Archive for the ‘Songs of 1960s (1961 to 1970)’ Category
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin
Greetings to Asha Parekh ji, on completing 75 illustrious years, with all but 10 of them, in the film (and TV) industry.
The years have come and gone by, but the grace, the radiance, and smile is still the same. Having made her debut as a child star at the tender age of 10, it indeed has been a very fruitful and a prolific inning that she has played. The wires carried the news today in the day that her autobiography (co-authored with Khalid Mohammed) was released today. The title of the book is ‘The Hit Girl’. I am sure no explanation needs to be rendered for the title. Starting with ‘Dil Deke Dekho’ in 1959, there is a long list of hit films in which she has played the female lead role, all the way till the mid 1970s, when she moved into senior and supporting roles. The list of films reads like the ‘Best of 1960s/70s’. The list contains a ton of favorites. And I am sure all of us have a few on this list, that we will pick as our favorite films.
My love affair with Asha ji started with the song “O Mere Sona Re Sona Re Sona Re”. Film is ‘Teesri Manzil’ (1966). Too much of a small pre-school/early school kid that I was, this is one of the earliest memories that I carry of having seen a film on big screen. Not yet trained in the discussions of the finer details of music and instruments, those were the days that the melody would fall into the ears and the mind would capture it instantaneously and store it in the neurons forever. The music of ‘Teesri Manzil’ had this first impact on my nascent mind. Soon the brainwaves would be crowded with thousands of songs that the mind soaked in from listening to the radio. But the music of ‘Teesri Manzil’ – let me ask you, what would you do with your first out-of-this-world music experience. An yes, right, you will store it forever, and play it often.
Watching the film, I had an additional impact. Most of the films memories and emotions have been built and retained from watching it again and again over the years. But that first viewing in the big and dark cinema hall, with the larger than life images thrown on to the huge white screen – the memory that is retained is of this young, very beautiful girl singing “O Mere Sona. . .”, and making an all out effort to pacify a gentleman named Shammi Kapoor, who seemed to be upset and angry.
The mind at that time was too unfamiliar with the grown up emotions, to appreciate that the two characters on screen are in the process of falling in love. All I know is that I took an intense fancy to this young lady singing on the screen. Her expressions, her vitality, her antics took my heart away, and in its place, left her own images, that I remember, I would ruminate (yes, sorry, I did not know these words at that time; I am articulating them now) and dwell upon for weeks and months. In short, if I knew then and understood the grown-up emotions, I would have happily declared that I was in love. The expressions in this song are so natural, so much in flow, so much coming from the bottom of a playful and naughty young heart, that I believed all I saw on the screen. And simply fell in love.
Being what I was, a pre school small child, I did not know what to do with that fancy. All I know is that I would think about her, and this song I witnessed in the cinema hall. I would think about her often; likely that it was more often than often. I just liked being with her thoughts, and being with her in thoughts. I would fancy that we would meet, that we would be together. I did not know then, what else to do with that fancy. Other than the thing that I quite enjoyed to be in her company in thoughts. The song and its associated images would continue to replay on the screen of the mind, all the time. Yes, that is what it felt like, being in love.
I remember it took some months for this fancy to wear off. The song, the antics, the images in the mind – all of that was intact, and still is. Just that, that unnamed craving to be with her in person, quite faded away, and settled down into a liking in the heart, that would say – she is my favorite. Maybe so – maybe it was another fancy that would steal my attention away (more about that later 😉 ). But I do know that the fancy strongly lasted well for many months.
As I was looking to replay this episode, and searching for a suitable song, I happened to chance upon this song, that was quite unfamiliar for me before I heard it with some attention earlier today. I remember that ‘Saajan’ (1969) was not one of those films that I had watched in its original run. With limited opportunities to watch new releases in the cinema hall, I had very little say in which movies to see. As i played this song today, the lines that immediately caught my attention, are the ones I have noted at the beginning of this article.
khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin
That there is none so beautiful
And so charming as you are
Faces, enchanting as much as yours
Are surely seen at times
But oh so rarely
And oh so scarcely
Oh so true, and so well in tune with that fancy of mine years ago. A face so charming as hers, a screen presence so appealing as hers, comes by quite rarely, quite once in a while.
An eminent celebration for this gorgeous milestone today, Asha ji. And I pray that there be many more such celebrations to come. May He endow good health and longevity upon you, and that you be khoobsurat haseen, forever.
Many many happy returns of today.
Song – Ae Mere Meharbaan Ae Mere Hamnasheen (Saajan) (1969) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
ooo oooo oooo ooooooo
ooooo oooo ooooo ooo ooo ooo
oooo ooo ooo oooo oooo oooooooo
oooo oooo ooooo ooooo
ooooooo
wai wai yaa
wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
ae mere meharbaan
ae mere hamnasheen
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
phoolon ko bahaar jaise pyaar karti hai
jaise pyaa..aar karti hai
dil ko teri yaad beqaraar karti hai
beqaraa..aar karti hai
hota hai asar. . .
hota hai asar
pyaar mein ye magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
laayi tere naam mein pyaam aankhon ka
mein pyaa..aam aankhon ka
kar le tu qubool ye salaam aankhon ka
ye salaa..aam aankhon ka
milti hai nazar. . .
milti hai nazar
dilbaron se magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
aaa aaaa aaaa aaaaa
aaaaa aaaaa aaaaa aaaa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओss ओsss ओsss ओssssss
ओssss ओss ओsss ओs ओs ओs
ओsss ओs ओs ओss ओss ओssssss
ओss ओss ओsss ओsss
ओssssss
वई वई या
वई वई या
या वई वई या
वई वई या वई वई या
या वई वई या
वई वई या वई वई या
ए मेरे मेहरबान
ए मेरे हमनशीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
फूलों को बहार जैसे प्यार करती है
जैसे प्या॰॰आर करती है
दिल को तेरी याद बेक़रार करती है
बेक़रा॰॰आर करती है
होता है असर॰॰॰
होता है असर
प्यार में ये मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
लाई तेरे नाम में पयाम आँखों का
मैं पया॰॰आम आँखों का
कर ले तू क़बूल ये सलाम आँखों का
ये सला॰॰आम आँखों का
मिलती है नज़र॰॰॰
मिलती है नज़र
दिलबरों से मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
आs आsss आsss आssss
आsss आssss आssss आsss
Jab Tak Ye Sansaar Nachaaye
Posted on: October 1, 2017
- In: "roadside tamaasha" song | Devnagri script lyrics by Sudhir | Duet | fun timepass song | Guest posts | Lyrics contributed by readers | Monkey song | Mukesh songs | Mukesh Usha Mangeshkar duet | Multi part song | Multiple version song | philosophical song | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1966 | Street singing | Thousandth song for the artist | Thousandth song in the blog | Usha Mangeshkar songs | Yearwise breakup of songs
- 5 Comments
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).
When born in 1919, he was named Asraar ul Hasan Khan. His father, who worked in the Police department, wanted him to have the traditional education, and learn to be a doctor. The young Asraar studied at the traditional Masrasa, and took up Unaani medicine, to become a ‘hakeem’. These are efforts made by the worldly wise in the family, to get the young man settled in life. But the voice of the revolutionary poet turned to be more strong and it was his shaayari that ascended to claim his life to be its own. Influenced and encouraged by the stalwarts of his era, namely Faiz, Majaaz and Jigar Moradabaadi, he found himself to be much more at home in mushairas and gatherings of writers. He came to Bombay to participate in one such gathering of poets. AR Kardar was present at this mushaira. The impressions made led to a meeting between Kardar, Naushad and this young poet. The outcome was the songs of the film ‘Shahjehan’. The rest, as is often said, is history.
The innings lasted for five and a half decades, probably the longest inning by a songwriter in the Hindi film industry. The body of work consists of more than 2300 songs written for almost 350 films over a period of 55 years. Songs that have entertained generation after generation of movie buffs and radio listeners. The longevity and the creativity can be gauged from the popularity of his writings at the two ends of this long 55 year spectrum. At one end of this spectrum are gems like “Yun To Aapas Mein Bigadte Hain Khafaa Hotey Hain” (‘Andaaz’, 1949) and “Sun Sun Sun Sun Zaalima. . .” (‘Aar Paar’, 1954), and at the other end are the contemporary innovative hits like “Baahon Ke Darmiaan. . .” (‘Khamoshi – The Musical’, 1996) and “Ae, Kya Bolti Tu. . . Aati Kya Khandaala” (‘Ghulam’, 1998). And in between these two ends are crammed a couple of thousand popular hit songs across the decades, that cannot be justifiably dealt with in a single article.
Romanticism apart, the writings of Majrooh touch upon the variety of human sentiments, and have carried an attraction that has appealed to generations. His creativity and his touch of the current in-vogue sentimentalism made him a successful partner of four generations of music directors from Naushad and Ghulam Mohammed all the way to Jatin-Lalit and AR Rahman. That is a prowess and a success that probably no other songwriter in the industry can lay a claim to.
For today’s celebration, I have picked this Mukesh – Usha Mangeshkar duet from the 1966 film ‘Mere Lal’. The music is created by the duo of Laxmikant Pyaarelal. Another significant reason to celebrate today’s anniversary is that we are on the 1,000th post of Majrooh Sb’s songs on our blog. Back in 1993, Majrooh Sb became the first songwriter in the film industry to be honored with the coveted Dada Saheb Phalke Award. And today, he becomes the first songwriter to breach the 1000th milestone on our blog.
[Note: Rajinder Krishan is very close, also in the 990s. The next closest is Anand Bakshi, still a little further behind at 875.]
Today’s song is a roadside tamasha song, as we see a roving entertainer with his trained monkey’s act, present a performance to the roadside public. And now we have a film song to go along with it. 🙂 The singing voices are of Mukesh and Usha Mangeshkar. The latter is singing for assistant of the lead performer.
In the video clip, we hear two antaraas. However, the longer more complete song is available as an audio clip only. Also, the Geet Kosh lists this song twice, and apparently, the second reprise of the song in the film is a solo sung by Usha Mangeshkar. This reprise has only one antaraa, which is a repeat of the first antaraa of the main part of this song. The lyrics noted are based on the longer audio version of the song.
I request the more knowledgeable readers to help identify this performer duo who enact this song on screen.
Note: Avinash ji informs us that the young assistant lip syncing the voice of Usha Mangeshkar, is Mahesh Kothare, who was later active in the Marathi film industry as an actor, producer and director.
Video
Audio (Longer)
Song – Jab Tak Ye Sansaar Nachaaye (Mere Lal) (1966) Singer – Mukesh, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Laxmikant Pyaarelal
Mukesh + Usha Mangeshkar
Lyrics (Based on the longer audio version)
Part 1
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
tauba tera mukhda
haaye teri jawaani
o tera naach jo dekhe
prem nagar ki rani
mar jaaye sun sun ke
teri ghunghroo ki baani
andhi hai ye duniya
teri qadar na jaani
tujhko kya koi aaye na aaye
tujhko kya..aa
tujhko kya koi aaye na aaye
ghunghroo baandh ke naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
arre dekh rukey naa
chaahe bahey paseena
o teri raah takey hai
kahin koi haseena
sapnon mein basar ho
chaahe kai maheena
shiqwa mat kariyo
pyaare yahi hai jeena
jab tak pag betaal na jaaye
jab tak pag betaal
jab tak pag betaal na jaaye
yun hi umar bhar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
Part 2
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
jab tak ye sansaar nachaaye
jab tak ye sansaar
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
jab tak ye sansaar nachaaye
jhoom jhoom kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
arre waah mere baanke
naacho isi latak se
lachkaayo re qamariya
o zara aur matak ke
jag tujh pe hanse to
chal sar ko jhatak ke
zara aur mazey mein
pyaare thumak thumak ke
sar par topi laal sajaaye
sar par topi laal
sar par topi laal sajaaye
moonch taan kar naache ja
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin taa thaiya
dhaagi na dhinak tin
taagi na tinak dhin
dhaagi na dhinak tin waah bhaiya
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
तौबा तेरा मुखड़ा
हाए तेरी जवानी
ओ तेरा नाच जो देखे
प्रेम नगर की रानी
मर जाये सुन सुन के
तेरी घुँघरू की बानी
अंधी है ये दुनिया
तेरी कदर ना जानी
तुझको क्या कोई आए ना आए
तुझको क्या
तुझको क्या कोई आए ना आए
घुँघरू बांध कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
अरे देख रुके ना
चाहे बहे पसीना
ओ तेरी राह तके है
कहीं कोई हसीना
सपनों में बसर हो
चाहे कई महीना
शिकवा मत करियो
प्यारे यही है जीना
जब तक पग बेताल ना जाये
जब तक पग बेताल
जब तक पग बेताल ना जाये
यूं ही उमर भर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
भाग २
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
जब तक ये संसार नचाए
जब तक ये संसार
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
जब तक ये संसार नचाए
झूम झूम के नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
अरे वाह मेरे बाँके
नाचो इसी लटक से
लचकायो रे कमरिया
ओ ज़रा और मटक के
जग तुझ पे हँसे तो
चल सर को झटक के
ज़रा और मज़े में
प्यारे ठुमक ठुमक के
सर पर टोपी लाल सजाये
सर पर टोपी लाल
सर पर टोपी लाल सजाये
मूंछ तान कर नाचे जा
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन ता थइय्या
धागी ना धिनक तिन
तागी ना तिनक धिन
धागी ना धिनक तिन वाह भईय्या
Sajnaa saawan aaya
Posted on: September 28, 2017
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.
Today (28 september 2017) is the birth anniversary of one and only Lata Mangeshkar. People may have wondered why there was a lull in the blog today. These days we have just a couple of posts daily with some rare days when we manage to crank up the rate to day four of five songs a day.
Lata Mangeshkar is the most well represented artist in the blog. As many as 3244 songs sung by Lata Mangeshkar are represented in the blog. There was a time when she averaged over one song a day in the blog. With less songs posted in the blog over the last couple of years, now the figure stands at 3244 songs /3359 days, viz. 0.966 songs per day.
Out of these 3244 songs, as many as 2074 songs are solo songs. So the remaining 1170 of her songs are duets and others. Her most common singing partner has been Rafi. The two of them have collaborated in around 415 duets or so. As many as 328 of these duets are already represented in the blog.
On the occasion of Lata Mangeshkar’s birth anniversary today, here is a less heard Rafi Lata duet. This song is from “Band Master” (1963). This movie was directed by Ravindra Dave for R L Films, Bombay. This obscure movie had Jagdeep, Azra, Lalita Pawar, Rajan Haksar, Ravikant etc in it.
The movie had four songs in it. HFGK is silent about the singers of these songs including the song under question. But on listening to the songs, one can easily identify the voices in all four songs.
The song under discussion, the third song from the movie to be covered here, is sung by Lata and Rafi. Prem Dhawan is the lyricist. Music is composed by Chitragupta.
On the occasion of the birth anniversary of Lata Mangeshkar (28 september 1929), here is the 329th Rafi-Lata duet to appear in the blog. I take this opportunity to wish her a very happy birth anniversary and wish her many more happy returns of the day.
Song-Sajna saawan aaya (Band Master)(1963) Singers-Lata, Rafi, Lyrics-Prem Dhawan, MD-Chitragupta
Lyrics
sajna
saawan aaya
sajna saawan aaya
haaye
dil udke chala hai baadal mein
ho
mujhko saath liya ja
mujhko saath liya ja
haaye
dil baandh ke mera aanchal mein
ho
sajna saawan aaya
hosh lutaa ke
hosh mein aaye
ye hai paheli kaisi
koi samjhaaye
hosh lutaa ke
hosh mein aaye
ye hai paheli kaisi
koi samjhaaye
dil to ganwaaya to jeene ka maza hai paaya
sajna saawan aaya
sajna saawan aaya
haaye
dil udke chala hai baadal mein
ho
sajna saawan aaya
mujhpe nasheeli nazren na daalo
gir gir jaau main to aake sambhaalo
mujhpe nasheeli nazren na daalo
gir gir jaaun main to aake sambhaalo
hum kya sambhaalen
ke ham pe bhi nasha hai chhaaya
mujhko saath liya ja
mujhko saath liya ja
haaye
dil baandh ke mera aanchal mein
ho
sajna saawan aaya
Sehmi Sehmi Kahaan Chali
Posted on: September 27, 2017
- In: "beach" song | "Fun on Sea" song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Post by Raja | Romantic song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Underwater Cinematography | Yearwise breakup of songs
- 9 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today we pay tribute here on the blog to Mahendra Kapoor, one of the well-known voices of the golden era of Hindi music, on the occasion of his 9th death anniversary. There are many ways to start this tribute but, instead of “getting my eye in”, let me, Sehwag-style, straightaway go for it. By “it”, I mean the elephant in the room.
That is, why are there so many people who dislike Mahendra Kapoor’s voice? On many occasions when I’ve discussed music with other music-lovers, there have been varying opinions on Rafisaab, Kishore, Shankar Jaikishen, RD Burman and others. Most of these artistes are much-admired but there has been the occasional detractor too. This makes for interesting debate for me, because I like to understand the rationale behind the minority contrarian view.
With Mahendra Kapoor, it seems to be just the opposite. In fact, I probably find myself now holding the minority contrarian view on him, considering the majority view of music lovers seems to not rate him much. In fact, even amongst some Atulites, there is a certain scepticism about Mahendra Kapoor. So where does this come from? And if many, knowledgeable, music-lovers share this, can they all be wrong?
Even OP Nayyar in an interview late in his life said that he didn’t exactly rate Mahendra Kapoor as a singer. And this, from someone, who used Mahendra Kapoor fairly extensively in the mid/late 60s after being upset with Rafisaab. In fact, MK had delivered quite a few hits for OP – songs like “Mera Pyaar Wo Hai“(from ‘Ye Raat Phir Na Aayegi’, 1966), “Laakhon Hain Yahaan Dilwaale” and “Aankhon Mein Qayaamat Ke Kaajal” (from ‘Kismat’, 1968), “Andhere Mein Jo Baithe Hain” (from ‘Sambandh’, 1969), “Kamar Patli, Nazar Bijli“, “O Yaaron Ki Tamanna Hai Teri Zulfon Mein Fans Jaayen” and “Tumhaara Chaahne Waala Khuda Ki Duniya Mein” (from ‘Kahin Din Kahin Raat’, 1968). All popular songs. In the interview, OPN made this comment in the context of missing Rafisaab, but I feel it was rather harsh on MK.
Yet, MK had a fairly successful career spanning five decades. Would that have happened if he had really not been of a certain standard?
My take on this is, each singer is different. He has his own voice, style, range which makes him unique. This might endear him to others – or it might not, depending on the listener’s taste. There are many who do not even like Mukesh’s singing. They consider him limited. And there are many who swear by him. So it is a matter of taste.
We could apply the same reasoning to MK too. He had his unique voice, style and range – which clearly did not appeal to some. I think what made it much more difficult for him was the constant comparison with Rafisaab. Invariably, it ended up making MK look like an imitator, the poor man’s Rafisaab – with the consequent aversion to his singing. In MK’s defence, this is not his fault. He was who he was, never claiming to be anywhere at the level of Rafisaab. He was very conscious of the fact that Rafisaab was in a different league altogether – MK considered him his guru. He can hardly be blamed if the composers wanted a Rafisaab clone and thought he could fit the bill.
I must mention here that when the two, MK and Rafisaab, did sing together in Aadmi (1968) for “Kaisi Haseen Aaj Bahaaron Ki Raat Hai”, MK totally held his ground. (This song was initially recorded as a Rafisaab-Talat duet, but in the film version, the playback pair was Rafisaab-MK).
And that is the point I am trying to make. I am no diehard MK fan – but I am not a critic either. Like I’ve often said, I enjoy listening to various singers – and that includes MK. Every singer has sung excellent songs – and some not-so-good ones (at least in my humble opinion). MK is no exception. I’m no music expert, but I think the one thing that is most impressive about MK’s singing – and I hope even his critics will agree on this – was his high range. It is really astounding – he could hold his voice even at highest octaves, which even a singer of Rafisaab’s stature could not match. Just listen to “Chaand Chhupaa Aur Taare Doobey” from the 1958 film ‘Sohni Mahiwal’ and “Na Munh Chhupaa Ke Jiyo Aur Na Sar Jhukaa Ke Jiyo” from ‘Hamraaz’ in 1967, and you’ll know what I mean. Another song that comes to mind is “Ramchandra Kah Gaye Siya Se” (from ‘Gopi’, 1970). There are other songs too where this particular ability of MK was sought to be put to good use by the composers.
Talking about composers, it is hard to think of Mahendra Kapoor without thinking of Ravi. Now Ravi is another artiste who sometimes draws criticism from music lovers. But if anyone could get the most out of MK, it was certainly Ravi. Especially in BR Chopra films, the combination of Mahendra Kapoor and Ravi, with Sahir as lyricist, delivered hit after amazing hit. Songs of ‘Gumraah’ (1963) and ‘Hamraaz’ (1967), to name just two of these films, are hugely popular to this day. I used to have a cassette with songs of these two films (on the two sides) and would play it non-stop on long car journeys. To date, I can listen to the songs of these two films any number of times. Fast forward, and I would also like to mention “Dil Ki Ye Aarzoo Thi Koi Dilruba Miley” from ‘Nikaah’ (1982).
Another composer who used MK successfully is the Kalyanji Anandji duo. Manoj Kumar often used Mahendra Kapoor as his voice, especially after the huge success of “Mere Desh Ki Dharti” (Upkaar). In fact, this is the first Mahendra Kapoor song that I remember listening to in my life. Other songs that come to mind are “Iktaara Boley” from Yaadgaar (1970), “Hai Preet Jahan Ki Reet Sada” and “Dulhan Chali O Pehan Chali” from ‘Purab Aur Paschim’ (also 1970), which were also hugely popular. In fact, except for the one Mukesh song in ‘Purab Aur Paschim’, Mahendra Kapoor was the main male playback in a film full of songs.
Manoj Kumar’s preference for Mahendra Kapoor, even in the 70s and later, when Kishore Kumar was the reigning voice, could be seen in ‘Roti Kapda Aur Makaan’ (1974) – “Aur Nahin Bas Aur Nahin” and ‘Kranti’ (1981) – “Ab Ke Baras Tujhe Dharti Ki Raani Kar Denge“. Both these films had Laxmikant-Pyarelal as composers, but Manoj Kumar preferred MK as his voice.
Apart from Hindi films, Mahendra Kapoor sang a number of songs for regional cinema. Younger generations (well, younger than those who were already familiar with MK from before the 80s) will probably remember him best for the TV serial, Mahabharat, produced by, who else but, BR Chopra.
So, whatever be anyone’s opinion of Mahendra Kapoor (and each person is entitled to his/her opinion), I will always be grateful to him for the songs of ‘Hamraaz’ and ‘Gumraah’.
Now, moving on to the song for today. This is from the film ‘Anmol Moti’ (1969), starring Jeetendra and Babita. After the phenomenal success of ‘Farz’ (1967), this was a popular pairing, especially after ‘Aulaad’ (1968) also did well. They also came together in ‘Bikhre Mot’ (1971), ‘Banphool’ (1971) and ‘Ek Haseena Do Deewaane’ (1972).
Anmol Moti (1969) is a film I remember seeing as a very young boy. In fact, I saw this film right after I saw ‘Suhaag Raat’ (1968), also starring Jeetendra. In that film, Jeetendra’s character dies at the end. So when I saw ‘Anmol Moti’, I was very confused. I remember asking my sisters how he had come back after dying. They had a jolly good laugh at my expense. 🙂
I haven’t seen this film recently but I do remember this being a film about pearl diving. It was also the first time I heard of an octopus in my life. I also remember a few songs from this film, the most famous song probably being”Ae Jaane Chaman Tera Gora Badan“. The song being posted today, “Sehmi Sehmi Kahaan Chali” was also quite popular in its time. So when I was looking for a song for Mahendra Kapoor, this one came to mind – and happened to still be available for posting. The music is by Ravi, the lyrics by Rajinder Krishan.
Enjoy this popular song from the radio listening days.
Song – Sehmi Sehmi Kahaan Chali (Anmol Moti) (1969) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishan, MD – Ravi
Chorus
Lyrics
sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
ho kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
ghir kar aa
baras bhi jaa
kab tak yunh tarsaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
aankh milaa
maan bhi jaa
kab tak haath na aayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
हो कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
घिर कर आ
बरस भी जा
कब तक यूं ही तरसाएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
आँख मिला
मान भी जा
कब तक हाथ ना आएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
- In: "tasweer" song | Baag/Bagiya song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Post by Sudhir | Romantic song | Songs of 1960s (1961 to 1970) | Songs of 1966 | Theme song | Title song | Yearwise breakup of songs
- 2 Comments
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.
Feroze Khan – a name that forever spells flamboyance and style. Almost sounding like the Kingdom of the Pathaan. A popular and likeable persona who had to face near disapproval as a leading man, till quite many years into his career. And that too, when he decided to take on the industry on his own terms, and set up his own production house, delivering one hit film after another.
Remembering Feroze Khan on his 78th anniversary of birth today (25th September).
For almost a decade and half of in his early career, his forays into the top grade cinema is to be the understudy – the second lead, the hero’s best friend, the younger brother – always to end up as the runner up by the time the story concludes. Well, in ‘Aadmi Aur Insaan’ (1969), he is shot at and killed while deposing in a court room. A performance, by the way, which got him the year’s Filmfare award as the Best Supporting Male Actor. At a level, this image quite stuck with him for many years. It is almost as if his performance skills are heightened in the face of another skilled and popular opponent. But by himself, the producers at the top line almost as if do not want to gamble with his name.
After about a dozen years of this experience, he sets up his own production house – to deal with the film making world on his own terms now. In an earlier article for the song “Raaton Ki Siyahi Hai. . .”, I have written about his career progression from the late 1950s to his last appearances in the first decade of the 2000s.
Today, I present this song from the film ‘Tasveer’ from 1966. The film comes from the banner of Wadia Movietone, and is directed by JBH Wadia. As I searched for some details, I locate this very interesting review that our dear Memsaab has published for this film on her website. 🙂 After reading the review, it sounds like a must-see film.
The interesting thing about this film is that it brings together two very ultra long timers in the industry, after a gap of almost quarter of a century. When I saw this co-incidence, I could not believe it myself. DN Madhok has been writing songs in Hindi films since 1932. And C Ramchandra has been on the music direction since late 1930s, early 1940s. These two extremely prolific artists apparently came together only twice before this film. In 1943, they worked together in films ‘Zabaan’ and ‘Bhaktraj’. Then after 23 years, they come together just once again – and that film is ‘Tasveer’ in 1966. And that, after having been contemporaries in the industry for almost three decades.
Both artists are at the closing horizon of their careers. DN Madhok’s name appears just in one more film. Which makes this his second last film. C Ramchandra inning continues, and he goes on to direct the music for another handful of films, two of which are in the decade of 1970s. But nonetheless, it is the closing years for both.
The song is in the voice of Mahendra Kapoor. On screen, a very young and energetic Feroze Khan is serenading his lady love – Kalpana. This one is a typical in-the-grden-around-the-trees song. Feroze Khan, is in his seventh year in the films. Memsaab comments that Feroze Khan is attempting to do a Shammi Kapoor in this film, and, I quote, “. . . he is so FINE, he almost succeeds”. Now that is saying a lot. 😉
So, enjoy this song, and remember this firebrand swashbuckling young pathaan from the 1960s.
Song – Tasveer Bhi Dekhi Thi, Aur Inko Bhi Dekha Hai (Tasveer) (1966) Singer – Mahendra Kapoor, Lyrics – DN Madhok, MD – C Ramchandra
Lyrics
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
mauka bhi hai fizaayen bhi
ye parbati hawaayen bhi
mauka bhi hai fizaayen bhi
ye parbati hawaayen bhi
aur saath mein ye
ae dil. . .
aur saath mein ye
ae dil kya aur maangta hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
kyon itni mastiyaan bhar lee
aankhon mein kisi ne apni
kyon itni mastiyaan bhar lee
aankhon mein kisi ne apni
wo nazren jhuki rehti hain. . .
wo nazren jhuki rehti hain
jinka ke bol baala hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
aise jo chup hain yun
hum samajh gaye hain kyon
aise jo chup hain yun
hum samajh gaye hain kyon
zulfon ne jhuk ke kaanon mein. . .
zulfon ne jhuk ke kaanon mein
kuchh in se keh diya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है
मौका भी है फिज़ाएँ भी
ये परबती हवाएँ भी
मौका भी है फिज़ाएँ भी
ये परबती हवाएँ भी
और साथ में ये ए दिल॰ ॰ ॰
और साथ में ये ए दिल
क्या और मांगता है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है
क्यों इतनी मस्तियाँ भर लीं
आँखों में किसी ने अपनी
क्यों इतनी मस्तियाँ भर लीं
आँखों में किसी ने अपनी
वो नज़रें झुकी रहती हैं॰ ॰ ॰
वो नज़रें झुकी रहती हैं
जिनका के बोल बाला है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है
ऐसे जो चुप हैं यूं
हम समझ गए हैं क्यों
ऐसे जो चुप हैं यूं
हम समझ गए हैं क्यों
ज़ुल्फों ने झुक के कानों में॰ ॰ ॰
ज़ुल्फों ने झुक के कानों में
कुछ इनसे कह दिया है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है
Sajan Salona Maang Lo Ji Koi
Posted on: September 21, 2017
- In: Artist century song in blog | Asha Bhonsle songs | Blog century song | Celebration Song | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Group Dance | Guest poster century song | Guest posts | Lata -Asha Bhonsle duet | Lata song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
- 21 Comments
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 is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.
One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.
Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).
However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂
The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .
The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –
“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”
There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.
Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.
Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,
avasar kaudi jo chuke, bahuri diye ka lakh
duij na chanda dekhiye, udai kaha bhari pakh
That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.
The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.
Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.
Music is vintage Roshan, what a lovely and endearing melody this one is.
Song – Sajan Salona Maang Lo Ji Koi (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus
Lyrics
o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo
sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss
सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ
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.
“China Town”(1962) was produced and directed by Shakti Samant for Shakti films, Bombay. The movie had Shammi Kapoor, Shakila, Helen, Madan Puri, S N Bannerji, Mridula, Jeewankala, Gautam Mukherji, Kanu Roy, Shetty, Samson, Keshav, Khursheed, Tuntun, Rasheed Khan, Polson, F C Chang, Khatana, Fazal, Abdul, Lydia, Deendayal, Balaram, Ranjeet Sood, Shamsher Singh, Master aziz, Master Aslam, Aruna, Ram Reddy, Bina, Mauji Singh, B Bannerji, Bhattacharya, Minu, Mohan, Omi etc in it.
The movie had eight songs in it. Five of these songs have been covered in the blog.
Here is the suth song from “China Town”(1962) to appear in the blog. This song is a duet sung by Asha Bhonsle and Rafi. Majrooh Sultanpuri is the lyricist. Music is composed by Ravi.
The song is picturised as a car song on Shakila and Shammi Kapoor. Seeing that it is a Rafi song picturised on Shammi Kapoor, this song is a rather unknown song. Personally I had not heard this song before.
Song-Ye rang na chhotega ulfat ki nishaani hai (Chinatown)(1962) Singers-Asha Bhonsle, Rafi, Lyrics-Majrooh Sultanpuri, MD-Ravi
Both
Lyrics
ye rang na chhootega
ulfat ki nishaani hai
ye rang na chootega
ulfat ki nishaani hai
kuchh tera fasaana hai
kuchh meri kahaani hai
ye rang na chhootega
ulfat ki nishaani hai
ye rang na chhootega
lehra ke uthha mausam
rut ban ke karaar aayi
lehra ke utha mausam
rut ban ke karaar aayi
aayi to magar kitna
tarsa ke bahaar aayi
tarsa ke bahaar aayi
par kitni suhaani hai
ye rang na chhootega
aanken hain tumhaari
ya chhalka hua paimaana
aanken hain tumhaari
ya chhalka hua paimaana
apna to muhabbat mein dil ho gaya deewaana
ya hum hi deewaane hai
ya rut hi deewaani hai
ye rang na chhootega
dekho na bhula dena
in pyaar ki waadon ko
dekho na bhula dena
in pyaar ki waadon ko
tum bhi na badal dena
chaahat ke iraadon ko
jab preet lagi tumse
kuchh maine bhi thhaani hai
ye rang na chhootega
ulfat ki nishaani hai
kuchh tera fasaana hai
kuchh meri kahaani hai
ye rang na chhootega
ulfat ki nishaani hai
ye rang na chhootega
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