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

Archive for the ‘Melancholic song’ Category


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Blog Day : 3767 Post No. : 14741

“Qawwaali Ki Raat”(1964) was Directed by Durgesh Kumar and Santoshi for Durgesh Productions, Bombay. This “social” movie had Kumkum, Kamaljeet, Mumtaz, Deven Verma, Jagdeep, Mohan Choti, Murad, aruna Irani, Johny Whisky, Kamal Mehra, Parshuram, Mirza Musharraf, Tuntun, Balam, Kathana, Jerry, Jankidas, Baroon Van Hizi, Kingkong etc in it.

The movie had eleven songs in it and most were qawwaalis as can be guessed from the title. Ten songs from the movie have been covered in the blog.

The eleventh and final song from the movie was apparently not included in the movie. Only its audio was released and this song is available.

Despite the song being available, I was not taking it up because this song was a duet with Rafi’s voice in it. Seeing that Sudhir jee was covering Rafi duets in his marathon series “Rafi duets अ से ह तक “, I was not taking chances because in the past I have posted songs that Sudhir Jee had reserved for some special occasions and with my memory being what it is, I had forgotten about that.

So, I double checked. Sudhir Jee is now onto the letter य while this duet from “Qawwaali Ki Raat”(1964) begins with an earlier letter viz प which was already covered in the previous post. So this song was “safe” to be covered. 🙂

So, here is the eleventh and final song from “Qawwaali Ki Raat”(1964) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Iqbal Qureshi.

Here are the details of the earlier ten songs from the movie:-

Song Title

Post No.

Post Date

Husn waale husn ka anjaam dekh 1830 29-Aug-09
Jaate jaate ik nazar bhar dekh lo dekh lo 3336 13-Dec-10
Aa main bataaun tu hai kyaa 3770 11-Apr-11
Dil gaya dil ka aitbaar gaya 5214 29-Dec-11
Ae jaane jigar chilman se agar 5376 1-Feb-12
Kehne waale tu bhi keh le 5700 26-Mar-12
Wo chaand sa chehra liye chhat par tera aana 13126 7-Apr-17
Dekh kar meri taraf khaamosh ho jaana zara 14487 15-Jul-18
Meri bhi laaj rakh le sarkaar e Madina 14524 24-Jul-18
Mujhe tumse muhabbat hai 14558 8-Aug-18

This song, the eleventh and final song was excluded from the movie as far as I can tell. In case it was picturised, it would have been on the lead pair of Kamaljeet and Kumkum.

With this song,all the songs of “Qawwaali Ki Raat”(1964) are covered in the blog and the movie joins the list of movies that have all their songs covered in the blog.
PS-It has pointed out by Mr Sadanand Kamath that the video of this song is available. And the song is indeed picturised on the lead pair.
Audio

Video

Song-Pyaar ki hasraten khaaq mein mil gayin (Qawwaali Ki Raat)(1964) Singer-Rafi, Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Iqbal Qureshi

Lyrics

pyaar ki hasraten khaaq mein mil gayin
pyar ki hasraten khaaq mein mil gayin
do kadam chalke do humsafar jal gaye
do kadam chalke do humsafar jal gaye
zindagi aag banti hai jis mod par
zindagi aag banti hai jis mod par
donon raahi usi mod par jal gaye

do kadam chalke do humsafar jal gaye

aisi bijli giri shaakh gulzaar par
aashiyaana bachaaya to par jal gaye
aashiyaana bachaaya to par jal gaye

kuchh na baaqi raha zindagi mein meri
kuchh na baaqi raha zindagi mein meri
ek dhuaan reh gaya dil jigar jal gaye
do kadam chal ke do humsafar jal gaye

aah roki to seene se shole uthhe
ban gaye ashq aankhon mein chingaariyaan
ban gaye ashq aankhon mein chingariyaan
do mohabbat bhare dil sulagne lage
yaani do aarzuon ke ghar jal gaye

do kadam chal ke do humsafar jal gaye

ashqe gham chashme nam se ye keh kar dhale
ashqe gham chashme nam se ye keh kar dhale
pyaar ki aag mein yoon na koi jale
pyaar ki aag mein yoon na koi jale
aatishe ishq mein koi shola nahin
aatishe ishq mein koi shola nahin
phir bhi is aag mein ghar ke ghar jal gaye

do kadam chal ke do humsafar jal gaye
donon raahi usi mod par jal gaye

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3746 Post No. : 14708

“Majboori”(1954) also known as “Chhoti Bahan”(1954) was directed by Ram Daryani for Murli Movietone, Bombay. The movie had Balraj Sahani, Shyama, Gope, Kumar, Jeevan, Gulab, Pramila etc in it.

The movie had 8 songs in it which were penned by D N Madhok (7) and Pandit Gaafil (1).

Three songs have been covered in the past. Here is the fourth song from “Majboori”(1954) to appear in the blog. This song is sung by Asha Bhonsle. The song is penned by D N Madhok. Music is composed by Robin Chatterji.

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


Song-Aankhen ro ro haar gayin (Majboori)(1954) Singer-Asha Bhonsle, Lyrics-D N Madhok, MD-Robin Chatterji

Lyrics

aankhen ro ro haar gayin
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin

rote armaanon aao
lag jaao kaleje se mere
rote armaanon aao
lag jaao kaleje se mere
jo tumne gharonde baandhe thhe
haaye wo gharonde choor huye
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin

jis duniya mein humne laakhon
shauk se phool khilaaye thhe
jis duniya mein humne laakhon
shauk se phool khilaaye thhe
ek bujhe dil ko lekar
hum us duniya se door huye
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin


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 : 3720 Post No. : 14654

“Teen Tasweeren”(1954) was produced by Shree Gaglani and directed by S S Solanki for Ashok Studios, Bombay. This movie had Anil, Kishore, Devendra, Neena Makker, Sharda, Munshi Khanjar, Kumar etc in it.

The movie had at least seven songs in it, may be more.

The songs are as obscure as the movie. One song has been covered in the past.

Here is the second song from “Teen Tasweeren”(1954) to appear in the blog. The song is sung by Kaumudi Munshi. Prem Dhawan is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of this song is available. Kaumudi Munshi was the only female singer in this movie so it would seem that she sang for the leading lady in the movie who could be Neena Makkar. I request our knowledgeable readers to throw light on the picturisation of this melancholic song.


Song-Kaajal kaali raat re (Teen Tasweeren)(1954) Singer-Kaumudi Munshi, Lyrics-Prem Dhawan, MD-Ninu Majumdar

Lyrics

Kaajal kaali raat re ae
Kaajal kaali raat re
koi samjhaaye
koi bataaye
koi samjhaaye
koi bataaye
kab hogi prabhaat re ae
Kaajal kaali raat hai
Kaajal kaali raat re

murjhaaye phoole pe haaye
koi bhanwra kab aata hai
murjhaaye phoole pe haaye
koi bhanwra kab aata hai
apne tan ka saaya bhi to
din dhalte chhup jaata hai
koi na dewe saath re ae
kaajal kaali raat re

aaj ye ooncha neela ambar
sulag raha hai angaaron mein aen aen aen
aaj ye ooncha neela ambar
sulag raha hai angaaron mein
yaa mere apne hi aansoo
chhalak rahe hain in taaron mein
bin saawan barsaat re
kaajal kaali raat re


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 : 3700 Post No. : 14620

HFM Songs Statistics by Year – 5
————————————————–
Year 1936
—————–

Aha, the delay in posting caught the celebration. Today we are onto the 3700th day of this blog’s existence. Just having crossed the ten year mark recently, here is one more celebration today – 37th century of number of days of this blog. Congratulations and congratulations to all. 🙂

Coming back to this series after a haitus of, oh my goodness, almost three years. I can’t believe that the last episode of this series was published way back on 25th November, 2015. Wo. . .

OK, getting back into gear again. The year in 1936. It has been five years since the films found their voice.  And twenty five years since the moving pictures made their first entry into India. Ah yes, 1936 – we are now on to the silver jubilee year of motion pictures in India.

These were the heady and formative years of the talkie cinema in India. After cautious and suspicious view of the fate of the Hindi film songs in their first two years, i.e. 1931 and 1932, the film producers started to take initiative and ventured out to start recording more and more songs on gramophone records. The propensity of the viewing public to appreciate the film music enough, to start singing these songs in real life, and also an expressed demand to listen to these songs once again – these two factors led the producers to start delivering the film song on gramophone records. Of course, the additional revenue stream was a prime attraction for them. But as a result, what got initiated is an inadvertent effort to preserve this music. The numbers may not have been much, but it was a great beginning. 1934 and 1935 saw more and more of film songs getting published on shellac records.

This had a significant transformative impact on the Hindi film music. The industry was coming to realize the importance and the impact of the film song and music. And hence, we progressively see a greater effort being devoted to the music and song department. In the mid 1930s, we see two very significant directions in which the music progressed. The first was the simplification of the music itself. Coming in from the theatre mode and into the cinema, the music was very strongly rooted in the classical mold. However, as we see the rise of the Hindi film song, and its popularity amongst the viewing, and also, listening public, we see a basic transformation in the music itself – a move towards simplifying the music, and making it more accessible to as well as acceptable by the general public. Music started being recognized as something not just to be listened to and appreciated in ‘mehfils’ and ‘gaayans’ by a select coterie of connoisseurs. That the music would be popular with and will be appreciated by the general public, was a recognition with the coming of the Hindi film song. And so, the composers and music directors started to simplify the music such that it would make inroads into the hearts of the general public, and on to the lips from the hearts.

In many film and music reviews that we read from yesteryears, we find a phrase or its variation – “फलां फिल्म के गाने गली गली में सुने जाने लगे” – “the songs of such-and-such film could be heard in every street and alley”. That, I think, is the success of the composers to bring the music from its pure classical plane to a level where it would appeal to the person on the road. No, I am not at all saying that the music was made pedestrian. It was actually a very qualitative change in creating this music. It became what was later to be termed as ‘सुगम संगीत’- music for easy listening. And of course, it won a million hearts, and continues to capture the fancy of oncoming generations. Just the fact that the music from those decades still has an attraction to hold a person’s interest and appreciation – tells us volumes about the effort the song creators put into this endeavor, to ensure that the listening public would be smitten. And smitten we are – even to this day and this era.

The second aspect was a dictate of the technology. The accepted standard of the 78 rpm record could hold approximated three and a half minutes of recording. As more and more producers and production houses made decisions to release their music on records, this duration (or in some cases, its multiple) became an accepted length of the film song. And so, the challenge that the song creators had was to express what had to be expressed, convey what had to be conveyed, and meet a standard of longevity and retention in memory in just three and a half minutes. And the measure of their success – I am sure beyond their own wildest dreams – is that their creations continue to be loved and revered even after close to a century later. They were the wizards that created this lasting magic settled into the hearts of innumerable listeners.

The era of the song artists – song writers, composers and singers – getting established as institutions, was still some years off. But we do see the rise of the singer-actor icon – KL Saigal, who had already made his singing debut back in 1932. ‘Devdas’ had already happened in the previous year (1935). That iconic film once and forever transformed the image of the romantic hero, that lasts to this day. And it was the first film of its kind in which the music and songs played such a significant role in a romantic relationship. Still continuing to work at New Theatres in Calcutta (now Kolkata), the star of Saigal was rising as the first song artist being recognized as an institution.

The voice of Saigal Sb appeared in two movies this year – ‘Pujaarin’ (MD – Timir Baran) and ‘Krorepati’ (MD – Pankaj Mullick), both from New Theatres. Besides these two, New Theatres had two more releases – ‘Manzil’ and ‘Maaya’ (MDs – Pankaj Mullick and RC Boral).

Bombay Talkies released the iconic ‘Achoot Kanya’ with music by Saraswati Devi. The song “Main Ban Ki Chidiya. . .” was that type of song that was heard in “गली गली”. But wait, before we talk about this film, we must talk about another film (released somewhat earlier in the year, also by Bombay Talkie) – ‘Jeevan Naiya’. This latter film was the debut film of an unwilling actor – Ashok Kumar. Working as a lab technician in Bombay Talkies, this young man was forced into acting roles, but then he took to this career like fish to water. And he sang – in his debut film – a song to be remembered forever – “Koi Humdum Na Raha, Koi Sahaara Na Raha”. And very interestingly, the later to be renowned SN Tripathi, made his debut as a singer in this film under the baton of Saraswati Devi.

V Shantaram and Prabhat Studios released ‘Amar Jyoti’ this year. A film that told the story of Saudamini, a female pirate captain – was decades ahead of its times, in the manner in which it dealt with the subject matter and the technological aspects. The film represented India at the Venice Film Festival that year. Prabaht and V Shantaram released another film this year, which added a new term to the Indian cinematic reporting – ‘golden jubilee’. ‘Sant Tukaram’ goes on record as the first Indian film to play continuously for more than 50 weeks. The popularity of this film is legendary. There are stories about people and groups of people who would travel tens or hundreds of miles from their villages, sometimes on foot, to go see this film in the nearest town with a cinema. It is reported that ordinary people would say prayers and offer flowers to the posters of this film depicting Vishnupant Pagnis in the title role. Also sent to the Venice Film Festival, this film was applauded as one the best three films of the year, at the festival.

Singer actor Surendra Nath made his debut this year in the film ‘Deccan Queen’. His rendition of “Yaad Na Kar Dil e Hajeen Bhooli Hui Kahaaniyaan…” is a song that has lasted in history. Music directors Dhamman Khan, SN Tripathi and Ashok Ghosh made their entry into film music direction this year.

This was a time when the literary writers started gravitating towards cinema. Scholarly and established poets and authors like Zia Sarhadi, Asghar Husain ‘Shor’, Aarzoo Lakhnawi made their debuts in songwriting in Hindi films. Jaddanbai, who had made her debut as a music director in the previous year (1935) made her entry in the realm of song writing, when she penned the songs for ‘Madam Fashion’ this year.

Other important films of this year are

  • ‘Sunehra Sansaar’ from East India Company, directed by Debaki Bose
  • ‘Deccan Queen’ and ‘Manmohan’ from Sagar Movietone, both directed by Mehboob
  • ‘Jai Bharat’ from Wadia Movietone starring Sardar Mansoor and Husn Bano
  • ‘Passing Show’ from Prakash Films starring Jayant and Padma Devi
  • ‘Saeed e Hawas’ from Minerva Movietone directed by Sohrab Modi
  • ‘Maa’, produced and directed by Prafulla Ghosh; the song “Vande Maatram” appeared for the first time in cinema
  • ‘Gareeb Parwar’ or ‘Daya Ki Devi’ was finally allowed to be released this year. Originally made as ‘The Mill’ in 1934 by Ajanta Movietone, Bombay, this film was banned for public release by the British govt, as it was critical of the foreign rule under strong pressure from the powerful Mill Owners Association. This is one the first film that is based on a literary work by the famous Hindi author, Munshi Premchand.
    [Ed Note: The above corrections are based on inputs from dear Arun ji. Please see the comments below.]

A very interesting aside related to music. Wadia Movietone started a very refreshing endeavour. They started making short films on the famous and important classical music stalwarts. These films were shown without any extra charge, prior to the main feature. In that age and time, this was a great service that was rendered by the house of Wadia, both towards cinema and classical music.

Another interesting aside. We see a couple of instances where an earlier very popular film song had been copied. The first instance is the song “Birha Ki Aag Lagi Morey Mann Mein”, sung by Surendra under the baton of Pransukh Nayak. This song was an imitation of the famous “Baalam Aaye Baso Morey Mann Mein” sung by Saigal Sb for ‘Devdas’ in the previous year. Then again, we hear this song in the film ‘Miss Frontier Mail’ – “Gaawo Gaawo Ae Mere Sadhu Sabhi Bhulaawo Gham” – presented as a parody of the famous KC Dey rendition of ‘Jaao Jaao Ae Mere Saadhu Raho Guru Ke Sang”. Possibly the very first parody song of another film song in Hindi cinema.

Other snippets, ‘Seeta Vivaah’ was released as the first film in Oriya. The film ‘Shokh Dilruba’ gained a dubious distinction – with 150 kissing scenes. And IMPPA (Indian Motion Picture Producers Association) was established.

Now for some numbers for this year. As per the Geet Kosh, number of Hindi films that were censored and released is 134. From the available data and song lists, a total of 1,212 songs were created for these films. Once again, as per the information available in Geet Kosh, 136 songs from 34 of these films have been traced as having been published on gramophone records.

  1. Achhoot Kanya
  2. Amar Jyoti
  3. Amar Prem
  4. Baaghi Sipahi
  5. Bhakt Cheta
  6. Chhaaya
  7. Deccan Queen
  8. Do Deewaane
  9. Faulaadi Mukka
  10. Gol Nishan
  11. Jai Bharat
  12. Janambhoomi
  13. Jeevan Lata
  14. Jeevan Naiya
  15. Khyber Pass
  16. Krorepati
  17. Lagna Bandhan
  18. Maa
  19. Maa Ki Mamta
  20. Maaya
  21. Manmohan
  22. Manzil
  23. Miss Frontier Mail
  24. Naseeb Ka Chakkar
  25. Pahaadi Kanya
  26. Piya Ki Jogan
  27. Prem Ki Aag
  28. Pujaarin
  29. Rajput Ramani
  30. Romantic India
  31. Snehlata
  32. Sunehra Sansaar
  33. Tope Ka Gola
  34. Village Girl

In addition to the above films, based on information exchanged between the circle of collectors of this music, we have songs available from 9 more films. These are,

  1. Kimiagar
  2. Sipahsalaar
  3. Struggle
  4. Aakhri Galti
  5. Aseer e Hawas
  6. Bandits of the Air
  7. Gunehgaar
  8. Laylo Nihaar
  9. Noor e Wahdut

The song being presented with this post is from the 1936 film ‘Bandit Of The Air’ aka ‘Hawaai Daaku’.

This film has an important distinction – that it is the only one film of actor KN Singh, in which he appeared as the hero opposite to Ram Pyaari. On 1st September, just three days ago, was the birth anniversary of this ‘baddie’ cum character actor in Hindi films, with a long innings of over five decades, with more than 250 appearances on the silver screen to his credit.

A top hat, thick and bushy eyebrows – raised in a sinister question, a smoking pipe, and large menacing eyes – a hallmark appearance of this villain that lasted through many decades. His entry into the screen frame always prepared the viewers that someone is going to be bashed, or something evil is going to happen. In an interview, KN Singh recalls the following incident. AR Kardar’s ‘Baaghbaan’ (1938) had been released and KN Singh’s role as a villain had impressed one and all. KN Singh was now working on the sets of a film titled ‘Kaun Kisi Ka’ (1939). Yakub, who was then working with Sagar Movietone and was also a known villain actor, happened to come by to the same studio. Seeing KN Singh, he greeted him as “Hello King”. KN Singh responded to his greeting and said that his name is ‘Singh’ and not ‘King’. Yakub replied, “हम तो तुम्हें किंग ही कहेंगे। हम तो बस यही कहने आए हैं कि हमने अब विलेन का काम करना छोड़ देना है। अब तो गोप के साथ कामेडी किया करेंगे। क्योंकि तुम्हारी तरह हम चल नहीं सकते। तुम्हारे चल के आने में ऐसा लगता है के मुसीबत आ रही है।” (“I will call you as King only. I just came by to say that I am now giving up playing villain roles, and will join Gope and do comedy. Because I can’t even walk like you. When you walk into a scene, it seems as if some calamity is arriving”).

KN Singh was the eldest of five siblings, children of Chandi Prasad Singh, a well known advocate in Dehradun. When he was born on 1st September, 1909, his parents first named him ‘Niranjan’. Then, Chandi Prasad’s guru ji came home to bless the child, and he said – “Krishn has come to your home”. So then the complete name of child became Krishn Niranjan Singh – later to be abbreviated as KN Singh. He studied at La Martenier and Cambridge Schools in Dehradun. His father wanted to send him to London to study law, because he wanted his son to follow in his footsteps. But then a certain event happened that changed the course of life for KN Singh. A murder case came to his father. The accused was a well known rich man of Dehradun. It was a crime of passion, and a lady had been put to death. Chandi Prasad Singh was successful in getting the accused acquitted, by producing some fake train tickets to establish that the accused was not in Dehradun when the crime was committed. This falsification effected KN Singh so much that he prayed his father to relieve him of the promise of becoming a lawyer, because he would never be a party to such lying and deceit. There was a falling out and he left home and Dehradun.

With a friend he travelled to Lahore, and then to Gujranwala. There he setup a cloth printing workshop, that put prints on khadi cloth. The work was good and he soon set up another print workshop in Lahore. Then, in collaboration with another friend, he established a coaching school for students in Roorkee – K&D Tutorial Institute. In 1930, he was asked to return to Dehradun, and his parents got him married. This first marriage did not last long, as his wife unfortunately passed away in 1932. KN Singh stayed on in Dehradun.

In 1935, he went to Calcutta to visit his sister, who had shifted to Calcutta after her marriage. Now, in Dehradun, KN Singh was friends with Nityanand Khanna, a person who turns out to be a cousin of Prithviraj Kapoor. This was the time that Prithviraj was working with New Theatres in Calcutta. So KN Singh met Prithviraj and they became good friends. At Prithviraj’s residence, one day KN Singh happened to meet Debaki Bose. Debaki Bose suggested to him to become an actor. KN Singh, at first, tried to let it go as an exchange in lighter mood. He returned to Dehradun. But that suggestion kept sitting as a worm at the back of his mind. Sure enough, after a short while, he was back in Calcutta. With the help of Prithviraj, Debaki Bose cast him in the role of a doctor in the film ‘Sunehra Sansaar’ (1936). The film journey of KN Singh had started.

Very soon, the word got around the Calcutta film circles about this handsome young man from Dehradun, who could speak Urdu very well. Modern India Talkies were looking for a new face to be the hero in their next venture – ‘Bandit Of The Air’ aka ‘Hawaai Daaku’. With the promise that he would not be required to sing or jump around the trees, KN Singh agreed to take on that role. That film was also released in 1936. Meanwhile New Theatres again offered him a role in their film ‘Anaath Ashram’ (1937). This role was once again a villain’s role. Next came ‘Vidyapati’ and then ‘Milap’, both in 1937. Incidentally, ‘Milap’ was a production from Moti Mahal Theatres in Calcutta, and was produced and directed by AR Kardar himself.

His second marriage happened in 1937. He merrily describes the episode. The shooting for ‘Vidyapati’ was in progress, and he was summoned to Dehradun for getting married. In the midst of the shooting schedule, he asked for a two days reprieve, went home, got married and promptly returned to the studios, as the sets were still in place and some scenes were waiting for his return. With good humor he explains, there is a scene in the film in which he is shown about to enter the royal court of Prithviraj Kapoor. After this scene is shot, he takes leave to go home for his marriage. Then returns after two days and completes the rest of the shot of the royal court. As he explains, just before entering the ‘darbaar’  he is an unmarried person, but in the very next scene as he is inside the ‘darbaar’ and present in front of Prithviraj Kapoor, he is a married man. None in the industry would have had such a swift wedding affair, he laughs.

His presence in the film industry was being noticed seriously. AR Kardar invited him to come over to Bombay, and take on the villain’s role in his upcoming ‘Baagbaan’ (1938). After the release and success of ‘Baagbaan’ – there really was no looking back. The film went on to celebrate a golden jubilee, and KN Singh was typecast as a villain forever.

After KN Singh moved to Bombay in 1938, slowly the exodus started from Calcutta in general, and New Theatres in particular. Majority of the film artists and film music makers also migrated slowly to Bombay. Impacted by the great famine in Bengal, the closing years of the world war II, contributed to a general slowdown of the economy, and the film industry in Calcutta.

After coming to Bombay, KN Singh settled into his career as a villain cum character actor in the Bombay world of cinema. After the golden jubilee success of ‘Baaghbaan’, Ezra Mir cast him in ‘Sitaara’ (1939). Arriving in Bombay, he worked himself into the top bracket of the highest paid character actors in the industry. And with the coming of most of his old friends from Calcutta, he felt quite at home now in his flourishing career.

In Calcutta, while at New Theatres, KN Singh also became very good friends with KL Saigal. In an interview he once refreshed his old memories of the days when most of the cream of Bombay industry used to stay within a 20 to 30 minutes walking distance from each other in Central Bombay. The camaraderie within this group consisting of Prithviraj Kapoor, Shyam, Om Prakash, KN Singh, Bhagwan, Jairaj, Nargis, Kidar Sharma, KL Saigal, Madan Puri, Jagdish Sethi, Manmohan Krishan, PN Arora, Robin Chatterjee, Sitara Devi, Jayant, Anil Biswas, Dronacharya, Manna Dey, Phani Mazumdar, Brijrani, Dwarka Khosla, PN Khanna (these are the names he himself has mentioned in the interview) was of a very fond friendship. There would be frequent get-togethers and picnics, and friends would drop in unannounced, into each other homes, as well as at work in studios. He cites specifically the scene from ‘Awaara’ (1951), which is the final confrontation between Raj Kapoor and KN Singh, and in which the latter dies at the end of the scene. KN Singh is brandishing a knife, and it is supposed to fall out of his hands and come in Raj Kapoor’s possession. While the action steps were being discussed, Bhagwan Dada dropped in unannounced into the studio. Having been a stunt master earlier, he got involved into the discussion, and suggested how the scene should be executed. Raj Kapoor took that suggestion very sportingly and the scene was shot as suggested by Bhagwan Dada.

Another interesting anecdote he tells is about the film ‘Ishaara’ (1943). The lead pair was Prithviraj and Suraiya, and KN Singh was playing the role of the hero’s father. Now Prithviraj was three years elder to KN Singh. So, says KN Singh, that he formally asked for permission from Prithviraj to take on that role, because in this role he would be scolding and berating his elder cast member. The times, yes, they were different in that era.

Close to end of 1946, an ailing KL Saigal left Bombay for the last time, proceeding to his hometown Jalandhar for treatment and recuperation. He was not destined to return. It is significantly noted in many articles and information pieces – there were only two people to see him off a the Bombay station – one was his driver and the second person was KN Singh. The film ‘Parwaana’ (1947) was still under production and both Saigal Sb and KN Singh were working in it. Providentially, KN Singh is the last person of the film industry who would see Saigal Sb alive.

KN Singh’s inning in the film industry lasted well into the early nineties, a great run of more than five and half decades. The last released movie in which he appears is most likely, ‘Ajooba’ from 1991. He has worked with most actors – starting with Mazhar Khan, Prithviraj and KL Saigal, all the way upto Dharmendra, Amitabh, Rajesh Khanna, Jeetendra and Shashi Kapoor. In his later years he was troubled with failing eyesight, and was quite a bit on his own, alone and forgotten. Most of his old friends were gone by then. He passed away on 31st January, 2000.

A gentleman villain, as opposed to the angry gangster boss, his enduring image is that of a white collared villain, dressed in a fine suit and bow tie, smoking a pipe, with a menacing glance and a calm cold delivery. He was a stickler for discipline and punctuality. It is said in the industry that in his later years, like 1970s and 1980s, producers would cast him in cameo roles, just so that other members of the cast would come to the studio on time, knowing that KN Singh is also part of the team.

Time to come to the song – 🙂 . This song is the only song that is traceable in public domain, for the film ‘Bandit Of The Air’ – ‘Hawaai Daku’; the only one film in which KN Singh made an appearance as a hero, on the promise that he will not be required to sing or dance. 🙂

This film was produced under the banner of Modern India Talkies, Calcutta, and was directed by AR Chaudhry. The story of the film was written by AR Chaudhry himself. The star cast listed for this film is Ram Pyari, KN Singh, Mazhar Khan, Hashmat, Manzari, Adhar Singh, Tila Mohammad, OP Sharma, MC Kazi, Faiz Mohammad, Bachu, Poornima, Pratibha, and Master Vilayatu.

For this film, 11 songs are listed in the Geet Kosh. Music director is Motilal Nayak. The names of songwriters and singers are not identified. I request other knowledgeable readers and friends to please add more information about this song and this film.

A rare song that was created more than eight decades ago. It has been uploaded by Shalin Bhatt ji.
Listen and enjoy.

[Ed Note: This rather longish article which has been in preparation for many months now. KN Singh’s birth anniversary drove it to completion. 🙂 I have adapted material from the following sources for this article.

  • Articles on KN Singh – three print articles provided by dear friend Shri Harish Raghuvanshi ji, from Filmfare, Jansatta, and one more publication.
  • ‘Hindi Cinema – Sadi Ka Safar’ (Hindi Cinema – Journey of a Hundred Years); written by Shri Anil Bhargav
  • ‘Seventy Five Years of Indian Cinema’; by Shri Feroze Rangoonwala
  • ‘Hindi Film Sangeet – 75 Varshon Ka Safar’ (Hindi Film Music – Journey of 75 Years); written by Shri Anil Bhargav
  • Information on songs availability, supplied by Shri Girdhari Lal ji Vshwakarma, (Jodhpur) and Zafar Bhai (Delhi).
  • Hindi Film Geet Kosh Vol. 1 (1931-1940); compiled and annotated by Shri Harmandir Singh ‘Hamraaz’

]


Song – Sona Lene Piya Gaye Soona Kar Gaye Des (Bandits Of The Air) (1936) Singer – [Unknown Female Voice] , Lyrics – [Unattributed] , MD – Motilal Nayak

Lyrics

sona laane piya gaye
soona kar gaye des
sona laane piya gaye
soona kar gaye des
sona mila na piya miley
sona mila na piya miley
roopa bhayo kes
sona laane piya gaye
soona kar gaye des

main birhan ab kab tak tadpoon
tooti mann ki aas
praan pakheru kaise udd kar
pahunchen pee ke paas
pahunchen pee ke paas
loot liya mujhe is maaya ne
haaye badal ke bhes
sona laane piya gaye
soona kar gaye des

aankh se aansoo hardam barsen
jaise ho barsaat
kathin hui hai mujh birhan par
dukh ki kaali raat
koi sunaa de unko jaa kar
koi sunaa de unko jaa kar
mera ye sandes
soona kar gaye des

hardam naina neer bahaayen
dil se nikle haaye
praan sahejun piyu ko apne (??)
mann mein rahun chhupaaye
mann mein rahun chhupaaye
un bin tadpun main dukhiyari
lagi hai mann ko thes
un bin tadpun main dukhiyari
lagi hai mann ko thes
sona laane piya gaye
soona kar gaye des
soona kar gaye des

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

सोना लाने पिया गए
सूना कर गए देस
सोना लेने पिया गए
सूना कर गए देस
सोना मिला न पिया मिले
सोना मिला न पिया मिले
रूपा भयो केस
सोना लेने पिया गए
सूना कर गए देस

मैं बिरहन अब कब तक तड़पूँ
टूटी मन की आस
प्राण पखेरू कैसे उड़ कर
पहुँचें पी के पास
पहुँचें पी के पास
लूट लिया मुझे इस माया ने
हाए बदल के भेस
सोना लेने पिया गए
सूना कर गए देस

आँख से आँसू हरदम बरसें
जैसे हो बरसात
कठिन हुई है मुझ बिरहन पर
दुख की काली रात
कोई सुना दे उनको जाकर
कोई सुना दे उनको जाकर
मेरा ये सन्देस
सूना कर गए देस

हरदम नैना नीर बहाएँ
दिल से निकले हाए
प्राण सहेजूँ पिया को अपने (??)
मन में रहूँ छुपाए
मन में रहूँ छुपाए
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
उन बिन तड़पूँ मैं दुखियारी
लागि मन को ठेस
सोना लेने पिया गए
सूना कर गए देस
सूना कर गए देस


This article is written by Gajendra Khanna, 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 : 3650 Post No. : 14493

ASAD 10th Anniversary Celebrations – 7
———————————————————————

Time has the notorious habit of sometimes standing still and at other times simply flying by. It is a really momentous occasion that our beloved blog is completing one decade! Sometimes feels like just yesterday when one ended up on the blog in search of a song. The hard work and dedication put in by Atul ji with able support by Sudhir ji and our other atulites has probably been unparalleled in music related documentation and archiving. Many long forgotten songs and artists have been granted a new audience thanks to this wonderful blog of ours. The hard work being done is really appreciable and every bit of the applause that can be given is too small compared to the single minded effort being put into making the blog even better day by day.

For a blog that started with a Song a Day promise has regularly seen many more than one posts per day. Hardly any week goes by when something really new to us doesn’t turn up here! Its an awe inspiring journey which we are all glad to be part of in our own small ways. Salutes to the captain of the ship, Atul ji for all that you have done. You’re an inspiration to all of us and your passion indeed ignites that fire in all the others as well.

Contributors from India and abroad have made it all the more richer. Things can only get better and its heartening to see the blog crossing one milestone after other. The blog is more than just a blog and indeed is part of our lives everyday! Atul ji deserves at least a Padma Shri for this humongous dedicated and continuous effort!! In spite of packed days at work and transfers now and then, this karwaan has continued. Wish it many more decades of joy and enlightenment. Thanks a lot Atul ji and all other friends for making this happen!  I am blessed to have met you all and found lifelong friends in you. Praying for many more decades of happiness and togetherness!

For today’s post I have chosen a song which I adore. I discovered it when the movie was released. Though the movie didn’t get much adulation at the box office, its music was quite appreciated. The sentiment is a bit like mine for our unique blog whose parallel cannot be there. The artist who features in all the song’s credits is versatile and talented like our friends here. It’s a real pity that we have not seen him getting more opportunities in Hindi films in spite of the stellar contribution in the form of this film’s music. This artist is the composer, singer and the lyricist of this song. Quite an all rounder! Let me discuss a bit about his musical journey so far.

The artist I am talking about is called Rabbi Shergill. Rabbi was born in 1973 at Delhi. He was named as Gurpreet Singh Shergill but is popularly known by his stage name of ‘Rabbi Shergill’. His father was a Sikh preacher and his mother was a school principal who also wrote poetry in Punjabi. He has four sisters, one of whom, Gagan Gill is a Hindi poet. After completing his graduation from Delhi University, he formed a band called ‘Kaffir’ for some time. After that wrapped up, He also composed for some jingles for companies like Yamaha RX-T motorcycles and Times FM. He worked with Sony Music and Tehelka for sometime. He made his debut with the popular self-titled album Rabbi. Thanks to word of mouth its popularity soared particularly that of “Bulla Ki Jaana” written by Baba Bulle Shah whose video was shown on TV request programmes a lot. The album also had “Heer” written by the great Waris Shah and “Ishtehaar” written by the famous Punjabi  poet Shiv Kumar Batalvi. The other songs of the album were written by Rabbi himself. I still remember the CD which had all the lyrics and their meaning written on it.

This CD album sparked the craze for more Punjabi folk songs, other than just bhangra. The style has been called Folk Rock or Sufi Rock thanks to the influences on his music. His songs have since been known for their emotive content and meaningful words with spiritual leaning often taking from our sufi, folk and poetic traditions. As an India Today interview by Smita Mishra sums it, “He has not only revived the poetry of brilliant poets of yesteryears, but has also contributed as a literary genius in creating lyrics that are sublime expressions of deep thought and spiritualism.” The same year, he sang a song “Laundiya Ke Pallu Mein” for the movie ‘Waisa Bhi Hota Hai Part-II” but it was not noticed, while its other songs “Allah Ke Bande” (first song of Kailash Kher) and “Sajna Aa Bhi Ja” by Shibani Kashyap rising the charts. He also wrote and sang a song “Aa Yaaran” for the album ‘Let’s Enjoy’ (2004) which had music by Midival Punditz and Ashvin Mani Sharma.

In 2007, he also composed for the movie ‘Delhi Heights’, of which I’ll talk later (from which today’s song is taken). In October 2008, Shergill released his second album ‘Avengi Ja Nahin’ under the label of Yashraj Music. The album contains nine songs and deals with issues like communal violence, social responsibility and the need for “collective morality”The song “Pagdi Sambhal Jatta” from it was well received, which talked of history and heritage. He also appeared in MTV Unplugged (India) in 2011.

He lent his voice to Yash Chopra’s 2012 romantic film ‘Jab Tak Hai Jaan’ singing the leading number “Chhalla” composed by AR Rahman with lyrics penned by Gulzar. In March 2012, he released his third album ‘Rabbi III’. Ganga was the song whose video was released and appreciated by some.  In 2013, AR Rahman sang a duet “Tu Mun Shudi” with him for his movie ‘Raanjhana’ whose lyrics were written by Irshad Kaamil.

Some of these later works have not been very popular and sadly, we are not seeing much of Rabbi Shergill since a few years. He does have a YouTube channel but its not very active (In last 3-4 years only one or two songs are released on it). In 2013, on it he had released his single “Tun Milen – The Ghost of LSD” whose chorus is adapted from the poem ‘Tur Giaa Koi Dil Ch Lae Ke Saadgi’ by the troubled Punjabi poet Late Lal Singh Dil which was also released on his own O3 Records.

In 2007, Rabbi made his debut with the movie ‘Delhii Heights’ for which he wrote the lyrics and composed the music along with singing in 3 of its 6 songs. This film was made under the banner of Sivaji Productions. Old timers will be familiar with this banner thanks to its founder and famous actor Sivaji Ganesan. It is known majorly for its Tamil films but it had produced Hindi films also. Its first Hindi film was ‘Amardeep’ in 1958 and their other movie was ‘Raakhi’ in 1962.

Sivaji Productions is now being managed by the late actor’s son Prabhu Ganesan (from his wife Kamala). Prabhu Ganesan is also a well known actor in Tamil films. He had made his debut in a supporting role in ‘Sangili’ (1982) which was a Tamil remake of movie ‘Kaalicharan’ where his father reprised the famous double role of Shatrughan Sinha.  Newer audiences may be remembering Prabhu’s roles in ‘Vasool Raja MBBS’ (Tamil remake of Munna Bhai MBBS), ‘Billa’ and ‘Chandramukhi’ (which was also produced by him) among other movies. He is of course also famous for being in a live in relationship and then being married briefly to superstar actress Kushboo. His son Vikram Prabhu is also an actor in Tamil films who got critical acclaim with his debut movie ‘Kumki’ in 2012.

‘Delhii Heights’ is set in Delhi. It is written-directed by Anand Kumar for whom this was the first movie too just like Rabbi. It features Jimmy Shergill, Neha Dhupia, Om Puri, Rohit Roy, Simone Singh, Vivek Shauq and Kamini Khanna. Madhavan made a guest appearance in the movie. Screenplay-dialogue by Sanyukta Chawla, cinematography by Aatish Parmar, art by Sonal, editing by Shrikar Prasad, costumes by Hari Nakai and Varun Bahl, choreography by Remo D’Souza and stunts by Action Prakash are the other credits. The plot of the film is as follows,

Delhii Heights is a high-rise apartment building in Delhi, where Abi (Jimmy Shergill) and his wife (Neha Dhupia) live – a married couple who work for rival companies. It’s about how their professional lives affect their personal lives. In the same building, there lives Timmy Kohli (Om Puri), a fun loving Sikh, with his wife Ruby (Kamini Khanna) and two daughters, Sweety (Sakshi Gulati) and (Shaina Ahluwalia). Then there is Bobby (Rohit Roy) and his wife Saima (Simone Singh). Bobby is a compulsive flirt and his wife knows about it. How things take place and how their lives change is to be seen.

Then there is Lucky (Vivek Shauq), a cricket bookie, a hilarious character in itself. Also, there is a group of four boys living in the same complex, three of whom are identified as Mohit Sehgal, Anuj Sachdeva and Kinshuk Mahajan. They keep running after girls and pulling each other’s legs. How the lives of these residents at Delhii Heights play out is what the film is about.

The director who himself is from Delhi tried to bring out the Delhi vibe in the movie. In spite of a good cast, it could not attract enough audience and was unfortunately a financial disaster because of which its music did not get the attention it deserved. With the song chosen for today, Delhii Heights makes its debut on the blog.

The song from the film which I present today is “Tere Bin Saanu Sohneya Koi Hor Nahiyon Labna”. It’s a very sweet ballad sung, written and composed by Rabbi Shergill. With this song Rabbi makes his debut as a lyricist, singer and composer on the blog. The song is very sweet and romantic which touches your heartstrings. Portions of it make one really emotional (as we are on this momentous occasion) and the deep meaning can make one speechless. It reminds one of loves lost but still cherished. It is capable of bringing tears to eyes effortlessly giving a bitter-sweet feeling where one is overwhelmed by the love but also thankful for it. It’s a perfect ode to love that can be found in life rarely and is very soothing in a way as well. The choice of words is very apt and beautiful. Rabbi must know what love is and lucky is the one who has the kind of love described in the song.

Its written in Punjabi and thus, it becomes the first Punjabi song from a Hindi film on the blog (earlier we had three shabads/bhajans on the blog which are not from Hindi films). I thought it would be apt to also put the Gurmukhi lyrics with this post too and this makes it the first Gurmukhi lyrics to be posted on the blog. I acknowledge the help received from Surjit Singh ji of the GeetSangeet Facebook Group who helped me with some of the spellings and words. With the Devanagari lyrics, this is probably the first trilingual lyrics on the blog too.

For the help of non-native Punjabi speakers I am adding the meanings of the wonderful lyrics below with the Punjabi transliteration and translation in English,

 

tere bin saanu sohneya Other than you my (beautiful) love
koi hor nahiyon labna I will not find anyone else
jo deve rooh nu sakoon Who will give peace to my inner soul
chuke jo nakhra mera Who will indulge me
ve main saare ghoom ke vekheya I have gone and seen it all
amreeka, roos, malaysia America, russia and malaysia
na kitthe vi koi fark si There wasn’t any difference anywhere
har kise di koi shart si Everyone had some conditions for me
koi mangda mera si sama Some wanted my time
koi honda surat te fida Some were fascinated by my face
koi mangda meri si wafa Some wanted my fidelity (sincerity)
na mangda koi meriyaan balaaan No one wanted my demons (ills)
tere bin hor na kise mangni meriyaan balaan No one else other than you wanted my demons (ills)
tere bin hor na kisekarni dhoop vich chhaan No one other than you will give me shade in the scorching sun
jiven rukeya si tu zara The way you had slightly paused (stopped a bit)
nahiyon balna main saari umar I cannot burn like that (inside) all my life
jiven aakheya si akhaan chura The way you had said without meeting my eye
“rovenga sanu yaad kar” You will cry when you remember me
asi hass paye haasa ajeeb I had laughed in a strange way
par tu nahi si hasseya But you had not laughed
dil vich tere jo raaz si The secret which was in your heart
mainu tu kyon nahi dasseya Why didn’t you tell it to me
tere bin saanu ahe raaz kise ho rnahiyon dasna Other than you who can tell me that secret
tere bin peed da ilaaj kis vaid kolon labna Without you which druid will find the cure for this pain of mine
mileya si aj mainu I had found today
tera ik patra A note of yours
likheya si jis ‘te tu On which you had written
sher warey (waris) shah da A couplet originally written by waris shah
parh ke si osnu hanju ik duleya After reading it a teardrop fell from my eyes
akhan ‘ch band si ai raaz ajj khulia It was revealed that it was hiding in my eyes all this while
ki tere bin ai mere hanju kise hor nahiyo choomna That no one else other than you will kiss away my tears
ki tere bin ai mere hanju mitti vich rulna That without you these teardrops of mine will only end up falling on earth and getting lost in it

 

The lyrics on first look seem so romantic. However, I read somewhere that Rabbi had written the song remembering his father which gives a whole new meaning to the song.

The song is primarily picturised on Jimmy Shergill and Neha Dhupia. One also gets a view of some sights of Delhi in the song as well! It’s a pity the industry hasn’t used his skills much. His songs have deep layers of meaning compared to some other prolific contributors of Hindi Cinema.


Song – Tere Bin Saanu Sohneya Koi Hor Nahiyon Labna (Delhi Heights) (2007) Singers – Rabbi Shergill, Lyrics – Rabbi Shergill, MD – Rabbi Shergill

Lyrics

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

ve main saare ghoom ke vekheya
amreeka, roos, malaysia
na kitthe vi koi farq si
har kise di koi shart si
koi mangda mera si sama
koi honda surat te fida
koi mangda meri si wafa
na mangda koi meriyaan balaan
tere bin hor na kise
mangni meriyaan balaan

tere bin hor na kise
karni dhoop vich chhan

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

jiven rukeya si tu zara                                  
nahiyon balna main saari umar
jiven aakheya si ankhaan chura
“rovenga sanu yaad kar”
asi hass paye haasa ajeeb
par tu nahin si hasseya
dil vich tere jo raaz si
mainu tu kyon nahi dasseya
tere bin saanu ahe raaz
kise hor nahiyon dasna

tere bin peed da ilaaj
kis vaid kolon labna

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera

mileya si aj mainu
tera ik patra
likheya si jis ‘te

tu sher waarey (waris) shah da
parh ke si os nuh
hanju ik duleya

akhan ‘ch band si
ai raaz ajj khulia

ki tere bin ai mere hanju
kise hor nahiyo choomna

ki tere bin ai mere hanju
mitti vich rulna

tere bin saanu sohneya
koi hor nahiyon labna

jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna
jo deve  rooh nu sakoon
chuke jo nakhra mera
tere bin saanu sohneya
koi hor nahiyon labna
jo deve rooh nu sakoon
chuke jo nakhra mera. . .
tere bin saanu sohneya
koi hor nahiyon labna
jo deve rooh nu sakoon
chuke jo nakhra mera

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

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

वे मैं सारे घुम के वेखेया
अमरीका, रूस, मलेशिया
न किथे वी कोई फर्क सी
हर किसे दी कोई शर्त सी
कोई मंगदा मेरा सी समा
कोई होंदा सूरत ते फिदा
कोई मंगदा मेरी सी वफ़ा
न मंगदा कोई मेरियाँ बलाँ
तेरे बिन होर न किसे
मंगनी मेरियाँ बलाँ
तेरे बिन होर ना किसे
करनी धुप विच छाँ

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

जिवें रुकेया सी तूं ज़रा
नहियों बलणा मैं सारी उमर
जिवें आखिया सी अंखियाँ चुरा
“रोवेंगा सानूँ याद कर”
असि हास पये हासा अजीब
पर तूं नहीं सी हसेया
दिल विच तेरे जो राज़ सी
मैंनूं तूं क्यों नहीं दसेया
तेरे बिन सानूं एह राज़
किसे होर नहियों दसणा
तेरे बिन पीड़ दा इलाज
किस वैध कोलों लबणा

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

मिलेया सी अज मैंनूं
तेरा इक पत्रा
लिखेया सी जिस ते तूं
शेर वारे (वारिस) शाह दा
पढ़ के सी ओसनूं
हंजू इक डुलेया
अंखांच बंद सी
ए राज़ अज खुलेया
कि तेरे बिन ए मेरे हंजू
किसे होर नहियों  चूमणा
कि तेरे बिन ए मेरे हंजू
मिट्टी विच रुलणा

तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा॰ ॰ ॰
तेरे बिन सानूँ सोहणेया
कोई होर नहियों लबणा
जो देवे रुह नूँ सकून
चुके जो नख़रा मेरा

———————————————————
Gurmukhi script lyrics (Provided by Gajendra)
———————————————————

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਵੇ ਮੈਂ ਸਾਰੇ ਘੁੰਮ ਕੇ ਵੇਖਿਆ
ਅਮਰੀਕਾ ਰੂਸ ਮਲੇਸ਼ਿਆ
ਨਾ ਕਿਥੇ ਵੀ ਕੋਈ ਫ਼ਰਕ ਸੀ
ਹਰ ਕਿਸੇ ਦੀ ਕੋਈ ਸ਼ਰਤ ਸੀ
ਕੋਈ ਮੰਗਦਾ ਮੇਰਾ ਸੀ ਸਮਾਂ
ਕੋਈ ਹੋਂਦਾ ਸੂਰਤ ਤੇ ਫ਼ਿਦਾ
ਕੋਈ ਮੰਗਦਾ ਮੇਰੀ ਸੀ ਵਫ਼ਾ
ਨਾ ਮੰਗਦਾ ਕੋਈ ਮੇਰੀਆਂ ਬਲਾ
ਤੇਰੇ ਬਿਨ ਹੋਰ ਨਾ ਕਿਸੇ ਮੰਗਨੀ ਮੇਰੀਆਂ ਬਲਾ
ਤੇਰੇ ਬਿਨ ਹੋਰ ਨਾ ਕਿਸੇ ਕਰਨੀ ਧੁੱਪ ਵਿੱਚ ਛਾਂ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਜਿਵੇਂ ਰੁਕਿਆ ਸੀ ਤੂੰ ਜ਼ਰਾ
ਨਹੀਓਂ ਬਲਣਾ ਮੈਂ ਸਾਰੀ ਉਮਰ
ਜਿਵੇਂ ਆਖਿਆ ਸੀ ਅਖਾਂ ਚੁਰਾ
“ਰੋਵੇਂਗਾਸਾਨੂੰ ਯਾਦ ਕਰ”
ਹਸਿਆ ਸੀ ਮੈਂ ਹਾਸਾ ਅਜੀਬ
ਪਰਤੂੰ ਨਹੀਂ ਸੀਹਸਿਆ
ਦਿੱਲ ਵਿੱਚ ਤੇਰੇ ਜੋ ਰਾਜ਼ ਸੀ
ਮੇਨੂੰ ਤੂੰ ਕਿਉਂ ਨਹੀਂ ਦਸਿਆ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰਇਹ ਰਾਜ਼
ਕਿਸੇ ਹੋਰ ਨਹੀਓਂ ਦਸਣਾ
ਤੇਰੇ ਬਿਨ ਪੀੜ ਦਾ ਇਲਾਜ ਕਿਸਵੈਦ ਕੋਲੋਂ ਲਭਣਾ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ

ਮਿਲਿਆ ਸੀਅੱਜ ਮੇਨੂੰ
ਤੇਰਾਇਕ ਪੱਤਰਾ ਲਿਖਿਆ ਸੀ ਜਿਸ ਤੇ
ਤੂੰ ਸ਼ੈਅਰ ਵਾਰੇ (ਵਾਰਿਸ) ਸ਼ਾਹ ਦਾ
ਪੜ ਕੇ ਸੀ ਉਸਨੂੰਹੰਝੂ ਇਕ ਡੂਲਿਆ
ਅੱਖਾਂ ਚ ਬੰਦ ਸੀ ਇਹ ਰਾਜ਼ ਅੱਜ ਖੁਲਿਆ
ਕਿ ਤੇਰੇ ਬਿਨ ਇਹ ਮੇਰੇ ਹੰਝੂ ਕਿਸੇ ਹੋਰ ਨਹੀਓਂ ਚੁਮਣਾ
ਕਿ ਤੇਰੇ ਬਿਨ ਇਹ ਮੇਰੇ ਹੰਝੂ ਮਿੱਟੀਵਿੱਚ ਰੁਲਣਾ

ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ
ਤੇਰੇ ਬਿਨ ਸਾਨੂੰ ਸੋਹਣਿਆਂ ਕੋਈ ਹੋਰ ਨਹੀਓਂ ਲਭਣਾ
ਜੋ ਦੇ ਫਿਰ ਰੂਹਾਂ ਨੂੰ ਸਕੂਨ
ਚੁਕੇ ਜੋ ਨਖਰਾ ਮੇਰਾ


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

Blog Day : 3648 Post No. : 14486

ASAD 10th Anniversary Celebrations – 4
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Atulites are on a joyous milestone moment, this July 2018, with ASAD completing an admirable journey through 10 years. Thanks to Atul Ji for initiating the journey and being the rock solid foundation and also thanks to contributing writers and innumerable die hard followers.

In every such moment, one looks back with nostalgia, counting occasions that brought joy of revisiting nearly forgotten songs, or joy of finding wonderful gems never heard before, or joy of knowing more about the talented personalities in the field of Hindi cinema and its music. I am no exception. l will be failing if I don’t participate in the celebrations.

I wondered what song I can present to mark the occasion. After sifting through still uncovered songs (a daunting task), I stumbled on this song narrating a nostalgic journey of Sri Krishna to Gokul where he spent his joyous growing years. The journey is a mix of joy and some sadness. What better way to celebrate than presenting a ‘divine’ song from an excellent artiste singing for an award winning movie starring an award winning actress.

The song presented is sung by Shrimati Shubha Mudgal, who makes her first appearance on our blog today. A brief introduction to her

Shubha Mudgal started performing as a Hindustani classical singer in the 1980’s. Hailing from Allahabad, she moved to Delhi for academic studies but continued her interest and training in Indian Classical music. In the 1990s, she started experimenting with other forms of music, including pop and fusion varieties.  Khayal and Thumri are her favourites.

She has won many awards which include National Film award for music direction for non feature film ‘Amrit Beej’, Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, and Padmashri title in 2000.

The song of this post is from the movie ‘Raincoat’ (2004). I would consider ‘Raincoat’ fit be included in the list of best of Indian Cinema. The film won the National film award for best Hindi feature film and was nominated for the Crystal Globe for Best Feature Film at the Karlovy Vary International film festival. The leading lady Aishwarya Rai also won the Zee Cine Award for Critics’ Choice as Best Actress and was nominated for the Filmfare Best Actress Award.  ‘Raincoat’ can easily be Aishwarya Rai’s best performance, that too in a unglamorous role

The story line of the film is as follows,

The film tells the story of two lovers (played by Ajay Devgan and Aishwarya Rai), once engaged but separated by destiny before tying the knot. Ajay later faces financial difficulties. Ajay travels to Kolkata to meet his friends seeking help, and also calls on Aishwarya, during a rainy evening. Aishwarta  is also leading a pathetic life. In this meeting, both of them initially pretend to lead a happy and prosperous life. However, as the encounter progresses and by the time the film comes to a close, each one secretly finds out the truth of the unenviable and miserable lives both of them were leading, post separation.

Ajay before departing leaves whatever he borrowed from friends to meet his own financial difficulties,  under Aishwarya’s bed with a letter.

Later, when he reaches home, in the pocket of his raincoat, he finds a pair of gold bangles and a piece of jewellery that belonged to Aishwarya, along with a letter. She had actually read a letter, written to a friend, that was inside his rain coat revealing his woes.

The film is an adaptation of the famous short story by O’Henry, titled ’The Gift of the Magi’. It is directed by Late Rituparno Ghosh. The lyrics of this song are also credited to him, though I feel it could be from an already existing source. The music is credited to Debajyoti Mishra.

I interpret, this is an allegorical poem, comparing Ajay’s journey to meet his former beloved, with the story of Krishna, now the King of Mathura, returning to Gokul, to meet Radha. But there is a contrast – Ajay’s journey is all melancholic.

This mellifluous ‘divine’ song is raised a notch above when the chorus joins. Recalling the plot, every time I hear this song my eyes go moist.

(Video)

(Audio)

Song – Mathura Nagarapati Kaahe Tum Gokul Jao (Raincoat) (2004) Singer – Shubha Mudgal, Lyrics – Rituparno Ghosh, MD – Debjyoti Mishra
Chorus

Lyrics (based on audio version)

subah subah
suba..a..ah subah

subah subah ka khayal aaj
subah subah ka khayal aaj
vapas gokul chal mathura raj
mathura nagarapati kaahe tum gokul ja..aa..ao
manohar vesh chhod nandraj
sar se utaar ke sundar taj
raj dand chhod bhoomi par waaj
phir kaahe bansuri bajaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

kaun sa anokha geet gaahe pik kool
raj paat jaise aaj bhaye dhool
kaun sa anokha geet gaahe pik kool
birahan laagi phir hriday akool
raaj kaaj mann na lagaao
raaj kaaj mann na lagaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
jaao. . .

pur naari saari vyaakul nayan
kusum sajja laage kantak shayan
pur naari asari vyaakul nayan
raat bhar madhav jaagat bechain
kaahe aadhi rat sarathi bulaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

dheere dheere pahunchat jamuna ke teer
sunsaan panghat mridul sameer
dheere dheere pahunchat jamuna ke teer
khan khan madhav birah madeer
usey kaahe bhool na paao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

tumhri piriya ab poori gharwaali
dudh navan ghivu din bhar khaali
tumhri radha ab poori gharwali
dudh navan ghivu din bhar khaali
birah ke aansoo kab ke
ho..oo kab ke ponchh daali
phir kaahe dard jagao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

————————————–
Devnagri script lyrics (Provided by Sudhir)
—————————————

सुबह सुबह
सुब॰॰ह सुबह

सुबह सुबह का ख्याल आज
सुबह सुबह का ख्याल आज
वापस गोकुल चल मथुरा राज
मथुरा नगरपति काहे तुम गोकुल जा॰॰आ॰॰ओ
मनोहर वेश छोड़ नंदरज
सर से उतार के सुंदर ताज
राज दंड छोड़ भूमि पर वाज
फिर काहे बांसुरी बजाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

कौन सा अनोखा गीत गाये पिक कूल
राज पाट जैसे आज भए धूल
कौन सा अनोखा गीत गाये पिक कूल
बिरहन लागि फिर हृदय अकूल
राज काज मन ना लगाओ
राज काज मन ना लगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
जाओ॰॰॰

पुर नारी सारी व्याकुल नयन
कुसुम सज्जा लागे कंटक शयन
पुर नारी सारी व्याकुल नयन
रात भर माधव जागत बेचैन
काहे आधी रात सारथी बुलाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

धीरे धीरे पहुंचत जमुना के तीर
सुनसान पनघट मृदुल समीर
धीरे धीरे पहुंचत जमुना के तीर
खन खन माधव बिरह मदीर
उसे काहे भूल ना पाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

तुमरी पिरिया अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
तुमरी राधा अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
बिरह के आँसू कब के
हो॰॰ओ कब के पोंछ डाली
फिर काहे दर्द जगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ


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 : 3648 Post No. : 14485

“Poornima”(1965) was directed by Narendra Suri for Roopkala pictures, Bombay. This “social” movvie had Meena Kumari, Dharmendra, Anita Guha, Mehmood, Siddhu, Nazeer Hussain, Durga Khote, Parveen Chaudhary, Sadhana Khote, Raja Nene, Kanu Roy, Kanchanmala, Kesri, Polson, Honey Irani, Bablu etc in it.

The movie had eight songs in it that were penned by four lyricists. Three of these songs have been covered in the past.

Here is the fourth song from “Poornima”(1965) to appear in the blog. The song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Kalyanji Anandji.

The song is picyturised as a background song where a dukhiyaari (what else) Meena Kumari is shown roaming around helplessly with her child. Nazeer Hussain, a perrenial dukhi budhha, is also visible in the picturisation.


O is desh ke rehne waalon (Poornima)(1965) Singer-Lata, Lyrics-Bharat Vyas, MD-Kalyanji Anandji

Lyrics

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani

bichhaaye jo kismat ne kaante
unhen bhi gale se lagaaya
magar haaye re badnaseebi
tere man ko ye bhi na bhaaya
chali aisi aandhi
uthha aisa toofaan
bhikhaaran bani aaj mahlon ki raani
zara sunte jaana ye meri kahaani

bhatakti phiroon aaj dar dar
hai roti bina pet khaali
uchhaale zamaane ne sikke
na roti kisi ne uchhaali
har ek dil hai maila
har ek aankh bhookhi
hawas ne sabhi ka kiya khoon paani
zara sunte jaana ye meri kahaani

ye dharti ka nanha sa munna
hai rahbar tumhaare watan ka
ye maangega jab bheekh tumse
to jhuk jaayega sar gagan ka
magar tumpe phir bhi asar kuchh na hoga
tumhaare liye khel hai zindgaani
zara sunte jaana ye meri kahaani

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani


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 : 3642 Post No. : 14469

“Pyaar Ki Baaten”(1951) was produced and directed by Akhtar Hussain for Nargis Art Concern, Bombay. The movie had Trilok Kapoor, Nargis, Aman, Neelam, Neeru, Rashid Khan, Master Nisaar, H Prakash, Raza Saleem, Maruti, Nazeer, s K Prem, Romani, Pran, Johny Walker, Krishna Kumari, Cuckoo, Maya Kumari, Khursheed, Rafiq Arabi, Radheshyam etc in it.

There were eleven songs in the movie. Eight songs have been covered in the past.

Here is the ninth song from “Pyaar Ki Baaten”(1951) to appear in the blog. This song is sung by Lata. Khawar Zamnaan is the lyricist. Music is composed by Khayyaam.

This “missing the beloved” song is picturised on Nargis.


Huye hain majboor hoke apnon se door(Pyaar Ki Baaten)(1951) Singer-Lata, Lyrics-Khawar Zamaan, MD-Khayyam

Lyrics

huye hain majboor hoke apnon se door
hua mera kya kusoor kuchh samajh na aaye
huye hain majboor hoke apnon se door
hua mera kya kusoor kuchh samajh na aaye

kaisi bhool ki gairon ka kahaa maan ke
dukh le liya hai usey sukh jaan ke
kaisi bhool ki gairon ka kahaa maan ke
dukh le liya hai usey sukh jaan ke
kise apna haal sunaayen re
koi nahin paas mere toot gayi aas
ab raas nahin raas mera dil ghabraaye
huye hain majboor hoke apnon se door
hua mera kya kusoor kuchh samajh na aaye

din khushiyon ke humse rooth gaye
ab apne sahaare sab toot gaye
din khushiyon ke humse rooth gaye
ab apne sahaare sab toot gaye
kise dil ke daag dikhaayen re
koi sune na pukaar hua jeena dushwaar
chhoota dil ka karaar koi kahaan chala jaaye
huye hain majboor hoke apnon se door
hua mera kya kusoor kuchh samajh na aaye


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

Blog Day : 3631 Post No. : 14457

Today 27th June (27th June, 1939 – 4th Jan, 1994) is the 79th birth anniversary of Rahul Dev Burman, whom we fondly remember as ‘Pancham’.

On this occasion here is a song from the 1985 Movie ‘Sitamgar’. Th film was directed by Raj N Sippy for Bikramjeet Films International, Bombay and produced by Bikram Singh Dehal. It had Dharmendra, Parveen Babi, Rishi Kapoor, Poonam Dhillon, Dr. Shreeram Lagoo, Prem Chopra, Jagdish Raj, Gurbachan, Ranvir Raj, Azad, Tilak Mehta, Raj Kaul, Shamsuddin, Nath Kamle, Ved Akash, Ashok Gaekwad, Master Alankar and Baby Geeta. Narendra Nath, Sonia Shania and Sudhir make special appearance in this movie.

Ved Aakash and Pankaj Kharbanda were the Chief Assistant Directors of this movie. Ashok Gaekwad was the Associate Director for this movie. V.N. Mayekar was the editor while Sakharam Borse assisted him in editing. Story and Screenplay of this movie was written by Mirza Brothers and dialogues were written by Dr. Rahi Masoom Raza. The movie was passed by the Censor Board on 08.03.1985.

This movie had six songs written by Majrooh Sultanpuri and composed by RD Burman (Manohari, Babloo and Martin were assistants). Asha Bhonsle, Kishore Kumar and Lata Mangeshkar gave their voices to the songs in this movie.

As the movie makes its debut on the blog today I can select only one song for today’s presentation. Going by the songs of this movie that I have already heard, I can say that some of them are very nice songs.

In 1985 the following movie with music composed by RD Burman were released,

  1. Rahi Badal Gaye
  2. Ram Tere Kitne Naam
  3. Hum Dono
  4. Ek Se Bhale Do
  5. Lava
  6. Zabardast
  7. Sitamgar
  8. Saagar
  9. Alag Alag
  10. Oonche Log
  11. Aawara Baap
  12. Arjun
  13. Hum Naujawan
  14. Shiva Kea Insaaf

From the above list one can easily understand that he was still there composing good music whereas it is said that he was passing through a lean phase and was overshadowed by other music directors during those years in the 1980s. Well, that is the subject for another post and so I am limiting my write-up for this presentation here only.

This movie also falls under one of my objective of ‘movie having the same title’. So far on the blog we have ‘Sitamgar’ from 1958 already launched earlier. As mentioned in HFGK Vol VI movie with same title was also released in 1934 & 1954, making it four times so where movies with same titles have been released. With today’s song, the film ‘Sitamgar’ of 1985 makes a debut on our blog.

Remembering Pancham Da today and his music let us move to the today’ song now. . .

 

Song – Hum Kitne Nadaan The Yaaro (Sitamgar) (1985) Singer – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – RD Burman

Lyrics

ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana
sach hai agar to ek mohabbat
jhooth hai baaki saara fasaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

pad gaye jaise in aankhon pe
zulm ke nafrat ke parde
pad gaye jaise in aankhon pe
zulm ke nafrat ke parde
zindagi tera mujrim hoon main
ho sake to o maaf kar de
andhi raah ke andhe safar mein
beet gaya jeene ka zamaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

ab ye mohabbat ka
ehsaan hai
ye jo thhodi jaan hai mujhme
ab ye mohabbat ka
ehsaan hai
ye jo thhodi jaan hai mujhme
aap hi main jiska qaatil hoon
zindaa wo insaan hain mujhme
ham kitne naadaan thhe yaaron
aaj ye samjhe
aaj ye jaana
sach hai agar to ek mohabbat
jhooth hai baaki saara fasaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

हम कितने नादान थे यारों
आज ये समझे
आज ये जाना
सच है अगर तो एक मोहब्बत
झूठ है बाकी सारा फ़साना
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

पड़ गए जैसे इन आँखों पे
ज़ुल्म के नफरत के परदे
पड़ गए जैसे इन आँखों पे
ज़ुल्म के नफरत के परदे
ज़िन्दगी तेरा मुजरिम हूँ मैं
हो सके तो ओ माफ़ कर दे
अंधी राह के अंधे सफ़र में
बीत गया जीने का ज़माना
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

अब ये मोहब्बत का
एहसान है
ये जो थोड़ी जान है मुझमे
अब ये मोहब्बत का
एहसान है
ये जो थोड़ी जान है मुझमे
आप ही मैं जिसका कातिल हूँ
ज़िंदा वो इंसान हैं मुझमे
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना
सच है अगर तो एक मोहब्बत
झूठ है बाकी सारा फ़साना
हम कितने नादान थे यारों
आज ये समझे …
आज ये जाना …


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 : 3620 Post No. : 14426

“Nisbat”(1949) was directed by S Shamsuddin for Hindustan Art Productions, Bombay. This social movie had Yakoob, Munawwar Sultana, Mirza Musharraf, S Mazhar, Baby Zubeida, H Prakash, Sofia, Jillo etc in it.

The movie had eight songs in it that were penned by three lyricists.

Four song from the movie have bee covered in the blog in the past.

Here is the fifth song from “Nisbat”(1949) to appear in the blog. According to HFGK, this song is sung by Shamshad Begam. Majrooh Sultanpuri is the lyricist. Music is composed by Pt Govindram.

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

The voice of the singer sounds different from Shamshad Begam to me. I request our knowledgeable readers to offer their remarks on this observation.


Khaate hain thokaren kismat ke maare haaye(Nisbat)(1949) Singer-Shamshad Begam, Lyrics-Majrooh Sultanpuri, MD-Pt Govindram

Lyrics

khaate hain thokaren
haaye
khaate hain thokaren
kismat ke maare haaye
khaate hain thokaren
kismat ke maare haaye
kaise katenge
kaise katenge
ab din hamaare
khaate hain thokaren

khwaab sa kuchh aankhon mein basaaye
khwaab sa kuchh aankhon mein basaaye
baithhe hain ham seene se lagaaye
baithhe hain ham seene se lagaaye
jhoothhi ummeeden haaye jhoothhe sahaare
jhoothhi ummeeden haaye jhoothhe sahaare
kaise katenge haaye
ab din hamaare

gham ka falak hai
dukh ki zameen hai
gham ka falak hai
dukh ki zameen hai
apna paraaya koi nahin hai
badlin hawaayen haaye
roothhe nazaare
badlin hawaayen haaye
roothhe nazaare
kaise katenge haaye
ab din hamaare

khaate hain thokaren
kismat ke maare haaye
khaate hain thokaren
kismat ke maare haaye
kaise katenge
kaise katenge
ab din hamaare
khaate hain thokaren


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14752

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4034

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