Categories
Centenary Celebrations

Sahir’s Songs of Romance : 19 Films Association with Ravi

Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry.  As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions

Sahir Ludhianvi’s 19 films association with Ravi spanned almost a decade and half, and as such did span over a very wide range of situations and film subjects. It is perhaps this aspect has this relationship a very special chapter not only in the oeuvre of either Sahir or Ravi but also in the annals of Hindi film music.

Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions.  He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.

Because of the simplicity of his compositions, there was school of critics who would not place Ravi at par with some of the other major top-ranking music directors of that time. But the fact remains that Mohammad Rafi got his first ever Filmfare award for Ravi’s Chaudahavi Ka Chand Ho, Mahendra Kapoor for Chalo Ek Bar Phir Se Ajanabi BanJaaye Ham Dono, to be followed with Neele Gaagan Ke Tale Dharati Ka Pyar Pale. Even female stalwart playback singers, Lata Mangeshkar also has one Filmfare for Ravi’s Tum Hi Mere Mandir, Tum Ji Meri Puja and Asha Bhosle fro GariboN Ki Suno. Even an experiment like Salama Agha also had one for Ravi’s Dil Ke ArmaaN AansooN Mein Dhal Gaye. That is more than enough of proof of popular appeal of Ravi’s compositions.

For our present episode, we have remained away from Sahir Ludianvi – Ravi combination’s very popular songs. As such, all the songs of BR Films very successful films, Gumrah (1963), Waqt (1965) and Haaraz (1967) have been filtered out here. We have also left our the popular songs of BR Films’ Aadmi Aur Insaan (1969)  and Dhundh (1973).. Also filtered out, on the same criterion, are the songs from Kajal (1965) and Neel Kamal )1069).

It also needs to be noted that Amaanat (1977) –  Dur Rah Kar Karo Na Baat Qarib Aa Jao and  Chingari )1989), for some or other external factors, were released much later then the actual period of their production

On this note, let us take up Sahir Ludhianvi’s Romantic songs from his 19 films association with Ravi –

Itni Hasin Itni JawaN Eaat Kya Karein, Jage Hai Kuchh Ajib Se Jazbat Kya Karein – Aaj Aur Kal (1963) – Mohammad Rafi

pedoN ke bajoomein lachakati hai chandani
bechain ho rahe hai khayalaat kya karein

sanso mein ghul rahi hai kisi sans ki mahak
….    …..  ……        …….  ……………
daman ko chhu raha hai koi hath kya karein
………  … ……….     . ………..

shayad tumhare aane se ye bhed khul sake
hairan hai ki aaj nai bat kya kare

Rangin Fiza hai, …. ….. ….  Aaja Ke Mera Pyar Tujhe Dhundh Raha Hai …. Ye Kiski Sadaa Hai, Ye Kaun Mujhe Apni Taraf KhiNch Raha Hai ….  – Bahu Beti (1965) – Mahendra Kapoor, Asha Bhosle

teri bhi hai ye meri hai, aawaz nahiN hai
……  …. …. ……       ….. aye jan-e-tamanna
ye koi raz nahi hai
tu mujhse juda hoke bhi
kab mujhse juda hai
dil dil se mila hai

tum mujhko bulate ho to tala nahiN jata
tum mujhko bulate ho to tala nahiN jata
apne ko kisi tarah sambhala nahiN jata
julfo ka mujhse hosh na aachal ka pata hai
ye kaisa nasha hai

dunia ko bhula kar meri bahoN mein chali aa
…. ……. …… ….. …… ………
jajbat ki befikar panaho mein chali aa
kahte haiN jise ishq wo jine ki ada hai
achha na bura hai

Milti Hai Zindagi Mein Mohabbat Kabhi-Kabhi, Hoti Hai DilbaroN Ki Inaayat Kabhi-Kabhi – Aakhein (1968) – Lata Mangeshkar

sharma ke munh na pher, nazar ke sawaal par
………… ………. ….. …………
laati hai aise mod pe, kismat kabhi-kabhi
…. ….         …    …… ……… …

khulte nahi hai roz dariche bahar ke
…     …….  …. ……….. ……..
aati hai jaaneman ye qayamat kabhi-kabhi

tanha na kat sakeinge javani ke raste
….      …..         …..   . . …….. .
pesh aayegi kisi ki zarurat kabhi-kabhi
… … …       …  … … ..
phir kho na jaaye ham kahiN duniya ki bhid mein
….  …        …. ….. ……..
milti hai paas aane ki mohalat kabhi-kabhi
…..   ….  …         …..    . … ..

Sama Ye Rut Ye Nazare, Dil Mera Machalne Laga, Jaan-e-wafa, Aye Dilruba, Aise Mein Aa Meri BaahoN mein Aa, Rok Le NigahoN Ke Ishare, Tan Mera Pighalne Laga, Main HuN Teri, Tu Hai Mera, Aa Mere Dil Ki PanahoN Mein Aa – Do Kaliyaan (1968) – Mohammad Rafi, Lata Mangeshkar

shame pe mere, gira de julfe
aankho pe mere, bichha de julfe
aisa jaga de pyar ka jaadu
sare jahan pe chhaye nasha
rok le nigaho
ke ishare, tan mera pighalne laga

Ijaazat Ho To Puchhe Aap Hi Se Ke Hum Milkar Bhi Hai Kyun Ajnabi Se Mile Hum Tum Aise YuhiN Naa Samajho Koi Milta Nahi YuNhi Kisi Se  – Aadmi Aur Insaan (1969) – Asha Bhosle, Mahendra Kapoor

hazaaroN shaukh kurbaaN us par
jo tumne keh diya hai saadgi se
ajab sa lag raha hai tumse kahkar
ye baatein hum naa kahte the kisi se

meri manzil ki raahine jagmaga do
mohabbat ki sunheri roshani se
safar ki intaha hone naa paaye
sada ka sath lele zindagi se

Jane KyuN Bar Bar Bar Mera Dil Mujhe Kahe Us Se Mil – Paisa Yaa Pyar (1969) – Asha Bhosle

jisse milte nahiN bilkul hi khayalat tere
kyu pareshan hai uske liye zazbat tere
jab bhi wo mujhse mila usne sataya mujhe
mujhko bura to laga phir bhi wo bhaya mujhe

jo tere husn ki tauhin kare us se na mil
jo kisi dusri saztaz pe mare us se na mil
mujhko to jo bhi dekhe raho me aahe bhare
mai kyu kisi pe maru mujhpe zamana mare

ho sake to koi sangin saza do usko
tere kabil nahi wo dil se bhula de usko
usko bhulau kaise itna bata do mujhko
uska irada kya hai kuch to bata do mujhe

Taaro Ki ChhaoN Mein SapnoN Ke Gaon Meon PariyoM Ke Sang Tumhein Jana Hai. So Jao Chain Se Is Kali Rain Se Aage Jo Des Hai Suhana Hai  – Samaj Ko Badal Dalo  (1970) – Mohammad Rafi, Lata Mangeshkar

gagan tale pawan chale thandi suhani
dhimi dhimi laye mein kahe man ki kahani
aayi rey aayi rey aayi hindol le ke nindiya ki rani
so jao, so jao, so jao
taaro ki chhao me sapno ke gaon me
pariyo ke sang tumhe jana hai

bhaNve teri pita jaisi maa jaisi ankhiyaN
gajab kare jiya hare dhunde kankiya
aayi rey aayi rey
aayi hai tumhe lene phulo ki sakhiya
so jao, so jao, so jao
taaroN ki chhaoN mein sapnoN ke gaon mein
pariyo ke sang tumhein jana hai

khili rahein saji rahein yuN hi ye kyari
hasi khushi jiyo sabhi maa tum pe vari
….. ….. …..  …….. ….
…..  … …. ……….. …….. …
aayi rey, aayi rey
aayi rey chanda ke rath ki sawari

Is Dharti Is Khule Gagan Ka Kya Kahna Madmati Madbhari Pawan Ka Kya Kahana, phuloN Bhare Ye Gulsan Hare Magan Hua Tan Man Kya Kahna – Ganaga Tera Paani Amrit  (1971) – Mohammad Rafi, Lata Mangeshkar

gawalanoN ka roop ghunghatoN ki aad mein
panchhiyoN ka pyar bairiyoN ki jaad mein
basuri ki dhun khetiyoN ke par se
panghatoN ki nar dole is pukar se
dhadkan badhe nasha sa chade
thirak uthe gagan kya kahna

chappuoN ke rag kah rahe hai pyar se
…… …. …. … … …

jud gaye hai aaj kastiyoN ke tar se
ja raha hai jane kaun kisi ki chah mein
bas raha hai kaon jane kis nigah mein

bas gayi hai nigahein jab kahi tum aaye ho
kya meri pukar sunke bhi paraye ho
…. ….. ….. ….. ….. … …….. …
…… ……….. ….. …… …….. . …
itna intzar roj kar na paungi
rok lungi aaj ya main sath jauNgi
duri ghati to ye duvidha hate to
fir mere sajan kya kahna

Jubna Se Chunariya Khisak Gayi Re, Dunia Ki Najariya Bahak Gayi Re – Dhundh (1973) – Asha Bhosle, Manna Dey

najuk tan or uspe jawani
haye patli kamariyaN
haye re haye re patli kamariyaN
lachak gayi re

balkhati julfein jo dunia ne dekhi
dal fasi gale mein latak gayi re

gusse mein inke ye tewar to dekho
jaise badal mein bijli
haye re haye jaise badal mein bijli
kadak gayi re

Meri Chahat Rahegi HameshaN JawaN, Jism Dhalne Se Jajhbat Dhalte Nahi Maut Aane Se Bhi Pyar Marta NahiN, Dam Nikalne Se ArmaNn Nikalte NahiN – Mehmaan (1975) – Mohammad Rafi

lakh toofan ho hum na ghabrayenge
tu na aayegi milne to hum aayenge
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi

humne choda na chodenge daman tera
jisko apna liya usko apna liya
ho sake to hame umar bhar aazma
mausmo ki tarah hum badalte nahi

tu mile na mile par salamat rahe
dur hi ki sahi tujhse nissbat rahe
zindagi bhar teri mujhko hasrat rahe
hasrato ke bina khwab palte nahi

Cycle Pe HasinoN Ki Toli Dekhi To … Dekhi To Dekhi To Tabiyat YuN Boli, Aye Kash Ke Hum Cycle Hote Tn HathoN mein Handle Hote… Pairo Ke Tale PaiNdal Hote Dabti Uthi SaiNdal Hote  Bhar Jati MuradoN Ki Jholi – Amaanat (1975) – Mohammad Rafi, Asha Bhosle, Manna Dey, Chorus

cycle pe jawano ki toli dekhi to
dekhi to dekhi to tabiyat yuN boli
ae kash ke hum sendal hote sode ki bhari botal hote
tab thik se tum dakhal hote sab jhagde abhi settle hote
pachta abe ke niyat kyuN doli pachta abe ke niyat kyu doli

sadko pe pared ye fashion ki ek shakal hai invitation ki
jat kuch bhi banao nation ki tum jaan ho us genration ki
jo dil pe chalati hai goli jo dil pe chalati hai goli

kya bat hai education ki halat hai ye civilization ki
kuch sharam karo position ki yu humse jo conversation ki
kar waoge khopadiya kholi kar waoge khopadiya kholi

kuchh naaz ada ke rule bane romaance ke kuchh school bane
tapori hain hum kyuN tool bane dil de ke tumHein kyun fool bane
is neend humein samjho goli is neend humein samjho goli

Dil Mein Kisi Ke Pyaar Kaa Jaltaa Huaa Deeya,  Duniyaa Ki AandhiyoN Se Bhalaa Ye Bujhegaa Kya – Ek Mahal Ho SapnoN Ka (1975) – Kishore Kumar

saanso ki aanch paa ke bhadakta rahega ye
sine mein dil ke saath dhadakta rahega ye

The Lata Mangeshkar version:

wo naqsh kya hua jo mitae mit gaya
wo dard kyaa huaa jo dabaaye se dab gayaa
dil mein kisi ke pyaar kaa jaltaa huaa deeya

ye jindagi bhi kyaa hain amaanat unhi ki hain
ye shaayari bhi kyaa hain inaayat unhi ki hain
inaayat unhi ki hain
ab wo karam kare ke sitam unka faislaa
hum ne to dil mein pyaar kaa shola jagaa liyaa

Har Vaqt Tere Husn Ka Hota Hai Samaa Aur …  Har Waqt Mujhe Chahiye Andaj-e- BayaN Aur – Chingaari (1989) – Mahendra Kapoor

phulo sa kabhi naram hai sholo sa kabhi garam
mastana ada mein kabhi shokhi hai kabhi sharam
har subah guma aur hai har raat guma aur
har waqt tere husn ka hota hai samaa aur

bharne nahiN pati tere jalvo se nigahein
thakne nahiN pati tujhe lipta ke ye baahein
chhu lene se hota hai tera jism jawaan aur

+                                    +                                   +

Basically, Sahir Ludhianvi was rebel at the heart. But his poetry had several other dimensions at his core, than the rebellion. We have closely looked at one such dimension of romance, from several different perspectives, during our present memoir. And yet –

ko_ii bhii us kaa raaz na jaane
ek haqeeqat laaKh fasaane
ek hii jalawaa shaam sawere
bhes badal kar saamane aaye


All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.

Categories
Centenary Celebrations

Sahir’s Songs of Romance : 18 Films Association with N Dutta

Sahir Ludhianvi, whether as a person (at least outwardly) or as a poet or as a lyricist, was known to the world for his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue or his fierce belief for the equality of lyrics in the effect of any composition. might have made him intolerable. Maybe it was these inherent traits that came in the way to build a lasting relationship with equally strong-willed, outspoken and fiercely proud of his artistic skill (as a music director) O P Nayyar. But then, on the other hand, he had had a very long, fruitful and epochal relationship with equally (artistically) moody, choosy and fiercely accord supremacy of melody, S D Burman. As such, one would not be inclined to buy a very passing observation that Sahir Ludhianvi was more at ease with talented, but not so-strong personal traits music directors like Roshan or N Datta or Ravi. Of these relationships, Sahir Ludhianvi’s relationship seems to be quite different.

Whatever be the factors for N Datta (a.k.a. Dattaram Baburao Naik – B: 12 December 1927 – D: 30 December 1987) and Sahir Ludhianvi’s professional association, there cannot be any denying that it was special in more ways. After working for some time with Ghulam Haider, D Datta joined S D Burman as his assistant. It was during the making of Jaal (1952) that he met Raj Khosla, who immediately took him up as independent music director for his own maiden directorial film Milaap -– Ye BahroN Ka Sama – (1955). Though the film did not do well on the box office, G P Sippy’s Marine Drive – Ab Woh Karam Kare Ke Sitam Main Nashe Mein HuN – in the same year and then Sippy’s next film Chandrakanta – Maine Chand Aur SitaroN Ki Tamanaa Ki Thi (1956).

So, when B R Chopra launched Saadhana (1958), it was very natural that Sahir would recommend N Datta as his music director partner. N Datta, too, did rise to the challenge by blending simmering rebellion with judicious melody in Aurat Ne Janam Diya MardoN Ko and weaving in sheer romance in Sambhal Aye Dil Tadapne Aur Tadapaane Se Kya Hoga. Most of the keen observers almost unanimously agree that N Datta (in company with Sahir Ludhianvi) peaked for BR Chopra next, based on totally iconoclast subject of that time, film, Dhool Ka Phool (1959) with all hits like Tere Pyaar Ka Aasra Chahta UuN, Jhukti Ghata Gaati Hawa Sapne Jagaye, Daman Mein Dag Laga Baithe and Tu Hindu Banega Na Musalman Banega Insaan Ki Aulad Hai Insaan Banega.  For B R Chopra’s next venture Dahrmputra (1961), N Datta composed best-in-class romantic melodies Bhool Sakata Hai Bhala Kaun Ye Payari Aankhen (in Raag Bilawal) and Aaj Ki Raat Nahi Shqwe Aur Shiqayat Ke Liye as well as soft pensive pathos in Main Jab Bhi Akeli Hoti Hun.

When the time came for BR Chopra’s one more film, Gumrah (1963), N Datta suddenly developed cardiac trouble. He was jus 36 then. He did come out of that phase, but he had lost not only his place in B R Chopra camp, but also his own confidence. In order to maintain visibility, he started signing even B grade films. Sahir Ludhianvi, in fact supported him, even during this phase and did write lyrics for such films even when he had already scaled the front-line position by then. N Datta, in the company of Sahir Ludhianvi, could compose Talat Mahmood’s one of the all-time best Ashqon Ne Paya Hai Woh GeetoN Ne Diya Hai (Chandi Ki Deewar) in 1964 and then Ponchh Kar Ashq Apni AankoN Se (Naya Raasta) in 1970. Of course, N Datta also compsed several memorable songs in association with two other lyricists Jan Nissar Akhtar and Majrooh Sultanpuri in the same period. But the luck was not on his side.

N Datta’s exposure to Goan culture, can be very evidently seen in the use of Saxophone, Accordion or drum in the orchestration of his western-biased compositions. It is this genre of N Datta’s music which lends a special dimension to Sahir Ludhianvi – N Datta relationship. Sahir certainly has an extra mile to provide lyrics away from his traditional Urdu-heavy poetry even for the otherwise light-mood songs with other music directors.

My selection of the song for the present episode of Sahir Ludianvi’s 18 films association of Romantic Songs with N Datta has marked preference for such songs. In the process, I have also tended to give as wide as possible range of playback singers that N Datta has so comfortably used for his wide-ranging compositions, which have unfortunately received as much attention as their more famous songs already mentioned hereabove.

Bachnaa Zaraa Ye Zamaanaa Hai Buraa….. Kabhi Meri Gali Mein Na Aanaa – Milaap (1955) – Mohammad Rafi, Geeta Dutt, chorus

meri gali mein aane waale
ho jaate hain gham ke hawaale
in raahon se jo bhi guzre
soch samajh kar dil ko uchhaale
bade bade dil yahaan bane hain nishaanaa

chupke chupke nain ladaanaa
nain ladaa kar dil ko lubhaanaa
dil ko lubhaa kar paas bulaanaa
paas bulaakar khud ghabraanaa
ho teraa jawaab hi nahin waah
khud ghabraakar aankh churaana
aankh churaakar dil ko jalaana
dil ko jalaakar hosh bhulaanaa
hosh bhulaakar arre majnu banaanaa
in lailaaon kaa hai khel puraanaa

shokhi samjhein sharm-o-hayaa ko
daawat samjhien naaz adaa ko
in deewaanoo ka kyaa kahnaa
aap bulaayein apni kazaa ko
aur phir maange hamse harzaanaa

Mohabbat YooN Bhi Hoti Hai …. Tabeeyat YooN Bhi Aati Hai…Museebat YooN Bhi Hoti Hai – Marine Drive (1955) – Mohammad Rafi, Asha Bhosle

jo miltein hain to aapas mein
nigaahien tak nahin miltin
agar chalte hain to kadmoN ko
raahein tak nahin miltin
muhabbat pahli pahli ho
to haalat yoon hi hoti hai

kayi aise bhi majnu hain
jo aahein bharte rahte hain
koyi chaahe na chaahe
aap yoon hi marte rahte hain
samajhte hain ke lailaaon mein
shohrat yoon bhi hoti hai

jahaan dekhi bhali soorat
machal jaate hain deewaane
waah
uthakar munh
pahunch jaate hain sar par jootiyaan khaane
sharaarat hi sharaarat mein
hazaamat yoon bhi hoti hai

Mujhko Laga Hai Sal SolvaaN Haaye NahiN Chhedanaa – Chandrakanta (1956) – Shamshad Begum

main wo daali hoon ke jo
chhoone se kumhlaati hai
aisi nazroN se tabeeyat meri
ghabraati hai
chhedkhaani mujhe
gairoN ki kahaaN bhaati hai
main to aayina bhi dekhooN to
hayaa aati hai

haatha paayi na karo
jaao ji rastaa chhodo
apne jaisi kisi se
sharm se naata jodo
main hoon bholi
mujhe kya ilm chaahat kya hai
.. … …  …..
ishq kehte hai kise
aur mohabbat kya hai

O Gumba Rumba Gumba Rumba Gelo …. Kal Ki Baat Kal Tak Chhodo Aaj Maaza Le Lo – Lighthouse (1958) – Mohammad Rafi, Suman Kalyanpur

tujhe kasam hai
.. ….. ….. …  .
kyaaa
jahaan ka gham hai
dilwaalon ke iss mele mein
mauj mana lo yaaron
custom wustom culture wulture
sab ko goli maaro
dilwaalon ke iss mele mein
mauj mana lo yaaron
…. ….. ….   …..
muft mile jab dil ki gudiya
phir takhleef kyon jhelo

nazaaren hain jawaan
tu gum ho kahaan
khilen khilen murja na jaaye
ye phoolon ke chehre
in phoolon ko goonth ke pahno
sar par baandho sehre
…  ….  …  …..  ….
duniyaa tum se khel rahi hai
tum duniyaa se khelo
majaa le lo

Aise Waise ThikaanoN Pe Jaana Buraa Hai …. Bachh Ke Rehna Meri Jaan Zamaana Bura Hai, … …  Dil Lagaana Bura Hai – Saadhana (1958) – Lata Mangeshkar

Saakhi

jo hum mein hai wo matwaali ada
sab mein nahin hoti
mohabbat sab mein hoti hai
wafa sab mein nahin hoti

zulf lehraaye to
zanjeer bhi bann jaati hai
aankh sharmaaye to
ek teer bhi bann jaati hai
dil lubhaane ko jo
dildaar bana karte hain
dil chura kar wahi
talwaar bana karte hain
ye wo mehfil hai jahaan
pyaar bhi lut jaata hai
dil to kya cheez hai
ghar baar bhi lut jaata hai
… ….. …..
isiliye to kehti hoon
aise waise thikaanoN
pe jana bura hai

tak’ke hanste hain to
mastaana bana dete hain
aur
hans ke takkte hain to
deewaana bana dete hain
koi naghme mein koi
Saaz mein kho jaata hai
inse jo bachta hai
wo naaz mein kho jaata hai
yoon to gardan se lipat jaati hain baahen inki
…… ….. ….. ….
dil nahin jeb pe hoti hain nigaahen inki
isi liye to kehti hoon
aise waise thikaanoN
pe jana bura hai

hum sitam dhaate hain
bedaad kiya karte hain
dil liya karte hain
aur dard diya karte hain
dard lena ho to aa
mehfil meri aabaad karo
warna jaao ji
kisi aur ka ghar yaad karo
aaj jaaoge to kal laut ke phir aaoge
…. ….. ….. ….. …..
hum sa maashooq na duniya mein kahin paaoge
isiliye to kehti hoon
aise waise thikaanon
pe jaana bura hai

Jaate Jaate Ishaaron Se Maar Gayi Re, Main To Aise LafaNgoN Se Haar Gayi Re – Bhai Bahen (1959) – Mohammad Rafi, Geeta Dutt

ban sanwar kar tu jis dam chaley
ho dekhne waala dil ko maley
ban sanwar kar tu jis dam chaley
haaye dekhne waala dil ko maley
chhod peechha
arre man jaley ho

pad kisi doosri ke galey

saare nakhre hain jaadu bharey
haaye koi kaise na tujh pe marey
gaaliyaan doongi hatt ja parey ho
mujhko kya tu jiye ya mare haaye

kyun jalaati hai itna mujhe
haaye
hai kisi ki to ban’na tujhe
chor le jaaye chaahe mujhe ho
paas aane na doongi tujhe haaye

Tere Sheheron Se Raja Hamein Ban Hi Bhaley, Wahaan Chain Se To Sote The …  Sitaaron Ke Taley – Naach Ghar (1959) – Mohammad Rafi, Lata Mangeshkar

tujhko bhi dekh liya
sheher bhi teraa dekha
jagmagaahat ki har ik teh mein andhera dekha
aish kartein hain tere sheher mein
daulatwaale
aur faankon ke sitam sehte hain mehnatwaale
tere shehron mein zubaan jhoothi hain
dil khotein hain
buildinge oonchi hain
insaan bahot chhote hain

shor itna hain ke dil ki bhi sadaa kho jaaye
bheed aisi hain ke khud apna pataa kho jaaye
ishq waalon ko yahaan rasm e  wafaa yaad nahin
husn ko husn ki sharm aur hayaa yaad nahin
jism se ruh ka hain bair tere shehron mein
nazar aaten hain sabhi gair tere shehron mein

Rimjhim Rimjhim Saawan Barse .. Tumhre Milan Ko Jiyaraa Tarse Chham Chham Chham Chham Paayal Chhanke, Bol Sajan Kaise Nikloon Ghar Se – Dilli Ka Dada (1962) – Manna Dey, Asha Bhosle

chanchal sheetal pawan jhakhore
vyaakul man mein agan lagaayen
garaj garaj kar kaare badarwa
deh ki soyee peer jagaayen
nain hatat naahin tumhri dagar se

tumhre milan ko jiyaraa tarse

morey anganwa laaj ka pehra
band kiwadiya khol naa paaoon
geeli lakadiyaa ban ban sulgoon
mukh se kuchh bhi bol na paaoon
mar mar jaaun jag ke darr se

bol sajan kaise nikloon ghar se

Aye Mere Meharbaan Ab Na Le Imtihaan, Hum Bhi Tere Huye Dil Bhi Tera Huaa Ab Hamein Aazmaana Hai Kya – Sachche Moti (1962) – Suman Kalyanpur, Mahendra Kapoor

shaam ke saaye dhalne lagey
dard karwat badalney lagey
jab chali thhandi thhandi hawaa
dil ke armaan machalne lagey
saans ghutney lagi
aas chhutney lagi
is qadar bhi sataanaa hai kya

jab pukaaro chaley aayenge
dil ki dhadkan mein lehraayenge
hum kisi haal mein bhi rahen
door tum se na reh paayenge
tum bulaati raho
jee lubhaati raho
to khushi ka thhikaanaa hai kya

tum ruko to zamaanaa rukey
tum chalo to chaley zindagi
tum jo hum se miley
mit gaye sab giley
ab hamein aur paanaa hai kya

Laage To Se Naina Laage Laage… Daras Bina Na PauN Chain.., JaagooN Saari Rain – Chandi Ki Deewar (1964) – Talat Mahmood, Asha Bhosle

jab se lagi
lagan tihaari
bhool gayi sudh budh saari
kal naa pade din ho ke rain

man mein basi
peer anjaani
tan mein jagi agan suhaani
gayo re more jiyaraa ka chain

Chunar Mori Kori Kori Kori, Umar Mori Baali Baali Baali Dheere Rang Daaro Karo Na Joraa Jori… ,  Baras Bhar  Beete Tab Aaye Kahin Hori, Jhijak Nahin Hamse Nikat Aajaa Gori  – Naya Raasta (1971) – Mohammad Rafi, Asha Bhosle

dheere dheere pichkaari maaro
nahin maaro bedardi se kas ke
dekho dekho bainyya na kheencho
mori resham ki choli na masske
mohe tumri kasam
mohe laage sharam
maano maano araz maano mori
chunar mori kori

bheegi bheegi chunri se jhaanke
torey matwaale angon ka jaadoo
aaja meri baanhon mein chhup jaa
gori ghabra ke yoon na simat tu
miley tan se jo tan
bujhye tan ki agan
kahen ham bhi ki aayi hai hori

Aaj Socha Hai Khayaalon Mein Bulaa Kar Tum Ko, Pyaar Ke Naam Pe Thodi Si Shikaayat Kar Lein – Chehre Pe Chehra (1981) – Sulakshana Pandit, Mohammad Rafi

aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise  kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha  paas bulaana hi na thha

ranjishien bhi wahiN palti hain
jahaaN pyaar paley
pyaar hi jis se nahiN
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hooN
aur chaahat ki duaaoN ka sila kya hoga
ranjishein bhool ke
khwaaboN ko haqeeqat kar lein

aaj socha tha kya kahoon main tumhein

kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar lein

Sahir Ludhianvi and N Dattaa’s 18 film association has one un-released fil, Picnic- one of the many shelved because Guru Dutt had committed before it could be completed.. A couple of songs are available on YT. Here is one romantic song, which is penned by Majrooh Sultanpuri, but needs a mention here because the tune is so similar to Aaj Ki Raat NahiN Shiqve Shiqayat Ke Liye (Dharmputra, 1961)

Kitna Rangeen Hai Ye Chand Sitaron Ka Sama – Picnic UNR

So this is where we end Sahir Ludinavi and N Datta’s 18 film association which began with N Datta’s maiden film as independent music director, Baalo (1951, a Punjabi film),  and ended with N Datta’s last film Chehre Pe Chehra (1981), and thus, has spanned over no less than 30 years.

We will next take up last episode of the present serries of Sahir Ludhianvi’s Romantic Songs, which also is a long 19 films association of Sahir Ludhianvi and Ravi

Categories
Centenary Celebrations

Sahir’s Songs of Romance : 18 Films Association with S D Burman

The much-needed nourishing touch that seeded-in-1948- career of poet-lyricist, Sahir Ludhianvi would have dreamt, and the equally much needed escape velocity providing boost that S D Burman’s seeming to be steadying career required came in the form of Thandi Hawaein Lahera Ke Aaye (Naujawan, 1951 – Lata Mangeshkar), boosted further by Tadbeer Se Bigadi Hui and Suno Gajar Kya Gaye (Baazi, 1951- Geeta Dutt) and Tum Na Jaane Kis Jahaan Mein Kho Gaye (Sazaa, 1951 – Lata Mangeshkar) in the same year. What followed was a seven-year phase that this unique combination of two extremely talented and perhaps equally strong-willed personalities of the golden era of the Hindi film industry gave us music that we all so fondly remember in one of the most remembered 18 films association of a music director who believed in primacy of melody and a lyricist who sore by the importance of lyrics to make a film song meaningful.

S D Burman (10 October 1901 | 31 October 1975) was known to refuse films where the filmmaker wanted ‘hit’ songs, he would firms stand by his motto, “I compose only good songs”. S. D. Burman won only a few ’popular’ awards – because he never cultivated them – but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. S D Burman changed that theory. The tune first, the lyrics later. How S D Burman and Sahir Ludhianvi would have worked together with their totally contrasting approach on this aspect is not known, there is no denying the fact that their 18 films association remains a golden chapter in the history of Hindi film music.

Starting from first film with S D Burman Naujawan (1951) to 18th and the last film, Pyasa (1957), with him, Sahir Ludhianvi penned songs for 16 films with other music directors.  In comparison to this, in the same period, S D Burman did only nine films with five other lyricists.

I have selected one, relatively less heard, song from each of the 18 films that S D Burman and Sahir Ludhianvi worked together, except Radha Krishna (1954) which was a devotional theme film and Taxi Driver (1954), Devdaas (1955), House No. 44 (1955), Munimji (1955), Funtoosh (1956), Pyasa (1957), because the songs from these films are so well known.

Dekh Ke Akeli Mohe Barkha Sataye, Gaalo Ko Chume Kabhi Chhittein Udaye Re, Tip Tip Tip ……. ….. – Baazi (1951) – Geeta Dutt

chali naa jaye chal lachaku jaise dal
saadi bhigi, choli bhigi, bhige gore gal

lute har shingar paapi jal ki dhar
khuli sadak pe lut gayi logo main albeli naar

paanv phislata jaye tan hichkole khaye
aise mein jo hath pakad le mann uska ho jaye
bas ho jaye

aise me jo hath pakad le mann uska ho jaye

Are Kahaan Leke Jaihho Ram… O Zulmi Naina… …. ….  …  Dekho Arre Dekhoji Kuchh Bhi Kar Lo Jeet Hamari Hai – Naujawan (1951) – Lata Mangeshkar, Kishore Kumar

o zulmi nainaa waalon
tum daaman laakh bachaa lo
hamse bachnaa hai mushqil
ye nainon ko samjhaa lo
jahaan chaloge sang chalenge
ban kar tumhri chhaayaa

tum aisi qismat laaye
ke ham jaison ko paayaa
aur ham wo qismat waale
ke tumne khud bulwaayaa
arre kyaa daataa ki den hai dekho
raah mein heeraa paayaa

o nainon ke matawaale
dheere-dheere ye man
huaa teraa sajan
din aaye milan waale
….   ……   ….. …

….   ….. ….  ….. ….
jeet kahaan ki haar kahaan ki
dil khoyaa dil paayaa

Chori Chori Meri Gali Aana Hai Bura, Aayeja, Aake Bina Baat Kiye Jaana Hai Bura, Aayeja– – Jaal (1952) – Lata Mangeshkar

achchhe nahi yeh ishaare, pedon tale chhup chhupaake
aao na do baatein kar le, najaron se najarein milaake
din hai pyaar ke mauj bahaar ke
dekho bhole bhaale, ji ko tarsaana hai bura

dil aa gaya hai toh pyare badnaam hone ka darr kya
ishq aur wafa ki gali mein, duniya ki ghum ka gujar kya

din hai pyaar ke mauj bahaar ke
dekho bhole bhaale ji ko tarsaana hai bura

Preet Sataye Teri Yaad Na Jaaye…. Dil Deke Gam Le Liya – Lal Kunwar (1952) – Suraiya

jahar bhari ye kaisi baji shahnaai
thes jiya pe lagi aankh bhar aayi
aa re balam tere gam ki duhai

ruthe nasiboN ko kaise manayein
chhota sa dil aur lakho balayein
ghut ke gam se kahiN mar hi naa jaye

MaiN Pankh Lagake Ud JauN, Aur Phir Naa Palat Ke AauN – Armaan (1953 – Asha Bhosle

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
ambar ki chhati se lag kar sapnoN mein kho jauN
anjani raho mein chhup kar anjani ho jauN
aur khud bhi khoj naa pauN

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
badali banakar ban ban ghumuN bijli ban muskauN
jharnoN ki jhalar mein baithi geet suhane gaauN
duniya ko najar na aauN

Hamare Munder Bola Kaga Sakhi Ri, Bichhde Balam Ghar Aayengein – Babla (1953) – Rajkumari

ghunghat mein sansein lahakegi
mori suni ratiyaN mahakegi
sakhi birha ke gam sabhi bhulenge
hum sunke unke kadam ko

jab wo aangan mein aayengein
more sapne sach ho jayenge
leke man mein umang maiN
to khelungi rang piya pyare ke sang

jab un bahoN mein jhulungi
maiN jag ke sudh budh bhulungi
aaj main huN magan
mera man hai magan
leke jivan ka dhang

Lag Gayi Ankhiyaan Tum Se Mori. O More Saajan Tum Se Mori Akhiyaan – Jeevan Jyoyi (1953) – Geeta Dutt, Mohammad Rafi

sharm kho hi gayi laaj kho hi gayi
main to duniyaa se hi aaj kho hi gayi
ahaa haa haa ye kahaani nayi sun lo
saari duniyaa se hi main to kho gayi
par kisliye, o lag gayi ankhiyaan

aaj meri nazar ko chamak mil gayi
dil ko ik mithi mithi kasak mil gayi

man ke taaro mein laharaayi masti ki dhun
anaginat paayalein baj uthi chhun chhunan chhun chhunan
o more baalam o mere sanam
o sanam tumpe mori lag gayi ankhiyaan

Jaam Thaam Le, Jaam Thaam Le, Sochte Hi Sochte Na Bite Saari Raat – Shahenshah (1953) – Shamshad Begum

saj ke aayi hai shishe ki pari
dhundh ke laayi hai diloN ki khushi
jannat se kudarat ne bheja tere liye inam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

dunia ke har dukh ka daru ek sunahari jam

subah dur hai rat ki qasam
dil ki maan le mere sanam
masti ki in ghadiyoN mein kya soch samajh ka kam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

zulfoN ke saye mein nadaN kar bhi le aaram

Gori Ke NainoN Mein Nindiya Bhari, Aa Ja Ri Sapno Ki Nilam Pari, ….. . Arre O Mere JakhamoN Ki Fitkari, Aa Bhi Jaa KyoN Der Itni Kari – Angarey (1954) – Shamshad Begum, Kishore Kumar

o nilam pari ruth jaungi maiN, kiya toh naa aaungi maNi
khamosh rahne mein hai behtari
aati huN, aati huN, dam lo ghadi,

aa bhi ja kyoN der itni kari

too hur hai aur maNi langur, too hur hai aur maiN langur huN
ulfat ke hathoN se majabur huN
gussa naa kar, naa kar, gussa naa kar
o meri besuri, o meri besuri, aa bhi ja kyoN der itni kari

Dil Nahi To Na Sahi Aankh To Milao Ji, Sawan Ki Raat Hai – Society (1955) – Asha Bhosle, chorus

us taraf gagan pe kale badaloN ka shor hai
badaloN ka shor hai
is taraf diloN mein mast dhadkanoN ka dour hai
dhadkanoN ka dour hai
ruthane ki rut gai ab to maan jao ji

kachhi kachhi bundiyon ki ras bhari fuhar mein
ras bhari fuhar mein
aur hi maja hai do dilo ki jeet haar mein
do dilo ki jeet haar mein
jindagi ki har khushi daav par lagao ji

kho na jaye ye sama is samay mein kaam lo
..  ….. …..   ….   ….   ….  …  ….   .  .  .
jisse mil gaya ho dil uska hanth tham lo
.. … ..  .  .  .  .  .
mast hoke do ghadi khud ko bhul jao ji

Till we get another opportunity to revisit Sahir Ludhianvi – S D Burman association, we move on to another 18 films association, that with N Dutta in our next episode.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Eight Films Association

The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.

Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music director.it was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.

For Sahir, this may have been natural ground for his poetry to Persianized Urdu poetry to flourish, but that also unleashed the Roshan’s potential in the form of composing ghazals, mujhras and qawwalis. The bond had been mutually so strong that when pure Hindu culture-based songs were to be composed for Chitralekha, Sahir brilliantly came up with chaste Hindi lyrics, including for the run-of-the-mill comedy song,  to Roshan’s classical raag based tunes.

Presently, we take up just a few representative romantic songs from this extremely rich treasure of Sahir Ludhianvi’s Eight Films Association with Roshan.

Maine Shayad Pahle Bhi KahiN Tumhein Dekha Hai – Barsat Ki Raat (1960) – Mohammad Rafi

ajnabi si ho magar gair nahiN lagti ho
vaham se bhi jo ho naazuk vo yakiN lagti ho
haay ye phul sa chehra ye ghaneri zulfein
mere sheroN se bhi tum mujhko hasiN lagti ho

dekhkar tumko kisi raat ki yaad aati hai
ek khaamosh mulaaqaat ki yaad aati hai
jahan me husn ki thandak kaa asar jagataa hai
aanch deti hui barasaat ki yaad aati hai

jiski palkein meri aankhoN pe jhuki rahti hai
tum vahi mere khayaaloN ki pari ho ki nahiN
kahiN pahale ki tarah phir to na kho jaaogi
jo hameshaN ke liye ho vo khushi ho ki nahiN

Salam-e-Hasrat Qubul Kar Lo, Meri Mohabbat Qubul Kar Lo – Babar (1960) – Sudha Malhotra

udas najrein tadap tadap kar, tumhare jalwoN ko dhundhti hai
jo kwab ki tarah kho gaye, un hasin lamhoN ko dhundhti hai
…..    …….   …….  …… …..
agar naa ho nagwar tumko toh yeh shikayat qubul kar lo

tumhiN nigahoN ki justju ho, tumhiN khayaloN kaa muddaa ho
tumhiN mere waste-sanam ho, tumhi mere waste-khuda ho
….. ……     …….   …….   …. . 
meri parastish ki laj rakh lo, meri ibadat qubul kar lo

tumhari jhukti najar se jab tak na koyi paigam mil sakega
naa ruh taskin pa sakegi, naa dil ko aaram mil sakega
….  ……     ……     …..   ……
gam-e-judayi hai jan leva, yeh ik haqiqat qubul kar lo

Tum Ek Baar Muhabbat Ka Imtahaan To Lo, Mere Jhunun Meri Vahshat Ka Imtahaan To Lo – Babar (1960) – Mohammad Rafi

salaam-e-shauq pe ranjish bhara payaam na do
mere khaloos ko hiras-o-havas ka naam na do
meri vafa ki haqikat ka imtahaan to lo

na takht-o-taz na laal-o-guhar ki hasarat hai
tumhare pyar tumhari nazar ki hasarat hai
tum apne husn ki azmat ka imtihaan to lo

maiN apni jaan bhi de duN to aitbaar nahiN
ke tum se badhke mujhe zindagi se pyar nahiN
yuN hi sahi meri chahat ka imtihaan to lo

Tumhari Mast Nazar Gar Idhar NahNi Hoti, Nashe Mein Chur Fiza Is Qadar NahiN Hoti – Dil Hi To Hai ((1963) – Mukesh, Lata Mangeshkar

tumhi ko dekhne ki dil mein aarzuein haiN
…..  …..   ……   …. .   .
tumhare aage hi oonchi, nazar nahiN hoti

khafa na hona agar badh ke tham luN daaman
….   ……   …….   …  ….
ye dil fareb khata, jaan kar nahiN hoti

tumhare aane talak ham ko hosh rahta hai
….   ……   ….  ……. ….
phir us ke baad hamein kuchh khabar nahiN hoti

Churaa Le Naa Yumko Ye Mausam Suhaana Khuli VaadiyoN Mein Akeli Na Jaana, Lubhaataa Hai Mujhko Ye Mausam Suhaana Main Jaaungi Tum Mere Pichhe Na Aana – Dil Hi To Hai (1963) – Mukesh, Suman Kalyanpur

lipat jaayega koi bebaak jhokaa
javaani ki rau mein naa aanchal udana

mere vaaste tum pareshaN Na Hona
Mujhe Khub Aata Hai Daman Bachana

ghata bhi kabhi chum leti hai chehara
samajh soch kar rukh se zulfein hatana

ghata mere nazdik aakar to dekhe
in aankhoN ne sikha hai bijli girana

PaoN Choo Lene Do PhuloN Ko Inaayat Hogi, Varana Hamko NahuN Inko Bhi Shikayat Hogi – Taj Mahal (1963) – Mohammad Rafi, Lata Mangeshkar

aap jo phul bichhaaye unhe ham thukraaye
 ….. …..  ……   ……
hamko dar hai ke ye tauhin-e-muhabbat hogi

dil ki bechain umangoN pe karam farmaao
…..   …..   …….   ……  …..
itna ruk ruk ke chaloge to qayaamat hogi

sharm roke hai idhar, shauk udhar khichein hai
….   ……   ……. ….. 
kya khabar thi kabhi is dil ki ye halat hogi

sharm gairoN se hua karti hai apnoN se nahi
…..   …..   …..  ….
sharm ham se bhi karoge to musibat hogi

Chand Takata Hai Idhar Aao KahiN Chhup Jaayein, KahiN Laage Na Najhar, Aao KahiN Chhup Jaayein – Dooj Ka Chand (1964) – Mohammad Rafi, Suman Kalyanpur

phul sakhoN se jhuke jaate hothoN ki taraf
jhoke bal khaake mude aatein hai
ho mude aate haiN julfoN ki taraf
…..    …..   …..   …..
chhod kar inki dagar aao kahiN chhup jayein

maiN hi dekhuN sajan duja na dekhe tohe
kya khabar kaun sautaniya tora
ho sautaniya tora man mohe
….   …..   ……   …….
dil pe dalo na asar aao kahiN chhup jayein

sari najroN se pare sare najaaroN se pare
aasmanoN pe chamakte hue
ho chamakte hue taroN se pare
…   …..   …..    …..   …
odh kar lal chunar aao kahiN chhup jayein

Sun Aye Mahjabin Mujhe Tujhse Ishq NahiN, – Dooj Ka Chand (1964) – Mohammad Rafi

yuN maiN tera Qayal huN, Qayal huN
naaz-o-adaa par mayal huN, mayal huN
….. …… ……
jalwoN ka dam bharta huN
chhup-chhup dekha karta huN
par aye pardanashNi mujhe tujhse ishq nahiN

tu wo dilkash hasti hai, hasti hai
jo kwaboN mein basti hai, basti hai
….  …… …..
tu kah de to jaan de duN
jaan to kya imaan de duN
par aye khaslagi mujhe tujhse ishq nahiN

Chhaa Gaye Badal Nil Gagan Par, Khul Gaya Kajhara Saanj Dhale – Chitralekha (1964) – Mohaamd Rafi, Asha Bhosle

dekh ke mera mann bechain
rain se pehle ho gayee rain
aaj hriday ke swapna phale
ghul gaya kajara sanjh dhale

rup kee sangat aur ekant
aaj bhatakta mann hai shant
keh do samay se tham ke chale
ghul gaya kajara sanjh dhale

andhiyaro kee chadar taan
ek honge do vyakul pran
aaj naa koyee dip jale
ghul gaya kajara sanjh dhale

Aise To Na Dekho Ke Bahak Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN hum, Haaye Aise Na Kaho Baat Ke Mar Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN Hum – Bheegi Raat (1965) -Mohammad Rafi, Suman Kalyanpur

angdaai si leti hai jo khushboo bhari zulfein
girti hai tere surkh laboN par teri zulfein
zulfein na teri chum le ae mahjabiN hum
aakhir koik insaN hai farishta to nahiN hum

sun sun ke teri baat nasha chhaane laga hai
khud apne pe bhi pyar sa kuchh aane laga hai
rakhna hai kahNi paanv to rakhte haiN kahiN hum
aakhir koik insaN hai farishta to nahiN hum

bheega sa jo hai naaz ye halka sa pasina
haaye ye naachti aankhoN ke bhaNvar dil ka safina
socha hai ke ab dub ke reh jayein yahiN hum
aakhir koik insaN hai farishta to nahiN hum

Log Kahete Hai Ke Tum Se Kinaraa Kar Lein, Tum Jo Keh Do To Sitam GaNvaaraa Kar Lein – Bahu Begam (1967) – Mohammad Rafi

tumne jis haal-ae-pareshaN se nikala tha hamein
aasra de ke mohabbat ka sambhala tha hamein
sochte hai ke wahi… …… ….. haal dobara kar lein

yuN bhi ab tumse mulakat nahiN hone ki
mil bhi jao …  ….  …. ..  to koi baat nahiN hone ki
aakhri baar bas ab …. ….  jikr tumhara kar lein

aakhri baar khayalo mein bula le tumko
aakhri baar kaleje se laga lein tumko
aur phir apne tadapne …. …. …. ….  . ka najara kar lein

Saahir Ludhianvi’s Eight Films Association with Roshan can best be explored in more than one article, may be at next opportune occasion(s) in the future. For the present, we ready up for Sahir Ludhianvi’s 18 films dream-like association with S D Burman in the next episode.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Seven-films Associations

Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.

Somewhere, his love for individual would transcend to the whole humanity.

Zindagi sirf mohabbat nahin kuch aur bhi hai
Zulf rukhsar ki jannat nahin kuch aur bhi hai…
Maine tum se hi nahin sab se mohabbat ki hai

Somewhere else his love would be tinged with deep pathos or unconcernedness: This is best reflected in his ghazal, Kabhi Kabhi Mere Dil Mein Khayal Aata Hai, published in his first anthology, TalkhiyaN.

The ghazal can be read Devanagari script here or heard here

Sahir easily transformed this poem of pathos to complteley romantic mood for the film Kabhi Kabhi. It was this range of his passions, as captured in his poetry as well as the lyrics of Hindi film songs that played critical role in Sahir Ludhianvi’s transition to the changing pattern of Hindi film music during ‘70s, which also happens to be the subject matter of the present episode.

Laxmikant Pyarelal and Khayyam (2.0) are the two music directors with whom Sahir Ludhianvi had long 7 Films Associations...

Laxmikant (Shantaram Khudalkar | 1937-1998) –Pyarelal (Ramprasad Sharma |1940) combination can be said to be a rare instance of excellent instrumentalists rising to become one of the most successful music directors of their time. They easily filled up the vacuum that Jaikishan’s death had created. However, their music had gradually shifted to  predominance of rhythm, may be in tune with the trend of the times. The 3,000-odd songs they composed in about 500 films sent several producers laughing to the bank.

Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.

Ye Dil Tum Bin KahiN Lagta NahiN Ham Kya Karein, Tassawur Mein Koi Basta NahiN Ham Kya Karein, Tum Hi Kah Do Ab Aaye Jan-e-Wafa Ham Kya Karein, Lute Dil Mein Diya Jalta Nahin Ham Kya Karein – Izzat (1968) – Lata Mangeshkar, Mohammad Rafi

kisi ke dil mein bas ke dil ko tadpana nahiN achha
nigahoN ko jalak de de kar chhup jana nahiN achha
ummiNdoN ke khile gulshan ko jhulsana nahNi achha
hamein tum bin koi jachata nahiN, ham kya karein

mohabbat kar to leN lekin, mohabbat ras aaye bhi
diloN ko bojh lagte haNi kabhi julfoN ke saye bhi
hajaroN gam hai is dunia mein apne bhi paraye bhi
mohabbat hi ka gam tanha nahiN, ham kya karein

bujha do aag dil ki ya ise khulkar hawa de do
jo iss ka mol de paye, use apni wafa de do
tumhare dil mein kya hai bas hamein itna pata de do
ke ab tanaha safar katta nahNi, ham kya karein

Kya Tum Wahi Ho, Kya Tum Wahi Ho, Jo NindoN Mein Chori Se Aata Raha Hai,  Jo SansoN Mein Chhup Chhup Ke Gata Raha Hai, Mere Anchuae Jism Ko Jis Ka Saya Bade Pyar Se Chhu Ke Jata Raha Hai, Kya Tum Wahi Ho, Kya Tum Wahi Ho – Man Ki Aankhen (1970) – Suman Kalyanpur, Mohammad Rafi

main jiske liye phul chunti rahi huN
tammanaaoN ke har bunti rahi huN
dhadakte hue dil se shehnaiyoN mein
sada jis ke kadmoN ki sunti rahi huN
kya tum wahi ho……

vo surat jo dil mein machalti rahi hai
nigahoN mein karwat badalti rahi hai
vo tarasha hua jism parchhaiN jiski
sada mere humrah chalti rahi hai
kya tum wahi ho ….

Woh Koi Aaya Lachak Uthi Kaya Ki Dil Mera Bas Mine NahiN, SharamauN Lakh Bal KhauN, Ki Jaise Par Bina MaiN Udti JauN …….  Ki Dil Mera Bas Mein NahiN – Dastaan (1972) – Asha Bhosle

jiske liye jindgi phul chunti thi
jiske liye maiN sada khwab bunti thi
ratoN ko maiN dhadkanein jiski sunti thi
aaya woh murade liye jadu bhare wade liye
nachuN machal kar gauN ki dil mera bas me nahiN

moti bharuN aaj main apne balo mein
taroN ke lau jag uthe naram galo mein
aaya hai din aaj ka kitne saloN mein
sochuN to lahak uthuN phuloN si mahak uthuN
nachuN machal kar gauN ke dil mera bas me nahiN

Hum Aur Tum Tum Aur Hum, Khush Hai YuN Aaj Milke  Jaise Kisi Sangam Par Mil Jayein Do NadiyaN Tanha Bahte Bahte  – Daag (1973) – Kishore Kumar, Lata Mangeshkar

mudke kyun dekhein pichhe chahe kuchh bhi ho
chalte hi jayein nayi manziloN ko
raste aasan hai nahiN aaj hum do
tu meri baahoN mein main teri baahoN mein
lehraye raahoN mein chale jhumte
hum aur tum hum aur tum …..

zulfoN ko khilne do saansoN ko ghulne do
dil se dil tulne do
deewane ho jaye kohre mein kho jayein
milke yuN so jayein
jaise kisi parwat par mil gaye do baadal tanha udte udte
hum aur tum hum aur tum …..

Tumako Dekha Toh Samajh Mein Aaya, Log Kyun But Ko Khuda, Maanate HaiN – Deedar-e-Yaar (1982) – Lata Mangeshkar

but mein butgar ki jhalak hoti hai
isko chhukar use pehchaanate hai
pehale anjaan the ab jaanate hai
tumako dekha toh samajh mein aaya

taaj chhode gaye aur takht lute
aiso farhaad ke afsaane bane
pehale anjaan the ab jaanate hai

jinaki angadaayiyaN par tolati hai
jinake shaadaab badan bolate hai
pehale anjaan the abb jaanate hai

dil-e-ulfat mein yahi rasm chali aayi hai
log ise kufrr bhi kehate ho toh kya hota hai
pehale anjaan the abb jaanate hai

Hathapai Na Karo Umra Abhi Kacchi Hai, Jhuth Kahti NahiN Main Baat Meri Sacchi Hai, Sirf Dekho Humein ….. Chhune Ki ……..Tamanna Na Karo – Jiyo Aur Jeene Do (1982) – Asha Bhosle

phul ke rang se khushbu se taluk rakho
phul ki pattiyaN bikhra ke, bikhra ke tamasha na karo

husn ke naaz uthane ki bhi aadat daalo
sirf apni tamannaoN ka charcha na karo

ye badan aankhoN ki garmi se pighal jayega
isko baahoN mein jakadne ka, jakadne ka irada na karo

Mohammed Zayur ‘Khayyam’ Hashmi (1927- 2019) was one of the rare music directors who never agreed to compromise his art at the alter of commerce. He was from that rare breed who was as much steeped in the literature as in his music. Khayyam’s leaning towards poetry connected him with many lyricists like Majrooh Sultanpuri, Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.

It is said that when Yash Chopra took up Kabhi Kabhi (1976), his second film under his own YashRaj banner, Sahir again suggested that music for a film based on life of poet be entrusted to none other than Khayyam. Khayyam had done a few, unsuccessful, films earlier in his second innings. Thus it must have been only Sahir’s word that must have tilted the Yash Chopra to take up Khayyam in place of Laxmikant Pyrelal who already had scored a successful score for Daag (1973).

That Kabhi Kabhi went on to become a big hit is matter of historical lore. It also gave Khayyam a new spark to score some of his most memorable work in the second innings.

We have remembered Sahir’s romantic songs composed by Khayyam in pre-1970 years in the earlier episode Two Films Association. We now take up five films they did together post 1970. Of the five, two films (Chetan Anand’s) Kaafir and Pyasi Dharti were not released.  

Kabhi Kabhi Mere Dil Me Khayal Aata Hai Ke Jaise Tujhko Banaya Gaya Hai Mere Lliye, Tu Ab Se Pahle SitaroN Mein Bas Rahi Thi KahiN, Tujhe ZamiN Pe Bulaya Gaya Hai Mere Liye – Kabhi Kabhi (1976) – Mukesh

kabhi kabhi mere dil mein, khayal aata hai
ke ye badan ye nigahein meri amanat hai
……    ……  …..   ….   …..  …  .
ye gesuoN ki ghani chhaoN hai meri khatir
ye hoth aur ye bahein meri amanat hai

kabhi kabhi mere dil mein, khayal aata hai
ke jaise bajati hai shahnaiyaN si rahoN mein
……    ……  …..   ….   …..  …  .
suhag rat hai ghunghat utha raha hu main
……    ……  …..   ….   …..  …  .
simat rahi hai tu sharama ke apni bahoN mein

kabhi kabhi mere dil mein, khayal aata hai
ke jaise tu mujhe chahegi umar bhar yuN hi
uthegi meri taraf pyar ki nazar yuN hi
main janata huN ke tu gair hai magar yuhiN
……    ……  …..   ….   …..  …  .
kabhi kabhi mere dil mein, khayal aata hai

The song went on to beg Filmfare awards for Best Music Director, Best Lyricist and Best Male singer.

The (Mukesh) Lata Mangeshkar version has same lyrics that of Mukesh version.

The version which Amitabh Bachchan recites in the film is part of the original ghazal written by Sahir Ludhianvi.

Aside Trivia: The song was originally created by Khayyam for an unreleased film, Kaafir, made in 1950 by Chetan Anand. The song was recorded by Geeta Dutt and Sudha Malhotra. However, this song was never released. The tune was nearly the same as the one that was released later.[1]

Aapki Mehki Huyi Zulf Ko Kahtein Hai Ghata, Aapki Madbhari AaNkhoM Ko KaNval Kahtein Hai, Main To Kuchh Bhi NahiN Tumko HasiN Lagati HuN, Isko Chahat Bhari NajhroN Ka Amal Kahtein Hai ………– Trishul (1978) – Yesudas, Lata Mangeshkar

ek ham hi nahiN sab dekhanewale tumko
….  ……   …. ..
sang-e-marmar pe likhi sokh gajal kahte haiN
….  ……   …. ..   ….  ……   …. ..

aisi batein na karo jinka yakin muskil ho
….  ……   …. ..
aisi tarif ko niyat ka khalal kahte haiN

meri taqdir ke tumane mujhe apna samjha
….  ……   …. .. ….  ……   …. ..
….  ……   …. ..
isko sadiyo ki tamnaoN ka fal kahte hai

Simati Huyi Ye Ghadiyaan Phir Se Na Bikhar Jaayein …  …. Is Raat Mein Ji Le Ham Is Raat Mein Mar Jaayein – Chambal Ki Kasam (1980) – Mohammad Rafi, Lata Mangeshkar

ab subahaa na aa paaye
aao ye duaa maangein
is raat ke har pal se
raatein hi ubhar jaayein

duniyaa ki nigaahein ab
ham tak na pahunch paayein
…….   ……..   …..   .  …  …
taaroN mein base chalakar
dharati pe utar jaayein

haalaat ke tiroN se
chhalani hai badan apane
…….   ……..
…….   ……..   …..   .  …  …
paas aao ke sinoN ke
kuchh zakhm to bhar jaayein

aage bhi andheraa hai
pichhe bhi andheraa hai
apani hai wohi saansein
jo saath guzar jaayein

bichhadi huyi ruhoN kaa
ye mel suhaanaa hai
…….   ……..   …..   .  …  …
is mel kaa kuchh ahasaan
jisamoN pe bhi kar jaayein

tarase huye jazaboN ko
ab aur na tarasaao
…….   ……..   …..   .  …  …
tum shaane pe sar rakh do
ham baanhoN mein bhar jaayein

We will take up Sahir’s Romantic Songs composed by Roshan in their Eight Films Association in our next episode.

[1]Feel privileged to have sung his beautiful lyrics’

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Five Film Association

By now in the present series, it is abundantly evident that Sahir Ludhianvi was easily able to blend his poetry with the demands of the situation-based lyrics of Hindi films. As a result, even what could best be described as ‘masala’ fillers situations, his songs retained the watermark of his style of poetry – use of simple but chaste Urdu lyrics from his broad range of vocabulary that his revolutionary thoughts and romantic emotions would call for. As such, he firmly believed that if his lyrics has enough power, the song will work.

O P (Om Prakash) Nayyar – B: 16 January 1926 | D: 28 January, 2007 – though not formally trained in music composed audacious variety of tunes with such rare texture of rhythm and melody that producers were forced to print his name above the names of the stars on the film publicity materials. He so uniquely blended the Punjabi spirit with western music, that in no time he had risen to the ‘rhythm king’ who was one of the highest paid music directors of his time. It is even said that many music directors were coerced by the producers to copy his style, in the hey days of O P Nayyar.

By the time, in 1957, when Sahir and O P Nayyar teamed up for the first time, both had had a rich – in terms of different shades poetry and rhythm-based melody, respectively – legacy, success, and of course the style of their own. However, Sahir Ludhianvi and O P Nayyar association is statistically speaking if Five Films Association, but one of the films, Tumsa NahiN Dekha, has only one song that they have created together because Sahir reportedly developed strong differences with the director Nassir Hussain, However, it was this song that not only powered the success of the film, but also gave Shammi Kapoor his identity and charisma.

Naya Daur, released earlier than Tumsa Nahin Dekha, had all songs on the top of the chart billing. If the O P Nayyar’s signature-to-become horse-beat duet Maang Ke Saath Tumhara or Punjabi folk tune based Ude Jab Jab Jab Zulfien Teri or Reshami Salwar Kurta Jaalidaar, or motivational Saathi Haath Badhana Saathi Re or Johnny Walker song Main Bomabai Ka Babu or  all-time great Mohammad Rafi devotional song Aana Hai To Aa Raah Mein Kuchh Der NahiN Hai had contributed to the roaring success of the film, these songs also brought out hitherto probably hidden qualities of Sahir or O P Nayyar’s repertoire.  I selected the only song that did not become a hit, perhaps because it was finally not included in the film, So, is the case with 12 O’clock, where I have finally chosen the song that perhaps can be considered as relatively less famous.

However, such wide range of subjects for the songs, perhaps catalysed the differences of each one’s highly individualistic nature and pride of their work to surface sooner than later. Sahir went on to become permanent member of BR banner, but O P Nayyar’s association with BR banner ended with this film.

With this prelude, here is my selection of Sahir Ludhianvi’s Romantic Songs in Five-film Association with O P Nayyar, with the films arranged in alphabetical order:

JahaN JahaN Khayal Jata Hai VahaN VahaN TumhiN Ko Pata Hai….. Ye Kab Hua Ye Kyun Hua Ye Kya Hua Mujhe – Bade Sarkaar (1957) – Mohammad Rafi, Geeta Dutt

zulfein hai ke reshami ghatayein hai
aankh hai ke manchali sadayein hai
hoth hai ke patiyaaN adhkhile gulab ki
jism ki hadein hai ya ke bastiyaN hai khwab ki
….    ……   …..   …..   ….. …..

mera har singar hai tere liye
husn ki bahar hai tere liye

Jawani Jhumti Hai Dulhan Banke Ji Banthan Ke, Na Jane Kiske SapnoN Mein …. – Bade Sarkaar (1957) – Asha Bhosle

rut firi gulsan khile
ban gaye naye dil khile
lachke chal man deke taal
kahuN kya main haal kya hai

kaun ye mujhe bha gaya
kispe ji mera aagaya
na jane kiske sapnoN mein
dil ka saj kare mujhpe naj
vo ajib raaj kya hai

Jab Hum Tum DonoN Razi To Kya Karega Kazi, SaiyaN Humse Lada Le Ankhein Mele Ke Bazar Mein – Bade Sarkaar (1957) – Asha Bhosle

kyuN duniya ke pichhe bhage
kuchh nahiN duniya dil ke aage
…  ……    ……   …..   …..
dekh nazara pakad ke hath humara
samajh le dil ka ishara jama le rang zara

le le koi is rut ki nishani le le koi is rut ki nishani
dekh ye ghadiyaN phir nahi aani
…  ……    ……   …..   …..
chhod jhamaila balam kyuN phire akaila
laga hai rup ka maila jama le rang zara

man marzi se reh le pyare
kuchh sun le kuchh keh le pyare
…  ……    ……   …..   …..
jiye jawani o mere dilbar jani
zara kar le man mani jama le rang zara

Ek Diwana Aate Jate Humse Chhed Kare, Sakhi Ri Wo Kya Mange, Jab Bhi Mere Pass Se Gujre Thandi Saans Bhare, Sakhi Ri Wo Kya Mange – Naya Daur (1957) – Asha Bhosle

din dekhe na raat wo
pakde mera hath wo
kabhi sharmauN main kabhi ghabrauN main
samjh na pauN main

teeloN ke us paar se
mujhe pukare pyar se
rashte mein ruk ruk
mud mud chhup chhup
dekhe mujhe tuk tuk haye

Yun To Hamane Laakh HasiN Dekhe Hai, Tumasaa NahNi Dekhaa – Tum Sa NahiN Dekha (1957) – Mohammad Rafi

tum bhi hasiN rut bhi hasiN
aaj ye dil bas mein nahiN
raaste khaamosh hai
dhadakanein madahosh hai
piye bin aaj hamein chadaa hai nashaa

tum na agar bologe sanam
mar to nahiN jaaegein ham
kyaa pari yaa hur ho
itani kyun magarur ho
maan ke to dekho kabhi kisikaa kahaa

Female version in Asha Bhosle’s voice

uf ye nazar uf ye ada
..  ….  …. …. ….. …
kaun na ab hoga fida
zulfein hai ya badliyaN
aankhein hai ya bijliyaN
jane kis kiski aaegi kazaa

Dekh Idhar Ae Hasina June Ka Hai Mahina, Dal JhulfoN Ka Saya Aa Raha Hai Paseena Dekh Idhar Ae Hasina – 12 O’clock (1958) – Mohammad Rafi, Geeta Dutt

sun le kabhi dil ki sada o najani ji na jala
bimar-e-gam huN shafa mujhko de daman se apne hawa mujhko de
—- —-  —-  —– —– —–  —–
hoye main huN madam marina aure fat fat fati na
dur se baat karna pas aana kabhi na, maiN huN madam marina

lakhoN hi jab aahein bharein tum hi kaho hum kya karein
kis kis ke dil ki khabar koi le kis kis ke gam ka asar koi le

mudat se huN barbad maiN shirni hai tu farhad main
ye na samjhana ki ghar jaunga, main teri chokat pe mar jaunga

SaiyyaN Teri AnkhiyoN Mein Dil Kho Gaya, Dil Kho Gaya Ji Mera Dil Kho Gaya – 12 O’clock (1958) – Shamshad Begum

haye re main kahe tujhe tak ke haNsi
tak ke haNsi to tere jal mein faNsi
nazarein churana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

tir tune feinka aisa chalte huye
rah gayi main to hath malte huye
khud ko bachana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

nindiya na aaye mohe kal na pade
jabse ye naina tere naino se lade
ratiyaN bitana mushkil ho gaya
dil kho gaya ji mera dil kho gaya

Pyaar Par Bas To Nahi Hai Mera Lekin Phir Bhi Tu Bata De Ke Tujhe Pyaar Karun Ya Na Karun – Sone Ki Chidiya (1958) – Talat Mahmood, Asha Bhosle

mere khwaabon ke jharokhon ko sajaane waali
tere khwaabon mein kahin mera guzar hai ke nahin
pooch kar apni nigaahon se bataa de mujhko
meri raaton ke muqaddar mein sahar hai ke nahin

kahin aisa na ho paaon mere tharra jaayein
aur teri marmari baanhon ka sahaara na mile
ashq bahte rahein khaamosh siyaah raaton mein
aur tere reshmi aanchal ka
kinaaraa na mile

Solo Version – Asha Bhosle

tune khud apni nigahoN se jagaya tha jinhein
un tamannaoN ka ijhar karuN ya na karuN
tune jis dil ko bade pyar se apnaya tha
usko shikwoN ka gunahgar karuN ya na karuN

jis tamanna ke sahare pe thi jeene ki ummid
wo tamanna bhi pasiman hui jati hai
zindagi yuN to hameshaN se pareshaan si thi
ab to kuchh aur bhi viran hui jati hai

Sach Bataa Tu Mujh Pe Fidaa, Arre Kyun Huaa Aur Kaise Huaa; Maar Gayi Teri Baanki Adaa, Yun Huaa Aur Aise Huaa – Sone Ki Chidiya (1958)  – Asha Bhosle, Talat Mahmood

naazaniN main hi nahi hai yahaan laakho hasin
mujhase hi tujhe pyaar kyun huaa
dil pe nazaroN kaa vaar kyun huaa

chand si surat teri, mohani murat teri
…  ….  ….  …..   ….. …   ….
teri dhun mujhe be-sabab nahiN
aur jalavoN mein ye gazab nahiN

shukariyaa, ae meharabaan
mil gaye mujhe do jahaan
…  ….  ….  …..   ….. …   ….
…  ….  ….  …..   ….. …   ….
besaharaa thi tum nahiN mujhe
aaj duniyaa kaa gam nahiN mujhe

On a broader scale Shahir Ludhianvi and O P Nayyar’s association 4 films 1 song-in-a-film may appear to be too short, but there is no iota of doubt that that has given us some of most everlasting romantic (as well as meaningful) melodies

Our journey of Sahir Ludhianvi’s Romantic songs will again change track and switch over Seven Film Associations with Laxmikant Pyarelal and Khayyam (2.0) in the next episode.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Four-film Associations

Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%.  By the turn of ‘60s GenNext music directors were in the process of  taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).

The two leading music directors of GenNext breed, R D Burman and Laxmikant Pyarelal had adapted almost contrasting styles of music direction during the decade of 70s. Our journey of Sahir Ludhianvi’s Romantic songs brings us to Sahir’s association of four films with R D Burman, ,one of these two music directors,  in our present episode.

R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.

Tera Mujhse Hai Naata Koi YuNhi NahiN Dil Lubhata Koi…. Jane Tu Ya Jane Na, Mane Tu Ya Mane Na – Aa Gale Lag Ja (1973) – Kishore Kumar

dhuaN dhuaN tha wo sama
yahaN wahaM jane kahaN
tu aur main kahiN mile the pahle
dekha tujhe to dil ne kaha
jane tu ya jane na

dekho abhi khona nahiN
kabhi juda hona nahiN
abke yuNhi milte rahenge dono
wada raha ye is sham ka
jane tu ya jane na

The song has another version, in the voices of Shushma Shreshtha and Kishore Kumar. Sahir Ludhianvi has altered the lyrics in sync with the new situation. This version had earned acclaim of the critics too.

dekho abhee khona nahiN, kabhee juda hona nahin
ab khel mein yuNhee rahenge ham dono
vada raha yeh is sham kaa
yuNhi nahiN dil lubhata koi

vade gaye batein gaiN, jagi jagi rateein gai
chaha jise mila nahi, to bhi hamein gila nahNi
apna to kya jiye marein chahe kuch ho
tujhko to jeena ras aa gaya
jane too ya jane naa

O Thehro Meri Jaan, Waada Karo NahiN Chhodogi Tum Mera Saath , Jahan Tum Ho, Wahan Main Bhi Hoon…..Chhuo NahiN Dekho Mera Haath, Zaraa Peechhe Rakho Haath, JawaaN Tum Ho JawaaN Main Bhi HuN – Aa Gale Lag Ja (1973) – Kishore Kumar, Lata Mangeshkar

suno meri jaan, haNske mujhe yeh keh do
bheege laboN ki narmi mere liye hai
ho, jawaaN nazar ki masti mere liye hai
hasiN ada ki shokhi mere liye hai
mere liye leke aayi ho yeh saugaat

mere hi peechhe aakhir pade ho tum kyuN
ek main jawaan nahiN hoon, aur bhi to hai
oh, mujhe hi ghere aakhir khade ho tum kyuN
main hi yahaN nahiN hooN aur bhi to hai
jaao jaake le lo jo bhi de de tumhein haath
jahaN sab hai, vahaN main bhi hooN

Kaanp Rahi Main Abhi Jara Tham Jaanam, Baaki Hai Raat Abhi, Haanf Rahi Main, Le LuN Jara Dum Jaanam, Na Kar Ye Baat Abhi  –  Joshila (1973) – Asha Bhosle

tune, o re mere jaani
jo hai ji mein thani
usse daruN main, daruN main …
tu jo, pass mere aaye
jaan meri jaye
aahein bharuN main
th th trak trak th ra
th th trak trak th ra
jane de re, rok jara hath abhi
kaanp rahi main

abhi, gul hai diye sare
pass aa ja pyare
ban ja diwana, diwana
jara, mast main bhi holuN
to ye tujhe boluN
tu hai nishana
th th trak trak th ra
th th trak trak th ra
main bhi huN, tu bhi hai sath abhi
kaanp rahi main

Maine Tujhe Maanga Tujhe Paya Hai, Tu Ne Mujhe Maanga Mujhe Payaa Hai … Aage Hamein Jo Bhi Mile, Mile Na Mile Gila NahiN – Deewar (1975) – Asha Bhosale, Kishore Kumar

chhanw ghani hi nahiN, dhoop kadi bhi, hoti hain rahoN mein
gam ho ke khushiyaN ho sabhi ko humein lena hain bahoN mein
yuN dukhi ho ke jinewale, kya ye tuze pata nahiN
maine tuze manga, tuze paya hai

jhid hain tumhein to lo lab pe na shikawa kabhi bhi layenge
has ke sahengeN jo dard ya gam bhi jahaN se payengein
tuzako jo bura lage, ayesa kabhi kiya nahiN
maine tuze manga, tuze paya hai

Meri Najhar Hai Tujhpe Teri Najhar Hai Mujhpe Isi Liye Rehate HaiN Dono Khoye Huye…. Tere Bina Jiyra Mane Na Lagi Agan Hai Ye Kaisi Haye Jane Na Manwa, Ho Sajna, Ho Tere Bina Jiyra Mane Na – The Burning Train (1980) – Asha Bhosle

tere liye kaliyaN maiN chunti rahuN
aashaaoN ki malayein bunti rahuN
jage mein bhi sapno mein khoi rahuN
sote mein bhi aahat si sunti rahuN
o sajna balma mujhko kya ho gaya
ho januN na januN na, tere bina jiyra mane na
lagi agan hai ye kaisi haye janae na balam ho sajana
meri najhar hai tujhpe teri najar hai mujhpe

….. …… …… …… …… ….

bichhad ke unse na jab dil kisi tarah bahla
sharabkhane ka rukh
sharabkhane ka rukh ekhtiyar hamne kiya
na aanewaloN ka kyuN
na aanewaloN ka kyuN intajhar kyuN hamne kiya
na aanewaloN ka kyuN intajhar kyuN hamne kiya
kisi ke vade pe kyuN, aitbar humne kiya

If R D Burman has maintained his unique style, Sahir Ludhianvi, too, has, retained the basic character of his poetry, in this era of film songs in the era of more predominance of action over the content, resulting in a unique combination of two different styles blending into a creative association.

In our next episode, we will again change the track from ‘70s to the earlier decades, with Sahir Ludhianvi’s five-film association with O P Nayyar.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Three Film Associations

Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with  anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.

Jaidev (B: 3-8-1918 | D: 6-1-1987) and Sahir Ludhianvi, both, had a common period  of their youth spent in Ludhiana. So, when they got together in Joru Ka Bhai (1955) it was expected to a reunion which would be very fruitful. But, the prides of both the talented artists created the situation where the relationship remained soured from the first stage. Fate gave them another chance in Hum Dono (1961). Their work together in this film revived the hopes. But the egos clashed again in the next outing, Mujhe Jeene Do (1963), and the paths separated out. Fate intervened once again in Laila Majnu (1976) when Jaidev took up the unfinished work of Madan Mohan. But that was too late to fill up the chasm of the separation of minds.

Surmai Raat Hai Sitare Hai, Aaj Dono Jahaan Hamare Hai, Subah Ka Intezaar Kaun Kare – Joru Ka Bhai (1955) – Lata Mangeshkar – Music: Jaidev

phir yah rut yah samaaN mile na mile
aarzu kaa chaman khile na khile
vaqt kaa aitabaar kaun kare

le bhi lo ham ko apani baahoN mein
ruh bechain hai nigaaho mein
iltejaa baar baar kaun kare

nayi raat dhalati jaati hai
ruh gam se pighalati jaati hai
teri zulfoN se pyaar kaun kare

Surmai Raat Dhalati Jaati Hai, Ruh Gam Se Pighalati Jaati Hai, Teri ZulfoN Se Payar Kaun Kare, Ab Tera Intezar Kaun Kare – Joru Ka Bhai (1955) – Talat Mahmood – Music: Jaidev

tumko apna bana ke dekh liya
ek baar aazma ke dekh liyaa
baar baar aitbaar kaun kare

ae dil e zaar saugwar na ho
unki chaahat mein beqaraar na ho
badnaseeboN se pyaar kaun kare

Abhi Na Jao Chhod Kar Ke Dil Abhi Bhara NahiN – Hum Dono (1961) – Mohammad Rafi, Asha Bhosle – Music: Jaidev

abhi abhi to aai ho, bahaar banake chhaai ho
havaa zara mahak to le, nazar zara bahak to le
ye shaam dhal to le zara, ye dil sambhal to le zara
maiN thodi der ji to lun, nashe ke ghunt pee to luN
nashe ke ghunt pee to luN
abhi to kuchh kaha nahiN, abhi to kuchh suna nahNi

sitare jhilamilaa uthe,
charaag jagamagaa uthe
bas ab na mujhako tokanaa …..
na badhake raah rokna
agar maiN ruk gayi abhi to jaa na paaungi kabhi
yahi kahoge tum sadaa ke dil abhi nahiN bharaa
jo khatm ho kisi jagah ye aisa silsilaa nahiN

adhuri aas, adhuri pyaas chhod ke, adhuri pyaas chhod ke
jo roz yunhi jaaogi to kis tarah nibhaaogi
ki zindagi ki raah mein, javaaN dilo ki chaah mein
kai mukaam aayenge jo ham ko aajmayenge
buraa na maano baat kaa ye pyaar hai gila nahiN

haaN, yahi kahoge tum sadaa ke dil abhi nahiN bharaa

haaN, dil abhi bharaa nahiN nahiN nahNi nahiN nahiN

Maang Mein Bhar Le Rang Sakhi …Anchal Bhar Le Taare Ke Milan Ritu Aa Gayi….Jaegi Tu Un Sang Jo Tohe Lage Pyare, Milan Ritu Aa Gayi – Mujhe Jeene Do (1963) – Asha Bhosle, Chorus – Music: Jaidev

koi chandi ke rath mein aya hai
mere babul, mere babul ki rajadhani mein
maiN use dekhati huN chhup chhup kar
ek halachal si hai jawani mein
tadake ek ek ang sakhi re
aaj khushi ke mare, milan ritu aa gayi

surkh chudaa hai meri baaho me
surkh jodaa mere badan par hai
sab ki nazarein hai mere chahare par
aur meri nazar sajan par hai
machali jaye umang sakhi ri
dhadakan kare ishaare, milan ritu aa gayi

meri doli saja rahe hai kahar
phul bikhare hue hai raahoN mein
phul bikhare hue hai raahoN mein
jinki baho ki arazu thi mujhe
jaa rahi huN maiN unaki bahoN mein
angna lage tag sakhi ri
piya jab banh pasare, milan ritu aa gayi

Raat Bhi Hai Kuchh Bhigi Bhigi, Chand Bhi Hai Kuchh Madhdham Madhdham, Tum Aao To Aankhein Khole Soyi Hui Payal Ki Chham Chham – Mujhe Jeene Do (1963) – Lata Mangeshkar – Music: Jaidev

kisko bataaeN kaise bataaeN
aaj ajab hai dil kaa aalam
chain bhi hai kuchh halkaa halkaa
dard bhi hai kuchh maddham maddham

tapte dil par yu girati hai
teri nazar se pyaar ki shabanam
teri nazar se pyaar ki shabanam
jalate hue jangal par jaise
barakhaa barase ruk-ruk tham-tham

hosh mein thodi behoshi hai
….   ……  ……..   ……. …..
behoshi mein hosh hai kam kam
….   ……  ……..   ……. …..
tujhko paane ki koshish mein
….   ……  ……..   ……. …..
dono jahaaN se kho gae ham
….   ……  ……..   ……. …..

chham-chham, chham-chham

Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff[1] kise pesh karuN in the set of three ghazals in the same film, Ghazal (1964), viz.

Nagma-o-sher Ki Saugat Kise Pesh KaruN – Lata Mangeshkar

Ishq Ki Garmi- e-jaazbat Kise Pesh KaruN – Mohammad Rafi, and

Rang Aur Noor Ki Baraat Kise Pesh KaruN – Mohammad Rafi

Each one is as exquisitely penned by Sahir as is composed Madan Mohan.

Chand Madhdham Hai AasmaN Chup Hai, NeeNd Ki God Mein JahaaN Chup Hai – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

door vaadi mein doodhiyaa baadal
jhuk ke parbat ko pyaar karte hain
dil mein naakaam hasratein lekar
ham teraa intazaar karte hain

in bahaaroN ke saaye mein aajaa
phir mohabbat javaaN rahe na rahe
zindagi tere naamuraadoN par
kal talak meharbaaN rahe na rahe

roz ki tarah aaj bhi taare
subah ki gard mein na kho jaayein
aa tere gham mein jaagti aankhein
kam-se-kam ek raat so jaayein

Jiya Kho Gaya Ho Tera Ho Gaya, Main KahuN To Kaise KahuN, Jiya Kho Gaya – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan

gair hai phir bhii tu mujhko apna lage
terii har baat chahat ka sapna lage

uthate uthate jhukuN, jhukte jhukte uthuN
aur takra gai do nigahein
phul se khil gaye dil se dil mil gaye
jaise milti hai manzil se rahein

mujhko apne pe bhii laaj aane lagii
main akele mein chhup chhup ke gane lagi

Mujhe Ye Phool Na De Tujhko Dilbari Ki Qasam, Ye Kuchh Nahi….Tere HothoN Ki Tajhagi Ki Qasam –  Ghazal (1964) – Mohammad Rafi, Suman Kalyanpur – Music: Madan Mohan

najhar hasiN ho to jalve hasiN lagte hai
main kuch nahiN huN mujhe husn ki qasam

tu ek saaz hai chheda nahi kisi ne jise
tere badan mein chhupi narm ragini ki qasam

ye ragani tere dil mein hai mere tan mein nahi
parkhne wale mujhe teri sadgi ki qasam

gazal ka lauch hai tu najam ka shabab hai tu
yakin kar mujhe meri hi shayri ki qasam

Unse Nazarein Mili Aur Hijhab Aa Gaya, Zinagai Mein HasiN Inquilab Aa Gaya – Ghazal (1964) – Lata Mangeshkar, Minoo Purushottam – Music: Madan Mohan

bekhabar the umar ke taqaazoN se ham
hamko maalum na tha aise bhi din aayege
aayina dekhe to aap apne se sharamaayege
…..    ……  ……   …… ……
bekhabar the umar ke taqaazo se ham
aaj jaana ki sach much shabaab aa gaya

aankh jhukati hai kyoN saans rukati hai kyoN
in savaalo ka khud se javaab aa gaya

dil ke aane ko ham kis tarah rokate
jispe aana tha khaana kharaab aa gaya

Is Reshami Pazeb Ki Zankar Ke Sadquay … Jisne Yeh Pehnai Hai Us Dildar Ke Sadquay – Laila Majnu (1976) – Mohammad Rafi, Lata Mangeshkar – Music Madan Mohan

us jhulf ke qurbaN lab-o-rukhsar ke sadquay
har jalwa tha ik shola husn-e-yar ke sadquay

jawani mangati thi yeh hasin jhankar barsoN se
tamanna bun rahi thi dhadakno ke tar barsoN se
…..   ……    ……  …… 
chhup-chhup ke aanewale tere pyar ke sadquay

jawani so rahi thi husn ki rangin panaho mein
chura laye ham unke najani jalwe nigaho mein
….. ……   ……    …… ……….
kismat se jo huwa hai us didar ke sadquay
…       …..          …….  ……        ……..

us jhulf ke qurban lab-o-ruksar ke sadquay

najhar lahra rahi hai jism pe masti si chhayi hai
dubara dekhne ki shauk ne halchal machai hai
…..   ……   …….    ……….  ……
dil ko jo lag gaya hai us ajhar ke sadquay

Ye Diwane Ki Zid Hai…Apne Diwane Ki Khatir Aa – Laila Majnu (1976) – Mohammad Rafi – Music: Jaidev

jahaN mein quais jhinda hai
to laila mar nahiN sakati

ye da’awaa aaj
duniya bhar se
manwane ke liye aa

….  ….. ….. .   ….. …..    ……

tere dar se main khali laut jauN
kya qayamat hai
tu meri ruh ka kaa’aba
meri jaan-e- ibaadat hai

jhabeen-e-shauq ke
sajdon ko apnaane
ki khaatir aa

Sahir’s lyrics also spans over two decades with the common link of 1976 film Laila Majnu However, the subject of the film, Laila Majnu, and support of music of two music directors – Jaidev and Madan Mohan  – who could  truly lend music to his poetry, provide ample opportunity to Sahir Ludhiyanvi to maintain his elements in his lyrics even after the quite transformed period of HFM in the second half of ‘70s.

In the next episode, we will take up Sahir Ludhianvi’s romantic songs composed by R D Burman for four films they did together.

[1] Radiff (Arabic: رديف) is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a Ghazal, the second line of all the couplets (bayts or Shers) must end with the same word/s. This repeating of common words is the “Radfif” of the Ghazal. (Source: Wikipedia)

Categories
Centenary Celebrations

Sahir’s Songs of Romance – Two Film Association(s)

Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem.  His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:

hazār barq gire laakh āñdhiyāñ uTTheñ
vo phuul khil ke raheñge jo khilne vaale haiñ

Let thousands ice fall, lakhs of dust-storm rise
The flower shall blossom that is so destined.

Sahir Ludhianvi’s association with as many as 31 music directors, for the 122 films for which he penned songs, certainly provided Sahir to blossom into as many different shades that he was destined to blossom into.

Presenly, we will take up Sahir Ludhianvi;s Songs of Romance with the music directors with who he did films in his career. These music directors re, in the sequence of their first year of association, are: Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty

Usha Khanna (B: 1942), is a member of the rare elite club of female music directors in the Hindi films. Her first ever Hindi film was Dil Deke Dekho (1959).the two films where she worked with Sahir Ludhianvi are Hum Hindustan (1960) her second film and then Lakshmi a good 22 years later.

Hum Jab Chale To Ye Jahan Jhume, Aarzu Hamari AasmaN Ko Chume – Hum Hindustani (1960) – Mohammad Rafi – Music: Usha Khanna

Sahir has penned only this song for ‘Hum Hindustani’!

hamse hai fizaoN meein rang-o-bu
ham hai is jamiM ki aarzu
nadiyo ki ragini hamse hai
har taraf ye tajhgi hamse hai
hum chale to chal pade jhindagi

Halat Se Ladna Mushkil Tha, Halat Se Rishta Jod Liya– Lakshmi (1982) – Asha Bhosle – Music: Usha Khanna

The song is set to a mujra composition, but the lyrics have a profound sense of regret for not having been able to fight the circumstances. As such, this is not a song of romance that has happiness of love, but has the quintessential poetic bitterness of reality, and hence would stand excluded from the present series.

However, as noted in the preamble to the preamble, Sahir ‘s film songs sound a very different note even when they depict the bare realities of the world. Here is one such illustration.

chunri ranga li maine bindiya sajali maine
….. ….   …    ….. …
jhumar ki mang patti dil se saja li maine
…. ….  ….. …..
kar liye solah
kar liye solah singar singar singar
najro ki pyas bujhalo jamane walo
jalwo se dil bahlalo jamane walo

Rashid Attre (a.k.a. Abdul Rasheed Attra, B: 15 February 1919 – D: 18 December 1967) possessed varied musical talents.  His initiation to Hindi films took place in Calcutta in 1942. He moved to Bombay (as it was then called) in 1943 and worked successfully till 1947 when he migrated to Pakistan. His last film in Bombay was Shikayat, which was released in 1948. In his second innings at Pakistan, he composed for as many as 80 films.  Rashid Aatre and Sahir Ludhianvi have combined in two Pakistani films – Solah Anne (1960) and Farangi (1964). In the absence of the authentic source for the songs, I have refrained from presenting any song here.

Chitragupt (a.k.a. Chitragupt Shrivastava -B: 16 November 1917 – D: 14 January 1991) has composed music for more than 150 films, in a career spanning from 1946 to 1988 (his one film was released posthumously in 1998) but does not seem to have received the credit duet to him. Chitragupt’s two films with Sahir Ludhianvi are Vaasana (1968) and Sansar (1971).

I have picked up two songs each from Vaasna and Sansar, each presenting different mood within the shade of romance.

Ye ParabatoN Ke Dayare, Ye Sham Ka DhuaaN, Aise Mein Kyon Na Chhed De Dilo Ki DastaaN – Vaasana ((1968) – Mohammad Rafi, Lata Mangeshkar – Music – Chitragupt

jara si zulf khol do, fiza me itr ghol do
najar jo baat kah chuki woh baat munh se bol do
ki jhum uthe nigaah me bahaar ka sama

yeh chup bhi ek savaal hai, ajib dil kaa haal hai
has ik khayaal kho gaya, bas abb yahi khayaal hai
ki fasala na kuchh rahe hamaare darmiya

yeh rup rang yeh paban chamakte chaand sa badan
bura na mano tum agar toh chum lu kiran kiran
ki aaj hausalo me hai bala ki garmiya

Itni Nazuk Na Bano.. Had Ke Andar Ho Nazakat To Adaa Hoti Hai… Had Se Badh Jaye To Apni Sazaa Hoti Hai – Vaasana (1968) – Mohammad Rafi – Music: Chitragupt

jism kaa bojh uthaaye nahi uthta tumse
zindgaani kaa kada bojh sahogi kaise
tum jo halki si hawaao me lachak jaati ho
tez jhonko ke thapedo me rahogi kaise

koi rukta nahi thahre hue raahi ke liye
jo bhi dekhega voh katraake guzar jaayega
hum agar vaqt ke hamraah naa chalne paaye
vaqt ham dono ko thukraake guzar jaayegaa

Mile Jitni Sharab Main To Peeta HuN, Rakhhe Kaun Ye Hisaab Main To Peeta HuN – Sansar (1970) – Kishore Kumar – Music: Chitragupt

koi apna ager ho to toke mujhe
main galat kar raha huN to roke mujhe
kise dena hai jawab …..
main to pita huN

Raja Jani Raja Jani Na Maro Nayanawa Ke Teer Re – Sansar (1971) Krishan Kalle – Music: Chitragupt

abhi nadan hu mai najuk jan hu
mujhe aise na maro yuhi halkan hu
mujhe aise na maro aise na maro
tikhi tikhi nazroN se dekho na sawriya
…  …..   ….  …
sah na sakungi abhi kachi hai umariya kachi hai umariya
maro na katari do dhari uthe teer re raja jani dilbar jani

Kalyanji Anandji carved their path of success in the face of stiff competition from the array of top-line music directors. They have composed music for over 250 films. With Sahir Ludhianvi, they have two films – Nanha Farishta (1969) and Shankar Shambhu (1976).

O Re Sharabi Tujh Mein Ek Kharabi… Sikha Na Tune Kisi Se Pyar Karana… Tujhe Aa Main Pyar Sikha DuN – Nanha Farishta (1969) – Asha Bhosle – Music; Kalyanji Anandji

ho sake to samjhle raat kya kah rahi haiN
raat kya kah rahi hain
ye dhadkati khamoshi baat kya kah rahi haiN
kya kah rahi haiN
thoda sa ishaara ho to palbhar mein
abhi laakho rang luta duN
aa main pyar sikha duN

Bheege Hue JalwoN Par Aise Na Najhar Dalo, Dil Chahe Idhar Rakhkho Par Aankh Udhar Rakhkho.. – Shankar Shambhu (1976) – Lata Mangeshkar, Mohammad Rafi – Music: Kalyanji Anandji

in garam nigaho se jajbat bhadakte hai
ahsaas sulagta hai arman dhadkate hai
ruk jao ruk jao
ruk jao abhi dil par itna na asar dalo

soyi hui dhadkan ko khud tumne jagaya hai
sanso se pukara hai najro se bulaya hai
mat apni khatao ko
mat apni khatao ko ab aur ke sar dalo

kab hamne kaha tumse hum tum pe nahi marte
tum kuch bhi kaho tum par ilzam nahi dharte
beraham ho beraham ho
beraham ho katil ho ye katal bhi kar dalo

Sapan Chakravarty (a.k.a. Swapn Chakraborty), though known more as assistant to R D Burman, and two of the more known songs in his voice – Mere Saath Chale Na Saya (Kitab,1977) and Preetam Aan Milo (Angoor,1982) – has composed music for 5 Hindi and 15 Bengali films.

Jaaney Aaj Kya Hua Aisa Kabhi Hua Na Tha, Sanso Mein Ghule Nasha Jaisa Kabhi Ghula Na Tha, Tumhi Bolo Kya Karein Aisa Hoga Pata Na Tha – 36 Ghante (1974) – Kishore Kumar, Asha Bhosle – Music: Sapan Chakravarty

chhaya chhaya dur tak
rango ka gubbar hai
aisa toh na tha jahan
ho na ho yeh pyar hai
khawabo ka sama saja
jaisa kabhi saja na tha

Tum Bhi Chalo Hum Bhi Chale, Chalti Rahe Zindagi, Na ZamiN Manzil Na AasamaN, Zindagi Hai Zindagi – Zameer (1975) – Kishore Kumar, Asha Bhosle – Music Sapan Chakravarty

behte chale hum masti ke dhaaroM mein
gunje yahi dhun sada dil ke taaroN mein
ab ruke na kabhi pyar ka kaarwa
neet nayi rut ke rang mein dhalti rahe jindagi

Before we end our present episode, a detour to Sahir Ludhianvi- Khayyam’s two films – out 7 they did together – is in order. Phir Subah Hogi (1958) and Shagoon (1964) are the films belonging to the Golden era period of Hindi films whereas other five films belong to the post-golden era period.

Phir Na Kije Meri Gustakh Nigahi Ka Gila
Dekhiye Aapne Phir Pyar Se Dekha Mujhko

Main Kaha Tak Na NigahoN Ko Palatane Na Deti
Aapne Kai Baar Pukara Mujhko – Phir Subah Hogi (1958)- Mukesh, Asha Bhosle – Music: Khayyam

Is kadar pyar se dekho na hamari janib
dil agar aur machal jaye to mushkil hogi

tum jahaN meri taraf dekh ke ruk jaaoge
vohi manjil meri taqadir ki manjil hogi

ek yunhi si nazar dil ko jo chhu leti hai
kitne armaan jagati hai tumhe kya maalum

ruh bechain hai kadmo se lipatne ke liye
tumko har saans bulati hai tumhe kya maalum

har nazar aap ki jazbaat ko uksati hai
maiN agar hath pakad luN to khafa mat hona

meri duniya-e-mohabbat hai tumhare dam se
meri duniya-e-mohabbat se juda mat hona

Itane Qareeb Aake Kya Jaane Kis Liye
Kuchh Ajanabi Se Aap haI Kuchh Ajanabi Se Hum

Woh Ek Baat Thi Jo Faqat Aap Ke Liye
Woh Ek Baat Kah Na Sake Aap Hi Se Hum – Shagoon (1964) – Talat Mahmood, Mubarak Begum – Music Khayyam

aisi to koi qaid nahi dil ki baat par
apas ki baat hai to dare kyo kisi se ham

tum dur ho to maut bhi aaye na ham ko raas
tum paas to jaan bhi de de khushi se ham

maut ek vaham, aur haqikat hai zindagi
ik dusare ko maangege is zindagi se ham

Shagoon has two more romantic gems – ParabatoN Ke PedoN Par Sham Ka Basera Hai (Mohammad Rafi, Lata Mangeshkar) and Tum Chali Jaogi ParchhaiyaN Rah Jayegi (Mohammad Rafi).

As we once again traversed across the whole career span  of Sahir Ludhianvi, it is observed that Sahir has been able to maintain the quality of lyrics across each different music directors, even during the last, post-Golden Era. One may presume the pressures changing tastes of the cine-going public. However at no time one can say that he got away with ‘filmy-style’ lyrics even for Sahir’ songs in’70s..

We end here our present episode of homage to Sahir Ludhianvi, through his romantic songs with the five (plus one) 2-film-association music directors.

Categories
Centenary Celebrations

Sahir’s Songs of Romance – One Film Association(s)

This is the year of Sahir Ludhianvi’s birth (March 8, 1921) centenary. As can be expected, there was an avalanche of articles in magazines, newspapers and blogs in the month of March 2021. At first glance, that gave me the impression that everything that needs to be said about Sahir Ludhianvi has been already covered in all these articles. One easily remembers many of his 724 songs, particularly of his most productive decades of 50’and ‘60s, too. As such, I was not able to figure an approach where I can get to know Sahir’s songs, in more details, more intensely, and more systematically.

As I kept pondering through the commemorative articles, two aspects attracted my attention –

  • One, apart from the Golden Era music directors S D Burman, N Dutta, Ravi, Roshan, O P Nayyar, Madan Mohan, Khayyam, Jaidev or Kalyanji Anandji, Laxmikant Pyarelal and R D Burman of second generation, or Rajesh Roshan of the still next generation of music directors, he has worked with many other music directors as well.
  • Two, he is generally remembered for his poems of rebel. However, as a lyricist he would certainly have written songs of pure romance as well.

These two aspects have led me to pen the present series of articles under the title, Sahir’s Songs of Romance. I plan to cover all music directors with whom Sahir Ludhianvi has worked in his career spanning from his inception to the world of HFM in 1948 till his passing away, including the films which were either released thereafter or even not released.

I have selected the songs that have different happy forms of expressions of love, whether sublime or mundane. Thus, the songs that have feelings of pathos or bitterness are excluded. I have also chosen not include qawwalis here.

I have studiedly maintained my intervention to the minimum. I have selected as much of the lyrics of first lines of the song that Sahir uses to set the tone of romance in the song. Then, I have also presented the selected lines from each song, which in my view, manifests Sahir’s versatility as poet and as a lyricist. Listening to the YT clip provides the charm of the entire song.

We will begin the series with Sahir’s Songs of Romance, composed by the music directors who had only one film association with Sahir Ludhianvi and then will proceed with ascending numbers of associations.

One Film Association(s)

Sahir Ludhianvi has penned lyrics for 122 films, spanning his association with 31 music directors. Of these 31 music directors, as many as fourteen music directors have had one film association with Sahir. Sahir’ first step into the Hindi Film Music world was in 1948, which, incidentally, happens to be a one film association with music director G D Kapoor. In his most prolific decade, 50s, Sahir had six one-film associations, the highest for any decade. Of these, three films were in 1953 only, just as he was settling into a successful association with S D Burman. 60s have only two one-film associations. The decade of 70s when Sahir had done 26 films, four were one-film associations. 80s has one one-film association. Thus, the present episode also provides us a vintage view of the entire career of Sahir Ludhianvi’s entire carrier.

Here, I have not been able to include any song, composed by G D Kapoor (Azadi Ki Raah Par, 1948), Nirmal Kumar (Lal Nishan, 1959) and Robin Chatterjee (Masoom, 1960). Azadi Ki Rah Par and Masoom had subjects wherein a romantic film had, in fact, no place. Lal Nishan has only one Sahir song, which is a qawwali. As such, the music directors of these films, G D Kapoor, Robin Chatterjee and Nirmal Kumar are not represented in this episode.

Meri NaghmoN Mein …. Un Mastaanaa Aankhon Ki Kahaani Hai, Mohabbat Hi Mohabbat Hai Jawani Hi Jawani HaiAlif Laila (1953) – Talat Mehmood – Shyam Sundar

Mohabbat meri duniya hai
Mohabbat shaayari meri
Mohabbat mera naghmaa hai
Mohabbat zindagi meri
Mohabbat ke sahaare…
ek nayi duniyaa basaani hai

mohabbat hi mohabbat hai
jawani hi jawani hai……

Kisi Ne Nazar Se Nazar Jab Mila Di…..Meri Zindagi Ha Ha Meri Zindagi, Jhum Kar Muskara Di Meri Zindagi – Humsafar (1953) – Talat Mahmood, Asha Bhosle – Ali Akbar Khan

zubaN se to hum kuchh na bole the lekin,…

nigahoN ne dil ki kahani suna di

.. har ek sans masti me dubi huyi hai….
khuda janta ki kya se pila di

meri taza duniya pe rang aa gaya hai
kisi ne khayalo ki mehfil saza di

Ye Mausam Ye Hawaye Ye Rut Suhani Fir Na Aayegi…. Jawani Mauj-e- Dariya Hai Jawani Jo Laut Ke Na Aayegi – Shole (1953) – Hemant Kumar, Geeta Dutt – Dhaniram

nigahe mila or ek jam lele …

jawani ke sir koi lizam lele….

nigahe mila….

nigaho ke saaye me palti hai duniya….

hasino ke hamraah chalti hai duniya…

hasino ke pehlu me aaram le lo…nigahe mila…..

Aaj Kisi Ke Dil Ke Haatho Ne, Dil Ke Taaro Ko Chhed Diya – Savdhan (1954) – Asha Bhosle – Vasant Ramchandra

aaj meri tanhaai apne aap se bhi sharmaane lagi
dil ki dhadkan nagama bankar, hontho par lahraane lagi

jo saahil ko saath baha le
un dhaaro ko chhed diya

har jhokhe se mujhko unake saath ki khushbu aati hai
tanman mein ek thandi thandi aag bikharti jaati hai
jaane kisaki shokh najar ne…

angaaro ko chhed diyaa

Dil Ki Duniya Mein Aa Ke Na Jaana … Tujhe Meri Qasam Na Rulana, Ya Rabba Teri Teri… Yaad.. – Chingaari ( (1955) – Lata Mangeshkar, Unknown male voice – Manohar

aaja pyar ke tarane gaye…
aaja aisa ek jaha basaye

chand ka diya ho
jismein tare loriya sunaye….
sapno ke dole mein jhula jhulaye hamein bag-e- sama

bhigi bhigi rat ye najare
dil ki bat kahte hai sitare
aankho me nur bhar de dil me sarur bhar de

arzu yahi hai meri justzu yahi hai
na ja dilbar na ja ankhyio me aake
o mere dilruba mere dil se
na ja hai ye dil ki dua

Kashti Ka Khamosh Safar Hai, Shaam Bhi Hai Tanhayi Bhi, Dur Kinare Par Bajati Hai Laharo Ki Shahnayi Bhi ….. Aaj Mujhe Kuchh Kahena Hai – Girl Friend (1960) – Kishore Kumar, Sudha Malhotra  – Hemant Kumar

kabse tumhaare raste pe main phul bichhaaye baithi huN
kah bhi chuko jo kahna hai mani aas lagaaye baithi huN

dil ne dil ki baat samajh li, ab munh se kya kahana hai
aaj nahi to kal kah lenge, ab to saath hi rahna hai

kah bhi chuko, kah bhi chuko jo kahna hai

chhodo ab kya kahna hai

Umr Huyee Tumse Miley Phir Bhi Jaane Kyun Aisa Lage Pahli Baar Mile HaiN – Bahurani (1963) – Lata Mangeshkar, Hemant Kumar – C Ramchandra

jhum uthaa tan, man me ek aisi baat aa gai
jiski thi lagan, ….
aaj vo milan ki raat aa gai

akele rah gaye, akhiyaan bah gayi

umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai

Chor Hamne Fasaya… Haye…. Ke Bach Na Paya, Aaha…. Pakad Mein Aaya – Bhai Ho To Aisa (1972) – Lata Mangeshkar – Sonik Omi

haye re kabhi nain ghumaye kabhi hoth chabaye
maine iska pyar bhadkane ko sabhi teer chalaye
maiN thi tak mein

kabse fasa aaj sabab se
ho ab to chakha du maja

Ab Se Pehle To Ye Dil Ki Haalat Na Thi…Aaj Kya Ho Gaya … Zindagi Dusaro Ki Amanat Na Thi – Nawab Sahib (1978) – Usha Mangeshkar – C Arjun

apne andaaz par naaz karte the hum

humko apni qasam
gair se baat karne ki fursat na thi

aaj kya ho gaya

Baahon Mein Teri Masti Ke Ghere, Saanson Mein Teri Khushboo Ke Dere – Kala Patthar (1979) – Lata Mangeshkar, Mohammad Rafi — Rajesh Roshan

khvabo me jisako tanha javani baraso se takati thi,

tu vahi hai

chhune se jisako sine me meri lau jag sakati thi,

tu vahi hai

kuchh khvab mere, kuchh khvab tere

 yun milate jate hai

dil khilate jate hai,

lab gun-gunate hai

sason me teri, khushabu ke dere khushabu ke dere

Ye Aankhein Dekhkar Hum Saari Duniya Bhool Jate Hain – Dhanwaan (1981) – Lata Mangeshkar, Suresh Wadkar – Hridaynath Mangeshkar

tum apni mahki mahki julf ke pecho ko kam kar do
musafir in mein girkar apna rasta bhul jaate hai

… …..  … …. ….. …. …

bahut kuch tumse kahne ki tamanna dil me rakhte hai
magar jab saamne aate ho to kahna bhul jaate hai

Mohabbat mein zuba chup ho to aankhein baat karti hai

ye kah deti hai vo baate jo kahna bhul jaate hai

With this we come to the end of the present one-film association phase of Sahir Ludhianvi’s collaboration with different music directors. As can be expected, the range of music directors, films and film subjects, is very wide. Even the span of years also spreads over Sahir Ludhianvi’s entire career. Apparently, the duets – one of the most popular and universal formats for expression of romance on the screen – is predominant in the present episode. However, we easily get to feel Sahir’s creativity, his range of words, ease of use of different languages and different forms specific to such languages. 

We wil take up Sahir’s Songs of Romance with two-film association music directors in our next episode.