Posts Tagged ‘Lata Mangeshkar’
Aa Khilte Hain Gul, O Mere Bulbul
Posted on: October 1, 2018
- In: "Phool" song | Bird songs | Bulbul songs | Calling the beloved | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Missing the loved ones | Poignant Song | Post by Sadanand Kamath | sad song | Songs of 1950s (1951 to 1960) | Songs of 1958 | stage dance | Stage song | Yearwise breakup of songs
- 6 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3727 | Post No. : | 14666 |
Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.
I found both of them to be non-conformists in their respective fields. SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.
Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.
I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.
Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.
After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay. The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.
In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.
Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.
Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.
In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies. Burman joined Filmistan as music director.
In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu. This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.
His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan. The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.
SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.
In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.
Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.
Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.
In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.
At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.
It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song, Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).
With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.
But one film SD Burman did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.
The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).
I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).
During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.
It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.
Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.
I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.
On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.
The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).
During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).
After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).
‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.
So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.
[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]
(Video)
(Audio)
Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus
Lyrics
aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki
rut na dhale
mil jaa gale
kahin ye milan ki
rut na dhale
o o o o
o o o o o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa
o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ
ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰
- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Raja | Question-Answer song | Song picturised abroad | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 5 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3721 | Post No. : | 14656 |
By now it seems to have become a routine for me to make only cameos on this blog, triggered either by a memorable event (such as the blog’s tenth anniversary) or a “nudge” from another Atulite. 🙂
I will not seek to correct this impression – for the facts speak for themselves. I will also not make any excuse of “being busy” – that would only be an insult to people like Atul and Sudhir ji who manage to give so much time to the blog, despite so many demands on their time.
So no excuse – mea culpa. Today’s post is also a result of a nudge – this time from Peevisie’s Mom.
It happens to be the birthday of Feroz Khan today – and she called me up to remind me of it. A while ago, she and I had discussed that the popular song “Hamaare Siwa. . .” (‘Apradh’ – 1972) had not yet been posted on the blog – so she called up to remind me that there was an occasion coming up to remedy the situation. 🙂 So here is the post for this song – and to remember Feroz Khan.
I remember writing about Feroz Khan earlier – I think it was a couple of years ago. I haven’t checked that post – and am writing purely from my thoughts of the moment – so kindly excuse me if much of what I say is repetitive.
Feroz Khan, for me, has his own place in Hindi cinema. There are many who had a more successful career than Feroz. Certainly as an actor, he wasn’t rated all too highly, if I’m to be brutally honest. He had his moments, but one would have to be disingenuous about his acting achievements, to put him in the same league as at least a dozen other actors/stars.
And though he was very successful as a producer/director, there have been more successful producers / directors. And yet, for me, Feroz holds his own in Hindi cinema. As a personality, he seemed to me to have something about him that made him different from others. I think it was the way he carried himself.
Much of my exposure to Feroz was, of course, in the 1970s. By that time he had turned producer – so I got to see him both as actor and producer – in films like ‘Apradh’ (1972), ‘Dharmatma’ (1975) and ‘Qurbani’ (1980). All these films have one thing in common – they are all made on a grand scale, with no expenses spared, no corners cut in producing an extravagant spectacle for the audience. Naturally this became the image of Feroz Khan in my mind – and I think, for most people. His films are glamorous, with foreign locales, expensive cars and the like. Feroz seemed to revel in this flamboyant image – and continued it through the 1980s and 90s in films like ‘Janbaaz’ (1986), ‘Dayavan’ (1988) and ‘Yalgaar’ (1992).
If the films made by him are to be taken as representative of his life, one would not be mistaken in saying that Feroz lived life king-size. I enjoyed each one of these films – they were thoroughly entertaining, with a decent story line (which is very important for me!) and good songs too. Most of the songs of films made by Feroz became super-hits, suggesting he had a good ear for music.
And yet, for me, the story doesn’t end here. It is the first half of his career, so very different from the second half, that makes his story fascinating for me. Like I’ve said before, my clearest memories of Feroz are from his films of the 1970s. But he acted in many films in the 1960s too – and any reference to his work that does not mention this would be incomplete.
One of my friends once jokingly said “Feroz Khan probably got into producing his own films because he got fed up of never getting the heroine.” 🙂
Yes, said in jest, but it is true that in many of his films till he began making his own, Feroz missed out. In some early films, he was the villain – so then it’s understandable. But in many other films too, even as the good / semi-good guy, he would end up not getting the heroine. In ‘Oonche Log’ (1964), the heroine dies – in ‘Mela’ (1970), his character dies as he “sacrifices” for his brother. And in films like ‘Aarzoo’ (1965), ‘Aadmi Aur Insaan’ (1969), ‘Pyaasi Shaam’ (1969), ‘Safar’ (1970), ‘Upaasna’ (1971), the heroine loves the other guy. Small consolation maybe that in ‘Darinda’ (1977) he manages to turn the tables on Sunil Dutt for ‘Pyaasi Shaam’ (1969). 🙂
Of course, that was how the script was written – but it always made me feel bad to see Feroz lose out. 🙂 , even though he’d occasionally get to sing lovely songs like “Darpan Ko Dekha. . .” and “Jo Tumko Ho Pasand. . .” in the process. 🙂
Then there were those black-and-white films of the 60s. Many not well-known, probably then categorized as “B’’ films. Many with Mumtaz, herself then not in the A league. Having both gone through similar careers in the 60s, Feroz and Mumtaz were very good friends – and it’s hardly surprising that Mumtaz was his lead when he produced Apradh (1972).
One song from a Feroz “B” film I fondly remember is “Anjaan hai koi” (‘Anjaan Hai Koi’ – 1969). I think this song was quite popular in its time – at least I remember it from my childhood. Other less-known Feroz films I remember are ‘Ek Paheli’ (1971) with Tanuja (“Main Ek Paheli Hoon”) and ‘Anjaan Raahen’ (1974) with Asha Parekh (“Mujhe Nahin Poochhni Tumse Beeti Baatein”).
And of course, ‘Kashmakash’ (1973) and films like ‘Khote Sikke’ (1974) and ‘Kaala Sona’ (1975). The last-two were typical films that could have been made for Feroz – I remember enjoying both of them. 🙂
In general, I liked watching his films, especially of the 70s and later – they were never boring. Feroz himself, while never having pretensions to being a great actor, was fun to watch. And one of my favourite Rafisaab songs is picturised on him – “Jaag Dil-e-Deewaana”. 🙂 (‘Oonche Log’ – 1965).
So today, on his birthday, I have fond memories of Feroz Khan – and want to thank him for making entertaining films, with lovely songs. Today’s song is from ‘Apradh’ (1972) – the once very popular “Hamaare Siwa”. I remember listening to it a lot on radio at the time.
I saw the movie ages ago – sometime in the 70s. Have not seen it since, so I don’t remember anything of the story. I think it was something to do with smuggling, and had a lot of foreign locales, but sorry, I can’t remember any more than this. It’s surprising that in more than 10 years on this blog, the song hasn’t been posted yet. But better late than never, I guess.
So today, on Feroz Khan’s birthday, let’s all enjoy this song from his own film – the first film he produced/directed.
Song – Hamaare Siwa Tumhaare Aur Kitne Deewaane Hain (Apradh) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Indeevar, MD – Kalyanji Anandji
Lyrics
hamaare siwa
tumhaare aur kitne deewaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
hamaare?
haan tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
achha?
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
khoobsoorati aur wafaa
dekhi na donon ek jagah
haan haan dekhi na donon ek jagah
hote hain mard bade shakki
baat hai ye bilkul pakki
bholi si
aati ho nazar
haan haan bholi si
aati ho nazar
ho chanchal chaalaak magar
aurat ka dil jaane nahin
aap hamen pehchaane nahin
chhodo chhodo hum bhi sayaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
tum ho pareshaan kis gham se
raaz-e-dil keh do hum se
haan haan raaz-e-dil keh do hum se
apni kaho chhodo meri
karte ho kyon hera pheri
yaaron pe tohmat lagaate nahin
yaaron pe tohmat lagaate nahin
sab ko nishaana banaate nahin
khud harjaayee bhanwre ho tum
ek jagah kab thehre ho tum
chhodo chhodo hum to parwaane hain
hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
hmm
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे?
हाँ तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
अच्छा?
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
खूबसूरती और वफा
देखी न दोनों एक जगह
हाँ हाँ देखी न दोनों एक जगह
होते हैं मर्द बड़े शक्की
बात है ये बिलकुल पक्की
भोली सी आती हो नज़र
हो चंचल चालाक मगर
औरत का दिल जाने नहीं
आप हमें पहचाने नहीं
छोड़ो छोड़ो हम भी सयाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
तुम हो परेशान किस ग़म से
राज़ ए दिल कह दो हमसे
हाँ हाँ राज़ ए दिल कह दो हमसे
अपनी कहो छोड़ो मेरी
करते हो क्यों हेरा फेरी
यारों पे तोहमत लगाते नहीं
यारों पे तोहमत लगाते नहीं
सबको निशाना बनाते नहीं
खुद हरजाई भँवरे हो तुम
एक जगह कब ठहरे हो तुम
छोड़ो छोड़ो हम तो परवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
हम्म॰॰॰
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
Daal Bhi De Zulfon Ki Chhaon
Posted on: September 21, 2018
- In: Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi duets अ से ह तक | Rafi songs | Rafi-Lata duet | Romantic song | Series of articles | Songs of 1960s (1961 to 1970) | Songs of 1961 | Yearwise breakup of songs | Zulf song
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3717 | Post No. : | 14650 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 23
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘ड’ – डाल भी दे ज़ुल्फों की छाँव ज़ालिमा धूप चढ़ी जाये ॰ ॰ ॰
– – – –
दिल तोड़ने वाले, तुझे दिल ढूंढ रहा है
आवाज़ दे तू कौन सी नगरी में छुपा है
But maybe not. जिस नगरी में तुम चले गए हो, वहाँ से आवाज़ इधर नहीं आ सकती। The only sound that remains is the recordings available,
– – – –
Now this song today has a very interesting peculiarity, that was brought to our group’s notice by Bakshish Singh ji. I will come that shortly.
Today’s song, another vintage Chitragupt creation, which has remained kind of obscure and unfamiliar to the listening public. In its time, the music of this film was quite popular on the radio, especially the Mukesh song “Babam Babam Bam Bam Lehri” and the Kamal Barot song “Suna Hai Jabse Mausam Hai Pyaar Ke Kaabil”. The song presented in this post was also heard on the radio, but now it has been unheard for a long time.
Ramu Dada is a film by Sheikh Mukhtar. It is directed by Adarsh for the banner of Adarshlok, Bombay. The main star cast is listed as Sheikh Mukhtar, Jaimala, Prince Saleem, Honey Irani, Sapru, Nilofer, Rajan Haksar, Jagdish Shrivastav and Chand Usmani etc. In this, the name Prince Saleem is the same person as Salim Khan that we are more familiar with – part of the Salim-Javed team of story writers (‘Sholay’ (1975) et al.), father of actor Salman Khan.
Geet Kosh lists 9 songs of this film. Three of these are already showcased on our blog. This post brings on board the fourth song of this film. All the songs are penned by Majrooh Sb and the music is composed by Chitragupt. In this song, Rafi Sb’s voice is accompanied by the voice of Lata ji. On screen, this song is performed by Salim Khan and Jaimala.
Now coming to the interesting peculiarity of this song. This song is one of those that has a slight variation in between the audio and video versions; or in other words, in between the 78 rpm recording and the recording actually filmed. Readers will recall that I discussed another such song earlier in the year – “Rangeen Bahaaron Se Hai Gulzaar China Town” from the 1962 film ‘Chinatown’. This song has a similar peculiarity. The verses noted in the lyrics section below are based on the audio version of this song, taken from the 78 rpm record. That version also supplies the title line for this post, and that is because the Geet Kosh takes this as the original wording for listing. The lines of the mukhda of this song has been modified in the video version.
The mukhda in the audio version is worded as,
Male Voice:
daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
Female Voice:
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
In the video version filmed, the mukhda is worded as
Male Voice:
daal bhi de palkon ki chhaaon
zaalima dhoop chadhi jaaye
Female Voice:
lo na sanam palkon ka naam
preet mein reet badhi jaaye
Please listen to the mukhda rendition in the two versions. When we listen to the audio version, it sounds very normal and correct, nothing is amiss. However, when we listen to the video version, the lines of the mukhda rendition sound somewhat altered and out of sync with the music. The most likely explanation is that these lines have been overlaid on to an earlier version of this song. Meaning that the song was filmed with the version that is present on the 78 rpm records. Then for some reason (unknown at this time), the mukhda lines were re-recorded with the sight variation in words, and then this recording was carefully dubbed onto the existing celluloid reels. However, the dubbing is not perfect. We can clearly make out a slight variation in the pace of music for these lines. And careful examination will also show that the lip sync for the mukhda lines is out of sync.
Having established this variation, however I have not been able to locate any information as to why this change was made, why was this change was so essential and necessary. I request friends and readers to add more information regarding the why of this change.
Meanwhile, check out these variant versions of the song.
(Audio – . . .zulfon ki chhaon. . .)
(Video – . . .palkon ki chhaon. . .)
Song – Daal Bhi De Zulfon Ki Chhaon (Ramu Dada) (1961) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Chitragupt
Lyrics (based on the audio version)
daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
kaahe tera
jalta dil hai bechara
aata nahin
aanchal haath tumhaara
kaahe tera
jalta dil hai bechara
aata nahin
aanchal haath tumhaara
ye rangeen ghata
paa ke hawa
udti jaaye
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
ye kya hua
uljhi chaal tumhaari
dekho na ji
latt phir bikhri hamaari
ye kya hua
uljhi chaal tumhaari
dekho na ji
latt phir bikhri hamaari
na kyun jaaye bikhar
ham se nazar
ladti jaaye
ke daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
duniya kahe
sajna pyaar bura hai
yehi na ho
to ye duniya bhi kya hai
duniya kahe
sajna pyaar bura hai
yehi na ho
to ye duniya bhi kya hai
ye main dekh rahi
chaah teri
badhti jaaye
ke lo na sanam zulfon ka naam
baat mein baat badhi jaaye
daal bhi de zulfon ki chhaaon
zaalima dhoop chadhi jaaye
lo na sanam zulfon ka naam
baat mein baat badhi jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
डाल भी दे ज़ुल्फों की छाँव
ज़ालिमा धूप चढ़ी जाये
लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
डाल भी दे ज़ुल्फों की छाँव
ज़ालिमा धूप चढ़ी जाये
लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
काहे तेरा
जलता दिल है बेचारा
आता नहीं
आँचल हाथ तुम्हारा
काहे तेरा
जलता दिल है बेचारा
आता नहीं
आँचल हाथ तुम्हारा
ये रंगीन घाटा
पा के हवा
उड़ती जाये
लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
डाल भी दे ज़ुल्फों की छाँव
ज़ालिमा धूप चढ़ी जाये
ये क्या हुआ
उलझी चाल तुम्हारी
देखो ना जी
लट फिर बिखरी हमारी
ये क्या हुआ
उलझी चाल तुम्हारी
देखो ना जी
लट फिर बिखरी हमारी
ना क्यों जाये बिखर
हमसे नज़र
लड़ती जाये
के डाल भी दे ज़ुल्फों की छाँव
ज़ालिमा धूप चढ़ी जाये
लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
दुनिया कहे
सजना प्यार बुरा है
येही ना हो
तो ये दुनिया भी क्या है
दुनिया कहे
सजना प्यार बुरा है
येही ना हो
तो ये दुनिया भी क्या है
ये मैं देख रही
चाह तेरी
बढ़ती जाये
के लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
डाल भी दे ज़ुल्फों की छाँव
ज़ालिमा धूप चढ़ी जाये
लो न सनम ज़ुल्फों का नाम
बात में बात बढ़ी जाये
Saari Duniya Ko Peechhe Chhod Kar
Posted on: August 30, 2018
- In: "Dream" song | Aspirations of Love | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Love song | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1950s (1951 to 1960) | Songs of 1951 | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3695 | Post No. : | 14611 |
In the 1930s and in early 1940s, most of the music directors compose mainly raag-based and folk-based tunes to the lyrics. The musicians would play the entire melody on their respective instruments in line with the tune. Since, in the absence of playback singing, songs would be recorded live, music directors were constrained to use minimum musical instruments, that too mostly within the options of Indian instruments consisting of harmonium, percussion, tabla/dholak, sitar, saarangi, flute etc.
Once the playback singing system stabilised in around late 1930s, music directors got flexibility in using more musicians and also started using western musical instruments such as piano, guitar, violin, mandolin, trumpet, clarinet etc. This gave them flexibility in composing preludes, interludes and orchestration. Anil Biswas who came to Bombay (Mumbai) sometime in 1935 with 12 of his Anglo-Indian musicians, changed the concept of orchestration of the songs. He was the first to use counter melody in orchestration. Probably, he was also the first music director of Hindi films who composed a song, Hum Aur Tum Aur Ye Khushi based on waltz music (generally used for ball-room dance), for the film ‘Alibaba’ (1940). Anil Biswas could do it because he had in his orchestra, musicians well-versed in playing western music instruments.
There were perceptible changes in the style of song compositions in Hindi films of 1950s and 60s (also thereafter) as compared with those of 1940s. Songs of 1950s and 60s were not only melodic but their musical preludes, interludes and overall orchestrations appealed to the listeners. How did the Hindi film music witness musical metamorphosis in 1950s and 60s? The answer is that during this period, some of the Christian musicians and music arrangers from Goa played a pivotal role in taking the Hindi film music from the vintage era ( 1931-1947) to the golden era (1948-1980).
To understand as to how the Christian musicians from Goa got connected with Hindi film industry, one needs to go back to the history of Goa. After the annexation of Goa by Portuguese in the 16th century, they established churches, chapels and convents in their captured territories. As part of church services, there was a need to establish choirs – a group of singers accompanied by musicians. The locals who were converted in to Christianity were trained to sing and play western instruments such as organ and violin. The services of these trained singers and musicians were also utilised for the occasions such as weddings, community feasts and funerals. Over a period of time, with the regular exchange of people from other Portuguese territories such as Angola and Mozambique, these musicians learnt some more western instruments such as piano, trumpet, saxophone, guitar, clarinet etc.
The Portuguese did not do much to the education system. Nor did they provide employment opportunity to the locals. As against this, Goans found employment opportunity in British India especially at Mumbai, the nearest city for Goans. For those who had learnt music, Mumbai provided them opportunity to become musicians in the night clubs which were patronised by the higher strata of the societies.
During the World War II (1939-45), there were shortages of musicians in the night clubs as many foreign musicians especially from Germany and its allied countries either left India or they were arrested. The Goan musicians with their affinity to jazz music filled the vacancies. Also, the British and its allied troops which were stationed in major cities like Bombay, required night clubs as a source of entertainment.
During the late 30s and early 40s, many Goan musicians migrated mainly to Mumbai. Some of the well-known Goan musicians like Antony Gonsalves, Chic Chocolate, Sebastian D’Souza (came to Mumbai via Lahore), Frank Fernand, Chris Perry, Sonny Castelino, Lucilla Pacheco migrated to Mumbai. I guess that none of these musicians would have remotely thought of joining the Hindi film industry at the time of their migration. Generally, for musicians trained in western classical music, their intention will be to join a music band, earn a name and have their own music band.
Except Antony Gonsalves, all others mentioned above, had joined the dance bands as musicians. Those days, there was a craze for jazz music and all these dance bands would mostly play jazz music in Taj Mahal Hotel, Green Hotel (run by Taj Mahal), Astoria Hotel, Ambassador Hotel, Ritz Hotel, Bristol Grill, Mocambo etc. During my way to college in Churchgate in early 1960s, I used to see displays outside some of these hotels and restaurants showing the names of the dance bands with prominent musicians schedule for the performance in the night. Perhaps, I may have read the names like Chic Chocolate, Frank Fernand and Chris Perry but without knowing at that time that they were associated with Hindi film music.
How some of these Goan musicians did get connected with Hindi film industry in the latter half of the 1940s is not clear. Probably, some of the music directors like Anil Biswas, C Ramchandra, Khemchand Prakash, Naushad either individually or collectively may have visited the night clubs to witness the performance of the dance bands. They would have been impressed by the harmonic presentation by musicians with foot tapping music. They saw the opportunity to use in Hindi film songs by way of prelude and interlude orchestra which would appeal to the listeners.
But how to achieve the synergy of harmonic orchestra to the tune in melodic form in Hindi film songs? The uses of a large number of western musical instruments for orchestra which need to be played in harmony require a music composer (in Hindi film parlance, a music arranger) who can write music for each musician and for each instrument in the orchestra who may play the instruments in different notes. Goans with their training in Western classical music from their days in church choirs to dance bands were well versed to do the job of writing the music.
During the late 1940s, Goan musicians and music arrangers worked in Bombay film industry during the day time to supplement their income while the main source of their income continued to be from the dance bands. Sometime in early 1950s, the then Bombay State introduced prohibition and raised entertainment tax which affected the business of night clubs. Some of the Goan musicians had to become full time musicians and music arrangers in Bombay film industry while working with dance bands became a part time job.
Among the many Goan musicians, Antony Gonsalves, Frank Fernand, Sebastian D’Souza and Chic Chocolate have been the major music arrangers for the Hindi film music during 1950 to 1975. I guess, these four music arrangers may have been associated with about 90 per cent of the Hindi film songs during 1950-75.
All these four music arrangers have contributed so much to the Hindi film music that each one merits a full article. This will have to wait for some other time. In the meanwhile, I present below a brief sketch of the musical career of each one of them.
Antony Gonsalves (12/06/1927 – 18/01/2012) mostly worked as a free-lance music arranger due to the fact that he also played violin for almost all the top music directors. He started as a musician playing mainly violin with Naushad in 1943. He got his first assignment as music arranger with Shyam Sundar in Dholak (1951). His orchestration in Mausam Aaya Hai Rangeen is worth listening. He had also done orchestration for Hum Aapki Aankhon Mein in ‘Pyaasa’ (1957) during which he also played violin. During his active filmy career between 1950-1965, he is said to have been associated in more than 1000 songs.
Antony Gonsalves taught violin to Pyarelal (of Laxmikant-Pyarelal) and RD Burman for 4 years. He had also become a keen follower of Hindustani classical music. In fact, in 1958, he had 110 musicians in his raag-based symphony orchestra playing his composition in various Indian raags blended with western music, a thing which is very common in the present generation. Unfortunately, his experiment did not click with the audience. But his work was noticed at the international level.
Antony Gonsalves cut short his filmy career in 1965 and went to USA on an invitation from Syracuse University, New York. He remained in the USA for 10 years after which he returned to India and settled in his village Mojorda in Goa in seclusion during the rest of his life keeping away from the Hindi film industry.
An interesting trivia here – in the iconic song tuned by Laxmikant Pyaarelal – “My Name Is Anthony Gonsalves“, L-P have said that they used this name of their ‘teacher’, as a mark of honour for him.
Frank Fernand (03/05/1919 – 01/04/2007) worked as a music arranger mainly with Hemant Kumar, Ravi, Kalyanji Anandji though he also worked with other music directors. He migrated to Mumbai in 1936 to join one of the dance bands. He got his first break as a music arranger in ‘Barsaat’ (1949) and also played trumpet and violin in some songs. During his career as musician/music arrangers, he is said to be associated with about 70 Hindi films. Frank Fernand’s work can be judged from Dil Deke Dekho Dil Deke Dekho, Baar Baar Dekho Hazaar Baar Dekho and Aage Bhi Jaane Na Tu among his other works.
Sometime in the 60s, Frank Fernando ventured in to producing Konkani films and thereafter a couple of Hindi films in the 1970s. While his Konkani films earned him money, his first Hindi film ‘Priya’ (1970) was a box office failure while the second film ‘Aahat’ (1974) could be released only in 2010 after his death. In 1985, Frank Fernand was afflicted with Parkinson’s disease which kept him in the confine of his house in Bandra.
Sebastian D’Souza (29/01/1906 – 09/03/1996) was a dance band leader in early 1940s in a hotel in Lahore. During his Lahore days, he is said to have worked for Shyam Sundar and Ghulam Haider. After partition, he came to Mumbai. His first film as music arranger was with OP Nayyar in ‘Aasman’ (1952). His association with Shanker-Jaikishan started with ‘Daagh’ (1952) which continued uninterrupted till 1975. With his attachment with OP Nayyar, Shankar-Jaikishan and occasionally with Salil Chaudhary, his outside assignments as music arrangers were few.
One can notice the ingenuity of Sebastian D’Souza’s in music arrangements in that despite working with OP Nayyar and Shankar-Jaikishan for a long time, his orchestrations retained the individual stamps of these music directors in their respective songs. That Sebastian D’Souza could work with a temperamental music director like OP Nayyar for a long time speaks volume about his talent and of his mild nature.
It is said that Sebastian D’Souza’s counter-melody in orchestration was so good that Jaikishan used some of his counter-melodies as tunes for the songs. I am sure that in ‘Madhumati’ (1958), Salil Choudhary must have been impressed by Sebastian’s counter-melody in Aaja Re Pardesi and used it as a mukhda tune for Ghadi Ghadi Mora Dil Dhadke. Sebastian’s great work can be felt in almost all songs of S-J and OPN. However, the one song which I am very fond of because of orchestration is Poochho Na Hamen Hum Un Ke Liye from ‘Mitti Mein Sona’ (1960). The piano in this song was played by a Goan musician, Sunny Castellino who was a music arranger for ‘Aawaara’ (1951).
During his filmy career, Sebsatian D’Souza arranged music for about 125 films with around 1000 songs. He retired from film industry in 1975.
Merlyn D’Souza, daughter-in-law of Sebastian D’Souza has been continuing his musical tradition. She works as a music producer, music arranger and sometime as music director – both in films and theatres. In the music industry, she is often referred to as ‘Female AR Rahman’ due to her work in fusion music.
Chic Chocolate (real name : Antonio Xavier Vaz, 1916-1967) came to Mumbai in in the late 30s to become a lead jazz trumpeter in a dance band. His idol was Louis Armstrong, the American jazz trumpeter. Interestingly, he even looked like Louis Armstrong. Soon he became one of the best trumpeters in Mumbai’s jazz music scene. By the end of the World War-II, Chic Chocolate had already formed his dance band named ‘Chic & His Music Makers and had become one of the leading dance bands in Mumbai.
It is not clear as to when he started working for Hindi films. His earliest connection to Hindi film industry as a music arranger points to the film ‘Samaadhi’ (1950) in which he collaborated with C Ramchandra, The song Gore Gore O Baanke Chhore which has jazzy music, brought him to the attention of Hindi film industry. His music arrangements in all the songs of ‘Albela’ (1951) was a high point of his career as music arranger. I think, in this film, Chic Chocolate poured all his experience in Jazz music in such an extent that the songs which became a new category of songs with Indo-Jazz music.
In Deewaana, Ye Parwaana, one can see Chic Chocolate playing trumpet with the musicians from his dance band ‘Chic & His Music Makers’. Because of runaway success of ‘Albela’ (1951), his dance band became more famous. He also adopted for his dance band the uniform that was used for his band in this song.
He mostly worked with C Ramchandra in the 1950s though he had also worked with other music directors. Take for instance, his music arrangements in the song, Ae Dil Mujhe Bata De in ‘Bhai-Bhai’ (1956) and Rut Jawaan Jawaan in ‘Aakhri Khat’ (1966) in which he is seen playing trumpet.
With ‘Naadaan’ (1951), Chic Chocolate donned the hat of music director for the first time. This was followed by ‘Rangeeli’ (1952) and ‘Kar Bhala’ (1956).
Chic Chocolate passed away in May 1967 shortly after the release of ‘Aakhri Khat’ (1966). His son Erwell Vaz is a drummer.
Hindi film music is the work of so many creative artists, musicians and music arrangers. I guess, in the 50s and 60s, music arrangers must have spent more man-hours for arranging music than the music directors for whom they worked. Unfortunately, in film and music industry, it is mainly the singers and music directors who get the credit. However, in the recent period, names of at least lead musicians and music arrangers are mentioned in the credit titles of many of the films as well as the covers of CDs.
Today, I present the 7th song (out of 8 songs, including two multiple version songs) from the film ‘Naadaan’ (1951) for which Chic Chocolate got his first opportunity to set the tune to the songs in addition to the music arrangements. The song is ‘Saari Duniya Ko Peechhe Chhod Kar’ sung by Lata Mangeshkar. The song was written by PL Santoshi.
The tune of the song has a distinct style of C Ramchandra who was credited as Music Supervisor. Surprisingly, none of the 8 songs in the film has jazz flavours. This is not to undermine the overall contributions of Chic Chocolate in the songs of the film. It is worth mentioning in this context that Chic Chocolate had composed many jazz songs for his dance band in the 40s. There are at least six 78 rpm gramophone records which bear the name of Chic Chocolate as the music composer.
The song under discussion appears to be a dream sequence going by the sets used in the picturisation of the song.
Acknowledgements:
- Naresh Fernandes – Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age (2012)
- Gumnaam Hai Koi – The Untold Story of Music Arrangers and Musicians : Part-I & II – Rajya Sabha TV (2015)
(Video)
(Audio)
Song – Saari Duniya Ko Peechhe Chhod Kar (Nadaan) (1951) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – Chic Choclate
Lyrics
saari duniya ko peechhe chhod kar
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
chalo khelenge saajna aankh micholi
o o o
o o
o o
chalo khelenge saajna aankh micholi
bhar len sitaaron se hum apni jholi
bhar len sitaaron se hum apni jholi
chaand chhup chhup ke karta ishaare
kitne dilkash hain ye sab nazaare
hain ye sab nazaare
hum ek nai duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaa aaa
aa aa
aa aa aa aa
aa aa
aa aa aa
la la la la la
la la la la la
la la
saare aalam pe chhaayi hai chaandni
kyon na gaayen hum ulfat ki raagini
aaj harsoo hai
aaj harsoo hai mousam khushi kaa
luft aayega ab zindagi kaa
ab zindagi kaa
hum nazaaron ki duniya mein aa gaye
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
hum sitaaron ki duniya mein aa gaye..ae
chaand taaron ki duniya mein aa gaye
saari duniya ko peechhe chhod kar
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सारी दुनिया को पीछे छोड़ कर
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
चलो खेलेंगे साजना आँख मिचौली
ओ ओ ओ
ओ ओ
ओ ओ
चलो खेलेंगे साजना आँख मिचौली
भर लें सितारों से हम अपनी झोली
भर लें सितारों से हम अपनी झोली
चाँद छुप छुप के करता इशारे
कितने दिलकश हैं ये सब नज़ारे
हैं ये सब नज़ारे
हम एक नई दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आss आss
आ आ
आ आ आ आ
आ आ
आ आ आ
ल ल ल ल ला
ल ल ल ल ला
ला ला
सारे आलम पे छाई है चाँदनी
क्यों न गायें हम उलफत की रागिनी
आज हरसू है
आज हरसू है मौसम खुशी का
लुत्फ आएगा अब ज़िंदगी का
अब ज़िंदगी का
हम नज़ारों की दुनिया में आ गये
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
हम सितारों की दुनिया में आ गये॰॰ए
चाँद तारों की दुनीया में आ गये
सारी दुनिया को पीछे छोड़ कर
Aisa Des Hai Mera
Posted on: August 16, 2018
- In: "Mela" song | Actor-Singer song | Devnagri script lyrics by Sudhir | feel good song | Feelings of heart | Folk song | Friendship Song | Guest posts | Lata song | Lyrics contributed by readers | Post by Sudhir | Pritha Majumdar Songs | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2004 | Udit Narayan Song | Yearwise breakup of songs
- 3 Comments
This article is written by Sudhir, 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 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 : | 3681 | Post No. : | 14576 |
Greetings to all friends and readers, as India celebrates another anniversary of its freedom from foreign domination.
A lot can be and has been said and debated about this theme, in the press, in the media, in personal conversations. . . there is never a perfect closure to these discussions. Yes, the honor of the nation is an emotion that should and almost always does, transcend all other emotions. I say almost, because, at least in my evaluation of an individual’s relationships with the surroundings and the society, the matters of culture and humanism would at times weigh in more than national pride. In my mind, the definitions of national boundaries are quite artificial. They are more often than not, drawn by vested and many a times malicious intentions. Humanism, on the other hand, has no boundaries, period, none whatsoever across the planet. And culture – well it is defined more by environmental forces and the flow of historical compulsions. Culture grows. It develops and spreads driven by natural boundaries, and human acceptance of that which correctly conforms to the natural affinities and tendencies.
History, they say, is always written by the victorious. And they also say, that the Gods favor the righteous. One would thus expect the flow of human experience should be more correct and righteous. But it is not. The history of the human experiences is fraught more with misery and evil, than anything else. In the circumspect analysis, one would then conclude contrary to “. . . the Gods favor the righteous”, that might is right. Because more often than not, the victorious generally are the stronger contender, and also, more often than not, they are ruthless in their beliefs. And if not, the victory brings them to that point where they become so. Power corrupts – invariably.
Of all the good and bad topics in the history of what we call the struggle for independence of India, for me, the most punishing act inflicted on our nation, and more importantly, our culture, was the partition of our land. And lest we forget, our nation was partitioned more than once, and quite surreptitiously, before the much celebrated and bloody events of 1947.
First, in 1896, the Durand Line was drawn that created Afghanistan. For millennia before that, even before the Muslim and Mughal clans invaded India, the kings of this subcontinent had ruled over the land of Afghans and beyond, and had the regions of Samakkand and Bukhara in their regime. That was the first cut.
Then, in 1914, a conference was held in Simla. The McMahon line was announced and the Tibetan regions were delinked from India, formally by creating an international boundary. The next cut came in 1937 – the boundaries on the east were redrawn and Burma was carved out as a state, separate from India. And then, of course the cruelest cut of all, came in 1947 with the adoption of the Radcliffe line and the creation of a separate nation of Pakistan in two parts, the West and the East. Over a period of just about 50 years, a grand continent nation with its grand culture, that stretched from the Pamirs in Central Asia, to as far as Siam (now Thailand) and Cambodia in the Far East, was reduced to half its original spread.
Going across a vast region of land, having a variety of geographies – plains, mountains and deserts, having people speak more than a thousand dialects, having people with a plethora of contrarian food habits – still this vast expanse of land was united by a single seminal culture that arose from the earth of this sub-continent.
Couple of days back, when I was doing some research on ‘Urvashi’ and Ramdhari Singh Dinkar, for the post by Bharat Bhai, my eyes caught another related reference – a historical treatise of major proportions, authored by the same Dinkar. The title – ‘संस्कृति के चार अध्याय’ (‘Sanskriti Ke Chaar Adhyaye’ – a history of our culture in four chapters). In this path break historical thesis, Dinkar has charted the course of evolution of the culture of this subcontinent. The first segment talks about the Vedic origins of our culture. The second segment examines the rise of Buddhism and Jainism – the conflict and then the subsequent coming together in a single society. The third segment documents the advent of Islam, the reign of the Islamic dynasties – once again, the conflict and then the subsequent genesis of the Ganga-Jamni culture of peaceful co-existence. The fourth segment studies the invasion by the European kingdoms and the associated arrival of Christanity to the shores of this nation. Yet once again, discusses the conflict and the eventual prevalence of the merged society.
Over the ages, the culture of this land has exhibited a remarkable resilience to external influences, even potentially destructive influences. In the four phases of the history researched and documented by Dinkar, each phase establishes the thought supremacy of the tolerant and humanist culture of this land, that imbibed all that came to it, accepted them as different and yet the same, allowed a peaceful coexistence outside of the political machinations, and made the foreigners love it, and blend into it. That, in my opinion, is the superlative strength of this culture. And just because of this strength, I believe this culture will never be, it cannot be – destroyed. No wonder, our forefathers called it the ‘सनातन संस्कृति’ – a culture that is timeless, without a beginning and without an end.
I have a dream. Generally it is said – dreams are dreams. And nothing more. But still – I have a dream. And the dream comes from my desire to be able to go back to the land of my familial ancestors, to the places where my parents and grandparents were born and where they lived and thrived. The partition of 1947 was a disaster of proportions much greater than the Holocaust that was wreaked upon Europe by Hitler and his Germany. The number of people who suffered at the hands of the Third Reich is of the order of 5 million. The 1947 partition consumed anywhere between 10 to 20 million people on both sides of the border. And yet, the world historians do not discuss this monumental human tragedy as what it really is.
That is the power of subjugation and slavery that our self serving political leadership has always accepted and acquiesced to. There are many examples in world history, where nations have been partitioned and separated, and then they have come together once again, because the people wanted it to be so. The US has seen its own flavor of this partition during the Civil War (1861 – 1865), but they fought to bring it back together. Germany was partitioned in 1945 and the people finally toppled the Berlin Wall in 1989. Vietnam was divided and it fought the greatest superpower for decades, so it could be one once again. And now the efforts for Korea are beginning to be heard.
I have a dream, which I am quite sure will always remain a dream.
The song I present today is from a film that needs not introductions. Three songs of this musical bonanza are already showcased on our blog. I picked this film and this song for this post, because this film, as recently as 14 years ago, made a very courageous attempt to call out a spade, a spade. It is this and other similar literary and cultural expressions that give a breath of life to the dream I have. And the thing that I simply love about this film and this song, is the unabashed expression that confirms that the two neighbors are the same land and the same culture.
aisa des hai mera
ho oo
jaisa des hai tera
Ah yes, this song confirms my dream. But I also know that my dream will always remain a dream. . .
The film is ‘Veer Zaara’ from 2004. It has been a popular hit in its time, and I am sure I do not need to cover more details – friends and readers are likely already familiar. The song is written by Javed Akhtar. The music has been adapted from the unused tunes created by the late Madan Mohan, which are now in the collection of his son, Sanjeev Kohli. The singing voices are those of Udit Narayan, Lata Mangeshkar, Pritha Majumdar, and the famous Punjabi folk singer and actor Gurdas Maan, who makes a brief cameo appearance in this song itself.
Today morning, I read an article written by Anupam Sinha, that was carried in the Indian Express newspaper. Readers will be familiar with this name – he is the director of ‘Mulk’, the Rishi Kapoor starrer that is released just recently – on the 3rd of this month itself. In the film and the in the article, Anupam Sinha is raising many uncomfortable questions about the direction of the destiny of this nation and this land. Questions that today are becoming more and more difficult to articulate in the evolving ethos of the culture of this sub continent. That says quite a bit, doesn’t it. Yes, it is becoming more and more difficult to raise such questions.
That is the source of my fears – that my dream is always going to remain a dream. . .
Song – Aisa Des Hai Mera (Veer Zaara) (2004) Singer – Gurdas Mann, Udit Narayan, Lata Mangeshkar, Pritha Majumdar, Lyrics – Javed Akhtar, MD – Madan Mohan
Female Chorus
Male Chorus
Lyrics
oo ooo oo oo
ooo oo oo oo oo
oo ooo ooo ooooo
amber hethaan
dharti vasdi
aithe har rut hasdi
ho oo oo oo
kinna sohna
des hai mera
des hai mera
des hai mera. . .
kinna sohna
des hai mera
des hai mera
des hai mera. . .
dharti subehri ambar neela. . . ho oo
dharti subehri ambar neela
har mausam rangeela
aisa des hai mera
ho oo aisa des hai mera
aisa des hai mera
haan aisa des hai mera
boley papiha koel gaaye..ey..ey..ey
boley papiha koel gaaye
saawan ghir ke aaye
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
mundere mere
kaaga boley wey
chithi mere maahi di
chithi wich mera naam wey
chithi mere maahi di
gehun ke kheton mein
kanghi jo karen hawaayen
rang birangi kitni
chunariya ud ud jaayen
panghat par panihaaran
jab gagri bharne aaye
madhur madhur taanon mein
kahin bansi koi bajaaye
lo sun lo
kadam kadam pe hai mil jaani..ee..ee
kadam kadam pe hai mil jaani
koi prem kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
ooo oo oo oo oo oo
oo oo oo oo oo oo
oo ooo ooo oooo oooooo
ho meri jugni de taaghe pakke
jugni os de munh to fabbe
jinun satt ishq di lagge
o saain mere..aa o jugni
(hooo oooo ooooye)
veer mere..aa o jugni kehndi ai
o naam saain da lendi ai
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
oy dil kadd litta ee jind meri..aa
baap ke kandhe chadh ke
jahaan bachche dekhen mele
melon mein nat ke tamaashe
kulfi ke chaat ke thele
kahin milti meethi goli
kahin churan ki hai pudia
bhole bhole bachche hain
jaise gudde aur gudiya
aur inko
roz sunaayen daadi naani..ee..ee
ho oo
roz sunaayen daadi naani
ik pariyon ki kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
sadke sadke jaandi e mutiyaare ni
kanda chuba tere pair baanki e naare ni
oy
ni adee e
kanda chuba tere pair baanki e naare ni
kaun kadde tera kaandra mutiyaare ni
kaun sahe teri peed baanki e naare ni
oy
ni adee e
kaun sahe teri peed baanki e naare ni
ho oo
ho ho
ho ho ho ho ho
mere des mein mehmaanon ko
bhagwaan kaha jaata hai
wo yahin ka ho jaata ha
jo kahin se bhi aata hai
aaa haa aaa aaa aaa aaa
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
jaane kyon ye lagta hai
mujhko jaana pehchaana
yahaan bhi wahi shaam hai
wahi savera..aa..aa ho oo
wahi shaam hai wahi savera
aisa hi des hai mera
jaisa des hai tera
waisa des hai mera
haan
jaisa des hai tera
aisa des hai mera
ho oo
jaisa des hai tera
aisa des hai mera
haan
jaisa des hai tera
aisa des hai mera
ho oo
jaisa des hai mera
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओ ओ
ओss ओ ओ ओ
ओ sओ ओ ओss ओssss
अम्बर हेठां
धरती वसदी
ऐथे हर रूत हसदी
हो ओ ओ
किन्ना सोह्णा
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
धरती सुनहरी अम्बर नीला॰ ॰ ॰
हो ओ
धरती सुनहरी अम्बर नीला
हर मौसम रंगीला
ऐसा देस है मेरा
हो ओ ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
बोले पपीहा कोयल गाए॰॰ए॰॰ए॰॰ए
बोले पपीहा कोयल गाए
सावन घिर के आये
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
मुंडेरे मेरे
कागा बोले वे
चिट्ठी मेरे माही दी
चिट्ठी विच मेरा नाम वे
चिट्ठी मेरे माही दी
गेहूं के खेतों में
कंघी जो करें हवाएँ
रंग बिरंगी कितनी
चुनरिया उड़ उड़ जाएं
पनघट पर पनिहारिन
जब गगरी भरने आए
मधुर मधुर तानों में
कहीं बंसी कोई बजाए
लो सुन लो
कदम कदम पर है मिल जानी
कदम कदम पर है मिल जानी
कोई प्रेम कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
ओss ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओss ओss ओsss ओsssss
हो मेरी जुगनी दे तागे पक्के
जुगनी ओस दे मुंह तो फब्बे
जिनूं सट्ट इश्क़ दी लग्गे
ओ साईं मेरे॰॰आ ओ जुगनी
(हो॰॰ओ॰॰ ओए)
ओ साईं मेरे॰॰आ ओ जुगनी कहंदी ऐ
ओ नाम साईं दा लैंदी ऐ
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
ओ दिल कड्ड लित्ता ई जिंद मेरी॰॰आ
बाप के कंधे चढ़ के
जहां बच्चे देखें मेले
मेले में नट के तमाशे
कुल्फी के चाट के ठेले
कहीं मिलती मीठी गोली
कहीं चूरन की है पुड़िया
भोले भोले बच्चे हैं
जैसे गुड्डे और गुड़िया
और इनको
रोज़ सुनाएँ दादी नानी॰॰ई॰॰ई
हो ओ
रोज़ सुनाएँ दादी नानी
इक परियों की कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
सड़के सड़के जानदी ए मुटियारे नी
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
ओय नी अड़ीए
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
कौन कड्डे तेरा कांडड़ा मुटियारे नी
कौन सहे तेरी पीड़ बाँकी ए नारे नी
ओय नी अड़ीए
कौन सहे तेरी पीड़ बाँकी ए नारे नी
हो ओ
हो हो
हो हो हो हो हो
मेरे देस में मेहमानों को
भगवान कहा जाता है
वो यहीं का हो जाता है
जो कहीं से भी आता है
आs हाs आs आs आs आs
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
जाने क्यों ये लगता है
मुझको जाना पहचाना
यहाँ भी वही शाम है
वही सवेरा॰॰आ॰॰आ हो ओ
वही शाम है वही सवेरा
ऐसा ही देस है मेरा
जैसा ये देस है तेरा
वैसा देस है मेरा
हाँ
जैसा देस है तेरा
ऐसा देस है मेरा
हो ओ
जैसा देस है तेरा
ऐसा देस है मेरा
हाँ
जैसा देस है तेरा
ऐसा देस है मेरा
हो ओ
जैसा देस है मेरा
Zindagi Wo Kya Na Pyaar Jis Mein Ho
Posted on: July 19, 2018
- In: Club song | Dance song | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lata song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by Raja | Rafi songs | Rafi-Lata duet | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 19 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3653 | Post No. : | 14509 |
ASAD 10th Anniversary Celebrations – 15
———————————————————————
It has been a while since my last post here – and I have no excuses for this. I will not cite “been busy” as an excuse, because, if I’m honest, I could certainly have found time for a post. If anything, the only reason for not posting is my sheer laziness. And laziness is never, and should never be, an acceptable excuse. So, no excuses. Mea culpa.
One thing though. While I might not be posting frequently, this blog is never far from my heart. It might not be apparent from my recent (non-existent) interactions but this is fact. Whether I post here or not, this blog is very special to me. After all, I have been involved with it from day one. So I request everyone to please excuse my prolonged absence. (Some might consider it not such a bad thing. 🙂 )
Anyway, let me get to the point now. I am not the story here – something else is. Something much bigger than me and my mundane blabbering. Yes, this post is part of a series that marks a very special occasion for this blog. An occasion that speaks to an achievement so momentous, so mind-boggling that it calls for a “lifetime achievement award” for the creator of the blog.
This blog, our beloved blog, completes TEN years today – the first post here appeared on 19th July 2008.
I know I will never be able to do justice to the emotions I am experiencing right now. Words just cannot fully express these feelings. But I’ll try to share some of my thoughts on this occasion. They will be rambling, as usual – but I hope that’s ok.
TEN years. In the history of civilizations, TEN years is nothing. Even in inter-stellar references, depending on context, TEN years is nothing.
But in the world of blogging, TEN years of continuous blogging is HUGE. Mind-blowingly awe-inspiringly HUGE. Or, to use a very common American term, AWESOME. The operative word here is “continuous”. Most blogs out here (and there are countless numbers) are started with great enthusiasm. It doesn’t matter what the blog is about – but, much like exercise, the enthusiasm sees a dramatic drop over time. This could be days, weeks, or, for the more dogged, months. The blog marathoners might just push it into a few years, but there is usually a visible decline in tempo – much like a vehicle that has run its mileage, but is being started everyday just so it doesn’t come to a complete halt. Thus you see a post surface on the blog after months – as if to signal the blog (and the writer) is still alive.
I am not exaggerating. Yours truly also has a potpourri-like blog – started many years ago with considerable enthusiasm. The live update on the situation is that I can’t even remember when I last posted anything on the blog. Must be a few months at least, if not more. And I am in pretty good company. Thousands of blogs suffer this fate.
That is where this Atul-song-a-day blog, so beloved to us, stands out. Separate from all the other blogs out there. It is one thing to clock ten years. There must be plenty of blogs created before 19th July 2008 and still active. But I wonder how many of those have posts almost EVERY SINGLE DAY day since then. And if they do, I am almost sure they must be commercial blogs, run for profit. By probably an army of people dedicated to the job. In comparison, here it is very different.
We have Atul – who started this blog purely as a labour of love. To this day, even ten years later, it remains that. Yes, he’s helped by Sudhir ji now (and that’s a huge help!) but it’s still one hell of an ask to keep posting every single day. But they do it – Atul and Sudhir ji. The rest of us, Atulites, enjoy the blog, discuss songs, write posts at times (cough, cough!) – but it is basically run by Atul and Sudhir ji.
The most amazing thing about this is that they are both very busy people otherwise – so they have plenty to do, even apart from taking care of this blog. And like I’ve said many times before, every post involves a certain degree of effort. There’s no compromise on quality, so it’s not just a hurried hashed job for the sake of posting something. No compromise on accuracy, whether in the lyrics or in the post itself. If it means needing to listen to a song umpteen times (and Atul has done that), so be it! And apart from the post, there are the other features – the analysis, statistics. All of this demands time too. And besides what we see, they are always working on something in the background.
And oh, I forgot to mention, there’s always the risk of infrastructure failing – whether a power failure, or internet connectivity issue. Over these ten years Atul has been posted in multiple towns – each with its infrastructure challenges. When I consider all this, I can only say that it takes a very special level of love and dedication to HFM to be able to achieve so much, with all constraints and demands on their time.
I would also like to compliment and congratulate not just Atul and Sudhir ji, but everyone who has been part of this wonderful journey, in any capacity. There have been many – some stalwarts too (I shall not take names, we all know who they are 🙂 ) – who have contributed to this blog immensely.
Thanks to this blog, we have all come together, from all over the world, from diverse backgrounds – but with music as our common love and bonding factor. Without this blog, that would not have happened.
Of course, on such an occasion, it is normal to also reflect on the journey. My mind goes back to that first song , posted on 19th July 2008. “Miley Na Phool To Kaanton Se Dosti Kar Li” – Rafi Saab’s divine voice, meaningful lyrics by Kaifi Azmi, composition by Roshan. This song started the journey.
My comment appears on 21st July – so two days later. That is because I got to know about the blog only then. Atul and I were part of this cricket forum – both of us share this interest too, apart from music. Although the forum was primarily meant for cricket discussion, we would discuss a lot of other stuff too – mostly fun stuff. Given our interest, we naturally discussed songs too.
Atul and I (and a few others) would post songs on the forum every now and then. Atul had a thread ‘train songs’, I had a thread ‘songs that inspire me’ and so on.
Around this time Atul started a blog to discuss some of his experiences – I remember him blogging about Binaca Geet Mala, and the famous Jaimala programme of Vividh Bharati. Then one fine day, Atul announced on the cricket forum that he had started a new blog for songs. This announcement was on 21st July 2008 – I promptly visited the blog. Read the post, listened to the song – and left a comment. Shalini, another friend on the forum, also was one of the earliest visitors and commenters on the blog.
At that time, the intention was only one song a day. Which explains the blog name.
But of course, with one song a day, you would not get very far even in ten years. And our thirst wouldn’t get quenched. 🙂
In those early days, I used to give Atul a lot of farmaishes. He was obviously posting songs of his liking – I liked them too, but I had so many other songs that I wanted to see on the blog. So I used to send him requests – lists of 10 songs at a time. Not necessarily very famous songs – I remember even giving a farmaish for “Paape Na Sharma” (film ‘Sagaai’, 1966) – a song I distinctly remember from my childhood.
Around that time, Lalitha also joined in. She was a regular commenter – and would give her farmaishes too. For a while, I felt less guilty – I wasn’t the only one making demands on Atul. Poor Atul! He had started with the intention of posting one song of his choice every day. And here he was, trying to cater to long lists of farmaishes – many probably not even songs of his choice. Yet, he didn’t complain (“Aah Bhi Nikle To Ye Pyaar Ki Rusvaai Hai” ?). He tried gamely to post them all – and possibly realized that at one song a day, it wasn’t going to be feasible.
After a while (I don’t know when – Atul would know the exact dates), he switched to multiple songs a day. That was a big boost for thirsty people like me. 🙂 He kept making improvements to the blog. One feature after another. Statistics. Anniversary page. At that time it was totally a one-man show. He somehow managed to keep posting everyday. The write-up was entirely his at the time.
Then, one day, he asked me if I would do a write-up. I was a bit nervous – but said ok. That was the start for me – this is my 201st post. In these 200 posts, I’ve had the opportunity to pay tribute to several artistes on their birth/death anniversaries or blog landmark occasions – all thanks to Atul.
The blog itself now covers 14500+ songs – I would say it is the richest, most composite, repository of HFM on the internet, especially if you consider that it includes many obscure songs, and is a package of lyrics, video/audio AND a write-up for every single song posted. In any case, we are not in competition with anyone – like I’ve said before, this is a labour of love. We keep building the repository – and the process itself is an enjoyable one. For me personally, this blog has enriched my knowledge of HFM SO much I cannot begin to explain in words. I have discovered SO many gems only through this blog.
And oh, the knowledge of Atulites here! I feel SO humbled. I know nothing, and am happy to learn more from our inhouse encyclopaedia, Arunji. Or Sadanandji, whose knowledge is also immense. And others too. The important thing I realize is that I will not get this information anywhere else on the internet – it is in their heads, often coming from a book or an interview or article ages ago. The internet is not as complete (or even as accurate) a source as many think. We need to keep adding new (accurate) content to it.
And this blog is doing a great job in this respect. Even the comments section are a treasure house of trivia and rare information. For example, when Arunji discusses a song from a film, he doesn’t talk only about the film. He talks about the circumstances in which the film was made, the times, the background of the artistes, director, producer and so on. That gives a very different, and much-enriched, perspective of the film. And this, I feel, is something very special on this blog. It is not merely a song video/audio/lyrics effort. There’s a story behind it that brings the song and film seemingly to life.
And I just love those stories. 🙂
Apart from the blog itself, there is the ecosystem that has got created around it. All the people who came together because of the blog but are now good friends, part of whatsapp group and so on. Some of us have met each other too. Music bonds anyway – and this blog has taken the bonding to a different level. And being part of this journey from day one has been an absolute privilege for me. I have enjoyed it thoroughly and cherish every moment.
Talking of the journey brings me to the song for this post. This is from Jawaab (1970). The lyrics have been provided to me by Avinash ji. When I told him I was planning to do a write-up on this song, he immediately offered to provide me with the lyrics – in English and Devanagari. He is so passionate about this blog, and so helpful – thank you SO much, Avinash ji.
I have picked this song for two main reasons. First, I wanted a fun song to reflect a fun occasion. Secondly, and probably more importantly, some of the lyrics completely resonate with me.
zindagi wo kya
na pyaar jis mein ho
saath agar ho saathi dil ka
mazaa safar mein hai
How absolutely true! What is life without love in it? And indeed, the journey of life is made enjoyable, thanks to the presence of friends on this journey. Otherwise it would be a lonely journey.
The same is totally true of this blog. The journey, now of ten years, has been made thoroughly enjoyable, certainly for me, thanks to the presence of friends on this journey.
And
baant na lein kyon aapas mein
jo dard jigar mein hai
Also true. We share good and bad times, as we go through this journey. So I felt this song suits this occasion very well.
As for the picturisation, I quite like the zany dancing of, then Jumping Jack, Jeetendra. Even by his crazy standards, some of the moves here are of a different level. Leena Chandavarkar too, probably trying not to be outdone, comes up with some moves of her own. All in all, a totally fun song which I am sure most people will enjoy.
Thanks for reading this post – and once again, congratulations to everyone who has been a part of this journey.
mazaa safar mein hai
Yes, indeed. 🙂
Song – Zindagi Wo Kya Na Pyaar Jis Mein Ho (Jawaab) (1970) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – Laxmikant Pyaarelal
Mohammed Rafi + Lata Mangeshkar
Lyrics (Provided by Avinash Scrapwala)
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai
ho jaa ho jaa aye dil
kisika ho jaa aa
kisika ho jaa aa
jahaan bhi dekhen aankh ki masti
kho jaa aa
naadaan kho jaa aa
hai pyaar ki fursat kitni
bas raat jawaan hai jitni
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
baant na le kyun aapas mein
jo dard jigar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
sehmi sehmi kyun hai dhadkan dil ki
main naa jaanoon
pad na gayi ho aankh kisi qaatil ki
main naa jaanoon
jab chal jaata hai jadoo
phir dil par kaisaa kaaboo
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
hothon par bhi le aao
jo baat nazar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele tum ho
akele ham hai
akele ham hai
akele ham hai
akele tum ho
akele ham hai
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले हम है
अकेले तुम हो
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
हो जा हो जा अय दिल
किसी का हो जा आ
किसी का हो जा आ
जहां भी देखें आँख कि मस्ती
खो जा आ
नादान खो जा आ
है प्यार कि फुर्सत कितनी
बस रात जवान है जितनी
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
बाँट न ले क्यूँ आपस में
जो दर्द जिगर में है
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
सहमी सहमी क्यूँ है धड़कन दिल कि
मैं ना जानूं
पड़ न गयी हो आँख किसी कातिल कि
मैं ना जानूं
जब चल जाता है जादू
फिर दिल पर कैसा काबू
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
होठों पर भी ले आओ
जो बात नज़र में है
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
Nazar Ne Loota Hai, Ada Ne Maara Hai
Posted on: July 9, 2018
- In: "Aankh" song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi duets अ से ह तक | Rafi songs | Rafi-Lata duet | Series of articles | Songs of 1950s (1951 to 1960) | Songs of 1960 | 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 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 : | 3643 | Post No. : | 14471 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 20
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘न’ – नज़र ने लूटा है, अदा ने मारा है ॰ ॰ ॰
– – – –
फूलों से दोस्ती है, काँटों से यारी है ॰ ॰ ॰
ऐसी मज़े की प्यारे ज़िंदगी हमारी है ॰ ॰ ॰
ज़िंदगी हो भी तो जैसी तुम्हारी थी, वैसी हो॰ ॰ ॰ कोई अच्छा था तो वो भी दोस्त था, कोई अच्छा नहीं था तो भी यार ही था। A big heart such as yours is a rarity in humans.
– – – –
The first line of the song and the mind is tuned in for another gem of a creation from Chitragupt. This next song in this series is vintage Chitragupt.
The film is ‘Police Detective’ from 1960. The melody was still the reigning empress, and the creators of the likes of Chitragupt were still at their inspired best. Such a lovely playful song of two hearts in love, expressing their hearts to each other.
The film is a production from the banner of Neo Light Films, Bombay and is produced by Balwant Bhatt and Ram Kamlani. It is directed by Nanabhai Bhatt. The cast of actors listed for the film is impressive and includes Shyama, Sudesh, David, Jaishri Gadkar, Lilian, Ram Kamlani, Helen, Anwar, Shammi, Bhagwan, Meena, Genius, Susheel Kumar, Jai Kumar, Nisar, Roshanlal, Ramesh Roy, Saleem, Ghulam Rasool, Gani, Mohammad Ali, Sevanand, Ameer, Douglas, Tiger (Dog), and Pedro, the human chimpanzee. Hmm. . . Sevanand – interesting, would have liked to see an image of this actor. . . whether any similarity to Dev Anand. 🙂
Six songs are listed for this film, all from the pen of Prem Dhawan. Two of these songs are already showcased here on our blog. This is the third one to come on board from this film. The singing companion of Rafi Sb in this song is Lata Mangeshkar. Given the list of actors, this song is most likely picturized on the lead pair of Shyama and Sudesh Kumar. I request other readers and friends to please comment on this guess.
Listen to this lovely tête-à-tête between two hearts in love – complaints of hearts stolen through deceit and ripostes of challenges that if this is deceit, then welcome to take back the heart. Wonderful play of words, and a lovely tune that ties them together. A pleasure to listen.
Song – Nazar Ne Loota Hai, Ada Ne Maara Hai (Police Detective) (1960) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Chitragupt
Lyrics
nazar ne loota hai
ada ne maara hai
haseenon ka
ye dhokha bhi
bada hi pyaara hai
nazar ne loota hai
ada ne maara hai
haseenon ka
ye dhokha bhi
bada hi pyaara hai
agar ye dhokha tha
to kis ne roka tha
laga ke dil ye kehte ho
ke dil bechaara hai
nazar ne loota hai
hamaare haal pe to ye zamaana hansta hai
ke jiske paas dil ho wo kabhi to phansta hai
hamaare haal pe to ye zamaana hansta hai
ke jiske paas dil ho wo kabhi to phansta hai
to phir kyon rotey phirtey ho
ke dil nazron ka maara hai
nazar ne loota hai
ada ne maara hai
haseenon ka
ye dhokha bhi
bada hi pyaara hai
nazar ne loota hai
hamaare naaz bhi sehne padenge ulfat mein
likhe hain sainkdo chakkar
tumhaari kismat mein
hamaare naaz bhi sehne padenge ulfat mein
likhe hain sainkdo chakkar
tumhaari kismat mein
jo hum pe guzregi seh lenge
jab dil tum pe waara hai
agar ye dhokha tha
to kis ne roka tha
laga ke dil ye kehte ho
ke dil bechaara hai
nazar ne loota hai
ada ne maara hai
haseenon ka
ye dhokha bhi
bada hi pyaara hai
nazar ne loota hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नज़र ने लूटा है
अदा ने मारा है
हसीनों का
ये धोखा भी
बड़ा ही प्यारा है
नज़र ने लूटा है
अदा ने मारा है
हसीनों का
ये धोखा भी
बड़ा ही प्यारा है
अगर ये धोखा था
तो किस ने रोका था
लगा के दिल
ये कहते हो
के दिल बेचारा है
नज़र ने लूटा है
हमारे हाल पे तो ये ज़माना हँसता है
के जिसके पास दिल हो वो कभी तो फँसता है
हमारे हाल पे तो ये ज़माना हँसता है
के जिसके पास दिल हो वो कभी तो फँसता है
तो फिर क्यों रोते फिरते हो
के दिल नज़रों का मारा है
नज़र ने लूटा है
अदा ने मारा है
हसीनों का
ये धोखा भी
बड़ा ही प्यारा है
नज़र ने लूटा है
हमारे नाज़ भी सहने पड़ेंगे उलफत में
लिखे हैं सैकड़ों चक्कर
तुम्हारी किस्मत में
हमारे नाज़ भी सहने पड़ेंगे उलफत में
लिखे हैं सैकड़ों चक्कर
तुम्हारी किस्मत में
जो हम पे गुज़रेगी सह लेंगे
जब दिल तुम पे वारा है
अगर ये धोखा था
तो किस ने रोका था
लगा के दिल
ये कहते हो
के दिल बेचारा है
नज़र ने लूटा है
अदा ने मारा है
हसीनों का
ये धोखा भी
बड़ा ही प्यारा है
नज़र ने लूटा है
Yun Lagne Lagi Aajkal Zindgaani
Posted on: June 27, 2018
- In: Devnagri script lyrics by Avinash Scrapwala | Duet | expression of love | Feelings of heart | Guest posts | Lata - Nitin Mukesh Duet | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Nitin Mukesh songs | Party song | Post by Avinash Scrapwala | Romantic song | Songs of 1980s (1981 to 1990) | Songs of 1989 | Yearwise breakup of songs
- 7 Comments
This article is written by Avinash Scrapwala, 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 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 : | 3631 | Post No. : | 14459 |
# The Special Voices of the Decade (1971-1980) – 4 # Nitin Mukesh #
———————————————–———————————–——————
Welcome all to this fourth article in this series where we are discussing the ‘special voices of the seventies’ and the nostalgia and memories associated with the songs of these ‘special voices’ from Hindi Movies.
As Gulzar Sahab has said in one of his famous albums. . .
door kahin jab wo pahaad ka tilaa baadlon se dhhak jaata tha
to ek aawaaz sunaayi deti
Zaahir si baat hain ki umr ke jis padaav par aap honge, aur jo yaadein aapke zehan mein bas gayin hongi, aap ko bhi kuchh aawaazein sunaayi deti hongi, aur ho sakta hai unka andaaz shaayad kuchh alag sa hota hoga, jaise ki mujhe lagta hai ki ye aawaaz. . .
Noorie. . . Noorie. . .
Lekin ye aawaaz to mere dil ki gehraaiyon mein tab se hi utar gayi thi. . .
Since, and so far, I vaguely remember to have heard this song playing on the radio in home and too on a dark rainy night. Maybe I was in half sleep when this song was playing on radio. Even today whenever I get to listen to this song, I have the same nostalgic feeling always
teri jheel si gehri aankhon mein
kuchh dekha hamne, kya dekha
May be that time I didn’t even have this knowledge of who was singing but as I grew up and this voice also grew up over the years leaving behind very few yet unforgettable gems in the history of HFM. The most popular of them all, I think, must be this,
zindagi kin aa toote ladi ee
pyaar kar le ghadi do ghadi
Yes!! Today we are discussing Nitin Mukesh under this series of ‘Special Voices’. As I took this journey through his biography and filmography (or discography), as usual, I am filled with ‘nostalgia’ and the years and those songs which brings back many memories. Maybe he has sung very less songs in numbers but almost all of them are so special and unique that one cannot forget them easily.
Nitin Mukesh was born on 27th June, 1950, to a celebrity father who by then had established himself in HFM. There were days he saw his father struggling and they didn’t have enough money to pay even his school fees. And on the other hand, Mukesh, who unlike him wanted that his children get good higher education, sent Nitin to the London School of Economics. However, like his father Nitin was also not interested and not good in studies and hence requested his father to allow him to come back home and leave studies and pursue singing. There after Nitin used to accompany his father on all of his musical tours and stage programmes. He was doing this since he was nine.
As his father Mukesh used sing his own songs in these programmes he asked his son that he should sing other singers’ or specifically Rafi Saab’s songs. Nitin Mukesh remembering this has talked about how great his father was and how much both of them respect and loved Rafi Saab’s singing. It is said that Raj Kapoor wanted that Mukesh’s son should sing a song for his son Rishi in the movie ‘Mera Naam Joker’ (1970) and so Nitin had given his voice for Rishi Kapoor in this song.
Earlier Nitin Mukesh was mainly interested in singing and doing stage programmes only, however on insistence from his father he took on to singing in his movies and thus make a debut in singing with this song from ‘Dhuen Ki Lakeer’ (1974), a duet with Vani Jairam,
teri jheel si gehri aankhon mein
kuchh dekha hamne, kya dekha
Moving forward with ‘Gaapoochi Gaapoochi Gam Gam’ (‘Trishul’, 1978) and ‘Wo Aurat hai tu mehbooba’ from ‘Satyam Shivam Sundaram’ also of 1978. And reaching the popular heights with ‘Zindagi ki naa toote ladi’ in ‘Kranti’ (1981). He continued the same magic with two songs from the movie ‘Nakhuda-1981’ of which “Suno Ik Baat Bolen” is already posted on the blog. After that very few playback songs, as I think he mainly got involved with doing stage shows only and singing ‘bhajans’.
During those years I was in Kota (Rajasthan) and I had bought his album on cassette, ‘Nehanjali’ by HMV which had ‘bhajans’ composed by Shekhar Sen. This album was released in 5/89 and it was added to my collection on 28.10.1989 (may be around ‘Diwali’ festival, if I am correct).
However the songs of ‘Eeshwar’ (1989) especially “Ram ji Ne Dhanush Toda” and one song in particular from the movie ‘Clerk’ (1989) – “Rakh Gita Par Haath”, are those which were quite good and were appreciated well, with ‘Ye Paisa Bolta Hai” from ‘Kaala Baazaar’ being the most popular. Other favorites that I want to list are – “Tu Mujhe Suna Main Tujhe Sunaaun’ from ‘Chaandni’ (1989), and ‘So Gaya Ye Jahaan’ topping the popularity charts in the previous year of 1988. Among his other songs I like ‘Zindagi Ka Naam Dosti’ from ‘Khudgarz’ (1987}, and “Dil Ne Dil Se Kya Kahaa” from ‘Aaina’ (1993). However, as said earlier Nitin Mukesh had been continuing with his stage shows, and we can find the details of his latest tours on his website here.
On our blog so far, we have only four of Nitin Mukesh songs (all duets) posted. Out of the many of his songs that are yet to make it on the blog, and taking a ‘liberty’ for this series I have selected a song not from the decade of 1971-80 but, for this today’s post I have selected a ‘very special and lovely song’ from a 1989 movie, for this today’s special day too. This is a song from the 1989 movie ‘Santosh’, which is also making a debut on the blog today.
This song was lying dormant in my memory and got revived in 2010-2011, after many years, during a discussion with a friend.
Thereafter, when I joined this blog as a ‘lyrics contributor’ I had shared this song with Atul ji in 2012. In fact, thereafter I have shared all the songs of this movie with him. However they are yet to be posted. It is opportune that Nitin Mukesh’s birth anniversary is on 27th June’ which incidentally is a ‘special day’ for me too. 🙂
‘Santosh-1989’ was an East-n-West Movies presentation. It was produced and directed by Balbir Wadhawan. Hansraj Wadhawan was the production controller of this movie. The star cast includes Manoj Kumar, Rakhee, Hema Malini, Shatrughan Sinha, Prem Chopra, Nirupa Roy, Kamini Kaushal, Amjad Khan, Madan Puri, Sarika, Abhi Bhattacharya, Krishna Dhawan, Pichoo Kapoor, Om Shivpuri, Praveen Kumar and others. The story of this film was written by Kaushal Bharti. Editing of this movie was done by VV Kamat, assisted by Ashok Naik. Cinematography was done by Radian Kinagi. Lyrics of this movie were written by Santosh Anand and Manoj Kumar. Music was composed by Laxmikant Pyarelal. The film Was passed by Censor board on 28.02.1989.
A brief about this movie from IMDB is reproduced here below;
Cold-hearted and manipulative Kamla has fallen in love with a poor man and marries him and has a child named Santosh. She soon realizes that life is not fun living in poverty, and abandons her child and husband, and returns back to her father and his wealth. She re-marries millionaire Kailashpathi, and has a child named Kundan from him. Years pass by, Kundan and Santosh have both grown up. Kundan is the owner of the mill with his mom, while Santosh is a struggling mill worker, and a union leader. A confrontation ensues between the mill and the workers, and Kamla is able to negotiate a settlement and get the workers back to work. But then, she fails to keep her promise to the workers. Santosh opposes this, and she sets her goons and Kundan against him. Santosh is abducted and held prisoner by Kamla and Kundan, and the only way he can be released is when he compromises with them.
The today’s song is a duet song sung by Nitin Mukesh and Lata Mangeshkar. On screen it is lip-synced by Manoj Kumar and Herma Malini respectively, while many other artists are present and can be seen in the picturization of this song. One can easily spot Sarika in this crowd of party-goers.
Song – Yun Lagne Lagi Aajkal Zindgani (Santosh) (1989) Singer – Nitin Mukesh, Lata Mangeshkar , Lyrics – Santosh Anand, MD – Laxmikant Pyaarelal
Nitin Mukesh + Lata Mangeshkar
Chorus
Lyrics
hmm hmm hmm hmm
yoon lagne lagi
hmm hmm hmm
aaj kal
hmm hmm hmm
zindgaani
yoon lagne lagi aaj kal zindgaani
ke jaise kahin chhod aaye jawaani
yoon lagne lagi aaj kal zindgaani
yoon lagne lagi aaj kal zindgaani
ke jaise kahin chhod aaye jawaani
yoon lagne lagi aajkal zindgaani
kahaan se kahaan aa gaye chalte chalte
kahaan se kahaan aa gaye chalte chalte
ke dil ban gayaa
haan
ke dil ban gayaa dard ki rajdhaani
yoon lagne lagi aaj kal zindgaani
badi cheez hai pyaar mein doob jaana
badi cheez hai pyaar mein doob jaana
badi baat hai
haan
badi baat hai roop ki meherbaani
yoon lagne lagi aajkal zindgaani
la laa aa
la laa aa aa
la laa aa
aa aa aa
chalo pyaar ki aag mein jal ke dekhen
chalo pyaar ki aag mein jal ke dekhen
bahot ho chuki zindagi
zindagi paani paani
yoon lagne lagi aajkal zindgaani
kabhi kya kisine suni dhyaan dekar
kabhi kya kisine suni dhyaan dekar
tumhaari zubaani
hamaari. . .
hamaari kahaani
yoon lagne lagi aaj kal zindgaani
o o o o o
ho ho o o o o
bade pyaar se sun rahaa hai zamaana
(bade pyaar se sun rahaa hai zamaana)
bade pyaar se sun rahaa hai zamaana
hamaari zubaani tumhaari
tumhaari kahaani
yoon lagne lagi aajkal zindagaani
ho la la la laa laa laa laa laa laa aa
kabhi ek santosh hota tha shaayar
kabhi ek santosh hota tha shaayar
(aa aa aa aa aa aa)
ghazal ban gayi haan
ghazal ban gayi
haaye
uski kahaani
yoon lagne lagi aaj kal zindgaani
ke jaise kahin chhod aaye jawaani
yoon lagne lagi aaj kal zindgaani
(yoon lagne lagi aaj kal zindgaani)
zindgaani
zindgaani
zindgaani
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
हम्म हम्म हम्म हम्म
यूं लगने लगी
हम्म हम्म हम्म
आज कल
हम्म हम्म हम्म
जिंदगानी
यूं लगने लगी आज कल ज़िंदगानी
के जैसे कहीं छोड़ आये जवानी
यूं लगने लगी आज कल ज़िंदगानी
यूं लगने लगी आज कल ज़िंदगानी
के जैसे कहीं छोड़ आये जवानी
यूं लगने लगी आज कल ज़िंदगानी
कहाँ से कहाँ आ गए चलते चलते
कहाँ से कहाँ आ गए चलते चलते
के दिल बन गया
हाँ
के दिल बन गया दर्द कि राजधानी
यूं लगने लगी आज कल ज़िंदगानी
बड़ी चीज़ है प्यार में डूब जाना
बड़ी चीज़ है प्यार में डूब जाना
बड़ी बात है
हाँ
बड़ी बात है रूप कि मेहरबानी
यूं लगने लगी आज कल ज़िंदगानी
ल ला आ
ल ला आ आ
ल ला आ
आ आ आ
चलो प्यार कि आग में जलके देखे
चलो प्यार कि आग में जलके देखे
बहोत हो चुकी ज़िन्दगी
ज़िन्दगी पानी पानी
यूं लगने लगी आज कल ज़िंदगानी
कभी क्या किसीने सुनी ध्यान देकर
कभी क्या किसीने सुनी ध्यान देकर
तुम्हारी जुबानी
हमारी
हमारी कहानी
यूं लगने लगी आज कल ज़िंदगानी
ओ ओ ओ ओ ओ
हो हो ओ ओ ओ ओ ओ
बड़े प्यार से सुन रहा है ज़माना
(बड़े प्यार से सुन रहा है ज़माना)
बड़े प्यार से सुन रहा है ज़माना
हमारी जुबानी तुम्हारी
तुम्हारी कहानी
यूं लगने लगी आज कल ज़िंदगानी
हो ल ल ल ला ला ला ला ला ला आ
कभी एक संतोष होता था शायर
कभी एक संतोष होता था शायर
(आ आ आ आ आ आ )
ग़ज़ल बन गयी हाँ
ग़ज़ल बन गयी
हाय
उसकी कहानी
यूं लगने लगी आज कल ज़िंदगानी
के जैसे कहीं छोड़ आये जवानी
यूं लगने लगी आज कल ज़िंदगानी
यूं लगने लगी आज कल ज़िंदगानी
ज़िंदगानी
ज़िंदगानी
ज़िंदगानी
Chhaila Mera Chhaila
Posted on: June 20, 2018
- In: Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics contributed by readers | Missing the loved ones | mother-child song | Multiple version song | Post by Avinash Scrapwala | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1977 | Theme song | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, 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 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 : | 3624 | Post No. : | 14445 |
Greetings to dear Atul ji, and best wishes for many many happy returns of today.
The 1977 film ‘Chhaila Baabu’ is joining the ‘Yippeee Club’ of movies or ‘movies having all their songs covered’ on the blog. Indeed, a long wait for me and particularly for this song which was the first that I shared when I was still only a ‘year-old’ contributor on the blog. Other songs of this movie which I shared later were lucky and got posted before the today’s song. This song is the one which I cannot forget since my childhood, may be because this being a ‘mother-son’ song. I must be 9-10 years old when I had watched this movie with my parents in my childhood.
The part-I of this song and even the part-II is on screen performed by Achala Sachdev whom we mainly remember for playing a mother or thereafter grandmother in Yash Raj films. When I glance through the list of the films she acted in I realized that I have watched many of them but cannot recollect now.
Also I found that not much information is available about her on the domain (except there is page on wiki about her) and mainly other articles which were posted after she passed away on 30.12.2012 , and about how she was ignored by the film personalities in her last days. May be our seniors can do a detailed post on her with one of the songs performed by her on screen. Or maybe it is there and I am not aware, if so, please forgive me.
As I am not aware of her initial films and whether she got a lead role or second lead and if at all there are any songs which she performed on screen, except the another one, that I know, is from the 1970 film ‘Heer Ranjha’, where all the Bhabhi’s dance on their devar’s (Rajkumar’s) marriage preparations – ‘Naache Ang Ve . . .’ a beautiful composition by Madan Mohan ji.
Achala Sachdev was born in Peshawar (now in Pakistan) on 3rd May 1920. She acted in over 130 films (as per info on wiki). She began her filmi career with ‘Fashionable Wife’ in 1938 and ‘Na Tum Jaano na Ham’ (2002) was her last film. She died on April 30, 2012 at Pune. She was 91 then.
The move ‘Chhaila Babu’ was Produced by Shomu Mukherjee and Directed by Joy Mukherjee. It was a ‘suspense thriller’. It had Rajesh Khanna in title role of ‘Chhaila Babu’, accompanied by Zeenat Aman, Asrani, Ranjeet, Padma Khanna, Achala Sachdev, Macmohan, P Jairaj, Ravindra Kapoor and Om Shivpuri. Since in my earlier write ups about the songs of this movie I have already mentioned about the details of this movie and my nostalgia associated with its’ songs, and so I will not repeat it here.
But something that I would like to mention here is about Joy Mukherjee as a ‘director’ of this movie. Earlier I had read about his directing the movie ‘Humsaaya’ (1968), but I had forgotten about it. Though I must mention here that I had watched many of Joy Mukherjee’s movie in my teen years when I was studying in 11th -12th. And I liked all his movies very much and have watched them repeatedly; especially ‘Shagird’ (1967), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Door Ki Aawaaz’ (1964), and ‘Love In Tokyo’ (1966). In those days i.e. 1983-85, old movie were still being screened in theatres sometime in four shows or noon shows only and they used to run packed houses. Specially in the city of Akola (Maharashtra) (CP & Berar circuit for movies) many old movies used to run packed houses and I watched many old movies during those years there. ‘Ziddi’ (1964) I think I watched on Doordarshan.
I got the VCD of ‘Ek Baar Muskuraa Do’ (1972) just four-five years back from an ‘online’ store. Then I had also watched ‘Love in Shimla’ (1960) during my school days during the weekly screening of movie in our ‘colony recreation club’. And its song ‘Alif Zabar Aa Alif Zer Ae Alif Pesh O ’ has been in my memory since then. I do not remember correctly now if I had watched his ‘Ek Musaafir Ek Haseena’ (1962), but since I have the cassette of this movie, as I like the songs of this movie very much, and maybe I had watched some of its songs on TV, it also remains one of my favorites.
Coming to the songs of his movies – which was another main factor for me to watch his movies repeatedly. Our in house Encyclopedia Shri Arun ji had already done a detailed post on Joy Mukherjee here , while presenting a song from his movie ‘Love In Bombay’ (2013(1971)). This was Joy’s third directorial venture after ‘Humsaaya’ & ‘Chhaila Babu’.
HFGK Vol V mentions that today’s song in three parts and it noted down the first part as a ‘happy version’, whereas from the song one can guess and take it as a ‘sad song’ or ‘missing the beloved song. The first part in its picturization shows the mother (Achala Sachdev) remembering the ‘happy memories’ while singing this song searching for her lost son (Rajesh Khanna). And the in the second part while only the ‘mukhda’ of the first version is repeated only, the third part is in the voice of Kishore Kumar and starts with different lines. However, since HFGK mention this song in three version it was required to watch this movie again and clear the confusion.
[Ed Note: In this presentation, the parts 2 and 3, as mentioned in HFGK, are together presented as part II, as per the video clips.]
When Atul ji was in a ‘Yippeeee’ mode again during the first four months of this year I had sent him reminder for this song and also with a request to throw light on this song if possible. Finally, a week before I watched this movie online (most uncomfortable way to watch a movie for me, but then … we have to 😊).
The 1st part of the song is where the mother, Achala Sachdev is searching for her son, who ‘bachpan mein bichhad gaya’. It includes flashback of the mother-child playing – ‘happy memories’ included 😊. Now when this child grows up as Rajesh Khanna, he remembers this song and use to sing it on the ‘mouth organ’ gifted to him by his mother on his birthday. The second part of Lata for this song is only a repeat of first few lines of the earlier part 1 of this song. And the third part is the Kishore Kumar version of this song, in which the mother-son get re-united.
The earlier songs from the movie are posted on our blog, as per the details given below;
| Song Title | Post Date |
| Yaar dildaar tujhe kaisa chaahiye | 08.12.2008 |
| Kal raat sadak par ik ladki | 29.12.2014 |
| Hamko nikaaloge ghar se sajan pachhtaaoge | 04.02.2015 |
| Main Baaboo Chhailaa | 29.12.2017 |
Let us now listen and enjoy the today’s song. . . “Chhaila Mera Chhaila”.
Part I (Lata Solo)
Part II (Lata – Kishore Duet)
Song – Chhaila Mera Chhaila (Chhaila Babu) (1977) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics
Part I
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
shaam savere mere naina
dhoondhte rahe
kahaan hai kahaan hai
kahaan hai kahaan hai
sabse poochhte rahe
kahaan hai kahaan hai
sabse poochhte rahe
aa ke peechhe
aankhen meeche
aanchal kheenche mera ghanshyam
chhaila mera chhaila
chhaila mera chhaila
deewaani huyi main aisa laage
laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
bichhda hai jo
mil jaaye to
vyaakul mann ko aa jaaye aaraam
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
Part II
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
mera chhaila
mera chhaila
chhaila
chhaila
chhaila
naa ro maa naa ro
sun li hain maine
teri pukaar
teri pukaar
aaj mila hai
waapas maa bete ko
khoya pyaar
khoya pyaar
duniya saari
tujhse haari
maa tu jeeti ye jeewan sangraam
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
jee chaahe main
tere charnon mein
sar rakh ke roun
sar rakh ke roun
aa jaaye waapas
bachpan main teri
god mein soun
god mein soun
phir na kabhi main tujhko sataaun
tujhe manaaun
maa tujhko parnaam
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
भाग १
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
शाम सवेरे मेरे नैना
ढूढ़ते रहे
कहाँ है कहाँ है
कहाँ है कहाँ है
सबसे पूछते रहे
कहाँ है कहाँ है
सबसे पूछते रहे
आ के पीछे
आँखें मिचे
आँचल खींचे
मेरा घनश्याम
छैला मेरा छैला
छैला मेरा छैला
दीवानी हुई मैं ऐसा लागे
लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
बिछड़ा है जो
मिल जाए तो
व्याकुल मन को आ जाए आराम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
भाग २
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
मेरा छैला
मेरा छैला
छैला
छैला
छैला
ना रो माँ ना रो
सुन ली हैं मैंने तेरी पुकार
तेरी पुकार
आज मिला है
वापस माँ बेटे को
खोया प्यार
खोया प्यार
दुनिया सारी
तुझसे हारी
माँ तू जीती ये जीवन संग्राम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
जी चाहे मैं
तेरे चरणों में
सर रख के रोऊँ
सर रख के रोऊँ
आ जाए वापस
बचपन मैं तेरी
गोद में सोऊं
गोद में सोऊं
फिर न कभी मैं तुझको सताऊं
तुझे मनाऊं
माँ तुझको प्रणाम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
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