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

Posts Tagged ‘Roshan


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

Blog Day : 4211 Post No. : 15411

“Do Roti”(1957) was produced and directed by Ismail Memon for Ismail Films, Bombay. This movie had Nirupa Roy and Balraj Sahni in lead roles, along with Johny Walker, Nazeer Hussain, Mishra, Manju, Minu Mumtaz, Nana Palsikar, Kanhaiya Lal, Mehmood, Shakuntala devi, Arvind Kumar, Kamal Mohan, Sagar, Nalini Chonkar, Kusum, Chetan Kumar, Mumtaz, G Kallan, Mohan Sandow, Aziz Siddiqui, Omkar, Baby Sultana, Master Raju etc in it.

The movie had eight songs in it. Seven songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
 

Song Movie Year Sono Post number Post date
Kaali badariya maare najariya Do Roti 1957 2359 20-Mar-2010
Badi pyaari kahaani hai muhabbat ki kahaani bhi Do Roti 1957 2363 27-Mar-2010
Ghir ke barsen ye ghataayen to mazaa aa jaaye Do Roti 1957 6690 21-Sep-2012
Aise bhi hain peene waale jo Do Roti 1957 7612 6-Mar-2013
Ashqon ki kahaani kya kahiye Do Roti 1957 7703 18-Mar-2013
Sun lo patey ki baat Do Roti 1957 12228 18-Jul-2016
Gham ki hui haar lo jeet gaya pyaar Do Roti 1957 15389 26-May-2019

Here is the eighth and final song from “Do Roti”(1957) to appear in the blog. This song is sung by Lata. Khumar Barabankwi is the lyricist. Music is composed by Roshan.

Only the audio of the song is available. Based on the picturisation of other Lata songs from the movie, it can be safely assumed that this song is opicturised on Nirupa Roy.

With this sweet and hummable song, all the songs of “Do Roti”(1957) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Tumhen jo pyaar kiya..tumhre kaaran hamaar jiya jaaye re (Do Roti)(1957) Singer-Lata, Lyrics-Khumar Barabankwi, MD-Roshan

Lyrics

aaa aa aa aa
aa aa aa
tumhen jo pyaar kiya
aa aa aa
tumhen jo pyaar kiya
hamne kya aa aa gunaah kiya aa
ye kis kusoor se tumne hamen tabaah kiya haan aan
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
ho tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re

tumhaare ishq mein jeena hamen mohaal hua
aa aa aa
tumhare ishq me jeena hamen mohaal hua
aa aa
hamara aur papeehe ka ek haal hua
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
ho tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re

jaan de ham tumko bedarda
aa aa aa
tum ho bade beimaan aa aa aa aa
de do hamaara dil hamen vaapas
aeji hoga aa bada ehsaan haan haan
ki tumhre karan
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran
tumhre kaaran
tumhre kaaran
tumhre kaaran hamaar jiya jaaye re
jiya jaaye re
tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re
jiya jaaye re

tumhre kaaran hamaar jiya jaaye re
tumhre kaaran hamaar jiya jaaye re


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

Blog Day : 4209 Post No. : 15404

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

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

The Preamble to the constitution states the following,

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

JUSTICE, social, economic and political;

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

EQUALITY of status and of opportunity;

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyrics (Provided by Avinash Scrapwala)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 


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

Blog Day :

4088 Post No. : 15229

“Coffee House”(1957) was produced and directed by Hari Walia for Niti Arts Productions, Bombay. This movie, whose prints are lost had Geeta Bali, Shammi Kapoor, Vijaylaxmi, Jeevan, Bhagwan, Chanchal, Kumud Tripathi, Pal Sharma, Raja Kapoor, Helen etc in it.

Two songs from this movie has been discussed in the past. Here is the tird song from “Coffee House”(1957) to appear in the blog. This song is sung by Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Roshan, as mentioned earlier.

From the sounds of it, the song appears to be a club dance song/ cabarat dance song.

Only the audio of this song is available. The prints of this movie are lost. It was a fond wish to Shammi Kapoor to be able to watch this movie seeing that it also starred Geeta Bali who would later become his wife.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Ye hawa ye fizaa ye samaa (Coffee House)(1957) Singer-Geeta Dutt, Lyrics-Prem Dhawan, MD-Roshan

Lyrics

ye hawa
ye fiza
ye samaa
aaj hai
kis kadar haseen jahaan
shaam hai
jaam hai
saathi hai
sun hi le
dil ki sau daastaan

jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa

husn ki ye meharbaaniyaan phir kahaan
husn ki ye meharbaaniyaan phir kahaan
ishq ki rangeen kahaaniyan phir kahaan
phir kahaan ye sama
ye sama phir kahaan
aa dil ki mehfil mein
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa

ye nigaah
ye dil ki mastiyaan
ye ada
ye nigaah
ye dil ki mastiyaan
ye ada
tez hai kuchh aaj dhadkanon ki sada
ye sada sun zara
sun zara ye sada
aa dil ki mehfil mein
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa
jhoom jhoom ke
jaam choom ke
aa dil ki mehfil mein aa


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

Blog Day :

4078 Post No. : 15217

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Blog 10-Year Challenge (2009-19) – Song No. 44
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Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂  🙂 .

Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.

Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai Shair 1949 2nd  Yippeee’d
Aaj Gaawat Man Mero Baiju Baawra 1952 6th  Yippeee’d
Ae Kaash Chalte Mil Ke Manzil 1960 3rd  Yippeee’d
Ek Baat Kahoon Wallah Ye Husn Subhan Allah Shrimaan Satyawaadi 1960 2nd  Yippeee’d
Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste Hum Dono 1961 5th  Yippeee’d
Aap Jabse Kareeb Aaye Hain Noorjehaan 1967 Deb 3 of 8
Zindagi Khwaab Hai Jaagte Raho 1956 2nd  Yippeee’d

The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.

I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.

Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.

The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.

Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi  (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar

Lyrics

aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui

bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin

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Hindi script lyrics (Provided by Sudhir)
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आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी

बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं


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

Blog Day : 4004 Post No. : 15107

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Blog 10-Year Challenge (2009-19) – Song No. 38
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Today’s song is from the movie ‘Nai Umar Ki Nai Fasal-1965’. This movie was introduced on the blog on this day ten years back viz on 5th July 2009.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let us now listen to today’s song …

Video (Part I)

Video (Part II)

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

Lyrics

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

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

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

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

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


This article is 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 : 3964 Post No. : 15045

“Do Roti”(1957) was produced and directed by Ismail Memon for Ismail Films, Bombay. This movie had Nirupa Roy and Balraj Sahni in lead roles, along with Johny Walker, Nazeer Hussain, Mishra, Manju, Minu Mumtaz, Nana Palsikar, Kanhaiya Lal, Mehmood, Shakuntala devi, Arvind Kumar, Kamal Mohan, Sagar, Nalini Chonkar, Kusum, Chetan Kumar, Mumtaz, G Kallan, Mohan Sandow, Aziz Siddiqui, Omkar, Baby Sultana, Master Raju etc in it.

The movie had eight songs in it. Six songs have been covered in the past.

Here is the seventh song from “Do Roti”(1957) to appear in the blog. This song is sung by Lata. Khumar Barabankwi is the lyricist. Music is composed by Roshan.

This song is picturised as a joie de vivre song on Nirupa Roy.

Audio

Video

Song-Gham ki huyi haar lo jeet gaya pyaar(Do Roti)(1957) Singer-Lata, Lyrics-Khumar Barabankwi, MD-Roshan

Lyrics

gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

roothhe huye maan gaye
dil ki lagi pehchaan gaye
roothhe huye maan gaye
dil ki lagi pehchaan gaye
ho dil ki lagi pehchaan gaye
nazren huin chaar
lo teer huye paar
nazren huin chaar
lo teer huye paar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

main hoon kahin
dil hai kahin
aaj mujhe kuchh hosh nahin
main hoon kahin
dil hai kahin
aaj mujhe kuchh hosh nahin
ho aaj mujhe kuchh hosh nahin
chha gaya khumaar
lo aa gayi bahaar
chha gaya khumaar
lo aa gayi bahaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

nazren milin waar huye
kitne haseen iqraar huye
nazren milin waar huye
kitne haseen iqraar huye
ho kitne haseen iqraar huye
man ke baje taar
lo jaag uthha pyaar
man ke baje taar
lo jaag uthha pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar


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 : 3660 Post No. : 14526

“Aangan”(1959) was directed by O P Datta. This movie had Rehman, Amita, Chand Usmani, Agha, Leela Mishra, Gulab, Badri Prasad, Indira Bansal, Ramavtar, Sabita Chatterji, Vijaybala, Jugnu, Kesarbai, Bazid Khan, Shantaram, Prijbhushan, Master Raja etc in it.

The movie had nine songs in it that were penned by three lyricists.

Two songs have been covered in the past. Here is the third song from this movie to appear in the blog. This song is sung by Manna Dey and chorus. Pt Indra Chandra is the lyricist. Music is composed by Roshan.

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


Song-Tere banenge bigde kaam ho sun bhai aatmaaraam(Aangan)(1959) Singer-Manna Dey, Lyrics-Pt India India, MD-Roshan
Chorus
Manna Dey +Chorus

Lyrics

tere banenge bigde kaam
ho sun bhai aatmaaraam
tu kar le chaaron dhaam
ho sun bhai aatmaaraam

idhar hai ganga udhar himalay
beech mein badrinath
bolo bhai badrinath ki jai
dharm arth aur kaam moksh
chaaron phal inke saath ho
tere banenge bigde kaam
tere banenge bigde kaam
ho sun bhai aatma raam

jo koi paave jagannath ka
jootha bhaat prasaad ho
jootha bhaat prasaad ho
bolo bhai jagannath ki jai
chala jaaye baikunth ko seedha
koi na pakde haath ho
koi na pakde haath ho
tu bhaj le raadhe shyaam
tu bhaj le raadheshyam
ho sun bhai aatmaraam

dakshin desh rame rameshvar
mandir khambh hazaar ho
mandir khambh hazaar ho
bolo bhai shiv shankar ki jai
visvanath viswambher shankar
bhaje to beda par ho
bhaje to beda par ho
le in charnon ko thhaam
le in charnon ko thhaam
ho sun bhai aatmaraam

sone ki ye puri dwarka
man aanand badhaaye ho
man aanand badhaaye ho
bolo bhai krishanchandr ki jai
baanjh hari ho jaaye daadi
pota god khilaaye ho
pota god khilaaye ho
kul badhe amar ho naam
kul badhe amar ho naam
ho sun bhai aatmaaraam
tere banenege bigde kaam
ho sun bhai aatmaram
raam ji raam
ho sun bhai aatmaraam


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 : 3658 Post No. : 14522

“Sanskaar”(1952) was produced and directed by V M Vyas. The movie had Mumtaz Shanti, Purnima, Veera, Pran, Razi, Shashi Kapoor (Sr), Ihswar Lal, Mirza Musharraf, Murad, Kalyani, Pappu, Baby Naaz, Indira Mumtaz etc in it.

The movie had seven songs in it. Four songs from this movie have been discussed in the past.

When I looked at the three balance songs of the movie, I discovered that these songs were great and special songs in their respective genre. Nevertheless, if I keep holding songs back for special occasions then I may not find myself with too many songs to discuss on a “normal” day. 🙂 So I decided that one out of these three songs should be discussed today.

Here is the fifth song from “Sanskaar”(1952) to appear in the blog. This song is an inspiration song which is sung by Lata. Shailendra is the lyricist. Music is composed by Roshan.

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


Song-Jeenewaale o matwaale zindagi se pyaar kar (Sanskaar)(1952) Singer-Lata, Lyrics-Shailendra, MD-Roshan

Lyrics

jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
yoon na baith zindagi mein zindagi se haar kar,
pyaar kar
jeenewaale

moorakh na dar dekh andhera
moorakh na dar dekh andhera
hoga kabhi to savera
hoga kabhi to savera aa
ranj-o-gham se zindagi ke roop ka singaar kar
pyaar kar
jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
jeenewaale

jo dukh bhi aaye tu jhelta chal
jo dukh bhi aaye tu jhelta chal
har gham se khelta chal
har gham se khelta chal
zinda hai to zindagi pe jaan bhi nisaar kar
pyaar kar
jeenewale o matwaale
zindagi se pyaar kar
pyaar kar
jeenewaale


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 : 3654 Post No. : 14511

ruke nahin koi yahaan naami ho ki anaam
koi jaaye subah ko koi jaaye shaam

— Gopal Das Saxena ‘Neeraj’

With the passing away of Gopal Das Saxena ‘Neeraj’ in the evening of July 19, 2018, the country has lost the last doyen of the progressive school of Hindi poetry. And with this, we have lost another ‘Sahir Ludhianvi’ of Hindi film songs. His association with Hindi film industry especially during 1970-75 had taken the Hindi film music to a new height. I would say that Neeraj has elongated the golden period of Hindi film music.

At a time when Hindi poetry were majorly influenced by ‘Chhaayawadi’ (Romanticism) poets like Jaishankar Prasad, Sumitranandan Pant, Suryakant Tripathi ‘Niraala’ and Mahadevi Verma, it was first Harivansh Rai Bachchan followed by Neeraj who departed from the genre of Chhaayawad poetry and started writing in a language understandable to the common man encompassing all the facades of human life. Neeraj was always a people’s poet.

I first became aware of Neeraj as a poet when I was in 9th standard. Our Hindi teacher spoke about him in the context of one of his poems in our syllabus. I do not remember now as to which was the poem. But I distinctly remember to have heard our teacher saying that he was one of the emerging Hindi poets of post-chhaayawad period. After having moulded with the poems of chaayawadi poets during our early high school days, I personally found Neeraj’s poems at that time a bit ordinary as compared with poems of chhaayawadi poets.

In my early college days (first year and intermediate), I came to know more about Neeraj thanks to our Hindi lecturer who was an admirer of his poems. Although I had heard on radio the popular songs from ‘Nai Umar Ki Nai Fasal’ (1965), it was from our Hindi lecturer I came to know that these popular songs were written by none other than Neeraj. At that time, I was not deep into the lyrics of the Hindi film songs. My reaction to this news was one of the surprises – how a Hindi poet could downgrade himself as a lyricist!

It took me another 5 years to appreciate the work of Neeraj as a lyricist by which time I was majorly engrossed in Hindi film music. His popular songs like kaarwaan guzar gaya gubaar dekhte rahe, dekhti hi raho aaj darpan na tum, wo ham na thhe wo tum na thhe made me to go through the lyrics afresh. All these songs looked more poetic than the lyrics which we were used to listen. Yet they were simple to understand.

By now, I had become an ardent admirer of Neeraj. There was a time in the early 70s, when I used to watch films which had Neeraj as lyricist.I recall a few films like ‘Prem Pujari’ (1970), ‘Pehchaan’ (1970), ‘Sharmilee’ (1971), ‘Gambler’ (1971), ‘Tere Mere Sapne’ (1971) etc which I saw in the theatres. I realised that here was a poet who used imageries and metaphors in a novel way to add freshness to the songs. Examples: Shokhiyon mein gholaa jaye phoolon ka shabaab, phoolon ke rang se dil ki kalam se, bas yahi apraadh main har baar karta hoon, khilte hain gul yahaan khil ke bikharne ko, megha chhaaye aadhi raat, jeewan ki bagiya mahkegi, dil aaj shaayar hai gham aaj naghma hai.

After my retirement in 2006, I started reading Neeraj’s non-filmy poetic works and appreciating his poetry. He was really a people’s poet. I can now say that just as popularity of ‘Madhushala’ written by Harivash Rai Bachchan had put his other higher literary works in the background, the popularity of ‘kharwaan guzar gaya gubaar dekhte rahen’ and other hindi film songs of Neeraj have relegated into background. With his more than 5 decades of poetic work, the article would become too long. So I will confine myself mostly to Neeraj’s filmy career in this article.

Gopaldas Neeraj was born on January 4, 1925 in the Purwali village of Etawah district of Uttar Pradesh. At the age of 6, his father passed away. He was sent to his aunt’s house in Etawah for schooling. However, due to the precarious financial condition, Neeraj had to discontinue his studies after 10th standard did some odd jobs at Etawah and later in Delhi in the 1940s to earn for the family. While working, he completed his graduation and in 1953, he passed MA in Hindi literature with first class. He was associated with Dharma Samaj College, Aligarh as Lecturer and retired as a Professor of Hindi literature from the same college.

Neeraj’s inspiration for writing Hindi poems came from a collection of poems titled ‘Nisha Nimantran’ (Invitation to Night) written by Harivansh Rai Bachchan which he had read when he was in 9th class. Thereafter, he started writing poems and attended Kavi Sammelan in which among others, Harivansh Rai Bachchan was the main attractions. By 1960, Neeraj had become one of the most sought after poets for Kavi Sammelan held all over India.

Sometime in 1960, Neeraj visited Bombay (Mumbai) to recite his poems in a Kavi Sammelan. Music director Roshan was one of those from the film industry who was impressed by his poems. Roshan offered him to write lyrics for the film ‘Nai Umar Ki Nai Fasal’ (1965) which Neeraj politely declined stating that he could not leave his job. He however suggested to Roshan that if found suitable, he could select a few of his published poems for the films. So, most of the songs from the film was based on Neeraj’s published poems.

Chandrashekhar, who was producing and directing his maiden film ‘Cha Cha Cha’ (1964) wanted Neeraj to write lyrics for the film. Neeraj obliged him by writing two songs for the film – ‘wo hum na thhe wo tum na thhe’ and ‘subha na aayi shaam na aayi’ which became very popular. He also wrote songs for films like ‘Sati Naari’ (1965), ‘Tu Hi Meri Zindagi’ (1965), Majli Didi’ (1967), Kanyadaan’ (1968) etc. But uptil now, Neeraj had done the song writing as a part time work without leaving his full time job as Lecturer in Dharma Samaj College, Aligarh.

Sometime in early 1960s, Dev Anand had met Neeraj at a mushiara in Mumbai. At that time, Dev Anand had told him that he liked the language in his poems and hope to work with him some day.

One day, Neeraj saw an advertisement of the announcement of the film ‘Prem Pujari’ (1971) in which he saw the name of Dev Anand as director and S D Burman as music director. However, there was no name of song writer. So Neeraj wrote to Dev Anand recalling his conversation at the mushiara in Mumbai and offered to write songs for the film. Within a week, Neeraj got a hand written reply from Dev Anand requesting him to come to Mumbai and meet S D Burman, the music director. In an interview which appeared in May 21, 2015 issue of ‘The Hindu’, Neeraj revealed:

He put me in luxurious hotel in Santa Cruz and paid me Rs.1000 even before signing me. Next day, he took me to S.D. Burman, who showed apprehensions about a poet’s ability to write to tunes and a given situation. Dev Anand said that he should not worry. He should give the tune and if Neeraj failed, he would remain his guest for six days and enjoy Bombay. Burman Da gave me a tune and said the song should start with ‘Rangeela Re’ and it is about a girl who sees her beloved coming to a party with another girl. It should have elements of frustration in love, jealousy and satire. I worked the whole night and came up with ‘rangeela re tere rang mein youn ranga hai mera mann’.

Next day, he went to Dev Anand’s office and showed what he had written. After reading it, he embraced Neeraj and exclaimed how he could do it in one night. He immediately took me to Burman Da’s home and proudly presented me to him and said: See, I told you, Neeraj has done it. When Burman Da listened to it, he said ‘Dev you go now. We will sit together. After Dev Anand left, Burman Da admitted that he gave me this complex situation to make me give up. After that, we three began to bond. …… I wrote my best songs for him and the biggest royalty I get is from the songs that I wrote for Dev Anand, adding that he never signed a contract with him.

After the success of his songs in ‘Prem Pujaari’ (1970), Neeraj left his job at Dharma Samaj College, Aligarh and shifted his base to Mumbai to become a full time lyricist in Mumbai film industry. The success of his songs in films like ‘Pehchan’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), ‘Gambler’ (1971) etc gave further boost to his career.

During his active career (1970-75) in Hindi film industry, Neeraj mainly worked with S D Burman and Shankar-Jaikishan with whom he had developed good rapport. With the death of Jai Kishan in 1971 and S D Burman in 1975 Neeraj, on record, considered himself as an unlucky poet in Hindi film industry. Sometime after the death of S D Burman, Neeraj bid adieu to Hindi film industry and rejoined as Professor of Hindi literature in Dharma Samaj College, Aligarh. My own gut feeling says that being a sensitive poet, Neeraj may have felt uncomfortable to work with new music directors with whom he might have creative differences.

Neeraj did occasionally write lyrics for some films by sitting at Aligarh in post-1975 period. The last film for which he wrote songs was ‘Chargesheet’ (2011) which happened to be the last film produced and directed by Dev Anand.

As our homage to Neeraj, I have selected a lesser known song from the film ‘Nai Umar Ki Nai Fasal’ (1965) which seems to have become a ‘back-bencher’by his other popular songs from the film. The song is ‘isko bhi apnaata chal’ sung by Mohmmed Rafi and composed by Roshan. The scene in the film is that of Kavi Sammelan where poets are reciting their poems. But the hero Rajeev recites his poem by singing.

The song is of nearly 6 minutes’ duration in the audio clip. However, in the film, it is reduced to about 3 minutes duration by skipping two antaras of the song.

Video Clip:

Audio Clip:

Song-Isko bhi apnaata chal usko bhi apnaata chal(Nai Umar Ki Nai Fasal)(1965) Singer-Rafi, Lyrics-Neeraj, MD-Roshan

Lyrics(Based on audio)

hmm hmm hmm
hmm hmm
isko bhi apnaata chal
usko bhi apnaata chal
raahi hain sab ek dagar ke
sab par pyaar lutaata chal
isko bhi apnaata chal

idhar kafan tak nahin laash par
udhar numaayish resham ki
yahaan swayamvar kare chaandni
wahaan na raat kate gham ki
dharti kankad patthar maare
ambar ugle angaare
koi poochhe baat na is bagiya mein dukhiyaa shabnam ki
sukh ki umr badhaata chal
dukh ko kafan odhaata chal
miley jahaan bhi mahal usey
kutiya ke paas bulaata chal
isko bhi apnaata chal

bikaa biki sab oar machi hai
aane au do aanon par
asmat bikey doraahon par to
pyaar bikey dukaanon par
dagar dagar par mandir masjid
qadam qadam par gurudwaare
bhagwaanon ki basti mein hai
zulm bahut insaanon par
khidki har khulwaata chal
saankal har katwaata chal
is par bhi raushni na ho to
dil kaa diyaa jalaata chal
isko bhi apnaata chal
usko bhi apnaata chal
raahi hain sab ek dagar ke
sab par pyaar lutaata chal
isko bhi apnaata chal

hriday hriday ke beech khaaiyaan
lahu bichhaa maidaanon mein
ghoom rahe hain yuddh sadak par
shaanti chhipi shamshaanon mein
zanjeeren kat gayin magar
aazaad nahin insaan abhi
duniya bhar ki khushi qaid hai
chaandi jade makaanon mein
tat tat raas rachaataa chal
panghat panghat gaataa chal
pyaasaa hai har praan nayan kaa
gangaa-jal chhalkaata chal
isko bhi apnaata chal

nayan nayan tarsen sapnon ko
aanchal tarsen phoolon ko
aangan tarsen tyohaaron ko
galiyaan tarsen jhoolon ko
kisi honth par baje na bansi
kisi haath mein been nahin
umar samadar ki de daali
kis ne chand baboolon ko
soyi kiran jagaata chal
roothi subahen manaata chal
pyaar naqaabon mein na band ho
har ghoonghat khulwaata chal
isko bhi apnaata chal
usko bhi apnaata chal


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 : 3551 Post No. : 14248

“Aangan”(1959) was directed by O P Datta. This movie had Rehman, Amita, Chand Usmani, Agha, Gulab, Badri Prasad, Ramavtar, Jugnu etc in it.

The movie had nine songs in it that were penned by three lyricists.

One song has been covered in the past. Here is the second song from this movie to appear in the blog. This song is a duet which is sung by Rafi and Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Roshan.

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


Song-Ghoonghat se kyun naina jhaanke (Aangan)(1959) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Roshan
Both

Lyrics

ghoonghat se kyun naina jhaanke
jaan’ne waale jaan gaye
janam janam ke jeevan saathi
hum tumko pehchaan gaye
ghoonghat se kyun naina jhaanke

raat milan ki dil se mila dil
phir ye laaj ka pehra kyun
phir ye laaj ka pehra kyun
ghoonghat ke baadal ke peechhe
chhupa ye chaand sunehra kyun
chhupa ye chaand sunehra kyun
pichhle janam mein hum baadal thhe
tum thhe chanda maan gaye
janam janam ke jeevan saathi
hum tumko pehchaan gaye

ghoonghat se kyun naina jhaanke

ab to na mil mil kar bichhdoge
chhaliya ye ikraar karo
chhaliya ye ikraar karo

jeete ji wo kyun bichhde tum
jis sang itna pyaar karo
jis sang itna pyaar karo
dil mein to dekho kitne gahre
in nainon ke baan gaye
janam janam ke jeevan saathi
hum tumko pehchaan gaye
janam janam ke jeevan saathi
hum tumko pehchaan gaye

ghoonghat se kyun naina jhaanke
oho ho
hmm hmh hmm hmm hmm
aa haa ha
aa aa aa aa aa


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

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

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