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

Archive for the ‘Multi part song’ Category


This article is written by Prakash Chandra, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3931 Post No. : 15004

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Atul Song-A-Day 15K Song Milestone Celebrations – 13
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Usually one chooses songs full of happiness and celebration for these types of occasions to celebrate, but as usual, I choose this haunting song, to celebrate. 🙂

The song is from the 1983 film ‘Sansani – The Sensation’. I have watched this movie one late night for the sake of this haunting song by Asha Bhosle. The movie was just a masala / murder mystery, where at the end the noble characters like Dr. Shriram Lagoo and Jayashree Gadkar turn out to be characters with grey shades. If you are a die-hard fan of Hindi movies of  70`s and early 80`s like me, you may enjoy this  pot-boiler, but watch the movie at your own risk. 🙂

But listen to this song, you may like it audio-wise.

This is an obscure mystery movie produced by Kavita Seth, who is also billed in the credits as “KAVITA – Introducing” as an actress. She is one of the principal lady characters in the movie. She appears wearing a white saree, roaming in the graveyards, and crying for her beloved Shailendra Singh (the playback singer, who got billing as “Friendly Appearance”). Shailendra Singh appears only at the climax, and also in a photograph in front of which the actress cries and sings this haunting song. But he did not get a playback singing chance, which is his original forte.

There is some confusion about the year of release of this movie, LP image of this movie shows the year 1979, censor certificate clearly shows the date 23-6-1983. According to HFGK-6, 1983 is the release of this movie.

The movie was “Dedicated to Late Director Irshad Afzal”, (I guess before the release of the movie the director must have passed away). The movie was produced under the banner of Panorama Pictures. The producer of the movie is Kavita Seth, who also makes her acting debut with this movie. The director’s name is mentioned differently in different sites as Irshad / Irshad Afzal / A Irshad.

The star cast of the movie includes Vinod mehra, Bindiya Goswami, Prem Chopra, Dr Shriram Lagoo, Shailendra Singh (Special Appearance), Kavita (Introducing), Jagdeep, Jayashree T, Jayashree Gadkar, Keshto Mukherjee, Jagdish Raj, Coca Cola, TP Jain, Ali Masood, Nilima, Meena T, Raj Kishore, Amal Sen, M Baig, Amarnath, Dutta Bhatt, Viraj, Gopal, Dina Pathak, Gulshan Grover, Viju Khote etc.

Songs of this film are written by Irshad (who was also the director). Music is composed by Hemant Bhosle. It has been mentioned in the credit sequences of the movie that the assistants to music director are Kersi Lord and Uttam Singh. These two genius composers cum arrangers also contributed to the musical score of this movie to a great extent. Kersi Lord has also done a lot of work with RD Burman.

The musical compositions of the movie are sung by playback singers like Asha Bhosle, Amit Kumar, Bhupender, Varsha Bhosle, and Hemant Bhosle. This movies has got following sound tracks

  1. Asha Bhosle : Phir Teri Yaad
  2. Asha Bhosle, Amit Kumar, Bhupinder & Varsha Bhosle : Patthar Ka Hai Sanam
  3. Asha Bhosle, Hemant Bhosle & Chorus : Sansanikhez Koi Baat
  4. Asha Bhosle, Varsha Bhosle : Saqiya Tu Koi
  5. Asha Bhosle, Amit Kumar : Ab Kahaan Jayenge Hum (Happy)
  6. Amit Kumar : Ab Kahaan Jayenge Hum (Sad)
  7. Hemant Bhosle : Theme music

Records of the movie were issued by The Gramophone Company of India Ltd. (aka His Master`s Voice). The movie was shot at outdoor locations of Madras, Bangalore, and Tamilnadu.

On screen this song has been divided into 3 parts. The first stanza features Dina Pathak, Shailendra Singh (i.e. appears in a photograph) and Kavita Seth aka Kavita . The 2nd stanza features Kavita Seth, Dr.Sriram Lagoo, and Vinod Mehra. And the 3rd stanza features Kavita Seth, Vinod Mehra and Jayashree Gadkar.

About the Music Director: Hemant Bhosle is the late son of Asha Bhosle. He passed away on September 28th of 2015. I like his musical compositions of the songs of ‘Taxi Taxie’ (1977). Given below is an incomplete filmography for him. If at all any additions or deletions are there in this regard, please let me know.

  • Taxi-Taxie (Polydor-1977)
  • Jadu Tona (Polydor-1977)
  • Anpadh (Polydor-1978)
  • Damaad (Polydor-1978)
  • Sansani (HMV-1980/Irshad)
  • Sweety (Music India-1980)
  • Nazrana Pyar Ka (Polydor-1980)
  • Shradhanjali (HMV-1981/Anjan)
  • Barrister (HMV-1982/Yogesh)
  • Teri Meri Kahani (TV Movie 1982/Anjaan,B.R.Chopra)
  • Doosra Kinara (1982)
  • Beta (1982/HMV/Anjaan)
  • Bandhan Kachchey Dhaagon Ka (HMV-1983)
  • Raja Jogi (1983)
  • Bachchon Ka Khel (1983/Gulshan Bawra)
  • Dharti Akash (TV Movie 1983)
  • Dharam Shatru (T-series,Super-1985/1988)
  • Bhaago Bhoot Aaya (1985)
  • Aakhiri Sanghursh (1987/1997)

Hemant Bhosle also provided music for some Marathi songs.

About the Lyricist Irshad:  I searched for lyricist Irshad`s other works, but got confused with Irshad who has connection with the Kishore Kumar camp, and has written songs for films such as ‘Door Ka Rahi’ (1971 – which has the famous song “Beqaraar Dil, Tu Gaaye Jaa”), ‘Badhti Ka Naam Dhadi’ (1974) ‘Shabaash Daddy’ (1978) and ‘Chalti Ka Naam Zindagi’ (1982). Irshad also written songs for other movies like ‘Naag Pooja’ (1971), ‘Pattharon Ka Shaher’ (1972) – both for Usha Khanna. Also for ‘Alibaba’ (1976) – Dara Singh starrer with Hansraj Behl as the music director.

I got further confused when I watched the movie credit sequences which displays the photo with garland and agarbatti and lines like “Dedicated to our beloved director – Irshad Afzal”, and further in the credits – “Lyrics, written and directed by IRSHAD”.

I doubt whether all the above Irshads are one and the same. I request our more knowledgeable readers and friends to please help clarify this possible ‘same name confusion’.

One of the comments related to the song in some site is as follows: “Phir Teri Yaad” is a completely mental slice of Indian psych/funk”. I failed to understand this comment, I request someone to please elaborate about this comment.

I will conclude my endless banter here 🙂

Congratulations and best wishes to our blog on its MEGA CELEBRATION. I love everything and everyone related to our blog. Visiting and reading the blog posts gives me immense joy.

Video

Audio

Song – Phir Teri Yaad Aa Gayi (Sansaani) (1983) Singer – Asha Bhosle, Lyrics – Irshad, MD – Hemant Bhosle

Lyrics

aaaaaa aaaaaaa aaaaaaaa aaaaaaa aaa
aaaa aaaaa aaaaaaaaa aaaaaa aaaa aaaaaa
aaaa aaaaaaa aaa
aaa aaaaa aaaaa

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

kabhi guzar ho
bahaar ka ab
to dil ke zakhmon ko
chhooke guzaregi
koi jo aaye
phuhaar ki rut
to baadalon se
bhi aag barsegi
tere bina ab
mere humdum
hai maut zindagi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

hai zinda laashein
ye dil ke armaan
tere hi gham ke
kafan mein hain lipte
janaazaa uthne
ko hai tu aa jaa
safar aakhiri
to kar len tai mil ke
varnaa ye
rooh pyaasi
pyaasi hi reh jaayegi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

chiraag-e-dil bhi
hai bujhne ko ab
panap rahey hain
andheron ke saaye
sulag rahi hain
tadapti saansein
maseehaa ban ke
koi to aa jaaye
sholaa hai
har dhadkan
gham ki chithaaon ki
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

———————————————————-
Hindi script lyrics (Provided by Prakash Chandra)
———————————————————-

आsssss आssssss आsssssss आssssss आss
आsss आssss आssssssss आsssss आsss आsssss
आsss आssssss आss
आsss आsssss आssss

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

कभी गुज़र हो
बहार का अब
तो दिल के ज़ख्मों को
छूके गुज़रेगी
कोई जो आये
फुहार की रुत
तो बादलों से
भी आग बरसेगी
तेरे बिना अब
मेरे हमदम
है मौत ज़िन्दगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

हैं ज़िंदा लाशें
ये दिल के अरमान
तेरे ही ग़म के
खफन में हैं लिपटे
जनाज़ा उठने
को है तू आ जा
सफर आखिरी
तो कर ले तय मिलके
वरना ये
रूह प्यासी
प्यासी ही रह जायेगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

चिराग ए दिल भी
है बुझने को अब
पनप रहे हैं
अंधेरों के साये
सुलग रही हैं
तड़पती सांसें
मसीहा बन के
कोई तो आ जाए
शोला है
हर धड़कन
ग़म की चिताओं की
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

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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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

(Part I – Party Scene)

(Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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 : 3840 Post No. : 14852

“Dhun”(1953) was directed by M Kumar for Silver Productions, Bombay. The movie had Raj Kapoor and Nargis in lead roles with Motilal, Pramila, Kamal Mehra, M Kumar, Cuckoo etc also there in the movie.

The movie had eleven songs in it. Seven songs have been discussed in the past.

Here is the eighth song from “Dhun”(1953). This song is in fact a two part song. Part I is sung by Rafi, Batra, Baabul and chorus. Part II, which is an extension of the same song, is sung by Rafi, Madan Mohan, Baabul and chorus.

Bharat Vyas is the lyricist of this llong light hearted song. Music is composed by Madan Moahn.

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

Since this is a two part song, so with this song, now nine songs from the movie have been covered. HFGK mentions two more songs- “hansa hai mukpe zamaana” and “is duniya mein ham aa nikle”. Thouh the lyricist for these two songs is mentioned in HFGK 9Kaif irfani), no other fdetails are known for these songs. Record numbers are not mentioned so may be records of these songs were not mentioned.

I request our knowledgeable readers to throw light on these remaining two songs that do not seem to be available as of now.

PS-This writeup replaces another song from the movie, namely “nindiya na aaye tum bin” which was already covered in the blog in the past.

Another special fact about this song is that this is the fourth song in the blog that has the voice on Madan Mohan as a singer. Madan Mohan had lent his voce in four songs in Hindi movies. with this song, now all these songs have been covered in the blog.

Audio (Both Parts)

Koi ek aana koi do aana (Dhun)(1953) Singers-Rafi, Satish Batra, Baabul, Madan Mohan, Lyrics-Bharat Vyas, MD-Madan Mohan

Lyrics

Part I
———————
koi ek aana
koi do aana
koi teen aana
koi chaar aana
is duniya mein sab paagal hain
haan
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya mein sab pagal hain
hum paagal hain solha aana
hey
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana
koi char aana

hahaha
paise waalon ko dekho jinke hain mote pet
dhandhe karte hain khote
aur kahlaate hain seth
haan
din ke ujiyaale mein karte hain kaala bazaar
ho phir bhi paagal duniya unko kahti saahukaar
o mere bhaiya kehti sahukar
o bhaijaan kehti saahukaar

main hoon saahukaar bhaiya main hoon saahukaar
maine hi ye kaam kiya hai
baap ka ooncha naam kiya hai
chauraahe par dhol bajaa kar
chauraahe par dhol bajaa kar
tera ghar neelam kiya hai
mujhko maaro
arre bhai mujhko maaro
sab mil kar maaro aao aao sab mil kar maaro
jhaadu maaro joote maaro
patthar maaro kankar maaro
maaro maaro maaro
sab mil kar maaro
are bhai baithe kyun ho
o bhaiya uthkar maaro na

koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi char aana

koi mera sher suno
khuda ke liye
koi mera sher suno
haaye
koi nahin sunta
kaun karta doston
duniya mein shaayar ki kadar
ghoomte firte hain ye shaayar ke bacche dar badar

———————-
Part II
———————

kaun karta doston duniya mein shayar ki kadar
mori kadar nahin jaane raam rahen
mori kadar nahin jaane ram rahen
sapt suran teen graam
aam ke aam
guthli ke daam
saa re ga ma
haaye raam
aa ha ha
waah ustaad

saa re ga ma
haaye raam
dhum t na n n n n na na na na
mori kadar nahin ja ja o ja ja
mori kadar nahin ja ja ja ja
ja mori kadar nahin
ja mori kadar nahin
ja mori kadar nahin

johny o ho o johny
j j johny o johny duniya faani faani faani
o ho o jolly hey hey johny
o johny johny johny johny
haaye johny

koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi char aana

aasha aasha pukaaroon main van mein
o meri aasha
bandhi astabal mein haan
o o o
mujhe baap ne ghar se nikaala
ae haaye kar diya munh mera kaala
o aasha aashaa aashaa
kar diya munh mera kaala
o tere liye kar diya munh mera kaala
haay aasha ji kar diya munh mera kala
aasha ji aasha ji aasha aasha ji haaye haaye
aasha ji aasha ji aasha aasha ji

fukut vukut de dheel dheel
fukut vukut de dheel dheel
o mera neela patang kare
dushman se jung
iske baap ke rang dhang dekh lo
mera neela patang kare dushman se jung
dekho dekho dekho
are dekho dekho dekho

dekh liya duniya ke mela
log hain rang rangeele ae ae ae ae
koi kam hai koi jyaada aa
par sabke purje dheele
koi ek aana koi do aana
koi teen aana koi char aana
koi ek aana koi do aana
koi teen aana koi chaar aana
is duniya me sab pagal hain
hum pagal hai solha aana
koi ek aana koi do aana
koi teen aana koi chaar aana
koi ek aana koi do aana
koi teen aana koi chaar aana
hey bacho


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 : 3791 Post No. : 14775

“Aaina”(1974) was produced by N Selvaraja and L Duraiswamy and was directed by K Balachandar for Kalakendra Films production. The movie had Mumtaz, Rajesh Khanna, A.K.Hangal, Nirupa Roy, Rita Bhaduri, Ratan Chopra, Lalita Pawar, Jayasudha, Adil Aman, Manmohan Krishna, Anjum Savera, Vandana Rane, Yasmin, Baby Seema, Kalpana, Jagdish Raj, Polson, Madhukar, Brahmachari, Suraj, Prem Kumar, Master Paresh Kumar, Master Jaganath, Madan Puri, Suresh Chatwal, Jagdeep etc in it. This movie had Neetu Singh and Dharmendra in special appearances. The film also had Kamal Hasan in it who was also one of the dance directors of the movie.

The movie had five songs in it. Three songs have been covered in the past.

Here is the fourth song from “Aaina”(1974) to appear in the blog. This song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed by Naushad.

The song is picturised as a wedding ritual song where Mumtaz, playing a saheli of the bride is seen teasing the bridegroom. While I can identify a few actors seen in the picturisation (such as Nirupa Roy), I am unable to identify most of them. I request our knowledgeable readers to help identify them.

PS-Several months later, I realised that this song is a multi part song according to HFGK. The song begins as “teri dulhan badi jaadoogarni” sung by Vani Jairam. Then the part sung by Asha Bhonsle appears.

So this song basically is a multi part song.

With this, all the five songs of the movie get covered and the movie joins the list of movies that have all their songs covered in the blog.


Song-Kaho to aaj bol doon (Aaina)(1974) Singer-Vani Jairam, Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-Naushad
Chorus

Lyrics

teri dulhan badi jaadugarni
ho teri dulhan badi jaadugarni
dulha raja pe kya jaadu daala re
mere chhaila pe kya tona maara re
teri dulhan badi jaadugarni

roop koi na rang koi
gun hai na dhang
hahahah
roop koi na rang
koi gun hai na dhang
abhi karni to dulhaa ko bharni re
teri dulhan badi jaadugarni
hahahaaha
hahahaha

—————————————
Dialogue
—————————————–
didi
dekho na hamaari bahan ko kis tarah chhed rahe hain
tum kyun nahin unhen chhedti didi
didi
dulhe ko to tum hi ulloo bana sakti ho
jaao na
jaao na
jaao na
haan chalo

hahahahaaha

maza aayega
maza aayega
——————————–
end of dialogue
——————————–

kaho to aaj bol doon

kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

mujhko maaloom hai sab
dhang iske hain ajab
kabhi jhaanke ye idhar
kabhi taake ye udar
har haseena pe mare
roop kya kya na bhare
laakh nadaan lage
mujhko shaitaan lage ae ae
kaho to
haha
kaho to aaj bol doon
mai sare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

itna bhookha hai ke bas mujhko aata hai taras
iske man bhaaye sabhi
jo mile khaaye sabhi
chaahe jhootha hi mile
sabka thhooka hi mile
ye kahaan tak hai gira
munh na khulvaao mera
kaho to
kyun
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye

poochho dulhe se zara
kyun hai gusse mein bhara
aisi kya maine kahi
teer ban ke jo lagi
kyun jhuki jaaye nazar
kyun paseene mein hai tar
iski baaten main sabhi kah deti hoon abhi ee
kaho to aaj bol doon
ho o
kaho to
kaho to aaj bol doon
main saare bhed khol doon
ke dulha sharmaaye
rang ud ud jaaye


This article is written by Arunkumar Deshmukh, 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 : 3515 Post No. : 14118

Today’s song is from the 1952 film ‘Aandhiyaan’.

The early part of the 1950s was a turbulent period for the Hindi film industry. A wholesale, but silent change was taking pace. Though the exchange of film fraternity from India to Pakistan and vice versa had slowed down, the vacancies created by the exit of actors, directors and composers were getting filled up fast. At the same time, the older generation of artistes was slowly fading out, giving way to the artists of the newer generation.

Changes were taking place even in other areas, like public tastes in music and the film contents. This automatically changed the face of the film music and the type of film stories presented. Hindi films were now becoming entertainment oriented, taking a precedence over films discussing social reforms. Surprisingly, the decade of the 50s became a ‘ Golden Period ‘ for mythological, religious and devotional films. As many as 124 such films were released in 10 years from 1950 to 1959. This gave roughly an average of one such film released every month continuously for 10 years !

Older composers like Gyan Dutt, Husnlal Bhagatram, K Datta, Hansraj Behl etc were on the decline and the newer ones like Shankar-Jaikishen, Madan Mohan, OP Nayyar etc. prospered. Some old stalwarts like Naushad, C Ramchandra and SD Burman continued their popularity for many more years. Actors, who had entered this field in the second half of the 40s pushed hard to establish themselves into this new set up. It was easier for them to adapt their working pattern to suit the new tastes. One such actor was Dev Anand.

By the end of second world war, writer director Chetan Anand was struggling hard. He wrote dramas, worked for All India Radio, worked even for BBC and finally met KA Abbas of IPTA. Meanwhile, his brother Dev Anand too, after graduation, came down to Bombay and worked in the British Censor Office at a salary of Rs. 160 pm. He too joined IPTA. The brothers worked there and acted in IPTA’s drama, ‘Zubeida’. But their target was Hindi films. Luckily, in 1945, Dev got a role in Prabhat’s film ‘Hum Ek Hain’ and same time Chetan also became Director of India Pictures’ film ‘Neecha Nagar’. Both films were released in 1946 and flopped at the same time. ‘Neecha Nagar’ was critically acclaimed but popularly rejected. Till 1948, every film of Dev Anand was a flop. ‘Ziddi’ (1948), a film which he got courtesy Ashok kumar, was a hit film. Then came Madhubala and ‘Niraala’ (1950).

One day, Dev Anand went to Makanlal Jain, owner of M and T Films, and asked for his full payment in advance and also some more as a loan. Jain liked and trusted Dev, so he gave all that money to him. Dev took all that money to Chetan Anand and said, “Let us start our own banner. I will be the hero and you be the director. Suraiyya will be our heroine”. They established Navketan in 1949. Nav means New and Ketan was the name of Chetan’s son. They established their first office in room number 147 in Famous Studios, Mahalaxmi, Bombay.

Chetan Anand had written a drama ‘The Inspector General’, inspired by Nikolai Gogol’s drama ‘The Government Inspector’. With suitable adaptation in this drama, Navketan’s first film,’Afsar’ (1950) was made on shoe string budget, within six months. The film was released on 16-6-1950. And it promptly flopped. For their next film, they called in their good friend Guru Dutt to be the director and selected a crime story. They needed a new heroine. Mona Sinha, a cousin of Uma Anand (Chetan Anand’s wife) had come to Bombay as their guest. Chetan selected her and changed her name to Kalpana Kartik. She became the heroine of 7 Navketan films. Later on, when Dev Anand married Kalpana Kartik in 1954, Chetan Anand, in addition to being his brother, also became his co-Brother ( साडू ).

The film that Guru Dutt directed for Navketan – ‘Baazi’ (1951) became a hit film and it gave Navketan the much needed stability. Two more films were planned, ‘Aandhiyaan’ (1952) and ‘Humsafar’ (1953). Again, both films were flops. Navketan decided to fall back on a crime story once again. Uma Anand wrote the story, Chetan wrote the screenplay and Vijay Anand wrote the dialogues. SD Burman was brought back for the music – the music of ‘Baazi’ had also been a hit. The film – ‘Taxi Driver’ was directed by Chetan Anand and it became an unprecedented hit film. The songs became popular and SD Burman got the Filmfare award too. ‘Taxi Driver’ was also the first film showing the new logo of Navketan for the first time.

Coming to the film we are discussing today. ‘Aandhiyaan’ was written by Chetan Anand and Hameed Bhatt – his friend from their IPTA days. This time music was composed by Ustad Ali Akbar Khan. Jaidev, who had learnt sarod from the Ustad, became his assistant for this and the next film. Ten years later Jaidev would independently give music to Navketan’s hit film, ‘Hum Dono’ (1961). All the 8 songs of ‘Aandhiyaan’ were written by Pt Narendra Sharma. 5 singers – Lata, Asha, Hemant Kumar, Laxmi Shankar and Surinder Kaur were used. Lata sang a long song in 3-parts, which is being presented today. It is almost 10 minutes long. One of the commenters on YouTube has stated that this was originally recorded as a 6-part song. Since HFGK reports only 3 parts, either the claim is wrong or the other 3 parts must have been discarded before the film took final shape.

The choreography for the film was done by Laxmi Shankar, who also sang one song in the film. The cast of the film was Dev Anand, Kalpana Kartik, Nimmi, KN Singh, MA Latif, Leela Mishra, Durga Khote etc. Johnny Walker had a small role in the film, probably as a mascot (which did not work this time). The story of the film is

Ram Mohan (Dev Anand) is a sincere and hard working advocate. He is the legal advisor to Seth Deen Dayal (MA Latif). Seth ji’s daughter Janki (Kalpana Kartik) and Ram Mohan are in love. Seth ji gives his consent for their marriage and they are engaged. Raami (Nimmi) secretly loves Ram Mohan but never expresses her love. Another businessman Kuber Das (KN Singh) wants to marry Janki.

Janki’s mother falls ill and Seth ji spends all his money on her treatment. Finally, he even asks for a loan from Kuber Das. Kuber puts a condition that Janki should marry him. With all other sources exhausted, Seth ji has no option. Janki also is ready to marry  Kuber to save her mother. Thus Kuber marries Janki. When Janki’s mother comes to know this, she goes into a shock and passes away.

Kuber wants Janki to sleep with him, but she refuses. When he forces, Janki runs away and collides with Raami, who had come there to inform her about her mother’s death. When she sees Kuber forcing Janki, Raami kills Kuber Das. She is arrested and brought to court. Before she gets to hear her sentence she dies in the courtroom itself.

Ram Mohan and Janki get married. (No. 651)

 


Song – Hai Kahin Par Shaadmaani Aur Kahin Nashaadiyaan (Aandhiyaan) (1952) Singer – Lata Mangeshkar, Lyrics – Pt Narendra Sharma, Music – Ustad Ali Akbar Khan

Lyrics (Provided by Sudhir)

———–
Part 1
———–
hai kahin par shaadmaani
aur kahin nashaadiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan

kya raaz hai
kya raaz hai..ai..ai
kya raaz hai
kya raaz hai
aaj parwaane ko bhi
apni lagan par naaz hai
naaz hai
kyon shama bechain hai
khamosh honay ke liye..e..e
kyon shama bechain hai
khamosh honay ke liye
aansuon ki kya zaroorat
aansuon ki kya zaroorat
dil ko roney ke liye
dil ko roney ke liye
tere dil ka saaz pagli
tere dil ka saaz pagli
aaj be-awaaz hai
aaj be-awaaz hai

hai kahin par shaadmaani
aur kahin nashaadiyaan..aan..aan

———–
Part 2
———–

aaa aaaa aaa
aaaaa aaaa aaa
aaaaa aaaaa aaaaa aaaaa
aaaa aaa aaaa aaa

hai kahin par shaadmaani
aur kahin nashaadiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan

aain aisi aandhiaan
aain aisi aandhiaan
aaan..dhi..aa..aa.aan
bujh gaya ghar ka chirag
dhul nahin sakta kabhi
jo pad gaya aanchal mein daa..aa..aagh
dhul nahin sakta kabhi
jo pad gaya aanchal mein daagh
the jahaan armaan
the jahaan armaan
us dil ko milin barbaadiaan
barbaadiaan

hai kahin par shaadmaani
aur kahin nashaadiyaa..aa..aan

———–
Part 3
———–

aaaa aaaa aaaa aaaa
aaaa aaaaaa aaaaaaa aaa

aaaa aaaaa aaaaaaaa
aaaaa aaaaa aaaaaaa aaaaa aaaaa aaaaaaaaaaa

zindagi ke sabz daaman mein
zindagi ke sabz daaman mein
kabhi phoolon ke baag
zindagi ke sabz daaman mein

zindagi ke surkh daaman mein
kabhi kaanton ke daagh
zindagi ke surkh daaman mein
kabhi kaanton ke daagh

kabhi phoolon ke baagh
kabhi kaanton ke daagh

phool kaanton se bhari hain
zindagi ki vaadiaan
aati hain duniya mein sukh dukh ki
sadaa yun aandhiyaan
aandhiyaan
hai kahin par shaadmaani
aur kahin nashaadiyaan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
———–
भाग १
———–

है कहीं पर शादमानी
और कहीं नाशादियां
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
है कहीं पर शादमानी
और कहीं नाशादियां

क्या राज़ है
क्या राज़ है॰॰ऐ॰॰ऐ
क्या राज़ है
क्या राज़ है
आज परवाने को भी’
अपनी लगन पे नाज़ है
नाज़ है
क्यों शमा बेचैन है
खामोश होने के लिए॰॰ए॰॰ए
क्यों शमा बेचैन है
खामोश होने के लिए
आंसुओं की क्या ज़रूरत
आंसुओं की क्या ज़रूरत
दिल को रोने के लिए
दिल को रोने के लिए
तेरे दिल का साज़ पगली
तेरे दिल का साज़ पगली
आज बेआवाज़ है
आज बेआवाज़ है

है कहीं पर शादमानी
और कहीं नाशादियां

———–
भाग २
———–
आss आsss आss
आssss आsss आss
आssss आssss आsssss आssss
आsss आss आsss आss

है कहीं पर शादमानी
और कहीं नाशादियां
है कहीं पर शादमानी
और कहीं नाशादियां
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ

आईं ऐसी आंधियां
आईं ऐसी आंधियां
आं॰॰धि॰॰आ॰॰यां
बुझ गया गहर का चिराग
धुल नहीं सकता कभी
जो पदगाया आँचल में दा॰॰आ॰॰आग़
धुल नहीं सकता कभी
जो पदगाया आँचल में दाग़
थे जहां अरमां
थे जहां अरमां
उस दिल को मिलीं
बरबादीयां
है कहीं पर शादमानी
और कहीं नाशादियां

———–
भाग ३
———–
आss आss आss आss
आss आsssss आssssss आss

आss आsss आssssss
आssss आssss आssssss आssss आssss
आssssssss

ज़िंदगी के सब्ज़ दामन में
ज़िंदगी के सब्ज़ दामन में
कभी फूलों के बाग
ज़िंदगी के सब्ज़ दामन में

ज़िंदगी के सुर्ख दामन में
कभी काँटों के दाग़
ज़िंदगी के सुर्ख दामन में
कभी काँटों के दाग़

कभी फूलों के बाग
कभी काँटों के दाग़
फूल काँटों से भरी हैं
ज़िंदगी की वादियाँ
आती हैं दुनिया में सुख दुख की
सदा यूं आंधियाँ
आंधियाँ
आंधियाँ
है कहीं पर शादमानी
और कहीं नाशादियां


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 : 3488 Post No. : 14012

“Do Bhai”(1969) was directed by Brij for Dynamo International, Bombay. The movie had Ashok Kumar, Mala Sinha, Jeetendra, Jagdeep, Chaand Usmani, Malika, Sheikh Mukhtaar, Hercules, Asit Sen, Maruti, Pal Sharma, Gautam Mukherji, Vinod Sharma, Radheshyam, Ratan Gaurang etc in it.

This social movie had five songs in it. Four songs from the movie have been covered in the past.

The details of the songs discussed in the past are as under:

Song Title

Post No.

Post Date

Geet nahin ban sakte kuchh saaz aise hote hain 2054 13-Oct-09
Jeena hai tera ban kar 11569 19-Nov-15
Aa ham ahde wafa kar len 13954 21-Jan-18
Main sunaati hoon ik baat 14007 3-Feb-18

Here is the fifth and final song from “Do Bhai”(1969) to appear in the blog. This song is sung by Rafi. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

HFGK mentions this song as one song, but the it appears twice in the movie. The part I or the “normal” song appears in the movie as the movie opening song. The slow “sad” version of it appears briefly as the movie ending song. The song plays in the background. Part I of the ong, in addition to being the movie opening song is a rail song as well because Ashok Kumar is seen travelling in trains for most part of the song. Likewise, the “movie ending” part of the song can be described as “court room” song because this part is picturised in a courtroom where Ashok Kumar dramatically appears all of a sudden as noble sacrificing characters tend to do in Hindi movies.

With this song, “Do Bhai”(1969) joins the list of movies that have all their songs covered in the blog. Movies with the same title were made in 1947 and 1961 as well and they have already been YIPPEED in the blog. So, with this song, all movies titled “Do Bhai”, viz. “Do Bhai” (1947), “Do Bhai” (1961) and “Do Bhai” (1969) have been YIPPEED in the blog. 🙂

Part I

Part II

Part III

Song-Is duniya mein o duniyaawaalon (Do Bhai) (1969) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

——————————
Part I
——————————
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyawaalon
bada mushqil hai insaaf karna

tujhse ho jaaye na kuchh buraayi
tu bhala hai bura hai zamaana
tujhse ho jaaye na kuchh buraayi
tu bhala hai bura hai zamaana
is zamaane se sun ae deewaane
apna daaman zara tu bachaana aa
daag lag jaaye daaman pe koi
aansuon se pade saaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna

chal pada tu udhar kyun musaafir
jis taraf koi manzil nahin hai
chal pada tu udhar kyun musaafir
jis taraf koi manzil nahin hai
koi kaliyon ka gulshan nahin hai
koi phoolon ki mahfil nahin hai ae
in raahon pe bikhre hain kaante
in raahon se bach ke guzarna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniya waalon
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna

——————————
Part II
——————————
jis bharam mein tu khoya hua hai
woh bharam todna hi padega
jis bharam mein tu khoya hua hai
woh bharam todna hi padega
farz aur pyar mein se samajh le
ek ko chhodna hi padega
paanv na rakh yun do kashtiyon mein
dekh tu doob jayega varna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniya waalon
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna

——————————————
Part III (Slow version)
——————————————
tujh se ho naa jaaye kuchh buraai
tu bhala hai bura hai zamaana
is zamaane se sun ae deewaane
apna daaman zara tu bachaana aa
daag lag jaaye daaman pe koi
aansuon se pade saaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna

————————————-


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

The 25th of October is an important date for Hindi film music lovers. In fact, not just for them but for lovers of Urdu poetry too. For it is the anniversary of passing away of one of the industry’s foremost lyricists, Sahir Ludhianvi, who was highly regarded not just for lyrics but also for his poetry. In fact it was his poetry that brought him recognition early on – he just extended it to the film industry.
Read more on this topic…


This article is written by Peevesie’s mom, 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.

hullo to all in Atuldom

Today 13th of October is a rather sad date for fans of Bollywood music. It was on this date in 1987 that we lost a gem of the industry to “KAAL”. Its 30 years already and we are yet to find an entertainer like him. We still don’t have a singer, actor (brilliant in comedy), composer, song-writer, and finally a producer-director like him. Our own Kishore Kumar.
Read more on this topic…


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.

 

नभ: स्पृशम् दीप्तम्

Touch the Sky with Glory

What an appropriate motto this is, for the flying heroes of our national force that is responsible for the defense of our nation’s skies, and the keepers of our aerial security. The Indian Air Force, the aerial arm of our armed forces, celebrated its 85 anniversary yesterday – 8th October, 2017.
Read more on this topic…


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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).
Read more on this topic…


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(© 2008 - 2019) 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 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15003

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4106

Total visits so far

  • 11,590,043 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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