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

Archive for the ‘Poignant Song’ Category


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 :

4004 Post No. : 15108 Movie Count :

4149

Missing Films of 1960s – 113
– – – – – – – – – – – – – – –

Famous last words, and all the associated idiomatic paraphernalia that goes along – well, it has happened with me too. 🙂 On Monday last (1st July), while posting the 112th episode of this series, I had, with much fanfare announced that no more films of 1960s are traceable at present. And the very same day, our dear Sadanand ji pointed me towards a link on YT – a song uploaded by Shri Girdhari Lal ji (of Jodhpur), from the film ‘Rang Raliyaan’ of 1962. This film is on the list of 79 films that I posted in that article – list of films that are still to be traced.

And so in my defense I want to state that Girdhari Lal ji is one of the earliest sources that I consulted, while searching for the missing films and songs. That must have been about 3 to 4 years ago, when I had started working on this series. At that point in time, he had told me that, he had not yet started working on the films from 1960s, so he could not say with certainty. Later, as I was getting to close this series, I should have checked with him again, but missed doing that. And this upload has been online for about 11 months now. 🙂

In my article I have written at one place,

The last column gives the no. of films which are not yet available, and I mean, not available from any source, period. As far as my search of the past almost four years reveals, songs of these films are not available anywhere in public domain. I could be wrong, and oh boy, I will be the happiest person to be told that I am wrong 🙂 .

Yes, I am happy to get hold of songs from a very rare and obscure film, and also to bring this film on board. And I heartfully thank Sadanand ji for bringing this song and upload to my notice. Further, I am so glad that providence made me close that article with the lines,

I suspend further publications in this series. I say suspend, because I want to leave the door open for the possibility that any of the remaining 79 films of this decade, may turn up, only God knows where and when.

Well, one of the films did turn up right away. 🙂

Not only has Girdhari Lal ji uploaded these songs online, he also sent me many more details about the film itself, which I am presenting here.

The film is produced by Achchhe Saheb (name given in Geet Kosh). It is directed by Aziz Kashmiri, who has also written the songs in this film. The cast of actors of this film includes Meena, Manhar Desai, Manju, Randheer, Dalpat and Om Prakash.

The film has seven songs, one of which is a long two part song. All songs are written by Aziz Kashmiri. Three music directors have contributed to the film – Vinod, Lachhiram and S Bannerji.  This particular song is composed by Lachhiram. The singing voice is that of Mubarak Begum.

This song is vintage Mubarak Begum. As I listened to this song multiple times, the rendition and the nuances kept taking my mind back to her other hit songs like “Tumhaara Dil Mere Dil Ke Muqaabil Ho Nahin Sakta. . . Bemuravvat Bewafaa. . .”, “Aankhon Aankhon Mein Har Ek Raat Guzar Jaati Hai”, and “Mere Aansuon Pe Na Muskura”. A sad song of a broken heart, I simply do not seem to be able to get enough of listening to it. A very rare and a very obscure addition to our blog – a song whose existence we have not been aware of all these years.

And yes, this find also gives hope and encouragement that more of the missing films and songs may be recovered in time.
Aameen.

 

Song – Kyon Hum Ne Mohabbat Ki Un Se  (Rang Raliyaan) (1962) Singer – Mubarak Begum, Lyrics – Aziz Kashmiri, MD – Lachhiram

Lyrics 

kya bhale din the
tabiyat jab kahin aai na thi
chot wo khaai hai dil par
jo kabhi khaai na thi

kyon hum ne mohabbat ki un se
oo oo oo
kyon hum ne mohabbat ki un se
kyon dil ka sukoon barbaad kiya
kyon un ke liye badnaam huye
oo oo oo
kyon un ke liye badnaam huye
kyon khaana e gham abaad kiya
kyon hum ne mohabbat. . .

daaman mein hai gham tum kya jaano
daaman mein hai gham tum kya jaano
majboor hain hum tum kya jaano
tum kya jaano
wo dil ki khushi paayenge kahaan
oo oo oo
wo dil ki khushi paayenge kahaan
kismet ne jinhen nashaad kiya
kyon hum ne mohabbat. . .

ae baad e saba tu jaa ke zara
ae baad e saba tu jaa ke zara
keh dena ye paighaam mera
paighaam mera
hum aur to sab kuchh bhool gaye
oo oo oo
hum aur to sab kuchh bhool gaye
ik teri wafaa ko yaad kiya..aa..aa. . .

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

क्या भले दिन थे
तबीयत जब कहीं आई ना थी
चोट वो खाई है दिल पर
जो कभी खाई ना थी

क्यों हमने मोहब्बत की तुमसे
ओ ओ ओ
क्यों हमने मोहब्बत की तुमसे
क्यों दिल का सुकूँ बर्बाद किया
क्यों उनके लिए बदनाम हुये
ओ ओ ओ
क्यों उनके लिए बदनाम हुये
क्यों खाना ए ग़म आबाद किया
क्यों हमने मोहब्बत॰ ॰ ॰

दामन में है ग़म तुम क्या जानो
दामन में है ग़म तुम क्या जानो
मजबूर हैं हम तुम क्या जानो
तुम क्या जानो
वो दिल की खुशी पाएंगे कहाँ
ओ ओ ओ
वो दिल की खुशी पाएंगे कहाँ
किस्मत ने जिन्हें नाशाद किया
क्यों हमने मोहब्बत॰ ॰ ॰

ए बाद ए सबा तू जा के ज़रा
ए बाद ए सबा तू जा के ज़रा
कह देना ये पैग़ाम मेरा
पैग़ाम मेरा
हम और तो सब कुछ भूल गए
ओ ओ ओ
हम और तो सब कुछ भूल गए
इक तेरी वफ़ा को याद किया॰॰आ॰॰आ॰ ॰ ॰

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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 :

3999 Post No. : 15098

Saga Of Sleepless Nights – 5
– – – – – – – – – – – – – – –

un aankhon mein neend kahaan
jin aankhon se preetam door basey. . .

It was October of 2017, a year and 8 months ago. The previous episode of this series was posted then. After that – this long gap. There have been many a sleepless nights in the intervening months. Yet, somehow I could not get back into the groove with this series. And actually, and inadvertently I should say, two songs that I was saving for this series, got posted otherwise, depleting my list of song. Anyhow, not an issue – the wealth of the Hindi film song still will reveal more songs for this category. 🙂

‘Ek Masoom’, a film from 1969, appears to be a film that likely took some time to get going, get completed and released. This film was rare and unavailable for decades, and it has been recently unearthed and then made available in public domain.

It is a lesser known film of Tanuja, who is paired opposite to a gentleman named Salim Durrani. Yes, the name sounds very familiar, but this gentleman is not the India’s cricketing great, as even I had jumped to conclude first time when I read this name. The cricketer Salim Durrani has appeared in one film – BR Ishaara’s ‘Charitraheen’ (1973). The Salim Durrani appearing in ‘Ek Masoom’ is a different person. From checking the Geet Kosh, it seems that this film is the only one in which this non-cricketer Salim Durrani has appeared, just like his cricketing namesake.

The story of this film is the theme of same-face-confusion. A mix up is caused when two individuals who look exactly alike, happen to inadvertently wander into the life space of one another. One of the characters has links to the world of crime. And so, the mix up results in some predictable situations, where one individual is arrested for the crimes of the other. The matters reach the court, and are finally settled when both of them eventually reach the courtroom at the same time, come face to face with each other, and mix up is sorted out.

Of course, in the interim, the lives of the people connected with this same-face duo, become topsy turvy. The gentleman who is the straight and shareef person, is the love interest of Tanuja. But when the suspicions are cast on his actions and his character, misunderstandings are created, bringing agony to the lady.

This song is the result of that agony Tanuja is undergoing, spending sleepless nights – awaiting for some sign of good hope that may dispel her apprehensions, and clear the air around the man she loves.

And so the refrain from the poet –

jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya

 The sleepless nights bother those hearts that are torn asunder with the storms of emotions and anxiety. These storms will keep one awake. Thoughts of what could have been and what may possibly happen, rage through the mind. And the sleep – it is far, far away from the eyes.

Another sleepless night. And another song of sleepless nights.

Song – Jo Na Poore Hon Un Armaanon Ne Soney Na Diya  (Ek Masoom) (1969) Singers – Asha Bhosle, Lyrics – Fareed Tonki, MD – N Dutta

Lyrics

jo na poore hon un armaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

har ghadi tere khayaalon ne rulaaya mujhko
har ghadi tere khayaalon ne rulaaya mujhko
din to kya shab ko bhi
deewaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya

jo na poore hon

yaad jab bhi teri aai to phir aati hi gayi
yaad jab bhi teri aai to phir aati hi gayi
lakh chaaha magar afsaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

jo tadapte hain wo tadpa bhi diya karte hain
jo tadapte hain wo tadpa bhi diya karte hain
raat bhar shamma ko parwaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

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

जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

हर घड़ी तेरे ख्यालों ने रुलाया मुझको
हर घड़ी तेरे ख्यालों ने रुलाया मुझको
दिन तो क्या शब को भी
दीवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

याद जब भी तेरी आई तो फिर आती ही गई
याद जब भी तेरी आई तो फिर आती ही गई
लाख चाहा मगर अफसानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

जो तड़पते हैं वो तड़पा भी दिया करते हैं
जो तड़पते हैं वो तड़पा भी दिया करते हैं
रात भर शम्मा को परवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों


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 :

3976 Post No. : 15063 Movie Count :

4133

Missing Films of 1960s – 111
– – – – – – – – – – – – – – –

“हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“
(“hum to doobenge sanam, tumko bhi le doobenge”)

(I will drown no doubt my dear, but will take you down with me.)

Some conversations, some words, touch a certain nerve inside that they simply cannot be forgotten.  And some of them go even a step further.  Some such words become so indelibly ingrained in the collective memory of a society that they end up becoming a part of the current lingua franca, an idiom that normal people begin to use in everyday conversations.

The above dialogue is one such example. This phrase has become part of the Hindustani exchange – I am sure this is a matter of current experience for all of us. Let me tell you where this dialogue comes from. The earliest occurrence that I am aware of is this being used in a film – well, 68 years ago. The year was 1951. The film maker was Raj Kapoor. The film was ‘Aawaara’. The scene in reference is / was considered a daring scene in those times. Nargis and Raj Kapoor are seen in swimming costumes, in a splashing pool close to a beach. This comes a little before the song “Dum Bhar Jo Udhar Munh Phere. . .”.

Nargis invites RK to dive into the pool. RK feigns fear, as if expressing he does not know how to swim. This exchange is all through facial expressions. Nargis dives into the pool. RK follows. Nargis quickly scrambles out of the pool, then tells RK that the water is deep, and he might drown. RK lunges at Nargis’ hand and tries to pull her back into the pool, and speaks this dialogue – “हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“.

The dialogues of ‘Aawaara’ (as also the story) are written by Khwaja Ahmed Abbas or KA Abbas for short. As a writer, he was associated with Raj Kapoor and RK Films all the way from ‘Aawaara’ in 1951 to ‘Henna’ in 1991. He had passed away in 1987. Raj Kapoor had started making ‘Henna’, but then he himself passed away in 1988. The film was completed by Randhir Kapoor.

The association he shared with Raj Kapoor lasted almost 4 decades. The association stands the testimony of ideology – KA Abbas was a very active member of both IPTA (Indian People’s Theatre Association) and PWA (Progressive Writers Association). And Raj Kapoor and his socialistic ideology as expressed in films like ‘Aawaara’, ‘Shri 420’, ‘Boot Polish’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’ etc. These films have a focus on the underprivileged in the society, and are a call to make a better society.

The word “progress and progressive” attached with it has a history of its own. In 19th century England, the word progressive was the battle cry of all those who wanted a better deal for the underprivileged and wanted science and technology to spearhead the movement for social development. It stood for liberation and democracy. Munshi Prem Chand, doyen of Urdu writers, had delivered the Presidential Address of the first meeting of the PWA. It was a movement for the freedom-loving writers who were opposed to the status quo in the feudal-dominated Indian society. They thought that unless the Indian society was not transformed and the common masses were not in the driving seat, nothing could change. Writers like Krishan Chander, Ismat Chugtai, Saadat Hasan Manto, Ahmad Nadeem Qasmi, Ali Sardar Jafri, Sibte Hassan, Ehtesham Hussain, Mumtaz Hussain, Sahir Ludhianvi, Kaifi Azmi, Ali Abbas Hussaini, Makhdoom Mohiuddin, Farigh Bukhari, Khatir Ghaznavi, Raza Hamdani, M Ibrahim Joyo, Sobho Gianchandani, Shaikh Ayaz, Rajinder Singh Bedi, Amrita Pritam, Ali Sikandar, Zoe Ansari, Majaz Lucknawi, and yes, Khwaja Ahmed Abbas, made it the strongest literary movement.

My earliest introduction to Abbas Sb was sometimes in mid 1960s. Although we watched the movies diligently, on TV and on the big screen, it was not yet time to grasp all the names that came while the credits were rolling. Becoming familiar with the story writer or the art director or the choreographer, was still a few years hence. What stuck to my mind was really a very out of the way encounter. It was a tele-film which probably no one remembers any more. But somehow, that film and the name has simply remained glued in memory. It wasn’t accompanied by any pompous announcements etc. It was just a film, that happened to get telecast when I happened to be sitting in front of the television at a neighbour’s house one evening. The title of the film is ‘India, My India’. It was a very interesting documentary. Starting with the very early morning hour – like 5 am, the telefilm captured vignettes of rural and urban lifein India, from different parts of the country. For every hour, the location would change. And for the next about 5 minutes, the viewer was treated to a sampling of the local life and local color at that hour of the day, accompanied by a narrative description. Over a period of two hours, 24 different locations of the country were mapped into this documentary, showing life as it happens, at different times in a cycle of 24 hours. To my tiny intelligence, this was a wonderful new experience, and I am sure a wonderful new experiment for its creator.

Another place where this name was highlighted every week, was on the last page of the weekly tabloid – Blitz, published from Bombay and Delhi. Being a journalist household, we always had a huge selection of newspapers and magazines delivered every morning. Blitz was one of the weekly papers that was the staple of many member of our household (a joint family setup at that time). For me, Blitz was an attraction because it always carried something ‘scandalous and titillating’ 😉 . Of course, the name of KA Abbas was always prominently posted on the last page of the weekly edition, quite appropriately titled the ‘Last Page’. I remember I used to read it with interest, because it was always a wry and a sideways look at the socio-political current affairs. A good read, because it introduced many a names to my still fledgling memory, names that would become important in later decades.

KA Abbas was born in Panipat (now in Haryana). He came into a family of erudite scholars with a history of good education and social involvement. His father was a celebrated Urdu poet, Khwaja Altaf Hussain Hali, a student and scholar of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the leaders of the first war of independence in 1857 – the first celebrated martyr of Panipat who was blown from the mouth of a cannon. Abbas’s father graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman. He spearheaded an effort to modernise the preparation and manufacture of Unani medicines. Abbas’s mother, Masroor Khatoon, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He was instructed in reading the Arabic text of the Quran. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LLB in 1935 from Aligarh Muslim University.

Abbas began his career as a journalist with ‘National Call’, a New Delhi based newspaper after finishing his BA. Simultaneously, while doing his LLB in 1934, he started ‘Aligarh Opinion’, India’s first university students’ weekly during the pre-independence period. In 1935, Abbas came to Bombay and joined ‘The Bombay Chronicle’. He occasionally served as a film critic. An event transpired and the film editor of the paper passed away. Abbas got promoted to be the editor of the film section.

While at The Bombay Chronicle, (1935–1947), he started a weekly column called ‘Last Page’, which he continued when he joined the Blitz magazine. ‘Last Page’, (‘Azad Kalam’ in the Urdu edition). This column continued till Abbas Sb passed away in 1987, making this the longest-running political column in India’s history (1935–87). A collection of these columns was later published as two books.

In 1936, a few months after having come to Bombay and starting work at ‘The Bombay Chronicle’, a meeting with Himanshu Rai and Devika Rani happened. As a result, the young journalist took his first steps into the film industry. He started working as a copywriter and a publicist for Bombay Talkies. And shortly thereafter, he sold his first story and screenplay to Bombay Talkies – the film being ‘Naya Sansaar’ (1941).

The world of Hindi cinema quickly opened up to him. Here was an energetic young man with liberal outlook and a new expression, seeking to inject a new wave into the world of cinema. ‘Naya Sansar’ was the first such offering. He won the Bombay Film Journalists Association (BFJA) award for the best screenplay in 1942, for this film.

1943 – the great famine of Bengal happened. A story took a foothold in his mind. He wrote the story, the screenplay, became a producer and a director also in the same step – the result was the 1945 release of ‘Dharti Ke Lal’. KA Abbas had fired the first volley of the neo-realist socially aware cinema in India. The film was made under the banner of IPTA.

In parallel, he wrote the script for Chetan Anand’s ‘Neecha Nagar’ and V Shantatram’s ‘Dr Kotnis Ki Amar Kahaani’. Both films were released in 1946.  ‘Neecha Nagar’ went on to win the Palme d’Or (Golden Palm) award at the Cannes Film Festival, in one of the three categories – the only Indian film to have that honor in the history of our industry.

In 1951, he set up his own banner – ‘Naya Sansaar’, and went on to create some very iconic films in the history of Indian cinema. Commercial success not being the criteria, the value of social awareness and the commentary on the state of current affairs in the society simply cannot be measured. A short sampling of his critically acclaimed work is as follows,

1951: Screenplay for ‘Awaara’, nominated for the Palme d’Or at the Cannes Film Festival.

1956: Screenplay for ‘Jaagte Raho’, won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in 1957 and the Certificate of Merit at the fourth National Film Awards.

1958 Screenplay and direction for ‘Pardesi’, nominated for the Palme d’Or at the Cannes Film Festival.

1960: Direction for ‘Eid Mubarak’ (children’s documentary) , got All India Certificate of Merit for the Second Best Children’s Film

1964: Screenplay, production and direction for ‘Shehar Aur Sapna, won the National Film Award for Best Feature Film

1965: Direction for ‘Hamaara Ghar’, won award at the International Film Festival, Santa Barbara, USA

1970: Screenplay, production and direction for ‘Saat Hindustani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

1972: Screenplay, production and direction for ‘Do Boond Pani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

Other major films he was associated with either as screenplay/story writer, producer, or director – or all of the roles, include ‘Aaj Aur Kal’ (1947), ‘Anhonee’ (1952), ‘Raahi’ (1953), ‘Munna’ (1954), ‘Shree 420’ (1955), ‘Chaar Dil Chaar Raahen’ (1959), ‘Gyaarah Hazaar Ladkiaan’ (1962), ‘Aasmaan Mahal’, (1965), ‘Bambai Raat Ki Baahon Mein’ (1967), ‘Mera Naam Joker’ (1970), ‘Bobby’ (1973), ‘Achaanak’ (1973), ‘Faaslah’ (1974), ‘The Naxalites’ (1980), ‘Love In Goa’ (1983), ‘Ek Aadmi’ (1988), and ‘Henna’ (1991).

As a journalist, he met with and interviewed several renowned world leaders and notable personalities – including the Russian Prime Minister Khrushchev, American President Franklin Roosevelt, Charlie Chaplin, Mao-Tse-Tung and Yuri Gagarin.

As a writer, he has authored more than 70 books in his lifetime in Hindi, Urdu and English.

In 1963, Abbas wrote, produced and directed ‘Shehar Aur Sapna’. This film is an experience totally different. The theme of the film is the dream city of Bombay, and the severe housing problem it faces. The myth of this city attracts thousands of young men who arrive here every day, with a dream of their own. But the harsh realities of making a living, and of having a roof on one’s head in this city, is an experience that can shatter many a tough determined minds.

The story is told through the experiences of Bhola, a young man – almost a village bumpkin, who comes to Bombay in search of livelihood, and Radha, a young woman also from a distant village, who is duped into a sham marriage, and is then plowed into flesh trade, from where she dares to escape, to start living on her own terms in this cruel and heartless city. For a time, their home is an abandoned drain pipe. Their support system is a trio of good samaritans, who themselves are inhabitants of the world of footpath dwellers – roles played by David, Anwar Hussain and Nana Palsikar. Manmohan Krishan plays the role of a wandering homeless poet (shades of ‘Matwaala Shaayar Ram Joshi’) who is a mute observer to all the events that transpire in the lives of this set of characters.

The progression of the storyline came as a shock to many who had never visited Bombay. No doubt the events depicted are dramatized to a certain extent, but surely they are also grounded in the realities of the living experience of this city. As the film comes to a close, the young couple are now parents to a newborn, their temporary shelter hosted by the three samaritans has been razed by bulldozers, to clear the way for an apartment complex being built by a rich builder, their drain-pipe home has finally found the purpose it was originally intended for – that is, the pipeline is laid and the drain pipe buried into the earth. The closing shot of the film shows the couple walking into a dying dusk, carrying the baby and their worldly belongings in a couple of makeshift shoulder bags, not knowing where to head – maybe towards a dream – a ‘sapna’, and nothing else.

A time of his own life that Abbas Sb has talked about in his writings and interviews – he too had slept of the footpaths of Bombay during his initial days in the city. As he prepared to shoot this film, he actually walked through the streets and bylanes of the city where the have-nots dwell in large numbers, at all times of the day and in all types of weather, to be able to recreate the landscape in the film to tell the story he wanted to. People making homes in drain pipes is a reality that he has seen and experienced. So it came quite naturally that he is able to present these sequences so convincingly.

The film is written, produced and directed by KA Abbas, under his own banner – Naya Sansaar, Bombay. The roles of the lead pair Bhola and Radha, are performed by Dilip Raj (son of the renowned P Jairaj) and Surekha Parkar. The rest of the cast is listed as Nana Palsikar, Manmohan Krishan, David, Anwar Hussain, Asit Sen, Jagdish Kanwal, Rasheed Khan, Ravikant, Ram Murty, Nazeer Kashmiri, Narbada Shankar, Moti Beena, Master Javed, and Pardesi amongst others.

Coming to the music of this film – the thing that makes the music of this film some sort of a rarity is the fact that it was never released on gramophone records. The songs of this film are essentially a recitation of poetry that occurs at four points in the story line. The poet protagonist is Manmohan Krishan. He is the one who sings all these four pieces, accompanying significant moments in this film. The lines of this poetry are penned by Ali Sardar Jafri and the music direction is by JP Kaushik (aka Jag Phool Kaushik).

The rare thing about these poetical pieces is of course their availability. These renditions were never released on gramophone records. Furhter, despite being an award winning film, the film itself has become a rarity, not available easily in public domain. Our dear friend from Jaipur, Pawan Jha, has uploaded one poetical segment elsewhere on YouTube. In absence of the availability of all the four pieces of poetry, I have extracted and edited the four pieces into a single video clip, from a copy of the film which itself is not the best. But no complaints – at least we have what we have. Small blessings that all the four poetical pieces are available. I debated and discussed with friends, whether this should be four different poetical renditions. As one listens to the four pieces, one can make out the one single thread that runs through these four pieces, giving credence to the Geet Kosh listings that lists these four pieces as parts 1 to 4. And so I felt it important to present them together as one poem with four parts. In the edited clip, I have included a very small segment of the film appearing just before each part presents itself in the storyline, to get a flavor of the backdrop against which each of these parts is presented.

The interesting thing about this post is that the film makes its debut today on our blog, and simultaneously, we can also declare it as yippeee’d – all the songs of this film are now posted. And it also brings us close, very close, to the culmination of this series of bringing on board the missing films of 1960s.

As one reviews the history of Indian cinema, one does not, should not categorize the luminaries like Satyajit Ray, Bimal Roy, Raj Kapoor, K Asif, Chetan Anand, Ritwick Ghatak, Mehboob Khan, Mrinal Sen, Rituparno Ghosh, Muzzafar Ali and the like. These legendary film makers each are a class unto themselves. And so is Khwaja Ahmed Abbas. His body of work put together may well form an institution that will be a matter of research and debate for decades to come. The medium of cinema is undoubtedly more rich, because KA Abbas worked on it. And because a compelling film like ‘Shehar Aur Sapna’ was created by him.

Born on 7th June, 1914, today is the 105th birth anniversary of this illustrious film maker. One of the very few whose dedication went exceptionally beyond the considerations of commercial success of his creations. His focus, his commentary, never wavered away from an acknowledged social responsibility of the medium of cinema. I fall back once again on the film ‘Aawaara’ and its dialogues – two samples.

Raj is running from the police and incidentally enters the home of Judge Raghunath and Rita. There is an exchange about the identity of the intruder. In a comic way, Raj is trying to convince Rita that he is a thief. And this is how he presents it –

“बस यही तो हमारे नए समाज का कमाल है।

जो चोर हैं, दूसरों की जेब काटते हैं, पब्लिक की आँख में धूल डालते हैं, मेरे जैसे फ़र्स्ट क्लास सूट पैंट पहनते हैं, उन्हें हम शरीफ समझते हैं। और जो ईमानदारी से मेहनत मजदूरी करके पेट पालते हैं, फटे पुराने कपड़े पहनते हैं, उन्हें चोर आवारा डाकू समझ कर धर लिया जाता है। ये पूंजीपति, ये काले बाज़ार वाले सेठ, ये मुनाफाखोर, ये ब्याज लेने वाले, ये सब कौन हैं। मेरी तरह चोर।“

“Bas yahi to hamaare naye samaaj ka kamaal hai.

Jo chor hain, jo doosron ki jeb kaat’te hain, public ki aankh mein dhool jhonkte hain, mere jaise first claas suit pant pehante hain, unhen hum shareef samajhte hain. Aur jo imaandari se mehnat mazdoori kar ke pet paalte hain, fatey puraane kapde pehante hain, unhem chor aawaara daaku samajh kar dhar liya jaata hai. Ye poonjipati, ye kaale bazaar waale seth, ye munaafakhor, ye byaaj lene waale, ye sab kaun hain. Meri tarah chor.”

And in the closing minutes of the film, as the court case against Raj is in progress, the judge invites Raj to say what he wants to, in his own defence. One part of that monologue goes like –

“आप जो चाहे मुझे सज़ा दे सकते हैं।

मगर क्या आप समझते हैं के मुझे फांसी देने से ये पाप क्रोध हिंसा और अपराध का जहर जो आपकी दुनिया में फैला हुआ है, ये दूर हो जाएगा।

मैं आपको अपनी जीवन कथा सुनाना नहीं चाहता। मगर इतना ज़रूर कहना चाहता हूँ, के अपराध के कीड़े मुझे खून में अपने माँ बाप से नहीं मिले थे। उस गंदे गट्टर से मिले थे जो हमारी गंदी चाल के पास से बहता है। वो गट्टर आज भी वहाँ बह रहा है। और अपराध के कीड़े अब भी उस में पल रहे हैं। और.. और सैंकड़ों हजारों बच्चे जो आस पास की चालों में रहते हैं रोज़ाना इन कीड़ों के शिकार हो रहे हैं। मेरी फिक्र ना कीजिये, उन बच्चों की फिक्र कीजिये, अपने बच्चों की फिक्र कीजिये। ऐसा ना हो

के एक दिन आप, और आप, और आप, और आपका बच्चा भी मेरी तरह इस कटहरे में बार बार कहे के मेरी रगों में भी शरीफ बाप का खून है।”

Aap jo chaahe mujhe sazaa de sakte hain.

Magar kya aap samajhte hain ke mujhe faansi dene se ye paap krodh hinsa aur apradh ka zehar jo aapki duniya mein faila hua hai, ye door ho jaayega.

Main aapko apni jeevan katha sunaana nahin chaahta. Magar itna zaroor kehna chaahta hoon, ke apradh ke keede mujhe khoon mein apne maa baap se nahin miley the. Us gande gattar se miley the jo hamaari gandi chaal ke paas se behta hain. Wo gattar aaj bhi wahaan beh raha hai. Aur apradh ke keede ab bhi us mein pal rahe hain. Aur. . aur sainkdon hazaaron bachche jo aas paas ki chaalon mein rehte hain rozaana in keedon ke shikaar ho rahe hain. Meri fiqr na kijiye, un bachchon ki fiqr kijiye, apne bachchon ki fiqr kijiye. Aisa na ho ke ek din aap, aur aap, aur aap, aur aapka bachcha bhi meri tarah is katehre mein baar baar kahe ke meri ragon mein bhi shareef baap ka khoon hai.

Touching upon the sordid realities of human existence, and the dichotomy of the crooked and dubious haves versus the helpless have nots just trying to survive. The dialogues bring home a message that is topical even today – a message that inevitably gets lost in the glitz of commercial compulsions.

His creations, his vision is exceptional. Even when he writes the story for ‘Bobby’ – yes it is a showman’s film, an RK creation. But beneath the formula drama, there is an effort to dissect and discuss the social divide of the rich-boy-poor-girl tale. It is was an RK film – one had a ice-cream flavored happy ending.

‘Shehar Aur Sapna’ is an out and out KA Abbas statement – the ending is poignant, rooted in the real world, but still colored with an idealist’s hope looking into the future – shades of “. . . Wo Subah Kabhi To Aayegi. . .”.

[Acknowkledgements – A part of this article is adapted from the material in multiple articles on Wikipedia.]

Song – Ye Shaam Bhi Kahaan Hui  (Shehar Aur Sapna) (1963) Singer – Manmohan Krishan, Lyrics – Ali Sardar Jafri, MD – Jag Phool Kaushik

Lyrics

(Part 1)

ye shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

patharon ki basti hai
patharon ka zinda hai
patharon ki deewaaren
jin mein qaid insaan hai
patharon ki sejen hain
patharon ka bistar hai
patharon ke takiye hain
patharon ki chaadar hai
neend aur sapne bhi
patharon mein dhalte hain
patharon ke seene mein
kitne paap palte hain
kitne paap palte hain

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 2)

pathar ka bhagwaan yahaan hai
pathar ka shaitaan
pathar ke dil
pathar ke sar
pathar ke insaan
koi rasta kaise paaye
dil ka haal kisey samjhaaye
chaaron or khadi hai dekho
pathar ki santaan
pathar ki santaan

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 3)

pyaar ko aaj nai
tarah nibhaana hoga
pyaar ko aaj nai
tarah nibhaana hoga
hans ke har dard ko
har gham ko bhulaana hoga
hans ke har dard ko

aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
khoon e dil de ke unhen
phir se jalaana hoga
khoon e dil de ke unhen
phir se jalaana hoga
pyaar ko aaj nai

abhi khil jaayenge masle huye
kuchle huye phool
abhi khil jaayenge masle huye
kuchle huye phool
shart bas ye hai ke
seene se lagaana hoga
shart bas ye hai ke
seene se lagaana hoga
pyaar ko aaj nai

wo jo kho jaayen to
kho jaayegi duniya saari
wo jo kho jaayen to
kho jaayegi duniya saari
wo jo mil jaayen to
saath apne zamaana hoga
wo jo mil jaayen to. . .

(Part 4)

hazaar ghar hazaar dar
ye sab hain ajnabi magar
khabar nahin ke ab kidhar
mudegi apni rehguzar

yahaan se jaayenge kahaan
amaan paayeng kahaan
ye zindagi ki bebasi
ye bebasi ki zindagi..ee..ee

ye bebasi ki zindagi..ee..ee

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

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

(भाग 1)

ये शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

पत्थरों की बस्ती है
पत्थरों का ज़िंदा है
पत्थरों की दीवारें
पत्थरों के इंसान हैं
पत्थरों की सेजें हैं
पत्थरों का बिस्तर है
पत्थरों के तकिये हैं
पत्थरों की चादर है
नींद और सपने भी
पत्थरों में ढलते हैं
पत्थरों के सीने में
कितने पाप ढलते हैं
कितने पाप ढलते हैं

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 2)

पत्थरों का भगवान यहाँ है
पत्थरों का शैतान
पत्थर के दिल
पत्थर के सर
पत्थर के इंसान
कोई रस्ता कैसे पाये
दिल का हाल किसे समझाये
चारों ओर खड़ी है देखो
पत्थर की संतान
पत्थर की संतान

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 3)

प्यार को आज नई
तरह निभाना होगा
प्यार को आज नई
तरह निभाना होगा
हंस के हर दर्द को
हर ग़म को भुलाना होगा
हंस के हर दर्द को

आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
खून ए दिल दे के उन्हें
फिर से जलाना होगा
खून ए दिल दे के उन्हें
फिर से जलाना होगा
प्यार को आज नई

अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
शर्त बस ये है के
सीने से लगाना होगा
शर्त बस ये है के
सीने से लगाना होगा
प्यार को आज नई

वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो मिल जाएँ तो
साथ अपने ज़माना होगा
वो जो मिल जाएँ तो

(भाग 4)
हज़ार घर हज़ार दर
ये सब हैं अजनबी मगर
खबर नहीं के अब किधर
मुड़ेगी अपनी रहगुज़र

यहाँ से जाएँगे कहाँ
अमान पाएंगे कहाँ
ये ज़िंदगी की बेबसी
ये बेबसी की ज़िंदगी॰॰ई॰॰ई

ये बेबसी की ज़िंदगी॰॰ई॰॰ई

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई


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 : 3965 Post No. : 15047

Songs Repeated in Hindi Films – 2
– – – – – – – – – – – – – – – – – –

One of the most iconic songs of Saigal Sb. A song that is a definitive representation of Hindi film music of the 1930s. That incomparable rendition by Saigal Sb under the music direction of RC Boral was recorded live for the film ‘Street Singer’ (1938). Recorded more than eight decades ago, this remains a signature piece for time immemorial. The vision of Saigal Sb, leaving his home, just carrying his harmonium with him, walking with a slow measured pace, and singing this thumri – it is one of the lasting images of Hindi cinema. That version of the thumri from the ‘Street Singer’ can be viewed here – “Baabul Mora, Naihar Chhuto Hi Jaaye“.

Anecdotes around that live recording and shooting tell of a microphone hidden in the harmonium, of the slow pace of walking so as to complete the singing and the visual shot keeping within the range of the camera. Playback singing had already been invented (1935) and was in progressive use in the industry. And yet, this song was recorded live. The performance can only be called – unprecedented, incomparable and peerless. Nothing more fascinates the diehard fans of Saigal Sb, than this one song by him. Many singers have sung this, but the Saigal version remains untouched, unsurpassed.

In the film, this song spans an extended sequence of scenes. And small parts of this song are also rendered by Kanan Devi. There is a sequence where Kanan Devi attempts to sing this song in the theatre. Later, Bhola (KLS) departs from their shared home, upset that Manju (Kanan Devi) is enamored by Amar Babu (Jagdish Sethi), and wants to move in with him. But after just one day away from Bhola, Manju returns home searching for him. And finds that he has left. She makes a phone call to Amar Babu, requesting him to bring his car. They start to drive towards the road that leads to Bhola and Manju’s home village. In the meantime, the scene shifts between Manju searching for Bhola, and Bhola walking away with the harmonium. The song is reprised here three or four times, sometimes just the mukhda, sometimes just the antaraa.

Amar Babu is driving the car with dismay in his heart. A windstorm arrives. There is lot of dust in the air, and visibility is not good. Manju alights from the car, and starts following the path on foot – the path that Bhola would have taken returning to his village. Tired and overcome by storm, Bhola falls down by the roadside. Manju sees someone lying on the road and rushes to him. The tryst happens again. Amar Babu watches them from a distance. And then with a wry smile on his face, he returns to his car, to start the lonely journey back to his home. Bhola and Manju start their foot journey back to their village. Once again the song is heard in the voice of Kanan Devi, as the visual shows the two mates, in a silhouette against a darkening sky. The hearts have met, they are returning home, and the lady’s voice is telling – “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

Thirty five years later, in 1973, this classical thumri is now included in the film ‘Aavishkaar’, starring Sharmila Tagore and Rajesh Khanna. This time, the music composition is by Kanu Roy, who transformed it into a duet, with the participating voices of Jagjit Singh and Chitra Singh. This time, in the picturization, this is presented as a background song, as the visual action on screen is mostly silent – and yet very expressive.

‘Aavishkaar’ presents a scenario of a brief hiatus in the lives of two people very much in love. In love they are, and they get married, and they start to live together. Maybe, just love is never enough. What love is – it needs to be examined, re examined and re invented often. And then it becomes love, more love and more meaningful. Else, just the drudgery of the consistent proximity, which used to be like heaven to start with, turns into stagnant boredom. Expectations still riding high, the lull now breeds contempt – a contempt that is actually screaming for and seeking a rejuvenated level of understanding and sharing. That is what ‘Aavishkaar’ is about.

The film starts on a day when it is the wedding anniversary of the protagonist couple. Amar (Rajesh Khanna) is aware, but still, broodingly ignores. He works late in office, he goes to see a film with a female co-worker, giving the audience the impression that he is seeking extra marital happiness. On his way back at night, he finally musters enough thought and courage, and buys a bouquet of Rajnigandha flowers. Arriving home, a certain scene transpires before he enters the house, and on an impulse, he places the bouquet in a flower pot next to the door, and enters the house, pretending that he does not remember the anniversary. A long night passes. There are flashbacks, there are arguments, there is even physical violence – highlighting the drift that has occurred in the relationship. Basu Bhattacharya has handled the conflict and the interactions very deftly. In my mind, this is the best handling of the situation of a very loving relationship gone sour. Many other films come to mind – ‘Arth’, ‘Dooriyaan’, ‘Anubhav’, ‘Aandhi’, ‘Grih Pravesh’, ‘Aap Ki Kasam’, the comical ‘Pati, Patni Aur Who’, ‘Abhimaan’ . . . and more. In ‘Aavishkaar’, the director portrays the conflict, the pain, and the reconciliation, at a very psychological level.

So, after a distraught and a tension filled hostile night, mostly sleepless and lot of exchanges and memories, the new day dawns. The rigmarole of the daily routine beckons. Mansi (Sharmila Tagore) gets up early and opens the front door to pick up the milk delivery. And then she sees. . . the bouquet standing in the flower pot. She picks it up. And the voice of Jagjit Singh drifts in from the background. She finds Amar standing behind her. . . and there is an embrace. A lot changed and a lot settled in that night of strife.

The two stanzas play out slowly. The first one as the couple are embracing and then they move back into the home. The second stanza is an external shot, mixing flashback again possibly, as we see the couple on the beach, in a mood of frolic, as the singer croons yet once again to say. . . “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

The two instances that we are so familiar with, of the use of this song in Hindi films, both seem to have happy conclusion. But that was not the original thought when Wajid Ali Shah wrote and composed this thumri, way back in 1856. The British had played a game of deception with the Nawab of Awadh. In a bloodless coup, Wajid Ali Shah was dethroned and sent to Calcutta, and the British annexed Lucknow and the kingdom of Awadh. The Nawab was completely heartbroken, on leaving his beloved city, and his cultural roots. That is the time when this timeless poem was conceived.

Yes, the interpretations works both ways. There is this indication of a newlywed bride, going to her new matrimonial home. There is sadness on leaving the parent’s home, but there is also an eagerness and joyful elation of being with the one, with whom a new bond of love will be explored. And, there is the gloomy and poignant interpretation. Looking at the sad dilemma that was faced by Wajid Ali Shah – he was sentenced to leave behind his beloved city, his happy pastimes, and the people who made up his life that far. The discussions in literature talk about the passing passage of life into afterlife. That too, is a leaving behind of the home that one thinks to be their own, and then embark on a journey to meet the Maker. This jusxtaposition is captured so beautifully and so splendidly in this brief two verse thumri – “Main Chali Piya Ke Des. . .”.

In the context of this series, I bring on this song today to highlight another dimension of reuse that we see so often in Hindi films – the reuse of traditional poetry and folk music. This particular thumri is so simply a dear favorite of singers, that gathering the number of different renditions by different artists would be a big exercise in itself. Just to give you an idea, this thumri has been sung by the following singers – the list goes all the way from Bade Ghulam Ali Khan to Alisha Chinoy. The names, in no particular order are – Ustad Faiyaz Khan, Gauhar Jaan, Ustad Bade Ghulam Ali Khan, Siddheswari Devi, Begum Akhtar, Rasoolan Bai, Naina Devi, Kesarbai Kerkar, Ustad Mushtaq Hussain Khan, Malka Jaan, KL Saigal, Jagmohan Sursagar, Kannan Devi, Ustad Khadim Husain Khan, Girija Devi, Shobha Gurtu, Pandit Bhimsen Joshi, Pandit Jitendra Abhisheki, Kishori Amonkar, Jagjit Singh and Chitra Singh, Jagjit Singh (solo), Rajan-Sajan Mishra, Alisha Chinoy, Mahendra Chopra. . . and I am sure, many more artists of repute.

If I talk about Hindi films, then besides the two instances already covered in the write up above, this thumri appears in two more films. In 1954, Manna Dey has sung this for the film ‘Mahatama Kabir’ – a really wonderful rendition. Then later in 1964, Lata Mangeshkar has sung this for the Bhojpuri film ‘Naihar Chhutal Jaaye’.
[Ed Note: Dear Arun ji adds two more instances of this song being used in Hindi films, both from early 1930s. This song has been rendered by Durga Khote in the 1931 film ‘Trapped’ aka ‘Farebi Jaal’. Then again in 1934, this thumri appears in the list of songs for the film ‘Naachwaali’ – no information available regarding singer or music director.]

Such reuse that involves traditional poetry and folk songs, is really very simple, because this material is beyond the intellectual property disputes. For that matter, we have seen many such other creations being used in films across the decades. On the devotional side, the poems of Meerabai, Kabir Das, and Soordas are very popular and are used quite freely by the producers. Then we have the adabi poets, once again a traditional treasure that does not have any copyright issues attached. Ghazals of Ghalib are quite popular and have been used in many films across the decades. As I scanned the songs in HFGK I find that the ghazal “Dil e Nadaan Tujhe Hua Kya Hai” appears in 9 films from 1931 to 1980. The ghazal “Nuktacheen Hai Gham e Dil” appears in four films, “Ye Na Thee Hamaari Qismat” appears three times, “Phir Mujhe Deeda e Tar Yaad Aaya” also appears in three films, and so on.

Checking for Meerabai’s bhajans, one finds the popular ones like “Mere To Girdhar Gopal”, “Main To Gidhar Ke Ghar Jaaun”, “Tum Jo Todo Piya” etc., being used in many films. Not a precise search, but my estimate is that Meerabai’s bhajans appear in Hindi films more than 100 times. The search cannot be precise because there are many instances where the traditional bhajans or ghazals have been used without giving credit to the original poet. Additional note – Amir Khusro’s poetry appears in Hindi films no less than 10 times, of which at least 4 are occurrences of “Kaahe Ko Byaahi Bides. . .”.

The more difficult proposition would be to trace the folk songs reuse across Hindi films. With so much variations, and without acknowledgement to the original folk source, it is difficult to make an estimate of folk music reuse in films. But I will surely add that this segment would be more voluminous than the bhajans and ghazals. The song, or variations thereof, of “Jhumka Gira Re. . .” has been used in no less than four films.

Coming to the film ‘Aavishkaar’. The film is produced under the banner of Aarohi Film Makers and is directed by Basu Bhattacharya. The songs of this film are written by Gyandev Agnihotri and Kapil Kumar. And yes, this traditional thumri originally created by Wajid Ali Shah. The cast of actors is listed as Rajesh Khanna, Sharmila Tagore, Deena Gandhi, Denis Klement, Satyendra Kappu, Monika Jasnani, Devendra Khandelwal, Margaret, Mahesh Sharma, and Minna Johar etc.

Interesting side note – this film is the 2nd in the now famous trilogy by Basu Bhattacharya, on the topic of marital discord, the first one being ‘Anubahv’ (1971) and the 3rd being ‘Grih Pravesh’ (1977).

More interesting side notes. As we talk about reuse, I must mention the other interesting reuse in this film. Probably this is the only film where we can hear Sharmila Tagore singing. At one place in the film, the iconic Manna Dey song “Hansne Ki Chaah Ne. . .” is being sung by Sharmila. Then, at another place in the film, the song from ‘Teesri Kasam’ (1966) – “Duniya Banaane Waale, Kya Tere Mann Mein Samaai” is playing on the radio, and we can also hear Sharmila singing along with it.

So much for today. In the next episode, we shall explore another very interesting aspect of re-use of songs.

Song – Baabul Mora, Naihar Chhuto Hi Jaaye  (Aavishkaar) (1973) Singers – Jagjit Singh, Chitra Singh, Lyrics – Traditional, MD – Kanu Roy
Jagjit Singh + Chitra Singh

Lyrics

baabul mora. . .
naihar chhuto hi jaaye

baabul mora. . .
baabul mora. . .
naihar chhuto hi jaaye

chaar kahaar mil mori
doliyaan sajaaye re
mora apna begaana
chhuto jaaye. . .
naihar chhuto hi jaaye

[dialogue – Rajesh Khanna, Sharmila]

angnaa to parbat bhaya
deori bhai bides
le babul ghar aapno
main chali piya ke des
main chali piya ke des
main chali piya ke des

baabul mora. . .
naihar chhuto hi jaaye

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

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

बाबुल मोरा॰ ॰ ॰
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

चार कहार मिल मोरी
डोलियाँ सजाये रे
मोरा अपना बेगाना
छूटो जाये॰ ॰ ॰
नईहर छूटो ही जाये

[संवाद – राजेश खन्ना, शर्मिला टागोर]

अंगना तो परबत भया॰ ॰ ॰
डेयोड़ी भई बिदेस
ले बाबुल घर आपनो
मैं चली पिया के देस
मैं चली पिया के देस
मैं चली पिया के देस

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

 


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 : 3963 Post No. : 15043

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Blog 10-Year Challenge (2009-19) – Song No. 32
——————————————————————————————

Another date, and another look at our blog’s history. Ten years ago – well just a thought came to mind. If, say, we were more than two decades active with this blog, and then this idea occurred that we should start looking at our history, then guess, what would be the title of this series.  🙂 🙂  Nothing so straightforward as ‘Blog 10-Year Challenge’. The title then would be ‘Bees Saal Baad’. Sadly enough, there is no film in Hindi cinema history that talks something about a 10 year gap. 😀 😀

Coming to 25th May of 2009. Quite as regularly, six songs were posted that day. The films covered were

  1. Patita                                 1953
  2. Shabnam                           1964
  3. Main Suhaagan Hoon       1964
  4. Ganwaar                            1970
  5. Naina                                 1973
  6. Asha                                   1980

Of these six films, all but one have already been yippeee’d. The one remaining film is ‘Naina’ from 1973.

This film is one of those which suffered delays because of the unexpected departure of Rajshri from India. Rajshri, daughter of V Shantaram from his second wife Jaishree, made her debut as a child artist at the age of 4, in V Shantaram’s film – ‘Dr Kotnis Ki Amar Kahani’ (1948). She continued to appear in child roles for the next decade or so, all appearances in her father’s films – ‘Bhool’ in 1949 and ‘Subah Ka Taara’ in 1954. In 1961, she appears in a side role in the film ‘Stree’.

Her break in commercial cinema other than her father’s productions came in 1963, when she was cast opposite to Manoj Kumar in two films ‘Ghar Basa Ke Dekho’ and ‘Grahasthi’. Then in 1964, V Shantaram produced another musical spectacle – ‘Geet Gaaya Patthron Ne’, in which he cast Rajshri opposite to Jeetendra in his debut role as a hero. The same year we also see her in ‘Ji Chaahta Hai’ with Joy Mukherji and ‘Shehnai’ with Biswajit. Her career seems to be taking off well, as she is being actively cast opposite to the top line leading men in the industry.

1965 she gets into top casting with Shammi Kapoor in ‘Jaanwar’. The same year, we have another Biswajit starrer – ‘Do Dil’. The next year, she makes her presence felt with ‘Mohabbat Zindagi Hai’, working opposite to Dharmendra. In the same year, another film with Biswajit – ‘Sagaai’. About this time, the preparations are on for a supposed blockbuster, a film that went to multiple foreign locations, stringing in a loose story and a large cast of actors, led by Raj Kapoor and Rajshri. She was really in the top bracket now. Being the leading lady with Raj Kapoor as the hero, was still a big thing at that time.

But then, destiny intervened. Working on locations in the US, she met with an American young man – Greg Chapman, and promptly fell in love. They got married in 1969, and off she went and settled in the US – in Los Angeles, where she still lives with her husband, together managing their clothing business. A number of producers in Bombay got badly hit by this move, with the films and projects that had been launched and even partly made, with Rajshri in the lead. There was a lot of mixed press that happened at that time, when she announced to just up and leave India, and leave her work and career too.

In 1967, two films were released – ‘Dil Ne Pukaara’ with Shashi Kapoor, and ‘Gunahon Ka Devta’ with Jeetendra. In 1968 came ‘Brahmchari’ again with Shammi Kapoor, probably the last film that she completed before her departure from India. In 1968, also came ‘Suhaagraat’ working with Jeetendra again. I remember clearly, in one of the film magazines, maybe Madhuri or some other – a photograph of Rajshri appeared. And the caption of that photo was – “सुहागरात पूरी हो या न हो, मैं तो चली।” (“Whether Suhaagraat (literally the nuptial night) is accomplished or not, I am going”). That caption drew a lot of attention at that time. Essentially, the shooting work of ‘Suhaagraat’ was not complete when she left. The producer and director somehow assembled the material that was already shot, and then improvised to complete the rest of the scenes without the physical presence of Rajshri. E.g. the song “Ho Ganga Maiya Main Jab Tak Ki Paani Rahe” – just view the video of this song. Except for a couple or three close ups which seem to be stock shots from some other scene, in the scenes where Rajshri’s presence is required, the director has been clever enough to not close up the camera to the lady’s face. In the entire song one does not get to see clearly, the face of the lady in white. In one of the scenes a lady’s hands are shown carrying flowers and running towards the River Ganga – the face of the lady is not shown. This entire song was improvised, as were few other shots in the film.

Now coming to ‘Naina’. The release date of this film as 1973 anyway sounds dubious since Rajshri had already left India in 1969-70 time frame. I remember having read, once again in film magazine of that era, that the producer, sitting on a partially completed film, and having failed to convince Rajshri to cooperate to get it to completion, made a decision to modify the storyline, include an accidental death of the character played by Rajshri, bring in another female lead – Moushumi Chatterji, bring in one more dancer – Padma Khanna, and completed the film. The film in its final production was very different from the original conception. A couple of songs and some scenes with Rajshri are retained. And the rest of the storyline was changed and re-shot. And yes, Moshumi Chatterji gets the top billing, ahead of Rajshri.

The film is produced by Shakti International and is directed by Kanak Mishra. Geet Kosh lists seven songs for this film, written by three songwriters – Hasrat Jaipuri, Indiwar and Kaifi Azmi. Music is by Shanker Jiakishan. The star cast is listed as Shashi Kapoor, Moushumi Chatterjee, Rajshri, Rehman, Akashdeep, Devid, Padma Khanna, Sanjana, Shaukat Kaifi, Praveen Pal, Madhumati, Jagirdar, Nagar, Samson, Firoza, Tirath, Paulson, Dhanraj, Sitaram, Krishan Kumar, Radheshyam, Jugnu, Darpan, Sidharth, Farida Jalal, and AK Hangal.

Coming to this song today. As I remembered, and then again scanned this film today, this song is not present in the film. Possibly this is another casualty of the change in storyline. The song is recorded and is part of the records that were released for this film. But it is not carried in the film.

The lyrics are written by Hasrat Jaipuri. Music is by Shanker Jaikishan – in all likelihood, this music would have been scored prior to the passing away of Jaikishan in 1971. The singing voice is of Sharda. The song is a sad, ‘chal ud ja re panchhi’ type of song. Maybe, after the change in storyline, the director found it difficult to fit it into the revised scheme.

A very well written, very well composed and very well sung song this one is. I am sure you will also like it very much.

 


Song – Mann Ke Panchhi Kahin Door Chal Door Chal (Naina) (1973) Singer – Sharda, Lyrics – Hasrat Jaipuri, MD – Shanker Jaikishan

Lyrics

hmmmm hmm hmmmmm hmmmmm
hmmmm hmm hmmmmm hmmmmm

mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .

koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
gham ke toofaan hain
jis taraf dekhiye
aur toofaan mein koi kinaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .

hum ne dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
hum ye dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
zindagi ke liye haath phailaayen hum
aisa jeena to hum ko gawaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .

ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
aasmaanon pe bhagwan bhi khaamosh hai
aisi kismet hai koi hamaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin

mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .

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

हम्मममम हम्म हम्ममम हम्ममम
हम्मममम हम्म हम्ममम हम्ममम

मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰

कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
ग़म के तूफान हैं
जिस तरफ देखिये
और तूफां में कोई किनारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰

हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
ज़िंदगी के लिए हाथ फैलाएँ हम
ऐसा जीना तो हमको गवारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰

ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
आसमानों पे भगवन भी खामोश है
ऐसी किस्मत है कोई हमारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं

मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰

 


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 : 3949 Post No. : 15025

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Blog 10-Year Challenge (2009-19) – Song No. 31
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Aah, the heady days of a decade before. Posting six songs was quite the norm. On 11th May, the following films got represented on the blog.

Mashaal

1950
Hamraaz 1967
Aankhen 1968
Parichay 1972
Ghar 1978
Nikaah

1982

Believe it or not, except for ‘Ghar’, all the remaining films made their debut on the blog that day. As I check the record of the films over the intervening years, five of the films have completed their tenure, and all their songs are now showcased here. Just one of these films has not yet been yippeee’d. And that is ‘Nikaah’ from 1982.

When ‘Nikaah’ hit the theatres in 1982, it did create a popular flutter. The doe eyed Salma Agha caught the fancy of the audiences early on. For a brief time, she was quite a rage. Then, the second quality of this film, that drew crowds and appreciation, was the music and the songs. Practically all the songs were hits, and have enjoyed lasting popularity and appeal.

The film has six songs, and four of them have already occupied their places on the blog. Browsing the list, one is once again struck with wonderment and praise, for the songs are –

Beete Huye Lamhon Ki Kasak Saath To Hogi
Dil Ke Armaan Aansuon Mein Beh Gaye
Fazaa Bhi Hai Jawaan Jawaan
Dil Ki Ye Aarzoo Thhi Koi Dilruba Miley

Fabulous songs, each one of them. Now about the remaining songs of this film. There is one qawwaali song, which is more or less incidental in the film. It is the other remaining song that is notable, unique and having its own claim to fame.

Ghulam Ali does not need any introduction to the readers. This phenomenal singer, was quite a rage in India during the 1980s and 90s. Even today, his performances are enthralling and much awaited. It is quite sad that his performance trips to India have become a victim of politics.

When this film was released, it was acknowledged that BR Chopra had accomplished almost a coup, in being successful to have a song, a ghazal actually, sung by this popular and legendary singer, included in the film. I am not sure, but perhaps this is the only instance of Ghulam Ali’s voice being a part of a Hindi film.
[Ed Note: Based on the inputs received from Anekant ji and Sadanand ji, in the comments section below – certainly this song is not the only instance of Ghulam Ali singing for Hindi films. Thanks to both for this important update. 🙂 ]

And so, as I was checking the details, I was quite taken by surprise that this song is not yet posted here on our blog. Well, today, it comes on board.

For its times, this film was a bold statement addressing social issues relating to marriage and divorce in the Muslim community. The predicament of the lady getting a raw deal in life at the hands of a whimsical male partner, whose bizarre behavior and fanciful decisions are quite supported by the norms of the society, completely unmindful of the traumatizing consequences on the mind and the psyche of the lady – and all that, for no fault of hers.

This famous ghazal, which has been one of the all time favorites outside of the film domain, is penned by Maulaana Hasrat Mohaani.
[Ed Note: Sadanand ji further informs us that this ghazal as a non-filmi creation, is also sung by Jagjit Singh for the the TV Serial ‘Kahkashaan’ (1992) produced by Ali Sardar Jaffrey. That version is already posted on our blog at “Chupke Chupke Raat Din. . .“, by Sadanand ji himself. That post also includes a detailed bio-sketch of the poet, Maulaana Hasrat Mohaani – a very interesting read. Thanks Sadanand ji.]

The music composition is by Ghulam Ali himself. The complete ghazal is of course much longer, and there are various variations in different live performances and other recordings. In the film, only two she’rs are included. There are versions of this ghazal as being in the film, which are apparently longer with more couplets, but those are the handiwork of technology only. Some folks have uploaded longer versions, which are copy-paste extensions of the visual clips, overlaid with additional audio, giving an impression of a longer song in the film. But watching with little attention, one can make out that it is a fake.

On screen, this rendition is performed by the gramophone player. Deepak Prashar, having dismissed and divorced his wife, Salma Agha, is having bouts of depressive regrets, and he misses her. If I recall rightly, it is his birthday celebration, and he invites Salma. In this clip it is cake that we encounter first. Then we see a weepy Deepak listening to this ghazal, as it plays on a gramophone in the room. Salma makes an entry, unnoticed by Deepak, and she witnesses the pain of loss and regret that Deepak is exhibiting. Rest, as part of the story, to be discussed another time.

A salute to this legendary singer from across the border, who has a very solid grounding and training in the Hindustani classical music. And this post brings this popular film to being one short of having all its songs posted here. So the yippee-dom announcement should not be too far off now. 🙂

 


Song – Chupke Chupke Raat Din Aansoo Bahaana Yaad Hai (Nikaan) (1982) Singer – Ghulam Ali, Lyrics – Maulaana Hasrat Mohaani, MD – Ghulam Ali
Chorus

Lyrics

hmmm mmmm mmmm mmmmmm
aaa aaaa aaaaaa
hmmm mmmm mmmm mmmmmm

chupke chupke raat din
aansoo bahaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

khench lena wo mera
parde ka kona daf-attan
khench lena wo mera
parde ka kona daf-attan
aur dupatte se wo tera
munh chhupaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

dopehar ki dhoop mein
mere bulaane ke liye
dopehar kid hoop mein
mere bulaane ke liye
wo tera kothe pe
nange paanv aana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

hmmmmm hmmmmmm hmmm hmmm hmmm
aaaa aaaa aaaa
hmmmmm hmmmmmm
hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
hmmmm hmmmm hmmm
hmmmm hmmmm hmmm

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

हम्मम म्ममम म्ममम म्मममममम
आs आsss आsssss
हम्मम म्ममम म्ममम म्मममममम

चुपके चुपके रात दिन
आँसू बहाना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
और दुपट्टे से वो तेरा
मुंह छुपाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

दोपहर की धूप में
मेरे बुलाने के लिए
दोपहर की धूप में
मेरे बुलाने के लिए
वो तेरा कोठे पे
नंगे पाँव आना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

हम्मममम हम्ममममम हम्मम हम्मम हम्मम
आss आss आsss
हम्मममम हम्ममममम
हम्मम हम्ममम हम्ममम
हम्मम हम्ममम हम्ममम
हम्मममम हम्ममम हम्मम
हम्मममम हम्ममम हम्मम

 

 


This article is written by Peevesie’s mom, 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 :

3934 Post No. : 15008 Movie Count :

4110

Hullo Atuldom

We are now into the 15000s. Atulji and his bandwagon have taken a fresh Guard (cricket language) as Sunny Gavaskar used to say when he began his stint as a commentator. He used to say that after every 50,100, 150, 200 etc. it is advisable for the batsman to take a fresh guard as it helps in restoring focus on the goal or job at hand. We at ASAD, never loose our focus, posting songs with regularity of at least one per day; explaining the name of the blog. It is another matter that ASAD is almost never one-song-a-day, it has been minimum 4-5 songs a day for some years and at times going to about 13 songs in a day.

Remember friends the world is one is the song which started our new series – series 15000s. We have a variety of songs that formed part of the celebration 15000- songs of the happy, melancholic, naughty, and party genre. We are expecting a few more posts that Sudhir ji (Atul ji’s trusted lieutenant) will add to our already existing khazaana. Till such time the blog moves on with one more birthday song.

Today a sweet looking, baby faced heroine turns a year older. And it is hard to believe she turns 71. So suddenly she goes into the category of stalwarts, senior actress etc. She has been acting since 1967 – almost fifty two years. She started her career in Bengali movies with ‘Balika Badhu’ (1967 release) as her debut movie. Subsequently she married Jayanta Mukherjee and that made her the bahu of the Hemant Kumar. I am talking of Moushumi Chatterjee of the brilliant smile that showed a crooked tooth which only added to her charm.

She has been the leading lady of all the heroes of Bollywood in her time from her debut hero Vinod Mehra to Raj Babbar of the next lot of actors. She has played Bhabhi to Mithun and wife to Anupam Kher too in latter part of her career. She last appeared in Piku as aunt to Deepika Padukone and sister in law of Amitabh Bachchan with whom she had romantically paired I the 70s in ‘Manzil’ and ‘Benaam’.

I talked about Moushumi pairing with all major actors of the 70s and 80s, there was one movie where she was paired opposite Farooque Shaikh. Yes, she has also done this unusual pairing. It was in 1987 released Mohan Kavia directed “Mahananda”. The movie was a remake of the Marathi movie of the same name which released in 1984 (I hope I am not wrong in this). The Marathi version was directed by Kay Gee, and had music by Hridaynath Mangeshkar. The cast has Vikram Gokhale, Mohan Agashe, Shashikala etc. The Hindi version has Dr.Shreeram Lagoo, Ashalata, Sulbha Deshpande, Asha Sharma etc. in addition to Moushumi and Farooque Shaikh.

The movie’s title card says it was based on Jaywant Dalvi’s novel of the same name. Asha Bhonsle, Lata Mangeshkar, Usha Mangeshkar, Manas Mukherjee and Ghanshyam Vaswani were the playback singers for songs penned by Nida Fazli, Yogesh, Kapil Kumar and Inderjeet Hasanpuri and Manas Mukherjee was the music composer. The movie was mostly shot in Konkan and Goa. Moushumi looked pretty in those typical Maharashtrian sarees. Farooque Shaikh plays an English professor. I think the movie touched upon the Devadasi system that was prevalent in many parts of Karnataka, Maharashtra and Goa. I have seen the Marathi version on Doordarshan a long time back don’t recollect having seen in Hindi.

I remember seeing her in an episode of the Doordarshan programme ‘Phool Khile Hain Gulshan Gulshan’ which used to be hosted by Tabassum where she showed how she could switch easily between laughing wildly to crying tearfully in an instant without the use of glycerin (the standard aid to induce tears in movies back then).

How can one forget her comedy scenes with Sanjeev Kumar in ‘Itni Si Baat’ and ‘Angoor’? Today’s song shows her in a different mood. It is a song with the unusual pairing of Farooque Shaikh with Moushumi. The female voice seems to be of Usha Mangeshkar and the male voice could either be Ghanshyam Vaswani or Manas Mukherjee (need help in recognising the voices). This song is written by Nida Fazli.

[Editor note:According to HFGK, the singers are Usha Mangeshkar and Bhupendra. But Peevesie’s mom, based on the credits, feels that the singer is Ghanshyam Vaswani or Manas Mukherji.]

Here is wishing our cute Moushumi Chatterjee a healthy and happy Birthday


Song – Mere tere naam naye hain dard puraana hai (Mahaananda) (1987) Singers – Usha Mangeshkar, Ghanshyam Vaswaani, Lyrics – Nida Fazli, MD – Manas Mukherji
Usha Mangeshkar + Ghanshyam Vaswaani

Lyrics

mere tere naam naye hain
dard puraana hai
yeh dard puraana hai
ho mere tere naam naye hain
dard puraana hai
yeh dard puraana hai
tez hawaaon ke jhonkon mein
deep jalaana hai
deep jalaana hai

yeh dard puraana hai
ho o mere tere naam naye hain
dard puraana hai
ye hdard puraana hai

aansoo har yug ka apraadhi
har aangan ka chor
aansoo har yug ka apraadhi
har aangan ka chor
koi na thamein daaman iska
ghoome chaaron oar
ghoome chaaron oar
hoo goongi hai sansaar kachahri
andha thaana hai

yeh dard puraana hai
ho mere tere naam naye hain
dard puraana hai
yeh dard puraana hai

jo jee chaahe woh mil jaaye
aisa kab hota hai
jo jee chaahe woh mil jaaye
aisa kab hota hai
bistar bistar pyaar bichaaye
samjhauta sota hai
samjhauta sota hai
ho basti hoya jangal sabka
ek fasaana hai
ye dard puraana hai
tez hawaaon ke jhonkon mein
deep jalaana hai
deep jalaana hai

yeh dard puraana hai
ho o mere tere naam naye hain
dard puraana hai
yeh dard puraana hai

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

मेरे
तेरे
नाम नए हैं
दर्द पुराना है
ये दर्द पुराना है
हो ओ मेरे तेरे नामे नए हैं
दर्द पुराना है
ये दर्द पुराना है
तेज़ हवाओं के झोंकों में
दीप जलाना है
दीप जलाना है
ये दर्द पुराना है
हो ओ मेरे तेरे नामे नए हैं
दर्द पुराना है
ये दर्द पुराना है

आँसू हर युग का अपराधी
हर आँगन का चोर
आँसू हर युग का अपराधी
हर आँगन का चोर
कोई ना थामे दामन इसका
घूमे चारों ओर
घूमे चारों ओर
हो ओ गूंगी है संसार कचहरी
अंधा थाना है
ये दर्द पुराना है
हो ओ मेरे तेरे नामे नए हैं
दर्द पुराना है
ये दर्द पुराना है

जो जी चाहे वो मिल जाये
ऐसा कब होता है
जो जी चाहे वो मिल जाये
ऐसा कब होता है
बिस्तर बिस्तर प्यार बिछाये
समझौता सोता है
समझौता सोता है
हो ओ बस्ती हो या जंगल सबका
एक फसाना है
ये दर्द पुराना है
तेज़ हवाओं के झोंकों में
दीप जलाना है
दीप जलाना है
ये दर्द पुराना है
हो ओ मेरे तेरे नामे नए हैं
दर्द पुराना है
ये दर्द पुराना है


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 Movie Count :

4108

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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॰ ॰ ॰


This article is written by Mahesh Mamadapur, 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 :

3927 Post No. : 14996

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Atul Song-A-Day 15K Song Milestone Celebrations – 6
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Carl Sagan, in his book, ‘Pale Blue Dot’ talks about the picture taken by Voyager I before it left the solar system. Planet Earth, the only home we have known so far appears less than a fraction of a pixel in the picture. It’s on this speck of dust like object in the vast cosmos lived every human, plant and animal we ever know and every civilization.

On this planet the greatest men in a wide variety of fields have left behind their legacies both good and bad. Their lives however great or condemnable have been spent here.  In the vastness of time and space, a few years spent by great men may mean nothing. However, the legacy left behind by such men are recognized and appreciated for generations.

Theatre and entertainment arenas have also seen many a great men and women contribute their art and expertise to mankind. Quite a few are well known and many others are often not credited to the extent to which they should be.

Narrowing down to a movie and further restricting ourselves to Hindi film and non-film songs, the essence of this blog, we are now at the doorsteps of 15 thousand representations.

By these 15k representations, we all have tried to contribute our little efforts in bringing to the fore, the works of film artists – popular, less known and unknown. Amongst the main contributors, the nearly impossible tasks are taken up more experienced and knowledgeable such as Arunkumar ji, Sudhir ji, Sadanand ji etc.  The painstaking efforts in collecting accurate information from various sources and contacts and posting in a concise manner is definitely not an easy task.

Then, there are specialists such as Nalini ji for reminding us of the artist’s anniversaries and Prakash ji for identifying lesser known actors on the screen. Raja ji, whose marathon posts never bore us and we have Avinash ji who pours his heart out in the posts. We have Bharat ji with his expertise and first-hand experience.

There have many others who were more contended with sending only lyrics and a few who keep giving home-works to others. 🙂 A few are more than happy to suggest corrections to the posts and lyrics etc. in the comments section. Then, there are also contributors who vanish for a while and re-appear for special occasions (pun about self intended). 🙂

And, finally we have Atul ji, the fulcrum of our activities and the force that binds us together. Atul ji marches along from one milestone to another. And when he reaches the next milestone, we are all automatically teleported there. 🙂

I never planned for any special song for this occasion. (That again, the leaders will have a plan). But seeing that a great gem of an even greater singer is yet to be posted, I decided to go for his solo.

The singer is Talat Mahmood, of whom quite a lot has already been written on the blog.

My father, an avid fan Talat saab often says that his voice is for royal people. By royal, he means to say people with special taste and I can’t agree with him more. Talat Saab’s melancholic songs sung in blue mood are a class apart, the likes of which one will never get to hear from any other singer.

There are several such songs of Talat Saab which one can hear multiple times and can only admire the grace and dignity in his voice for songs pertaining to even dejection.

The list seems to be endless, but it’s a fact that he sang quite fewer songs compared to his other well-known contemporaries. However, Talat Saab’s voice will always be the triumph of quality over quantity.

The present song which I had not heard in the recent past is also amongst my many favourites of Talat Mahmood. There are stars and the moon in the song in case people are wondering what Carl Sagan had to do with this song in the first place. 🙂 (Kya karein, some starting problems in writing this post)

I pray for the continued longevity on the blog, active participation of all the contributors and readers as well.

Hearty Congratulations to one and all on this great achievement.

Song – Aao Baadal Chain Se Royen (Aawaara Ladki) (1967) Singer – Talat Mehmood, Lyrics – Rajnikant, MD – Dhaniram

Lyrics (Provided by Sudhir)

baa..aadal aa..aaawo

baadal aawo

aawo baadal aawo. . .

aao baadal chain se royen
aao baadal chain se royen
jalti dhoop
jalti dhoop
jalti dhoop mein main hoon akela
aao baadal chain se royen
aao baadal chain se royen

khush rahen
khush rahen. . .
khush rahen ye duniya waale
khush rahen ye duniya waale
khatm hua mera mela
khatm hua mera mela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

armaan the dil mein mere kitne
chanda ke
haaye chanda ke saathi taare jitne
haaye chanda ke saathi taare jitne
dooba dil armaan bhi doobe
dooba dil armaan bhi doobe
toofaan ka dekha rela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

din the chaar jo beet gaye mere
din the chaar jo beet gaye mere
honge dukh ke ab derey
honge dukh ke ab derey
darr nahin par hanse bhi kaise
darr nahin par hanse bhi kaise
gham se ab tak khela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

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

बा॰॰दल आ॰॰आवो

बादल आवो

आवो बादल आवो॰ ॰ ॰

आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
जलती धूप
जलती धूप
जलती धूप में मैं हूँ अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

खुश रहें
खुश रहें॰ ॰ ॰
खुश रहें ये दुनिया वाले
खुश रहें ये दुनिया वाले
खत्म हुआ मेरा मेला
खत्म हुआ मेरा मेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

अरमान थे दिल में मेरे कितने
चंदा के
हाए चंदा के साथी तारे जितने
हाए चंदा के साथी तारे जितने
डूबा दिल अरमान भी डूबे
डूबा दिल अरमान भी डूबे
तूफाँ का देखा रेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

दिन थे चार जो बीत गए मेरे
दिन थे चार जो बीत गए मेरे
होंगे दुख के अब डेरे
होंगे दुख के अब डेरे
डर नहीं पर हँसे भी कैसे
डर नहीं पर हँसे भी कैसे
ग़म से अब तक खेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ


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 :

3898 Post No. : 14948 Movie Count :

4084

Missing Films of 1960s – 98
– – – – – – – – – – – – – – –

It is such a delight to ferret out unheard songs from obscure and unfamiliar films. So many times, I come across the film names and then move on because it is unfamiliar. So many times I pause at a film folder in my collection, thinking whether I have opened it before. But then usually, other pressing matters take precedence and I say ‘oh well’, and move on.

But there are other times, when I have to get inside the folder and check out the contents. Like today’s song. A film like ‘Kaurav Pandav’ from a year like 1970 – never read anything about the film, never heard its music before, not sure what I will find in there, given the names of artists. But you know what, over the years, experience has taught me that the contents of such folders almost always never fail to surprise – with one or more forgotten gems that are almost lost under the sand dunes of time.

What does one say for the song like this post? Remarkable, unheard gem, lovely melodious, rare of the rare, never heard of the film – are some comments I get from friends after they hear my upload on YouTube. What a superlative find this song is. Suman Kalyanpur at her subdued best, meaningful and wonderful lyrics from Anjaan, and a melody that is such a lovely reminiscent throwback on the golden era of melody – from another obscure artist of that era – Suresh Kumar. All the attributes come together to bring out such a lovely song – the type that you won’t even get to hear on Radio Ceylon (now SLBC).

This film also has an alternate title – ‘Sampoorn Mahabharat’. The film is produced under the banner of Firdaus Films, Bombay and is directed by S Dosani. The star cast includes Arvind Pandya, Sadhana Khote, Meenakshi, Shyam Irani, Shetty, Shri Bhagwan, Anjum, Fazal Khan, Jilani, Radheshyam, Dinesh Kumar, Pintu, Jagdish Kanwal, Prem Sagar, Amrit Rana, Prakash, RP Kapoor, Champaklala, V Prem, Narbada Shankar, Bihari Singh, Shri And Shrimati Kapoor, Savita, Krishna Duggal, and Vasundhara.

Geet Kosh lists 6 songs for this film, four written by Anjaan and two by Yogesh. This song is from the pen of Anjaan. Music is by Suresh Kumar, a lesser known music director from 1950s and 60s; he also created music as one partner in the duo of Suresh-Talwar.

What else to say – just listen to the song. And the wonder is that this, and many more like this, are still unheard, still hidden, and many may even be lost already. But of course, small mercies to be grateful for, that we find what we can. And we listen and enjoy.

Brief note about the homework assignment from Khyati Ben.  We are now shortly coming to the end of this series – a handful of traceable films remain. We should get the century milestone with this series in a few days. Then we will be able to claim that all possible films of 1960s which can be traced wherever, are now represented here. I will give the specific numbers when I close this series.

So how about someone doing a similar exercise for the 1950s. If someone takes up the task to list out all the pending films of 1950s, I promise that I will go after to locate and trace and bring them up here on our blog. Request is to all members of bandwagon – one enthusiastic volunteer needed. 🙂

 

Song – Pardesi Piya Se Kiya Pyaar  (Kaurav Pandav) (1970) Singer – Suman Kalyanpur, Lyrics – Anjaan, MD – Suresh Kumar

Lyrics

moti chugne gayi re hansini
maansarovar teer
pankh pankh par raajhans ne
likh di preet ki peer

aaaaaaaaa aaaaaaaa
aaaaaaaaaaaaa aaaa

pardesi piya..aa..aa

pardesi piya se kiya pyaar
akele mora jiya na lagey
akele mora jiya na lagey
jaane chhalia darad na hamaar
jaane chhalia darad na hamaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
ud gai nindiya
bujh gai bindiya
tujh bin o rasia
mora murjhaaye solaa singaar
mora murjhaaye solaa singaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
chaand jalaaye raat rulaaye
chain naa aaye piya
soona laage re sansaar
soona laage re sansaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मोती चुगने गई रे हंसिनी
मानसरोवर तीर
पंख पंख पर राजहंस ने
लिख दी प्रीत की पीर

आssssssss आssssss
आssssssssssss आsss

परदेसी पिया॰॰आ॰॰आ

परदेसी पिया से किया प्यार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
जाने छलिया दरद ना हमार
जाने छलिया दरद ना हमार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
उड़ गई नींदिया
बुझ गई बिंदिया
तुझ बिन ओ रसिया
मोरा मुरझाए सोला सिंगार
मोरा मुरझाए सोला सिंगार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
चाँद जलाए रात रुलाये
चैन ना आए पिया
सूना लागे रे संसार
सूना लागे रे संसार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15182

Number of movies covered in the blog

Movies with all their songs covered =1176
Total Number of movies covered =4171

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