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

Archive for the ‘Songs of 1965’ Category


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

Blog Day :

4216 Post No. : 15417

Fabulous Foot Tappers – 10
– – – – – – – – – – – – – – –

Ah, a post waiting for some time now to come on board. This post and this song is specially for dear Avinash ji. 🙂 🙂

As you listen to the song, and the words settle down in the mind, you can almost imagine – Avinash ji, on his flight back from Kenya to India, thinking about this song. And then the landing at Mumbai, then passing thru the immigration and baggage collect. He bumps into an old friend while waiting for the bags. The friend asks him where from he is returning. Avinash ji says, Kenya. The friend says – अरे यार, वो भी कोई जगह है देखने की, see, I am returning from Barcelona, now that is a place to visit. And instantly Avinash ji breaks into this song, telling his friend “Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika”. And there is a loud applause from the crowd waiting for their baggage.

And then, Avinash ji decides that this song must also be screened for the musical bandwagon on our blog. The Atulites must be made aware – they have missed something significant in life – “तुमने क्या देखा भला, जो ना देखा आफ्रिका”.  🙂

The song is performed as a club dance cum stage dance setting. A fiesty rock and roll number, which should have been heard more. But maybe then, the 1960s was overflowing with such rollicking dance numbers. The film itself, of course did not seem to have made any impact, and so this superb song seems to have dived below the radar of listeners.

The first one to make an entrance is Bela Bose, all made up as a native African belle. Next on the scene is Bhagwan Dada, also in an African attire and face wash. The first stanza goes by. And then, in the second stanza, we have Chandrashekhar make his appearance – a white man, suited and booted, riding in an open car. He declares that he was on way to America (jeez) but then the beauty of Africa and the African ‘माहजबीं’ made him change his mind. Quite a stretch of imagination here by Bakshi Sb (I mean Anand Bakshi 🙂 ), calling a dark and dusky damsel as ‘माहजबीं’ (literal meaning – moon faced).

And then we are on to the third stanza, in which Bhagwan Dada, feeling threatened by the invasion of the white male competitor, advises his heart throb that the fair color is not so fair, if the heart is not in the game.

In the interludes, we see the audience as well as a quartet of sinister looking ‘thugs’ who are apparently up to no good, and most likely are looking for somebody. Could be the scenario is that Bhagwan and Chandrashekhar are on the run followed by this quartet, and they both mingle in with this performance, trying to hide behind the disguises. Now isn’t that so original 🙂

The film is ‘Hum Deewaane’ from 1965. Produced under the banner of Young India Entertainer, Bombay, the film is directed by Bhagwan himself. The star cast is listed as Mumtaz, Chandrashekhar, Bhagwan, Helen, Iftikhar, Anwar, Agha, Maruti, Rajan Haksar, Kundan, Prem Sagar, Rajan Kapoor, Kanchanmala and Bela Bose.

The songs are written by Anand Bakshi, and the music is by C Ramchandra under the name of Anna Saheb. This song is an all male duet in the voices of C Ramchandra himself, as Chitalkar, accompanied by Mahendra Kapoor.

Goodness, almost one and a half years since the last post in this series. I need to pull up my socks. 🙂

 

Song – Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika (Hum Deewaane) (1965) Singer – Chitalkar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Anna Sahab (C Ramchandra)
Chitalkar + Mahendra Kapoor

Lyrics

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

muskura o dilruba
ho ja fida honay de fida
muskura o dilruba
ho ja fida honay de fida
jeene ka yahi hai
jeene ka yahi hai
tareeka
tareeka
tareeka
hoye tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

thi whaan wo mahjabeen
reh gaya main bhi wahin
thi whaan wo mahjabeen
reh gaya main bhi wahin
jaan tha mujhe
arey jaana tha mujhe
amreeka
amreeka
amreeka
haa haa
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

o sanam teri kasam
kaale hain par dilwaale hum
o sanam teri kasam
kaale hain par dilwaale hum
dil bina ye rang gora
dil bina ye rang gora
hai pheeka
hai pheeka
hai pheeka
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

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

तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
जीने का यही है
जीने का यही है
तरीका
तरीका
तरीका
होय तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
जाना था मुझे
अरे जाना था मुझे
अमरीका
अमरीका
अमरीका
हा हा
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
दिल बिना ये रंग गोरा
दिल बिना ये रंग गोरा
है फीका
है फीका
है फीका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4209 Post No. : 15404

Greetings all for the celebration today – the anniversary of declaration of our nation as a Sovereign Socialist Secular Democratic Republic.

The Constituent Assembly, consisting of 389 eminent people from across all walks of life and all population segments in the country, was established on 6th December, 1946. After a string of debates, which included public debates in different parts of the country, the Assembly agreed to adopt our constitution on 6th November, 1949. And then on 26th January of 1950, the nation of India, that is Bharat, was declared as being governed according to this document which is the supreme law of our land.

The Preamble to the constitution states the following,

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity;

and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

 

The constitution become the bedrock foundation for enunciating all the defining principles of governance and jurisprudence, which in turn form the source of all the laws that apply to our country and its citizens.

In terms of an identity, a nation is characterized and represented by a set of symbols which identify and define it. Wherever we may be in this world, whatever may be the query about what India is, the answers will always be in terms of certain symbols that are constant and do not change – our flag, our national emblem, our national anthem, our currency, and more.

As a matter of fact, symbols and symbolism form a very imperative part of our lives. All around us, in our everyday environment, we encounter a multitude of symbols that relate to every aspect of our lives. They could be fashion brands, corporate houses, currency, governments, services, road traffic – well, just any class and category of ‘things’ in and around our lives. These symbols are significant artifacts that represent, convey, and inspire a plethora of meanings and emotions relating to our everyday lives and experiences. These symbols may be local or universal. Everywhere in the world, the sign of dollar is a symbol for money. Traffic lights and signs are universal symbols, recognized across national boundaries. Emoticons we use every day now in our communications, are symbols that represents emotions, things, communication snippets. I could go on describing, and there would be no end to how symbols have become such an integral and pervasive part of our lives.

In a world we live in – a fragmented world of divisions that are represented and controlled on the basis of multiple criteria. We are a world of nation states. And the world over, the national identities are represented and underscored by a set of symbols. The flags, the emblem, colors, badges, plants/birds/animals – in fact each nation has a collection of symbols to characterize and epitomize its national identity. In our native Hindi, the word for flag is ‘निशान’ (nishan), which is a synonym for ‘symbol’.

National anniversaries are also in the nature of symbols of a nation. The celebrations of these anniversaries represent a dynamic continuity of the national identity across the pages of history. There is an evolution and transformation that happens with time, but the basic elements and definitions remain a constant. That constancy is an edifice of identity and a hallmark of stability and continuity in the matters of everyday interactions in the lives of the people of the nation. The presence of these symbols in our lives, and their everyday transactions, generates in our hearts a comfortable feeling of being – being an Indian.

For example, encountering the flag – our Tricolour, evokes in the heart, overwhelming emotions of pride, honor, affinity, affection and belonging. These symbols have become so much a part of our existence, that inside ourselves very strong emotions are now linked with these symbols. These symbols are now a cornerstone of our and our country’s existence.

The matter of honor and pride, linked with symbols and the emotions that these symbols evoke, has been a matter of very personal and a very human experience all across the history. The song being presented in this post today is a very forceful and compelling testimony on the inherent relationship between symbols and matter of national honor. Here is a brief slice of history representing a true episode from the annals of the Rajput history. As the reader will go through this song, one will find many symbols – that of patriotism, personal relations and personal sacrifices – being invoked.

The episode tells a piece of history, about Haadi Rani, who is now a folk heroine in Rajasthan. Haadi Rani was the daughter of King Haada Chauhan of the Kingdom of Boondi. She was married to Rawat Ratan Singh Chundaawat of Salumber (in Udaipur). Ratan Singh was the commander of the army of Maharana Raj Singh of Mewar, India was ruled at that time by the sixth Mughal Emperor – Aurangzeb Alamgir.

In a turn of events, the royal Mughal forces invaded Mewar. Maharana Raj Singh sent an urgent emissary to Rawat Ratan Singh, to raise the army and join the battle against Aurangzeb’s forces. As circumstances would have it, Ratan Singh had just been married one week prior. Initially, he was hesitant to leave his newlywed bride, and go to the battlefield. However, Haadi Rani reminded him of his duty towards the king and the kingdom, and prevailed upon him to join the battle. Ratan Singh left Salumber and his bride, and proceeded to join Maharana Raj Singh with his contingent. However, his mind was still engrossed with the amorous affections for Haadi Rani.

Midway from his march towards Udaipur, he sent back a messenger to his palace, with a message for his bride – that she should send him some token symbol of love – ‘प्रेम चिन्ह’, to sustain him through the times he is away from her. On reading the message, Rani sensed the state of mind of her husband, and at first, was quite bewildered as to what she should do. She apprehended that his mind being engrossed with her, he would not be an effective soldier and commander on the battlefield. But quickly she made up her mind, and decided the commit the ultimate sacrifice. She instructed the messenger quite sternly. Then she proceeded to behead herself with a sword. The messenger, very shocked and shaken, followed her instructions, and carried her bleeding head on golden tray, covered with her bridal finery, to Ratan Singh.

Ratan Singh, waiting eagerly for the ‘प्रेम चिन्ह’, received what he never expected in his wildest dreams. Uncovering the tray, he saw the head of his newlywed bride. His grief and his repentance had no bounds, for in a flash he realized what Haadi Rani had done, and why had she done it. As the folklore goes, he picked up the head and slung it around his neck with the tresses that he had once caressed with love. With this demeanor, he launched himself into the battle. It is said that fought valiantly like a man possessed, and led his army to victory against the forces of the Mughal Emperor. Once the victory was attained and the opposition army was in retreat, Ratan Singh alighted from his horse, knelt down on the ground and proceeded to behead himself.

In the intense and turbulent martial history of Rajasthan, this episode stands amongst the most powerful and most emotional, where the honor of the kingdom, and its security is perceived as a paramount commitment, even above personal engagements and requirements. Haadi Rani made the supreme sacrifice for the sake that her commander husband would not be swayed by the thoughts of his recent matrimony, and that the sight that she eventually presented to her husband would have served as a vicious impetus for him to give his utmost in the battle against the enemy.

The symbolism of honor – the trumpets announcing the onset of warfare. The symbolism of love – the ‘प्रेम चिन्ह’ that  Ratan Singh request for. And the symbolism of sacrifice – the ultimate step taken by Haadi Rani. This song converges these symbolisms into itself. A wonderfully emotional and a soul stirring presentation of one of the most chilling episodes of Rajput history.

The song is from the 1965 film ‘Nai Umar Ki Nai Fasal’. In the film, the setting of this song is as follows. A group of students, including Tanuja, Rajeev and Raj Kishore, are visiting another college in another city, for the annual festival of the latter college. As part of the program, all participant colleges are to present a stage item at the festival. This performance is presented by the protagonist group. In the film, Rajeev is the creative spirit of the team, and he completes the writing of this poem just in time for preparing the performance. On stage, the role of Haadi Rani is played by Tanuja, and that of Rawat Ratan Singh by Raj Kishore. We can see Rajeev doing the rendition of the poem on the mike placed in the wings of the stage.

The words of this poem are written by Manmohan Tiwari, the only song of this film that is not written by Neeraj. Music composition is by Roshan. The singing voice is of Manna Dey – the song has been rendered with such flourish and emotional dexterity.

A stirring reminder again today, the price of breathing in free air is defined through examples like this episode from our history. The finale of the song brings us back into convergence of the historical and the present tense – “O Bharat Maa Teri Jai Ho”.

Whatever else may be our compulsions, our personal motivations, our limitations, our interests, I am sure none of us differs about this sentiment – “O Bharat Maa Teri Jai Ho”.

[Ed Note: With this post, all songs of this film are now represented on our blog. The film ‘Nai Umar Ki Nai Fasal’ is now yippeee’d.]

Song – Thi Shubh Suhaag Ki Raat Madhur  (Nai Umar Ki Nai Fasal) (1965) Singer – Manna Dey, Lyrics – Manmohan Tiwari, MD – Roshan

Lyrics (Provided by Avinash Scrapwala)

thi shubh suhaag ki raat madhur
madhu chalak rahaa tha kan kan mein
sapne jagtey the nainon mein
armaan machaltey the mann mein
sardaar magan mann jhoom raha
pal pal har ang phadakta tha
honthon par pyaas mahakti thi
praanon mein pyaar dhadakta tha
tab hi ghunghat mein muskaati

tab hi ghunghat mein muskaati
pag paayal cham cham chamkaati
raani antahpur mein aayi
kuch sakuchaati kuch sharmaati

mehndi se haath rache donon
maathe par kumkum ka teeka
gora mukhda muskaa de to
poonam ka chaand lagey pheeka
dheere se badh choodavat ne

dheere se badh choodavat ne
raani ka ghunghat pat khola
nas nas mein kaundh gayi bijli
peepal patte sa tan dola

adharon se adhar miley jab tak
lajja ke toote chhand band
rann-bigul dwaar par goonj uthaa aa
rann-bigul dwaar par goonj uthaa
shehnaayi ka swar huaa mand
bhuj bandhan bhoola aalingan
aalingan bhool gaya chumban
chumban ko bhool gayi saansen
saanson ko bhool gayi dhadkan
taj kar suhaag ki sej saji

taj kar suhaag ki sej saji
bola aa na yuddh ko jaaunga
teri kajraari alkon mein
mann moti aaj guthaaunga

pehle to raani rahi maun
phir kaal jwaal si bhabhak utthi
bin baadal bin barkhaa maano
kya bijli koyi kadak utthi
ghayal naagan si bhaunh taan
ghunghat ukhaadkar yoon boli
talwaar mujhe de do apni
tum pehan raho choodi choli
pinjde mein koyi band sher

pinjde mein koyi band sher
sehsa sote se jaag utthe
yaa aandhi andhad saath liye
jaise pahaad se aag utthe

ho gaya khadaa tan kar ranaa
haathon mein bhaala utthaa liya
har har bam bam bam mahadev
har har bam bam bam mahadev
kah kar rann ko prasthaan kiya

dekha pati ka jab veer vesh
pehle to raani harshaayi
phir sehmi tthitthki akulaayi
aankhon mein badli ghir aayi
paagal si gayi jharokhe par

paagal si gayi jharokhe par
par-kite hansini thi adheer
ghodey par chadhaa dikhaa ranaa
jaise kamaan par chadhaa teer

donon ki aankhen huyi chaar
choodavat phir sudhbudh khoyi
sandesh pathaa kar raani ko
mangwaaya prem chinh koi

sewak ja pahunchaa mehlon mein
raani se maangi sainaani
raani jhijhki phir cheekh utthi
boli kah de mar gayi raani

le khadag haath
phir kahaa thahar
le sainaani
le sainaani
ambar bola
le sainaani
dharti boli
le sainaani

rakh kar chaandi ki thaali mein
sewak bhaaga le sainaani
ranaa adheer bola badhkar
laa
laa
laa
laa
laa sainaani

kapda jab magar hataaya to
rah gaya khada moorat ban kar
lahuluhaan raani ka sir
hansta tha rakha thaali par
sardaar dekh kar chitkaar uttha
haa raani
haa meri raani
adbhut hai teri qurbaani
tu sach much hi hai kshatraani

phir ed lagaayi ghode par
dharti boli jai ho jai ho
haadi raani teri jai ho
o bharat maa teri jai ho
o bharat maa teri jai ho o
teri jai ho
o bharat maa teri jai ho o

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

थी शुभ सुहाग कि रात मधुर
मधु छलक रहा था कण कण में
सपने जगते थे नैनों में
अरमान मचलते थे मन में
सरदार मगन मन झूम रहा
पल पल हर अंग फड़कता था
होंठों पर प्यास महकती थी
प्राणों में प्यार धड़कता था
तब ही घूँघट में मुस्काती

तब ही घूँघट में मुस्काती
पग पायल छम छम छमकाती
रानी अन्तःपुर में आयी
कुछ सकुचाती कुछ शरमाती

मेहँदी से हाथ रचे दोनों
माथे पर कुमकुम का टिका
गोरा मुखड़ा मुस्का दे तो
पूनम का चाँद लगे फीका
धीरे से बढ़ चूंडावत ने

धीरे से बढ़ चूंडावत ने
रानी का घूँघट पट खोला
नस नस में कौंध गयी बिजली
पीपल पत्ते सा तन डोला

अधरों से अधर मिले जब तक
लज्जा के टूटे छंद बन्द
रण बिगुल द्वार पर गूँज उठा आ

रण बिगुल द्वार पर गूँज उठा
शहनाई का स्वर हुआ मन्द
भुज बंधन भूला आलिंगन
आलिंगन भूल गया चुम्बन
चुम्बन को भूल गयी साँसें
साँसों को भूल गयी धड़कन
तज कर सुहाग कि सेज सजी

तज कर सुहाग कि सेज सजी
बोला॰॰आ न युद्ध को जाऊँगा
तेरी कजरारी अलकों में
मन मोती आज गुंथाऊंगा

पहले तो रानी रही मौन
फिर काल ज्वाल सी भभक उठी
बिन बादल बिन बरखा मानो
क्या बिजली कोई कड़क उठी
घायल नागन सी भौंह तान
घूँघट उखाड़कर यूं बोली
तलवार मुझे दे दो अपनी
तुम पहन रहो चूड़ी चोली
पिंजड़े में कोई बंद शेर

पिंजड़े में कोई बंद शेर
सहसा सोते से जाग उठे
या आंधी अंधड़ साथ लिए
जैसे पहाड़ से आग उठे

हो गया खडा तन कर राणा
हाथों में भाला उठा लिया
हर हर बम बम बम महादेव
हर हर बम बम बम महादेव
कह कर रण को प्रस्थान किया

देखा पति का जब वीर वेश
पहले तो रानी हर्षाई
फिर सहमी ठिठकी अकुलाई
आँखों में बदली घिर आई
पागल सी गयी झरोखे पर

पागल सी गयी झरोखे पर
पर-कटी हंसनी थी अधीर
घोडे पर चढ़ा दिखा राणा
जैसे कमान पर चढ़ा तीर

दोनों कि आँखें हुयी चार
चूंडावत फिर सुधबुध खोयी
सन्देश पठा कर रानी को
मंगवाया प्रेमचिन्ह कोई

सेवक जा पहुंचा महलों में
रानी से मांगी सैनाणी
रानी झिझकी फिर चीख उठी
बोली कह दे मर गयी रानी

ले खड्ग हाथ
फिर कहा ठहर
ले सैनाणी
ले सैनाणी
अम्बर बोला
ले सैनाणी
धरती बोली
ले सैनाणी

रख कर चांदी कि थाली में
सेवक भागा ले सैनाणी
राणा अधीर बोला बढ़कर
ला
ला
ला
ला
ला सैनाणी

कपडा जब मगर हटाया तो
रह गया खडा मूरत बन कर
लहुलुहान रानी का सर
हंसता था रक्खा थाली पर

सरदार देख कर चीत्कार उठा
हा रानी
हा मेरी रानी
अद्भुत है तेरी कुर्बानी
तू सचमुच ही है क्षत्राणी

फिर एड़ लगाई घोड़े पर
धरती बोली जय हो जय हो
हाड़ी रानी तेरी जय हो
ओ भारत माँ तेरी जय हो ओ
ओ भारत माँ तेरी जय हो
तेरी जय हो
ओ भारत माँ तेरी जय हो

 


This article is meant to be posted in atulsongaday.me.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4205 Post No. : 15394

“Amat Jyoti”(1965) was directed by Raman B Desai for Bombay Films, Bombay. The movie had L. Vijayalaxmi, Ulhas, Kamal Mehra, Sapru, Mahipal etc in it.

The movie had nine songs in it. Three songs have been covered in the past.

Here is the fourth song from “Amat Jyoti”(1965) to appear in the blog. This song is sung by Asha Bhonsle and Mahendra Kapoor. Bharat Vyas is the lyricist. music is composed by Vasant Desai.

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

Lyrics of this song are provided by Nitin Shah.


Song-Jeewan bhar ham tum saath rahe (Amar Jyoti)(1965) Singers-Asha Bhonsle, Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Vasant Desai

Lyrics (Provided by Nitin Shah)

Aji o o o
o sajan
aa aa aa aa
aa aa aa aa
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey

tum ko hum phoolon se poojen
par phoolon se hum khil na sakey
jeewan bhar hum
aji o o o
o sajan

ik mukhde ke do nain thhe hum
aapas meinn phir bhi door rahe
ik nadi ke hum thhe kinaare do
jo milne se mazboor rahe

milne se sapne choor huye
dil ke chaahat bekaar rahe ae ae
donon aapas rote kewal
ik sheeshe ki deewaar rahi ee ee ee
hum soch khade thhe do bande
hum paanch khade thhe do bande
tatke to rahe par mil na sakey
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey
jeewan bhar hum
aji o o o
o sajan
aji o o o
o sajan


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4178 Post No. : 15355 Movie Count :

4233

Songs Repeated in Hindi Films – 14
– – – – – – – – – – – – – – – – – –

An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.

Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.

I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.

Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.

The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.

This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.

 

Song – Aaj Phir Jeene Ki Tamanna Hai  (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman

Lyrics

ho o o
kaanton se kheench ke ye aanchal

tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
ko
i bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

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

हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ

आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4145 Post No. : 15311

“Tarzan and Kingkong”(1965) was directed by A Shamsheer for Amrit Kala Mandir, Bombay. the movie had Randhawa, Dara Singh, Mumtaz, Shyam Kumar, Bela Bose, Rani, Heera Saawant, Rajen Kapoor, Bhagwan, Roopesh Kumar etc in it.

The movie had six songs in it. Two songs have been covered in the past.

Here is the third song from “Tarzan and Kingkong”(1965) to appear in the blog. The song is sung by Suman Kalyanpur. Anjaan is the lyricist. Music is composed by Robin Bannerji.

The song is picturised as a rajdarbaar dance song. I am unable to identify the daner. I request our knowledgeable readers to help identify her. One can identify Shyam Kumar and Bhagwan among the audience.


Song-Dil toone kehna maana (Tarzan aur Kingkong)(1965) Singer-Suman Kalyanpur, Lyrics-Anjaan, MD-Robin Bannerji

Lyrics

dil toone kehna maana kis beimaan ka aa aa
kuchh bhi bharosa nahin
kuchh bhi bharosa nahin
jiski jubaan ka
haay kehna maana kis beimaan ka aa aa
dil toone kehna maana

bedardi baalma khudgarzi
bedardi baalma khudgarzi
main samjhoon main jaanoon re teri marji
main samjhoon main jaanoon re teri marji
haay pahle churaaye jiyaa phir tadpaaye
bairi badala chukaaye kaise mere ehsaan ka aa aa
kuchh bhi bharosa nahin
kuchh bhi bharosa nahin
jiski jubaan ka
haay kehna maana kis beimaan ka aa aa
dil toone kehna maana

jaa julmi dekh li teri yaari
jaa julmi dehk li teri yaari
o chhaliyaa hai jhoothi ye dildaari
o chhaliyaa hai jhoothi ye dildaari
are ankhiyaan ji waade kare aankhe beisraaye
haay koi thikaana nahin jis beimaan ka aa aa
kuchh bhi bharosa nahin
kuchh bhi bharosa nahin
jiski jubaan ki
haay re kehna maana kis beimaan ka aa aa
dil toone kehna maana aa aa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4144 Post No. : 15310 Movie Count :

4217

Hindi Songs in Bangla Films – 8
– – – – – – – – – – – – – – – – –

‘Aalor Pipasa’ (Thirst for Light) was a Bangla film released in January 1965. The film was directed by Tarun Majumdar. The film is available on-line with English sub-titles. The story of the film is about a courtesan (Sandhya Roy) who sacrifices her life for the betterment of her son. The entire story is depicted in the film by way of flash back when a senior doctor (Pahadi Sanyal) tells the story of the courtesan to his junior doctor (Asit Baran). The junior doctor happens to be the courtesan’s son.

Obviously, the story of the film revolves around Sandhya Roy and I must say that she has given an outstanding performance in the film. Hitherto, my knowledge about Sandhya Roy was limited to her Hindi films like ‘Asli Naqli’ (1962), ‘Pooja Ke Phool’ (1964), ‘Jaane Anjaane’ (1971) etc. But in Hindi films she had only secondary roles like Dev Anand’s ‘munhboli bahen’ (adoptive sister) in ‘Asli Naqli’ (1962) where she displays her combative but soft at heart attitudes. The song from the film laakh chupaao chhup na sakega was picturised on her.

In Bangla films, Sandhya Roy has been one of the prominent actresses who has been active in Bangla film industry for over 5 decades starting with lead roles and switching over to character roles. She has worked in more than 100 films. She is also in politics having successfully contested parliamentary election from Mednipur in 2014 on Trinamul Congress ticket.

Sandhya Roy (born 11/04/1941) was born in Nabadwip (West Bengal). However, her family belonged to Khulna (now in Bangla Desh) where her grand father was a landlord. In her childhood, she lost her parents. She was brought up by her maternal uncle at Khulna where she had her early education.

In 1957, Sandhya Roy returned to Kolkata and stayed with her sister. This was the beginning of her unexpected journey to Bangla films. While watching the shooting of the film ‘Mamlar Fol’ (1957), the director saw her and offered her a role in the crowd. Her first full-fledged film was ‘Antariksha’ (1957). After the success of this film, she started getting offers of lead roles in many Bangla films. She remained one of the leading actresses in Bangla films during 1960-80. During this period, she was paired with Biswajeet in about 20 films.

Sandhya Roy had her stint in Hindi films with ‘Asli Naqli’ (1962) which was followed by ‘Pooja Ke Phool’ (1964), ‘Raahgir’ (1969), ‘Jaane Anjaane’ (1971), Bandagi’ (1972) etc. The last Hindi film she acted was ‘Ek Anaar Sau Bimaar’ (2008). However, despite her good acting, she could not actively pursue her career in Hindi films.

From 1980s onward, Sandhya Roy continues to work in Bangla films as a character actress beside pursuing her political career.

Sandhya Roy married Tarun Majumdar, one of the leading directors of Bangla films who had also directed Hindi films, ‘Balika Badhu’ (1967) and ‘Raahgir’ (1969).

‘Aalor Pipasa’ (1965) had nine songs of which as many as 5 songs were Hindi semi-classical songs. This was to be expected since the story of the film revolves around a courtesan who entertains her clients by singing and dancing. The film also has a Sanskrit strotra (hymns) which has been rendered by Hemant Kumar as a background song when credit titles roll in the film.

In the film, Lata Mangeshkar sings two solos for Sandhya Roy of which I have selected the song ‘ghir aayi badariya piya naahi aaye’. The song has been written by Kaifi Azmi which has been set to music by Hemant Kumar.


Song-Ghir aayi badariya piya naahin aaye (Aalor Pipaasa)(Bangla)(1965) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahi aaye
tan man jale mora birha sataaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye

jaa jaa re badra tu pi ko manaa laa
jaa jaa re badra……aa aa aa aa aa
jaa jaa re badra tu pi ko manaa laa
pi ke bina mohe kachhu hi na bhaaye
pi ke bina mohe
pi ke bina mohe kachhu hi na bhaaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye

jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
megha re kaahe ko jhariya lagaaye
megha re kaahe ko
megha re kaahe ko jhariya lagaaye
ghir aayi badariya piya naahin aaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye….ye ye


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4139 Post No. : 15301 Movie Count :

4215

Hindi Songs in Bangla Films – 7
– – – – – – – – – – – – – – – – –

By now, I must have watched/heard about 20 Hindi songs from the Bangla films of 1950s-1970s. I have a feeling that there may be a few more Hindi songs in Bangla films which I have yet to explore.

A question came to my mind as to why some Bengali film directors have fascination to incorporate Hindi songs in Bangla films. Is it something to do with realism or the personal preferences of the film directors? After watching some of the videos of the Hindi songs in Bangla films, I have come to the conclusion that it is for the realistic depiction of the situations in the films. Almost, all the Hindi song situations in Bengali films that I have so far watched, belongs to semi-classical genre. The Hindi song situations mostly comprises of mujra dances, a teacher of Hindustani classical vocalist rehearsing with his student, actors in the role of Hindustani classical vocalists giving stage performances etc.

Today, I am presenting a semi-classical traditional dadra, ‘jiya mein laagi aan baan’ from the Bangla film ‘Atithi’ (1965). The film directed by Tapan Sinha is based on a short story of the same title by Gurudev Rabindranath Tagore. The dadra set in raag Gara has been sung by Meera Banerjee whose name I heard for the first time. A search on the internet revealed that Meera Banerjee was Hindustani classical vocalist belonging to Patiala Gharana. A brief profile of Meera Banerjee culled out from an article in ‘The Hindu’ July 5, 2012 issue is presented below:

Vidushi Meera Banerjee (28/03/1930 – 28/06/2012) was born in Meerut (Uttar Pradesh). Her father, Shailendra Kumar Chatterjee was a musicologist who gave her the initial training in music. Later she was trained by Pandit Chinmay Lahiri. She became the listed artist of All India Radio at the age of 14.

Pandit Harishchandra Bali of Jalandhar (see my note below) who was the Guru of Meera’s father saw her potential as a vocalist and gave her training in some rare bandishes composed by him. From 1950 onward, Meera Banerjee became the disciple of Ustad Bade Ghulam Ali Khan and remained so until his death in 1968.

Meera Banerjee attained the status of one of the prominent Hindustani classical vocalists in the genre of Khayal and Thumri in the 1950s. She participated in the National Programme of Music and other musical festivals in India. She travelled abroad as a part of cultural delegation of Government of India to give performances in various countries. She had won numerous awards for works.

In 1957, she married Pandit Prasoon Banerjee, also a Hindustani classical vocalist who also became the disciple of Ustad Bade Ghulam Ali Khan.

At the later stage of her life, due to poor health, she stopped giving public performances. Meera Banerjee left for her heavenly abode on June 28, 2012 in Kolkata.

———————————————————————————————–

Note : Pandit Harishchandra Bali is the same person as H C Bali who was the music director for about 25 Hindi films during 1930s and 40s. His disciples included Pandit Amarnath Chawla, Husnalal and Bhagatram.

Probably, this may be the only song Meera Banerjee sang for a film. In the film, the song has been partially picturised as part of a medley of three songs which follows one after another. The situations in the film seem to be many families travelling in boats. While the first song is a dadra, the second is a folk song and the last one is the Bangla song.

This dadra song in raag Gara is in the traditional lyrics which was first recorded in 1916 in the voice of Gauhar Jaan. Later, many prominent Hindustani classical singers have rendered this dadra including Meera Banerjee and Rasoolan Bai in a more elaborate way. The music director for the film was Tapan Sinha.

Video Clip (Partial):


Audio Clip

Song-Jiyaa mein laagi aan baan (Atithi)(Bangla)(1965) Singer-Meera Bannerji, MD-H C Bali

Lyrics

aaaaaaaan aa
aaaa..n baaaa..n
aaaa..n baaaa..n
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein
jiya mein laagi aaaa..n baaaa..n
jiya mein laagi aaaa..n baaa..n
jiya mein laagi aan baan
jiya mein laagi aan
o pyaari chitwan aa ??
jiya mein basi kaise phansi
jiya mein basi kaise phansi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan
jiyaa…aa mei…n laaa..gi
aan baan re
aan baan
aan baan
jiya mein laagi aan baan

pairan laagi jhuk ke saiyyan
pairan laagi jhuk ke saiyyan
koi na meherbaan saiyyan
koi na meherbaan saiyyan
tum bin mohe kal na pade
tum bin mohe kal na pade
tumhre kaaran jaa..gi re
tumhre kaaran jaa..gi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan

1965


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4026 Post No. : 15139

“Aasmaan Mahal”(1965) was directed by Khwaja Ahmad Abbas for Naya Sansaar, Bombay. This “social” movie had Pithviraj, Sureskha, Nana Palsikar, Rashid Khan, Madhukar, Yunus Parwez, Mridula, Dilip Raj, Ravikant, Veerendra Raj Anand, Chandar B Kaushal, Anwar Hussain, Naseem Bano, Ishrat Sultana, Anugeeta, David, Ram singh, Murthi, M A Parkar, Irshad Panjathan, Babbanlal, Agrawal, Rani, Shibghatullah etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Aasmaan Mahal”(1965) to appear in the blog. This song is sung by Vijaya Majumdar. Ali Sardar Jafri is the lyricist. Music is composed by J P Kaushik.

The song is picturised as a mushaira song, where a lady (Surekha ?) recites this shayri, seated among her sahelis while men are seated in front.

I request our knowledgeable readers to help identify the actors seen in the picturisation.

I have not been able to get a few words right. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Toone samjhi hi nahin kya hai haqeeqat meri (Aasmaan Mahal)(1965) Singer-Vijaya Majumdar, Lyrics-Ali Sardar Jafri, MD-J P Kaushik

Lyrics

toone samjhi hi nahin
kya hai haqeeqat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin

jaam o meena ke siwa aur bhi paimaane hain
jaam o meena ke siwa aur bhi paimaane hain
dard-e-dil dard-e-mohabbat hi to maikhaane hain
tu na samjha hai na samjhega shiqaayat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin

khwaab daulat ke
gareebi ko dikhaane waale
aasmaanon pe mahal ?? banaanewaale
inki ?? se na bahlegi tabeeyat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin

sooni saajen(?) ki tamanna hai na resham ki talaash
khaak hai khaak ye daulat ka sunehra aakaash
teri aankhon hi mein aabaad hai jannat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin

kaanpte honthon pe ik harfe wafa ki khushbu
aa aa
kaanpte honthon pe ik harfe wafa ki khushbu
ik dhadakta hua dil ek chamakta aansu
yahi moti yahi heere yahi daulat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4004 Post No. : 15107

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 38
——————————————————————————————

Today’s song is from the movie ‘Nai Umar Ki Nai Fasal-1965’. This movie was introduced on the blog on this day ten years back viz on 5th July 2009.

The movie ‘Nai Umar Ki Nai Fasal-1965’ is known mainly for its ‘epic song’ ‘Caravan guzar gaya’ written by Neeraj. The movie made its debut in the blog with this song.

Whenever I come across ‘milestone movies’, ‘epic movies’, or ‘the movies which have left a mark in the annals of Hindi film history’, I feel the urge to find out more about such movies and to share its songs on the blog if the opportunity for that still exists. I get an opportunity to share a song from this mvie today. I think that it is the first opportunity for me to cover a song composed by Roshan, one of my favourite music directors.

Though only one song from the movie is supposed to be left over, I found out that the number of leftover songs is not one but two.

As per HFGK this movie had seven songs (including one multiple version song) only. Movie information on wiki listed eight songs for this movie.

The one song not mentioned in HFGK is a song which plays in the background when the titles of the movie keeps rolling, and this is the song we are going to present here today.

The other remaining song from the movie is penned by Manmohan Tiwari according to HFGK. However, the movie titles only mention the name of Neeraj ji as lyricist for this movie.
So I guess that the today’s song is also written by Neeraj ji.

(I would request our editors and knowledgeable readers to throw more light on this movie and its songs.)

Now, for all such movies and their songs where we wish to cover the relevant details, trivia or biographical information about the ‘cast and crew’ of that movie we always have few posts which comes with such information.
Details of this movie and its songs, including trivia etc are covered in posts on the songs , viz.

Mero sainyya gulabiyo ko phool
Isko bhi apnaata chal usko bhi apnaata chal
and
Caravan guzar gaya gubaar dekhte rahe

After today’s post, just one more song from the movie is left to be covered. I can say that the remaining song will waiting for an appropriate occasion before that song gets covered. 🙂

Looking back at this date ten years back, songs from following movies were covered on the blog on 05th July 2009;

‘Umang-1970’ All Songs covered
‘Nai Umar Ki Nai Fasal-1965’
‘Chaar Dil Chaar Raahein-1959’ All Songs covered
‘Jhoola-1962’ All Songs covered
‘Aaraam-1951’ All Songs covered
‘Aarzoo-1950’ All Songs covered

‘Nai Umar Ki Nai Fasal’ was directed by R. Chandra for Shri. Vishwabharati Films. It had Tanuja, Rajeev, Leela Chitin, Shobhna Samarth, M.A. Latif, Renuka Rai, S.K. Prem, Ulhas, Bhalla, Raj Kishore, Khurshid Bawra and others.

Music for this movie was composed by Roshan and lyrics were written by Neeraj and Manmohan Tiwari (one song).

Today’s song is sung by Bhupinder Singh. It is a background song that plays with titles rolling on the screen. This song also has a second part which appears at the end of the movie.

Today’s song is a motivational song that seeks to inspire the new generation to bring about a positive change in the society for the upliftment of all. Thisis is in complete contrast to the debut song of this this movie ten years back on the blog, which was a ‘melancholic song’ (as Atul ji mentioned in his post ten years ago).

Let us now listen to today’s song …

Video (Part I)

Video (Part II)

Song-Nayi umar ke naye sitaaro (Nai Umar Ki Nai Fasal)(1965) Singer-Bhupinder Singh, Lyrics-Neeraj, MD-Roshan

Lyrics

——————————
Part I
——————————
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Khilo phalo is tarah ke
Poore chaman ka poora libaas badley
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro

Likho jawaani ke naam khat wo
Ke phool ban jaayen khaar saare
Be-roshni ki lagaao kalmen
Zameen pe ugne lagen ae sitaare
Badaldo pichchhle hisaab aise
Ulat do gham ke naqaab aise
Ke sab ki sab ye zameen badley
Ke sab ka sab ye aakaash badley
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro]

———————————
(Part 2)
———————————
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Khilo phalo is tarah ke
Poore chaman ka poora libaas badley
Nayi umar ke naye sitaaron
Nayi fasal ki nayi bahaaron

———————————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————————
(भाग -1)
—————
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
खिलो फलो इस तरह के
पूरे चमन का पूरा लिबास बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो

लिखो जवानी के नाम ख़त वो
के फूल बन जाएँ खार सारे
बे-रौशनी की लगाओ कलमें
ज़मीन पे उगने लगे ए सितारे
बदलदो पिछले हिसाब ऐसे
उलट दो ग़म के नकाब ऐसे
के सब की सब ये ज़मीन बदले
के सब का सब ये आकाश बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
——————-
(भाग -2)
——————-
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
खिलो फलो इस तरह के
पूरे चमन का पूरा लिबास बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3959 Post No. : 15037 Movie Count :

4123

Missing Films of 1960s – 110
– – – – – – – – – – – – – – –

Coming into the home stretch now. 110 films from 1960s added during this series. Some of them have been so rare that no information even is available about them. Like today’s film – ‘Black Arrow’ from 1965.

Geet Kosh, the major source of all information on Hindi films of those decades, provides us with the following details. The film is produced under the banner of Ameer Productions, Bombay, and is directed by Mehmood. It is not clear whether this is the same person as the comedian Mehmood that we are all so familiar with. The film is listed as a costume drama. The film poster that is available online indicates this film to be of the ‘zorro’ genre – a masked rider wearing a black cape and a black hat and riding a black horse – gives an impression of a zorro clone type film.

The star cast is listed as Hercules, Chandrakala, SK Shyam, Anjum, Funny Walker, Jilani, Hameeda Bano, Sadhana Khote, Khurshid Khan, Nazeer Kashmiri, Shakeela Bano Bhopali, and Jaani Babu qawwaal.

Geet Kosh lists four songs for this film. All the songs are written by Aziz Ghaazi. Now this name, although not new on the blog, does not have any information associated with it. We have four songs by this songwriter on the blog. In the Geet Kosh listings, I could locate 29 songs written him, for 9 films, from 1958 to 1969. Then, in our blog, his name appears again for a film in 1987 – ‘Tarzan And Cobra’. That makes 10 films that are known to have his name connected with. Almost all films that he has written for are stunt and costume drama films, as their names would suggest – ‘Jungle Princess’ (1958), ‘Choron Ki Baraat’ (1960), ‘Diler Haseena’ (1960), ‘Night Bird’ (1961), ‘Black Arrow’ (1965), ‘Noor Mahal’ (1965), ‘Tarzan And Hercules’ (1966), ‘Tarzarn Aur Jaadui Chiraagh’ (1966), ‘Sakhi Lutera’ (1969), and ‘Tarzan And Cobra’ (1987). So far this is all the information that I have been able to locate about this obscure songwriter.

The previous song written by Aziz Ghazi and posted on our blog, is a qawwaali in the voices of Mubarak Begum and Jaani Babu Qawwaal – “Adaayen Teer Hain Andaaz Barchhi Bhaale Hain” from the film ‘Jungle Princess’ (1958). And again today, we have another qawwaali sung by the same singers. As I have been surveying the landscape of 1960s films and songs, I realize that the qawwaali has been a very popular song type used in the films, all the way from mid 1950s to around end 1970s. So much that every third or fourth film, especially if it is a stunt type B/C grade film, contains a qawaali. Many of them are quite obscure, unavailable. And those which are available, are not much heard. Maybe because they belong to obscure films. But the qawwaalis, in themselves, are superb creations that have gone unnoticed and are lost to the listeners. It may be an idea to do another series of such unfamiliar qawwaalis from that era. (Aah. . . plans. . .) 😉

Let’s listen to this ‘nok jhonk’ qawaali, a very obscure and a rare song. This is the only song that is available for this film, in public domain. It appears that other songs were probably not released on gramophone records. Small mercies – that this one long qawwaali is now available.

Given the list of actors, my intuition says that this qawwaali is performed on screen by Shakeela Bano Bhopali, lip syncing for the back ground voice of Mubarak Begum, and Jaani Babu Qawwaal, singing for himself.

Another interesting point that comes to mind, as I listened to an prepare the lyrics. Per our earlier discussions, and Atul ji’s observations, a nok-jhonk type of song always ends in an agreement between the parties. In other words, it takes about three minutes for the jhagda to end and friendship to begin. This being a qawaali, the protagonists are taking longer to make their points. However the agreement is reached, albeit it arrives after six minutes. Oh well, it is a qawwaali after all. 🙂

Song – Jhoothe Ho Jhoothe Tum Ishq Waale  (Black Arrow) (1965) Singer – Mubarak Begum, Jaani Babu Qawwaal, Lyrics – Aziz Ghazi, MD – Iqbal
Mubarak Begum + Jaani Babu Qawwaal
Female Chorus
Male Chorus

Lyrics

nazar aate ho tum
bezaa..aar hum se. . .

na hoga ye kabhi
sarkaa..aar hum se. . .

jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

tum ne achhi ye mohabbat ki adaa ha paayi
aaj is ke ho to kal us ke baney shaidaai
jaante hi nahin tum waada nibhaana kya hai
jaaiye jaaiye in baaton mein rakha kya hai
haa aaa aaa aaa aaaa
tum se harjaai ki. . .
ulfat ka bharosa kya hai. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

tum ne har baat ko afsaana bana kar chhoda
jis ko chaaha us ko deewaana banaa kar chhoda
bijliyaan hosh pe hans hans ke giraane waale
dil ki duniya mein ho tum aag lagaane waale
aaaa aaaa aaaaa aaaaaaa
ek hum hi nahin. . .
kehte hain zamaane waale. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

hum na hotey to zamaane mein andhera hota
dard ka ranj ka nafrat ka basera hota
husn se apne nazaaron ki sajaaya hum ne
pyaar kya hota hai ye tum ko bataaya hum ne
haa aaa aaa aaa aaaa
ishq mein mit gaye par lab na hilaaya hum ne. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

hum na hotey to ye shokhi na masti hoti
husn ki duniya pe hasrat hi barasti hoti
pyaar kar ke tumhen magroor banaaya hum ne
dilbari ka har ek andaz sikhaaya hum ne
haaaa aaaa aaaaa aaaaaaa
ishq ki raah mein
dil apna jalaaya hum ne. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

pyaar ke naam pe tum mil ke daghaa detey ho
tum wafaadaari ki inaam sazaa detey ho
tum ne chhoda hai mohabbat mein sahaara de kar
tukde dil kar diya hai tum ne hamaara le kar
aaj to gusse mein sarkaar nazar aate ho
khich ke tum aur bhi talwaar nazar aate ho
maan letey hain chalo pyaar tumhaara sachchaa
aao mil jaao ye jhagda nahin hota achhaa
baat taqraar ki dekho na zabaan par laao
saaz e dil chhed ke ulfat ke taraane gaao

hum hain tumhaare
tum ho hamaare
dil ko mila hai sahaara
pyaar ka har taraf hai ujaala

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

नज़र आते हो तुम
बेज़ा॰॰आर हम से॰ ॰ ॰

ना होगा ये कभी
सरका॰॰आर हम से॰ ॰ ॰

झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

तुमने अच्छी ये मोहब्बत की अदा है पाई
आज इसके हो तो कल उसके बने शैदाई
जानते ही नहीं तुम वादा निभाना क्या है
जाइए जाइए इन बातों में रखा क्या है
हा॰॰ आss आss आss आsss
तुमसे हरजाई की॰ ॰ ॰
उलफत का भरोसा क्या है॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

तुमने हर बात को अफसाना बना कर छोड़ा
जिसको चाहा उसको दीवाना बना कर छोड़ा
बीजलियाँ होश पे हंस हँस के गिराने वाले
दिल की दुनिया में हो तुम आग लगाने वाले
आsss आsss आssss आssssss
एक हम ही नहीं॰ ॰ ॰
कहते हैं जमाने वाले॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

हम ना होते तो जमाने में अंधेरा होता
दर्द का रंज का नफरत का बसेरा होता
हुस्न से अपने नज़ारों को सजाया हमने
प्यार क्या होता है ये तुमको बताया हमने
हा॰॰ आss आss आss आsss
इश्क़ में मिट गए॰ ॰ ॰
पर लब ना हिलाया हमने॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हम ना होते तो ये शोख़ी ना मस्ती होती
हुस्न की दुनिया पे हसरत ही बरसती होती
प्यार कर के तुम्हें मगरूर बनाया हमने
दिलबरी का हर एक अंदाज़ सिखाया हमने
हा॰॰ आsss आssss आssssss
इश्क़ की राह में॰ ॰ ॰
दिल अपना जलाया हमने॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

प्यार के नामे पे तुम मिलके दग़ा देते हो
तुम वफादारी की इनाम सज़ा देते हो
तुमने छोड़ा है मोहब्बत में सहारा दे कर
टुकड़े दिल कर दिया है तुमने हमारा लेकर
आज तो गुस्से में सरकार नज़र आते हो
खिच के तुम और भी तलवार नज़र आते हो
मान लेते हैं चलो प्यार तुम्हारा सच्चा
आओ मिल जाओ ये झगड़ा नहीं होता अच्छा
बात तक़रार की देखो न ज़बां पर लाओ
साज ए दिल छेड़ के उलफत के तराने गाओ

हम हैं तुम्हारे
तुम हो हमारे
दिल को मिला है सहारा
प्यार का हर तरफ है उजाला


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15505

Number of movies covered in the blog

Movies with all their songs covered =1195
Total Number of movies covered =4273

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