Posts Tagged ‘Madan Mohan’
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
Chaloon main jidhar se
Posted on: April 25, 2018
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 : | 3568 | Post No. : | 14302 |
“Chowkidaar”(1974) was directed by Shyam Ralhan for Namrata Movies, Bombay. This “social” movie had Sanjeev Kumar, Yogita Bali, Vinod Khanna, Om Prakash, Jeevan, Sulochana, Sapru, Randheer, Zeb Rehman, Jayshree T, Asit Sen, Lalita Kumari, Ram Mohan, Joginder, Amrita Patel, Narmada Shankar, Uma Dhawan, Daljeet, Vimla, Dhanraj, Tilakraj, Babu Bhai, Kapila Sharma, Zebunnissa, Rajrani, Maqbool, Master Pramod, Vaishali (guest appearance) etc in it.
The movie had six songs in it. Four of these songs have been covered in the past.
Here is the fifth song from “Chowkidaar”(1974) to appear in the blog. This song is sung by Lata and chorus. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.
The song is picturised as a panghat/ water fetching (aka paniya bharan) song on Yogita Bali and others. One can also notice Sanjeev Kumar espying them from a distance (while seated in an open jeep) towards the end of the song.
Audio
Video
Song-Chaloon main jidhar se (Chowkidaar)(1974) Singer-Lata, Lyrics-Rajinder Krishan, MD-Madan Mohan
Chorus
Lyrics
chaloon main jidhar se
achcha ji
hmm
bach ke udhar se
ha ha ha ha ha ha ha
hat ke udhar se
niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
haaye
haaye haaye
maar daalo
chaloon main jidhar se
bach ke udhar se
hat ke udhar se
niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
aandhi jaisi chadh ke jawaani aayi
aayi re aayi re aayi re
ho
aandhi jaisi chadh ke jawaani aayi
jaane kitnon ki
haaye ye maut laayi
laayi re laayi re laayi re
aa haa
gali gali kitnon ke dil toote pade hain
kitne bechaare dil thhaam ke khade hain
ye thhaam ke khade hain
wo thhaam ke khade hain
sab thhaam ke khade hain
haaye bechaare
chaloon main jidhar se
bach ke udhar se
hat ke udhar se
haan
niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
umariya deewaani
ho o o o
o o o
o o o
umariya deewaani
o chaal mastaani
jaise kanwaari ee ee
ee ee ee
nadiya ka paani
umariya deewaani
to chaal mastaani
kamar lachkaa ke
main paayal bajaa ke
main ankhiyaan milaa ke
laga doon
nigaahon pe taale
nigaahon pe taale
nigaahon pe taale
chaloon main jidhar se
bach ke udhar se
hat ke udhar se
haan niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
chaloon main jidhar se
bach ke udhar se
hat ke udhar se
niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
chaloon main jidhar se
bach ke udhar se
hat ke udhar se
haan niklen sab dilwaale
daren ki kahin
das na le oy mere
gesu kaale kaale
Waqt Meharbaan Hai
Posted on: March 15, 2018
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 : | 3527 | Post No. : | 14169 |
The film that we are bringing to the Yippeee-land today, has been waiting for the final song for the last almost three years. The 1970 film ‘Maa Ka Aanchal’ had made its debut on the blog on 10th May, 2012. Exactly three years later, on 10th May, 2015, the fifth song of this film was posted. As I look at these dates, I am tempted to defer this posting to 10th May, just to complete a sequence. But then I thought better of it. 🙂
Given below is the list of five songs from this film that have preceded today’s post, accounting for all the songs listed for this film.
| Jaane Kyaa Haal Ho Kal Sheeshe Ka Maikhaane Ka | Maa Ka Aanchal | 5949 | 10-May-12 |
| Maa Hai Muhabbat Ka Naam | Maa Ka Aanchal | 6129 | 25-Jun-12 |
| Tere Jhoothhe Waade Ka Aitbaar Kiya | Maa Ka Aanchal | 9240 | 4-Jan-14 |
| Bhanwar Mein Meri Naiyya | Maa Ka Aanchal | 9482 | 22-Feb-14 |
| Maa Kaa Aanchal Laadle Daaman Hai Bhagwaan Ka | Maa Ka Aanchal | 11115 | 10-May-15 |
The film is produced under the banner of Harintaraj films, Bombay, and is directed by Jagdev Bhambri. The cast of actors, as listed in Geet Kosh, is given as Sanjeev Kumar, Anjana, Abhi Bhattacharya, Leela Mishra, Jagdev, Sheela R, Satpal Nishan, Sushma, Johnny Whisky, V Gopal, Gopal Sehgal, Rajkumar Dutt, Deenanath, Abdul, and Master Ratan.
There is a total of six songs in the film. All the songs are written by Kaifi Azmi. The music is from the mind of Madan Mohan. One song of this film “Maa Hai Mohabbat Ka Naam”, is a solo in Rafi Sb’s voice. The remaining 5 songs are all solos, sung by Asha Bhosle. As it today’s song. The video of this song is not available, although the film seems to be in public domain. So I am not able to comment on the on screen picturization. From the way lyrics are presented, it sounds like a mujra song. But then we already have one mujra song in the film – “Tere Jhoothhe Waade Ka Aitbaar Kiya”. Then possibly this could be a romantic song or a seduction song, I cannot say for sure. I request other knowledgeable readers to please add more information about this song and this film, if available.
The song itself is a treat of sheer poetry. It has two long antaraas, which are beautiful verses with very little repetition of lines. The mukhda itself is just this short title as noted in the post. The verses are an expression of being high on life and happiness – “Waqt Meharbaan Hai” – and so let us drink and be merry. 🙂
This sixth song today has been an elusive and fruitless search online. Of course, I have been marked as being in error earlier, so I cannot claim that my search method is perfect. But as far as I could make out online, this song is not available as yet. I am uploading this today; with the hope that someone may not revert to me with the message – hey, this is available here and here. 🙂
So with this song we come to the final posting for this film, and we welcome ‘Maa Ka Aanchal’ (1970) to the group of films that are Yippeee’d on our blog.
Song – Waqt Meharbaan Hai (Maa Ka Aanchal) (1970) Singer – Asha Bhosle, Lyrics -Kaifi Azmi, MD – Madan Mohan
Lyrics
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
dilon ka imtihaan hai
dilon ka imtihaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
saji hai bazm e naaz bhi
chhide huye hain saaz bhi
saji hai bazm e naaz bhi
chhide huye hain saaz bhi
zabaan pe dil ka raaz bhi
nazar hai dil nawaaz bhi
kabhi nazar mila ke pee
kabhi nazar jhuka ke pee
dikha ke pee
jhuka ke pee
magar qareeb aa ke pee
behak gaya to darr nahin
ke ji ko kuchh khabar nahin
qareeb abhi sehar nahin
ke raat abhi jawaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
ye daur hai shabaab ka
shabaab ka sharaab ka
ye daur hai shabaab ka
shabaab ka sharaab ka
sawaal ka jawaab ka
sila na dhoondh khwaab ka
ke khwaab ki ye titliyaan
kabhi yahaan kabhi wahaan
bhatak na jaaye kaarwaan
kadam kahaan nazar kahaan
jahaan bhi dil machal gaye
sitaare sab pighal gaye
naye charaag jal gaye
zameen bhi aasmaan hai
waqt meharbaan hai
waqt meharbaan hai
waqt meharbaan hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
दिलों का इम्तिहान है
दिलों का इम्तिहान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
सजी है बज़्म ए नाज़ भी
छिड़े हुये हैं साज भी
सजी है बज़्म ए नाज़ भी
छिड़े हुये हैं साज भी
ज़बाँ पे दिल का राज़ भी
नज़र है दिल नवाज़ भी
कभी नज़र मिला के पी
कभी नज़र झुका के पी
दिखा के पी
झुका के पी
मगर करीब आ के पी
बहक गया तो डर नहीं
के जी को कुछ खबर नहीं
करीब अभी सहर नहीं
के रात अभी जवान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
ये दौर है शबाब का
शबाब का शराब का
ये दौर है शबाब का
शबाब का शराब का
सवाल का जवाब का
सिला ना ढूंढ ख्वाब का
के ख्वाब की ये तितलियाँ
कभी यहाँ कभी वहाँ
भटक ना जाये कारवां
कदम कहाँ नज़र कहाँ
जहां भी दिल मचल गए
सितारे सब पिघल गए
नए चराग जल गए
ज़मीन भी आसमान है
वक़्त मेहरबान है
वक़्त मेहरबान है
वक़्त मेहरबान है
Saanwar Ke Rang Raati
Posted on: February 14, 2018
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 : | 3498 | Post No. : | 14057 |
The film that is reaching its Yippeee station today is the 1952 film ‘Anjaam’. A journey that started for this film a little over seven years ago – on 1st Jan, 2011. Just out of curiosity, I checked the list of posts for the songs posted on that date, I find that none of the songs on that day were new year songs. My curiosity heightened, I checked the previous new year days and the ones after this date. I find that on our blog, the tradition of new year songs starts with 1st Jan, 2012. Prior to that, on the three new years that came, we did not specifically have any new year songs. But that is a curiosity, to be handled in another post.
‘Anjaam’ is a social drama that is produced under the banner of Sunrise Pictures, Bombay. It is produced by VM Vyas and is directed by Shanti Kumar. The cast of actors listed for this film in Geet Kosh is Vaijayanti Mala, Premnath, Kuldip Kaur, Yakub, Dulari, Jankidas, H Prakash, Shammi, and Chitrlekha amongst others. The eight songs of this film are penned by Qamar Jalaalabaadi and the music is composed by Madan Mohan.
Given below is the list of seven songs that came prior to this one.
| Mere Barbaad Hone Ka Nazaaraa Dekhne Waale | Anjaam | 3412 | 1-Jan-11 |
| Meri Naiyya Hai Manjhdhaar | Anjaam | 10093 | 16-Aug-14 |
| Rut Mastaani Saamne Hai Raani | Anjaam | 11212 | 25-Jun-15 |
| Makki Ke Kheton Mein Aana Ji Ho Piya | Anjaam | 11274 | 14-Jul-15 |
| Bol O Baabu Kahaan Challa Chhuda Ke Mera Palla | Anjaam | 11321 | 26-Jul-15 |
| Jab Ladka Keh De Haan Aur Ladki Keh De Naa | Anjaam | 11932 | 17-Mar-16 |
| Baalam Ho To Aisa | Anjaam | 13367 | 25-Jun-17 |
The song that is being presented today – I had not heard it ever before today. It turns out that is a song that is very different from other normal songs. Although it is a full 3+ minutes song, and is published on one full side of a 78 rpm. But it is not a regular song. After a long instrumental prelude, we hear the verses of the song. And then, with just two short verses, spaced out over a little more than a minute, the song again goes back into instrumental mode. The lines that are sung in this song, are only a chorus of voices, and no other specific singer is identified. It may be likely that this song is just an accompaniment to a dance sequence in the film. Just guessing.
With this curious presentation, the film ‘Anjaam’ joins the ranks of films with all songs posted. Welcome ‘Anjaam’ to yippeee-land.
Song – Saanwar Ke Rang Raati (Anjaam) (1952) Singer – Chorus, Lyrics – Qamar Jalaalabaadi, MD – Madan Mohan
Lyrics
hmmmmmmmmm
mmmmmmmmm
mmmmmmm mmmmmmmmm
hmmmmmmmmm
mmmmm mmmmmmm mmmm
mmmmm mmmmmmm mmmm
saanwar ke rang raati
sakhi ri main to
saanwar ke rang raati
giridhar mhaaro saancho preetam
giridhar mhaaro saancho preetam
dhun karoon din raati
dhun karoon din raati
saanwar ke rang raati
sakhi ri main to
saanwar ke rang raati
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम्ममममममममम
म्मममममममम
म्ममममम म्मममममममम
हम्ममममममममम
म्ममम ममममममम म्ममम
म्ममम ममममममम म्ममम
सांवर के रंग राति
सखी री मैं तो
सांवर के रंग राति
गिरधर म्हारो साँचो प्रीतम
गिरधर म्हारो साँचो प्रीतम
धून करूँ दिन राती
धून करूँ दिन राती
सांवर के रंग राति
सखी री मैं तो
सांवर के रंग राति
- In: "Street Singing" song | Dance song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Rafi songs | Rafi-Asha Bhonsle duet | Songs of 1960s (1961 to 1970) | Songs of 1964 | Street singing | Yearwise breakup of songs
- 9 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3496 | Post No. : | 14053 |
It would be late 1960s, early 1970s – फिल्में देखने का चस्का चढ़ा था। Did not have much more than some fanciful fancies at that time, and very little understanding. I would fancy the heroes, especially Dev Anand, Rajendra Kumar etc. And I would have lasting crush on the leading ladies; generally lasting for a few weeks. I would fancy them to be my leading ladies 😉 – Sadhna, Asha Parekh, Mumtaz, Saira Banu etc.
Besides these two types of fancies, there was, yes one more. This was not so much of a fancy, rather it was more of an abhorrent fright. Of a special person when he appeared on the screen. And a panic would run through the mind and I would clutch a parent’s hand and whisper “oye, Pran aa gaya”.
Such was the dread in the minds of us pre teen kids. Whenever we saw him enter the frame, our hearts were like – now something bad is going to happen. He is going to bully someone, he is going to beat up someone, he is going to insult someone, he is going to cheat someone, he is going to put his weight on a lady and make her scream. . . Ah yes, these were the type of stereotype images that were associated with Pran, and we despised him for all our childhood.
Fast forward now to mid 1990s. I was in the US, and had a long stint in the city of Lansing in Michigan, working on a state govt. project. Lansing is comparatively a small town, despite the fact that it is the capital of Michigan state. There were only two other things besides the state government – the state university and a cornflakes factory owned by Kellogs. And being in Michigan, we were snowed in for six months, and chilled out for another four. We just got a warm season for two months – July and August.
So there was not much to do in that town, other than concentrate on your work. For me, there was a grand saving grace. The small town had a big video library of Hindi films, run by a Pakistani national and a very dear friend, to date – Akbar Bhai. It was not long before I became his best customer, and just for my sake, he would communicate with other dealers in the country and sometimes even travel out, to get the films that I would be requesting of him. I purchased two Toshiba VCRs, bought many packs of VHS tapes, and spent a lot of time copying videos of songs from the VHS tapes that I rented from him.
Sorry for this longish digression, I am coming to the point. The net is that for the few years that I spent in Lansing, I watched and replayed a ton of Hindi films that were available on VHS – of course my choice would taper off after 1970s. In one set of many weeks together, the movies that I rented from him, were a combination of many leading heros, and many genres. But all of them had one thing in common. The villain was Pran. In each and every one of these films, Pran would be getting a hiding of his life in the last 10 to 15 minutes of every film. After having sat through probably a score of films over a period of 4 to 5 weeks, my mind changed and started sympathizing with him. No matter what the film was, he would get beaten up black and blue at the end. And to add insult to injury, he was forced to apologize and plead for forgiveness, or summarily be taken away by the police.
Really telling you, I started to feel sorry for him. And I started to wonder. Day in and day out, he would be shooting films with his co stars, and on every set and every studio floor, he would be taking a beating in front of hundreds of onlookers, every single time. And my mind started to build upon a psychology of such an individual. Of course it did strike me somewhere within this analysis, that yes, money is also involved. But then I rationalized – if I were given money, just for getting beat up every week and in every film I worked in, I would throw away the money, and walk away. But the money angle aside, I used to wonder at this gluttony for punishment. In every film, he misbehaves with ladies, he cons his own family members, he bullies and beats up people. And then, he gets beat up real good for the happy ending of a film. And my mind was like – does this guy never learn? Does he never give up?
I never did see the film ‘Guddi’ (1971) in its first runs. I would get to see it many years later, maybe on Doordarshan or maybe on a VHS play. An inkling of the true nature of this gentleman – I encountered for the first time in this film. Kusum (a teenager, role played by Jaya), who is smitten with a crush for actor Dharmendra, is taken to Bombay by her uncle, Utpal Dutt, and is given a tour of the film studios – a view of how the films are actually made, and what these stars are in real life behind the scenes. So there is a scene, in which Jaya is with Dharmendra, and Pran walks by. They greet each other; and Kusum is hiding behind Dharmendra in fear. Dharmendra admires Pran’s wrist watch, and Pran immediately takes it off and presents it to Dharmendra. After Pran leaves, Jaya reacts strongly, insisting to Dharmendra to return the watch – “इस में कोई चाल है” is what she says. Dharmendra starts to laugh, and then explains. That Pran Saab in real life is an impeccable gentleman, a complete reverse of what his screen image is. He is an amiable, a very friendly, a very kind and a very helpful person.
Along with Guddi (Kusum), it was also a wiping away of a fanciful sheen in my mind, associated with the person called Pran. Then of course, from 1967 onwards, he had started appearing in character roles other than as a villain, and had a complete makeover of his outward personality over the next few years.
But that image has sustained, because the films exist. That is what typecasting does to you. In reality, Pran is somewhat of a popular name in north India, amongst Punjabi and Hindi speaking families. In the 1950s and 60s, the dread of his roles was so great that actually, families stopped naming their children with the word Pran, and its variations. The Gabbar Singh gloat about “बीस बीस कोस तक॰ ॰ ॰” was still to come many years later. 😀 😀
Today (12th Feb) is the birth anniversary of Pran Saab. I have picked this song from the 1964 film ‘Pooja Ke Phool’ for the anniversary remembrance today. Yes, there is a particular reason. It is one of the rare occasions, when Pran Saab has lip sync-ed a song, and danced on screen, from the era of his continued reign as the arch villain of Hindi films. Of course, after 1967 and ‘Upkar’, when he transitioned into character roles, and that too in a big and significant way, he got to perform many a song on screen. In fact, there was a period of time in 1970s and 80s that specific and meaty roles were written for him, and the screen performance almost always included a song lip synced by him. But in the era till the 1960s, he just has an occasional song assigned to him.
Although I have not made a definitive search for them, I recall the following; the duet “Jise Dhoondhti Phirti Hai Meri Nazar” from the film ‘Sheesh Mahal’ (1950); then the fun song from ‘Munim ji’ (1955) – “Dil Ki Umangen Hain Jawaan”. This latter song is also a unique piece of music – Pran Saab has sung for himself in this song. Yes, of course, the iconic “Hai Aag Hamaare Seene Mein. . . Hum Bhi Hain, Tum Bhi Ho” from the musical bonanza ‘Jis Desh Ganga Behti Hai’ (1960). Sterling performance, as Pran Saab rides two horses simultaneously, standing on the back of the horses, one foot on each horse.
And then we come to today’s song. The song is a dance sequence being performed by Gopikrishan Maharaj and Madhumati. In the three antaraa song, the middle antaraa turns out to be a fantasy play, as Pran, who is actually an audience on the side, daydreams himself to be performing the song, along with Sandhya Roy. the lady companion that I am not able to name. So the middle antaraa is performed on screen by Pran Saab and Sandhya Roy his lady companion. Now this performance, a folk dance type steps, trying to emulate someone none other than the great Gopikrishan Maharaj himself, is a type of performance that one does not associate with him (at least in this phase of his career), and none other that I have seen in any other film. I request our knowledgeable friends and readers on the blog to please add more such instances, if they are aware. And yes, the request also includes help to identify the actress who is his lady companion in this clip.[Ed Note: The lady companion in this clip is identified as Bengali actress Sandhya Roy, as per the inputs provided by Shri Partha Chanda.]
‘Pooja Ke Phool’ is the typical south Indian family drama that is produced by the prestigious banner of AVM and directed by Bheem Singh. The extreme emotionalism of such family dramas, plus the complexity (zaniness??) of the plots and sub plots, sometimes makes this category of films insufferable. So in this film, Pran is the husband of the niece of Dharmendra. Forget the age factor, even the appearances of the characters do not do justice to them. To top it, he (Pran) is also having an amorous fling on the side. In this song, we see him come to see this street performance along with his lady love from the extra-marital affair. Dharmendra too, chances to be on the spot. He sees the two together, and walks away in anger. A little later in the film, the lady starts to demand rights and shares as a wife. She threatens to kill him. The two meet, and in the melee that ensues, the lady gets killed. Mohan Choti is an eyewitness. However, Dharmendra takes on the blame, just so that his niece’s life and home is not jeopardized. Case comes to the court. Ashok Kumar is the public prosecutor, and he has this personal thing against Dharmendra – he has ditched Ashok Kumar’s daughter, and married someone else. Now enter the daughter, Mala Sinha, who is also a lawyer. She comes to the court as the defense lawyer for Dharmendra. Despite his repeated confessions in the court, the case is made to continue. Dharmendra and Mala Sinha were an amorous pair once, but circumstances led Dharmendra to marry a blind girl (Nimmi). If all this does not sound too complicated yet, maybe it is time to watch the film itself. 😀 😀
Not saying too many things about the film, I must confess that I am quite bowled over by the music and the songs. The list if songs is quite impressive, as given below.
| Meri Aankhon Se Koi Neend Liye Jaataa Hai | 2861 | 28-Aug-10 |
| Dil Todna Kisi Ka Ye Zindagi Nahin Hai | 2886 | 1-Sep-10 |
| Ab Do Dilon Ki Mushqil | 2892 | 2-Sep-10 |
| Meow Meow Meri Sakhi Achchi Achchi Meri Sakhi | 3345 | 14-Dec-10 |
| Sanam Apni Palkon Pe Tujh Ko | 6824 | 9-Oct-12 |
| Pehle Meri Aankhon Ke Chiraagon Ko Bujhaaya | 12598 | 21-Nov-16 |
| Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar | 14034 | 8-Feb-18 |
The songs of this film have been penned by Rajendra Krishan and the music is composed by Madan Mohan.
I would like to write about one more thing, related to this song. The choreography of this dance is done by Gopikrishan Maharaj himself. And that simply is excellent. The dance movements are very imaginatively sequenced, and very excellently executed, including the facial expressions and the twitching of eyebrows. The pace of the song and the pace of the singing is – fast. And the dance steps themselves are so energetic and so beautifully arranged. Pran Saab surely has his work cut out as he takes on the 2nd antaraa on screen.
So now let us enjoy this wonderful peppy dance number. And remember this very lovable villain of the Hindi cinema.
Song – Hey Jamaalo. . . O Mera Pyaar Meri Jaan Kabhi Aazma Lo (Pooja Ke Phool) (1964) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan
Mohammed Rafi + Asha Bhosle
Male Chorus
Female Chorus
All Chorus
Lyrics
aaaa aaa aaa aaaa
aaaaaa aaa aaaaaaa
hey jamaalo
o wah wah hey jamaalo
haan hey jamaalo
o wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ho ho
ho ho
ho ho ho
ho ho
o ho ho
o ho
ho ho ho
hoye hoye hoye
tere haathon mar jaayenge
naam jahaan mein kar jaayenge
marte marte dil ki jholi
pyaar se tere bhar jaayenge
o ho tere haathon mar jaayenge
bade dekhe marne waale
pyaar ka dum bharne waale
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ho
hummm hummm
ho ho
hummm hummm
o ho
hummm
hummm
o ho
hummm
hummm
hey..ey..ey
dekho kaise deewaane hain
pankh nahin aur parwaane hain
hum se ye kya chaal chalenge
apne jaane pehchaane hain
o ho dekho kaise deewaane hain
jaan le lo gham na hoga
ishq mera kam na hoga
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o ye hai teer ye kamaan
zara dil nikaalo
hey jamaalo
wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo
jeete ji tum kyon maanoge
mar jaayenge pehchaanoge
jaan liya hai pyaar tumhaara
aao pakdo haath hamaara
o ho aao pakdo haath hamaara
muskura ke do sahaare
hum tumhaare tum hamaare
hey jamaalo
hey jamaalo
hey jama..aa..aalo
ho mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo
hey jamaalo
hey jamaalo
hey jamaalo
hey jamaalo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsss आss आss आsss
आssss आss आssssss
हे जमालो
ओ वा वा हे जमालों
हाँ हे जमालो
ओ वा वा हे जमालों
मेरा प्यार मेरी जान
कभी आज़मा लो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
हे वा वा हे जमालों
हाँ हे जमालो
हे वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो
हो ये है तीर ये कमान
ज़रा दिल निकालो
हो हो हो
हो हो
हो हो हो
हो हो
ओ हो हो
ओ हो
हो हो हो
होए होए होए
तेरे हाथों मर जाएँगे
नाम जहान् में कर जाएँगे
मरते मरते दिल की झोली
प्यार से तेरे भर जाएँगे
ओ हो तेरे हाथों मर जाएँगे
बड़े देखे मरने वाले
प्यार का दम भरने वाले
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो
हो हो
हुम्ममम हुम्ममम
हो हो
हुम्ममम हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
हे॰॰ए॰॰ए
देखो कैसे दीवाने हैं
पंख नहीं और परवाने हैं
हम से ये क्या चाल चलेंगे
अपने जाने पहचाने हैं
ओ हो देखो कैसे दीवाने हैं
जान ले लो ग़म ना होगा
इश्क़ मेरा कम ना होगा
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ ये है तीर ये कमान
ज़रा दिल निकालो
हे जमालो
वा वा हे जमालों
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
जीते जी तुम क्या मानोगे
मर जाएँगे पहचानोगे
जान लिया है प्यार तुम्हारा
आओ पकड़ो हाथ हमारा
ओ हो आओ पकड़ो हाथ हमारा
मुस्कुरा के दो सहारे
हम तुम्हारे तुम हमारे
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
हो मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हे जमालो
वा वा हे जमालों
ओ ये है तीर ये कमान
ज़रा दिल निकालो
ओ ये है तीर ये कमान
ज़रा दिल निकालो
हे जमालो
हे जमालो
हे जमालो
हे जमालो
- In: "Please don't go" song | Asha Bhonsle solo | Asha Bhonsle songs | Comedy song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Fun lyrics song | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1964 | 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 : | 3492 | Post No. : | 14034 |
‘Pooja Ke Phool’ from 1964, is a production from AVM, Madras. It is directed by A Bheemsingh. True to the colors of the family dramas emanating from the south, this film is not much different that the regular run-of-the-mill emotionally loaded films coming from there. This film however has a slight sinister twist, in that a murder is part of the storyline. There is a certain amount of drama built around the trial in the court and the effort to nail the true culprit – a task that is made extremely challenging by the fact that the hero Shankar (roled played by Dharmendra) repeatedly asserts in the court that he admits his guilt and should be punished. The heroine Shanti (role played by Mala Sinha) who is the lawyer defending Shankar, has her work cut out for her, to get the hero freed, when he himself doesn’t want to be.
Add to that another twist, that the hero and the heroine are actually not made for each other in this storyline – the hero is already a married person. Yes, there are confusions galore, as circumstances (and the director’s writ) do not allow this fact to be known till some time into the film. Which gives the director a chance to squeeze in a romantically naughty song like this one.
Well, the song itself is a wonderful creation, in the category of ‘please-don’t-go’ songs. The highlight of this song is the superb on screen performance of Mala Sinha. Her mannerisms and the execution of the entire song sequence is definitely a hallmark performance.
The star cast of the film includes Mala Sinha, Dharmendra, Sandhya Roy, Gopikrishan, Madhumati, Nana Palsikar, Mohan Choti, Umesh Sharma, Sulochana Chatterjee, Leela Chitnis, Ashok Kumar, Nimmi, Pran, Shivraj, and Mukri. All songs are penned by Rajendra Krishan and the music for them is created by Madan Mohan.
Enjoy this lovely naughty song, as the heroine is trying to impede the departure of the hero, as he tries to make a get-away in the middle of the night. Asking of questions and checking for logic is not allowed in some such scenarios. 🙂
Song – Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar (Pooja Ke Phool) (1964) Singer – Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan
Lyrics
banda parwar. . .
banda parwar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
oye hoye hoye
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
taar aaya dekhiye
aap ke sasuraal se
dekhiye na. .
abhi abhi ayaa hai
taar aaya dekhiye
aap ke sasuraal se
saas kunwaari aap ki
baithi hai sattar saal se
miley agar
aha ha
koi achha var
haa haa
miley agar
koi achha var
bechaari ka abaad ho ghar
banda parwar
o ho ho
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
bura na maano to main poochun
jhoothon ke sardar se
ae
ae jhoothe
bura na maano to main poochun
jhoothon ke sardar se
apna sar kyon phod rahe ho
sapnon ki deewaar se
deewaane ho
ae
anjaane ho
ae ae
deewaane ho
anjaane ho
kya dekh rahe ho
aao idhar
banda parwar
o o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
aap chhup kar
agar chale jaate
haal e dil hum
kabhi na keh paate
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati
aap chhup kar
agar chale jaate. . .
haal e dil hum
kabhi na keh paate. . .
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati
phir khwaabon ka
armaanon ka
phir khwaabon ka
armaanon ka
abaad kabhi na hota ghar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बंदा परवर॰ ॰ ॰
बंदा परवर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
ओय होय होय
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
तार आया देखिये
आप के ससुराल से
देखिये ना॰॰
अभी अभी आया है
तार आया देखिये
आप के ससुराल से
सास कुंवारी आपकी
बैठी है सत्तर साल से
मिले अगर
आहा हा
कोई अच्छा वर
हा हा
मिले अगर
कोई अच्छा वर
बेचारी का आबाद हो घर
बंदा परवर
ओ हो हो
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से
ए
ए झूठे
बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से
अपना सर क्यों फोड़ रहे हो
सपनों की दीवार से
दीवाने हो
ए
अंजाने हो
ए ए
दीवाने हो
अंजाने हो
क्या देख रहे हो
आओ इधर
बंदा परवर
ओ ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
आप छुप कर
अगर चले जाते
हाल ए दिल हम
कभी ना कह पाते
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती
आप छुप कर
अगर चले जाते॰॰॰
हाल ए दिल हम
कभी ना कह पाते॰॰॰
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती
फिर ख्वाबों का
अरमानों का
फिर ख्वाबों का
अरमानों का
आबाद कभी ना होता घर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
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 : | 3489 | Post No. : | 14015 |
“Sheroo” (1957) was directed by Shakti Samanta for S P Pictures production, Bombay. The movie had Ashok Kumar, Nalini Jaiwant, Anoop Kumar, Madan Puri, Chaman Puri, Om Prakash, Leela Mishra, Shyam Kumar, Krishn Kant, Rashid Khan etc in it.
The movie had seven songs in it. Five of these songs have been covered in the past.
Here is the sixth song from “Sheroo” (1957) to appear in the blog. The song is sung by Rafi. Kaif Irfani is the lyricist. Music is composed by Madan Mohan.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Arre ho ban thhan ke aaya tere dwaare…aaya karke bhes niraala (Sheroo)(1957) Singer-Rafi, Lyrics-Kaif Irfani, MD-Madan Mohan
Lyrics
arre ho o
ban thhan kar aaya tere dwaare
gori ee ee
ik man basiyaa aa aa
ho tera rasiya
aaya karke bhes niraala
le ke kaandhe pe doshaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes nirala
le ke kaandhe pe doshaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
koi aaya tere dwaare
leke chaand sitaare
gori ab to samajh le
kisi ke ye ishaare
ha ha
haan
koi aaya tere dwaare
leke chaand sitaare
gori ab to samajh le
kisi ke ye ishaare
sar pe jeet ka sehra
gale phoolon ki hai maala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
ho aaya door se chal ke(?) teri nagri
tera saajan albela
laaya sang khushi ka mela
ho bhaag jagaane aaya
tujh se preet nibhaane aaya
o sun le tujhko
pyaar mein doobe geet sunaane aaya
hai ye raagi bada niraala
tere naam ki japta maala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
aa ha
tujhe jiski hai aas
aaya wo hi tere paass
zara naina to mila le
bujhe nazron ki pyaas
o tujhe jiski hai aas
aaya wo hi tere paas
zara naina to mila le
bujhe nazron ki pyaas
aaya leke dil ki jholi
maange preet ka ujaala
tere pyaar ka hai ye maara
tere darshan ka matwaala
aaya karke bhes niraala
ha ha ha aa
Tu hai qaatil
Posted on: January 28, 2018
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 : | 3481 | Post No. : | 13984 |
“Ek Mutthi Aasmaan”(1973) was directed by Veerendra Sinha for Pragati Chitra International, Madras. The movie, descrobed as a social movie , had Radha Saluja, Vijay Arora, Gulshan Arora, Aruna Irani, Kamini Kaushal, I S Johar, Kamal Kapoor, Mahendra (south), Sanjeeva etc, with guest appearances by Yogita Bali, Lalita Pawar, Mehmood, Fariyaal, Kiran, Rajat Rakshit and Pran.
The movie had Six songs in it including an excluded song, though HFGK only mentions five songs.
Five songs (including the excluded song) have been covered in the blog, and they were all lovely songs. Following are their details.
|
Song Title |
Post No. |
Post Date |
| Har koyi chaahtaa hai ik mutthi aasmaan | 1245 | 8-May-09 |
| Pyaar kabhi kam naa karnaa sanam | 2497 | 28-May-10 |
| Tu ki samjhegaa tainu ki dasiye | 4232 | 19-Jul-11 |
| Khile kamal si kaaya teri Excluded from movie | 11400 | 18-Sep-15 |
| Baat baat baat hai ik raat ki | 13969 | 24-Jan-18 |
Here is the sixth and final song from “Ek Mutthi Aasmaan”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Indeewar is the lyricist. Music is composed by Madan Mohan. The song is picturised as a suspense song where Faryal is shown lip syncing this song in an accusatory tone, charging Radha Saluja with murder. Kamal Kapoor is also present to lend a more suspenseful aura to the proceedings.
With this song, “Ek Mutthi Aasmaan”(1973) joins the list of movies that have all their songs covered in the blog.
Tu hai qaatil (Ek Mutthi Aasmaan)(1973) Singer-Asha Bhonsle, Lyrics-Indeewar, MD-Madan Mohan
unidentified male voice
Lyrics
tu u u
tu hai qaatil
tera
bachna hai mushqil
chaahe duniya na jaane ae ae ae
par jaane tera dil il
il
il
il
tu u
tu hai qaatil
qaatil
Me lord
mulzima pe koi raham na kiya jaaye
isne ek begunaah ka khoon kiya hai
khoon kiya hai
khoon kiya hai
tu u u
tu hai qaatil
tera aa
na na
bachna hai mushqil
chaahe duniya na jaane ae ae
par jaane tera dil
il
il
il
tu u
tu hai qaatil
qaatil
qaatil
order order
adaalat mulzima ko
baamashaqqat das saal ki saza deti hai
saza deti hai
tu u
tu hai qaatil
qaidi number do sau chaar ko
andheri kothhri mein band kar do
band kar do
band kar do
tu u u
tu hai qaatil
qaatil
Baat baat baat hai ik raat ki
Posted on: January 24, 2018
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 : | 3477 | Post No. : | 13969 |
“Ek Mutthi Aasmaan”(1973) was directed by Veerendra Sinha for Pragati Chitra International, Madras. The movie, descrobed as a social movie , had Radha Saluja, Vijay Arora, ulshan arora, Aruna Irani, Kamini Kaushal, I S Johar, Kamal Kapoor, Mahendra (south), Sanjeeva etc, with guest appearances by Yogita Bali, Lalita Pawar, Mehmood, Fariyaal, Kiran, Rajat Rakshit and Pran.
The movie had five songs in it according to HFGK, but our calculation shows six, because this movie also had another song excluded from the movie. So far four songs out of sixx have been covered in the blog, and they were all lovely songs.
Here is the fifth song from “Ek Mutthi Aasmaan”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Indeewar is the lyricist. Music is composed by Madan Mohan.
The song is picturised as a mujra song on aruna Irani. It appears that the lyricist was on a bad mood, or he was under instruction from someone to pen the kind of lyrics that he has. The lyrics basically describe the acts of domestic violence the lady suffers at the hands of her beau. Compared to the quality of other songs in the movie. this particular song can be said to be of a lower qquality song that rightly failed to get much popular. But since we try to cover all songs from movies, especially those belonging to the golden era of HFM, we have to cover this song asa well. So here is this song, which I must say I did not like because of its lyrics.
Song-Baat baat baat hai ik raat ki (Ek Mutthi Aasmaan)(1973) Singer-Asha Bhonsle, Lyrics-Indeewar, MD-Madan Mohan
Lyrics
baat baat baat hai ik raat ki
baat baat baat hai ik raat ki
ik raat ki hai baat
oye hoyee
ik raat ki hai baat piya ne maanga pyaar
kiya maine inkaar
to ki aise takraar
na jaise koi mard kare haan
na jaise koi mard kare
aur phir
mujhe bedarad ne itna maara
ki saara badan mera
ui ui
ki sara badan mera
aiyo amma ke saara badan mera oyee
badan mera dard kare
hoye
badan mera dard kare
baat baat baat hai ik raat ki
ik din gayi baazaar akeli
ik din gayi baazaar akeli
mili vahaan bachpan ki saheli
le gayi wo mujhe apni haveli
haan
ik din gayi bazar akeli
raat ko main zara der se lauti
piya ne meri jaan hi leli
kiya piya ne aisa haal
kiya piya ne aisa haal
na jaisa koi mard kare
chhee
na jaisa koi mard kare
aur phir
bedard ne itna maara
bedard ne
aay hay itna maara
ki saara badan mera
aay haay
ki saara badan mera
aiyo amma
ke saara badan mera
o
badan mera dard kare
oye
badan mera dard kare
baat baat baat hai ik raat ki
ik din aaya
bhai chachera
ik din aaya
bhai chachera
laaya vo sandesa mera
sar par usne haath jo phera
main bhi gale lag kar roi
piya ne samjha yaar hai mera
kiya piya ne aisa haal
kiya piya ne aisa haal
na jaisa koi mard kare
haan
na jaisa koi mard kare
aur haan
bedard ne itna maara bedard ne
aa haan haan
tna mara
ki sara badan mera
aay haay
ki sara badan mera
aiyo amma
ke saara badan mera
oye
badan mera dard kare
oye hoye
badan mera dard kare
baat baat baat hai ik raat ki
thhodi jaagi thhodi soi
haan maike ki yaadon mein khoi
ik din paka rahi thi rasoi
haan aan aan
thhodi jaagi thhodi soi
haan aan aan
maike ki yaadon mein khoi
tave ki roti tave pe jal gai
piya ne samjha bhed hai koi
kiya piya ne aisa haal
kiya piya ne aisa haal
na jaisa koi mard kare
chhee
na jaisa koi mard kare
aur haan
bedard ne itna maara
bedard ne
aay haay haay
itna maara
ki saara badan mera
aayyo
ke sara badan mera
aiyo amma
ke sara badan mera oye
badan mera dard kare oye hoye badan mera dard kare
baat baat baat hai ik raat ki
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