile. I can see her dancing, whether as a Naagin, or doing a break-dance in Michael Jackson style – completely at ease with both.
I can see her portraying a docile, innocent Anju one minute, and a chaalu Chaalbaaz Manju the very next. That is / was Sridevi. She could do both sadness and madness to such perfection within minutes – and you wouldn’t be able to say she was acting. No wonder she won many millions of fans all over the world. And not just Hindi film fans. Sure, she reigned as superstar for almost a decade in the Hindi film industry but her career in the South Indian film industry was not just longer, it was also probably far richer.
There will be many obituary and tribute pieces written for Sridevi in the days to come. As is common, her entire life will be detailed – from her early days to her final ones. Her career will be discussed in great detail, as will her personal life. I choose not to add to the repetitive element of these. I am no expert on Sridevi anyway – and anyone who wants a lot of facts on her is better advised to seek out one of those other sources. As is my wont, I will discuss Sridevi here from a personal perspective.
Hmm, where do I start? When did I first hear of Sridevi? I must admit that I first heard of Sridevi only in the late 1970s, though she had already become a popular name in South Indian cinema for some years by then. I lived in Eastern India at that time, where the exposure to South Indian cinema was very limited – and I’d heard of very few actors and actresses of the South. Of course I’d heard of the legends (Sivaji Ganesan, MGR, Gemini Ganesan, Savitri, KR Vijaya etc.) but of the then-current lot, I’d not heard of many. Yes, I’d heard of Kamalahasan and Rajinikanth, though I’d not seen any of their films. As for heroines, I got to hear names like Sripriya, Srividya, Sujatha. And Sridevi. To me, the name Sridevi was just one of these names at that time.
Around that time, South Indian producers once again began to show interest in making Hindi films. Of course earlier too they had made a lot of films but the pace had slackened in the 1970s. It suddenly began picking up towards the end of the decade. Understandably these producers wanted to work with actors they were familiar with. So, just like Jamuna and KR Vijaya in an earlier generation, we got to see new South Indian faces entering the Hindi film industry.
Thus, in 1979, we got news that two big-name South Indian actresses would be seen in Hindi films. Jayaprada would be seen in a film called ‘Sargam’ (1979), and Sridevi would be seen in a film called ‘Solvaan Saawan’ (1978). ‘Sargam’ became a huge hit – and set Jayaprada on her way to success in the Hindi film industry. ‘Solvaan Saawan’, on the other hand, just came and went – and with that seemed to sink Sridevi’s future too in Hindi films. She simply seemed to have disappeared from the Hindi film scene.
For a while, I forgot about the existence of Sridevi, even as she was becoming a progressively more popular and successful star in the South. As it is, Hindi films rolled merrily on – with established heroines like Zeenat Aman, Hema, Parveen and Reena Roy, and a new set of heroines like Poonam Dhillon, Rati Agnihotri, Padmini Kolhapure, Anita Raaj and Deepti Naval.
By then, I was getting increasingly busy with my studies and was not able to keep pace with Hindi movies.
Then came 1983 and ‘Himmatwaala’ happened. Sridevi returned with a bang. This film, in which she starred opposite Jeetendra, turned out to be a smash hit, with the songs becoming super-duper hits. Ironically for me, these songs only hastened my distaste for songs of that period, a distaste that had been formed with songs like “Angrezi Mein Kehte Hain”, “. . .Chaaye Pe Bulaaya Hai” becoming big hits. From then on, I almost completely shut myself off from Hindi films for a while.
‘Himmatwaala’ was one in a string of films from South India, many of which were commercially successful during the 1980s. Many of them starred Sridevi, Jeetendra and Jayaprada. Some starred Rajesh Khanna. But I had got a mental block about these films. So while Sridevi and Jayaprada were becoming big stars in Hindi cinema, I refused to watch their films. Years later, around 2007, I did watch ‘Himmatwaala’ on TV, keeping my expectations very low. Must admit it wasn’t all THAT bad!
Despite this mental block, I did watch the odd Sridevi film. The first one I remember watching was ‘Sadma’ (1983). I remember thinking “Oh, so THIS is Sridevi!”. I liked her in the film. Then I watched ‘Tohfa’ (1984). Only because it was being screened in our local club and my friends persuaded me to watch it. I went in with very low expectations – and was therefore not very disappointed. Again, I liked Sridevi in the film. But then I’m not a particularly big fan of Jayaprada. So in comparison, I’d any day prefer to watch a Sridevi film. And then I watched ‘Moondram Pirai’ (1982), the Tamil classic – of which ‘Sadma’ is a remake. Apart from these three films, I didn’t watch a single Sridevi film in the 80s.
Thankfully her career wasn’t dependent on my taste at the time 🙂 otherwise it would not have taken off at all. She kept going from strength to strength. By 1986, when she would be seen in ‘Sultanat’, ‘Aakhri Raasta’, ‘Jaanbaaz’, ‘Karma’ and ‘Nagina’ – all big movies, I realized that whether I was watching her movies or not, the whole of India seemed to be watching them. And loving her.
I realized that though there were other heroines like Meenakshi Seshadri and Dimple Kapadia who had the odd hit film, and Jayaprada was still very much in the mix, Sridevi had gone ahead of them all. She was now probably the No.1 heroine of the time. (Rekha, by then, was in a league of her own).
Then in 1987, Shekhar Kapur’s ‘Mr. India’ hit the screens – and that probably sealed it. Anyone who had any doubts about Sridevi’s rank in the industry was effectively shut up by this film. Her “Hawa Hawaii” song was a rage all over India. And then there was “Kaate Nahin Kat’te Ye Din Ye Raat”, which was Sridevi all the way.
Around this time, it was not inconceivable that a film would run on Sridevi’s name alone. She had earned that superstar status. On the male front, Amitabh Bachchan in the mid to late 1980s wasn’t having a good run. And none of the other male stars were quite superstar material yet. Sridevi was.
Yet she continued to act in a remarkable number of poor-to-average films – such was the quality of films in the 1980s! You can hardly blame the actor for that. You were lucky if there was one memorable film in ten. Most films could be forgotten the moment you stepped out of the hall.
Of her other well-known films, two from 1989 come to mind – ‘Chaandni’ and ‘Chaalbaaz’. I remember ‘Chaandni’ becoming a superhit. I’m not so sure about ‘Chaalbaaz’ – though it is one of my favourite Sridevi films. She plays a double role – and how. The film, a remake of ‘Seeta Aur Geeta’ (1972), is a hilarious comedy, completely owned by Sridevi.
1991 saw ‘Lamhe’ – another landmark film in her career. Once again, Sridevi was seen in a double role. Mother and daughter. A very different sort of film. I think ‘Lamhe’ failed at the box-office – it was a storyline that the audience found difficult to accept. But that does not take away from Sridevi’s performance.
1992 saw ‘Khuda Gawaah’, again a double role for Sridevi. Mother and daughter again. I wonder if any heroine has done more double roles than Sridevi. Fabulous scenes of Afghanistan, fabulous acting by Sridevi.
1993 had the resounding and expensive flop, ‘Roop Ki Rani Choron Ka Raja’. After this, her career took a dip – and after ‘Judaai’ (1997), she was next to be seen in a lead role, goodness, 15 years later, in ‘English Vinglish’ (2012). And what a performance! It was SUCH a pleasure to see her in this film, putting up such a mature performance, that I was left wondering what might’ve been in the preceding 15 years.
Oh, one thing. I saw each one of the films I’ve mentioned above only after 1995. Yes, even her 1980s hits. Like I said before, I studiously stayed away from 1980s films at the time they were released. Not just Sridevi films, but all 1980s films. In the process, I might have missed some good ones too. I caught up with many of them later. After 1995.
And as I watched Sridevi, I could understand why she had become such a superstar. Beyond her looks and her amazing dancing ability, there was a fine actor. Not everyone realizes this – but her ability to take a scene to a different level altogether, just with her facial expressions, a roll of the eyes, a smile from the side of her mouth, all of this added to producing a memorable performance. And I daresay unlike the male superstars, her mannerisms didn’t come across as clichéd, even if she repeated them. She only endeared herself even more to the audience.
Yes, I could fully understand why Sridevi was a superstar. But ironically I realized this only after she had conceded the top spot to Madhuri Dixit, herself a deserving No.1. Many folks make a big deal of the Sridevi – Madhuri rivalry. I’ve never cared about it – each actor has his/her time and ups and downs. Both Sridevi and Madhuri were terrific actors and entertainers – and that is the main reason they were loved so much by the public. Anyway, the timing when the realization hit me, is irrelevant. What’s important is she is loved by millions of people. The outpouring of grief today is testimony to this. Whether you are a superstar or not, is secondary.
Let’s move on to the song for today.
I’ve picked this song from ‘Chaalbaaz’ (1989). It’s one of my favourite Sridevi films. I have watched it multiple times – and can still watch it. A ‘Seeta Aur Geeta’ (1972) remake, Sridevi here plays Anju (the docile one) and Manju (the chaalu one). The male leads are played by Sunny Deol and Rajinikanth. Though the film stars Anupam Kher, Rohini Hattangadi and Shakti Kapoor too, the film belongs to Sridevi. The dialogues are hilarious – check them out on youtube.
The song for today showcases, to some extent, why Sridevi was so popular. Just look at her bindaas dancing, just look at the expressions on her face. This is classic Sridevi. You cannot but love her in this song. Although it features Sunny Deol too, and a whole host of supporting dancers, Sridevi clearly steals the show. I’ve watched the song five times already today. It’s one way of remembering Sridevi. I am sure you will like the song too. Just observe Sridevi through the song – she is having so much fun, this song will just lift your spirits.
Lyrics have been provided by Avinashji. He was kind enough to offer to write them up, as soon as he got to know that I was planning to do this write-up. Thanks a lot, Avinashji.
Thank you for all the wonderful memories, Sridevi. You will always remain in our hearts.
Song – Na Jaane Kahaan Se Aayi Hai (Chaalbaaz) (1989) Singer – Amit Kumar, Kavita Krishnamurty, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Unidentified Male Voice
Chorus
Lyrics (Provided by Avinash Scrapwala)
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub du u u u
naa jaane kahaan se aayi hai
naa jaane kahaan ko jaayegi
deewaana kise banaayegi ye ladki
badi chhoti hai mulaaqaat
bade afsos ki hai baat
hu u u u u yaa
kisi ke haath naa aayegi ye ladki ee
ru u u u
kisi ke haath naa aayegi ye ladki ee
ru u u u
naa jaane kahaan se aayi hai
naa jaane kahaan ko jaayegi
deewaana kise banaayegi ye ladki
ha ha ha ha ha ha ha
ha ha ha ha ha ha ha
ooh a
ye bheega huaa badan tera
is dil mein aag lagaa dega
ye bheega huaa badan tera
is dil mein aag lagaa dega
chhaayega baadal zulfon ka
to paagal tujhe banaa degaa aa
paagal tujhe banaa degaa aa
tu ru ru ru ru ru u u
tu ru ru ru ru ru u u
karega yaad mujhe din raat
bade afsos ki hai baat
hu u u u u yaa
kisi ke haath naa aayegi ye ladki ee
ru u u u
kisi ke haath naa aayegi ye ladki ee
ru u u u
[undeciphered sound]
ye ladki bheegi bhaagi si
kya ghar se bhaag ke aayi hai
ye ladki bheegi bhaagi si
kya ghar se bhaag ke aayi hai
ye ladki nahin hai naagin hai
jo neend se jaag ke aayi hai
jo neend se jaag ke aayi hai
ru ru ru ru ru ru
ru ru ru ru ru ru
mere haathon mein de de haath
bade afsos ki hai baat
hu u u u u aa
kisi ke haath naa aayegi ye ladki ee
ru u u u
kisi ke haath naa aayegi ye ladki ee
ru u u u
[undeciphered sound]
ha ha ha ha ha ha hmm
aaraam se baitho paas mere
darne ki koyi baat nahin
aaraam se baitho paas mere
darne ki koyi baat nahin
main tumse pyaar karun mere
aise to bure haalaat nahin
aise to bure haalaat nahin
ru ru ru ru ru ru
ru ru ru ru ru ru
karegi yaad mujhe din raat
bade afsos ki hai baat
hu u u u u aa
tumhaare haath naa aayegaa
ye ladka
ru u u u
tumhaare haath naa aayegaa
ye ladka aa
ru u u u
naa jaane kahaan se aayi hai
naa jaane kahaan ko jaayegi
deewaana kise banaayegi ye ladki ee
badi chhoti hai mulaaqaat
bade afsos ki hai baat
hu u u u u aa
kisi ke haath naa aayegi ye ladki ee
ru u u u
kisi ke haath naa aayegi ye ladki ee
ru u u u
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub du u u u
ru u u ru ru ru ru
ru ru ru ru ru ru ru u u
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub du u u u
ru u u ru ru ru ru
ru ru ru ru ru ru ru u u
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub dub dub dub du ru ru ru
dub dub dub du u u u
ru oo oo oo
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डू रु रु रु
ना जाने कहाँ से आयी है
ना जाने कहाँ को जायेगी
दीवाना किसे बनाएगी ये लड़की
बड़ी छोटी है मुलाक़ात
बड़े अफ़सोस कि है बात
हु उ उ उ उ या
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
ना जाने कहाँ से आयी है
ना जाने कहाँ को जायेगी
दीवाना किसे बनाएगी ये लड़की
हा हा हा हा हा हा हा
हा हा हा हा हा हा हा
उह अ
ये भीगा हुआ बदन तेरा
इस दिल में आग लगा देगा
ये भीगा हुआ बदन तेरा
इस दिल में आग लगा देगा
छाएगा बादल जुल्फों का
तो पागल तुझे बना देगा आ
पागल तुझे बना देगा आ
तू रु रु रु रु रु रु उ उ
तू रु रु रु रु रु रु उ उ
करेगा याद मुझे दिन रात
बड़े अफ़सोस कि है बात
हु उ उ उ उ या
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
(असपष्ट शब्द )
ये लड़की भीगी भागी सी
क्या घर से भाग के आयी है
ये लड़की भीगी भागी सी
क्या घर से भाग के आयी है
ये लड़की नहीं है नागन है ‘
जो नींद से जाग के आयी है
जो नींद से जाग के आयी है
रु रु रु रु रु रु
रु रु रु रु रु रु
मेरे हाथों में दे दे हाथ
बड़े अफ़सोस कि है बात
हु उ उ उ उ या
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
(असपष्ट शब्द )
हा हा हा हा हा हा हम्म
आराम से बैठो पास मेरे
डरने कि कोई बात नहीं
आराम से बैठो पास मेरे
डरने कि कोई बात नहीं
मैं तुमसे प्यार करूँ मेरे
ऐसे तो बुरे हालात नहीं
ऐसे तो बुरे हालात नहीं
रु रु रु रु रु रु
रु रु रु रु रु रु
करेगी याद मुझे दिन रात
बड़े अफ़सोस कि है बात
हु उ उ उ उ या
तुम्हारे हाथ ना आयेगा
ये लड़का
रु उ उ उ
तुम्हारे हाथ ना आयेगा
ये लड़का
रु उ उ उ
ना जाने कहाँ से आयी है
ना जाने कहाँ को जायेगी
दीवाना किसे बनाएगी ये लड़की
बड़ी छोटी है मुलाक़ात
बड़े अफ़सोस कि है बात
हु उ उ उ उ या
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
किसी के हाथ ना आएगी ये लड़की ई
रु उ उ उ
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डू रु रु रु
रु उ उ रु रु रु रु
रु रु रु रु रु रु रु उ उ
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डू रु रु रु
रु उ उ रु रु रु रु
रु रु रु रु रु रु रु उ उ
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डुब डुब डुब डू रु रु रु
डुब डुब डुब डू रु रु रु
रु ऊ ऊ ऊ
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| Blog Day : | 3509 | Post No. : | 14100 |
Every morning I walk my pets by turns. That is a good time for thinking and getting interesting thoughts. I realised that our blog centuries (when they are taking place at their normal pace) are like lunar months. In the past, we would complete our centuries in 15-16 days which was like one paksh of a lunar month. Nowadays we are taking nearly twice as long to complete a century. In other words, our centuries these days take as long as a lunar month. In other words, these days we are getting one century post per month.
It is different this month. In this month of february 2018, we had touched post number 14000 on the very first day. Today, towards the fag end of february 2018, we reach the next century, viz 14100th post in the blog. It is rare to have two full moons in one month and that has led to the phrase “once in a blue moon”. January 2018 was a blue moon month as far as two full moons were concerned. February 2018 is a “once in a blue moon” month for the blog as far as appearance of two century posts is concerned. When I checked up, I found that the last time we had two century posts in a month was in april 2017. 🙂
Whenever one is dealing with big numbers, one cannot help but devise some statistical tools to judge one’s performance. In limited overs cricket, we have strike rate. In this blog, I have devised a term called blog strike rate. Blog strike rate is nothing but the number of songs per day. One can divide the number of song posts by the number of days in which these posts appeared. We are going at a strike rate of just over 4 songs a day throughout the existence of the blog.
Then there are other interesting statistical analysis that are possible. For instance, number of songs that were created in a year and the number of songs from that year that are covered in the blog. Another variation is number of movies that were released in a year and the number of movies of that year that are represented in the blog. For instance, the year 1964 had 99 movies and 671 songs. The blog has 90 of these movies and 422 of these songs represented in the blog. 44 of these movies are already YIPPEED. So 46 up YIPPEED movies plus nine unrepresented movies from 1964 remain to be covered in the blog.
Covering the as yet unrepresented songs may not be as simple and straightforward as it may appear to the uninitiated. For instance, the nine missing movies of 1964 are rare movies. Sudhir Jee is on a mission to cover the missing movies of 1960s. In two years and three months he has covered more than 60 missing movies of 1960s in the blog. There were 929 movies released in 1960s. As many as 808 of them are covered in the blog with 361 of them already YIPPEED. So just over one hundred movies of 1960s are yet to be covered in the blog. We are making progress regularly. Still a stage will come when we will end up a few movies and a few hundred songs short because of unavailability of the remaining movies and /or songs. In all some 6521 songs were created in 1960s. The blog has 3488 of them. Just over 3000 songs of 1960s remain to be covered.
The decade of 1950s is the most well represented in the blog. 1111 movies are 8654 songs were created during this decade. The blog has 996 movies and 4627 songs represented in the blog, with 348 of these movies already YIPPEED.
Another statistics that is of great interest to me is the number of artists represented in the blog.The lyricists, singers and music directors represented in the blog add up to over 2000. The number of artists on whom these songs were picturised, or who helped create these movies also add up to a considerable number.
Well known artists find considerable representation in the blog. In addition, the blog also gives coverage and recognition to artists who are lesser known and even obscure.
This century songs seeks to recognise the contribution of one of the lesser known artist. This artist is Johny Whisky. This name is obviously inspired from Johny Walker. Johny Whisky (8 february 1932- 7 december 2006), originally named Sheikh Zennul Abdeen, has figured in bit roles in lots of movies starting from 1960s till 1990s. He worked in bit roles and he was too insignificant an actor unlike Johny Walker who tended to have at least one song earmarked for himself in ever movie. Still, Johny Whisky’s voice has been used in a few songs. Johny Whisky got to lend his voice in a song in “Akeli Mat Jaiyyo” (1963), viz. Chal chal chal mere dil and in a song in “Anjaam”(1968) viz. Mubaarak ho tumko ye jungle puraana.
The song under discussion is one where Johny Whisky is the main singer. Johny Whisky plays a eunuch who in India tend to look for houses with newborns. They would reach that house armed with dholaks and sing “badhaai”. That is the main occupation of this third gender in India.
The song is a “badhaai” song which is sung by Johny Whisky and chorus. Though only the audio is availabble, but it is clear that the song is picturised on Johny Whisky and others playing “hijdas”. Though this song is mentioned as a traditioan song, Sahir Ludhianvi is credited as the lyricist of this song in Akshay Manwani’s ‘Sahir Ludhianvi- The People’s Poet’.
Music is composed by C Arjun.
This song is the fifth and final song from the movie so this doubles up as the YIPPEE movie of the day as well.
Here are the details of the earlier songs from the movie covered in the blog.
|
Song Title |
Post No. |
Post Date |
| Ham mein hai kyaa ke hamen koi haseena chaahe | 5212 | 28-Dec-11 |
| Ab se pehle to ye dil ki haalat na thhi | 7942 | 20-Apr-13 |
| Ek khwaab e tamanna bhoole thhe | 12493 | 25-Oct-16 |
| Us jaan e do aalam ka jalwa (Nawaab Saahib) | 13373 | 26-Jun-17 |
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, “Nawaab Saahib”(1978) joins the list of movies that have all their songs covered in the blog. The blog ofcouse clocks 14100th song post with this song.
As always, I take this opportunity to thank one and all for their continous support, encouragement, contributions, suggestions etc which is helping this bandwagon moving along in this musical journey where we rarely halt at any stops.
Song-Ladke ki aaj main mubaarakbaadi dene aayi (Nawab Sahib)(1978) Singer-Johny Whisky, Lyrics-Sahir Ludhianvi, MD-C Arjun
Chorus
Johny Whisky + Chorus
Unknown male voice
Lyrics(Provided by Avinash Scrapwala)
Mubarak ho o
Salaamat raho o
Kahaan chale gaye sab log
Dholak nikaalo
Shurru karo
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Mubaarak baadi dene aayi
salaamat baadi gaane aayi
Mubaarak baadi dene aayi
Salaamat baadi gaane aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Chandan ka palnaa laayi
aur
Resham ki dori laayi
Kurta aur topi laayi
Aur ?? laayi
Dena sarkaar more
Manmaange muraad paayi
Dena sarkaar more
Manmaange muraad paayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Haaye ek ruppalli
Haaye
Haaye
Inke Khaalu
Daiyya re daiyya
Inki Maami
Daiyya re daiyya
Unke chaacha
Daiyya re daiyya
Bachcha jachcha pe shobhe
Heera moti panna jaise
Chaand ke aas paas
Taaramandal chamke jaise
Dena sarkaar more
Manmaange muraad paayi
Haan
Dena sarkaar more
Manmaange muraad paayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
O koi filmi gaana sunaao na
to Haan leo
Filmi gaana suno
Inhi logon ne
Inhi logon ne ae
Inhi logon ne
Le leena aa
Le leena
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera
Inhi logon ne
Le leena
Duppatta mera
Inhi logon ne ae
Inhi logon ne ae
Inhi logon ne ae
Aa hey
Inhi logon ne ae
Inhi logon ne ae
Le lina
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera aa
Amaa yaar
Koyi phadakta huaa gaana sunaao
Nazar laagi raaja tore bangle pe
Nazar laagi raani tore bangle pe
Nazar laagi raani tore bangle pe
Aa aa
Tore bangle pe raaja aa
Tore bangle pe
Tore bangle pe raaja aa
Tore bangle pe
Haay haay
Nazar laagi raaja tore bangle pe
Nazar laagi raaja tore bangle pe
Nazar laagi raaja tore bangle pe
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