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

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Koi Ummeed Bar Nahin Aati

Posted by: on: November 29, 2022


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 :

 5247 Post No. : 17248

He was only 48 years old when he passed away in 1951. One of the pioneering luminaries of cinema in Bengal, as it was emerging in the 1920s and 30s, he was a multi skilled cinema person who was an actor, a producer, director, script writer, cinematographer, film editor, make-up specialist, lighting specialist – yes, quite a portfolio of skills.

Remembering Pramthesh Chandra Barua, on his remembrance day today. He passed away this day, in 1951.

Born on 24th October, 1903, he was the son of the royal family of Gauripur (in Assam). His school and college education happened in Calcutta. He got married at the age of 18, while still at college. Later in life, he would be married again twice. His third wife was actress Jamuna, who appeared opposite him in the Bengali version of ‘Devdas’ (1935) produced at New Theatres.

His introduction to the world of cinema was quite accidental. While at Shantiniketan, he got introduced to Dhirendranath Ganguly, who then introduced him to the fledgling films industry in Bengal. In 1926, he joined the film company British Dominion Films. His screen appearances start from 1929, as he appeared in ‘Panchashar’ (debut film) directed by Debaki Bose, and ‘Takay Ki Na Hay’ directed by Dhirendranath Ganguly.

His urge was to have his own studio and produce his own films. The opportunity came in 1930, when he had to travel to England for medical treatment. He obtained a letter of introduction from Gurudev Rabindranath Tagore for French film maker M Rogers. After his treatment in London, he met M Rogers in Paris, and learnt the skills of cinematography from him.  He also visited the Fox Studio and Elstree Studios in London and learned the techniques of lighting and scenario composition.

He returned to Calcutta (now Kolkata) with a load of camera and lighting equipment and set up the Barua Studio and Barua Film Unit. In 1931 he produced his first film ‘Apradhi’ which was directed by Debaki Bose. He played the lead role in this film. The film ‘Apradhi’ is a path breaking film for Indian cinema, from a technology perspective. This is the first film that was shot under artificial lighting. Prior to this experiment, the films were always shot using natural lighting. The use of artificial lighting also brought in the need to change the method of make-up of actors. It is notable that in the experimentation on lighting and make-up techniques, Barua wasted almost 50,000 feet of stock footage, and that in an era when raw stock was difficult to obtain, and was costly. But the film production brought in significant changes to the film making techniques and the technical know-how for film directors and cinematographers.

In 1932, he produced ‘Nisher Dak’ and ‘Ekada’. The latter was directed by Sushit Mazumdar, with story by Barua himself. He also appeared in the role of a villain in the film ‘Bhagyalaxmi’ produced by Indian Cinema Arts and directed by Kali Prasad Ghosh.

In 1932, he produced his first talkie film – ‘Bengal-1983’. It was a brave attempt by the young film maker to tackle a futuristic subject. The film was inaugurated by Gurudev Rabindranath Tagore. But the film turned out to be a commercial disaster, and Barua was forced to close down his studio due to financial difficulties.

In 1933, BN Sircar invited Barua to join New Theaters. With the skills at hand, and the encouraging environment at New Theatres, Barua excelled in his film making. New Theaters brought him to the zenith in his career as a film maker. His first directorial venture was ‘Rooplekha’ released in 1934. He played the lead role opposite to Uma Shashi. With this film, Barua introduced another new technique for the first time in Indian cinema – use of flashback for storytelling.

Then in 1935 came ‘Devdas’. Barua directed all the versions – the Hindi, Bangla and Assamese, and played the lead role in the Bangla version. Critically acclaimed, Barua’s portrayal of the tragic hero was so lively that it made him a legend. He was all but 32 years old at that juncture.

‘Devdas’ was an instant commercial success. It is hailed as the first social film to enjoy success and popularity as never before. From a technical perspective also, the film is rated very high – for the use of multiple techniques – close up, montage, wipe, dissolve, fade-in fad-out etc. The film also uses flashback and introduced a new technique – ‘intercut telepathy shot’.

In 1936 he directed ‘Manzil’ and in 1937 came ‘Mukti’. Both films were bold and much ahead of their times in terms of the subject matter. Taking off from ‘Devdas’, Barua explores the human relations and love triangles which are extremely poignant and thought provoking. The film ‘Mukti’ is notable in that it is a pioneering effort of outdoor shooting. A major part of the film is shot in the scenic outdoors of Assam. It took almost two decades for the rest of industry to become seriously interested in using outdoor shooting for storytelling.

In 1937, he directed ‘Rajat Jayanti’ which turned out to be a roaring riot of laughter. Considered as the first serious attempt at a full length comedy feature, this film was commercially and critically a success. In the same year, he also directed ‘Adhikar’, which is another path breaking film in that questioned the divisions in society and overtly advocated class struggle.

Bimal Roy and Phani Majumdar started their film careers working under Barua at New Theaters.

In 1940, after directing ‘Zindagi’ starring KL Saigal (coming together once again after ‘Devdas’ of 1935), Barua moved from New Theaters and started work once again as an independent and freelancer. Except for one or two, there are no notable films that came from his work in this period post New Theaters. One needs to mention ‘Shap Mukti’ (1940), which he directed for Krishna Movietone, ‘Jawaab’ (1942) which he directed for MP Productions, and ‘Shesh Uttar’ (1942) produced and directed by himself. It appears that Barua and New Theaters was the magic mix, which faded away when he moved out of New Theaters.

In this phase, he took to drinking heavily, and his health began to deteriorate. He passed away in 1951, on this date.

The song I present today is presumably not released on 78 rpm records. I present an edited clip extracted from the video of the film. Unfortunately, the first line of this rendition is not available in the original film clip that I have. On screen, this is actually a two part song that is listed as separate songs in the Geet Kosh. This song itself is a very thoughtful construction. The hero (Prashant, role played by Barua) is in a phase of depression. His earlier marriage with Chitra (role played by Kanan Devi) is a failed venture and post divorce he moves to rural Assam, where he stays in a local inn managed by Pahari (role played by Nawab), and his wife Jharna (role played by Menaka Devi). The couple takes to this depressed young man very kindly. Pahari and Prashant become very good friends.

A passage is shown where Prashant is off in the woods, and in his melancholic despair is singing two couplets from the original ghazal by Mirza Ghalib – ‘Koi Ummeed Bar Nahin Aati’. Incidentally Jharna is also close by, having come to fetch water from the river. She hears him sing these depressing lines, and then she responds with the second part of this song which is an effort to inspire and encourage the young man.

The notable thing is how the director has constructed this scenario. He takes two couplets from a famous ghazal of a legendary poet, and then attempts to juxtapose that against a positive and encouraging thought that answers to the points of despair raised in the original lines. The response is written by Aarzoo Lakhnavi, and is indeed a masterpiece in itself, as it tries to confront Mirza Ghalib, by showing the other side of the picture.

The music is composed by Pankaj Mullick. There is no mention about the identity of the singing voices. And I have indicated that as such below. Are these the voices of the on screen actors themselves? I do not know, and do not want to make an uninformed guess. I request our more knowledgeable readers to please help to identify and confirm the singing voices in this song.

Remembering PC Barua. An attempt to keep alive the memories of this multi skilled pioneer film maker, whose many path breaking contributions have enriched the film making technology and techniques. May these memories be sustained for the future generations.

Song – Koi Ummeed Bar Nahin Aati (Mukti) (1937) Singer – Unidentified Male Voice, Unidentified Female Voice, Lyrics – Ghalib, Aarzoo Lakhnavi, MD – Pankaj Mullick

Lyrics

[koi ummeed bar nahin aati]
koi surat nazar nahin aati
nahi aati

hum wahaan hain
jahaan se hum ko bhi
kuchh hamaari khabar nahin aati
marte hain aarzoo mein marne ki
maut aati hai
par nahin aati
nahin.. aati

hai gila kis ka
koi ummeed bar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi
parde aankhon se utha
surat nazar aa jaayegi

rakh tu be-aasi pe baaki
aas ka bhi silsila
tu kisi aalam mein bhi hoga
khabar aa jaayegi
tu kisi aalam mein bhi hoga
khabar aa jaayegi

hai museebat ki bhi ek hadd
is se ghabraana hi kya
ghabraana hi kya
maut ki to kya khabar
raahat magar aa jayegi
maut ki to kya khabar
raahat magar aa jayegi

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

[कोई उम्मीद बर नहीं आती]
कोई सूरत नज़र नहीं आती
नहीं आती

हम वहाँ हैं
जहां से हम को भी
कुछ हमारी खबर नहीं आती
मरते हैं आरज़ू में मरने की
मौत आती है
पर नहीं आती
नहीं॰॰ आती

है गिला किसका
कोई उम्मीद बर आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी
पर्दे आँखों से उठा
सूरत नज़र आ जाएगी

रख तू बे-आसी पे बाकी
आस का भी सिलसिला
तू किसी आलम में भी होगा
खबर आ जाएगी
तू किसी आलम में भी होगा
खबर आ जाएगी

है मुसीबत की भी इक हद
इस से घबराना ही क्या
घबराना ही क्या
मौत की तो क्या खबर
राहत मगर आ जाएगी
मौत की तो क्या खबर
राहत मगर आ जाएगी

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Jeevan Ki Aashaayen

Posted by: on: May 27, 2021


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 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 :

 4696 Post No. : 16386 Movie Count :

4452

When Imperial Movietone released India’s  first sound film, ‘Alam Ara’  in  1931, other top film production companies of Hindi films followed suit. Madan Theatre with ‘Shirin Farhad’ (1931), Ranjit Movietone with ‘Dev Devyani’ (1931), Sagar Films with ‘Meri Jaan’ (1931), Prabhat Film Company with ‘Ayodhya Ka Raja’ (1932, in Marathi and Hindi), New Theatre with ‘Mohabbat Ke Aansoo” (1932) were some of the early film production companies to release their first Hindi sound films.

Wadia Brothers were the late entrant to the production of sound films. The reason was that JBH Wadia did not have his own banner when he was making the silent films since 1928. It was only when sound films came into existence, JBH Wadia was joined by his brother Homi Wadia to set up Wadia Movietone in 1933. The banner’s first sound film was ‘Laal-e-Yaman’ (1933) which was directed by JBH Wadia. Wadia Brothers were the populist film-makers who believe in making wholesome entertainment films. They mainly chose the genres of stunts, action, adventure and costume drama films. The first sound film was a money spinner for the banner which enabled them to set up their own studio.

‘Laal-e-Yaman’ (1933) will be remembered for shaping the career of two artists who acted in the film in side roles.  First, Master Feroze Dastoor was introduced in the film as a singer-actor. JBH Wadia was a patron of Hindustani classical music. When he heard 14-year-old Feroze Dastoor singing a Hindustani classical song, he decided to use his voice for the film. In the absence of the playback singing system, he was taken in the film as an actor so that he can sing the songs. Feroze Dastoor sang 7 songs in the classical/semi-classical genre. Later, Pandit Feroze Dastoor became one of the leading Hindustani classical vocalists belonging to Kirana Gharana.

The second actor was Nadia who did a small role in the film as a chorus singer. In a couple of years after the release of ‘Laal-e- Yaman’ (1933), JBH Wadia selected her as lead actress for ‘Huntrerwali’ (1935) which was directed by his brother, Homi Wadia. The film became a runway success in terms of box office collection. Eventually, she became the Wadia Movietone’s top most star and India’s top action actress, popularly known as ‘Fearless Nadia’.

JBH Wadia’s interest in Hindustani classical music motivated him to make short films of about 10 minutes on then upcoming vocalists and musicians for their promotions. During 1933-42, he made many such short films covering  Mallika Pukhraj, Kumar Gandharva, Azim Prem Ragi, Ahmed Jaan Thirkawa (Tabla), Sakhawat Hussain Khan (Sarod) among others. These short films were shown along with Wadia Movietone’s main feature films as an added bonus for the audience. The first two mentioned above are availabe for viewing on video sharing platforms.

JBH Wadia was involved with Indian National Congress during 1930-38. Under the influence of Congress, JBH Wadia promoted the theme of freedom struggle, Hindu-Musilim unity, eradication of caste system, emancipation of women, eradication of illiteracy etc, in his stunt and action films. In 1937, he came into contact of MN Roy (1887-1954), a Marxist revolutionary, who had joined the Indian National Congress in 1936 after his disillusionment with communism. After leaving Congress in 1940, MN Roy started an alternative ideology called ‘Radical Humanism’. JBH Wadia was highly influenced by MN Roy’s intellect and the honesty of the convictions about his ideology. Under his influence, JBH Wadia was leaning towards making socially relevant films. Later in his life, MN Roy became his close friend and philosophical guide.

Sometime in 1941, Wadia Movietone decided to produce a big budget film ‘Raj Nartaki’ (The Court Dancer) (1941) in Hindi, Bangla and English which featured Sadhana Bose and Prithviraj Kapoor in the lead role. The film was directed by Madhu Bose. Unfortunately, the film failed in the box office collections. With this, the differences between Wadia brothers as also between JBH Wadia and the financiers arose leading to the dissolution of partnership in Wadia Movietone. Homi Wadia left Wadia Movietone in 1942 to form his own film production company called Basant Pictures and continue to produce stunt and action films.

The financiers of Wadia Movietone wanted it to continue to make stunts films. JBH Wadia was veering toward social genre of films.  The differences led to financiers withdrawing their support to Wadia Movietone. To raise the finance, JBH Wadia had to sell the studio to V Shantaram who had then set up his own film production company, Rajkamal Kala Mandir in 1942. JBH Wadia started producing social genre of films. Some of his such films were ‘Aankh Ki Sharm’ (1943), ‘Vishwas’ (1943), ‘Mela’ (1948), ‘Magroor’ (1950), ‘Madhosh’ (1951), ‘Duniya Jhukti Hai’ (1960), Saaz Aur Sanam’ (1971) etc.

[Note: Some of the events mentioned in the above paragraphs are based on an article ‘Those Were The Days’ written by JBH Wadia and published in ‘50 Years of Indian Talkies (1931-1981)’ by Indian Academy of Motion Picture Arts and Sciences, 1981. The article was reproduced in cinemaazi.com].

I find it interesting coincidence to note that one of the reasons for the downfall of Sagar Movietone was its ambitious and a high budget film ‘Kumkum, the Dancer’ (1940) which failed at the box office. Wadia Movietone’s downfall was also due to its high budget film ‘Raj Nartaki’ (1941) which also failed at the box office. Both the films had a common theme of a dancer played by Sadhana Bose. Both the films was directed by Madhu Bose.

‘Manthan’ (1941) was produced under the banner of Wadia Movietone and was directed by Ramjibhai Arya. The cast included Sardar Mansoor, Radha Rani,  Rajkumari, Dalpat, Boman Shroff, MK Hasan etc. The film belonged to the genre of ‘costume drama’. This film was made at a time when Wadia Movietone was under financial strains due to the money locked in its ambitious high budget film, ‘Raj Nartaki’. Probably, this may be the reason that not  much advertisements of the film during its making as well its release, were noticed.

‘Manthan’ (1941) had 10 songs. All the songs were written by Pandit Faani which were set to music by Baldev Nayak. I am presenting the first song from the film “Jeevan Ki Aashaayen’ to appear on the blog. HFGK mention the name of the singer as Rajkumari. The voice does not sound  that of Rajkumari Dubey. This means that the singer could be Rajkumari Calcuttewaali. I have a seen a photograph of Rajkumari from the film ‘Manthan’ (1941) and she does not look like Rajkumari Dubey. On checking with Girdharilal Vishwakarma ji, who has uploaded the song, he has confirmed that the singer is Rajkumari Calcuttewaali.

With this song, ‘Manthan’ (1941) makes a debut on the Blog.

Song – Jeevan Ki Aashaayen (Manthan) (1941) Singer – Rajkumari Calcuttewaali, Lyrics – Pt Faani, MD – Baldev Nayak
Chorus

Lyrics

jeewan ki aashaayen
ae ae
jeewan ki aashaayen
jeewan ki aashaayen
jeewan ki aashaayen  
jeewan ki aashaayen
jeewan ki aashaayen
 
ek nahi
do chaar nahi
kitani hai koi paar? nahi
kitani hai
kitani hai koi paar? nahi
roz roz hoon
roz roz badh jaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen
 
aashaaon se khel rahi hai
aashaaon se khel rahi hai
jeewan sukh se mil rahi hoon
jeewan sukh se mil rahi hoon
jeewan mein aashaayen
jeewan mein aashaayen
jeewan mein aashaayen
jeewan ki aashaayen
jeewan ki aashaayen
aashaayen

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

जीवन की आशाएँ
ए ए
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ

एक नहीं
दो चार नहीं
कितनी हैं कोई पार नहीं
कितनी हैं
कितनी हैं कोई पार नहीं
रोज़ रोज़ हाँ
रोज़ रोज़ बढ़ जाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ

आशाओं से खेल रही हूँ
आशाओं से खेल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन सुख से मिल रही हूँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन में आशाएँ
जीवन की आशाएँ
जीवन की आशाएँ
आशाएँ

Tags: , , , ,

Badlegi ye duniya

Posted by: on: November 27, 2020


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 :

 4515 Post No. : 16068

“Sanskaar”(1952) was produced and directed by V M Vyas for Sunrise Pictures, Bombay. This social movie had Mumtaz Shanti, Purnima, Veera, Pran, Razi, Shashi Kapoor, Ishwar lal, Mirza Musharraf, Murad, Kalyani, Pappu, Baby Naaz, Indira Mumtaz etc in it.

The movie had seven songs in it.

Six songs from the movie have been covered in the past. That leaves only one song to be covered, the one which appears at number 1 in the HFGK song list of this movie.

Here are the details of the songs of this movie :-

Song Posted On
Badlegi, ye duniya ik din badlegi Being covered today
Jeenewaale o matwaale zindagi se pyaar kar 24.07.2018
Andhi qismat kise le chalegi kahaan 15.09.2016
Hanse tim tim tim chhote chhote taare 24.11.2020
Preet nibhaani balmaa tum kya jaano 09.01.2016
Do nainon ne jaal bichhaayaa 26.04.2012
Muhabbat ke jhoothhe sahaaron ne loota 24.11.2010

Here is the seventh and final song from the movie. It is sung by Hridaynath Mangeshkar, then a child. Shailendra is the lyricist. Music is composed by Roshan.

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

Lyrics of this song were sent to me by Avinash Scrapwala.

Audio

Song-Badlegi ye duniya (Sanskaar)(1952) Singer-Hridaynath Mangeshkar, Lyrics-Shailendra, MD-Roshan

Lyrics(Provided by Avinash Scrapwala)

badlegi
ye duniya badlegi ee
badlegi ee
badlegi ye duniya
ik din badlegi
badlegi
aasmaan ki bitiyaa dharti
girkar phir se sambhlegi ee
badlegi duniya
ik din badlegi
badlegi
badlegi ye duniya aa

ham bachche laaye hain
apni qismat apni mutthhi mein
ham bachche laaye hain
apni qismat apni mutthhi mein
gud’di mein laal hazaaron
heere bikhre mitti mein
ik din ham bachchon ki toli
chaand sitaare chhoo legi
badlegi duniya
ik din badlegi
badlegi
badlegi ye duniya aa

oonche aasan baithhne waalon
dam bhar dharti par aao
oonche aasan baithhne waalon
dam bhar dharti par aao
jeewan reet seekh lo hamse
ya hamko sikhlaao
jeewan reet seekh lo hamse
ya hamko sikhlaao
har chhoti si baat pe tum
aapas mein lad marte ho
har chhoti si baat pe tum
aapas mein lad marte ho
phailaa itnaa zehar ki tum
ganga jal se bhi darte ho
bachchon ki maasoom nazar
ye reet badal kar dam legi ee
badlegi duniya
ik din badlegi
badlegi
badlegi ye duniya aa

soch liyaa hai
ham bachchon ne
nayaa zamaana kaisaa ho o
soch liyaa hai
ham bachchon ne
nayaa zamaana kaisaa ho o
maata jaisa dil ho jiska
pyaar pitaa ke jaisaa ho o
maata jaisa dil ho jiska
pyaar pitaa ke jaisaa ho
sukh mein jo lori gaaye ae
rote bachchon ko behlaaye ae
sukh mein jo lori gaaye ae
rote bachchon ko behlaaye ae
mel mohabbat mehnat mein
jo jeenaa marnaa sikhlaaye ae
duniya duniya tab hogi
jab hans ke har dukh jhelegi
badlegi duniya
ik din badlegi
badlegi
badlegi ye duniya aa

Tags: , , , ,

Jahaan Ho Pyaar Ka Mausam

Posted by: on: July 19, 2019


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 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 :

 4018 Post No. : 15129

It is the 8th year of my association with our Blog. I do not remember the date but it was in the month of July 2011 when I found this musical  Blog. I began my formal association with the Blog by posting my first comment sometime in the last week of July 2011. It was much later  I came to know that the Blog had then just completed its third birth anniversary.

Congratulation to Atul ji and his bandwagon for completing today the 11th year of the Blog. Over a period of time, our Blog has transformed into a cooperative movement to propagate Hindi film and non-film music especially of the vintage and the golden periods.

My interest in Hindi film music began during the early days of Binaca Geet Mala which used to be broadcast on Radio Ceylon every Wednesday. But it was during the late 1960s that I developed interest in the nitty gritty of Hindi film songs. I became the collector of 78 rpm gramophone records of popular as well as the then rare songs mostly of films released during 1940s to 1960s. However, by 1972-73, I had become disillusioned with my hobby for number of reasons, the main reason being the undesirable practices of a few of the record collectors and sellers.

During 1990s to 2000s, I was virtually cut off from the Hindi film music of the golden era as even my record player became irreparable and the India-made new ones were not available. The radio had become almost redundant. During this phase, I used to regularly watch TV programmes on Doordarshan (for Chitrahaar), Channel [V] and MTV. At that time, I started liking Hindi pop songs (Indipop). Those were the days when Hindi pop songs had become very popular to the extent that they were competing with Hindi film songs in terms of sales of the song albums. Among the Hindi pop singers, Alisha Chinoy, Sunita Rao, Sweta Shetty, Phalguni Pathak, Palash Sen, Diler Mehndi, Lucky Ali, Sonu Nigam and many others became very popular. The popularity of Hindi pop songs attracted some of the already well-established artists like Asha Bhonsle, Nusrat Fateh Ali Khan, Shubha Mudgal, AR Rehman, Majrooh Sultanpuri, Javed Akhtar etc. who got associated with Indipop.

After my final retirement from the service in June 2009, I again got interested in Hindi film music. It was during this phase when I came across this Blog and my interest in the Hindi film music was revived. But the most important contribution of the Blog for me was that my hobby of listening Hindi film songs got expanded to cover non-film songs and research in Hindi films and the music. The Blog has become a learning curve for me insofar as Hindi films and non-films music are concerned.

On the occasion of the 11th birth anniversary of our musical Blog, I have chosen one of my favourite indipop songs of the new millennium. The song is ‘Jahaan Ho Pyaar Ka Mausam’ (2002) rendered by the all-girls VIVA Band consisting of Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat and Anushka Manchanda. The song is written by Javed Akhtar which is set to music by Jatin-Lalit.

The song has a very thought provoking mukhda which has a universal appeal:

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi kahin na kahin

 When I heard this song recently after a long gap, it immediately struck me that the mukhda of the song was very apt for our Blog. For me, our Blog is the place where there is an atmosphere of love, union of hearts and minds. And where everyone speaks in a language of respect.

I should give some background about the song under discussion. In 2002, Channel [V] decided to promote pop stars in India. They started the first Indian version of the International Popstars Talent Show in 2002 in which 5 girls got selected. They formed a band named as VIVA. Their first album, VIVA produced by Times Music and Channel [V] was released in June 2002 which had 8 songs, including the song under discussion. All the songs were written by Javed Akhtar but they were  set to music individually by Shankar-Ehsan-Loy, Jatin-Lalit, Sandeep Chowta, Raju Singh, Kersi Lord and Ashtosh-Dhruv. The album received a very good response and in the first year itself, sales of albums crossed 5 lakhs.

VIVA Band got split within two years of its formation despite unprecedented success of its two albums. Probably, the girls in the band could not handle their sudden fame. Later, all of them pursued their solo careers in music and the related fields.

I had watched the video of the song under discussion umpteen times on TV during 2002-03. I always liked it for its meaningful lyrics and comparatively soft musical interludes than some of other Indipops.

For those who had watched the video of the song on TV in early 2000, it will be a nostalgic experience.

Audio

Video

 

Song – Jahaan Ho Pyaar Ka Mausam (NFS – VIVA) (2002) Singer – Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat, Anushka Manchanda, Lyrics – Javed Akhtar, MD – Jatin-Lalit

Lyrics


oou oou oou oou oou
oou oou oou oou

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan

jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
 
baaton mein ho ghul gayi
saare geeton ki jaise narmiyaan
aankhon mein ho yun khushi
moti bhari hon jaise seepiyaan
jahaan goonje prem shehnaai
jahaan zindagi le angdaai
jahaan har ghadi khushi ki ho daastaan
jahaan goonje prem shehnaai
jahan zindagi le angdaai
jahan har ghadi khushi ki ho daastaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam

rou rou rou rou rou
rou rou rou rou
rou rou rou rou

aisa ho nagar jahaan
chimni ka dhuaan phaila na ho
raahon mein hawaaon ka
aanchal zara bhi maila na ho
jahaan thande thande ho saaye
jahaan haule haule neend aaye
jahaan khwaab khwaab lagta ho har sama
jahaan thande thande ho saaye
jahaan houle houle neend aaye
jahaan khwaab khwaab lagta ho har sama
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam

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

ऊ ऊ ऊ ऊ ऊ
ऊ ऊ ऊ ऊ

जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ

जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम

बातों में हों घुल गई
सारे गीतों की जैसे नर्मियाँ
आँखों में हो यूं खुशी
मोती भरी हों जैसे सीपीयाँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम

रू रू रू रू रू
रू रू रू रू
रू रू रू रू

ऐसा हो नगर जहां
चिमनी का धुआँ फैला ना हो
राहों में हवाओं का
आंचल ज़रा मैला ना हो
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम

Tags: , , , , , , , , , ,

Ham Dilli Dilli jaayenge

Posted by: on: January 23, 2019


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 : 3841 Post No. : 14853

Today (23 january 2019) is the birth anniversary of Subhash Chandra Bose, one of the most admired freedom fighters of India.

One year ago, I had written a detailed writeup about his escape from his house arrest. That writeup was accompanied by the song Jodi tor daak..tanha raahi apni raah chalta jaayegaa.

Writing that article was quite a emotional roller coaster ride for me, because I tried to imagine all the meticulous planning of that escape, including the successful execution of the plan.

In the process, I watched snippets of the movie “Bose The forgotten Hero”(2004) which contains this song.

Lyrics of that song were sent to me by Avinash Scrapwala. One year later, he sent the lyrics of another song from the movie to be posted on this occasion with a request of a writeup by me because I have seen the movie. No, I have not seen the movie. I have only seen parts of it, because I cannot bear to see the full movie even though I know that it is a movie and the scenes depicted in the movie happened over seven decades ago.

So, my writeup is not based on my watching the movie, rather it is based on my impressions on Subhash Chandra Bose.

It seems to me, and many people would agree that his contributions towards the independence movement has been vastly underrated and attempts have been made to consign his contribution to just a few lines. We have been fed the history that non violent agitations led by Mahatma Gandhi won us our freedom.

When I try to think about it now, it does not seem to add up. If non violent agitations gave us freedom, then what explains the violence that took place during the partition ? Why the proponents of these non violence agitations agreed to the participation of Indian armymen in the second world war and also the first world war before that ? If people in India really followed non violence, then what explains the Indo Pak wars that took place and the terror attacks that are taking place from across the border.

When one tries to look at the reasons for the independence of India, it appears that the reason why India got independence was not Non violent agitations but it was mainly due to the precarious economical situation of Britain.

Britain which used to be the strongest economy in the world till the 18th century found itself being overtaken by USA and Germany by the turn of 19th century. USA was able to cash in because it pioneered new indstries, viz automobiles, motorbikes and aircrafts and became the leading manufacturer of these new technology items. The first world war and later the second world war devastated British economy. After the second world war ended Britain had lost much of its absolute wealth. Its trade reduced to just one third vis a vis its pre war trade. Dollar had become the preferred currency and Britain had shortage of dollars to pay off its wartime debts. As an emergency measure, Britain began to hive off its overseas assets. USA extracted a heavy price from Britain for getting involved in the second world war. Britain had to take a loan of $ 4.33 billions from USA. Winter of 1946-47 broke the back of British economy, with cutrailed economic production and shortage of coal. The situation reeached its worst in August 1947 !

Is it a coincidence that India got its independence in August 1947 ! With the benefit of all the information contained in the above para, it appears that Britain were in no position to be able to hold on to India any longer. Even if there were no agitations, violent or otherwise, Britain woould have left India sooner or later.

It appears to me that holding on to the Indian empire was becoming more and more prohibitively expensive for Britain. It would seem to me that “Non violent” agitations were not the only thing Britain had to worry. They also had to worry about the real possibility of disenchantment in the natives who manned Indian Army. The contribution of Subhash Chandra Bose’s Azad Hind Fauz, which actually participated in world war II cannot be underestimated.

The end of the war saw a large number of the troops of Azad Hind Fauz repatriated to India where some faced trials for treason at Red Fort in Delhi. Instead of acting as a deterrent,as hoped by the British, these trials became a galvanising point in the Indian Independence movement. The Bombay mutiny in the Royal Indian Navy and other mutinies in 1946 are thought to have been caused by the nationalist feelings that were caused by the INA trials. Many historians believe that these events played a crucial role in hastening the end of British rule in India.

After independence, Gandhian freedom fighters were given the status of freedom fighters but Azad Hind Fauz members were denied this privilege. Nevertheless, the Azad Hind Fauz remains a popular and passionate topic in Indian culture and politics.

India became politically independent on 15 august 1947. It wold take decades and decades of slog with lots of troubles enroute, before Indian fortunes would begin to look up and they would shrug off the tag of a begging bowl nation and subsequently a nation considered the fastest growing major nation in the world. I would cover this vast topic in another writeup on the occasion of Republic day, which falls three day later.

For now, let us listen to this song of hope. The hopes of securing independence. The hopes of living happily ever after. The song is a chorus song. Jawed Akhtar is the lyricist. Music is composed by A R Rahman.

Lyrics of the song were sent to me by Avinash Scrapwala.

Video (Partial)

Audio (Full)

Song-Ham Dilli Dilli jaayenge (Bose-The Forgotten Hero)(2004) Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics(Provided by Avinash Scrapwala)

Ham Dilli Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge
Fauji ban ke rehna hai
Dukh dard museebat sahna hai
Ab fauji ban ke rehna hai
Dukh dard museebat sahna hai

Subhash kaa ye kehna kehna hai
Chalo Dilli chal ke rehna hai
Ham Dilii Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge

Ham goli kha ke jhoomenge
Maut ko badhh ke chumenge
Matawaale ban aazaadi ke
Hum dariya jungle ghoomenge
Goli kha ke jhoomenge
Maut ko badhh ke choomenge
Matawaale ban aazaadi ke
Ham dariya jungle ghumenge
Subhash hamaara haawi hai
Ghulaami ke taalon ki chaabhi hai
Phir kaisa khatraa baaki hai
Khuda bhi hamaara saathi hai
Ham Dilii Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge

Fauji ban ke jaayenge
Aur Dilii ko sajaayenge
Fauji ban ke jaayenge
Dilii ko sajaayenge
Zaalim firangi qaum kaa
Ham naam-o-nishaan mitaayenge
Ham Dilli Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge
Fauji ban ke rehna hai
Dukh dard museebat sahna hai
Ab fauji ban ke rehna hai
Dukh dard museebat sahna hai
Subhash kaa ye kehna kehna hai
Chalo Dilli chal ke rehna hai
—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है
अब फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है

सुभाष का ये कहना कहना है
चलो दिल्ली चल के रहना है
हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे

हम गोली खा के झूमेंगे
मौत को बढ़ के चूमेंगे
मतवाले बन आज़ादी के
हम दरिया जंगल घूमेंगे
गोली खा के झूमेंगे
मौत को बढ़ के चूमेंगे
मतवाले बन आज़ादी के
हम दरिया जंगल घूमेंगे
सुभाष हमारा हावी है
ग़ुलामी के तालों कि चाभी है
फिर कैसा ख़तरा बाकी है
खुदा भी हमारा साथी है

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे

फौजी बन के जायेंगे
और दिल्ली को सजायेंगे
फौजी बन के जायेंगे
दिल्ली को सजायेंगे
ज़ालिम फिरंगी कौम का
हम नाम-ओ-निशान मिटायेंगे

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है
अब फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है

सुभाष का ये कहना कहना है
चलो दिल्ली चल के रहना है

Tags: , , ,

Wo Sub’ha Ham Hi Se Aayegi

Posted by: on: November 16, 2018


This article is written by Nahm, 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 :

 3773 Post No. : 14750 Movie Count :

4034

na tu zameen ke liye hai na aasmaan ke liye
tera wajood hai sirf dastaan ke liye 

palat ke su-e-chaman dekhne se kya hogaa
wo shaakh hi na rahi jo thhi aashiyaan ke liye

garaz paarast jahaan mein wafaa talaash na kar
ye shai bani hai kisi dusre jahan ke liye

Thus wrote Sahir Ludhianvi for the film ‘Daastaan’ (1972). Here he takes a cue from Allama Iqbal who said ….

na tu zameen ke liye hai na aasmaan ke liye
jahaan hai tere liye tu nahin jahaan ke liye

Ever the cynic….

Whereas Iqbal was always motivational, Sahir had an inverted view of things.  Maybe this solitude and despair was because of ‘Pyasaa” or vice versa.  Take the instance of “Wo Sub’ha Kabhi To Aayegi“ in the film ‘Phir Subah hogi’ (1958). These verses are said to have inspired his contemporary Jaan Nisaar Akhtar to write the song “Gham Ki Andheri Raat Mein” in ‘Susheela’ (1966), with the lines,

gham ki andheri raat mein dil ko na beqaraar kar
sub’ha zaroor aayegi, sub’ha ka intezaar kar

Just last week, I was thinking about the Hindi poem I had written in 2016. It was published in my office magazine. This poem has some heavy references of Sahir’s songs.  And that I should write a post about Sahir Ludhianvi on his anniversary. But for some reason I had the impression that his death anniversary falls in June or July. I thought I will look up on the blog for the birth anniversary and if it is anytime soon I will write a post.

As it happened my office computer was out of order last week and it returned to work only on Friday and there is no lap-top currently in my use at home, I missed the opportunity to write this article on time. It was Raja ji’s article which alerted me to the fact of Sahir Ludhianvi’s death anniversary on 25th October.

Before I get to the song in hand, let’s take a look at my poem.  This is rather long and I am told it lacks something.  But this is the finished product:

कोशिश करने वालों की कभी हार नहीं होती ?
सुना मैंने के कोशिश करने वालों की कभी हार नहीं होती
सोचा के अपनी सी कुछ कोशिश मैं भी कर देखूं
कोशिश एक जद्द-ओ-जहद हालात को बेहतर करने की
कोशिश जो हर एक करे खुद को बेहतर इंसान बनाने की
कोशिश वो जो अपने परिवार की, सम्मान की रक्षा की
कोशिश के ऐसे जीऐं अपना स्तर उँचा हो नजर में खुदा की
कोशिश वो जो हो इज्जत से जीने की और इज्जतदार मरने की
फिर कहें
कि कोशिश करने वालों की कभी हार नहीं होती ।

फिर कहा किसी ने कि मरने की बात क्यू करें
मौत में कैसी इज्जत कैसी आबरू
क्यूं जब मर कर बाबुल से नजरें मिलाना है
तो जीना और मरना ऐसे रहे के अपना सर उँचा हो
ये ना हो कि बहू और बेटी को बाजार में खड़ा करे
और कहें कि
कोशिश करने वालों की कभी हार नहीं होती ।

शायद ये साहिर नें 1957 में लिखा हो के
“संसार की हरेक बेशर्मी
गुरबत की गोद में पलती है”
सोचने लगी के क्या ये आज भी सच है
कोई सोचे या नहीं, बात काबिले गौर है
क्यूं की
कोशिश करने वालों की कभी हार नहीं होती ।

और कहा साहिर ने के
“अवतार पयंबर जनती है,
फिर भी शैतान की बेटी है”
मुझे लगा जैसे आज मैं ही बैठी हूं
किसी टेलीविजन के ‘टॉक शो’ पर
और दुहार लगाई हूं “फ्रीडम ऑफ एक्सप्रेशन” की
वहां तक,
कोशिश करने वालों की कभी हार नहीं होती ।

आज का दौर हम सब ‘अय्याश’!
माडर्न और सैवी होने का हमें फक्र है

 ‘अय्याश’ इतना ‘ओल्ड फैशन्ड’ शब्द है,
की ‘हम अय्याश’ सुन कर सब चौंके,
अय्याश वो है जो ऐश में डूबा हुआ है
जिंदगी के मजे लेने में, जानों और पहचानों
“औरत ने जन्म दिया मर्दों को, मर्दों ने उसे बाजार दिया”
और तो
कोशिश करने वालों की कभी हार नहीं होती ।

मेरी बहनों और बेटियों, अपनी इज्जत अपने हाथ
जब खुद अपनी इज्जत करना सीख जाओ
के औरों को तुम्हारी इस्मत पर नजर डालते शरम आये
संघर्ष का सब से बड़ा मैदान यहीं है के
कोख में अपनी बेटी का कत्ल ना होने देना हरगिज
और ना खुद को शैतान की बेटी बनने दो,
बात बहुत बड़ी मेरी तुच्छ कलम कह गयी
सच है,
कोशिश करने वालों की कभी हार नहीं होती ।

ओ बाबुल प्यारे, मुझे नाज से लाड से पालने वाले
कल तू मुझे संजोता, संवारता था और ससुराल भेजता
कल मैं तेरी आँखों की चमक और पगड़ी का फक्र थी
आज ये हाल है, कि हम अपनी बेटियों को परदेसी कर देते हैं
ताकि वो अपनी पोजिशन बनाये दुनियाँ में
जाओ,
के कोशिश करने वालों की कभी हार नहीं होती ।

नतीजा ये की आज दुनियाँ की कोई गैर-जरूरी चीज नहीं
जिसे बेचने में मेरा इस्तेमाल नहीं होता
आज मैं हर अखबार में हर फिल्मी पोस्टर में
हर पल हर वक्त बेची और खरीदी जाती हूं
मजे की बात तो ये हुई के मुझे एहसास तक नहीं
की मैं हर लम्हे कितनी “निर्भय” हो गई इस बाजार में
पता है, कोशिश करने वालों की कभी हार नहीं होती
अगर ये मेरी और तुम्हारी हार नहीं है
तो कोई मुझे बताये कि ये क्या है?

ये कैसी कोशिश है
कि हर तरह से मेरी हार होती है ।

Sounds rather like a long story.  But the story is original and sort of a parody of the original ‘Koshish Karnewaalon Ki Kabhi Haar Nahin Hoti” by Harivansh Rai Bachchan.

Now moving to the song in hand, from the film ‘Begum Jaan’ (2017).  This is an adaptation of the original song in “Phir Subah Hogi”(1958) written by Sahir Ludhianvi.   Only a word in the mukhda is changed and the whole song in re-rendered by Arjit Singh and Shreya Ghoshal. Credit for the lyrics and composition is given to Sahir Ludhianvi and Khayyam.
(As per myswar.com  http://myswar.co/song_details/begum-jaan-2017-woh-subah-hami-se-aayegi-7 )

A big fan of Arjit Singh I am not and this particular rendition has not endeared him to me.  I believe singing has to be of words and uttering words in a loose manner somehow dilutes the impact.  I don’t know if the singing here was required this way due to the situation, as I haven’t seen the movie.   The background music is a haunting fall back on “Tadap Tadap Ke Iss Dil Se” (‘Hum Dil De Chuke Sanam’, 1999). While listening to this and the original by Khaiyyam I was reminded of “Dekh Lo Aaj Hum Ko Ji Bhar Ke” (‘Baazaar’, 1982) as well as “Najariyaa Ki Maari” (“Pakeezah”, 1971).

This is a tribute to the poet of such inimitable songs such as:

“Tum Mujhe Bhool Bhi Jaao To Ye Haqq Hai Tum Ko”

“Tum Agar Mujh Ko Na Chaaho To Koi Baat Nahi”

“Chalo Ek Baar Phir Se Ajnabi Ban Jaayen Ham Donon”

“Jaane Wo Kaise Log Thhe Jin Ke Pyar Ko Pyar Mila”

“Mann Re Tu Kaahe Na Dheer Dhare”

And many more such songs.

[Editor’s Note: The delay in publication is an oversight of the editors, the author had sent in this contribution just in time.]


Song – Wo Sub’ha Ham Hi Se Aayegi (Begum Jaan) (2017) Singer – Arijit Singh, Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Khayyaam
Arijit Singh + Shreya Ghoshal
Chorus

Lyrics

in kaali sadiyon ke sar se
jab raat ka aanchal dhhalkega aa
aaaa aaaaa aaaaaaaaa
jab dukh ke baadal pighlenge
jab sukh ka saagar chhalkega aa
aaa aaa aaa aaa
jab ambar jhhoom ke naachega
jab dharti naghme gaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

jis sub’ha ki khaatir jug jug se
ham sab mar mar ke jeete hain
aaa aaa aaa
jis subah ki amrit ki dhun mein
ham zehar ke pyaale peete hain
in bhooki pyaasi roohon per
ek din to karam farmaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

maana ke abhi tere mere
armaanon ki qeemat kuch bhi nahin
hmm hmm hmm
mitti ka bhi hai kuchh mol magar
insaanon ki qeemat kuchh bhi nahin
aa aa aa
insaanon ki izzat jab jhoothhe
sikko mein na toli jaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

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

इन काली सदियों के सर से
जब रात का आँचल ढलकेगा
आssss आssss आssssssss 
जब दुख के बादल पिघलेंगे
जब सुख का सागर छलकेगा
आss आss आss आss
जब अम्बर झूम के नाचेगा
जब धरती नग़मे गाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

जिस सुबहा की खातिर जुग जुग से
हम सब मर मर के जीते हैं
आss आss आss
जिस सुबहा के अमृत की धुन में
हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर
एक दिन तो करम फरमाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

माना के अभी तेरे मेरे
अरमानों की क़ीमत कुछ भी नहीं
हम्ममम हम्ममम हम्ममम
मिट्टी का भी है कुछ मोल मगर
इन्सानों की क़ीमत कुछ भी नहीं
आs आs आs
इन्सानों की इज्ज़त जब झूठे
सिक्कों में ना तोली जाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

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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 FOURTEEN years. This blog has over 17400 song posts by now.

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