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

Archive for the ‘Usha Mangeshkar songs’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3499 Post No. : 14059

“Jyoti”(1969) was produced by A Devdas and directed by Dulal Guha for Chitra Mitra productions. The movie had Sanjeev Kumar, Nivedita, Aruna Irani, Abhi Bhattacharya, Tarun Bose, Moppet Soorja aka Sarika, Lalita Kumari, Jagdeep, Gopal Saigal, Pardesi, Shekhar Purohit etc in it.

The movie had five songs in it. Four of these songs have been covered in the past. Here are the details of the four songs that have been covered in the past :-

Song Title

Post No.

Post Date

Soch ke ye gagan jhoome abhi chaand nikal aayegaa 1799 24-Aug-09
Sun munne mere aa maine tujhe 11440 1-Oct-15
Pag mein ghunghroo chhanke 13099 1-Apr-17
Aankh meri galti se lad gayi 14021 6-Feb-18

Here is the fifth and final song from “Jyoti” (1969) to appear in the blog. The song is sung by Lata and Usha Mangeshkar. Anand Bakshi is the lyricist. Music is composed by S D Burman.

The song is picturised as a Lord Krishn bhajan song on Nivedita and her kid. Her kid is shown growing up as the bhajan progresses and by the time the last stanza appears, the kid grows up to become baby Sarika who(she plays the son, I think) joins Nivedita in singing the last stanza of the bhajan. Sanjeev Kumar, not quite as god fearing as his adarsh bhartiya naari wife, is seen tearing his hair apart at all this bhajan singing. 🙂

With this song, “Jyoti” (1969) joins the list of movies that have all their songs covered in the blog.


Song-Mere Shyaam mere Nandlaala (Jyoti)(1970) Singers-Lata, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-S D Burman
Both

Lyrics

Hey Krishn Kkarunasindhu
deenbandhu jagatpati
Gopesh Gopikakant
Radhakant
namastute

mere shyaam
mere nandlaala aa
mere shyaam
mere nandlaala
sagre jagat ka hai tu hi rakhwaala
mere shyaam
mere nandlaala
ho o sagre jagat ka hai tu hi rakhwaala
mere shyaam
mere nandlaala aa
mere shyaam
mere nandlaala

jeewan apna hai kya giridhaari
praan hamaare tere pujaari
jeewan apna hai kya giridhaari
praan hamaare tere pujaari
saans ki dori tere naam ki maala
mere shyaam
mere nandlaala
sagre jagat ka hai tu hi rakhwaala
mere shyaam
mere nandlaala

vrindaavan ki kunj galiyan mein
aaj bhi madhuban ki kaliyan mein
vrindaavan ki kunj galiyan mein
aaj bhi madhuban ki kaliyan mein
dhoondhhti hogi tujhe koi brijbaala
mere shyaam
mere nandlaala
ho o sagre jagat ka hai tu hi rakhwaala
mere shyaam
mere nandlaala

chaahe na maane saari nagariya
maine suni hai teri baansuriya
chaahe na maane saari nagariya
maine suni hai teri baansuriya

main kaise maanoon nahin
ho o o o
main kaise maanoon nahin baansuriwaala
mere shyaam
mere nandlaala aa
mere shyaam
mere nandlaala
sagre jagat ka hai tu hi rakhwaala
mere shyaam
mere nandlaala aa
mere shyaam
mere nandlaala

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

Blog Day : 3490 Post No. : 14018

Missing Films of 1960s – 55
– – – – – – – – – – – – – – –

Today’s debut film is Shri Ram Bharat Milan, from 1965.

Today is also the birth anniversary of Kavi Pradeep, one of the leading poets who wrote for Hindi films, during the 1940s, 50s and 60s.

The film is produced under the banner of RM Art Productions Bombay, and is directed by Mani Bhai Vyas. The cast of actors listed for this film are Mahipal, Anita Guha, Nirupa Roy, Rajkumar, Aruna Irani, B M Vyas, Niranjan Sharma, Vanmala, Prithviraj, Balakram, Sulochana. The listings show that there are six songs in this film, all written by Kavi Pradeep. The music for the film is composed by Pandit Shivram. This particular song is a twin dance song sung by Asha Bhosle, Usha Mangeshkar and supported by chorus.

Time was 1960s, and religious films still had a popular following. And the producers community also had an ongoing interest, to continue making films based on our scriptures and ancient history, ensuring that these stories do not fade away from public memory. Their objective was also to ensure that the teachings of the epic stories associated with religion, continue to be passed on to the newer generations. It was a matter of personal and collective responsibility that the film makers and other artists would continue to get together and make such films. Sadly, in the recent decades, this awareness and this responsibility has become a thing of the past.

In 1965, two films were released narrating the story of brotherly love between Sri Ram and Sri Bharat. The other film is titled ‘Bharat Milap’. That film has already made its debut on our blog.

The scene enacted in this song is during the initial days of the vanvaas – the sojourn of Sri Ram to the forests for a period of 14 years, accompanied by Sita ji and Lakshman Bhaiya. As they reach the banks of River Ganga, they have to seek help of the boatmen to cross the river. This episode is a one of the most emotional and well documented episodes in the Ramayan. Nishad Raj Guh, the chief of the boatmen community, and Kevat, one of the boatmen in this community, play very significant roles in this episode.

As is also given in the description of this episode in the Ramayan, the boatmen community do not want Sri Ram to leave their humble village, and request Him to consider staying with them, for the duration of the forest sojourn. But of course Sri Ram has other things in mind, that He has to accomplish during these fourteen years. In this clip from the film, this request to Sri Ram is being presented as a dance. The two lead dancers – I am not able to place a name to these faces, and I request other knowledgeable readers to please help to identify them.

A very interesting thing about the construction of the song. The song is presented in two stanzas. As one hears them, and then also views the lyrics, one realizes that each stanza is quite long (yes, a five plus minutes song has just two stanzas). And the construction of the stanzas is quite complex. Kudos to both the songwriter and the music director to build a very attractive song with such a complex composition.

Listen to and enjoy is delightful song of request, as the boatmen families are requesting to Sri Ram to make their village as His abode for the duration of the vanvaas. They are promising that they will build a city for Him, as beautiful as Ayodhya, His own home town. And they also promise that they will also bring the Saryu river to this place.

A wonderful song to enjoy.

Song – Mat Jaao Mat Jaao Mat Jaao Ram Ji  (Shri Ram Bharat Milan) (1965) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Pradeep, MD – Pandit Shivram
Asha Bhosle + Usha Mangeshkar
Female Chorus
Female + Male Chorus

Lyrics

yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas
chaudah baras tak
isi jageh par
raho hamaare paas ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

tum jo kahoge to yahin pe hum ik
nai ayodhya basaayenge ho..oo
nai ayodhya basaayenge
ho oo
tum jo chaahoge to dharti ko khod khod
saryu ko bhi yahaan laayenge
hey ram
siya ram
hey ram siya ram
hey ram
tumhaare liye ek
mahal banaayenge
phir haath jod jod
us mein basaayenge
sab devi devta
dekhan ko aayenge
daanton ke taley wo
ungli dabaayenge
ruk jaao
mat jaao
arey ho oo
tum yahaan kya aaye
hamre liye to
hey ram
ho oo oo
tum yahaan kya aaye
hamre liye to
dharti pe aaya akaash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

raakhi ke din hum tumko banaayenge
apna pyaara bhiaya
ho oo oo
apna pyaara bhaiya
ho oo oo
seeta rani ko bhabhi kahenge
le lenge pyaar se balaiyaan
hey ram
siya ram
hey ram siya ram
hey ram
bhabhi ke aas paas
chakkar lagaayenge
hum in ko chhod ke
kahin na jaayenge
roothenge agar ye
in ko manaayenge
dholak bajaayenge
gaana sunaayenge
ruk jaao
mat jaao
arey ho oo
kabhi kabhi jangal mein mil jaate hain
hey ram
ho oo oo
kabhi kabhi jangal mein mil jaate hain
raakshas badey badmash ram ji
mat jaao banvaas ram ji
mat jaao banvaas
yahin raho yahin raho yahin raho ram ji
mat jaao banvaas ram ji
mat jaao banvaas ram ji
mat jaao banvaas

pal pal raho tum
aankhon ke saamne
hey dhanush ke dhaari
hey dhanush ke dhaari
ho oo oo
dekho tum hum ko chhod na dena
rakhna marzi hamaari
hey ram
siya ram
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram
(hey ra..aam mat jaao)
hey ram siya ram
hey ram
hey ram siya ram
hey ram

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
चौदह बरस तक
इसी जगह पर
रहो हमारे पास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

तुम जो कहोगे तो यहीं पे हम एक
नई अयोध्या बसाएँगे हो॰॰ओ
नई अयोध्या बसाएँगे
हो॰॰ओ
तुम जो चाहोगे तो धरती को खोद खोद
सरयू को भी यहाँ लाएँगे
हे राम
सिया राम
हे राम सिया राम
हे राम
तुम्हारे लिए एक महल बनाएँगे
फिर हाथ जोड़ जोड़
उसमें बसाएँगे
सब देवी देवता
देखन को आएंगे
दांतों के तले वो
उंगली दबाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
हे राम
हो॰॰ओ॰॰ओ
तुम यहाँ क्या आए
हमरे लिए तो
धरती पे आया आकाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

राखी के दिन हुम तुमको बनाएँगे
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
अपना प्यारा भइय्या
हो॰॰ओ॰॰ओ
सीता रानी को भाभी कहेंगे
ले लेंगे प्यार से बलइंय्यां
हे राम
सिया राम
हे राम सिया राम
हे राम
भाभी के आस पास
चक्कर लगाएंगे
हम इनको छोड़ के
कहीं ना जाएँगे
रूठेंगे अगर ये
इनको मनाएंगे
ढोलक बजाएँगे
गाना सुनाएँगे
रुक जाओ
मत जाओ
अरे हो॰॰ओ
कभी कभी जंगल में मिल जाते हैं
हे राम
हो॰॰ओ॰॰ओ
कभी कभी जंगल में मिल जाते हैं
राक्षस बड़े बदमाश रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास
यहीं रहो यहीं रहो यहीं रहो रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास रामजी
मत जाओ बनवास

पल पल रहो तुम
आँखों के सामने
हे धनुष के धारी
हे धनुष के धारी
हो॰॰ओ॰॰ओ
देखो तुम हमको छोड़ ना देना
रखना मर्ज़ी हमारी
हे राम
सिया राम
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम
(हे रा॰॰म मत जाओ)
हे राम सिया राम
हे राम
हे राम सिया राम
हे राम


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 : 3479 Post No. : 13978

The blog activities have picked up pace quite a bit in this new year. Almost all contributors are quite active. I hope this pace is sustained, and does not peter out like the enthusiastic short term flings of the resolutioners. Gajendra ji had commented that it generally is a euphoria that lasts about a week into the new year. But in this case, ‘रब नजर ना लगाए’, we seem to be going great guns for over three weeks now. So far, it portends all good for the continuing activity. Now only if responses in the comments column also pick up pace. 🙂

Greetings to all readers and friends, on the occasion of marking the Republic Day event of our country.

In the notes exchanged with Atul ji over the past week, it comes about that the 1966 film ‘Sushila’ is just one song short of being a Yippeee film on the blog. And quite fortunately, the remaining song in the list is actually very appropriate for the celebration of 26th January. Scrambling to locate this song, we are unsuccessful to find it posted online. And so the quick decision was to upload the song, post it for 26th January celebrations and in the process add one more to the list of Yippeee’d films.

In the process of realizing this plan, as I checked the songs folder for this film in my collection, I was in for a very peculiar surprise. I checked and checked again with the Geet Kosh and also with the list of songs available on the blog. There had to be an error somewhere. Actually, the songs folder in my collection was showing one song extra than the 6 songs that are supposed to be there. Checking with Geet Kosh, the number seems to tally. Our Yippeee films lists also shows this film as being one song short. So how come I have an extra song.

My first reaction of course was that another song has been inserted in this folder by mistake. I took a chance and called up my collector friend to check. He said that the song (the extra song I was enquiring about) belongs to this film. In confusion, I completed the call, without asking him another important question – who says it is?

In confusion, I resorted back to the Geet Kosh. And it just struck me to check the corrigenda of volume IV. And as I did, I find that this ‘supposed’ extra song does exist for this film. The corrigenda entry lists this song, as one more song for this film, which is missing from the main Geet Kosh listings.

So the silver lining to this confusion cloud is that this film has seven and not six songs – one more unheard song to enjoy. Ah yes, but there is also a cloud to this silver lining – that this film cannot be yippeee’d today. So, there. 🙂

Today’s song is written by Jaan Nisar Akhtar, and the music is by C Arjun. The singing voices are of Asha Bhosle and Usha Mangeshkar accompanied by chorus. I haven’t had the opportunity to see this film. The manner in which the song is presented, it appears that a teacher is singing this song, accompanied by a group of school students. The teacher is telling about the glory and the history of India, and then she poses a query to the students, to tell briefly about some of the great people of our country. Apparently, the students take turns to sing out a brief introduction to certain great leaders of our country, past and present.

At the end of the song, the teacher takes over once again, and tells the students about the continuing problems and social ills, and then exhorts them to become the great leaders of the future, and help to address these problems.

The issues mentioned, were valid for the 1960s, and sadly, they continue more aggravated-ly, even fifty years later. It seems as if the human progress continues, in many aspects and many spheres of life. But apparently, these social evils are a given constant in the society. Nothing seems to have the power to effect any change in status quo. These issues have been discussed in ancient texts, in the teachings of great men over the ages, and continue to seize the time and attention of the leaders today. And that is all I have to say about this situation.

Enjoy this rare song from the mid 1960s, that apparently went out of circulation for quite some time in the interim.

Once again, greetings for a Happy Republic Day.

Song – Satyamev Jayate Satyamev Jayate  (Sushila) (1966) Singer – Asha Bhosle, Usha Mnageshkar, Lyrics – Jaan Nisar Akhtar, MD – C Arjun
Chorus

Lyrics

bharat ke hum rehne waale
bharat hum ko pyaara hai
is dharti ka maan badhaana
pehla farz hamaara hai
is dharti ka maan badhaana
pehla farz hamaara hai
sadiyon ke itihas ne humko
raaz yahi batlaaya hai
desh ki jis ne sewa ki hai
wohi bada kehlaaya hai
desh ki jis ne sewa ki hai
wohi bada kehlaaya hai
aise mahaan insaanon ke
naam zara batlaao to
desh ki khatir kis ne kiya
kya kaam zara batlaao to
desh ki khatir kis ne kiya
kya kaam zara batlaao to

chandragupt samraat ke jiska daur sunehra daur hua
daur sunehra daur hua
mulk tha apna tukde tukde
ek bana kuchh aur hua
mulk tha apna tukde tukde
ek bana kuchh aur hua
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

amn ka khud paighaam ho jaise
naam ashok e azam ka
naam ashok e azam ka
aaj bhi chakra nishaan hai
apne tirange parcham ka
aaj bhi chakra nishaan hai
apne tirange parcham ka
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

akbar jis ne maanavta ka
farz sikhaana chaaha tha
farz sikhaana chaaha tha
hind ki saar kaumon ko
ik kaum banana chaaha tha
hind ki saar kaumon ko
ik kaum banana chaaha tha
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

tipu jisko naam watan ka
jaan se apni pyaara tha
jaan se apni pyaara tha
jisne aage badh ke videsi taaqat ko lalkaara tha
jisne aage badh ke videsi taaqat ko lalkaara tha
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

naam hai zinda laxmi bai
jhansi ki maharani ka
jhansi ki maharani ka
hum ko jisne sabak diya hai
himmat ka qurbaani ka
hum ko jisne sabak diya hai
himmat ka qurbaani ka
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

veer bhagt singh desh pe jis ne
apne ko qurbaan kiya
apne ko qurbaan kiya
chadh kar jis ne sooli pe
azaadi ka ailaan kiya
chadh kar jis ne sooli pe
azaadi ka ailaan kiya
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

neta wo subhash ke jin se
andolan ki mauj chali
andolan ki mauj chali
kaandhe par ik jhanda le kar
azaadi ki fauj chali
kaandhe par ik jhanda le kar
azaadi ki fauj chali
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

bapu bin hathiyaar jinhon ne
jung ladi azaadi ki
jung ladi azaadi ki
jin ke kaaran hum ne dekhi
aaj ghadi azaadi ki
jin ke kaaran hum ne dekhi
aaj ghadi azaadi ki
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

nehru apna pyara  rehbar
jis ne har balidan diya
jis ne har balidan diya
saare jag ki nazron mein
is desh ko ooncha maan diya
saare jag ki nazron mein
is desh ko ooncha maan diya
satyamev jayate satyamev jayate
satyamev jayate satyamev jayate

goonji hai awaaz samay ki
waqt ke hain paighaam bahut
aage aage karna honge
hum ko tum ko kaam bahut
kab tak aakhir aur sahen
is gurbat is bekaari ko
khatm abhi karna hai hamen
dualat ki zaaradaari ko
zaat ke bandhan cheez hain kya
kyon doori apne beech rahe
desh mein koi dukh kyon jhele
kyon ye oonch aur neech rahe
tumko bhi kal badh ke
apne baagh ki khushboo ban’na hai
bachcho ik din tumko gandhi
tumko nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

gandhi ban’na hai
nehru ban’na hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भारत के हम रहने वाले
भारत हमको प्यारा है
इस धरती का मान बढ़ाना
पहला फर्ज़ हमारा है
इस धरती का मान बढ़ाना
पहला फर्ज़ हमारा है
सदियों के इतिहास ने हमको
राज़ यही बतलाया है
देश की जिसने सेवा की है
वही बड़ा कहलाया है
देश की जिसने सेवा की है
वही बड़ा कहलाया है
ऐसे महान इन्सानों के
नाम ज़रा बतलाओ तो
देश की खातिर किसने किया
क्या काम ज़रा बतलाओ तो
देश की खातिर किसने किया
क्या काम ज़रा बतलाओ तो

चन्द्रगुप्त सम्राट के जिसका दौर सुनहरा दौर हुआ
दौर सुनहरा दौर हुआ
मुल्क था अपना टुकड़े टुकड़े
एक बना कुछ और हुआ
मुल्क था अपना टुकड़े टुकड़े
एक बना कुछ और हुआ
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

अम्न का खुद पैगाम हो जैसे
नाम अशोक ए आज़म का
नाम अशोक ए आज़म का
आज भी जिसका चक्र निशां है
अपने तिरंगे परचम का
आज भी जिसका चक्र निशां है
अपने तिरंगे परचम का
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

अकबर जिसने मानवता का
फर्ज़ सिखाना चाहा था
फर्ज़ सिखाना चाहा था
हिन्द की सारी क़ौमों को
इक कौम बनाना चाहा था
हिन्द की सारी क़ौमों को
इक कौम बनाना चाहा था
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

टीपू जिसको नाम वतन का
जान से अपनी प्यारा था
जान से अपनी प्यारा था
जिसने आगे बढ़ के
विदेशी ताक़त को ललकारा था
जिसने आगे बढ़ के
विदेशी ताक़त को ललकारा था
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नाम है ज़िंदा लक्ष्मी बाई
झाँसी की महारानी का
झाँसी की महारानी का
हमको जिसने सबक दिया है
हिम्मत का कुर्बानी का
हमको जिसने सबक दिया है
हिम्मत का कुर्बानी का
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

वीर भगत सिंह देश पे जिसने
अपने को कुर्बान किया
अपने को कुर्बान किया
चढ़ कर जिसने सूली पे
आज़ादी का ऐलान किया
चढ़ कर जिसने सूली पे
आज़ादी का ऐलान किया
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नेता वो सुभाष के जिन से
आंदोलन की मौज चली
आंदोलन की मौज चली
कांधे पर इक झण्डा ले कर
आज़ादी की फौज चली
कांधे पर इक झण्डा ले कर
आज़ादी की फौज चली
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

बापू बिन हथियार जिन्हों ने
जंग लड़ी आज़ादी की
जंग लड़ी आज़ादी की
जिन के कारण हमने देखी
आज घड़ी आज़ादी की
जिन के कारण हमने देखी
आज घड़ी आज़ादी की
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

नेहरू अपना प्यारा रहबर
जिसने हर बलिदान दिया
जिसने हर बलिदान दिया
सारे जग की नज़रों में
इस देश को ऊंचा मान दिया
सारे जग की नज़रों में
इस देश को ऊंचा मान दिया
सत्यमेव जयते सत्यमेव जयते
सत्यमेव जयते सत्यमेव जयते

गूंजी है आवाज़ समय की
वक़्त के हैं पैगाम बहुत
आगे आगे करना होंगे
हमको तुमको काम बहुत
कब तक आखिर और सहें
इस गुरबत और बेकारी को
खत्म अभी करना हाई हमको
इस दौलत की ज़ारादारी को
ज़ात के बंधन चीज़ हैं क्या
क्यों दूरी अपने बीच रहे
देश में कोई दुख क्यों झेले
क्यों ये ऊंच और नीच रहे
तुमको भी कर बढ़ के
अपने बाग की खुशबू बनना है
बच्चो इक दिन तुमको गांधी
तुमको नेहरू बनना है

गांधी बनना है
नेहरू बनना है

गांधी बनना है
नेहरू बनना है

गांधी बनना है
नेहरू बनना है

 


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 : 3472 Post No. : 13940

When one talks of star pairings during the golden era of Hindi movies, one thinks of “A grade” star pairings like Raj Kapoor-Nargis, Dilip Kumar- Madhubala, Dilip Kumar-Meena Kumari, Dev Anand- Waheeda Rehman etc. But there were other pairs too, that would be signed up by smaller budget movie makers, like for instance, Ashok Kumar- Nirupa Roy, Kishore Kumar-Vyjyanti Mala etc.

Movie makers with even smaller budgets would sign up up and coming pairs, who may have started off as child artists. One such pair was Shashi Kapoor and Nanda. Unlike some other pairs, this pair delivered quite a few hits and became a dependable pair.

Names of movies such as Chaar Deewaari (1961), Mohabbat Isko Kehte Hain (1965), Jab Jab Phool Khile (1965), Neend Hamari Khwaab Tumhaare (1966), Juaari (1968), Raja Sahab (1969) and Roothha Na Karo (1970) comes to mind when one thinks of Shashi Kapoor-Nanda pair.

Here is a song picturised on this pair. This playful and cheerful romantic song is from “Mehndi Lagi Mere Haath”(1962). This song is sung by Mahendra Kapoor and Usha Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Kalyanji Anandji.

The song shows playful looking Shashi Kapoor and Nanda teasing each other. The best teasing is reserved in the last stanza of the song where Shashi Kapoor teases the lady -“you show arrogance as if you are baby Nanda.”
Pat comes the retort- “you behave as if you are the kid brother of Raj Kapoor”. 🙂

Great fun lyrics by Anand Bakshi during his early days in Hindi movies.

This song was the sixth song, out of six that this movie had. The earlier five songs, including one multiple version song, have been covered in the blog in the past in 2010 (two songs), 2015 (one multiple version song) and 2017 (one song). Following are the details of the earlier songs from this movie :

Song Title

Post No.

Post Date

Kankariyaa maare karke ishaare 2513 5-Jun-10
Aapne yoon hi dillagi ki thi 2523 8-Jun-10
Mehandi lagi mere haath Multiple version song 10663 8-Jan-15
Teri wo chaal hai ke tauba 13461 22-Jul-17

With this song, “Mehndi Lagi Mere Haath”(1962) joins the list of movies that have all their songs covered in the blog.


Song-Ude panchhi toli mein (Mehndi Lagi Mere Haath)(1962) Singers-Mahendra Kapoor, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics

ude panchhi toli mein aen
ude panchhi toli mein
tujh ko main le jaaunga
bithhlaake doli mein
oye tujh to main le jaawaanga
bithhlaake doli mein
baagon mein hai jhoola aa
baagon mein hai jhoola
mujhse to poochh zara
ban baithha hai tu dulha
o mujhse to poochh zara
ban baithha hai tu dulha

o beri ke boote hain
haaye
beri ke boote hain
na na karte hain
tere naina jhoothhe hain
oy naah naah karte hain
tere naina jhoothhe hain
station pe gaadi hai ae
station pe gaadi hai
haan ko na samjhe
mera balma anaadi hai
o haan ko na samjhe
mera balma anaadi hai

paani hai talaabon mein aen
paani hai talaabon mein
kis’se poochh ke
tu aati hai mere khwaabon mein
oy kis’se hai pooch ke
tu aati hai mere khwaabon mein
raaja mere sapnon ke ae
raaja mere sapnon ke
poochh ke bhi koi
ghar jaata hai apnon ke
ho poochh ke bhi koi
ghar jaata hai apnon ke

o satranj ki goti hai
haaye
satranj ki goti hai
achchi hai meri rajni
par kad ki chhoti hai
oy achchi hai meri rajni
par kad ki chhoti hai
aakaash pe baadal hai ae
aakash pe baadal hai
achcha hai mera deepu
par thhoda sa paagal hai
ho achcha hai mera deepu
par thhoda sa paagal hai

gul hain guldaste mein
haaye
gul hain guldaste mein
boli jo jyaada to
chhad jaaunga raste mein
ho boli jo jyaada to
chhad jaawaanga raste mein
gul hai guldaste mein aen
gul hai guldaste mein
raste mein chhad de to jind chhoote saste mein
ho raste mein chhad de to jind chhoote saste mein

o badli mein chanda hai
haaye
badli mein chanda hai
aise akadti hai ha
jaise baby nanda hai
oy aise akadti hai ha
jaise baby nanda hai
ye ped khazoor ka hai ae
ye ped khazoor ka hai
aise akadta hai
bhai raj kapoor ka hai
o aise akadta hai
bhai raj kapoor ka hai


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 : 3465 Post No. : 13906

Missing Films of 1960s – 41
– – – – – – – – – – – – – – –

1960s is turning out to be a very interesting era. Notwithstanding the known popular songs, it is the unfamiliar and the forgotten songs that are turning out to be absolutely fantastic entertainment.

Take today’s debut film – ‘Dilruba’ from 1967. Ah yes, I know there might be some eyebrows raised in surprise – but well, ‘Dilruba’ is an earlier film, and aren’t we familiar with it. And that its songs are very much present on our blog. And goodness yes, the film has been yippeee’d already. Well I guess you are right on all counts, except that the film ‘Dilruba’ that has been yippeee’d already is a film from 1950. The film that I am bringing on board today is a same name film, but it is from 1967. Yes, this same name confusion sometimes makes miss some new items.

And to share a very interesting aside here. The songs of this 1967 film have been uploaded by Sa Re Ga Ma on their YouTube channel. And I can’t believe it myself, that a seasoned organization like Sa Re Ga Ma is making such blunders. Maybe the old timers in the company are gone, and the new crop are just following an employment opportunity by rote. You know, they have uploaded the audios of the songs of 1967 film, with an image of the poster of the 1950 film. Quite a blunder this one is.

So the 1967 ’Dulruba’ comes from the banner of Festival Films, Bombay. It is directed by Mohammed Husain. The cast of actors includes Kumkum, Madan Puri, Madhumati, Helen, Shyam Kumar, Ajeet, Maruti etc. The film has 5 songs, for which the music has been composed by Usha Khanna. The five songs are written by three songwriters – Asad Bhopali, Javed Anwar and SH Bihari. This particular song comes from the mind of Asad Bhopali. Again, an aside which may just be a reminder for the regulars. The name Javed Anwar is actually a set of two poets working together. Javed is Manoharlal Khanna, father to Usha Khanna the MD, and Anwar is Raheel Gorakhpuri.

The singing voices are those of Asha Bhosle and Usha Mangeshkar. What a charming twin dance song this one is. I myself am also hearing it for the first time. With let us say, names of three dancers in the list of actors – Helen, Kum Kum and Madhumati – I don’t even want to start guessing which two of them would be performing this song on screen. I request our more knowledgeable readers to please add more information about this film, this song and its picturization.

So with this hit, the film ‘Dilruba’ from 1967 opens its account here on the blog today.  A wow song that I am sure you will enjoy.

Song – Haaye Allah Kyon Hum Ne Pyaar Kiya Tum Se  (Dilruba) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Asad Bhopali, MD – Usha Khanna
Asha Bhosle + Usha Mangeshkar

Lyrics

haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se
pehle ye dard na tha
rang yun zard na tha
pehle ye dard na tha kya mila tum se
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

shokh nazren sharaabi ishaara
chheen kar le gaya dil hamara
shokh nazren sharaabi ishaara
chheen kar le gaya dil hamara
zindagi ki kasam
har jafaa har sitam
zindagi ki kasam
har jafaa har sitam
hans ke karna pada hai gawaara
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

kabhi khud aa gey bin bulaaye
kabhi laakhon bahaane banaaye
kabhi khud aa gey bin bulaaye
kabhi laakhon bahaane banaaye
dil hi dil mein sanam
sochte hain ye hum
dil hi dil mein sanam
sochte hain ye hum
jaane apne ho ya tum paraaye
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se
pehle ye dard na tha
rang yun zard na tha
pehle ye dard na tha kya mila tum se
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

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

हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
पहले ये दर्द ना था
रंग यूं ज़र्द ना था
पहले ये दर्द ना था क्या मिला तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे

शोख नज़रें शराबी इशारा
छीन कर के गया दिल हमारा
शोख नज़रें शराबी इशारा
छीन कर के गया दिल हमारा
ज़िंदगी की कसम
हर जफा हर सितम
ज़िंदगी की कसम
हर जफा हर सितम
हंस के करना पड़ा है गवारा
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे

कभी खुद आ गए बिन बुलाये
कभी लाखों बहाने बनाए
कभी खुद आ गए बिन बुलाये
कभी लाखों बहाने बनाए
दिल ही दिल में सनम
सोचते हैं ये हम
दिल ही दिल में सनम
सोचते हैं ये हम
जाने अपने हो या तुम पराये
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
पहले ये दर्द ना था
रंग यूं ज़र्द ना था
पहले ये दर्द ना था क्या मिला तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे


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.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले


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.

In India, a typical Indian male is likely to be interested in Hindi movies and cricket. Typical Indian females are likely to be interested in Hindi movies and TV serials. 🙂
Read more on this topic…


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.

“Delhi Junction”(1960) was produced by RL Sharma and directed by Mohammad Hussain for Nigaaristan (India) Films, Bombay. The movie had Ajeet, Shakeela, Nishi, Maruti, Manorama, Tiwari, Pran, Protima Devi, Murad, Rafiq, Kamal Mohan, Harun, Anwari Bai, Pal Sharma, Jagdish Kanwal, Nadir, Satish, Sadiq, Sarita, Kukku, Rajni, and Khurshid etc in it.
Read more on this topic…


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

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

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

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

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

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

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


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.

Missing Films of 1960s – 34
– – – – – – – – – – – – – – –

Yesterday, 25th July, was the anniversary of passing away of GS Kohli, the music director extraordinaire. He passed away in 1996, in Bombay.

A long time assistant music director to OP Nayyar, he had a short stint as an independent music director in the decade of 1960s. Despite a load of fantastic lilting songs in all his films – songs that became instant hits, very popular in their times, and still continue to be favourites of the lovers of the golden era of Hindi film music – he remained confined to B/C grade stunt films only. He continued to work as OPN’s assistant before, during and after his stint as an independent music director.
Read more on this topic…


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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 more than nine years. This blog has over 14000 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1084
Total Number of movies covered =3841

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