Posts Tagged ‘SD Burman’
Koi Na Tera Saathi Ho
Posted August 5, 2023
on:This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : |
5496 | Post No. : | 17937 |
Rafi Sahab’s Legendary Associations – 12
maiñ akelā hī chalā thā jānib-e-manzil magar
log saath aate ga.e aur kārvāñ bantā gayā
मैं अकेला ही चला था जानिब ए मंज़िल मगर
लोग साथ आते गए और कारवां बनता गया
(Majrooh Sultanpuri)
dil nā-umīd to nahīñ nākām hī to hai
lambī hai ġham kī shaam magar shaam hī to hai
दिल नाउम्मीद तो नहीं नाकाम ही तो है
लम्बी है ग़म की शाम मगर शाम ही तो है
(Faiz Ahmad Faiz)
hayāt le ke chalo kā.enāt le ke chalo
chalo to saare zamāne ko saath le ke chalo
हयात ले के चलो कायनात ले के चलो
चलो तो सारे जमाने को साथ ले के चलो
(Makhdoom Mohiuddin)
rañj se ḳhūgar huā insāñ to miT jaatā hai rañj
mushkileñ mujh par paḌīñ itnī ki āsāñ ho ga.iiñ
रंज से खूगर हुआ इंसान तो मिट जाता है रंज
मुश्किलें मुझ पर पड़ीं इतनी के आसान हो गईं
(Mirza Ghalib)
baare duniyā meñ raho ġham-zada yā shaad raho
aisā kuchh kar ke chalo yaañ ki bahut yaad raho
बारे दुनिया में रहो ग़म-ज़दा या शाद रहो
ऐसा कुछ कर के चलो यहाँ के बहुत याद रहो
(Meer Taqi Meer)
koshish bhī kar umiid bhī rakh rāsta bhī chun
phir is ke ba.ad thoḌā muqaddar talāsh kar
कोशिश भी कर उम्मीद भी रख रास्ता भी चुन
फिर इस के बाद थोड़ा मुकद्दर तलाश कर
(Nida Fazli)
apnā zamāna aap banāte haiñ ahl-e-dil
ham vo nahīñ ki jin ko zamāna banā gayā
अपना ज़माना आप बनाते है एहल ए दिल
हम वो नहीं के जिनको ज़माना बना गया
(Jigar Moradabadi)
chalā jaatā huuñ hañstā kheltā mauj-e-havādis se
agar āsāniyāñ hoñ zindagī dushvār ho jaa.e
चला जाता हँसता खेलता मौज ए हवादिस से
अगर आसानीआं हों ज़िंदगी दुश्वार हो जाये
(Asghar Gondvi)
ye kah ke dil ne mere hausle baḌhā.e haiñ
ġhamoñ kī dhuup ke aage ḳhushī ke saa.e haiñ
ये कह के दिल ने मेरे हौसले बढ़ाए हैं
ग़मों की धूप क आगे खुशी के साये हैं
(Mahirul Qadri)
pyāso raho na dasht meñ bārish ke muntazir
maaro zamīñ pe paañv ki paanī nikal paḌe
प्यासों रहो ना दश्त में बारिश के मुंतज़िर
मारो ज़मीं पे पाँव के पानी निकाल पड़े
(Iqbal Sajid)
baḌh ke tūfān ko āġhosh meñ le le apnī
Dūbne vaale tire haath se sāhil to gayā
बढ़ के तूफान को आगोश में ले ले अपनी
डूबने वाले तेरे हाथ से साहिल तो गया
(Abdul Hamid Adam)
yaqīn ho to koī rāsta nikaltā hai
havā kī oT bhī le kar charāġh jaltā hai
यकीं हो तो कोई रास्ता निकलता है
हवा की ओट भी लेकर चराग़ जलता है
(Manzoor Hashmi)
tū samajhtā hai havādis haiñ satāne ke liye
ye huā karte haiñ zāhir āzmāne ke liye
तू समझता है हवादिस हैं सताने के लिए
ये हुआ करते हैं ज़ाहिर आज़माने के लिए
(Syed Sadiq Husain)
kashtiyāñ sab kī kināre pe pahuñch jaatī haiñ
nāḳhudā jin kā nahīñ un kā ḳhudā hotā hai
कश्तीयां सब किनारे पे पहुँच जाती हैं
नाखुदा जिन का नहीं उनका खुदा होता है
(Ameer Minai)
mere junūñ kā natīja zarūr niklegā
isī siyāh samundar se nuur niklegā
मेरे जुनून का नतीजा ज़रूर निकलेगा
इसी सियाह समुंदर से नूर निकलेगा
(Ameer Qazalbash)
There are few forms of expression in this civilization, more expressively nuanced than Urdu poetry. The number of amateur poets among the millennials trying their hand at this form of creativity are staggering. There is hope for the ‘tehzeeb’ to flourish. I am able to visualise the coming generation of ghazal/sufiana & qawwali vocalists to continue this tradition. I have quoted the above asha’ar as a sample of urdu motivating poetry. It is a sea out there of such poetry. I have given a deliberate miss to Allama Iqbal’s qata’at, which have graced the pages of calendars & almanac’s for more than a century now.
Calender of every new year, which were booked and bought weeks or months ago in anticipation of the coming new year, have also lost their importance. ‘Kalnirnay’ for example, which came in all languages and gave the various information about different festivals and customs.
Someone gifted me a table décor piece a few weeks ago, which is a wooden box/shelf, open from the top and front. It has 4 cubes of metal with name of months and two larger wooden cubes for the dates, with numerical, which can be set to display the date.
The paper calendar would serve us for the whole year, with each page displaying 1, 2 or 3 months. Over the decades, these old faithful have undergone many changes and upheavals, to survive till now. Just like wristwatches, which have become mere ornaments or fashion statements. Some people still buy and wear them, some are having collection of wrist watches. Wall clocks have weathered the storm better, and every household still has them. But I have found it difficult to find shops selling good quality wall clocks, rather than the ornament ones which are available in gift shops. In effect, if I want a wall clock, I got to gift one to myself. Which brings me back to the gift of décor piece. I like it a lot, as I have a weakness for wooden décor pieces.
Back to the starting point of this post, which is Majrooh Sultanpuri’s Sha’iri . I had given up the hope for finding a Rafi song by SD Burman, to include in this series. But still there is a ray, which kept the hope alive that some Rafi recording will appear, from somewhere. Even the last snippets of small renditions from ‘Pyaasa’ were posted in the blog.
But I am beyond delight to find this wonderful rendition and recording of the peppy tune SD Burman for the Guru Dutt film ‘Baharen Phir Bhi Aayengi’ (1966). The story behind this recording, going into oblivion all these decades, in here:
- Ye Dil Na Hota Bechara – In an interview with lyricist Gulzar, RD Burman revealed that he had adapted the tune of the whistle in the theme of the film ‘The Bridge On The River Kwai’ (1957) for the mukhda of this song. The same tune was used in the title song of the film ‘Paltan’ (2018).
- Yeh Dil Na Hota Bechara – SD Burman had offered the tune of this song to Guru Dutt for the film ‘Baharen Phir Bhi Aayengi’ (1966). Not liking the tune, Guru Dutt had declined it and gone ahead with OP Nayyar instead. •
- “Ye Dil Na Hota Bechara” – Guru Dutt first approached S.D. Burman to compose the music for this film. According to Raju Bharatan, Dutt did not like the title tune composed by Burman and opted for OP Nayyar instead. SD Burman later used this tune for “Ye Dil Na Hota Bechara” (‘Jewel Thief’, 1967). Some account says that Dutt opted for Nayyar due to Burman’s prolonged illness. A close associate/friend of RD Burman had saved this recording and released it to the public recently. This is likely written by Majrooh Sultanpuri, so it is a classic combination of Rafi-Majrooh-SDB, which is a must for any list of ‘Legendary Associations of Rafi Sahab’. As necessary as a Lata-Rafi song or a Rafi-Shakeel-Naushad song, I have hopes of finding Rafi songs of these teams too, as a couple of songs still are to be covered in the blog.
A list of all songs of combination of Rafi-Majrooh-SDB is in the table below.
Sr No | Songs | Film | Year | Singer |
1 | Aaja Panchi Akela Hai | Nau Do Gyarah | 1957 | Mohd Rafi, Asha Bhonsle |
2 | Kali Ke Roop Mein Chali Ho Dhoop Mein Kahn | Nau Do Gyarah | 1957 | Mohd Rafi, Asha Bhonsle |
3 | Achha Ji Main Haari Chalo Maan Jaao Na | Kala Pani | 1958 | Mohd Rafi, Asha Bhonsle |
4 | Hum Bekhudi Mein Tum Ko Pukare Chale Gaye | Kala Pani | 1958 | Mohd Rafi |
5 | O Chupne Wale..Dilwale Ab Teri Gali Tak | Kala Pani | 1958 | Mohd Rafi, Asha Bhonsle |
6 | Gagri Sookhi Lab Pyase..Sambhal Ke.. Ye Duniya Hai | Sitaron Se Aage | 1958 | Mohd Rafi |
7 | Zara RukJa O Pyare Ruk Ja | Sitaron Se Aage | 1958 | Mohd Rafi |
8 | Dekhiye Dekhiya Gaur Se Phir | Solva Saal | 1958 | Mohd Rafi |
9 | Dekho Ji Mera Haal Badal Gayee Chaal | Solva Saal | 1958 | Mohd Rafi, Asha Bhonsle, Mubarak Begum |
10 | Andhe Ne Bhi Sapna Dekha Kya Hai Zamaana | Sujata | 1959 | Mohd Rafi |
11 | Deewana Mastana Hua Dil | Bambai Ka Babu | 1960 | Mohd Rafi, Asha Bhonsle |
12 | Pawan Chale To Uthe Nadi Mein Lehar Si | Bambai Ka Babu | 1960 | Mohd Rafi, Asha Bhonsle |
13 | Saathi Na Koi Manzil Diya Hai Na Koi Mehfil | Bambai Ka Babu | 1960 | Mohd Rafi |
14 | Hum To Hain Tum Par Dil Se Fida | Bewaqoof | 1960 | Mohd Rafi |
15 | Chupke Se Mile Pyase Pyase Kuchh Hum Kuchh Tum | Manzil | 1960 | Mohd Rafi, Geeta Dutt |
16 | Dil To Hai Deewana Na Maanega Bahana Na | Manzil | 1960 | Mohd Rafi, Asha Bhonsle |
17 | Aaj Ka Din Bhi Pheeka Pheeka | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
18 | Akela Hun Main Is Duniya Mein | Baat Ek Raat Ki | 1962 | Mohd Rafi |
19 | Jo Hain Deewane Pyar Ke | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
20 | Jo Ijaazat Ho To Ek Baat Kahun | Baat Ek Raat Ki | 1962 | Mohd Rafi, Asha Bhonsle |
21 | Sheeshe Ka Ho Ya Patthar Ka Dil | Baat Ek Raat Ki | 1962 | Mohd Rafi, Lata Mangeshkar |
22 | Ghabra Kar Tumse Mohabbat Kar Baithe | Dr Vidya | 1962 | Mohd Rafi, Lata Mangeshkar |
23 | Main Kal Phir Milungi Isi Gulistaan Mein | Dr Vidya | 1962 | Mohd Rafi, Lata Mangeshkar |
24 | Yun Hans Hans Kar Dekho Na Idhar | Dr Vidya | 1962 | Mohd Rafi, Asha Bhonsle |
25 | Aise To Na Dekho Ke Humko Nasha Ho Jaaye | Teen Deviyan | 1965 | Mohd Rafi |
26 | Kahin Bekhayal Hokar Yun Hi Chhoo Liya Kisi Ne | Teen Deviyan | 1965 | Mohd Rafi |
27 | Dil Pukare Aare-3 O Abhi Na Ja Mere Saathi | Jewel Thief | 1967 | Mohd Rafi, Lata Mangeshkar |
28 | Junali Raat Ma..Aaj Ko Jhunli Raat Maa | Talash | 1969 | Mohd Rafi, Lata Mangeshkar |
29 | Palkon Ke Peeche Se Kya Tumne Keh Daala | Talash | 1969 | Mohd Rafi, Lata Mangeshkar |
30 | Teri Bindya Re Re Haye Teri Bindiya Re | Abhimaan | 1973 | Mohd Rafi, Lata Mangeshkar |
So, the present song recorded for ‘Baharen Phir Bhi Aayengi’ becomes the 31st song. The list starts with “Aaja Panchhi Akela Hai” from ‘Nau do Gyarah’ (1957) to end with “Teri Bindiya Re” from ‘Abhiman’ (1973). On way this team gave us such memorable duets “Palkon Ke Peechhe Se Kya Tum Ne Keh Daala“, “Dil Pukaare Aa Re Aa Re Aa Re“, “Deewaana Mastaana Hua Dil” and “Achcha Ji Main Haari Chalo Maan Jaao Na“, and soulful solos as well which are all time classics. Individual tally of this team:
SD Burman (1946-1976) |
645 |
87 movies (666) |
Majrooh Sultanpuri |
1171 |
2053 |
Rafi |
3237 |
4846 |
SDB-Rafi songs are 105+ and Rafi-Majrooh songs are just short of 400. For SDB’s 666, Rafi songs at 105 are a little bit less than what Lata and Asha must have, around 150 each or less at a guess. Geeta Dutt will also account for some 100 odd songs or may be more. Kishore Kumar could also be around 100 or a little more, as he was giving playback only to Dev Anand for some time. As for Majrooh, at 2053 career songs he is the poet with 3rd largest number, first being Sameer and second Anand Bakshi. For Rafi Saab 400 out of 2053 is very good turnout.
This new song, which was recorded as a sample title song for ‘Baharen Phir Bhi Aayengi’ is also an example of how SDB could mould Rafi Saab’s singing to sound like a solo happy traveler, yet so soft and so convincing in the optimistic expressions.
This newfound song gives hopes for other songs, surfacing sooner or later. I am waiting along with countless Rafi Saab fans, for the discovery of such new Rafi songs.
Song – Koi Na Tera Saathi Ho (Baharen Phir Bhi Aayengi) (1966) (unused) Singer – Mohammed Rafi, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Lyrics
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
tere ea
peechhe toofaanon ki zameen hai ae
tere ea
aage bahaaron ka yaqeen hai ae
ho ooo
tere ea
peechhe toofaanon ki zameen hai ae
tere ea
aage bahaaron ka yaqeen hai ea ae
chhaaye
jo toofan to chhaane de ea
bahaarien phir bhi aayengi ee
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
ye jo oo
raahon mein kaanton bhari dhool hai ea
tere ea
dil ke lahu se yahi phool hai
ye jo oo
raahon mein kaanton bhari dhool hai ea
tere ea
dil ke lahu se yahi phool hai
jaayen bahaaren to jaane de
bahaarien phir bhi aayengi
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
jaise ea
chalta sitaara nahi theharta
raahi ee
chal ke dobaara nahi theharta
jaise ea
chalta sitaara nahi theharta
raahi ee
chal ke dobaara nahi theharta
pyaare woh manzil to aane de
bahaarien en
phir bhi aayengi
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
koi
na teraa saathhi ho
dagar
kahin bhi jaati ho
ae dil ke raahi
chal akelaa
chal akelaa chal
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
तेरे॰॰ए
पीछे तूफानों की ज़मीन है
तेरे॰॰ए
आगे बहारों का यकीन है
हो ओ
तेरे॰॰ए
पीछे तूफानों की ज़मीन है
तेरे॰॰ए
आगे बहारों का यकीन है
छाए जो तूफान तो छाने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
ये जो॰॰ओ
राहों में काँटों भरी धूल है
तेरे॰॰ए
दिल के लहू से यही फूल है
ये जो॰॰ओ
राहों में काँटों भरी धूल है
तेरे॰॰ए
दिल के लहू से यही फूल है
जाएँ बहारें तो जाने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
जैसे॰॰ए
चलता सितारा नहीं ठहरता
राही॰॰ई
चल के दोबारा नैन ठहरता
जैसे॰॰ए
चलता सितारा नहीं ठहरता
राही॰॰ई
चल के दोबारा नैन ठहरता
प्यारे वो मंज़िल तो आने दे
बहारें फिर भी आएंगी
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
कोई
ना तेरा साथी हो
डगर
कहीं भी जाती हो
ए दिल के राही
चल अकेला
चल अकेला चल
Aaj Phir Jeene Ki Tamanna Hai
Posted December 26, 2019
on:- In: Devnagri script lyrics by Sudhir | Feelings of heart | Free Spirit Song | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1965 | Songs of 1980s (1981 to 1990) | Songs of 1983 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : |
4178 | Post No. : | 15355 | Movie Count : |
4233 |
Songs Repeated in Hindi Films – 14
– – – – – – – – – – – – – – – – – –
An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.
Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.
I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.
Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.
The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.
This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.
Song – Aaj Phir Jeene Ki Tamanna Hai (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman
Lyrics
ho o o
kaanton se kheench ke ye aanchal
tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
- In: Car Repair Garage Song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Radio Song | Song used in more than one film | Songs of 1990s (1991 to 2000) | Songs of 1991 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4092 | Post No. : | 15235 | Movie Count : |
4187 |
Songs Repeated in Hindi Films – 11
– – – – – – – – – – – – – – – – – –
I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.
Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.
The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.
Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.
And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.
And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.
The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.
The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.
The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.
When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.
On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.
Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.
The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.
And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.
Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Lyrics
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye
dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰
Main To Tere Rang Raati
Posted September 2, 2019
on:- In: Bhajan | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Krishn Bhajan | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Meera Bhajan | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | stage dance | Stage song | Yearwise breakup of songs
- 2 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
My affair with Sadhna started very tiny. The film was ‘Ek Phool Do Mali’ (1969) and the song was “Sainyaan Le Gayi Jeeya Teri Pehli Nazar”. That image of a beautiful Kashmiri village belle, with that charming and becoming smile captured my mind and my heart. She was being blackmailed by Sanjay to sing a song for him, using her recorded voice in a tape recorder, which he threatened to make public. So in a manner of speaking, the song was of the ‘Dance Under Duress’ category. 🙂 She is somewhat letting it on that her song and dance is a make believe effort. But then Hindi films are Hindi films. And a tiny pre-teen mind is quite inexperienced in these matters; and quite easily enamored by that charming smile, and the gestures of endearment, howsoever artificial they may have been.
In the same year (1969), I also got to see ‘Inteqaam’. The storyline therein is a make believe endeavor to deceive a rich man and his son, and so I was not impressed with her presence and her beauty as much. ‘Ek Phool Do Mali’ would be the compass bearing for me for some time, till I got into my next crush. 🙂
Remembering Sadhna on the anniversary of her birth today – 2nd September.
It would be much later that I would realize that I had actually seen her much earlier in ‘Parakh’ (1960), which I had watched on TV. Actually, it would be many years after that TV viewing that I correctly identified the leading lady as Sadhna. For many years at a stretch, I used to believe that Nutan was the heroine in ‘Parakh’. Many years later when this error was set right in my mind, I went back to see this film once again, to make sure that I had finally identified her correctly in that film.
Later on, the mind got to see her other earlier films on the rewind – ‘Hum Dono’ (1961), ‘Aarzoo’ (1965), ‘Love In Simla’ (1960), ‘Ek Musafir Ek Haseena’ and ‘Asli Naqli’ (1962), ‘Rajkumar’ (1964), and the quintessential ‘Mere Mehboob’ of 1963. This is the listing of films that I got to see earlier; of course the other films like ‘Prem Patra’ (1962), ‘Man Mauji’ (1962), ‘Wo Kaun THi’ (1964), ‘Waqt’ (1965), ‘Mera Saaya’ (1966), ‘Dulha Dulhan’ (1964) also followed, albeit later. The ‘Ek Phool Do Mali’ effect was repeated when I got to see ‘Mere Mehboob’. That scene of the first encounter between Husna (Sadhna) and Anwar (Rajendra Kumar) is one of the most unforgettable cinema moments in my mind. All the un-uttered emotions that were spoken just through the eyes, the only part of the face that is partially visible from within the burqa (veil covering the face), emphatically conveyed much more than any words.
Born this day in 1941, Sadhna would have been 78 today. She was born in Karachi, into a Sindhi family. When the partition happened in 1947, the Shivdasani family moved to Bombay. As she has stated in her interviews, she was interested in dramatics right from childhood, and used to participate in school plays. Her uncle (father’s real brother) Hari Shivdasani, was already an established actor in Bombay. Hari had started his career appearing in films, from 1934 – his first film being ‘Dharam Ki Devi’ (1935). So when Sadhna and her family moved to Bombay, she already had a mentor and a significant link into the film industry.
She was just fourteen, when this filmland connection, got her a bit appearance as one of the chorus dancing girls in the 1955 film ‘Shri 420’. Hari Shivdasani himself had a significant role in the film, as one of the coterie of crooked businessmen. The song is the iconinc “Mud Mud Ke Na Dekh. . .”. Sadhna is one of the chorus dancers, quite easily identifiable, at least in the first half of the song. Hari Shivdasani is himself present in the group of guests at this party. [Note: Another very notable presence in this song is that of Jaikishan, the music director.] There is anecdotal material which says that Raj Kapoor was somewhat offended with Sadhna, on issues relating to hair style and make up etc., and that Sadhna did not complete the shooting of this song.
During her first year at college, producer director TN Bihari approached her for a secondary role in a Sindhi film ‘Abaana’, released in 1958. Sadhna played the role of the younger sister of the heroine, role played by Sheila Ramani. Star struck as she was, the teenaged Sadhna requested Sheila for her autograph when they first met for shooting. Giving her the autograph, Sheila commented that one day will come when she (Sheila) would be taking autograph from Sadhna – a prophecy that realized itself shortly thereafter.
Things moved fast after this. Sadhna photo appeared in ‘Screen’. The photo came to the notice of Shashadhar Mukhrjee, who invited Sadhna to join the School of Acting that he had established in Filmalya, his production studio. Sadhna joined. ‘Dil Deke Dekho’ (1959) was launched, with Nasir Husain as the director. S Mukherjee gave him the option to select a new heroine opposite Shammi Kapoor, and Nasir Husain picked Asha Parekh, also one of the students at the same school. Sadhna had to wait another year for her formal break into films. S Mukherjee announced ‘Love In Simla’ (1960) as the launch vehicle for his son Joy Mukherjee. The director, RK Nayyar, was also making his directorial debut with this film. Given the option by S Mukherjee, RK Nayyar picked Sadhna as the leading lady for the film. Her film career had now formally started.
For about a decade, her career was a rising graph, and her work was very much appreciated. She appeared along with practically all the big names of that era – Dev Aanand, Raj Kapoor, Sunil Dutt, Shashi Kapoor, Shammi Kapoor, Manoj Kumar, Joy Mukherjee, Dharmendra, Biswajit, Sanjay, Kishore Kumar, Feroze Khan, Parikshit Sahni, and yes, Rajesh Khanna – one film they shared credits for – ‘Dil Daulat Duniya’ (1972). About 30 films, in a career span of about 15 years, is the sum total of Sadhna’s body of work.
By the end of the decade of 1960s, Sadhna developed some recurring health problems and her films started getting delayed. 1974 saw the release of ‘Geeta Mera Naam’ and ‘Chhote Sarkar’. In 1975 came ‘Vandana’ and a much delayed ‘Amaanat’. After that, there is radio silence in her career, as she chose to stay away from films. Even earlier than that, HS Rawail opted for Vijayantimala for the leading lady in ‘Sunghursh’ (1968), after first considering Sadhna, and so did Pacchi, when he replaced Sadhna with Rajshri for ‘Around The World’ (1967).
Although Sadhna was the heroine of choice for ‘Love In Simla’, the director RK Nayyar (also her future husband), was quite openly unhappy with her looks. In his opinion, Sadhna’s forehead was wide enough to “. . . land a helicopter”. It was suggested that her hair style be changed. And after some research, the choice came to Audrey Hepburn’s hair style in films like ‘Sabrina’ (1954) and ‘Funny Face’ (1957). Audrey Hepburn sported a few locks of hair that were not brushed back, but were thrown forward so as to partially cover her forehead. The hairstyle was adopted, and yes, it became very popular in India, by the name ‘Sadhna Cut’.
Sadhna passed away in 2015, on 25th December.
Today’s song is solo performance on screen by Sadhna. The film is ‘Ishq Par Zor Nahin’ from 1970. The film is produced under the banner of Twinkle Star, Bombay, and is directed by Ramesh Sehgal. The cast of actors is listed as Sadhana, Dharmendra, Biswajeet, Kamini Kaushal, Abhi Bhattacharya, Jagdeep, Nadira, Leela Mishra, Randhir, Jagdish Raj, Meena, Madhumati, and Uday Chandrika.
There are 8 songs listed for this film, all from the pen of Anand Bakshi. The music is from the mind of SD Burman. Singing voice is that of Lata Mangeshkar.
The story is about two childhood friends, who fall in love with the same lady, who in turns, loves only one of them. The other person is not aware of this reality, and actually tries to get help from his friend to woo the lady. Hmm. . . reminds one of many films – especially ‘Sangam’ (1964). The story progresses on very predictable lines, with sacrifice at the end of the film, by the one who is earlier unaware of his friend’s love, and later regrets after coming to know the truth. However, it is the songs and the music of this film which are something great to write home about. Together, SD Burman and Anand Bakshi have collaborated in about a dozen films and majority of them have wonderful songs that have been hits.
This song is sort of an on stage performance by Sadhna. We can seen Dharmendra, Biswajeet, Abhi Bhattacharya and Nadira in the audience. Biswajeet, the unaware friend, thinks that this song is meant for him, and is quite happy. Dharmendra, who is aware of the triangle, and has been coaxed by Biswajeet to attend this performance, is quite visibly ill at ease during the performance.
I picked this song for the poignant and effective performance by Sadhna, for a song that is somewhat of a somber expression of serious love. The lyrics of this song are adapted from a traditional bhajan originally written by Sant Meerabai.
Lovely song, lovely rendition by a lovely Sadhna. Things can’t get much better than this for the tiny crush in my heart that still sustains.
Audio
Video
Song – Main To Tere Rang Raati (Ishq Par Zor Nahin) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – SD Burman
Lyrics (Provided by Prakashchandra)
mitwaa. . aaa. . aaaaaa. .
mitwaa. . aa. . aaa. . aaaa. .
mere saathi
main to
tere rang raati
main tere rang raati
mere mitwaa. . aaa. . aaa. .
mitwaa. . aaa. . aaaaaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
raana ki
naa banoon main raani
main to hoon kaanha
teri deewani
le ja chupke se meri doli
doli
aa ja chhupke o humjoli
mitwaa. .aaa. . re
le ja chupke se meri doli
aa ja chhupke o humjoli
sang aaye
na aaye
baraati
main tere rang raati
main tere rang raati
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
main meera
tu mera man meet
haan poorab janam
se hai hamri preet
main meera
tu mera man meet
haan poorab janam
se hai hamri preet
kaise bichhde hamre naina
naina
jab tak hai jeevan raina
mitwaa. .aaa. . re
kaise bichhde hamre naina
jab tak hai jeevan raina
sang jaley
sang bujhey
diya baati
main tere rang raati
main tere rang raati
mere mitwaa. . aa. . aa. .
mitwa. . aaa. .
mere mitwaa
mere saathi
main tere rang raati
main tere rang raati
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मितवा॰ ॰ आss आsssss
मितवा॰ ॰ आs आss आsss
मेरे साथी
मैं तो
तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा॰ ॰ आss आss
मितवा॰ ॰ आss आsssss
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
राणा की
ना बनूँ मैं रानी
मैं तो हूँ कान्हा
तेरी दीवानी
ले जा चुपके से मेरी डोली
डोली
आ जा छुपके ओ हमजोली
मितवा॰ ॰ आss रे
ले जा चुपके से मेरी डोली
आ जा छुपके ओ हमजोली
संग आए
ना आए
बाराती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
मैं मीरा
तू मेरा मनमीत
हाँ पूरब जनम
से है हमरी प्रीत
कैसे बिछड़े हमरे नैना
नैना
जब तक है जीवन रैना
मितवा॰ ॰ आss रे
कैसे बिछड़े हमरे नैना
जब तक है जीवन रैना
संग जले
संग बुझे
दिया बाती
मैं तेरे रंग राति
मैं तेरे रंग राति
मेरे मितवा
मेरे मितवा॰ ॰ आss॰ ॰ आss॰ ॰
मितवा॰ ॰ आsss
मेरे साथी
मैं तेरे रंग राति
मैं तेरे रंग राति
- In: Background song | Devnagri script lyrics by Sudhir | Expecting the beloved | Feelings of heart | Folk song | Guest posts | Happy song | Love song | Lyrics contributed by readers | MD-Singer Song | movie opening song | Post by Sudhir | S D Burman solo song as a singer | S D Burman song as a singer | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1970s (1971 to 1980) | Songs of 1971 | Waiting for love | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : | 3727 | Post No. : | 14668 |
There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.
Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.
One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.
Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.
The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.
ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰
ये किसने गीत छेड़ा
Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD Burman
Lyrics
hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge
ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे
ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : | 3727 | Post No. : | 14667 |
Hullo all in Atuldom
Saw a good clean movie with a straight forward story today. The story was almost as if inspired from the life of Valmiki.
Let me begin at the beginning. As I was writing my previous post on Hrishikesh Mukherjee I went through the filmography and saw that I had missed out seeing Sabse Bada Sukh; Arjun Pandit; Naukri; Achcha Bura; Naamumkin (of the 70s and 80s) and a few from the earlier decades. So, I decided since I have the time I shall see one today. But before that I was looking for songs where Sachin Dev Burman and Majrooh Sultanpuri had collaborated and was also hoping that all the songs of this duo had not bee posted. And sure enough all the extremely popular albums – Paying Guest, Solva Saal, Lajwanti, Nau Do Gyarah, Chalti Ka Naam Gaadi etc- that the two have worked together on have made their appearance on the blog. So that left me with the 70s to put under the search engine (because post 31st October 1975 SD Burman was not there). The 70s have given us a few gems from this duo- Phagun, Abhimaan, Sagina, Arjun Pandit etc. and on running through “the list of songs moviewise and checking up the status of these movies I found we have one song posted from Arjun Pandit, all songs of Abhimaan, Phagun (3 out of 6) Sagina (all songs posted). That left only Arjun Pandit for my use. Then I checked up number of songs in the movie and one out of three are posted.
Bingo! Here is the next song. I sat through the uploaded version of the movie on YouTube – the actual movie might have been longer as the YouTube version had only two songs, so maybe some parts of the movie too, may have got edited on the way to the cyberworld. Was impressed by the star cast. More positive feelings when I saw the introduction of Bindu in the movie. And the good feeling didn’t diminish through the movie. Nothing could go wrong with the movie- after all Hrishikesh Mukherjee was the director, dialogues were by Gulzar, central character was played by Sanjeev Kumar. The rest of the cast were also good actors, even debutant actress Srividya (from the South Indian film industry).
A small introduction to Srividya. She was born in 1953 to the Carnatic classical singer M L Vasanthakumari and Tamil film comedian Krishnamurthy. She made her acting debut at a very young age as the family had financial problems as her father had to stop acting due to some illness. She was successful in all the four South Indian language cinemas. She was also an expert classical vocalist and had done playback singing in a few south movies. Her filmography says she has worked in 5 Bollywood movies and that “Jaise Ko Taisa” was her first Hindi movie. But the title card of “Arjun Pandit” says introducing “Srividya”. {Need experts to clarify this}.
Today’s song shows Srividya getting ready to receive her friend and Saajan. Very simple sweet lyrics by Majrooh Sultanpuri and simple orchestration by SD Burman. Only two singers were used in the movie- Kishore Kumar and Lata Mangeshkar. The Kishore Kumar song from this movie was posted on October 1, 2013 on the occasion of the lyricist and music director’s birthdate. {do we still have doubts about the birthdate of S D Burman as is mentioned by Bluefire in the comments to this posthttps://atulsongaday.me/2013/10/01/dil-mera-udaa-jaaye}
Oh, I just realized I have to explain about the Valmiki- inspiration angle to this movie. We have Sanjeev Kumar playing a henchman to the local Zamidaar (Rajan Haksar) who is dreaded by everyone in the village including his own daughter. Enter Ashok Kumar, as the doctor in the local village health centre and also a friend of the zamindar. His calm and loving nature inspires Sanjeev Kumar (Arjun Sardaar) to turn a new leaf, educate himself and make his daughter be comfortable when he is around. He goes on from being an illiterate strongman to a compassionate compounder to the doctor and finally also ends up looking after the family of the doctor as a responsible elder and family member would. So that then is the Valmiki part.
Audio
Video
Song – Bolo Preetam, Kya Boli Thee Main Aage Re (Arjun Pandit) (1976) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Lyrics
ho oo ooo
oo oo ooo
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam
oo ooo
oooooooo
ooo oooo ooo
kahin bhi rooth ke jaaoge jaaoge
yahin pe laut ke aaoge aaoge
kahin bhi rooth ke jaaoge jaaoge
yahin pe laut ke aaoge aaoge
aaye na karke bahana piya
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam
dekho na saans ulajh gayi na gayi na
agan si sulag gayi na gayi na
dekho na saans ulajh gayi na gayi na
agan si sulag gayi na gayi na
kahe ko garva se lipta liya
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam kya boli thi main
bolo preetam
———————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————
हो ओ ओs
ओ ओ ओs
बोलो प्रीतम
बोलो प्रीतम
क्या बोली थी मैं आगे रे
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम क्या बोली थी मैं आगे रे
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम
ओ ओs
ओsssssss
ओs ओsss ओs
कहीं भी रूठ के जाओगे जाओगे
यहीं पे लौट के आओगे आओगे
कहीं भी रूठ के जाओगे जाओगे
यहीं पे लौट के आओगे आओगे
आए ना कर के बहाना पिया
बोलो प्रीतम
बोलो प्रीतम
क्या बोली थी मैं आगे रे
बोलो प्रीतम
देखो ना सांस उलझ गई ना गई ना
अगन से सुलग गई ना गई ना
देखो ना सांस उलझ गई ना गई ना
अगन से सुलग गई ना गई ना
काहे को गरवा से लिपटा लिया
बोलो प्रीतम
बोलो प्रीतम
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम क्या बोली थी मैं
क्या बोली थी मैं आगे रे
बोलो प्रीतम
Aa Khilte Hain Gul, O Mere Bulbul
Posted October 1, 2018
on:- In: "Phool" song | Bird songs | Bulbul songs | Calling the beloved | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Missing the loved ones | Poignant Song | Post by Sadanand Kamath | sad song | Songs of 1950s (1951 to 1960) | Songs of 1958 | stage dance | Stage song | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Blog Day : | 3727 | Post No. : | 14666 |
Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.
I found both of them to be non-conformists in their respective fields. SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.
Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.
I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.
Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.
After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay. The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.
In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.
Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.
Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.
In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies. Burman joined Filmistan as music director.
In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu. This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.
His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan. The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.
SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.
In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.
Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.
Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.
In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.
At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.
It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song, Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).
With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.
But one film SD Burman did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.
The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).
I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).
During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.
It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.
Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.
I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.
On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.
The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).
During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).
After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).
‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.
So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.
[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]
(Video)
(Audio)
Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus
Lyrics
aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki
rut na dhale
mil jaa gale
kahin ye milan ki
rut na dhale
o o o o
o o o o o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa
o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ
ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰
- In: Devnagri script lyrics by Sudhir | Duet | Farewell song | Feelings of heart | Guest posts | Happy song | Hospital Song | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics contributed by readers | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 1 Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3485 | Post No. : | 13998 |
“Piya Tune Kya Kiya Re, Tere Bin Laage Na Jiya” – this post in 2008 by Atul ji inspired me to sit through an otherwise serious (read boring) movie. In the post Atul ji had written 3 postscripts each after different stages of movie watching and getting more gyaan about the movie. There is nothing more to add about the movie if one reads that particular post.
We just have one more song left of this movie – the song which Deb Mukherjee sings in the voice of Kishore Kumar and Farida Jalal in Lata’s voice. The song comes close to the climax as Deb Mukherjee bids farewell to the doctor, nurses, ward boys (through the movie I didn’t see a single nurse or ward boy; they appear for this song), compounder and the other patients of the hospital. The song is supposed to inspire the patients that they will also recover from their illnesses. The patients have been depressed after Ashok Kumar dies in the hospital – not the doctor’s fault mind you, he didn’t obey the doctor.
The song also expresses Waheeda’s and Sunil Dutt’s feelings towards each other as they can’t sing and dance themselves. She is a widow and the mother of a child, who is being treated by the doctor (Sunil Dutt). Here I will also add that they were in love before Waheeda’s chacha (Gajanan Jagirdar) and chachi (Shyama) objected to their marriage as they belong to different castes. Waheeda gets married to some railway engineer; whose face is never shown and who dies in a freak railway accident.
The film is directed by Tapan Sinha for John Pictures, Bombay. The film has seven songs, all penned by Anand Bakshi. The music is given by SD Burman. The earlier posted songs of this film are,
Zindagi Ae Zindagi Tere Hain Do Roop | 45 | 29-Aug-08 |
Piya Toone Kya Kiyaa | 47 | 30-Aug-08 |
Mera Sab Kuchh Mere Geet Re | 6131 | 25-Jun-12 |
Toone Hamen Kya Diyaa Ree Zindagi | 12301 | 4-Aug-16 |
Teri Meri Meri Teri Zaat Kyaa Hai | 13311 | 6-Jun-17 |
Kaun Sachcha Hai Kaun Jhoothha Hai | 13992 | 30-Jan-2018 |
This is the ideal song to announce the Yippeee status of this film. ‘Zindagi Zindagi’ now joins the tribe of movies on our blog that has all its songs represented here.
Audio
Video
Song – Khush Raho Saathiyo Tumhen Chhod Kar Hum Chale (Zindagi Zindagi) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – SD Burman
Kishore Kumar + Lata Mangeshkar
Lyrics
khush raho saathiyo
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
tumhen chhod ke hum chale
hamen chhod ke gham chale
haaye
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
mujhe tere dukh ne saiyaan kitna rulaaya hai
mujhe tere prem ne gori maut se bachaaya hai
mujhe tere dukh ne saiyaan kitna rulaaya hai
mujhe tere prem ne gori maut se bachaaya hai
behte behte magar ye aaj aansoo tham chale
haaye
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
tumhein hum nahin bhoolenge hamein tum bhulaana na
milenge kabhi asha ke deepak bujhaana na
tumhein hum nahin bhoolenge hamein tum bhulaana na
milenge kabhi asha ke deepak bujhaana na
hanste hanste tumhari ankhen kar ke nam chale
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
aaaa
aaaaa
gayi re judaai aayi prem ki ratiaan
gayi re judaai
gayi re
gayi re judai aayi prem ki ratiaan
kisi aur ke mukhde pe thehre na akhiyaan
tere mukh pe saanwariya mere naina jam chale
he
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
tumhen chhod ke hum chale
hamen chhod ke gham chale
khush raho saathiyo
tumhen chhod ke hum chale
khush raho saathiyo
tumhen chhod ke hum chale
tumhen chhod ke hum chale
tumhen chhod ke hum chale
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खुश रहो साथियो
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
तुम्हें छोड़ के हम चले
हमें छोड़ के ग़म चले
हाए
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
मुझे तेरे दुख ने सैंय्यां कितना रुलाया है
मुझे तेरे प्रेम ने गोरी मौत से बचाया है
मुझे तेरे दुख ने सैंय्यां कितना रुलाया है
मुझे तेरे प्रेम ने गोरी मौत से बचाया है
बहते बहते मगर ये आज आँसू थम चले
हाए
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
तुम्हें हम नहीं भूलेंगे
हमें तुम भुलाना ना
मिलेंगे कभी आशा के दीपक बुझाना ना
तुम्हें हम नहीं भूलेंगे
हमें तुम भुलाना ना
मिलेंगे कभी आशा के दीपक बुझाना ना
हँसते हँसते तुम्हारी आँखें करके नम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
आ॰॰॰
आ॰॰॰
गई रे जुदाई आई प्रेम की रतियाँ
गई रे जुदाई
गई रे
गई रे जुदाई आई प्रेम की रतियाँ
किसी और के मुखड़े पे ठहरे ना अखियाँ
तेरे मुख पे साँवरिया मेरे नैना जम चले
हे
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
तुम्हें छोड़ के हम चले
हमें छोड़ के ग़म चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
खुश रहो साथियो
तुम्हें छोड़ के हम चले
तुम्हें छोड़ के हम चले
तुम्हें छोड़ के हम चले
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