Posts Tagged ‘Asha Bhosle’
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 : |
5539 | Post No. : | 17999 |
What is 90? Well, nothing more than a number.
And yes, it is also a milestone in life, that many a blessed people arrive at, and continue to move ahead. It brings up another thought – what is life at 90? No need to elaborate on that one. Yes, we all have seen folks in our families, in friend circles, in the group of acquaintances. Folks who have arrived at the 90th milestone, and continue. Sometimes those impressions are not so palatable. Sometimes the physical bodies, and sometimes even the spirit, is so tenuous and vulnerable. Yes, it is wonder to be at 90, and beyond. Sometimes it is a pleasant wonder, and many a times it is not such a pleasant wonder.
And then, we have some special people we know, whose spirit, and the physical expressions are in such a heightened state of life that they will celebrate the milestone with a major concert. In Dubai. In the company of 9,000 cheering fans. Asha took the stage and performed a huge Broadway style program that included snippets from her entire career.
She is born in 1933 (Sep 8). That is just two years some months from the time that the Hindi cinema acquired sound, and started to sing.
It is 1943 – and she records her first song for Marathi cinema – “Chala Chala Nav Bala” for the film ‘Majha Bal’. She is only ten years old.
Five years later, it is 1948. She records her first song for Hindi cinema in the company of Geeta Roy (later Geeta Dutt) and Zohrabai Ambala. Film is ‘Chunaria’. The composer’s baton is in the hands of the master Hansraj Behl. And the song – “Jaage More Bhaag Sakhi Ri, Saawan Aaya Re”.
Soon, it is 1949. The Hindi cinema is abuzz with the sounds of “Aayega Aane Waala, Aayega” and her elder sibling Lata is ascending the trajectory of a long and powerful career. And Asha? She makes her first solo recording for Hindi cinema. The film is ‘Raat Ki Rani’. Music is once again under the direction of Hansraj Behl. She records two solo songs – “Hain Mauj Mein Apne Begaane, Do-Chaar Idhar, Do Chaar Udhar”, and “Hamaare Dil Par Tera Ikhtiyaar Hona Tha”.
She is 16. And she decides to elope with Ganpatrao Bhosle, 15 years elder to her. The start of a very eventful and turbulent life.
Her career and her life’s passages are documented so many times over already. She turned 90 on Sep 8, nine days ago. Her celebration was this mega event in Dubai. She was on stage for three hours and she performed so many of her major hits that night. At the end of it, she commented – that it is a delight that she can still do this. Eighty years of musical destiny and an acknowledged record of 12,000+ recordings – a track record that surely is going to be very hard to surpass.
The repertoire that night included “Aaiye Meharbaan, Baithiye Jaan e Jaan” from ‘Howrah Bridge’, “O Haseena Zulfon Waali Jaan e Jahaan” and “Aa Ja Aa Ja Main Hoon Pyaar Tera” from “Teesri Manzil’, “Dum Maro Dum” from ‘Hare Rama Hare Krishna’, “Do Lafzon Ki Hai Dil Ki Kahaani” from ‘The Great Gambler’, “In Aankhon Ki Masti Ke” and “Dil Cheez Kya Hai Aap Meri Jaan Lijiye” from ‘Umrao Jaan’, “Reshmi Salwar Kurta Jaali Ka” from ‘Naya Daur’, “Koi Shehri Babu Dil Lehri Babu Haaye Re” from ‘Loafer’, “Jab Chhaye, Mera Jaadu” from ‘Lootmaar’, “Chura Liya Hai Tum Ne Jo Di Ko” from ‘Yaadon Ki Baraat’, “Jhumka Gira Re,Bareilly Ke Bazaar Mein” from ‘Mera Saaya’, “Poochho Na Yaar Kya Hua” from ‘Zamaane Ko Dikhana Hai’, “Ye Mera Dil Pyaar Ka Deewaana” from ‘Don’, “Maine Hothon Se Lagaai To Hungama Ho Gaya” from ‘Anhonee’, and so so many more.
And then there was also a poignant pause full of sadness, when Asha fumbled through memories and all her co-singers that she has recorded with. With somewhat of a tremble in her voice she also rendered on stage the Rafi song “Arey Dekhi Zamaane Ki Yaari, Bichhde Sabhi Baari Baari” from ‘Kaaghaz Ke Phool’, and Kishore Da’s “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Muqaam” from ‘Aap Ki Kasam’.
In the beginning of the program, she commented – that a lot of people have come from a lot of places, to see a नब्बे साल की बुढ़िया। At that moment on stage, she looked anything but a बुढ़िया.
And we come back to where we were – that 90 is just a number. And that versatility is the name of the game. Or to say – versatility, thy name is Asha Bhosle.
September 8 is also the birth anniversary of music director S Mohinder. Asha has recorded about 70 songs with this composer who has created some real magic for the Hindi film screen. I remember my meeting with him, few years back in Mumbai. Bakshish ji and I had the good fortune of being with him for a meeting that lasted a good three and a half hours. His memory was sharp and clear and his own grasp on the tunes was remarkable.
He remembered Asha with fondness, and all the song she has sung under his direction. He shared a memory from many years earlier. It was 2.30 am in Mumbai. He was sleeping and the phone rang. He picked up, and it was Asha calling from abroad (it was Sydney or maybe USA, I do not clearly recall). She was in the midst of a concert. She had just rendered the shabad “Mere Sahib, Mere Sahib” on stage. It is a shabad that is composed by S Mohinder. And she was calling to share the grand standing ovation that she got from the audience present. It was a moment of emotions and she simply had to call him and share it.
In today’s post, I am presenting a song from a lesser known film ‘Khoobsurat Dhokha’ from 1959. From the sound of it, it is most likely a club dance song with a very foot tapping rhythm. Words are from the pen of Anand Bakshi, and the composition is by S Mohinder. A lovely lilting song to enjoy.
Remembering S Mohinder on his birth anniversary.
And belatedly wishing Asha Bhosle, many many more such healthy and musical returns of September 8. Be healthy, and continue to be active with what you love the most.
Song – Lootengi Aankhen Sharmilee, Sambhalna (Khoobsurat Dhokha) (1959) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – S Mohinder
Chorus
Lyrics
lootengi aankhen sharmilee
sambhalna
kaatengi nazren kateeli
sambhalna
lootengi aankhen sharmilee
jhoom jhoom uthe mastaane
mere deewane
arrr arrr
bin piye sabhi ne pee li
lootengi aankhen sharmilee
sambhalna
kaatengi nazren kateeli
sharm o hayaa se
hmmmm
naaz o adaa se
hmmmm
roop ne li hain angdaaian
la la la laaa
hun dilruba main
hmmmm
jaan e wafa main
hmmmm
laakh karun main bewafaaian..aan
haaye haaye nigaahen ye raseeli
sambhalna
tauba nigaahen ye raseeli
jhoom jhoom uthe mastaane
mere deewane
arrr arrr
bin piye sabhi ne pee li
lootengi aankhen sharmilee
sambhalna
kaatengi nazren kateeli
wo bewafa ho
hmmmm
jo na fida ho
hmmmm
dekh ke mukhda ye chaand sa
la la la laaa
aankhen mila lo
hmmmm
dil mein basa lo
hmmmm
chaand ka tukda ye chaand sa
haaye haaye ye palken nasheeli
sambhalna
tauba ye palken nasheeli
jhoom jhoom uthe mastaane
mere deewane
arrr arrr
bin piye sabhi ne pee li
lootengi aankhen sharmilee
sambhalna
kaatengi nazren kateeli
laai jawaani
hmmmm
raaten suhaani
hmmmm
kaat lo zulfon ki chhaaon mein
la la la laaa
saare maze hain
hmmmm
saare nashe hain
hmmmm
shokh haseenon ki adaaon mein
haaye haaye ye baahen lachkilee
sambhalna
tauba ye baahen lachkilee
jhoom jhoom uthe mastaane
mere deewane
arrr arrr
bin piye sabhi ne pee li
lootengi aankhen sharmilee
sambhalna
kaatengi nazren kateeli
sambhalna
lootengi aankhen sharmilee
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
लूटेंगी आँखें शर्मीली
सम्भलना
काटेंगी नज़रें कटीली
सम्भलना
लूटेंगी आँखें शर्मीली
झूम झूम उठे मस्ताने
मेरे दीवाने
अर्रर्र अर्रर्र
बिन पिये सभी ने पी ली
लूटेंगी आँखें शर्मीली
सम्भलना
काटेंगी नज़रें कटीली
शर्म ओ हया से
हम्मममम
नाज़ ओ अदा से
हम्मममम
रूप ने ली हैं अंगड़ाइयाँ
ल ल ल ला
हूँ दिलरुबा मैं
हम्मममम
जान ए वफा मैं
हम्मममम
लाख करूँ मैं बेवफाइयां॰॰आं
हाय हाय निगाहें ये रसीली
सम्भलना
तौबा निगाहें ये रसीली
झूम झूम उठे मस्ताने
मेरे दीवाने
अर्रर्र अर्रर्र
बिन पिये सभी ने पी ली
लूटेंगी आँखें शर्मीली
सम्भलना
काटेंगी नज़रें कटीली
वो बेवफा हो
हम्मममम
जो ना फिदा हो
हम्मममम
देख के मुखड़ा ये चाँद सा
ल ल ल ला
आँखें मिला लो
हम्मममम
दिल में बसा लो
हम्मममम
चाँद का टुकड़ा ये चाँद सा
हाय हाय ये पलकें नशीली
सम्भलना
तौबा ये पलकें नशीली
झूम झूम उठे मस्ताने
मेरे दीवाने
अर्रर्र अर्रर्र
बिन पिये सभी ने पी ली
लूटेंगी आँखें शर्मीली
सम्भलना
काटेंगी नज़रें कटीली
लाई जवानी
हम्मममम
रातें सुहानी
हम्मममम
काट लो ज़ुल्फों की छांव में
ल ल ल ला
सारे मज़े हैं
हम्मममम
सारे नशे हैं
हम्मममम
शोख हसीनों की अदाओं में
हाय हाय ये बाहें लशकीली
सम्भलना
तौबा ये बाहें लशकीली
झूम झूम उठे मस्ताने
मेरे दीवाने
अर्रर्र अर्रर्र
बिन पिये सभी ने पी ली
लूटेंगी आँखें शर्मीली
सम्भलना
काटेंगी नज़रें कटीली
सम्भलना
लूटेंगी आँखें शर्मीली
- In: Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Inspirational song | Lyrics contributed by readers | Post by Sadanand Kamath | Song from Biopic Film | Songs of 2010s (2011 to 2020) | Songs of 2019 | Songs of Encouragement | Yearwise breakup of songs
- 4 Comments
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.
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Blog Day : |
5533 | Post No. : | 17991 | Movie Count : |
4814 |
‘Saand Ki Aankh’ (2019) was produced by Anurag Kashyap under the banner of Reliance Entertainment and was directed by Tushar Hiranandani. The main cast included Taapsee Pannu, Bhumi Pednekar, Prakash Jha, Vineet Kumar Singh, Preeta Bakshi, Sara Arjun, Kavita Vaid, Himanshu Sharma, Shad Randhawa, Nikhat Khan etc.
The film is a biopic of two aged women from the Johri village in Uttar Pradesh (UP) – Chandro Tomar and Prakashi Tomar who had become the professional sharpshooters during their 60s and won many awards and medals despite facing obstacles from their patriarchs. They had appeared in Amir Khan’s TV Show ‘Satyamev Jayate’, Season-1, Episode 11. Currently, their granddaughter, Seema Tomar is the only Indian woman shooter who has won the Silver Medal at the International Shooting Sport Federation World Cup held in England in 2010.
The film is an affirmative attempt on woman’s emancipation. The initial a month long shooting of the film was done in Chandro and Prakashi’s old house in Johri village and around in the Baghpat district of UP. There is some influence of Haryanvi dialect in Johri village due to its proximity to Haryana. Hence, in the dialogues, the film has used Haryanvi dialect mix with Hindi. During the shooting, Taapsee Pannu stayed with the joint family of Chandru and Prakashi for more than a month to get familiar with their way of life and they spoke with their body language. Bhumi Pednekar may have learnt the Haryanvi dialect in-house as her mother, Sumitra Hooda-Pednekar is from Haryana.
The gist of the story of the film is as under:
Chandro (Bhumi Pednekar) and her sister-in-law, Prakashi (Taapsee Pannu) based in a village in Uttar Pradesh, are a part of a patriarchal joint family. Now grandmothers, they have spent most of their six decades of life doing household chores, working in the agricultural fields, collecting fodders for their milch animals and looking after children. The men-folks of the family led by the eldest, Rattan Singh Tomar (Prakash Jha) who is also the Sarpanch of the village spend most of their time sitting on the cots kept in the verandah and smoking hookah. Chandro and Prakashi feel that they have spent nearly six decades of their life without a purpose. In the back of their mind, they hate patriarchal ways of the society, but they have accepted the system as a fait–accompli. Their smiling faces show a life of fulfillment.
Dr. Yashpal (Vineet Prakash Singh) has recently opened a shooting academy in the village. Chandro and Prakashi takes their granddaughters to enrol in the shooting academy on the assumption that after becoming shooters, they will get government job. Out of curiosity, the grandmothers hold the shooting guns and discover that they have skill to shoot the bull’s eye. Over a period of time, they become expert in shooting under the guidance of Dr Yashpal and participate in many local and regional shooting competitions and winning many medals. The men-folks in the family are not aware of what these two women have achieved as they used to go for shooting practices in the pretext of visiting the temples and attending satsang. The grandmas now encourage their granddaughters, Shefali (Sara Arjun) and Seema (Pritha Bakshi) to become shooters.
Soon, the men-folks of the family learn through newspapers what Chandro and Prakashi have done which was considered taboo for women for going out and mingling with men. To add to their insult, they also learn that their granddaughters are also being trained for shooting. The hell breaks out in the family with Rattan Singh throwing out all the medals won by Chandro and Prakashi and ordering them to stop participating in the shooting competitions. Somehow, with the great efforts by Dr Yashpal, Rattan Singh reluctantly allows the granddaughters to join the shooting academy.
The film ends with Seema, the granddaughter of Prakashi receiving a rousing welcome in her village after winning the silver medal in shotgun shooting in an international competition in London. The family patriarch, Rattan Singh Tomar and other elder male members of the family join the villagers in the celebrations.
When Bhumi Pednekar and Taapsee Pannu were chosen to play the roles of Chandro and Prakashi who were in their 60s, there were some murmurs in the film industry as to why some elder actors with their proven ability to do such roles were not considered. After watching the film, I feel that both of them have justified their selection with immaculate delivery of dialogues in Haryanvi dialect coupled with their body language. Both have acted superbly. Their on-screen chemistry make us believe that they are real sister-in-law. Both of them won the Filmfare and Star Screen Critics’ Awards for Best Actress.
For the first time, I have seen Prakash Jha in a major role in the film. He acts superbly as the patriarch of the family with a villainous touch. However, as the film comes to an end, I do not hate his character. He has acted like a typical Haryanvi tau who wants his writ to be followed by his family without appearing him to be a confrontist.
The film has 5 songs written by Raj Shekhar which have been set to music by Vishal Mishra. I am presenting the first song, “Aasmaan Ooncha Hai Mera, Tu Hi Chhoo Lena” from the film to appear on the Blog. The song is rendered by Asha Bhosle. To the best of my knowledge, this is Asha Bhosle’s last solo song released for a Hindi film as on date.
The song is played in the background while granddaughters are leaving home for shooting training in Delhi. The situations depict the feelings of Chandro and Prakashi their granddaughters are facing initial hiccups in staying away from the family for a long time for pursuing their career. During their training the scenes also show the difficulties they faced and overcome these obstacles to achieve their dream of becoming the country’s top shooters. In their pursuits, their grandmothers motivate them over the phone. The song is a mix of melancholy and inspiration in keeping with the scenes.
Music director, Vishal Mishra had said in an interview which appeared on ‘Cinema Express’ dated October 8, 2019, as to why he was keen to take Asha Bhosle for the song who had not sung for the film for a long time. I quote:
I had to make a melody that had a special divinity to it. As soon as the song was composed, lyricist Raj Shekhar and I wondered how we could convince Asha ji to sing this track. After listening to it, Asha ji loved it so much that she said, “aaj kal aise gaane bante nahin hain” (such songs are not made anymore).
It is just a coincidence that the lyrics of the song fit well on Asha Bhosle’s early life when she was struggling to make a career in playback singing. Her husband had thrown her out of his house and pregnant Asha with her two children had taken shelter in her mother’s house some time in the mid-1950s. I visualise this song as if some celestial voice has inspired Asha Bhosle in those difficult years to boldly face the problems. Despite many ups and down in her professional career and in her personal life, Asha Bhosle never gave up. And she overwhelmingly succeeded in ‘touching the sky’ (“aasmaan….. chhoo lena” in the lyrics) in her singing career. Note a line in the song, “सारी दुनिया साथ ही फिर गाएगी, हाँ गाएगी”.
After listening this song, now I know as to why music director, Vishal Mishra and the lyricist, Raj Shekhar were keen to get then 86-year Asha Bhosle to render this melancholic and inspirational song. This song touched my heart.
Video
Audio
Song – Aasmaan Ooncha Hai Mera, Tu Hi Chhoo Lena (Saand Ki Aankh) (2019) Singer – Asha Bhosle, Lyrics – Raj Shekhar, MD – Vishal Mishra
Lyrics
hmm hmm hmm
hmm hmm hmm…
hmm hmm hmm
hmm hmm hmm…
hmm hmm hmm hmm
hmm hmm
hmm hmm hmm hmm
hmm hmm
aasmaan ooncha hai mera
tu hi chhoo lena
mere saare sapne tere
tu hi jee lena
raat hai gehri badi
par jaayegi
ye jaayegi
raat hai gehri badi
par jaayegi
haan jaayegi
aasmaan ooncha hai mera
tu hi chhu lena…
mere saare sapne tere
tu hi jee lena….
raat hai gehri badi
par jaayegi
haan jaayegi
raat hai gehri badi
par jaayegi
ye jaayegi
o ri laado mann kare to
o ri laado mann kare to
titli ban jaana
odhni ke rang le
ud jaana…..
ja falak pe kuchh sitaare
neeche giraana
kitni ho tirti (??) hawa
tu naa aana….aa
tujhko udta dekhne ko hum bhi aayenge
saath un unchayiyon par muskuraayenge
ujli subah teri khaatir aayegi
haan aayegi
raat hai gehri badi
par jaayegi
ye jaayegi
ab nahin bas baat dekho…
ab nahin bas baat dekho
teri yaa meri
tujhko dekhen kitni aankhen
sapne bhari
kitno ka hi kal chhupa hai
aaj mein tere
unke suraj bhi khilenge
saath tere..
meri teri unki khaatir
karna tujhe hai
sab ki ummeeden hain tujhse
udna tujhe hai
saari duniya saath hi phir gaayegi
haan gaayegi
raat hai gehri badi
par jaayegi
haan jaayegi
raat hai gehri badi
par jaayegi
haan jaayegi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म
आसमां ऊंचा है मेरा
तू ही छू लेना
मेरे सारे सपने तेरे
तू ही जी लेना
रात है गहरी बड़ी
पर जाएगी
ये जाएगी
रात है गहरी बड़ी
पर जाएगी
हाँ जाएगी
आसमां ऊंचा है मेरा
तू ही छू लेना
मेरे सारे सपने तेरे
तू ही जी लेना
रात है गहरी बड़ी
पर जाएगी
हाँ जाएगी
रात है गहरी बड़ी
पर जाएगी
ये जाएगी
ओ री लाडो मन करे तो॰ ॰ ॰
ओ री लाडो मन करे तो
तितली बन जाना
ओढ़नी के रंग ले
उड़ जाना॰ ॰ ॰
जा फ़लक पे कुछ सितारे
नीचे गिराना
कितनी हो तीरती (??) हवा
तू ना आना
तुझको उड़ता देखने को हम भी आएंगे
साथ उन ऊंचाईओं पर मुस्कुराएंगे
उजली सुबह तेरी खातिर आएगी
हाँ आएगी
रात है गहरी बड़ी
पर जाएगी
ये जाएगी
अब नहीं बस बात देखो॰ ॰ ॰
अब नहीं बस बात देखो
तेरी या मेरी
तुझको देखें कितनी आँखें
सपने भरी
कितनों का ही कल छुपा है
आज में तेरे
उनके सूरज भी खिलेंगे
साथ तेरे
मेरी तेरी उनकी खातिर
करना तुझे है
सबकी उम्मीदें हैं तुझसे’
उड़ना तुझे है
सारी दुनिया साथ ही फिर गाएगी
हाँ गाएगी
रात है गहरी बड़ी
पर जाएगी
हाँ जाएगी
रात है गहरी बड़ी
पर जाएगी
ये जाएगी
Naache Mera Pyaar Dekho Na
Posted on: July 31, 2023
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Mujra song | Post by Sadanand Kamath | Songs of 2000s (2001 to 2010) | Songs of 2008 | Yearwise breakup of songs
- 7 Comments
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 : |
5491 | Post No. : | 17926 | Movie Count : |
4792 |
In this article, I am taking up for discussion, an obscure Hindi film whose shooting started in 1971 but completely stopped in 1976 for multiple reasons. In the meanwhile, the director left the film. In 1993, the producer of the film took the task of directing the film and completed shooting within one year without the main actor. However, the film could be released only after 37 years from the date of the commencement of the shooting, on April 27, 2008, that too in few theatres of Maharashtra. The name of the film is ‘Yaar Meri Zindagi’ (2008).
The film was produced by Ashok Gupta under the banner of Sonu Art International and was directed by Mukul Dutt/Ashok Gupta. The star cast included Amitabh Bachchan, Shatrughan Sinha, Sharda, Sudha Chandran, Iftekhar, Dulari, Chand Usmani, Shivraj, Jalal Agha, CS Dubey, Virendra Razdan. Master Jitesh, Master Sharook, Baby Reshma etc. Padma Khanna, Ranjeet and Aruna Irani made their special appearances in the film.
As mentioned earlier, the shooting of the film started in 1971 when both Amitabh Bachchan and Shatrughan Sinha were struggling actors. Both were trying to established their foothold in Hindi films. Probably, this may be the reason as to why both were seen together in films like ‘Parwaana’ (1971), ‘Bombay To Goa’ (1972), ‘Raaste Ka Patthar’ (1972), etc. Sudha Chandran’s name appears in the cast who was around 6 years of age in 1971. It is obvious that she must have joined the film during the second phase of the film’s shooting in 1993. Similarly, Aruna Irani, Padma Khanna and Ranjeet may have made the special appearances in the film in 1993. Amitabh Bachchan did not join during the re-shooting of the film in 1993 while Shatrughan Sinha who has also become a star with large fan following, cooperated with the producer. The film’s song album was released in 1993.
Almost the entire story of the film is presented in a flashback mode. The gist of the story of the film is as under:
Ajay (Amitabh Bachchan), son of a poor farmer and Vikram (Shatrughan Sinha), son of a landlord are childhood friends in a village. Radha (Sharda) and Sikha (Sudha Chandran) are village girls who are also childhood friends and are close to Ajay and Vikram. While Ajay becomes a doctor and serves the village, Vikram becomes Thakur Vikram Singh after the death of his father. Their friendship continues in their changed profiles. The friendship is soured when Ajay gets Vikram’s henchman, Shamsher (Ranjit) arrested for kidnaping a village girl. From then onwards, their friendship turns into the clash between ideology of Ajay for the betterment of the villagers and the ego of Thakur Vikram Singh as a landlord.
Though Ajay and Vikram fight on every issue concerning the village, in their hearts, they are discreetly concerned about each other’s welfare. Sikha, the childhood friend of both Ajay and Vikram, tries to make Vikram understand Ajay’s concerned about the villagers, but his ego precedes over his friendship. In this way, Vikram is caught between his ego and the inherent desire to keep his friendship with Ajay. Over a period of time, he becomes restless and to overcome this, he takes to drinking and entertainment by organizing dance performances in his palace. In one of the dance performances, Vikram invites the entire village to participate. The dancer is Heerabai who is none other than Radha who had taken the vocation of dancer to take care of her poor father.
None of the villagers respond to Vikram’s invitation to watch the dance performance. Feeling insulted by the villagers’ boycott, to punish them, he instructs his staff to stop the release of water from the dam to the fields of villagers. Ajay again confronts Vikram on this issue and threatens him that he would himself go and open the sluice gate of the dam to release the water. Vikram sends his security staff to prevent Ajay from entering the dam site without harming him. In the meanwhile, some disgruntled elements in the village see the opportunity to settle the score with Ajay. Vikram comes to know about the developments and rushes to the dam site where he finds that Ajay is killed not before he has opened the sluice gate of the dam. Vikram blames himself for the death of Ajay and as a punishment, he gets whipped by one of his staff members. He continues this ritual every day until his death.
The film’s DVD is of around 1 hour 45 minutes. Obviously, some scenes from the film are either deleted or could not be shot due to non-availability of Amitabh Bachchan when the film’s shooting was resumed in 1993. Hence, in some places, discontinuity in the film’s story is discernible. Also, two songs from the film are not in the DVD. One can see Shatrughan Sinha’s transformation from a young and lean in 1971 to a middle-aged man in 1993. Since Amitabh Bachchan was not available when shooting of the film resumed in 1993, in the climax scene, Amitabh Bachchan’s duplicate was used, showing him only with his back and that too in the long shot.
‘Yaar Meri Zindagi’ has six songs three are written by Majrooh Sultanpuri and three by Surendra Sathi which were set to music by RD Burman. It is my guess that the three songs written by Majrooh Sultanpuri and rendered by Asha Bhosle were recorded during the first stint of the film’s shooting in 1971. The remaining 3 songs written by Surendra Sathi have been rendered by the next generation playback singers like Kavita Krishnamurthy, Sadhana Sargam, Ranjana Joglekar and Yunus which may have been recorded in 1993.
I am presenting the first song from the film, “Naache Mora Pyaar Dekho Na” to appear on the Blog. The song is rendered by Asha Bhosle on the lyrics written by Majrooh Sultanpuri. The song is picturised on Sharda who is performing a dance for Shatrughan Sinha. Iftikhar is also seen in the picturisation. The song ends abruptly when Sharda sees Amitabh Bachchan entering the room where guests are gathered to watch her dance.
RD Burman has re-used the tune for this song from his Bangla non-film song, “Jete Dao Amay Dekona” (1969) which was also sung by Asha Bhosle. Later, he re-used the same tune for another Hindi non-film song’”Jaane Do Mujhe Jaane Do” rendered by Asha Bhosle for Gulzar’s album, ‘Dil Padosi Hai’ (1987) and Telugu song, “Mouname Priya” sung by S Janaki in ‘Chinni Krishnudu’ (1987).
The tune of the song under discussion is based on Raag Nand which Madan Mohan had also used for the song, “Tu Jahaan Jahhan Chalega Mera Saaya Saath Hoga in ‘Mera Saaya’ (1966). Hence the song under discussion and this song sound, more or less, similar in tune.
Song – Naache Mera Pyaar Dekho Na (Yaar Meri Zindagi) (2008) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – RD Burman
Lyrics
aaaa aa aa
aaaa aa aa
aaaa aa aa
naache mora pyaar dekho na
naache mora pyaar dekho na
kehti hai kya duniya kehne do na..aa
naache mora pyaar dekho na…aa
naache mora pyaar dekho na
tu hai jahaan pe
sajna main wahaan hoon
aree kho gayi main to
mehfil mein kahaan hoon
tu hai jahaan pe
sajna main wahaan hoon
arre kho gayi main to
mehfil mein kahaan hoon
dekho magan hoon main kaise
youhin rehne do na
aan aan aan
naache mora pyaar dekho na
naache mora pyaar dekho na
pyaar hai salaamat
to ye gham bhi haseen hai
aahon pe na jaao
fariyaad ye nahi hai
pyaar hai salaamat
to ye gham bhi haseen hai
aahon pe na jaao
fariyaad ye nahi hai
ye to aansoo hai khushi ke
aansoo bahne do na
aan aan aan
naache mora pyaar dekho na..aa
naache mora pyaar dekho na
badnaami izzat hai
mere dil deewaane
pyaar kiya hai jisne
ye raaz wohi jaane haay
badnaami izzat hai
mere dil deewaane
pyaar kiya hai jisne
ye raaz wohi jaane..en
mera nahi kuchh bhi
kya hai jo lutega
mujh pe jo hanse gaa
apne pe hanse gaa
kehta jo kuchh koi
usse kehne do na
aan aan aan
naache mora pyar dekho na
kehti hai kya duniya
kehne do na..aa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आsss आ आ
आsss आ आ
आsss आ आ
नाचे मोरा प्यार देखो ना
नाचे मोरा प्यार देखो ना
कहती है क्या दुनिया कहने दो ना॰॰आ॰॰आ
नाचे मोरा प्यार देखो ना॰॰आ॰॰आ
नाचे मोरा प्यार देखो ना
तू है जहां पे सजना मैं वहाँ पे हूँ
अरी खो गई मैं तो
महफिल में कहाँ हूँ
तू है जहां पे सजना मैं वहाँ पे हूँ
अरी खो गई मैं तो
महफिल में कहाँ हूँ
देखो मगन हूँ मैं कैसे
यूं ही रहने दो ना॰॰आ॰॰आ
नाचे मोरा प्यार देखो ना
नाचे मोरा प्यार देखो ना
प्यार है सलामत तो ये ग़म भी हसीन है
आहों पे ना जाओ फरियाद ये नहीं है
प्यार है सलामत तो ये ग़म भी हसीन है
आहों पे ना जाओ फरियाद ये नहीं है
ये तो आंसूँ हैं खुशी के
आँसू बहने दो ना॰॰आ॰॰आ
नाचे मोरा प्यार देखो ना॰॰आ॰॰आ
नाचे मोरा प्यार देखो ना
बदनामी इज्ज़त है मेरे दिल दीवाने
प्यार किया है जिसने ये राज़ वो ही जाने
बदनामी इज्ज़त है मेरे दिल दीवाने
प्यार किया है जिसने ये राज़ वो ही जाने
मेरा नहीं है कुछ भी
क्या है जो लुटेगा
मुझपे जो हँसेगा॰॰आ
अपने पे हँसेगा
कहता जो कुछ कोई’
उसे कहने दो ना॰॰आ॰॰आ
Torey Kurte Se Tohra Tan Jhalke
Posted on: July 20, 2023
- In: "Naughty" song | "teasing" song | Artist century song in blog | Asha Bhonsle songs | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Mahesh Mamadapur | Rare song | Song from unreleased movie | Songs from Unreleased Films of 1960s | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 7 Comments
This article is written by Mahesh Mamadapur, 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 : |
5480 | Post No. : | 17908 | Movie Count : |
4789 |
Mukesh and his Composers – 29
I started my series on Mukesh and his Composers with the great Naushad Ali and had mentioned the reasons for the same in the post for the song “Kar Bhala Hoga Bhala“.
Naushad settling with Rafi Saab and Mukesh joining RK films as the resident male playback singer for Raj Kapoor’s productions are well known. However, what remains quite intriguing is to why Naushad avoided Mukesh for two decades in spite of the immense popularity of songs of ‘Mela’ (1948), ‘Anokhi Ada’ (1948) and ‘Andaz’ (1949).
Further, an aspect that I touched upon in my debut post is repeated here. Who is the most prolific male playback singer for Naushad after the obvious Rafi Saab.? Well, read on as answer to this important point in the annals of HFM is covered later on. “Kar Bhala Hoga Bhala” being a debut post, I had not prepared a table of Mukesh’s songs for Naushad and I wish to set that lacuna straight with this post so that the answer to the above question is amply covered.
One more curious point in this collaboration is the number of duets Mukesh sang with Lata for Naushad. This is quite important as it was Mukesh who introduced Lata to Naushad. I have already covered this aspect too in my debut post on the series. The answer strangely is one – a solitary duet in the film ‘Sunahra Sansaar’ (1975).
So, after more than 8 years on covering Mukesh songs for Naushad, today, I bring forth this table detailing the songs. Again, the first 16 songs in the list in only two years of 1948-49 beg the inevitable question as to why a few more gems were not created in the golden era by the duo. And more painful is the fact that we do not get any satisfying or convincing answers. The below table lists the magic that the duo created.
|
Sl. No. |
Name of the Song | Movie (Year) | Co-singers |
Lyricist |
|
1 |
Aayi Saawan Ritu Aayi Sajan Mora | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
|
2 |
Dharti Ko Akaash Pukaare* | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
|
3 |
Gaaye Jaa Geet Milan Ke | Mela (1948) | Shakeel Badayuni | |
|
4 |
Main Bhanwara Tu Hai Phool | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
|
5 |
Mera Dil Todne Waale | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
|
6 |
Bhool Gaye Kyun Deke Sahaaraa | Anokhi Ada (1948) | Shamshad Begam | Shakeel Badayuni |
|
7 |
Bhoolne Waale Yaad Na Aa | Anokhi Ada (1948) | Shakeel Badayuni | |
|
8 |
Kabhi Dil Dil Se Takraataa To Hoga* | Anokhi Ada (1948) | Shamshad Begam | Shakeel Badayuni |
|
9 |
Kyun Pheri Nazar# | Anokhi Ada (1948) | Anjum Pilibhiti | |
|
10 |
Manzil Ki Dhun Mein Jhoomte | Anokhi Ada (1948) | Shakeel Badayuni | |
|
11 |
Yeh Pyaar Ki Baaten Yeh Safar | Anokhi Ada (1948) | ||
|
12 |
Ham Aaj Kahin Dil Kho Baithe | Andaaz (1949) | MajroohSultanpuri | |
|
13 |
Jhoom Jhoom Ke Naacho | Andaaz (1949) | MajroohSultanpuri | |
|
14 |
Sunaa’un Kyaa Main Gham Apna# | Andaaz (1949) | MajroohSultanpuri | |
|
15 |
Toote Na Dil Toote Na Toote Naa | Andaaz (1949) | MajroohSultanpuri | |
|
16 |
Tu Kahe Agar | Andaaz (1949) | MajroohSultanpuri | |
|
17 |
Aankhen Khuli Thheen | Saathi (1968) | MajroohSultanpuri | |
|
18 |
Husn E Jaana Idhar Aa | Saathi (1968) | MajroohSultanpuri | |
|
19 |
Jo Chalaa Gaya Usey Bhool Ja | Saathi (1968) | MajroohSultanpuri | |
|
20 |
Mera Pyaar Bhi Tu Hai* | Saathi (1968) | MajroohSultanpuri | |
|
21 |
Kar Bhala Hoga Bhala | Taangewaala (1972) | MajroohSultanpuri | |
|
22 |
Bheegi-Bheegi Hawaa Hai | Sunahra Sansaar (1975) | Lata Mangeshkar | Anand Bakshi |
|
23 |
Torey Kurte Se Tohra Tan Jhalke | Pukar 1970’s (Unreleased) | Asha Bhosale | Jan Nisar Akhtar |
|
24 |
Tori Nazron Se Dhobaniya Laage Mann Mein Kaanta Re | Pukar 1970’s (Unreleased) | Chorus | Jan Nisar Akhtar |
* Multiple Version Song
# Not included in the film
Thus, there are a total of 24 songs. It is to be noted that 2, 8 and 20 respectively in the above list are multiple version songs which are covered as one on our blog. Harish ji in his latest version of Mukesh Geet Kosh however considers 8 and 20 as additional separate songs with different serial numbers. 9 and 14 are considered as NFS, ostensibly recorded for the respective movies. I would again request readers to grab their headphones and wonder regarding the God gifted timbre in the voice of Mukesh for the song “Sunaa’un Kya Main Gham Apna”. Can we have a one- or two-word description for the enchanting experience in listening to this rendition. I failed to come across one. I wonder who introduced this gem to the blog. 😉 And, the fact that this is not a commonly heard song is what makes the experience even more special. It is this aspect that I had mentioned in my post for the song “Tum Hi To Ho Jiska Sapna Maine Dekha Tha”
Songs of Yore site contains a detailed blogpost on Mukesh Naushad collaboration for any reader interested in additional information and discussions.
Coming to the most prolific male singer for Naushad after Rafi Saab, MuVyz in one of his comments on Aug 8 2013, had provided numbers of 159, 24, 23 and 15 for Rafi, Mukesh, GM Durrani and Shyam Kumar respectively. Sudhir ji in a quick check has provided me numbers of 19, 10 and 9 for G M Durrani, ShyamKumar and Surendra respectively. I have not checked myself these figures independently. If someone can do a detailed analysis, we could get to the bottom of the question.
However, what is clear is that Mukesh stands tall right after Rafi. Of course, there can be no comparison with Rafi as he sang nearly 7 times more than Mukesh. But it is very interesting to note that out of nearly 70 odd singers for Naushad, Mukesh ranks second in the male category.
Coming to today’s special song, it is clear form the table above that we are talking about a film titled ”Pukar which was being made in the 60’s by Sohrab Modi. The mind cannot help but race to his film of the same title released in 1939. Well, he was planning a remake of the same classic film and had a very illustrative list of actors in it. Dilip Kumar, Raj Kapoor, Shashi Kapoor, Saira Banu, and Rakhee were scheduled to play the main characters in the film. For some reason, the film never saw the light of the day. There is one incident recollected by Naushad somewhere wherein he recounts Mukesh returning his paycheck to Sohrab Modi and telling him that he would take the money after the film is a hit. It was probably a time when Modi was running through a bad phase financially. There are some references on the net which say that a few shots with Dilip Kumar and Saira Banu were shot. And since these two songs are available, it is apparent that these were to be shot on Raj Kapoor.
I do not count these as NFS. They may not be anywhere at par with the magic created by the duo in the late 40’s, but then times had changed and also lyrics of the songs toe pretty well in line with the plot of the shelved film.
As evident in the table above, all but the two songs from this movie have already been covered on the blog. I request the editors to add this important table to my first post in the series as supplementary information.
For today’s post, I take up the song “Torey Kurte Se Tohra Tan Jhalke”.
Editor’s note:-With this song, Asha Bhonsle silently reaches 3100 songs mark in the blog.
Song – `Torey Kurte Se Tohra Tan Jhalke (Pukar) (1960s) Singer – Mukesh, Asha Bhosle, Lyrics – Jaan Nisar Akhtar, MD – Naushad
Chorus
Male Chorus
Female Chorus
Lyrics (Provided by Sudhir)
mehlon mein baajat hai
naubat nagaade
khan han ho jamuna ka paat
rani dhobaniya ki
jhaanjhar se rama
chhan chhan kare sagro ghaat
oo oo oo ho oo
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
tore kurte se tohra tan jhalke
tore kurte se tohra tan jhalke
kaahe dhoya dhobaniya mal mal ke
kaahe dhoya dhobaniya mal mal ke hey
jiyo ram
jiyo ram
jiyo ram
jiyo ram
kaahe taake re
kaahe taake re dhobiya jal jal ke
paake mahuye se
ho paake mahuye se rasiya ras chhalke
paake mahuye se rasiya ras chhalke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
mori dhobaniya to sulfe ki agni
mori dhobaniya to sulfe ki agni
jiyo ram
jiyo ram
jiyo ram
jiyo ram
gaalon ki garmi se pighe re nathni
gaalon ki garmi se pighe re nathni
nainon se neha ki aag dhalke
hoye
nainon se neha ki aag dhalke
kaahe taake re dhobiya jal jal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
main to na jahiyo re dilli bajariya
sehron ke logwa ladaaye najariya
jiyo ram
jiyo ram
jiyo ram
jiyo ram
oo oo oo oo
main to na jahiyo re dilli bajariya
sehron ke logwa ladaaye najariya
chhore gajab dhhayen aaj kal ke
hoyye
tore kurte se tohra tan jhalke
kaahe taake re dhobiya jal jal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
nadiya si uble re teri jawaani
nadiya si uble re teri jawaani
jiyo rani jiyo
jiyo ram
jiyo ram
poonam ki ratiyaan mein chadhta hai paani
poonam ki ratiyaan mein chadhta hai paani
janiya ye din tohri chhal bal ke
hoyye
janiya ye din tohri chhal bal ke
kaahe taake re
kaahe taake re dhobiya jal jal ke
paake mahuye se rasiya ras chhalke
tore kurte se tohra tan jhalke
kaahe dhoya dhobaniya mal mal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo
jiyo
jiyo
jiyo
jiyo
jiyo
hrrr hrrr hrrr hrrr
hoyye
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
महलों में बाजत है
नौबत नगाड़े
खन खन हो जमुना का पाट
रानी धोबनिया की
झांझर से रामा
छन छन करे सगरो घाट
ओ ओ ओ हो ओ
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
तोरे कुरते तो तोहरा तन झलके
तोरे कुरते तो तोहरा तन झलके
काहे धोया धोबनिया मल मल के
काहे धोया धोबनिया मल मल के हे
जियो राम
जियो राम
जियो राम
जियो राम
काहे ताके रे
काहे ताके रे धोबिया जल जल के
पाके महुए से
हो पाके महुए से रसिया रस छलके
पाके महुए से रसिया रस छलके ए ए
जियो राम
जियो राम
जियो राम
जियो राम
मोरी धोबनिया तो सुल्फे की अग्नि
मोरी धोबनिया तो सुल्फे की अग्नि
जियो राम
जियो राम
जियो राम
जियो राम
गालों की गर्मी से पिघले रे नथनी
गालों की गर्मी से पिघले रे नथनी
नैनों से नेहा की आग ढलके
होय
नैनों से नेहा की आग ढलके
काहे ताके रे धोबिया जल जल के
हो तोरे कुरते तो तोहरा तन झलके
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
मैं तो ना जहियो रे दिल्ली बजरिआ
सैहरों के लोगवा लड़ाये नजरिया
जियो राम
जियो राम
जियो राम
जियो राम
ओ ओ ओ
मैं तो ना जहियो रे दिल्ली बजरिआ
सैहरों के लोगवा लड़ाये नजरिया
छोरे गज़ब ढाएँ आज कल के
हय्ये
छोरे गज़ब ढाएँ आज कल के
हो तोरे कुरते तो तोहरा तन झलके
काहे ताके धोबिया जल जल के
जियो राम
जियो राम
जियो राम
जियो राम
नदिया सी उबले रे तोहरी जवानी
नदिया सी उबले रे तोहरी जवानी
जियो रानी जियो
जियो राम
जियो राम
पूनम की रतियों में चढ़ता है पानी
पूनम की रतियों में चढ़ता है पानी
जनिया ये दिन तोहरी छल बल के
होय्य
जनिया ये दिन तोहरी छल बल के
काहे ताके रे
काहे ताके धोबिया जल जल के
पाके महुए से रसिया रस छलके
तोरे कुरते तो तोहरा तन झलके
काहे धोया धोबनिया मल मल के
जियो राम
जियो राम
जियो राम
जियो राम
जियो
जियो
जियो
जियो
जियो
जियो
हर्र हर्र हर्र हर्र
होय्ये
Mere hamraahee mere pyaar
Posted on: June 27, 2023
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.
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Blog Day : |
5457 | Post No. : | 17873 | Movie Count : |
4775 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Missing movies of 1973-Hifaazat-23)
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Today we pay our tributes to one of the greatest music directors of Hindi Cinema i.e. Rahul Dev Burman. He was born on this day i.e. 27th June, 1939 and passed away on 04th Jaunary, 1994. Had he been alive today he would have turned eighty four years old. But he left us at the age of fifty-five only. In his last days he suffered on both health ground and mentally he was upset for treatment given to him in those troubled days by the industry and peoples around him.
Today I am presenting a song from a lesser known movie where the music was composed by RD Burman. This movie is ‘Hifaazat’ from 1973. This movie is making its debut on the blog today.
When I came across this movie title in HFGK and noted that this is yet to be represented on the blog I was surprised. Since the music of this movie was composed by none other than RD Burman. It was a fact that I could not digest because one, I would never expect a film where the music was composed by RD Burman and that two, from the seventies, could be still missing from the blog. Those were the years when RD Burman was ruling the charts. But then there have been such instances for example films like ‘Jeewan Mukt’ (1977), ‘Nafrat’ (1973) etc. where the songs didn’t get popular but were later termed as ‘good songs’ and even ‘classics’ in some cases. I have given these examples that happened in my case, where I was not aware of the songs of this movie and got to know about them after coming into contact with this blog over the years since 2012. Earlier I was under the impression that I am aware of all the songs composed by RD Burman but that was not the case and I got to listen many of his songs in these years after 2012 when I become associated with this blog.
Same is the case with today’s movie ‘Hifaazat’ of 1973. I do not remember haivng heard the songs associated with this movie title of 1973 earlier (of course, I remember the later ‘Hifaazat’ of 1987’). For today’s post we will consider the movies of 1973 for which RD Burman had composed the music.
Here is the list.
| Sl. No. | Movie Title | Director | Lyricist | Status on Blog |
|---|---|---|---|---|
| 1 | Aa Gale Lag Jaa | Manmohan Desai | Sahir Ludhianvi | Yippeeee’ed |
| 2 | Anaamikaa | R. Jhalani | Majrooh Sultanpuri | Yippeeee’ed |
| 3 | Badaa Kabutar | Deven Verma | Yogesh | Represented |
| 4 | Bandhe Haath | O.P. Goyale | Majrooh Sultanpuri | Yippeeee’ed |
| 5 | Chhalia | Mukul Dutt | Rajinder Krishan | Yippeeee’ed |
| 6 | Do Phool | S. Ramnathan | Majrooh Sultanpuri | Represented |
| 7 | Double Cross | Gogi Anand | Majrooh Sultanpuri | Represented |
| 8 | Heeraa Pannaa | Dev Anand | Anand Bakshi | Yippeeee’ed |
| 9 | Hifaazat | K.S.R. Dass | Majrooh Sultanpuri | Missing |
| 10 | Jaise Ko Taisaa | M. Murugan, M. Kumaran | Anand Bakshi | Represented |
| 11 | Jheel Ke Us Paar | Bhappie Soni | Anand Bakshi | Yippeeee’ed |
| 12 | Joshilaa | Yash Chopra | Sahir Ludhianvi | Yippeeee’ed |
| 13 | Mr. Romeo | Subhash Mukherjee | Anand Bakshi | Represented |
| 14 | Nafrat | Shyam Ralhan | Majrooh Sultanpuri | Represented |
| 15 | Namak Haraam | Hrishikesh Mukherjee | Anand Bakshi | Yippeeee’ed |
| 16 | Paanch Dushman | Vimal Rawal | Majrooh Sultanpuri | Represented |
| 17 | Raajaa Raani | Sachin Bhowmick | Anand Bakshi | Represented |
| 18 | Rickshaawaalaa | K. Shankar | Anand Bakshi | Represented |
| 19 | Shareef Badmaash | Raj Khosla | Anand Bakshi | Yippeeee’ed |
| 20 | Yaadon Ki Baaraat | Nasir Hussain | Majrooh Sultanpuri | Yippeeee’ed |
From the above table we can see that RD Burman composed music in as many as twenty movies that were released in 1973. Out of these 20 films 19 have been represented on the blog and only one i.e. ‘Hifaazat’ is yet to be represented in the blog. That missing movie is making its debut today.
If we go through the annual list of ‘Binaca Geetmala’ of the year 1973, songs from the films ‘Anaamikaa’ (title song at nos. 4 & 36), ‘Do Chor’ (1972) (at nos. 8 & 19), ‘Raaja Raani’ (at nos. 10 & 21), ‘Seeta Aur Geeta’ (1972) (at no. 11), ‘Mere Jeewan Saathi’ (at no. 13), ‘Do Phool’ (at no. 15), ‘Parichay’ (1972) (at no. 25), ‘Rampur Kaa Laxman’ (1972) (at no. 28), ‘Jheel Ke Us Paar’ (at no. 24) and ‘Shehzaadaa’ (1972) (at no. 37) figured in the list. So in all thirteen songs composed by RD Burman figured in this list. Interestingly, his father Sachin Dev Burman had fourteen of his songs featured in the list of 1973. In addition, a few songs of Pancham figured in the ‘shadow’ list too. The topper that year was “Yaari Hai Imaan Mera ” from ‘Zanjeer’ (1973), followed by ‘Bobby’ (1973) and ‘Victoria No. 203’ (1973) on 2 and 3 numbers respectively.
Today’s movie ‘Hifaazat’ was directed by KSR Dass (or Doss) for Balakrishna Movies. It was produced by RV Venkateswarulu and B Susheela Devi. It had Vinod Mehra, Asha Sachdev, Narendranath, Kumud Chhugani, Coca Cola, Sikandar and Kanhaiyalal. They were supported by Anand, Prem Kumar, Raghavan, Mamta, Baby Indira, Bhima Raju, Balbir Singh, Prakash and Jyothilakshmi. Ashok Kumar, Madan Puri, Ranjeet and Iftekhar had a friendly appearance in this movie. Lalita Pawar was the guest artiste in this movie.
Editing of the film was done by KSR Das, Kandaswamy, and Sivam was the associate editor. Dialogues of this movie were written by Prem Kapur. This movie was passed by Censor Board on 30.05.1973.
This movie has four songs which were written by Majrooh Sultanpuri and music was composed by RD Burman. Kishore Kumar and Asha Bhonsle are the playback singer for the songs in this movie.
The director of this movie KSR Dass (Konda Subbarama Das) was born on 05.01.1936 in Venkatagiri, Nellore. He directed many films in South Indian languages mainly in Telugu and Kannada language and also around sixteen Hindi movies. He had also done editing and story, screenplay writing for many movies. His directorial debut was in the movie ‘Loguttu Perumallakeruka’ (1966) (in Telugu) with Sobhan Babu, Gitanjali, Gummadi, & others. As a director his association with the Telugu superstar actor Krishna was highly successful and they worked together in around thirty movies. Their association started with the movie ‘Takkari Donga Chakkani Chukka’ (1969). KSR also worked with legends like NT Rama Rao, Rajinikanth, Vishnuvardhan and Chiranjeevi. ‘Mosagallaku Mosagadu’ (1971) (Telugu) with actor Krishna, ‘Yugandhar’ (1979) (Telugu) with NTR, ‘Annadammula Savaal’ (1978) (Telugu) with Krishna and Rajinikanth, and ‘Billa Ranga’ (1982) (in Telugu & Kannada) with Chiranjeevi and Mohan Babu are some of the iconic movies that KSR directed. B Vithhalacharya was the co-director in ‘Mosagallaku Mosagadu’.
KSR directed over 100 films with many of them becoming the block-busters on the box office. ‘Nagulamma’ (2000) was the last movie he directed. He was awarded the ‘Puttana Kanagal Award’ for his contributions to Kannada cinema by the Karnataka State Government in 2008-2009. (This award is given in the memory of the most influential Kannada film maker Shubraveshti Ramaswamiah Seetharama Sharma popularly known as SR Puttana Kanagal.) This highly revered director passed away on 08th June, 2012 at the age of 76.
I am giving below the list of Hindi movies directed by KSR Das (or Dass or Doss as mentioned at many places).
|
Sl. No. |
Movie Title | Director | Lyricist/s | Music Director |
Censor Date |
| 1 | Gunfighter Johny | KSR Das | Randhir | Aadi Narayan Rao | 25.03.1972 |
| 2 | Lady James Bond | KSR Das | Kewal | Satyam | 11.07.1972 |
| 3 | Pistolwaali | KSR Das | Mohanlal Kaul | Satyam | 11.04.1972 |
| 4 | Raani Meraa Naam | KSR Das | Majrooh Sultanpuri | RD Burman | 19.04.1972 |
| 5 | Ratnaa Daakoo | KSR Das | BR Tripathi | Satyam | 29.12.1972 |
| 6 | Apnaa Farz | KSR Das | Prem Dhawan | Satyam | 02.07.1973 |
| 7 | Hifaazat | KSR Das | Majrooh Sultanpuri | RD Burman | 30.05.1973 |
| 8 | Johny Meraa Yaar | KSR Das | Sajan Dehalvi | Satyam | 06.08.1973 |
| 9 | Bahaadur Ladkiyaan | KSR Das | Hayat Warsi | Satyam | 01.09.1973 |
| 10 | Raani Aur Jaani | KSR Das | Hasrat Jaipuri, PL Santoshi | Satyam | 08.11.1973 |
| 11 | Chor Kaa Bhaai Chor | KSR Das | Brij Bihari | DS Ruben | 07.11.1978 |
| 12 | Diler | KSR Das | PL Santoshi | SN Tripathi | 30.04.1979 |
| 13 | Khoon Ki Holi | KSR Das | Sameer | Satyam, MR Srivatsa | 16.02.1979 |
| 14 | Billa Ranga (dubbed) | KSR Das | BR Tripathi | Satyam | 28.06.1984 |
| 15 | Taaqatwaala (dubbed) | KSR Das | BR Tripathi | Satyam | 18.10.1984 |
| 16 | Mulzim | KSR Das | Indeevar | Bappi Lahiri | 14.03.1988 |
Note: Some of the above movies could be dubbed movies. I have marked them as such wherever I have this information).
[Source of information about KSR Das is ‘Veethi’, ‘Wikipedia’, Geet Kosh, Myswar, Telugu Cineblitz etc.]
Coming to today’s movie ‘Hifaazat’, Geet Kosh mentions this movie as a movie from ‘social genre’. Following is the brief about this movie as summarized by me after watching this movie on YouTube.
Kishore (Vinod Mehra) and Asha (Asha Sachdev) love each other and want to marry. Their fathers Kapur, likes to be called Camphor (Kanhaiyalal) and Judge Ram Prasad (Ashok Kumar) respectively are friends. However, Kishore’s father is initially reluctant and does not agree for this marriage but later on surrenders to what his son wants. So he gives his nod for the marriage. But, at the same time the family priest of Kishore’s father discloses that Asha is not the real daughter of Judge Ram Prasad and she is an adopted one. Also Asha’s family is suffering from some curse where Asha is only the surviving member and others are no more. Asha gets to listen to this conversation and judge Ram Prasad has to tell her truth about her real father (role played by Iftekhar).
Knowing this, Kishore’s father now cancels the marriage of Kishore and Asha. Judge Ram Prasad tries to convince Camphor but he is adamant. Kishore is present upstairs and secretly listening what his father has said to the judge.
Kishore and Asha decide to go to Asha’s parental house ‘Sona Mansion’, which is in Kashipur village and which is known to be a haunted place. On the way they meet a Saw Mill owner (Madan Puri), and Sewak Singh (Narendranath). No body helps Kishore with the address of ‘Sona Mansion’ but Sewak helps him. Sewak is actually ‘eyeing’ Asha. Sewak’s mother (Lalita Pawar) wants her son to do some good work and make an honest living. But he wants to get rich quick and for that he forces his mother to transfer the family property in his name.
Kishore and Asha reach ‘Sona mansion’ and stay there to find the secret in the haveli. Meanwhile Sewak tries to molest Asha and later on tries to rape her. Lajjo (Kumud Chhugani) loves Sewak but Sewak doesn’t like her now. Lajjo knows about Sewak’s intentions and she informs Kishore when Sewak and his friends corner Asha in the Jungle. Sewak’s mother keeps visiting the haveli and Kishore notices that on one such visit. Lajjo is murdered but her body disappears.
Finally the goons are set right by Kishore and by the time he reaches the haveli Sewak is killed. But who killed him ?
Asha is saved by Kishore but somebody attacks Kishore and is trying to finish him. Who is that person ?
At the same time Sewak’s mother also reaches the haveli and finds her son’s body there. She knows who has killed her son. Who is that person?
How Kishore and Asha get to know the truth and what is the curse over Asha’s parents ? All that is what this movie is all about.
Why the movie was titled as ‘Hifaazat’ and what was ‘being protected’ can be found out by watching this movie which is available on YouTube.
An interesting watch, but you will have to tolerate the ‘hinglish’ of Camphor (Kanhaiyalal) till the first half of this movie like … ‘hum tumko nahin bataaying ant mein kya hoyiing in thi film’. 🙂
We have four songs in this movie. The first two are roothhna manaana songs first by the heroine and second by the hero for each other. Third song is a ‘gypsy’ song which is by the khaanabadosh in their camp on the jungle route of the haveli where Kishore and Asha had to halt in the night. The fourth song is a ‘joie de vivre’ song when Asha sets out of the haveli as Kishore is out for some shopping and Asha takes this opportunity to roam freely in the haseen waadiyaan. This fourth song is also a good song from this movie, but for today I have chosen the first song in this movie that is ‘appeasing the lover’ type song sung by Asha Bhosle and in the movie performed by Asha Sachdev for Vinod Mehra. Lyrics are by Majrooh Sultanpuri and music is composed by RD Burman.
Let us enjoy the song and welcome ‘Hifaazat’ of 1973 on the blog.
Video
`
Audio
Song-Mere hamraahee mere pyaar (Hifaazat)(1973) Singer-Asha Bhosle, Lyrics-Majrooh Sultanpuri, MD-RD Burman
Lyrics
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
zu zu zu zu zu oo oo oo oo
mere hamraahi ee
mere pyaar
roti hai tum bin
ye bahaar
ab to aa jaao sanam
rahi main kab se
tum ko pukaar
haathhon mein leke piyaa haa..aathh
aise naa chhodo mera saath
haathhon mein leke piyaa haa..aathh
aise naa chhodo mera saath
mere hamraahi ee mere pyaa..aar
roti hai tum bin ye bahaar
jo sang aa sakey na tum
kadam milaa sakey na tum
ye to o o bura hua jee ee ee
aayi nahin abhi manzil
bachaate ho abhi se dil
tum ko o
ye kya hua jee ee
kya pyaar tera
yahi thha sanam
haaye allaah
ikraar tera
yahi thha sanam
kya pyaar tera
yahi thha sanam
haaye allaah
ikraar tera
yahi thha sanam
la la laa
mere hamraahi ee
mere pyaar
arey roti hai tum bin
ye bahaa aar
jaane jahaan judaa ho ke
chaley kahaan khafa ho ke sainyyaan
hansi hansi mein aen
kaahe ko jee jalaate ho
kaahe ko munh phulaate ho
zara si ee
dillagi mein ae ae
jaane naa doongi
tumhaari kasam
haaye allaah
jaan de doongi
tumhaari kasam
jaane naa doongi
tumhaari kasam
haaye allaah
jaan de doongi
tumhaari kasam
la la laa
mere hamraahi ee
mere pyaar
roti hai tum bin ye bahaar
ab to aa jaao sanam
rahi main kab se
tum ko pukaar
haathhon mein leke piyaa haathh
aise naa chhodo mera saath
haathhon mein leke piyaa haathh
aise naa chhodo mera saath
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ आ आ आ
आ आ आ आ
आ आ आ आ
ज़ू ज़ू ज़ू ज़ू ज़ू
ओ ओ ओ ओ
मेरे हमराही मेरे प्यार
रोती है तुम बिन ये बहार
अब तो आ जाओ सनम
रही मैं कब से तुम्हें पुकार
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
मेरे हमराही मेरे प्यार
रोती है तुम बिन ये बहार
जो संग आ सके ना तुम
कदम मिला सके ना तुम
ये तो॰॰ओ बुरा हुआ जी॰॰ई
आई नहीं अभी मंज़िल
बचाते हो अभी से दिल
तुम को॰॰ओ ये क्या हुआ जी॰॰ई
क्या प्यार तेरा यही था सनम
हाय अल्लाह
इक़रार तेरा यही था सनम
क्या प्यार तेरा यही था सनम
हाय अल्लाह
इक़रार तेरा यही था सनम
ला ला लाss
मेरे हमराही मेरे प्यार
अरे रोती है तुम बिन ये बहार
जाने जहां जुदा हो के
चले कहाँ खफा हो के सइय्याँ
हंसी हंसी में
काहे को जी जलाते हो
काहे को मुंह फुलाते हो
ज़रा सी दिल्लगी में
जाने ना दूँगी तुम्हारी कसम
हाय अल्लाह
जान दे दूँगी तुम्हारी कसम
जाने ना दूँगी तुम्हारी कसम
हाय अल्लाह
जान दे दूँगी तुम्हारी कसम
ला ला लाss
मेरे हमराही मेरे प्यार
अरे रोती है तुम बिन ये बहार
अब तो आ जाओ सनम
रही मैं कब से तुम्हें पुकार
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
Dukki Pe Dukki Ho Ya Satte Pe Satta
Posted on: May 2, 2023
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
5401 | Post No. : | 17723 |
This is the song, part of which is shot near to the Thajiwas glacier, near Sonamarg, Kashmir. This is the route going to Laddakh, travelling east of Srinagar. Further on this road falls Kargil area, about which many people have told me is much too beautiful to miss. Laddakh is a sight to behold too. I have missed both Laddakh and Kargil, but hope to visit in future, in-sha-Allah.
When we spoke to local people and guides in the valley at Sonamarg, one of them told us that many Hindi film songs are filmed in the area and very near to the Thajiwas glacier. He mentioned a song from the 1982 film ‘Satte Pe Satta’. I forgot all about this and only discovered this song accidentally. It is indeed filmed nearer to the glacier, than we could travel. A few decades ago, the vehicles were allowed to go up to the valley where the glacier is near, and the rivers and waterfalls start, fed by the Thajiwas glacier. Obviously, the location is visible from the highway, but far away for us city people to walk up or even ride a horse. I clicked great many photos, to capture different fingers of the main glacier, whatever I could see from one side i.e. the highway and Sonamarg side. It must be magnificent to look at from the other sides, which are truly remote and not habitable areas. This is only one glacier of the 10,000 which fall in the Indian territory. One needs several lives to fully watch and savour the magnificence of the Himalayan Mountain range, and its various attributes and aspects. The Himalayas were formed due to the friction and constant northward movement of the Indian plate against the Asian plate, over thousands of years.
This is my previous post on Kashmir visit – “Jiya Jiya Re Jiya Re“.
Todays’s song is from the film ‘Satte pe Satta’ (1982), which is mostly shot in Kashmir over 40 years ago, and one part of it is near the famous glacier. Must be in fair weather, the full star cast of the film went up there to shoot in bright sunlight. But they all returned to the base farmhouse/ farmstead where rest of the song is filmed. The singers are RD Burman, Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty and the music is composed by RD Burman. The lyricist is Gulshan Bawra and it is the title song of the film.
Interestingly, Gulshan Bawra has rhymed the words satte pe satta with the word albatta. This gives us a unique word, and as far as I am aware, used only once in a Hindi film song. The word is a common usage affirmative / emphasising in cultured chaste Urdu. In old Hindi films this word is common, in dialogues, where the speaker wants to say or assert a view, despite this or inspite of that, ‘albatta‘, the truth prevails 😊.
اَلبَتَّہکےاردومعانی پوشیدہ فعلمتعلق یقیناً، قطعیطورپر، بےشک، ضرور، یقینہےکہ، لیکن، مگر، اتناضروریہے
albatta. अलबत्ताالبتہ. although, but, on the other hand. Isth
This explains the origin of the word.
Is the English word ‘albeit’ derived from the Urdu word ‘Albatta’?
No, the word ‘albeit’ is not derived from the Urdu word ‘Albatta’. ‘Although’ is a conjunction that means ‘in spite of the fact that’ or ‘even though’. It is derived from the Old English word ‘þeah’ which means ‘even though’ or ‘although’. The Urdu word ‘albatta‘ is a conjunction that means ‘although’ or ‘notwithstanding’. It is derived from the Arabic word ‘al-batta‘ which means ‘however’ or ‘despite’.
I have fond memories of watching this film at Minerva (or was it Apsara?) in 1982. We lived in the BEST officer’s quarters and the many families decided to watch the film collectively. The tickets were booked through the theater management, via the PSU’s good offices, as the supplier of electricity. I remember the theater management had put up a welcome message for the BEST officers and their families on screen, before the start of the film.
I am truly amazed to have had such unique experiences of movie watching, in theaters. Some memories, like being hit with a clothes hanger, and being forced to go to watch ‘Muqaddar ka Sikander’ (1978); and leaving the Liberty cinema in interval after not watching ‘Lekin’ (1990), walking up to Maratha Mandir to watch a re-release matinee show of ‘Mughal-e-Azam’ (1960) in knee deep water-logged streets; the experience of watching coins being thrown at the screen on the song “Tere Chehre Mein Wo Jaadu Hai” in a dilapidated theatre in Belgaum while watching ‘Dharmata’ (1975) sometime in the mid 80’s; the best of which is my friend being told by the usher, “No madam, it is waiting for you” at Regal cinema where we were late for the show of ‘Gone With The Wind’ (1939), in reply to her question “Has the movie started?”. There are more such memories, which will surface in time. I will share them in future posts.
Song – Dukki Pe Dukki Ho Ya Satte Pe Satta (Satte Pe Satta) (1982) Singer – Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty, Lyrics – Gulshan Bawra, MD – RD Burman
Chorus
Lyrics
hey…
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
haan
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
tu mere dil ka raja hai
ya tere dil ki main raani
tu mere dil ka raja hai
ya teredil ki main raani
o o o
tu meri baahon mein aa
main teri baahon mein hoon
pyar to hoga jaani
banegi wohi kahaani
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
wow
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
ho ho ho
ah ha haa
oh ho ho ho ho ho ho
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
o o purab se paschim ki ee
uttar se dakshin ki ee
mil jaati hain rekhayen
laakhon pehre lagaayen
atak gaya
kyun
ka ko ka ko ka ka
ka ka kao kao
bolo bolo bolte raho
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
ho dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dono ka ek matlab hai
dil de de ya to dil le le
ho dono ka ek matlab hai
dil de de ya to dil le le
ho….
sadiyon se hota hai jo
aakhir ko wohi hoga
lagte hain pyar ke mele
jaayenge sabhi akele
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे ॰ ॰ ॰
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हाँ
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
ओ ओ ओ
तू मेरी बाहों में आ
मैं तेरी बाहों में हूँ
प्यार तो होगा जानी
बनेगी वही कहानी
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
वॉव
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो हो हो
आ हा हा
ओह हो हो हो हो हो हो
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
ओ ओ पूरब से पश्चिम की॰ ॰ ॰
उत्तर से दक्षिण की॰ ॰ ॰
मिल जाती हैं रेखाएँ
लाखों पहरे लगाएँ
अटक गया
क्यों
का को का को का का
का का काओ काओ
बोलो बोलो बोलते रहो
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
हो॰ ॰ ॰
सदियों से होता है जो
आखिर को वोही होगा
लगते हैं प्यार के मेले
जाएँगे सभी अकेले
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
This article is written by Arunkumar Deshmukh, 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 : |
5394 | Post No. : | 17696 |
Today’s song is a special song from the film ‘Captain India’ (1960).
Our regular readers may recall that just a few days ago, within this month, 2 songs having the same mukhda with different lyrics were posted on this Blog. The mukhda was “Nacho, Nacho, Nacho”. The first song to appear was from the dubbed film – ‘RRR’ (2022), which was posted and discussed superbly by our friend Gajendra Khanna ji on 3-4-2023. The second song with the same mukhda was from the film ‘Gogola’ (1966) and was posted and discussed by me on 17-4-2023.
Today’s song is also a second song with a similar mukhda which was posted by me on 30-1-2023. The first song was from the film ‘Pehla Pyar’ (1947). The mukhda is “Chhoone Na Doongi Shareer”. This is an unusual coincidence that within a span of just 3 months, we have two sets of 2 songs each having the same mukhda.
The ‘Pehla Pyar’ (1947) song had Premnath as the MD with lyricist Balam Pardesi. Today’s song has Hemant Kedar as the MD with lyricist Rajaram Saki , who also happens to be the film’s producer.
Captain India title reminds me of the Republic Serial films of the early 50’s decade – Captain Marvel and Captain America, which were my childhood favorites. Those days all such films as ‘The Three D Ma’n, ‘The Forbidden Planet’, ‘SSS117 Goes Wild’, ‘Trip to the Moon’, ‘Hercules Unchained’ and many such titled films made our childhood dreams adventurous, magical and entertaining. Most of these films were seen on Friday and Saturday, bunking the school.
The morning show tickets used to be very low like 5 annas, 9 annas, 12 annas and 1 Rupee for the Balcony. I have heard that these days the multiplex cinema tickets range from Rs. 150 to 750 or so. Thank God I stopped seeing films in theaters since the mid eighties – 1985 to be precise. Having not visited a cinema theater since 40 years, I am already branded as इतिहास पुरुष , पुराण पुरुष and an Antique by the Generation X !
‘Captain India’ is a plain and simple stunt film. The story of the film is. . .
Seth Mohan Lal is a rich merchant in Burma. He decides to return to India, with his only daughter Krishna and settle in Roop Nagar to lead a retired life. Gangster Rajan from Rangoon comes to know that the Haveli Mohan Lal is to buy has some great secret hidden in it. If he can get that secret he can rule the world. So, he follows Mohan Lal to India.
Meanwhile Krishna meets Shekhar – a Press reporter by job, lover boy by habit and an all round spy as a hobby. After singing the mandatory love songs and doing exercise around trees, they decide to marry and tell her father about their love. Rajan is very business minded and so, Mohan Lal gets killed and the young couple is frightened with the existence of Ghosts etc. in the Haveli.
Madhu is the moll of Rajan and she too loves Shekhar. She reveals the actual plan of Rajan and about the secret formula in the Haveli. Suddenly, Madhu gets killed in the arms of Shekhar. She is murdered by Rajan. Now he is after the lives of Krishna and Shekhar and they are on the run. With the help of the Police, Rajan is caught red handed, but he sets fire to the Haveli and the secret formula gets burnt.
All’s well that ends well. After the end, the audience is well and goes home cursing the film.
Coming back to the unusual name of the MD, Hemant Kedar. On the first look it seems like a pair of MDs like Shankar-Jaikishen, Laxmikant-Pyarelal, Kalyanji-Anand ji or Husnlal-Bhagatram, but NO. It is the adopted name of Ramkrishna Shinde. His name is not known to many. Few years back, our Sadanand Kamath ji had written short notes on him in his 2 posts here. Now more information has been collected about him. Here is a short biodata.
The composer of today’s film ‘Captain India’ (1960), Ramkrishna Shinde was a multi talented composer, who could not shine, though he had talents. Further he started his career at a time when India’s big composers like C Ramchandra, Naushad, Husnlal-Bhagatram, Shankar-Jaikishan etc were in their best performing period and had hogged almost all the major production houses as their patrons. In this flood of musical tsunami, smaller composers remained smaller due to non availability of exposure and good banners, waning into oblivion ! Those who had talents plus good luck survived, but composers with talents without luck were soon forgotten.
Ramkrishna Shinde was born on 19-4-1918 in Malvan area of Maharashtra coastal belt. He was eldest among 2 brothers and 2 sisters When he was 9 years old, his father died and the family was shifted to Bombay, by aunt and uncle. His interest in music was unusual. He took votal training from Pt Sitaram and learnt sitar from Pt Madhav Rao. For survival, he took up a job in Dawn Mills. In 1944, he got married. Same time, he met dancer Parvati Kumar and tabla player Ramakant. He soon left the job and started giving music to Marathi stage plays. He was a very popular composer.
His first Hindi film as a composer was Manager’ (1947), followed by ‘Kiski Jeet’ (1948) and then ‘Bihari (148), with Naresh Bhattacharya. Not getting films anymore, he turned to giving music to dance ballets. He became so famous that 27 of his ballets went abroad with his music. He was called by Amiya Chakrawarty for giving dance music in Usha Kiran’s film ‘Gauna’ (1950).
He returned to Hindi films again. This time as Hemant Kedar. Reason for this name – his favourite raagas were Hemant and Kedar. He gave music to ‘Khaufnak Jungle’ (1955),
‘Police Station’ (1959) and ‘Captain India’ (1960).Hemant Kedar (like Daan singh and Jaidev) must be one whose unreleased films numbered many or more than his released films. Some of his unreleased films are
‘Hamari Kahani’, ‘Avinash’, ‘Sati Mahananda’, ‘Jannat Ki Hoor’, ‘Peeli Kothi’ and ‘Paataal Devta’. This last mentioned was the film in which actress Mumtaz made her debut, but this movie was not released.
Hemant Kedar gave music in two Marathi films. Side by side, he did 5-6 programs on All India Radio. After the advent of television, he started giving music in TV ballets and was in great demand for such programs. He did about 15 ballets on TV. While working for the Ballet music for Ajit Sinha’s ‘Rituchakra’ and Raja Dhale ‘Chadalika’, he became ill and expired on 14-9-1985, leaving behind his wife and two daughters. Luckily, his wife had a good job.
[Thanks to http://www.beetehuedin.blogspot.com and the book Marathi Chitrapat Sangeetkar Kosh, by Madhukar Potdar for this information.]
The lead pair in this film was Kamran and Krishna Kumari. Krishna Kumari (not to be confused with the 1930s actress of the same name nor the south Indian actress T Krishna Kumari) was born Rajinder Kaur in Rawalpindi in West Punjab (now part of Pakistan) on October 3, 1934. Her debut came in the film ‘Bela’ (1947), after which she appeared in ‘Nao’ (1948). Then came ‘Girls School’ (1949) etc. Occasionally playing the heroine in B-grade films including ‘Vanraj’ (1952), ‘Gorilla’ (1953), ‘Black Rider’ (1960), ‘Captain India’ (1960), ‘State Express’ (1961) and ‘Khush Naseeb’ (1964), she is probably much better known as a temptress or vamp in films like ‘Baghdad Ka Jaadu’ (1956), ‘Zimbo’ (1958), ‘Police Station’ (1959), ‘Lady of the Lake’ (1960), ‘Jaadu Mahal’ (1962) and dozens of similar action, horror and fantasy films. Krishna Kumari’s career lasted 20 years, and during that time she managed to chalk up an impressive amount of credits, even if most of the pictures she made were not considered important by critics. She acted in 118 films. her last credited film was ‘Sampoorn Ramayan’ (1973).
Let us now enjoy this special song, sung by Asha Bhosle. . .
Song- Chhoone Na Doongi Shareer Najariya Se Jee Bhar Lo (Captain India) (1960) Singers – Asha Bhosle, Lyricist – Rajaram Saki, MD – Hemant Kedar
Lyrics (Provided by Sudhir)
chhoone na doongi shareer
najariya se jee bhar lo
oo oo
sapnon ki hoon main tasveer
najariya se jee bhar lo
chhoone na doongi shareer
is duniya kisko khabar hai
aaya hai kaun kahaan se
haathon mein mere ras ki gagariya
jug jug ke tum ho pyaase
peene na doongi neer
najariya se jee bhar lo
sapnon ki hoon main tasveer
najariya se jee bhar lo
chhoone na doongi shareer
main ambar ki tum dharti ke
hum tum hain dono door
jaise ke chaand chakori ka joda
jaise ke chaand chakori ka joda
milne se ho majboor
phir kyun huye ho adheer
najariya se jee bhar lo
sapnon ki hoon main tasveer
najariya se jee bhar lo
chhoone na doongi shareer
roop nagar ke do jaadugar
nainon ki reet niraali
pyaale hain do do peete hain sau sau
pyaale hain do do peete hain sau sau
phir bhi na hotey khaali
chhodo ji chhodo mera cheer
najariya se jee bhar lo
sapnon ki hoon main tasveer
najariya se jee bhar lo
chhoone na doongi shareer
najariya se jee bhar lo
chhoone na doongi shareer
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
छूने ना दूँगी शरीर
नजरिया से जी भर लो
ओ ओ
सपनों की हूँ मैं तस्वीर
नजरिया से जी भर लो
छूने ना दूँगी शरीर
इस दुनिया में किसको खबर है
आया है कौन कहाँ से
हाथों में मेरे रस की गगरिया
जुग जुग के तुम हो प्यासे
पीने आ दूँगी नीर
नजरिया से जी भर लो
सपनों की हूँ मैं तस्वीर
नजरिया से जी भर लो
छूने ना दूँगी शरीर
मैं अम्बर की तुम धरती के
हम तुम हैं दोनों दूर
जैसे के चाँद चकोरी का जोड़ा
जैसे के चाँद चकोरी का जोड़ा
मिलने से हो मजबूर
फिर क्यों हुये हो अधीर
नजरिया से जी भर लो
सपनों की हूँ मैं तस्वीर
नजरिया से जी भर लो
छूने ना दूँगी शरीर
रूप नगर के दो जादूगर
नैनों की रीत निराली
प्याले हैं दो दो पीते हैं सौ सौ
फिर भी ना होते खाली
छोड़ो जी छोड़ो मेरा चीर
नजरिया से जी भर लो
सपनों की हूँ मैं तस्वीर
नजरिया से जी भर लो
छूने ना दूँगी शरीर
नजरिया से जी भर लो
छूने ना दूँगी शरीर
- In: Artist century song in blog | Asha Bhonsle solo | Asha Bhonsle songs | Aspirations of Love | Blog century song | Century songs for the blog | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Sudhir | Rare song | Saaqi - Maikhana Song | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
This is the 17300th post on this blog.
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Blog Day : |
5279 | Post No. : | 17300 |
What is going on today? I am sure this question is worrying the minds of quite a few if not many or all regulars of this blog. Atul ji seems to be in a big hurry today. Seven posts already since his first good morning call at 5 am. Aha, so getting to the century number it seems. Yeah, ok, that’s it, he wants to complete the century, and make the century post today. But why? What is the tearing need? Is there a birthday not known to anybody? Is it a special day for someone on the bandwagon or in the industry? The anniversary page has no listing for today. ये क्या हो रहा है? क्या चल रहा है?
So yes, a mystery has been created by today’s blog activism. Already 7 songs on the board, and of course, the century strike is still to come. Well, here now. 😀
Ok so let me reveal the story in the background. This mystery scramble started less than 24 hours ago. About 5 days back, Atul ji and I exchanged some messages and decided that this century milestone will be an Asha Bhosle special. Some very interesting numbers are co-inciding. So we agreed to search and locate some special and rare song for this event. It took me about day to zero in on the song. I told Atul ji about it, and he agreed. So we planned to make the century post with this song.
So far, we were not in a scramble. Taking it easy, one or two posts a day, maybe get to the century milestone by 5th Jan or so. That suddenly changed last evening. Around 6.40, I got a message from Atul ji. He asked me whether we can make the century post tomorrow, i.e. today, 31st December. And he also shared the reason. As soon as I heard that, I was excited too. We agreed for the scramble, and the scramble happened.
Okay, okay – sorry for the long prelude. I will explain. First, the Asha Bhosle angle. We are coinciding two century milestones for her with this post. I wonder if the regulars have noticed that we have not be posting any Asha Bhosle songs for the past few days. Well, the reason is that Asha ji is at 2999th song on this blog, before this one. So this becomes her 3000th song being showcased here.
Ah, but wait, there is more. Asha ji is also at 1499th solo song with us. So this is now her 1500th solo on the blog. That makes today’s post a dual century milestone for her.
Before her, the two stalwart singers who have crossed these milestones are of course Lata ji and Rafi Sb. Lata ji is currently at 3829 songs overall, and 2479 solos. Rafi sb is at the second place with 3222 songs overall and 1511 solos.
Now coming to the date, and the reason for the scramble. This is a piece of co-incidental information that Atul ji dug out yesterday. Most likely he was looking at the ten year challenge data for the BTYC 2022 series. So all it takes to guess this angle is to look at the songs posted ten years ago on 31st December 1912. The last song of that day, the New Year’s Eve of 2012, was the 7300th song on the blog. And so now, I am sure the numbers will fall in place in the minds.
Exactly ten years ago, were exactly ten thousand songs before this post. Ten years – ten thousand songs, that is a very telling achievement. Just for comparison, let’s see what came before that. From 19th July, 2008 to 31st December 2012, it is a few days less than 4 and a half years. In that period, we clocked 7300 posts. OK, so the comparison is nowhere balanced. The first 4.5 years come at an average of 1622 songs per year. And the next ten years come at an average if 1000 songs per year. That is quite a difference, which portrays the drop in the pace of posting over the years.
But in my mind, there is another very crucial observation to be made. Just in the fact of sustenance. In the known world of online blogging and entertainment and music, our blog most likely stands out as being the most consistent, the most sustained and the most continuing presence online – among the blogs that are run and managed by an individual or a small group. Yes there are other blogs that continue to thrive and continue to be regular, but they are mostly with corporate or external support and sponsorship. I am sure we all are aware of many blogs related to Indian Cinema and Hindi film songs, that we have visited over the years, but then with time, majority of them have lost steam, or slowed down. There is definitely a fatigue factor associated with this activity too. Sustaining the effort to continue is a big factor. And then, to ensure this sustenance on a day to day basis – I am confident to claim that our blog is without a peer across the wide internet.
So that is the story behind the eight posts that have been pulled together at a scramble within less than 24 hours.
Another coincidence I would like to mention here. Asha ji also figures in the 7300th post ten years ago. The song in that post is “Mohabbat Ka Haath Jawaani Ka Palla” from the 1958 film ‘Howrah Bridge’. The song is a duet by Rafi Sb and Asha ji. As noted in that post, that was the 300th duet song of this pair. Before this we were not noting and announcing century milestones for duet songs. It started with the post 7300.
And so, Asha ji then a centurion, and today too, Asha ji is a centurion.
Coming to the song in this post today. When Atul ji had sent me a query about some very special song of Asha ji for this milestone post, my mind went to this song, and for some very good reasons.
The song itself is very obscure and a rare discovery. As are many of the creations of the music director Sajjad Husain. Yes, the music for today’s song is from the mind of this genius music director, who was not given his due by the industry. The reasons can be discussed and debated, but the quality and the composition of his music cannot be. Par excellence is what comes to mind when we talk of this maverick music director.
The film is ‘Mera Shikar’ from 1973. After his 1963 venture with ‘Rustom Sohrab’, he was lost in the mists of forgotten anonymity for all of ten years. Then we see his name in this obscure and less heard of film that comes in 1973. An then it also disappears without a splash. Other than the fact that it is recorded in the Censor Board registers, and on account of that, it also appears in the Geet Kosh, no one had heard of or mentioned this film for many decades. With the coming of the internet, as access to many obscure things became easier, the aficionados started searching for lost and obscure songs of lesser heard music directors and singers and lyricists.
The difficulty with this film is that a. no gramophone records at all were made and b. the film itself is not available.
The songs of this film were presumed lost for a long time. And then they were discovered. On a spool tape. So now at least the songs are available, albeit it has been a difficult and anonymous journey.
A total of three songs are listed and identified for this film. One of the songs, in the voice of Rafi Sb, is already showcased on our blog – “Teri Mehfil Mein Aaye Hain”. This song was posted more than eleven years ago on 17th June, 2011. The other two songs have not become available online, although they have been with private collectors for some time now. I first got these songs from my dear friend Girdhari Lal ji of Jodhpur. Then later, these songs also came to me once again thru another dear friend, Zafar Shah of Delhi. When the discussion for this post started, and my mind came to this song, I checked with Zafar Bhai, and he indicated that this song is already uploaded by him on his YouTube channel about six months ago. And so we have this song now available, to be played today as the 3000th song and 1500th solo song of Asha ji.
A vintage Sajjad creation, this song has such an endearing and yet intriguing melody. The verse lines are short and Sajjad Sb has knitted them into his music very beautifully. When we agreed to do this song for this post, I have since then heard this song repeatedly tens of times. And I am not getting tired of listening to it again and again. The rhythm and the arrangements are simply enchanting.
And then of course, the rendition by Asha ji. All I can say is – just listen to the song. And I think you will be bowled over, as I am.
The lyricist – Shakeel Nomani (or Numani) is once again a lesser known personality in the film world. He was a writer and wrote in newspapers and magazines in Urdu, Hindi and English. His name appears as the songwriter in a few films in 1950s and 60s. He wrote all the songs for four films – ‘Panchaayat’ (1958), ‘State Express’ (1961), ‘Daku Maan Singh’ (1971) and ‘Mera Shikar’ (1973). In addition he has written songs in ones and twos for the following films – ‘Sair e Paristan’(1958), ‘Lady Robinhood’ (1959), ‘Dil Bhi Tera Hum Bhi Tere’ (1960), ‘Tu Nahin Aur Sahi’ (1960), ‘Flight To Assam’ (1961), ‘Reporter Raju’ (1962), and ‘Magic Carpet’ (1964). Besides writing songs, he has also appeared as an actor in about 20 films. Our blog carries 16 songs already of this lesser known writer.
Shifting gears again – it is the closing hours of the year 2022. Tomorrow will be a new day and the beginning of a New Year. For some time now, I have wondered occasionally, what does a New Year mean. As the day dawns and the sun rises, it will be a day no different than today, or any other day that we have lived through. And when we talk of New Year, there are so many occasions during the 12 months that New Year is celebrated by different societies, different groups of people on different dates. Any way, apologies, I will not continue with my tangential musings.
It is a block time of 12 months that get a new number tomorrow. Different thoughts and different people will associate different expectations and measures and resolutions and plans with this next block of 12 months. And so, wishing all good luck and happiness with all their expectations and plans in the coming year. Also wishing good health to everybody, and a contented peace of mind to go along with it.
Let’s bring on 2023.
Listen to the mesmerizing sounds of the mandolin play, as only one master of mandolin could play. That is Sajjad Husain. Listen to lilting rendition by Asha ji, as she tells about expectations and desires that rise in the mind when one is in love with another. . .
teri chaahat mein jeeyen
teri hasrat mein maren
hai ye armaan. . .
Listen to this wonderful creation – and wonder sometimes, why was this master musician always relegated to the sidelines.
Amen.
Song – Teri Chaahat Mein Jiyen, Teri Hasrat Mein Maren (Mera Shikar) (1973) Singer – Asha Bhosle, Lyrics – Shakeel Numani, MD – Sajjad Husain
Lyrics
haan . . .
ho o o
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
o meri jaan
o meri ja..aan
oo oo
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
o meri jaan
o meri ja..aan
saaqiya jaam badha
saaqiya jaam badha
hum bhi hain tere deewaane. . .
lab pe hain tere afsaane. . .
hum bhi hain tere deewaane. . .
lab pe hain tere afsaane. . .
ho oo oo
justju teri rahe
aarzoo teri rahe
hai ye armaan
o meri jaan
o meri ja..aan
jaaneman dekh zara
jaaneman dekh zara
toote na dil ka paimaana. . .
tujhse hai rang e maikhaana. . .
toote na dil ka paimaana. . .
tujhse hai rang e maikhaana. . .
oo oo oo
yun na kar hum pe sitam
teri ulfat ki kasam
hai ye armaan
o meri jaan
o meri ja..aan
dil ne di aisi sada
aa aa aa
dil ne di aisi sada
aa aa aa
aayegi manzil aayegi
laayegi khushiyaan laayegi
aayegi manzil aayegi
laayegi khushiyaan laayegi
ho oo oo
saamna ho to kahen
teri nazron se piyen
hai ye armaan
o meri jaan
o meri ja..aan
oo oo oo
teri chaahat mein jiyen
teri hasrat mein maren
hai ye armaan
aa aa aa
o meri jaan
aa aa aa
o meri ja..aan
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
हाँ॰ ॰ ॰
हो ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰
ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰
साक़िया जाम बढ़ा
साक़िया जाम बढ़ा
हम भी हैं तेरे दीवाने॰ ॰ ॰
लब पे हैं तेरे अफसाने॰ ॰ ॰
हम भी हैं तेरे दीवाने॰ ॰ ॰
लब पे हैं तेरे अफसाने॰ ॰ ॰
हो ओ ओ
जुस्तजू तेरी रहे
आरज़ू तेरी रहे
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰
जानेमन देख ज़रा
जानेमन देख ज़रा
टूटे ना दिल का पैमाना॰ ॰ ॰
तुझसे है रंग ए मयखाना॰ ॰ ॰
टूटे ना दिल का पैमाना॰ ॰ ॰
तुझसे है रंग ए मयखाना॰ ॰ ॰
ओ ओ ओ
यूं ना कर हम पे सितम
तेरी उल्फ़त की क़सम
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰
दिल ने दी ऐसी सदा
आ आ आ
दिल ने दी ऐसी सदा
आ आ आ
आएगी मंज़िल आएगी॰ ॰ ॰
लाएगी खुशियाँ लाएगी॰ ॰ ॰
आएगी मंज़िल आएगी॰ ॰ ॰
लाएगी खुशियाँ लाएगी॰ ॰ ॰
हो ओ ओ
सामना हो तो कहें
तेरी नज़रों से पिएं
है ये अरमां
ओ मेरी जां
ओ मेरी जां॰ ॰ ॰
ओ ओ ओ
तेरी चाहत में जिएं
तेरी हसरत में मरें
है ये अरमां
आ आ आ
ओ मेरी जां
आ आ आ
ओ मेरी जां॰ ॰ ॰
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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