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

Archive for the ‘Missing the loved ones’ Category


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 : 3767 Post No. : 14740

“Aabshaar”(1953) was produced and directed by Hasrat Lucknowi for Globe Pictures, Bombay. The movie had Nimmi, Ashok Kumar, Rajkumar, Shyama, Nigar Sultana, Om Prakash, Lalita Pawar, Kuldip, Tiwari, Shyam Lal, Iftikhar, Neelam, Chandni, Leela Pandey etc in it.

The movie had eight songs in it which were penned by three lyricists and composed by three music directors, with five singers lending their voices in these songs.

Two songs from this movie have been covered in the past.

Here is the next song from the movie to appear in the blog. According to HFGK, this song is a multiple version song. One version is sung by Lata and another version by Rajkumari. Sarshar Sailaani is the lyricist. Music is composed by Bhola Shreshtha.

Only Lata version of the song is available and it is a lovely song to listen to. I am sure Rajkumari version would sound just as sweet when we can locate that.
[Editor Note: The Rajkumari version of this song is also now uploaded by Sudhir ji.]

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

[Lata Version]

[Rajkumari Version]

Song-Mujhko hai tujhse pyaar kyun (Aabshaar)(1953)Singer-Lata/ Rajkumari, Lyrics-Sarshar Sailaani, MD-Bhola Shreshtha

Lyrics

Lata Version
o o o
o o o
mujhko hai tujhse pyaar kyun
pyaar kyun

mujhko hai tujhse pyaar kyun
mujhko hai tujhse pyaar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

itni kathor preet kyun
preet ki hai ye reet kyun
itni kathor preet kyun
teri hamesha jeet kyun oon oon oon
teri hamesha jeet kyun
meri hamesha haar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

mehki hui hawa bhi hai
behki hui ghata bhi hai ae
mehki hui hawa bhi hai
behki hui ghata bhi hai
aise mein haaye dil mera aa aa aa aa
aise mein haaye dil mera
dhadke hai baar baar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun
pyaar kyun
pyaar kyun

Rajkumari Version

mujhko hai. . .
tujhse pya..aar kyon

mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

dil mein khayaal e yaar hai
dil mein khayaal e yaar hai
dil hai khayaal e yaar mein
dil hai khayaal e yaar mein
itna khayaal e yaar kya
itna khayaal e yaar kya
itna khayaal e yaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

aankhen karo na chaar tum
aankhen karo na chaar tum
rooth rahe hain ?? tum
rooth rahe hain ?? tum
aaoge ek baar tum
aaoge ek baar tum
dil ko hai ye aitbaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
pyaar kyon. . .

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लता की आवाज़

ओ ओ ओ
ओ ओ ओ
मुझको है तुझसे प्यार क्यों
प्यार क्यों

मुझको है तुझसे प्यार क्यों
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

इतनी कठोर प्रीत क्यों
प्रीत की है ये रीत क्यों
इतनी कठोर प्रीत क्यों
तेरी हमेशा जीत क्यों॰ ॰ ॰
तेरी हमेशा जीत क्यों
मेरी हमेशा हार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

महकी हुई हवा भी है
बहकी हुई घटा भी है
महकी हुई हवा भी है
बहकी हुई घटा भी है
ऐसे में हाए दिल मेरा॰ ॰ ॰
ऐसे में हाए दिल मेरा
धड़के है बार बार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों

राजकुमारी की आवाज़

मुझको है॰ ॰ ॰
तुझसे प्या॰॰आर क्यों

मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

दिल में ख्याल ए यार है
दिल में ख्याल ए यार है
दिल है ख्याल ए यार में
दिल है ख्याल ए यार में
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

आँखें करो ना चार तुम
आँखें करो ना चार तुम
रूठे रहे हैं ?? तुम
रूठे रहे हैं ?? तुम
आओगे एक बार तुम
आओगे एक बार तुम
दिल को है ये एतबार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों॰ ॰ ॰

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

Blog Day : 3730 Post No. : 14673

The palat side of today’s song, was posted – goodness, four years ago.  And Sandhya ji is now completing 87 years today, and stepping into her 88th. Abundant greetings to Sandhya Mukherji – we wish for her good health and comfort, and that we may get many more such opportunities to greet her.

Four years back, I had posted the lovely, lively “O Re Jeene Waale, Hans Le Gaa Le Dhoom Mach Le” – one of her very few non film songs recorded in Hindi. From the same gramophone record (GE 24065 – Columbia), I present today, the song from the other side. A more poignant song, a sad song of separation – this song is no less iconic. As I tried to search for more, I drew a blank (so far).  It seems that this gramophone record and these two songs may well be the only two non-film Hindi songs that have been recorded by Sandhya ji.

For a brief bio sketch of this artist, I request readers to go back to the song referred above, and view that article.

She worked at New Theatres from 1948 to 1950, and sang under the music direction of RC Boral. She came to Bombay in 1950 – ‘Sazaa’ (1951) was her debut in the Bombay industry, after which she recorded songs for another eight films. And then, in 1956 she decided to return to Calcutta, after having recorded “Maine Jo Li Angdaai. . .” under the music direction of Salil Da, for the film ‘Jaagte Raho’ (1956). After that, she stayed only in Calcutta, and recorded a few songs for a handful of Hindi films.

Today’s song is penned by Prem Dhawan and is set to music by Kanu Ghosh. The melancholia of this song is such a surprising antipode of the song “O Re Jeene Waale. . .”. Listen and enjoy.

Once again, greetings to Sandya ji, and best wishes for a healthy and comfortable years ahead.


Song – Tum Gaye Lut Gaya Pyaar Ka Ye Jahaan (Sandhya Mukherji NFS)(1950) Singer – Sandhya Mukherji, Lyrics – Prem Dhawan, MD – Kanu Ghosh

Lyrics

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

meri aankhon ki tum
roshni le gaye
meri aankhon ki tum
roshni le gaye
mere hothon ki tum
sab hansi le gaye
ab meri zindagi
zindagi hai kahaan

wo bahaaren gayin
wo nazaare gaye
wo bahaaren gayin
wo nazaare gaye
meri raaton se wo
chaand taare gaye
na meri hai zameen
na mera aasmaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

मेरी आँखों की तुम
रोशनी ले गए
मेरी आँखों की तुम
रोशनी ले गए
मेरे होठों की तुम
सब हंसी ले गए
अब मेरी ज़िंदगी
ज़िंदगी है कहाँ

वो बहारें गईं
वो नज़ारे गए
वो बहारें गईं
वो नज़ारे गए
मेरी रातों से वो
चाँद तारे गए
ना मेरी है ज़मीं
ना मेरा आसमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां


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

Blog Day : 3727 Post No. : 14666

Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.

I found both of them to be non-conformists in their respective fields.  SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and  ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.

Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s  ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.

I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.

Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.

After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay.  The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.

In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.

Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.

Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able  to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.

In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies.  Burman joined Filmistan as music director.

In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu.  This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.

His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan.  The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.

SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.

In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.

Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song  Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.

Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.

In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.

At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.

It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song,  Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).

With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.

But one film SD Burman  did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le  into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.

The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).

I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).

During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.

It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi  from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.

Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.

I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.

On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.

The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).

During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).

After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).

‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that  SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.

So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.

[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]

(Video)

(Audio)

Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus

Lyrics

aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki 
rut na dhale
mil jaa gale
kahin ye milan ki 
rut na dhale
 
o o o o
o o o o o 
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
 
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa

o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .

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

आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले

ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा

वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल

आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ

ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰


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 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 : 3664 Post No. : 14533

“Saalgirah”(1946) was directed by K S Daryani for Krishin Movietone, Bombay. This “social” movie had Snehprabha Pradhan, Jairaj < Bibbo, Gope, Majid, Tarabai, Chandrkala, Kumar, Pramila etc in it.

The movie had eleven rare songs in it. One song has been covered in the past.

Here is the second song from "Saalgirah"(1946) to appear in the blog. The song is sung by Snehprabha Pradhan. Wali Sahab is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. It is clear that the song was picturised on Snehprabha Pradhan herself who was the leading lady in the movie.


Song-Saawan ki badariya roti hai badariya (Saalgirah)(1946) Singer-Snehprabha Pradhan, Lyrics-Wali Sahab, MD-Bulo C Rani

Lyrics

Saawan ki badariya
roti hai badariya
Saawan ki badariya
roti hai badariya
aur poochh rahi hai
mere saajan ki khabariya
aur poochh rahi hai
mere saajan ki khabariya
Saawan ki badariya
roti hai badariya

ashqon ki kahaani
unhen main kaise sunaaun
ashqon ki kahaani
unhen main kaise sunaaun
wo door hain majboor hain
kya unko bataaun
wo door hain majboor hain
kya unko bataaun
rone se bhi darti hoon
ke kah degi najariya
rone se bhi darti hoon
ke kah degi najariya
saawan ki badariya
roti hai badariya

likkha hai mere bhaag mein
din raat tarasna
likkha hai mere bhaag mein
din raat tarasna
o kaali ghata
ab tu kahin aur barasna
o kaali ghata
ab tu kahin aur barasna
kis munh se kahoon
haaye ke sooni hai sajariya
kis munh se kahoon
haaye ke sooni hai sajariya
saawan ki badariya
roti hai badariya


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 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 : 3624 Post No. : 14445

Greetings to dear Atul ji, and best wishes for many many happy returns of today.

The 1977 film ‘Chhaila Baabu’ is joining the ‘Yippeee Club’ of movies or ‘movies having all their songs covered’ on the blog. Indeed, a long wait for me and particularly for this song which was the first that I shared when I was still only a ‘year-old’ contributor on the blog. Other songs of this movie which I shared later were lucky and got posted before the today’s song. This song is the one which I cannot forget since my childhood, may be because this being a ‘mother-son’ song. I must be 9-10 years old when I had watched this movie with my parents in my childhood.

The part-I of this song and even the part-II is on screen performed by Achala Sachdev whom we mainly remember for playing a mother or thereafter grandmother in Yash Raj films. When I glance through the list of the films she acted in I realized that I have watched many of them but cannot recollect now.

Also I found that not much information is available about her on the domain (except there is page on wiki about her) and mainly other articles which were posted after she passed away on 30.12.2012 , and about how she was ignored by the film personalities in her last days. May be our seniors can do a detailed post on her with one of the songs performed by her on screen. Or maybe it is there and I am not aware, if so, please forgive me.

As I am not aware of her initial films and whether she got a lead role or second lead and if at all there are any songs which she performed on screen, except the another one, that I know, is from the 1970 film ‘Heer Ranjha’, where all the Bhabhi’s dance on their devar’s (Rajkumar’s) marriage preparations – ‘Naache Ang Ve . . .’ a beautiful composition by Madan Mohan ji.

Achala Sachdev was born in Peshawar (now in Pakistan) on 3rd May 1920. She acted in over 130 films (as per info on wiki). She began her filmi career with ‘Fashionable Wife’ in 1938 and ‘Na Tum Jaano na Ham’ (2002) was her last film. She died on April 30, 2012 at Pune. She was 91 then.

The move ‘Chhaila Babu’ was Produced by Shomu Mukherjee and Directed by Joy Mukherjee. It was a ‘suspense thriller’. It had Rajesh Khanna in title role of ‘Chhaila Babu’, accompanied by Zeenat Aman, Asrani, Ranjeet, Padma Khanna, Achala Sachdev, Macmohan, P Jairaj, Ravindra Kapoor and Om Shivpuri. Since in my earlier write ups about the songs of this movie I have already mentioned about the details of this movie and my nostalgia associated with its’ songs, and so I will not repeat it here.

But something that I would like to mention here is about Joy Mukherjee as a ‘director’ of this movie. Earlier I had read about his directing the movie ‘Humsaaya’ (1968), but I had forgotten about it. Though I must mention here that I had watched many of Joy Mukherjee’s movie in my teen years when I was studying in 11th -12th. And I liked all his movies very much and have watched them repeatedly; especially ‘Shagird’ (1967), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Door Ki Aawaaz’ (1964), and ‘Love In Tokyo’ (1966). In those days i.e. 1983-85, old movie were still being screened in theatres sometime in four shows or noon shows only and they used to run packed houses. Specially in the city of Akola (Maharashtra) (CP & Berar circuit for movies) many old movies used to run packed houses and I watched many old movies during those years there. ‘Ziddi’ (1964) I think I watched on Doordarshan.

I got the VCD of ‘Ek Baar Muskuraa Do’ (1972) just four-five years back from an ‘online’ store. Then I had also watched ‘Love in Shimla’ (1960) during my school days during the weekly screening of movie in our ‘colony recreation club’. And its song Alif Zabar Aa Alif Zer Ae Alif Pesh O ’ has been in my memory since then. I do not remember correctly now if I had watched his ‘Ek Musaafir Ek Haseena’ (1962), but since I have the cassette of this movie, as I like the songs of this movie very much, and maybe I had watched some of its songs on TV, it also remains one of my favorites.

Coming to the songs of his movies – which was another main factor for me to watch his movies repeatedly. Our in house Encyclopedia Shri Arun ji had already done a detailed post on Joy Mukherjee here , while presenting a song from his movie ‘Love In Bombay’ (2013(1971)). This was Joy’s third directorial venture after ‘Humsaaya’ & ‘Chhaila Babu’.

HFGK Vol V mentions that today’s song in three parts and it noted down the first part as a ‘happy version’, whereas from the song one can guess and take it as a ‘sad song’ or ‘missing the beloved song. The first part in its picturization shows the mother (Achala Sachdev) remembering the ‘happy memories’ while singing this song searching for her lost son (Rajesh Khanna). And the in the second part while only the ‘mukhda’ of the first version is repeated only, the third part is in the voice of Kishore Kumar and starts with different lines. However, since HFGK mention this song in three version it was required to watch this movie again and clear the confusion.
[Ed Note: In this presentation, the parts 2 and 3, as mentioned in HFGK, are together presented as part II, as per the video clips.]

When Atul ji was in a ‘Yippeeee’ mode again during the first four months of this year I had sent him reminder for this song and also with a request to throw light on this song if possible. Finally, a week before I watched this movie online (most uncomfortable way to watch a movie for me, but then … we have to 😊).

The 1st part of the song is where the mother, Achala Sachdev is searching for her son, who ‘bachpan mein bichhad gaya’. It includes flashback of the mother-child playing – ‘happy memories’ included 😊. Now when this child grows up as Rajesh Khanna, he remembers this song and use to sing it on the ‘mouth organ’ gifted to him by his mother on his birthday. The second part of Lata for this song is only a repeat of first few lines of the earlier part 1 of this song. And the third part is the Kishore Kumar version of this song, in which the mother-son get re-united.

The earlier songs from the movie are posted on our blog, as per the details given below;

Song Title Post Date
 Yaar dildaar tujhe kaisa chaahiye  08.12.2008
 Kal raat sadak par ik ladki  29.12.2014
 Hamko nikaaloge ghar se sajan pachhtaaoge  04.02.2015
 Main Baaboo Chhailaa  29.12.2017

Let us now listen and enjoy the today’s song. . . “Chhaila Mera Chhaila”.

 

Part I (Lata Solo)

Part II (Lata – Kishore Duet)

Song – Chhaila Mera Chhaila (Chhaila Babu) (1977) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part I

chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam

chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila

shaam savere mere naina
dhoondhte rahe
kahaan hai kahaan hai
kahaan hai kahaan hai
sabse poochhte rahe
kahaan hai kahaan hai
sabse poochhte rahe
aa ke peechhe
aankhen meeche
aanchal kheenche mera ghanshyam
chhaila mera chhaila
chhaila mera chhaila

deewaani huyi main aisa laage
laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
bichhda hai jo
mil jaaye to
vyaakul mann ko aa jaaye aaraam
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila

Part II

chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
mera chhaila
mera chhaila
chhaila
chhaila
chhaila

naa ro maa naa ro
sun li hain maine
teri pukaar
teri pukaar
aaj mila hai
waapas maa bete ko
khoya pyaar
khoya pyaar
duniya saari
tujhse haari
maa tu jeeti ye jeewan sangraam
chhaila tera chhaila
chhaila tera chhaila

chhaila tera chhaila
chhaila tera chhaila

jee chaahe main
tere charnon mein
sar rakh ke roun
sar rakh ke roun
aa jaaye waapas
bachpan main teri
god mein soun
god mein soun
phir na kabhi main tujhko sataaun
tujhe manaaun
maa tujhko parnaam

chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila

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

भाग १

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

शाम सवेरे मेरे नैना
ढूढ़ते रहे
कहाँ है कहाँ है
कहाँ है कहाँ है
सबसे पूछते रहे
कहाँ है कहाँ है
सबसे पूछते रहे
आ के पीछे
आँखें मिचे
आँचल खींचे
मेरा घनश्याम
छैला मेरा छैला
छैला मेरा छैला

दीवानी हुई मैं ऐसा लागे
लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
बिछड़ा है जो
मिल जाए तो
व्याकुल मन को आ जाए आराम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला

भाग २

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
मेरा छैला
मेरा छैला
छैला
छैला
छैला

ना रो माँ ना रो
सुन ली हैं मैंने तेरी पुकार
तेरी पुकार
आज मिला है
वापस माँ बेटे को
खोया प्यार
खोया प्यार
दुनिया सारी
तुझसे हारी
माँ तू जीती ये जीवन संग्राम
छैला तेरा छैला
छैला तेरा छैला

छैला तेरा छैला
छैला तेरा छैला

जी चाहे मैं
तेरे चरणों में
सर रख के रोऊँ
सर रख के रोऊँ
आ जाए वापस
बचपन मैं तेरी
गोद में सोऊं
गोद में सोऊं
फिर न कभी मैं तुझको सताऊं
तुझे मनाऊं
माँ तुझको प्रणाम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला


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 : 3613 Post No. : 14408

“Toote Taare”(1948) was directed by Harish for Umar Khayyam Films, Bombay. This “social” movie had Sheikh Mukhtar, Shamim, Kanhaiyalal, Mridula, Murad, Putlibai, Sudhir, Babu, s Ghosh, Sultan, Shareif, Kanchan Kumar, Anwari Bai, Murad, Laddan, Agha Dehalvi etc in it.

The movie had eight songs in it. Four songs have been covered in the past. Here is the fifth song from “Toote Taare”(1948) to appear in the blog. This song is sung by Rajkumari. Lyricist is not known (though there were two lyricists in the movie, viz. Anjum Pilibhiti and Rafiq Ajmeri). Music is composed by Nashaad.

I request our knowledgeable readers to throw light on the picturisation of this song.


Man mein laagi aag sajanwa (Toote Taare)(1948) Singer-Rajkumari, MD-Nashaad

Lyrics

man mein laagi aag
man mein lagi aag sajanwa
man mein laagi aag
yaad tihaari deepak raag
man mein laagi aag sajanwa
man mein laagi aag

bichhad gaye tum hamse mil ke
bichhad gaye tum hamse mil ke
man ke phool murjhaaye khil ke
man ke phool murjhaaye ae
jaag ke so gaye bhaag
sajanwa
sajanwa man mein laagi aag
sajanwa man mein laagi aag

mere jeewan raag tumhi ho o
mere jeewan raag tumhi ho o
sar ka mere taaj tumhi ho
sar ka mere taaj tumhi ho
tumhi se lagi laaj
sajanwa
sajanwa man mein laagi aag
sajanwa man mein laagi aag

aake sun lo o o
aake sun lo o o
baat hamaari ee ee
bat hamaari
aasu hamre yad tihaari
aasu hamre yaad tihari
kab tak khele phaag sajanwa
sajanwa man mein lagi aag
sajanwa man mein lagi aag
yaad tihaari deepak raag
man mein laagi aag sajanwa
man mein laagi aag


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 : 3602 Post No. : 14376

“Duniya Gol Hai”(1955) was produced by C Ramchandra and directed by Om Prakash for New Sai Productions, Bombay. This “social” movie had Anita Guha, Karan Dewan, Kuldeep Kaur, Indu Pal, Shyam Lal, Kumud Tripathi, Nisar Khandwi, Som Dutt, Hafiz, Kanwar Kesho, Pal Sharma, Sundar, Om Prakash etc with lots of guest appearances viz.Jairaj, Heeralal, Randheer, Madan Puri, Raj Mehra, Maruti, Johny Walker, Nadira, Shashikala, Shammi, Roopmala, Smriti Biswas, Begam Para etc in it.

The movie had seven songs in it. Four of these songs have been covered in the blog.

Here is the fifth song from “Duniya Gol Hai”(1955). This song is sung by Lata. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is available. The voice of Lata was there in every song of the movie (except one song where details of singers are not known). So she may have sung for the leading lady of the movie or for any other ladies in the movie. I request our knowledgeable readers to throw light on the picturisation of this song.

The song can be described as an archtypical Lata-Rajinder Krishan-C Ramchandra magical composition.

With this song, C Ramchandra completes 500 songs as a music composer in the blog.


Song-Jaane waale na ja de ke dard e jigar (Duniya Gol Hai)(1955) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

jaane waale
jaane waale
jaane waale na ja de ke dard-e-jigar
jaane waale
jaane waale na ja de ke dard-e-jigar
jaate jaate idhar dekh le ik nazar
jaane waale
jaane waale na ja de ke dard-e-jigar
jaane waale

bekhabar tujhko meri wafa ki kasam
bekhabar tujhko meri wafa ki kasam
rok le
rok le
rok le
apne badhte kadam
rok le rok le
apne badhte kadam
dil mein armaan jaga ke chala hai kidhar
dil mein armaan jaga ke chala hai kidhar
jaane waale
jaane waale na ja de ke dard-e-jigar
jaane waale

meri hasrat bhari iltiza maan le ae ae ae
meri hasrat bhari iltiza maan le
main kahoon na kahoon haal-e-dil jaan le
main kahu na kahoon haal-e-dil jaan le
laut aa
laut aa ye mera dil hai tera hi ghar
laut aa ye mera dil hai tera hi ghar
jaane waale
jaane waale na ja de ke dard-e-jigar
jaane waale
jaane waale na ja de ke dard-e-jigar
jaate jaate idhar dekh le ik nazar
jaane waale


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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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Blog Start date: 19 july 2008

Active for more than 4000 days.

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