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

Archive for the ‘sad 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3730 Post No. : 14673

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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

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

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

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

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

Blog Day : 3727 Post No. : 14666

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Video)

(Audio)

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

Lyrics

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

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

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

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

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

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

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

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


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

Blog Day : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना


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 : 3690 Post No. : 14599

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 21
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ट’ – टूटे तो टूटे कोई दिल का सहारा ॰ ॰ ॰

– – – –

हम आस किए जाते, तुम पास नहीं आते
जाना था चले जाते, मिलने को चले आते

Everyone has to depart, someday. But this beseeching yoke of memories is now becoming an encumbering burden, that would probably be lightened only when I myself will depart.

– – – –

Presenting the next episode in this series. With close to half of Rafi Sb’s songs already posted on the blog, it is getting to be not an easy job to find songs to fit the requirements of the series. The alphabet letter for today is ‘ट’. When we scan the list of songs, we find a long list of songs starting with ‘t’, but then on closer review, one finds that majority of these ‘t’ songs are actually for the syllable ‘त’ –  as in ‘तुम’, ‘तुम्हारे’, ‘तेरा’ etc. There are very few songs that will start with the sound of ‘ट’.

But then, the going is still good. In fact I found two very good songs that satisfy this criteria; the second one I found fit quite well into another series, so I kept that aside for now.

This song is from the film ‘Lagan’ from 1971. Prior to this, two other films by this same title have been made – on in 1941 and the second in 1955. This is the third one. The film is produced under the banner of RRK Combine of Madras (now Chennai), and is directed by Ramanna. The star cast of this film includes Nutan, Ajay Sahni, Prem Chopra, Farida Jalal, Jagdeep, Bindu, Sulochana, Shabnam, Jaishri T, Nazir Hussain, Beerbal, Dubey and Kailash Chopra amongst others.

The film is a family drama – a story about a mother (role played by Sulochana) and her two sons (roles played by Prem Chopra and Ajay Sahni aka Parikshit Sahni). They relocate from Burma to Bombay, and a good Samaritan soul (role played by Nazir Hussain) in the form of a friend of the lady’s late-husband, hands them over substantial assets that are the share of the late-husband. Life is comfortable, only that the elder son (Prem Chopra) is wayward, and seeks extra-marital happiness. His wife is on way for a child, and he mistreats her. When this become known to the mother, she resolves to take action against her elder son, and to set him right.

The film has six songs, all written by Anand Bakshi, and tuned to music by Laxmikant Pyaarelal. Some of the songs are well heard memories from radio listening days. I picked this song for being a duet of Rafi Sb, but could not locate its video. I even scanned the film quickly, but it seems this song has been excluded from the film.

A duet in the voice of Rafi Sb and Asha Bhosle, it seems like a sad song of separation. As I scanned the film, I really could not make out where and how this song might fit into the storyline. If it were a solo sad song, then it could have fit in well. But a sad song presented as a duet seems to have no place in the film.

And so, presenting the next in this series, a song that is presents  a complaint, possibly from to a separated companion, or may be to the Almighty.

Song – Toote To Toote Koi Dil Ka Sahaara  (Lagan) (1971) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Rafi + Asha Bhosle

Lyrics

toote to toote koi dil ka sahaara
toote to toote koi dil ka sahaara
sahaara
ho hi raha hai phir bhi apna guzaara
ho hi raha hai phir bhi apna guzaara
roothe to roothe koi saathi hamaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

chaahe wafa kar chaahe kar bewafaai
chaahe wafa kar chaahe kar bewafaai
hum wo nahin jo denge teri duhaai
samjhe na samjhe zaalim tu ye ishaara
ishaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara

ro ro ke phir na tera hum naam lenge
ro ro ke phir na tera hum naam lenge
baahen kisi ki bhi hum to thaam lenge
chhoote to chhoote hamse daaman tumhaara
tumhaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

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

टूटे तो टूटे कोई दिल का सहारा
टूटे तो टूटे कोई दिल का सहारा
सहारा
हो ही रहा है फिर भी अपना गुज़ारा
हो ही रहा है फिर भी अपना गुज़ारा
रूठे तो रूठे कोई साथी हमारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा

चाहे वफा कर चाहे कर बेवफाई
चाहे वफा कर चाहे कर बेवफाई
हम वो नहीं जो देंगे तेरी दुहाई
समझे ना समझे ज़ालिम तू ये ईशारा
ईशारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा

रो रो के फिर ना तेरा हम नाम लेंगे
रो रो के फिर ना तेरा हम नाम लेंगे
बाहें किसी की भी हम तो थाम लेंगे
छूटे तो छूटे हमसे दामन तुम्हारा
तुम्हारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा


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

Blog Day : 3631 Post No. : 14457

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

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

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

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

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

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

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

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

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

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

 

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

Lyrics

ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

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

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

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

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

हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

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

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

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


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

Blog Day : 3604 Post No. : 14383

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 68# Singer – Kishore Kumar
———————————————–——————–

My personal opinion is that wherever and whatever field we are we should have a purpose and we should contribute to enrich that surroundings we are, for however long or short a period we are there. It was not that I was so ‘intelligent’ since my younger days. The thinking is a result of my experience or you can say ‘mistakes’ 😊 which have taught me a lot and yes ‘age should not be the price one should pay for being experience’ (as Wise people say). But some people like me took years to realize the ‘world around’ and learn only from mistakes 😊

Ok, whatever it is!! Here on this blog ever since I have been associated with, I am trying to do so. And simultaneously I continue to keep adding something. As and when I notice it, I also try to bring to the notice of our ‘editors’ the small or big corrections and or missing links which we need to correct and or re-install. Well, it is a different matter, that since they are much busier and already loaded with lot of requests and mails, sometimes my requests just keep lying in the mail boxes (may be for years or more 😊).

 Few days back when I was browsing through my pending list I noticed the song under discussion today was pending since long. And when I just glance through some statistics of interest, I find that sharing this song with a post is going to serve some purpose.

When I was drafting this post the number of Kishore Kumar solo songs posted on the blog was at 498, so I thought I should push one ahead so that the milestone of 500 is achieved. But, in the meantime, I could not send the post and this milestone was already achieved on the blog. Later I thought maybe I send it for the auspicious ‘501’, but that also was not achieved. However, the ‘bigger reason’ to share this post was still there and posting of this song here today will push this movie- of which the today’s song is from – one step ahead in the ‘Yippeeee land’ as after this song only one song from this movie ‘Kaaran’ will be remaining to be posted on the blog.

‘Kaaran’ is a movie of 1980. Yes, as per HFGK and movie’s Censor Certificate, its movie of 1980 passed by Censor Board on 18.11.1980, maybe it was released in theatres in 1981 which is all possible. (So, this needs to be corrected on the blog and this is yet another purpose of this post).

‘Kaaran’ is directed by BR Ishara for Bhagyalakshami Chitra Mandir Combine, Bombay. It was produced by Gopi Rohra. It had Raj Kiran, Shoma Anand, Master Bittu, Arun Irani, Seema Deo, Ramesh Deo, Ashok Khanna, Sanu Sanyal, Shankar, Pardesi, PM Maniyar, RS Chopda, Shirvastava, Sunder Taneja, Kamal Thakur, Mona Sayeed, Ashish Oza, Soman Randhava, Amit Kumar, Shyam Solanki, Amarchand, and Naveen Nischol in a ‘special appearance’. Satyen Kappu, Dheeraj Kumar, Manhar Desai and Gulshan Arora make a ‘guest appearance’ in this movie. The story is written by Jyoti Swaroop and BR Ishara (spelt as B AAR Ishara in the movie titles 😊). Editing for this movie was done by LD Bhatia.

The movie has three songs – all solo songs sung by male singers viz. Kishore Kumar, Yesudas and Mohd Rafi. Lyrics for all the three songs are penned by Indeewar and music is composed by Usha Khanna. One song sung by Yesudas from this movie has been posted to cover a ‘major milestone’ on the blog i.e. 1000th lyrics Contribution of Prakashchandra ji.

Today we present the second song of this movie, which in the movie is the first song. I came across this song almost more than five years back when I was a ‘newcomer’ on the blog 😊. I have not watched this movie so can’t say much about its story and its performance at the box-office. I would request knowledgeable readers to throw more light on the movie and its songs.

With a ‘purpose’ and ‘reason’ for this presentation and continuing with the journey of Kishore Kumar’s songs from the ‘decade of seventies’ let us now enjoy this poignant song. . . 

kaaran naa jaane koi…

 

Song – Kaaran Na Jaane Koi (Kaaran) (1980) Singer – Kishore Kumar, Lyrics – Indeewar, MD – Usha Khanna

Lyrics

kaaran na jaane koi
dil royaa aankh na royi
kaaran na jaane koi
toofaan dubotaa
to shikwaa na hotaa

khewaiyya ne naiyaa duboyee ee ee
kaaran na jaane koi
dil royaa aankh na royi
kaaran na jaane koi

apna kaha na mujhko kisi ne
kya main itna paraaya hoon
chalte hain sab mujhse bachke
kya main gunaahon ka saaya hoon
phir na jaagi kismat aisi
maut ki neendiya soyi ee ee
kaaran na jaane koi
dil royaa aankh naa royi
kaaran na jaane koi

patthar ko bhi chot lagey to
aag ugalney lagta hai
jag ko jalaakar dam leta hai
jab dil jalne lagta hai
phool bana hai bahaar ka dushman
baagh bachega na koi ee ee
kaaran na jaane koi
dil royaa aankh na royi
kaaran na jaane koi

aa ha ha ha aa ha
ho ho ho o ho ho o

pyaar jinhen milta hain kisi ka
wo sansaar sajaate hain
thukraaye jaate hain jo
duniyaa mein tabaahee laatein hain
suraj ne bhi andheron mein pal kar
roshni kaise khoi ee ee
kaaran na jaane koi
dil royaa aankh na royi ee
kaaran na jaane koi

ped binaa phal
phool binaa phulwaari adhoori hoti hai
jaagti hai jab mamta mann mein
naari poori hoti hai
mom ke jaisa patthar pighla
dil royaa aankh bhi royi ee ee
kaaran na jaane koi
dil royaa aankh bhi royi
kaaran na jaane koi
kaaran na jaane koi

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

कारण न जाने कोई
दिल रोया आँख ना रोई
कारण न जाने कोई
तूफ़ान डूबोता तो शिकवा न होता
खेवैय्या ने नैय्या डूबोयी ई ई
कारण न जाने कोई
दिल रोया आँख ना रोई
कारण न जाने कोई

अपना कहा ना मुझको किसीने
क्या मैं इतना पराया हूँ
चलते हैं सब मुझसे बचके
क्या मैं गुनाहों का साया हूँ
फिर ना जागी किस्मत ऐसी
मौत कि नींदिया सोयी ई ई
कारण न जाने कोई
दिल रोया आँख ना रोई
कारण न जाने कोई

पत्थर को भी चोट लगे तो
आग उगलने लगता हैं
जग को जलाकर दम लेता हैं
जब दिल जलने लगता हैं
फूल बना है बहार का दुश्मन
बाग़ बचेगा ना कोई ई ई
कारण न जाने कोई
दिल रोया आँख ना रोई
कारण न जाने कोई

आ हा हा हा आ हा
हो हो हो ओ हो हो ओ

प्यार जिन्हें मिलता हैं किसी का
वो संसार सजाते हैं
ठुकराए जाते हैं जो
दुनिया में तबाही लातें हैं
सूरज ने भी अंधेरों में पल कर
रौशनी कैसे खोयी ई ई
कारण न जाने कोई
दिल रोया आँख ना रोई
कारण न जाने कोई

पेड़ बिना फल
फूल बिना फुलवारी अधूरी होती हैं
जागती हैं जब ममता मन में
नारी पूरी होती हैं
मोम के जैसा पत्थर पिघला
दिल रोया आँख भी रोयी ई ई
कारण न जाने कोई
दिल रोया आँख भी रोई
कारण न जाने कोई
कारण न जाने कोई


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

Blog Day : 3598 Post No. : 14361

Atul ji, in many of his posts presenting Kishore Kumar songs from the eighties has mentioned this, that though the golden era of music was over by the beginning of eighties, still many gem songs also happened to be created in the decade of eighties, and particularly in case of Kishore Kumar songs. And one of the reasons for this may be because Kishore Kumar’s peak period started in 1970 and lasted till his death in 1987.

I am presenting one such song today which is from the 1984 movie ‘Farishta’. Movies by this name have also been released in earlier decades, notably in 1958 and 1968, we had movies with the same title.

This film was Pran Saab’s presentation for his home production Sikand Films (which I was not aware of till writing of this post). It is directed by Sunil Sikand (Pran Saab’s son), who was also the producer and story writer of this movie. He also co-authored the screenplay with Tapan Chakravarty.

The cast of actors includes Ashok Kumar, Kanwaljeet Singh, Master Raju, Ambika Shourie, Danny and Pran. Bharat Bhushan, Azaad and Master Rajiv Bhatia also have supporting roles in this movie. Smita Patil makes a special appearance in this movie. The movie introduced – Shera – a wonder dog in this movie.

(Other credits: Sudesh Iyer was the Chief Assistant Director; David Dhawan was the editor; of this movie; Gyandev Agnihotri wrote the scenario; and the dialogues were written by Pradeep Roy Choudhary. It was passed by Censor Board on 13.10.1983.).

Lyrics for this movie are written by Anand Bakshi and the music is composed by RD Burman. Kishore Kumar, Amit Kumar, Suresh Wadkar, Anuradha Paudwal and Master Vivek Bajaj gave their voices to the songs in this movie.

Let us now enjoy today’s song sung by Kishore Kumar which is performed on screen by Pran Saab. Master Raju and others can be seen in the picturization of this song. With this song the movie ‘Farishta’ makes its debut on the blog today.

zamaane mein koyee hamaaraa nahin. . .

Song – Zamaane Mein Koi Hamaara Nahin (Farishta) (1983) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

zamaane mein koi
hamaara nahin
kisi ka bhi hum ko
sahaara nahin

zamaane mein koi

zamaane mein koi
hamaara nahin ee
kisi ka bhi hum ko
sahaara nahin

naseebon ke kaale
savere to hain
garibon ke ghar mein
andhere to hain
naseebon ke kaale
savere to hain
garibon ke ghar mein
andhere to hain
koi chaand koy sitaaraa nahin
kisi ka bhi hamko
sahaara nahin

sabhi ke liye ek
duniya hai ye
hamaare liye gham ka
dariya hai ye

sabhi ke liye ek
duniya hai ye
hamaare liye gham ka
dariya hai ye
bhanwar hi bhanwar hai ye
kinaara nahin
kisi ka bhi hamko
sahaara nahin

kahin se kisi ne na
awaaz di
rahe chup khuda aur
bhagwaan bhi
kahin se kisi ne na
awaaz di
rahe chup khuda aur
bhagwaan bhi
bhagwaan bhi
kisey hum ne ja kar
pukaara nahin
kisi ka bhi hamko
sahaara nahin
sahaaraa nahin
sahaara nahin

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
ज़माने में कोई
हमारा नहीं
किसी का भी हमको
सहारा नहीं

ज़माने में कोई

ज़माने में कोई
हमारा नहीं
किसी का भी हमको ओ
सहारा नहीं

नसीबों के काले
सवेरे तो हैं
गरीबों के घर में
अँधेरे तो हैं

नसीबों के काले
सवेरे तो हैं
गरीबों के घर में
अँधेरे तो हैं
कोई चाँद कोई
सितारा नहीं
किसी का भी हमको
सहारा नहीं

सभी के लिए एक
दुनिया हैं ये
हमारे लिए ग़म का
दरिया हैं ये

सभी के लिए एक
दुनिया हैं ये
हमारे लिए ग़म का
दरिया हैं ये
भंवर ही भंवर है ये
किनारा नहीं
किसी का भी हमको
सहारा नहीं

कहीं से किसी ने ना
आवाज़ दी
रहे चुप खुदा और
भगवान् भी

कहीं से किसी ने ना
आवाज़ दी
रहे चुप खुदा और
भगवान् भी
भगवान् भी

किसे हमने जाकर
पुकारा नहीं
किसी का भी हमको
सहारा नहीं
सहारा नहीं
सहारा नहीं

 


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 : 3569 Post No. : 14305

Thoda Sa Dil Laga Ke Dekh. . .

Film – ‘Musafirkhana’ from 1955, she plays the role Mary, the love interest of Frankie (Johnny Walker). Mary’s mother fancies another match for her daughter, and Frankie is contemplating suicide on that account. As it often happens in films, Mary breaks out into a song, trying to lift up Frankie’s dying spirits.

1958 – she plays the role of Nargis, the bosom friend of Sheela (Nutan), in this confused and comic scenario of mixed identities and true love – ‘Aakhiri Daao’. Funny to note that Nargis is her real name. And casting credit lists her assumed name. Always life is so interesting.

On to 1960 and ‘Dil Apna Aur Preet Paraayi’. Now she is Sheela, the naughty and playful nurse, who is reprimanded by the head nurse for putting on too much lipstick. Then it is ‘Half Ticket’ in 1962. As Lily, a partner in crime with Raja Babu (Pran) – the scene is simply hilarious, as she tries again and again to pat Vijay’s (Kishore Kumar) bottom – actually his back pocket, searching for an expensive diamond that Raja Babu has hidden there. There is a whole music and dance sequence, with a tape recorder keeping company, as she tries to extract the stolen goods from Vijay, without letting him know.

In 1965, she is Stella, the au pair companion to Rita (Nanda), in the musical romantic drama ‘Jab Jab Phool Khile’. 1970, moving into senior roles; the film is ‘Purab Aur Paschim’, and she herself is Rita, the British Indian wife of Sharma (Madan Puri), always with a smoking cigarette in her hand.

Fast forward forty years, to 2012 – she is very much on screen, this time playing the mother in law to Nargis (Daisy Irani) and grandmother of Farhad (Boman Irani) in ‘Shirin Farhad Ki To Nikal Padi’.

6th March earlier this year, she passed away in her sleep, just some weeks short of her 89th birthday. A memorable career for more than six decades, with quite over 200 films in her portfolio, and a number of very successful TV serials thrown in for good measure. Nargis Rabadi – she would have been 89 today.

Born this day in 1929, Nargis’ father was a priest in the Parsi temple. She was just 3 years old when her father passed away. Her mother raised her two daughters, working as a cook at the Parsi community festivals. After completing her studies, her elder sister got a job as an office secretary at Johnson & Johnson. So when Nargis completed her studies, she also came to Johnson & Johnson, working in the packaging department.

A close family friend and uncle, Chinuu Mama, was associated with the film industry. One thing led to another, and Nargis was introduced to Sheikh Mukhtar, who at that time was searching for a second lead lady for his film ‘Ustad Pedro’ (1951). At first, he was concerned that Nargis may not be able to handle the Hindi/Urdu dialogue, being a Parsi. But Nargis talked to him and the director Harish, and they were convinced she could do the role. That’s how she got her first break in films.

And with the first break, she also got a new name. The film’s director was concerned that her name might be confused with another rising star of those years – Nargis. And so he suggested her to change her name to Shammi. She did, and the name served her well for the remainder of her life. In later years, she became to be better known as Shammi Aunty.

Stringing through the cameos above, an interesting thing emerges. Her name is Nargis. She changes that to Shammi. In the 1958 film ‘Aakhiri Daao’, her name in credit appears as ‘Shammi’, and her screen name is Nargis. Then in 2012, her screen name is not clearly evident (in ‘Shirin Farhad. . .’), but then her daughter in law (Daisy Irani) has the screen name of Nargis. 🙂

Alongside ‘Ustad Pedro’, Harish was also directing another film at the same time – ‘Malhaar’ (produced by Mukesh, the singer). Impressed by her performance during the shooting of ‘Ustad Pedro’, he cast her as the heroine of ‘Malhaar’ opposite to another new face, Arjun. Although ‘Ustad Pedro’ did good business and was popular, ‘Malhaar’ failed to impress at the box office. The prospects of growing as a leading lady in the industry slowly receded.

But on the other hand, she became very much in demand for second lead female roles. Especially if the role demanded some comic goofiness, Shammi was quite the first name that the producers thought of. With little breaks here and there, she continued her cinematic journey, playing oh so many an endearing roles, leaving behind indelible memories. The wide eyed shocked look on her face as she opens the door to find her grandson (Boman Irani) standing there, as if coming out of a melee – is simply priceless. So many more of such moments flicker through the mind’s eye, as I pull together this piece today.

The song that I present today, however, is on a more somber note, the words expressing the very emotion that the heart wants to convey – “तुम चले॰॰॰ क्यों चले”. The film is ‘Awaara Ladki’ from 1967. This is an Asha Bhosle solo rendition that is picturized on a much younger Shammi. In the clip, we also see Sudesh Kumar – with a very lost look on his face, walking away from her, and then the song begins.

It is a peculiar situation – I am reminded of the one earlier song that I had posted from this film. The emotional mood of the song and the situation of that song is precisely the same – Sudesh Kumar + lost look + walking away, only the lady singing that song is different. It is Sheela Ramani singing “Arre Jaane Waale Nazar To Mila Ja”. Discovery of these two similar songs indicate some sort of a love triangle in the film’s story. Interesting – prompts me to watch this film.

This song is not listed in the Geet Kosh, although the print does indicate that there are more songs than the four listed. Music is by Dhaniram, and the uploader of this video clip, a dear friend Dharmesh from Rohtak, has indicated that the lyrics are from the pen of Kaif Irfani. So I will go by that information for now.

Bidding a good bye to a dear goofy artist, and to the long innings she has played on screen. Rest in peace, Nargis; or maybe I should say, wallow in mirth Shammi Aunty, wherever you are.

Adios and farewell.

 

Song – Tum Chale. . . Kyon Chale  (Awaara Ladki) (1967) Singer – Asha Bhosle, Lyrics – Kaif Irfani, MD – Dhaniram

 

Lyrics

toot chukka hai
dil pehle bhi
soch to mujh par thukraate zaalim
na loot naseeba banta hai abhi bhi

tum chale. . .  kyon chale
tum chale. . .  kyon chale
doley hansi labon pe
doley hansi labon pe
bhool rahe hain muskaana
bhool rahe hain muskaana
tum chale. . .  kyon chale

dhadkan ke saaz par hook ye kehti
dhadkan ke saaz par hook ye kehti
palak kinaara nadiyaan ansuwan ki behtin
palak kinaara nadiyaan ansuwan ki behtin
shaam e gham hi mera mausam suhaana
bhool rahe hain muskaana
bhool rahe hain muskaana
tum chale. . .  kyon chale

shab se shabnam rotey rotey kehti
shab se shabnam rotey rotey kehti
besahaara aaj dekh ek taara
besahaara
sun zara haaye
kehta angaara afsaana
bhool rahe hain muskaana
tum chale. . .  kyon chale

bin ishaare tere maut bhi na aati
bin ishaare tere maut bhi na aati
tu kar ehsaan main nadaan sahi
nadaan sahi
maut ki maujon mein
beh jaaun to chale jaana
bhool rahe hain muskaana
tum chale. . .  kyon chale

tum chale. . .  kyon chale
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe

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

 

टूट चुका है
दिल पहले भी
सोच तो मुझ पर ठुकराते ज़ालिम
ना लूट नसीबा बनता है अभी भी

तुम चले॰ ॰ ॰ क्यों चले
तुम चले॰ ॰ ॰ क्यों चले
भूल रहे हैं मुसकाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

धड़कन के साज पर हूक ये कहती
धड़कन के साज पर हूक ये कहती
पालक किनारा नदियां अंसुवन की बहतीं
पालक किनारा नदियां अंसुवन की बहतीं
शाम ए ग़म ही मेरा मौसम सुहाना
भूल रहे हैं मुसकाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

शब से शबनम रोते रोते कहती
शब से शबनम रोते रोते कहती
बेसहारा आज देख एक तारा
बेसहारा
सुन ज़रा हाए
कहता अंगारा अफसाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

बिन इशारे तेरे मौत भी ना आती
बिन इशारे तेरे मौत भी ना आती
तू कर एहसान मैं नादान सही
नादान सही
मौत की मौजों में
बह जाऊँ तो चले जाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

तुम चले॰ ॰ ॰ क्यों चले
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे


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

Blog Day : 3515 Post No. : 14118

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 


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

Lyrics (Provided by Sudhir)

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

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

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

———–
Part 2
———–

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

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

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

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

———–
Part 3
———–

aaaa aaaa aaaa aaaa
aaaa aaaaaa aaaaaaa aaa

aaaa aaaaa aaaaaaaa
aaaaa aaaaa aaaaaaa aaaaa aaaaa aaaaaaaaaaa

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

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

kabhi phoolon ke baagh
kabhi kaanton ke daagh

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

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

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

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

है कहीं पर शादमानी
और कहीं नाशादियां

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

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

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

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

आss आsss आssssss
आssss आssss आssssss आssss आssss
आssssssss

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

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

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


This article is written by Avinash Scrapwala, 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 : 3514 Post No. : 14114

#the Decade of Seventies – 1971 – 1980 #
—————————————————————
# Bhoole-Bisre Geet # 64# Singer – Kishore Kumar
———————————————–—————————-

In my opinion, Kishore Kumar’s voice reached a different and special plane altogether during late 1960s as compared to his voice prior to earlier years i.e. pre ‘Padosan'(1968) and ‘Aradhana’ (1969). He retained that “something special” in his voice for the rest of his career. His voice was at its ‘versatile peak’ during this phase of his career.

Kishore Kumar was popularly known as the voice of ‘Rajesh Khanna’ during 1970s, but he was also singing for most other actors, whether they were the established stars of the time or newcomers. Today’s song is one such special song. I became aware of this song only in September 2016.

It was during my stay at Nagpur that I had marked this song for presentation here on the blog. When I checked HFGK for this movie songs, I discovered that this song had two versions viz a ‘happy’ as well as ‘sad’. However, at that time only the sad version of this song was available, so I forwarded the movie link to my friend so that he could make the fast version of the song available in time for Holi of 2017. But somehow it did not materialize.

Later on, due to change in my job location it got further delayed. It was just about five weeks back that I requested our beloved Raja Saab to upload video of this song and he, as he always does, was kind enough to respond to my request and he has uploaded both the video versions of this song. (Thank you, Raja Saab, for the videos of both versions of this song). Meanwhile, I also discovered that audio of the ‘happy’ version was also available on YT.

This is a song celebrating ‘Holi’ – the festival of colors – and thus today on the occasion of ‘Holi’ let us enjoy this song from the ‘1975’ movie ‘Andhera’.

‘Andhera’ was directed by Tulsi Ramsay and Shyam Ramsay for their home production under the banner of Ramsay Films, Bombay. It was produced by F.U. Ramsay who also wrote the story of this movie. The star cast of this movie includes Sameer, Vani Ganpati, Surendra Kumar, Imtiaz, Helen, Satyen Kappu, Krishan Dhawan, Mukri, Dulari, Shekhar Purohit, Kumud Tripathi, Tuntun, Heeralal, Murad, Kukku, Arvind Pandya, Major Anand, Madhu, Habib, Moolchand, Seema Kapoor, Ashoo and others.

Dialogues for this movie were written by Kafeel Azar. Shyam Ramsay was the Chief Assistant Editor and Arjun Ramsay was the Associate Director. Editing was done by Bal Korde. Kumar Ramsay was the Executive Producer for this movie and he also wrote the screenplay of this movie.

This movie has four songs. Lyrics for all these songs are penned by Gulshan Bawra. Music for this movie is composed by Sonik-Omi. All the songs are solo songs; two by Kishore Kumar , and other two by Asha Bhonsle. Today’s song is sung by Kishore Kumar and it has two versions ‘happy’and ‘sad’ (or fast and slow 🙂 ). More than the fast version I like the slow version and its tune grows up on one as one listens to it repeatedly

Let us now enjoy this song!!! With this song, ‘Andhera’ (1975) makes its debut in the blog.

Wishing all readers and members of this blog a very happy, peaceful, safe and colorful Holi 2018 …!!!

 

Video-Happy version

Video (sad version-partial)

Audio-Sad version-longer

Song-Rang doonga sabko main pyaar bhari baaton se (Andhera)(1975) Singer-Kishore Kumar, Lyrics-Gulshan Bawra, MD-Sonik Omi
Unidentified Female Voice

Lyrics

hurrrrrr rrr ak

holi hai re holi hai
bhabhunaaku
gori gori chhori hai
bhabhunaaku
chhori badi bholi hai
bheegi bheegi choli hai
holi hain re bholi hai
holi hain re holi hai
holi hain ke bholi hai
holi hain ke choli hai
holi choli hat
choli holi hat
holi bholi hat

rang doonga sabko main
pyaar bhari baaton se
rang doonga sabko main
pyaar bhari baaton se
aaj koyee ee ee
aaj koyi bach na sakega
mere haathon se
aaj koyi bach na sakega
mere haathon se
rang doonga sabko main
ho laale bachiyo
ha ha
ha ha

choli bhigo doon ho o
chunari bhigo doon
mujhko kiska dar hai
har ek naari hi aaj hai gopi
kaanha har ek nar hai
holi mein jo bhi ho so kam hai
rok le mujhko
jisme dam hai re
aaj koyi ee ee
aaj koyi bach na sakega
mere haathon se
aaj koyi bach na sakega
mere haathon se
rang doonga sab ko main
ho bhonpu ahe he he
ha ha
he he ae
ah a he he he

aaj wo din hai khelen rang se
naachen gaayen milke ae
aa gori aa
in baahon mein
armaan poore hon dil ke ae
holi to hai milne ka bahaana
ab na chalega re yoon sharmaanaa
aaj koyi ee ae
aaj koyi bach na sakega
mere haathon se
aaj koyi bach na sakega
mere haathon se
rang doonga sab ko main
o goriye ye le
ha ha ha
ho o
chhodo na
ho ho he he
a ha
oh, please chhodo na
arey kaise chhodoon
chhodo na
arey nahi re
oh ho
o ho
chhodo o
nahin nahin
he he
he he
he he
bruuuurr

ye bhonpu idhar aa
ye baba
o sethiye

aaja aaja
o goriye
oye hoye
he
he

————————————————————-
(Sad Version) based on audio version which is longer one
———————————————————

rang doonga sabko main aen
pyaar bhari baaton se ae
aaj koyi bach na sakega
mere haathon se
aaj koyi bach na sakega
mere haathon se ae
choli bhigo doon
chunri bhigo doon
mujhko kiska dar hai
har ik naari ee ee aaj hai gopi ee
kaanhaa har ik nar hai
holi mein jo bhi ee ho so kam hai
rok le mujhko o
jisme dam hai
aaj koyi bach na sakega
mere haathon se
rang doonga sabko main aen
pyaar bhari baaton se
aaj koyi bach na sakega
mere haathon se ae
aaj koyi bach na sakega
mere haathon se

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

हुर्र र र र र र रक
होली है रे होली है
भभुनाकू
गोरी गोरी छोरी है
भभुनाकू
छोरी बड़ी भोली है
भीगी भीगी चोली है
होली है रे भोली है
होली है रे होली है
होली है के भोली है
होली है के चोली है
होली चोली हट
चोली होली हट
होली भोली हट

रंग दूंगा सबको मैं
प्यार भरी बातों से
रंग दूंगा सबको मैं
प्यार भरी बातों से
आज कोई ई ई
आज कोई बच न सकेगा
मेरे हाथों से
आज कोई बच न सकेगा
मेरे हाथों से
रंग दूंगा सबको मैं
हो लाले बचियो
अहा हा हा हा
चोली भिगो दूं हो ओ
चुनरी भिगो दूं
मुझको किसका डर हैं
हर एक नारी ही आज है गोपी
कान्हा हर एक नर हैं
होलि में जो भी हो सो कम हैं
रोक ले मुझको जिसमें दम है रे
आज कोई ई ई
आज कोई बच न सकेगा
मेरे हाथों से
आज कोई बच न सकेगा
मेरे हाथों से
रंग दूंगा सब को मैं
हो भोपू आहे हे हे
हा हा
हे हे ए
अह अ हे हे हे
आज वो दिन हैं खेलें रंग से
नाचें गाएँ मिल के ए
आ गोरी आ इन बाहों में
अरमान पूरे हों दिल के ए
होली तो हैं मिलने का बहाना
अब न चलेगा रे यूं शर्माना
आज कोई ई ए
आज कोई बच न सकेगा
मेरे हाथों से
आज कोई बच न सकेगा
मेरे हाथों से
रंग दूंगा सब को मैं
ओ गोरिये ये ले अ हा हा हा
हो ओ
छोडो न
हो हो हे हे
अ हा
ओह प्लीज़ छोडो न
अरे कैसे छोडूं
छोडो न
अरे नहीं रे
ओह हो
ओ हो
छोडो ओ
नहीं नहीं
हे हे
हे हे
हे हे
ब्रुरु ऊऊउर्र
ये भोपू इधर आ
ये बाबा
ओ सेठिये
आजा आजा
ओ गोरिये
ओये होए
हे
हे
———————————–
(भाग -२ , धीमा स्वर या विषाद गीत)
———————————–
रंग दूंगा सबको मैं
प्यार भरी बातों से
आज कोई बच न सकेगा
मेरे हाथों से
आज कोई बच न सकेगा
मेरे हाथों से
चोली भिगो दूं
चुनरी भिगो दूं
मुझको किसका डर हैं
हर एक नारी ई ई आज है गोपी ई
कान्हा हर एक नर हैं
होली में जो भी ई हो सो कम हैं
रोक ले मुझको ओ जिसमें दम है
आज कोई बच न सकेगा
मेरे हाथों से
रंग दूंगा सबको मैं
प्यार भरी बातों से ए
आज कोई बच न सकेगा
मेरे हाथों से ए
आज कोई बच न सकेगा
मेरे हाथों से


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What is this blog all about

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

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

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

Total number of songs posts discussed

14752

Number of movies covered in the blog

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

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