Posts Tagged ‘1969’
Dil tu hamaar lai le
Posted on: February 25, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4239 | Post No. : | 15452 |
There were two movies called “Jaalsaaz”, one was released in 1959 and another in 1969. “Jaalsaaz”(1959) has alreadyu been YIPPEED in the blog.
“Jaalsaaz”(1969) was directed by Muhammad Hussain for M H Films, Bombay. The movie had Dara Singh, Bambi, Madan Puri, Shetty, Agha, Randheer, Ulhas, Sundar, Samson, Jerry, Habeeb, ajit Singh, Paro, Shefali, Sanjid, Kamini, Bela Bose, Madhumati, Jayshree, Meenakshi, Roopam, Sushma etc in it.
The movie had four songs in it. Three of these songs have been covered in the past.
Details of the three songs covered in the blog are :-
| S N | Song | Song number in blog | Date of posting |
|---|---|---|---|
| 1 | Kal maine ek sapnaa dekhaa | 1703 | 30-July-2009 |
| 2 | Haaye teri nazar ne kiya kya ishaara | 12265 | 25-July-2016 |
| 3 | Tujhe kiya o kitna mana | 14454 | 24-June-2018 |
Here is the fourth and final song from “Jaalsaaz”(1969) to appear in the blog. The song is sung by Asha Bhonsle. Farooque Kaiser is the lyricist. Music is composed by G S Kohli
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, all the songs of “Jaalsaaz”(1969) are covered in the blog and the movie joins the list of movies that have been YIPPIED in the blog.
Song-Dil tu hamaar lai le (Jaalsaaz)(1969) Singer-Asha Bhonsle, Lyrics-Farooque Kaiser, MD-G S Kohli
Lyrics
dil tu hamaar lai le
thhoda thhoda pyaar dai de
dil tu humaar lai le
thhoda thhoda pyaar dai de
jahaan mein charche honge
log kya kehte honge
meri kasam
keh de sanam
humko daga na dai bey
dil tu humaar lai le
thhoda thhoda pyaar dai de
dil tu humaar lai le
nain tumse miley
ho o o o o o
nain tumse miley
mil ke sharma gayey
dil machalne laga
hum to lehra gaye
jis taraf dekhiye
tum hi tum ho sanam
ae mohabbat bata
hum kahaan aa gaye
baar baar mera manva doley
dol dol kar bas ye boley
meri kasam
keh de sanam
humko daga na dai bey
dil tu humaar lai le
thhoda thhoda pyaar dai de
dil tu humaar le le
door baithho nahin
ho o o o
door baithho nahin
paass aaya karo
log jalte rahey
tum jalaaya karo
pyaar mera kabhi
kam na hoga zara
mere dilbar mujhe aajmaaya karo
chhod chhod ye waade jhoothhe
neend chain kyun mera loote
meri kasam
keh de sanam
humko daga na dai bey
dil tu humaar lai le
thhoda thhoda pyaar dai de
dil tu humaar lai le
- In: "picnic" song | "Gramophone" song | Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lata song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | playful song | Post by Sudhir | Rafi songs | Rafi-Lata duet | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 4 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 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.
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Blog Day : |
4206 | Post No. : | 15399 | Movie Count : |
4244 |
Songs Repeated in Hindi Films – 16
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Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.
The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.
Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.
Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business. However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.
He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.
Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.
He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).
Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.
The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.
Ah yes, this 1972 film makes its debut on our blog today.
Overall, a very casual re-use in my opinion.
Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
ho o o ho o
ho o o ho o
[dialogue]
ho o o ho o
ho o o ho o
aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja
peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हो ओ ओ हो ओ
हो ओ ओ हो ओ
[संवाद]
हो ओ ओ हो ओ
हो ओ ओ हो ओ
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
Ik Bangala Baney Nyaara
Posted on: January 18, 2020
- In: "Bangla" (Bungalow) Song | "Gramophone" song | aspirations | Devnagri script lyrics by Sudhir | Guest posts | K L Saigal Film songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1969 | Songs reused again in subsequent movies | 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.
| Blog Day : | 4201 | Post No. : | 15387 |
Songs Repeated in Hindi Films – 15
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And so, we do get to a song in Saigal Sb’s voice song in this series. Memory serving right, I would have preferred to start the series with this song. But oh well. Actually, we do have a Saigal Sb song earlier in this series. But that song – “Babul Mora, Naihar Chhooto Hi Jaaye”, is rerecorded in Jagjit Singh Chitra Singh voices.
Remembering the memorable singer KL Saigal Sb – it is 73 years today, since this Divine Voice departed from this mortal world. The singer has gone away, his voice, the sound captured in the songs recorded by him, are still alive.
The re-use film is ‘Do Raaste’ (1969) and this song is used as a backdrop in two places in the film. In both scenes, the song is being played from a 78 rpm record on an old styled gramophone. Almost the entire cast of the film gets presented in the two short clips. We see Balraj Sahni, Veena, Kamini Kaushal, Rajesh Khanna, Junior Mehmood and Jayant in the first clip. There is a lady actor sitting with Kamini Kaushal in the first part – is she Kumud Bole? Also, the baby girl with Junior Mehmood – I have seen her in other films also, but I am unable to put a name to her face. Then in the second clip, in addition to the above listed cast, we also have Prem Chopra, Bindu and Mumtaz. And yes, it is Krishnakant who gazes back at us from his perch in the portrait on the wall.
In its time, ‘Do Raaste’ was a popular hit film. Rajesh Khanna was the rising star at that time, plus the music of the film became very popular. Times were when a middle class joint family homes, were presented on screen quite realistically so. The story of the film is a typical loving family scenario, and then we have unhappiness and strife intervene – a new lady joining the household and sows the seeds of step-brotherly misunderstandings. The divide goes to extremes, before things get reformed and patched up. And then it is a joint happy family all over again.
This song appears twice in the film, once at the beginning, when everything is in a relaxed mood, and the household is the blessed ‘nyaara bangla’. And then, this song is presented again close to the end of the film, when all misunderstandings have been removed, and whole family reunites and returns once again to the ‘nyaara bangla‘.
In both the scenes, the song is being played on an old gramophone, which is manually operated. It has a big sound horn attached, as we remember from the old HMV logo. Ah, the pleasures of pure sounds from the 78 rpm records – no electronics, just a very authentic reproduction of the original sound as stored in electric impulses on the shellac. The wonders that were, without the later technologies and advancements. No creation of sound reproduction technology can even come close to the sound of a 78 rpm record playing on an HMV 102 machine – hand cranked, not even electricity to power the turntable. It continues to be a marvel of that age, which is also exemplified by another unique accomplishment – single mike recording with orchestra and multiple singers. The marvels of modern acoustic technology pale in comparison.
The song also brings back the memories of the heady days in the year 2011, going across the months of May through September. The blog was a ‘song-a-day’ platform for Saigal Sb songs. By the time we ended, we had brought on board all the Hindi/Urdu songs of Saigal Sb, which are available in public domain. The mind just cannot believe it is already more than 8 years ago that we went on that exhilarating journey. The joy of getting that done was surely a wondrous taste. But then I also think with some melancholy – that no more Saigal Sb songs are to be posted on our blog. Today’s post in this series is a device that makes us remember and revisit this miracle of nature that was – the voice of Saigal Sb. I take back my words – I would prefer to use ‘is’ instead of ‘was’. I am sure you will agree – for the voice continues to be with us. That peerless, unmatched, incomparable voice, that can only be replayed now.
Our dear Arun ji has mentioned in his previous post – “Door. . . Bahut Door” from yesterday – it was Raj Khosla’s (producer director of ‘Do Raaste’) own childhood memories that probably brought this song into the film. His father loved KL Saigal songs that would often play the records at home on an old gramophone. Those memories were relived by Raj Khosla himself, as he directed ‘Do Raaste’. Wonderful revival, wonderful renewal, wonderful memory stimulant. Thanks Raj Khosla ji, and thanks to Arun ji for bringing in this connect.
The original credits of this song are – lyrics by Kedar Sharma and music by RC Boral. Singing voice of course, is the inimitable Saigal Sb. Listen yet once again to this wondrous original voice – a benefaction of God Himself.
Song – Ik Bangala Baney Nyaara (Do Raaste) (1969) Singers – KL Saigal, Lyrics – Kedar Sharma, MD – RC Boral
Lyrics
ek bangla baney nyaara
ek bangla baney nyaara
rahe kunba jis mein saara
ek bangla baney nyaara
ek bangla baney nyaara
sone ka bangla, chandan ka jangla
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
vishvakarma ke dvaara
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
ati sundar pyaara pyaara
ek bangla baney nyaara
ek bangla baney nyaara
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
इक बंगला बने न्यारा
इक बंगला बने न्यारा
रहे कुनबा जिस में सारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
सोने का बंगला चंदन का जंगला
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
विश्वकर्मा के द्वारा
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
अति सुंदर प्यारा प्यारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Hemant Kumar solo | Hemant Kumar songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Poignant Song | Post by Raja | Public lament song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Theme song | Yearwise breakup of songs
- 4 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 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 : | 4116 | Post No. : | 15269 |
Here is that date again.
The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.
Sahir Ludhianvi.
I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.
There have been more famous figures in the industry.
And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.
And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.
They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.
A lyricist goes a step further than even a singer.
While a singer can put his heart and soul into a song, he does not create it. He only renders it.
The text comes from the lyricist.
And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.
And I feel no one did this better than Sahir.
With Sahir, what you saw was what you got.
Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.
He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.
Imagine if this had not happened. Imagine what might have been lost to us.
Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂
And Sahir never looked back.
From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.
I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.
With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.
That was when it hit me.
Oh, “aage bhi jaane na tu” was Sahir’s?
And “ye raat ye chaandni phir kahaan”?
Oh, and “udey jab jab zulfen teri” also?
And “abhi na jao chhod kar”?
And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”
And “tu Hindu banega na Musalmaan banega”?
Oh, and “jeevan ke safar mein raahi” also?
And “tadbeer se bigdi hui taqdeer bana le”?
There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.
At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.
It was only at that moment I realized what a legend Sahir had been. And what the world had lost.
After that, I paid a lot more attention to the lyricist, while listening to songs.
And often it was Sahir.
Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.
It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.
And that is when I realized that Sahir’s lyrics were different.
They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.
If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.
Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.
Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.
You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.
At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.
Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.
Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.
I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.
Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.
This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.
Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.
So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.
But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.
Clearly Sahir was a rebel, a non-conformist.
And his poetry often reflected this, since he wrote straight from the heart.
But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.
Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.
Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.
It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.
If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.
That’s a sobering thought.
Now, let’s move on to the song for today.
It’s from the 1969 film, Paisa Ya Pyaar.
As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.
I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.
I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂
But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.
Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.
The song is sung by Hemant Kumar, music composed by Ravi.
Please do listen.
I’d like to end by saying that Sahir was wrong in one respect.
He wrote
“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”
Sahir saab, I can only say you grossly underestimated our love and respect for you.
jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin
Thank you SO MUCH for what you’ve given us, Sahir saab.
And, very importantly, for just being you.
Video
Audio
Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi
Lyrics (based on audio link) (Provided by Avinash Scrapwala)
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa
Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला
दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
- In: "beach" song | Appealing to the Almighty | Artist century song in blog | Asha Bhonsle songs | Blog ten year challenge (2009-2019) | Century songs for the blog | Devnagri script lyrics by Sudhir | Guest posts | Hemant Kumar songs | Lyrics contributed by readers | philosophical song | Post by Peevesie's mom | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 4 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4018 | Post No. : | 15128 |
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Blog 10-Year Challenge (2009-19) – Song No. 40
——————————————————————————————
Hullo to Atuldom
Today is a unique happy birthday date. It is not any celebrity’s birthday. It is the birthdate of our beloved blog Atul-song-a-day which has been nicknamed ASAD and all of its followers are called Atulites.
This is one blog which has brought together a lot of Hindi film music lovers from across the world. It must have started as a one-man’s passion for film music but has now become an addiction for a set of music lovers who are equally passionate about Hindi film music. People who have associated themselves with the blog are going to great lengths to find hitherto unheard songs, finding about the life-stories of those associated with those songs etc. We have our own in-house encyclopaedia who has put a lot of time into researching about long forgotten artists, singers, musicians, and also cleared confusion about artist who had same or similar names and were popular about the same period etc. We have an NRA (Non Resident Atulite) who has assigned Sudhir ji a job of finding movies of the 60s’ decade that were lost or forgotten and Sudhir ji has done a great job of finding at least 112 such movies with about 79 left and these may be really unavailable otherwise he would have dug them out too. In addition to this, he has an ongoing series of songs which were reused in movies and I am sure that will give us a minimum of 50 songs.
Sudhir ji and Arunkumar ji (the encyclopaedia) are just two examples of dedicated contributors. We have others whose craze for Hindi film music has been manifested in the form of reading through the “ancient” 😉 issues of Film-India magazine and sharing knowledge gathered from there with us on the blog. Then there is the case of two resident NRAs who collaborate to produce posts to remember their favourite Sahir on his birth and death anniversaries. Of course, one NRA is more active than the other who I expect will surface in the last week of July as the anniversary of his and our favourite Mohd. Rafi is coming up and his activity will continue on to first week of August. (Hope I am not proved wrong) Of course there are those contributors who surface on the really important celebratory occasion of the blogs’ 15000th post, Atulji’s personal 10000, and birthdays of their personal favourite singers Mukesh, Shamshad Begum etc. I must make special mention of the behind the scene contributor who sees to it that the links of songs posted are working links in addition to sending his farmaishes in the form of lyrics. So Atuldom is a kingdom of a group with varied interests in HFM and who have their own way of making the blog a unique space in cyberland.
As far as my own film music addiction is concerned, I have mentioned many a times how this blog has affected my way of listening to songs. How I have learnt about the life and times of the singers, actors, music directors, and others associated with movie making. And the most important take-away from this blog is a whole new set of friends who are always in touch 24/7 and who receive my phone-calls with a smile (I can feel it in their “Hello”). But I had an altogether different experience the last time I called Sudhir ji; my “hullo Sudhir ji” was met by a good two minute of laughter, such is the camaraderie that he knew exactly what I was going to say. 😊
For all of the above a big thank you to the blog and the blog master Atul. It is only because Atul ji started the blog on 19th July 2008 that we can call ourselves Atulites or Atulwaasis, who are residents of Atuldom.
Exactly a year after it was born, Atulji posted six songs on 19th July 2009. These represented six movies: two from 1969, and one each of 1956, 1954, 1953 and 1949. Of the movies that these songs were from only one is left to be yyippeed!! That is ‘Sambandh’ of 1969. It has 5 songs posted on the blog, out of a possible 11 or 12 , the last being posted in October of 2011. That is a loooong time ago.
So, to take ‘Sambandh’ a step forward we re-visit it today. The movie was produced by Ram Mukherjee; directed by Ajoy Biswas; had Asha Bhonsle, Mahendra Kapoor, Mukesh, Hemant Kumar for playback singers for songs written by Kavi Pradeep and composed by OP Nayyar. Atul ji has said in one of the previous posts of the songs of this movie that this was an unusual combination- OP Nayyar setting Kavi Pradeep’s words to tune. This movie had Pradeep Kumar and Deb Mukherjee heading the cast which also had Anjana (this was her debut) Sulochana Latkar, Anita Dutt (looks like Anita Guha, must have been Dutt at that time), Achala Sachdev, Vijaya Chaudhary, Abhi Bhattacharya, Nana Palshikar, Leela Mishra, etc.
The synopsis as given on IMDB is:
Manav Chatterjee’s childhood is spent in a wealthy home where his father, Umakant, is an alcoholic, and his mother a simple housewife, who tries in vain to get his dad to give up on alcohol. This results in differences between his parents, leading to their separation, and him leaving the house to be with his mother. Manav grows up as a cynic, and this cynicism increases when he goes to live with a foster and a very wealthy family. He marries Hiralal’s daughter, Sandhya, and both love each other deeply. But things do not seem to go Manav’s way at all, as he is separated from Sandhya, and after several months finds out that Hirala is about to get Sandhya married – again. Now Manav has changed his name, and is being helped by an unknowing Umakant to try and salvage, what possibly remains, of the rest of this bitter and lonely life.
Here is the list of songs posted this-date-that-year as is the practice in the Ten-Year Challenge,
| Gore Gore Mukhde Pe Gesoo Jo Chhaa Gaye | Patanga |
1949 |
| Bujh Gaye Aasha Ke Diye…Badle Rang Jahaan Ke | Shikast |
1953 |
| Dil Se Milaa Ke Dil Pyaar Kijiye | Taxi Driver |
1954 |
| Dil Dil Se Milaakar Dekho | Mem Sahib |
1956 |
| Apni Maata Ke Dulaare Bachche | Sambandh |
1969 |
| Saathiyaan Nahin Jaana Ke Ji Na Lage | Aaya Saawan Jhoom Ke |
1969 |
Hindigeetmala.net (my personal HFGK) lists 12 songs for ‘Sambandh’ of which we have 5 on the blog. Of the twelve, six songs have Asha Bhonsle giving playback, one being a duet with Hemant Kumar. It is difficult to find videos of all the songs that are left to be posted, only audios are available on youtube. Another thing I found was almost all the songs were rather sombre or completely sad. Would love to see the movie to understand why the mood of the songs are so. And as Atul ji has previously said this is a rather unusual OP Nayyar album with not one peppy number. So, choosing from what is available, here is the Hemant Kumar – Asha song which is a prayer and I would like to know on whom it was filmed.
HAPPY BIRTHDAY ASAD!!!!!
Thank you Atul ji for giving us ASAD.
There is still a lot of songs left in the ocean of HFM for us to find gems, pearls and corals.
P.S. after writing the post I ran through the movie to see who has lip synced the song. I found that the Hemant Kumar part is no where in the movie and Anita Dutt has lip-synced the Asha Bhonsle part.
Editor’s note-With this song, Hemant Kumar completes 200 songs in the blog as a playback singer.
Audio
Video
Song – Tum Ko To Karodon Saal Huye Batlaao Gagan Ghambhir (Sambandh) (1969) Singer – Hemant Kumar, Asha Bhosle, Lyrics – Kavi Pradeep, MD – OP Nayyar
Lyrics
hey jagat pita parmatma
karo nirmal meri aatma
dukh haro dayalu
ab sukh do
sab avgun mere
karo kshama
parbhu karo Kshama
parbhu karo kshama
hey jagat pita parmatma
aaaa aaaaa
aaaa aaaaa
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
milte hain kisi ko bin maange hi moti
oo oo oo
koi maange lekin bheekh naseeb na hoti
oo oo oo
kya soch ke hai malik ne rachi
ye do rangi tasveer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
kuch kismatwaale sukh se amrit peete
oo oo oo
kuch dil par rakh pathar jeewan jeete
oo oo oo
kahin mann panchhi aakaash ude
kahin paanv padi zanjeer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
kyun alag alag taqdeer
kyun alag alag taqdeer
kyun alag alag taqdeer
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे जगत पिता परमात्मा
करो निर्मल मेरी आत्मा
दुख हरो दयालु
अब सुख दो
सब अवगुण मेरे करो क्षमा
प्रभु करो क्षमा
प्रभु करो क्षमा
हे जगत पिता परमात्मा
आss आsss
आss आsss
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
मिलते हैं किसी को बिन मांगे ही मोती
ओ ओ ओ
कोई मांगे भी तो भीख नसीब ना होती
ओ ओ ओ
क्या सोच के है मालिक ने रची
ये दो रंगी तस्वीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
कुछ किस्मत वाले सुख से अमृत पीते
ओ ओ ओ
कुछ दिल पर रख कर पत्थर जीवन जीते
ओ ओ ओ
कहीं मन पंछी आकाश उड़े
कहीं पाँव पड़ी ज़ंजीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
क्यों अलग अलग तक़दीर
क्यों अलग अलग तक़दीर
क्यों अलग अलग तक़दीर
- In: "Nok-Jhonk" song | Asha Bhonsle Mahendra Kapoor duet | Asha Bhonsle songs | Devnagri script lyrics by Avinash Scrapwala | Duet | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Mahendra Kapoor songs | Post by Raja | Rajesh Khanna songs | Rajesh Khanna songs by Mahendra Kapoor | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 4 Comments
This article is written by Raja, 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 : | 4017 | Post No. : | 15124 |
The years roll by – time stops for no one.
And, just like that, it is now 7 years since that day in 2012.
I still remember that day very well – I first got the news on Facebook.
One of my friends had posted “vaada tera vaada”, saying “RIP Rajesh Khanna”.
It shook me – I immediately checked Twitter for validation. (Now Twitter is known to post fake death news from time to time. Not so long ago, they had posted news of Mumtaz’s death – thankfully, fake.) But I wanted a second source.
Sadly, and I realized this very soon with a sinking feeling, the news on 18th July 2012 was not fake. Rajesh Khanna (or Kaka, as he was more affectionately known) HAD passed away. For the past year, he had been suffering from cancer – and the cancer had finally won.
I felt miserable that day. Not that I didn’t know he was suffering from cancer, but I never expected him to go when he did.
That day my Facebook status was
Kya samjhega ye aalam koi
Badaa bhaari hai dil ye mera
Ki le gaye ho saath safar pe tumhaare
Tukda jo kabhi tha dil ye mera
Rubbish poetry, I know – but hey, it did reflect my mood.
Those were the times when I’d seek refuge in my blog. I’d just dump my thoughts onto my blog, for my own sake. It was my way of releasing my feelings, not suppressing them within.
That day too I went to my blog, and wrote a piece for Rajesh Khanna. A personal piece – well, about as personal a piece that one can write about someone he has never met, someone whose many character flaws one acknowledges, and yet someone who was a big part of one’s childhood.
I’ve written about Kaka several times here, and I don’t want to bore readers by repeating stuff.
I’ll just say a few things, and then move on to the song.
Firstly, most times when I discuss Kaka with others (I don’t do much of this anymore), I get the following reactions.
Firstly, a criticism of his acting – mostly his set mannerisms, and his hamming.
Secondly, criticism about him as a person.
I’ve noticed that people who dislike Kaka, tend to dislike him rather intensely. 🙂 On one, or both, of the above counts.
And, I must admit, they would not be wrong.
The first point first.
Without doubt, Kaka’s acting lost its freshness after a few years – and was a big reason for his decline. His superstar success lasted only a few years. During this period, he acted in a whole lot of films. Both he, and his producers, wanted to cash in on his name. Just his name used to be enough to sell a film. Sure, the films were all successful – Kaka holds the record for maximum number of consecutive hits.
But over-exposure comes with its risks. Especially when you’re boxed into a method of acting, expected to conform to set mannerisms, and a set dialogue delivery style. Yes, they made you successful, but style wears out after a while. Kaka’s mannerisms did become an issue. That the storylines also were beginning to get thin, did not help.
Much later in his career, we got to see a different Rajesh Khanna. Not THE superstar anymore, he could afford to act differently, in different roles. Let’s not forget he got his break in films by winning an acting contest, so he couldn’t have been that bad an actor. 🙂
Now, to the second point.
Again, I have to agree. It’s no secret that Kaka allowed success to get to his head. His unprofessional, and possibly even mean, behaviour with colleagues and others, left a lot of people bitter. No doubt many would have been happy to see him go down. A point made even more stark when compared with the upcoming star, Amitabh Bachchan, who was the model professional actor, punctual and polite.
I will not defend Kaka on this front at all. Much later in life, he did realize this himself.
All I will say is, every one of us has failings. Maybe if Kaka’s success had been more gradual, he’d have been a different person. Failure teaches us much more than success – Amitabh had a string of failures before becoming a superstar.
One person’s life is often a lesson for another. Just as people can tell aspiring youngsters “Look at Amitabh – how he struggled early in his career, but his perseverance and professionalism made him a superstar”, they can also say “Look at Rajesh Khanna – how he let success get to his head at a young age, and destroyed his career and relationships”.
One can learn from both.
To me, while I accept these criticisms, I will always remember, and thank, Rajesh Khanna for giving me many wonderful memories in my childhood.
That tilt of the head, that smile, that kurta, that dialogue delivery – today people might mock all of this, but in those days, these are what millions swooned over. That “Pushpa, I hate tears” line is still one of the best-known lines in Hindi cinema.
His films of that era made me feel good when I saw them in the early 70s. Later, when I saw them again, I’d still smile at “rona kabhi nahin rona”, “yahaan wahaan saare”, “nainon mein nindiya hai”, “ye shaam mastaani” and a whole lot of other songs. They’d bring back memories of my childhood.
Like one of my best friends (in class I) would always sing “pyaar deewana hota hai” from Kati Patang. It was his favourite song. I liked it a lot too, but I’d counter him with “ye shaam mastaani”. I know it sounds silly, but these are not just songs for me – they have memories attached to them. Like the incident attached to “o mere dil ke chain” – I’ve discussed the incident here earlier.
And that’s the thing. Each person’s memories are different, and therefore connect with someone is different. And while I acknowledge all Kaka’s failings, I also want to give him back a little bit of that love that I got from watching his films during my childhood.
That’s also the reason for this post. I haven’t written for a while now, but Avinashji requested me to write a post for this occasion. I was hesitant, since I sincerely believe I’ve lost my writing ability. I even told Avinashji “I can’t write anything longer than a tweet now” :-). But he was kind enough to share with me a whole lot of Kaka songs not posted yet, so I could easily pick one.
Now to the song.
Initially I thought of posting a sad song, considering it is on Kaka’s death anniversary. But then I thought again.
What I’d like to remember most of Kaka is the joy I got from watching his films, from before his decline. I think, from up there, he’d also probably like most people to remember him for those films.
So today’s song is from one of his early films – Bandhan (1969). I remember seeing this film long ago, though I don’t remember the story now.
By the way, it is exactly 50 years since this film was released. 1969 was a milestone year for Kaka – this was the year he became a superstar with Aradhana. And Do Raaste was a huge hit too.
The song “jaana hai to jao” shows early glimpses of the superstar-to-be. One can see some of those mannerisms that would become his hallmark in the coming years. And it is always fun to see Kaka and Mumtaz together, even if this was a less-known film than their more famous films to come.
The song is in the voices of Mahendra Kapoor and Asha Bhosle. Not surprising that Mahendra Kapoor was used, considering music is by Kalyanji-Anandji. The MK-KA combo had a huge hit with Upkar (1967), so KA were happy to use MK again. And at that time, Rajesh Khanna was “just another hero”. Kishore Kumar had not yet become his voice. In fact, in this film, even Mukesh sings a happy song for Rajesh Khanna. 🙂
I hope you like the song.
Thanks for the memories, Kaka.
Whatever the world might say about you, remember, when it comes to romance in film,
“tere hi to sar pe mohabbat ka taaj hai”.
Song-Arrey jaana hai to jaao manaayenge nahin (Bandhan)(1969) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics(Provided by Avinash Scrapwala)
Arrey jaana hai to jaao
arrey jaana hai to jaao manaayenge nahin
jaana hai to jaao
manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin
eh
aana hai to aao
bulaayenge nahin
aana hai to aao
bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
hmph
aana hai to aao
dekhi hai dekhi hai dekhi
arrey dekhi hai dekhi hai
tere jaisi kitni chhoriyaan
marti hain marti hain mujhper
saare gaaon ki goriyaan
arrey budhhu hai budhhu hai bilkul
tu kya dulhan laayega
Lagta hai tu kunwaara mar jaayega
Lagta hai tu kunwaara mar jaayega
hum kahen aur kya
tera bhaiyya khada
tujhe
nazron mein uski giraayenge nahin
ha ha ha
nazron me uski giraayenge nahin
arre samjhe
jaana hai to jaao manaayenge nahin
jaana hai to jaao manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin
jaana hai to jaao
jab raaja mahaaraaja
koi mujhe byaahne aayega
jab raaja mahaaraaja
koi mujhe byaahne aayega
seene pe seene pe tere
saanp sa lahra jaayega
arrey tu hai bandariya
hmphh
chal chal
arrey tu hai bandariya
koi madaari hi tujhko le jaayega
kas ke maarega dande
nachaayega
kas ke maarega dande
nachaayega
haa haa
akl moti teri
O naak chhoti teri
mendhki ko to munh hum lagaayenge nahin
chhi chhi
mendhki ko munh hum lagaayenge nahin
eh
jaana hai to jaao
jaana hai to jaao bulaayenge nahin
jaana hai to jaao bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
jaa
jaana hai to jaao
———————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————
अरे जाना है तो जाओ
अरे जाना है तो जाओ
मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
ये
आना है तो आओ
बुलायेंगे नहीं
आना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
हं
आना है तो आओ
देखी है देखी है देखी
अरे
देखी है देखी है
तेरे जैसी कितनी छोरियां
मरती है मरती है मुझपे
सारे गाँव की गोरियाँ
अरे बुद्धू है बुद्धू है बिलकुल
तू क्या दुल्हन लाएगा
लगता है तू कुंवारा मर जाएगा
लगता है तू कुंवारा मर जाएगा
हम कहे और क्या
तेरा भैय्या खडा
तुझे
नज़रों में उसकी गिराएंगे नहीं
हं हं हं
नज़रों में उसकी गिराएंगे नहीं
अरे समझे
जाना है तो जाओ मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
जाना है तो जाओ
जब राजा महाराजा कोई
मुझे ब्याहने आएगा
जब राजा महाराजा कोई
मुझे ब्याहने आएगा
सीने पे सीने पे तेरे
सांप सा लहरा जाएगा
अरे तू है बंदरिया
चल चल
अरे तू है बंदरिया
कोई मदारी ही तुझको ले जाएगा
कसके मारेगा डंडे
नचाएगा
कसके मारेगा डंडे
नचाएगा
हां हां
अक्ल मोटी तेरी
ओ नाक छोटी तेरी
मेढकी को तो मुंह हम लगायेंगे नहीं
छी छी
मेढकी को मुंह हम लगायेंगे नहीं
ये
जाना है तो आओ
जाना है तो आओ
बुलायेंगे नहीं
जाना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
जा
जाना है तो जाओ
- In: "neend na aaye" song | Asha Bhonsle solo | Asha Bhonsle songs | Calling the beloved | Devnagri script lyrics by Sudhir | Feelings of heart | Ghazal | Guest posts | Lover's Complaint | Lyrics contributed by readers | Missing the loved ones | Poignant Song | Post by Sudhir | sad song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 1 Comment
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 : |
3999 | Post No. : | 15098 |
Saga Of Sleepless Nights – 5
– – – – – – – – – – – – – – –
un aankhon mein neend kahaan
jin aankhon se preetam door basey. . .
It was October of 2017, a year and 8 months ago. The previous episode of this series was posted then. After that – this long gap. There have been many a sleepless nights in the intervening months. Yet, somehow I could not get back into the groove with this series. And actually, and inadvertently I should say, two songs that I was saving for this series, got posted otherwise, depleting my list of song. Anyhow, not an issue – the wealth of the Hindi film song still will reveal more songs for this category. 🙂
‘Ek Masoom’, a film from 1969, appears to be a film that likely took some time to get going, get completed and released. This film was rare and unavailable for decades, and it has been recently unearthed and then made available in public domain.
It is a lesser known film of Tanuja, who is paired opposite to a gentleman named Salim Durrani. Yes, the name sounds very familiar, but this gentleman is not the India’s cricketing great, as even I had jumped to conclude first time when I read this name. The cricketer Salim Durrani has appeared in one film – BR Ishaara’s ‘Charitraheen’ (1973). The Salim Durrani appearing in ‘Ek Masoom’ is a different person. From checking the Geet Kosh, it seems that this film is the only one in which this non-cricketer Salim Durrani has appeared, just like his cricketing namesake.
The story of this film is the theme of same-face-confusion. A mix up is caused when two individuals who look exactly alike, happen to inadvertently wander into the life space of one another. One of the characters has links to the world of crime. And so, the mix up results in some predictable situations, where one individual is arrested for the crimes of the other. The matters reach the court, and are finally settled when both of them eventually reach the courtroom at the same time, come face to face with each other, and mix up is sorted out.
Of course, in the interim, the lives of the people connected with this same-face duo, become topsy turvy. The gentleman who is the straight and shareef person, is the love interest of Tanuja. But when the suspicions are cast on his actions and his character, misunderstandings are created, bringing agony to the lady.
This song is the result of that agony Tanuja is undergoing, spending sleepless nights – awaiting for some sign of good hope that may dispel her apprehensions, and clear the air around the man she loves.
And so the refrain from the poet –
jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
The sleepless nights bother those hearts that are torn asunder with the storms of emotions and anxiety. These storms will keep one awake. Thoughts of what could have been and what may possibly happen, rage through the mind. And the sleep – it is far, far away from the eyes.
Another sleepless night. And another song of sleepless nights.
Song – Jo Na Poore Hon Un Armaanon Ne Soney Na Diya (Ek Masoom) (1969) Singers – Asha Bhosle, Lyrics – Fareed Tonki, MD – N Dutta
Lyrics
jo na poore hon un armaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon
har ghadi tere khayaalon ne rulaaya mujhko
har ghadi tere khayaalon ne rulaaya mujhko
din to kya shab ko bhi
deewaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon
yaad jab bhi teri aai to phir aati hi gayi
yaad jab bhi teri aai to phir aati hi gayi
lakh chaaha magar afsaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon
jo tadapte hain wo tadpa bhi diya karte hain
jo tadapte hain wo tadpa bhi diya karte hain
raat bhar shamma ko parwaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों
हर घड़ी तेरे ख्यालों ने रुलाया मुझको
हर घड़ी तेरे ख्यालों ने रुलाया मुझको
दिन तो क्या शब को भी
दीवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों
याद जब भी तेरी आई तो फिर आती ही गई
याद जब भी तेरी आई तो फिर आती ही गई
लाख चाहा मगर अफसानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों
जो तड़पते हैं वो तड़पा भी दिया करते हैं
जो तड़पते हैं वो तड़पा भी दिया करते हैं
रात भर शम्मा को परवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों
- In: "Aankh" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Drunkard song | Female drunkard song | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 1 Comment
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.
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Blog Day : |
3915 | Post No. : | 14978 | Movie Count : |
4094 |
Missing Films of 1960s – 105
– – – – – – – – – – – – – – –
Slowly moving towards closure, we now have less than 10 more films to go for this series, for which songs are available. Then there is a whole batch of about 80 films from this decade, which seem to have disappeared without a trace (so far). I will give the statistics and other details when we come down to the closing post.
The film I present today is ‘Mujhe Seene Se Laga Lo’ from 1969. As the name suggests, this film is most probably about a child seeking acknowledgement and love from one (or both) parents. My surmise is based on checking out the list of songs for this film. Geet Kosh lists 6 songs for this film, and four of these songs are very clearly child related songs – one is a lullaby, then one is a duet with a female voice and a child’s voice, the third is a child’s entreaty requesting for parent’s love, and the fourth is a duet, about a mother searching for a lost child. And incidentally, another film comes to mind – a similar sounding name ‘Aa Galey Lag Jaa’ (1973), which is also a film about a child seeking his father – a very famous and popular song – “Tera Mujhse Hai Pehle Ka Naata Koi“.
The other two songs are non-child related. One is a sad/philosophical song in male voice – about departing with a load of sorrows. And the sixth song, which is the song presented today, is a song in female voice – a drunkard song that could well be a club or a bar dance song, or a song of enticement / seduction. Since the video clips are not available, I request our knowledgeable readers who may have seen this film, to please add more information about the song and the film.
The film is produced under the banner of Hari Darshan Chitra, Bombay and is directed by Dutta Dharmadhikari. The cast of actors as per Geet Kosh listings is Bunty, Kumar Sen, Meena Rai, Paresh Kumar, Dharmesh, Akhil Kumar, Ved Bhushan, Santosh Virdi, Gopal Dutt, KS Pawar, Vinod Verma, Ang Pal, Uma Khosla, Gold Flake, Tuntun, and Sarita. You will notice that the list is topped by a child actor – Bunty, supporting the surmise about this being a child centric film. An interesting side note here – the name Bunty rang a faint bell and I checked. My hunch turned out to be correct. Bunty is the same child artist who starred in Chetan Anand’s ‘Aakhri Khat’ (1966) – another film about an infant child lost in a big city, searching for its parents
The six songs in this film are shared amongst three songwriters – Prem Dhawan, Qamar Jalaalabaadi and Mahendra Dehlvi. The song we present today is from the pen of Qamar Jalaalabaadi. Music is by Hansraj Behl.
The singing voice is of Asha Bhosle. As with many other such songs, her rendition is superb – a lady who is so much in stupor, is requesting that the glass of wine be taken from hands, as she may not be able to hold it. One of the best songs in the female drunkard category – my opinion. 🙂
Lyrics for this song have been sent in by Prakash ji.
Song – Makhmoor Nigaahon Mein Teri Doob Gaye Hum (Mujhe Seene Se Laga Lo) (1969) Singer – Asha Bhosle, Lyrics – Qamar Jalaalabaadi, MD – Hansraj Behl
Lyrics (Provided by Prakashchandra)
makhmoor nigaahon mein teri
doob gaye hum
saagar ko zara haath se lena
ke chale hum
makhmoor nigaahon mein teri
doob gaye hum
hum ko bana ke sharaabi
chhoti suraahi mein gulaabi
hum ko bana ke sharaabi
chhoti suraahi mein gulaabi
parde mein hain
dulhan kai
parde mein hain
dulhan kai
aao milaayen tujhe hum
saagar ko zara haath se lena
ke chale hum
saagar ko zara haath se lena
ke chale hum
gir na jaaun ladkhadaa ke
dena sahaara aage aa ke
gir na jaaun ladkhadaa ke
dena sahaara aage aa ke
jaao na door
mere huzoor
jaao na door
mere huzoor
behke mere qadam
saagar ko zara haath se lena
ke chale hum
haaye
saagar ko zara haath se lena
ke chale hum
aankhon se tujhko pila doon
saagar ke saagar chhalka doon
aankhon se tujhko pila doon
saagar ke saagar chhalka doon
kuchh tum badho
kuchh hum badhen
kuchh tum badho
kuchh hum badhen
bhool jaayen saare gham
saagar ko zara haath se lena
ke chale hum
haaye
makhmoor nigaahon mein teri
doob gaye hum
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मख़मूर निगाहों में तेरी
डूब गए हम
सागर को ज़रा हाथ से लेना
के चले हम
मख़मूर निगाहों में तेरी
डूब गए हम
हमको बना के शराबी
छोटी सुराही में गुलाबी
हमको बना के शराबी
छोटी सुराही में गुलाबी
पर्दे में हैं
दुल्हन कई
पर्दे में हैं
दुल्हन कई
आओ मिलाएँ तुझे हम
सागर को ज़रा हाथ से लेना
के चले हम
सागर को ज़रा हाथ से लेना
के चले हम
गिर ना जाऊँ लड़खड़ा के
देना सहारा आगे आ के
गिर ना जाऊँ लड़खड़ा के
देना सहारा आगे आ के
जाओ ना दूर
मेरे हुज़ूर
जाओ ना दूर
मेरे हुज़ूर
बहके मेरे कदम
सागर को ज़रा हाथ से लेना
के चले हम
हाए
सागर को ज़रा हाथ से लेना
के चले हम
आँखों से तुझको पिला दूँ
सागर के सागर छलका दूँ
आँखों से तुझको पिला दूँ
सागर के सागर छलका दूँ
कुछ तुम बढ़ो
कुछ हम बढ़ें
कुछ तुम बढ़ो
कुछ हम बढ़ें
भूल जाएँ सारे ग़म
सागर को ज़रा हाथ से लेना
के चले हम
हाए
मख़मूर निगाहों में तेरी
डूब गए हम
Naam Gulaabi Hai Mera
Posted on: April 6, 2019
- In: Asha Bhonsle solo | Asha Bhonsle songs | Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Introduction song | Lyrics contributed by readers | Post by Sudhir | Rare song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 3 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 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 : |
3914 | Post No. : | 14975 | Movie Count : |
4093 |
Missing Films of 1960s – 104
– – – – – – – – – – – – – – –
Yesterday, unbeknownst to myself, I crossed a personal milestone on the blog. I posted my 1300th article, and song. 🙂 The past few weeks, well, months – have been very slow as far as my activity on the blog is concerned. My last century milestone was – believe you me – full eleven months ago. I had crossed the the 1200th mark in May last year. And now it is April. The activity being so low, it did not even come to mind to check and see what my score was. And so, unmindful of it, I reached the 1300th post, and just posted the song.
Imagine my surprise when I saw a prompt message from Avinash ji, congratulating me for the milestone. I scrambled to check on the blog and my excel database. Yes, Avinash ji was right on the dot, and I had missed it. . . wo. . . So this discovery was followed by a brief exchange with Atul ji. We inserted the customary sentence in the banner of the post, announcing the milestone. I told Atul ji how I had missed it myself. His response came back – that yes, he was aware, and was waiting for a special post for the occasion. 😀 😀 And I am like – ye lo, aur phans gaye!!! Here I am, saving the grey cells and the idea energy for the 15K celebration post, and now I have to do one more special just before. Goodness. So I am going to give it a try, do not know what is going to be the outcome. 🙂
Generally, when I run out of ideas, then the easiest starting point I have found is to start dabbling in numbers. (I think Atul ji also does the same. . . 🙂 ). So here goes. Counting this post, our total tally on this blog is 14975. Of these, only 3948 are posts that are guest posts. This computes to ~ 26.4% of the total. The implication here is significant and evident. The remaining 73.6% is the handiwork of our fearless leader – a whopping eleven thousand twenty seven posts have been done by Atul ji. If I extend this analysis to the next logical step – we are at 3914th day of blog’s continued activity. Simple calculation shows that Atul ji has been posting on an average of 3.8 (well, nearly 4) posts on a daily basis, for the past 10 years, 8 months and 19 days – WITHOUT A BREAK. Compare that to the guest posting activity. Normalizing that over the entire stretch of 3914 days, the average guest post over this entire period is 1 (ONE) per day.
I will extrapolate that now, even one step further. Till date, 31 guest posters have been accounted for on our blog, with no. of individual posts ranging from 1 to 1300. Ah yes, I could get into a lot of statistics here trying to compute the normal deviation, the standard deviation, the medians and the percentiles. But I will not bore you with that grand analysis. I present another perspective to this division of effort across the team, which is abundantly spectacular, to say the least. Atul ji has been producing 4 times more posts single handedly in comparison to this platoon of 31 guest posters, ON A DAILY BASIS. Now what do you have to say to that? 🙂 And if you ask me what I have to say to that – this is what I have to say to that – if ever I get into a kabaddi tournament, I will simply desert the game, if Atul ji is in the opposing team. 😀 😀
We all put together are Lilliputians to Atul ji’s Lemuel Gulliver. I have exhausted my entire stock of headgear to doff at this fantastic accomplishment – a prolificacy unparalleled anywhere in the digital domains.
And so, after this analysis, अब मैं क्या कहूँ अपने तेरह सौ के बारे में। 😀 😀 Just this – अगर कबड्डी खेलेंगे तो अतुल जी, मैं आपकी टीम में ही रहूँगा। 😀 😀
But of course, the joy of the journey is massive, and continues undiminished. क्या क्या तो गाने मिल रहे हैं!! और क्या क्या पता चल रहा है कितने ही गुमनाम कलाकारों के बारे में!!
This journey is laden with discoveries so abundant – one is running out of nerve cell memories to keep all this information bounded within. The known and the famous aside, and the well heard and popular aside – the joy of discovering discovering jewels of the diamond quality; and if gold it is 24 carats pure, and if silver – well it is सौ फीसदी टंच (100% pure). Whatever measure you want to throw at it, this travelogue of the discovery of musical gems is the means and the end in itself, a blessed reward unto itself.
Take this song today. The film is ‘Beqasoor’ from 1969. And the mind wants to say – “अब क्या मिसाल दूँ मैं तुम्हारे शबाब की”. I heard this song for the first time today. As I was browsing through the list of remaining films of 1960s, I picked on this film. In the process to locate the songs of this film, I was able to track down two of them online – both Rafi Sb duets, one with Lata Mangeshkar and one with Suman Kalyanpur. Checking the Geet Kosh, I find four songs listed for this film. The remaining two are Asha Bhosle solos, and as far as I could try and track, I am not able to locate these Asha solo numbers anywhere online. So, delving back into my collection, I am immediately able to locate these songs. I play the first one, and immediate reaction is – this song comes online today.
A lilting racy rhythm, a very catchy arrangement of the instruments, and a very appealing construction – quite the handiwork of Dattaram. Words are from the pen of Farooq Qaiser. And the rendering by Asha ji, simply superb. Even in the absence of the video clip, it is easy to surmise that this would be a song of Helen type. As I check out the cast list for this film, I do not find Helen in it, but another name would possibly do justice to this type of a song. The list of actors is given as Dara Singh, Sanjana, Maruti, Ulhas, Shaam Kumar, Ratnamala, Dhanraj, V Gopal, Habeeb, Sadhana Khote, Dilip Dutt, Meenakshi, and Madhumati. Possibilities are more than one. But I would not hazard a guess. I would request the circle of readers and friends – if anyone has seen this film, please add more information about this song and the film itself.
Wonderfully superb discovery. Listen and enjoy.
Song – Naam Gulaabi Hai Mera (Beqasoor) (1969) Singer – Asha Bhosle, Lyrics – Farooq Qaiser, MD – Dattaram
Chorus
Lyrics
naam gulaabi hai mera
pyaar sharaabi hai mera
naam gulaabi hai mera
o ho pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit eh he)
(eh he pu pudit)
mere humdum
sambhal ke rehna
(pu pudit)
ho
(eh he pu pudit)
ho
ho
ho naam gulaabi hai mera
la ra la la la laaa
(aaaaaaaa aaaaaaaaa)
ra la la la laaa
(aaaaaaaa aaaaaaaaa)
la la la la laaa
la la lalalalal laaa
aai hoon
aa haaaaaa
hhaa door se
aa haaaaaa
haa meri jaan saj ke
dekh le
aa haaaaaa
hhaa jaayega
aa haaaaaa
aaj kaun bach ke
tera dil kho jaaye
hey
mera tu ho jaaye
hey
tera dil kho jaaye
hey
mera tu ho jaaye
oo ho ho ho
ho..oo ho ho..oo..oo
naam gulaabi hai mera
pyaar sharaabi hai mera
o naam gulaabi hai mera
hoy pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit)
(eh he pu pudit)
mere humdum
sambhal ke rehna
(pu pudit)
ho
(eh he pu pudit)
ho
ho
ho naam gulaabi hai mera
ye nazar
aa haaaaaa
aa ha ye samaa
aa haaaaaa
aa ha keh raha jee le
pyaar ki
aa haaaaaa
aa ha pyaas hai
aa haaaaaa
mere saath pee le
na peena pyaalon se
hey
pilaaun aankhon se
hey
na peena pyaalon se
hey
pilaaun aankhon se
oo ho ho ho
ho..oo ho ho..oo..oo
naam gulaabi hai mera
pyaar sharaabi hai mera
naam gulaabi hai mera
o ho pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit)
ho
(eh he pu pudit)
ho
ho naam gulaabi hai mera
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
नाम गुलाबी है मेरा
प्यार शराबी है मेरा
नाम गुलाबी है मेरा
ओ प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट एह हे)
(एह हे पू पुडीट)
मेरे हमदम
संभल के रहना
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो
हो नाम गुलाबी है मेरा
ला रा ला ला ला ला॰॰आ
(आsssssss आsssssssss)
रा ला ला ला ला॰॰आ
(आsssssss आsssssssss)
ला ला ला ला ला॰॰आ
ला ला लालालालाल॰॰ला
आई हूँ
आ हा॰॰आ
हहा दूर से
आ हा॰॰आ
हाँ मेरी जान साज के
देख ले
आ हा॰॰आ
हहा जाएगा
आ हा॰॰आ
आज कौन बच के
तेरा दिल खो जाये
हे
मेरा तू हो जाये
हे
तेरा दिल खो जाये
हे
मेरा तू हो जाये
ओ हो हो हो
हो॰॰ओ हो हो॰॰ओ॰॰ओ
नाम गुलाबी है मेरा
प्यार शराबी है मेरा
ओ नाम गुलाबी है मेरा
होय प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट)
(एह हे पू पुडीट)
मेरे हमदम
संभल के रहना
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो
हो नाम गुलाबी है मेरा
ये नज़र
आ हा॰॰आ
आ हा ये समां
आ हा॰॰आ
आ हा कह रहा है जी ले
प्यार की
आ हा॰॰आ
आ हा प्यास है
आ हा॰॰आ
मेरे साथ पी ले
ना पीना प्यालों से
हे
पिलाऊँ आँखों से
हे
ना पीना प्यालों से
हे
पिलाऊँ आँखों से
ओ हो हो हो
हो॰॰ओ हो हो॰॰ओ॰॰ओ
नाम गुलाबी है मेरा
प्यार शराबी है मेरा
नाम गुलाबी है मेरा
ओ हो प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो नाम गुलाबी है मेरा
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