This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Earlier in the morning today, I received an email. Antaraa Mondal, film journalist and a good friend, sent me a link. This link is for an interview of Majrooh Sultanpuri by Peeyush Sharma, originally recorded in 1993. And republished today. On the anniversary of his birth. I read through the interview. I find quite a bit of discussion of Majrooh Sb’s working with another stalwart, music director SD Burman. Quite a coincidence that it is the birth anniversary of Burman Dada also today.
And then, my mind connected to the email received from Khyati Behn yesterday. She has forwarded this song for posting today. Even I was surprised that this song is pending. It is from the 1962 film ‘Baat Ek Raat Ki’, and don’t know why, but I carried the impression that this was already posted. Khyati Behn’s message alerted us otherwise. And so, a double celebration, a double dose of memories and a wonderful song that these two exceptional artists worked together to create.
The interview is an interesting journey down the side lanes of memory. Majrooh Sb is talking about many music directors, but he spends most time on Burman Dada. I paraphrase some excerpts from the interview (published here) for our friends and readers.
On their working relationship and the mode of working together, Majrooh Sb recalls,
I had a great understanding with Burman Sahab and his son. You can say, it was all a matter of home (ghar ka sa mamla thha). Dada had a good knowledge of shayari too. He may not perhaps get the correct meaning of a particular jumla, but he would very well understand the entire ghazal or nazm or geet. He used to be almost in a trance when making a tune, sitting comfortably, never in a hurry.
He would even say, ‘Muzroo (he called me Muzroo), this line is not fitting into the tune, please change it.’ We used to sit for hours together working and on one song he would end up trying out scores of tunes, sitting right there. Coffee, tea and paan would be in steady supply. He never smoked but his son Pancham indulged in it.
He would reject his own tune. He would say, ‘Chhodo, this is not sounding good.’ Then he would catch another tune and start. Producers and directors would also come and sit with him. He would keep singing in full flow and creating tunes. Whichever tune got selected, he would get Pancham to write the notations right there and then.
On his selection of singers and rehearsals, Majrooh Sb says
Dada used to prepare each singer for each song himself. He would make them rehearse for hours on end, saying do it this way, not that way, bring in this effect. He would teach them by singing himself. Which singer would sing which song and in what kind of style – this was completely in his control and according to his preferences. That Pancham may have had too many add-ons or take-aways in any song in the recording, I don’t think this is really possible. He was very aware of his father’s temperament.
Talash was a film we were working on together. There was a duet in it of Rafi Sahab and Lata ji – ‘Palkon Ke Peechhe Se Kya Tumne Keh Daala Phir Se To Farmaana’. In that song, there is a bit of humming by Rafi Sahab… he starts his with a “hmmmmm” before his line begins. So many times that humming was tried and every time how Rafi is supposed to sing it – four days were spent on perfecting this (humming) alone. He used to pay huge attention to perfection
On the singing expertise of Burman Da
He used to sing very well and with a lot of expertise. There were so many times when he would be singing to train the singer and Lata or Asha or Rafi Sahab were not able to render the song like he did so he would simplify it a little. He would say, here you are, now sing it. There was no one parallel to him in gaayaki.
Let me also mention this here, he used to himself sit on a carpet on the floor and create his compositions. Then we would all sit there. Rafi would rehearse and train with him for hours. He used to say, he (Dada) is a University of music. Whatever you learn here proves to be very useful in every recording. He used to respect Dada a lot. Dada also was very fond of Rafi. And Lata too. Whenever Dada would simplify a tune a little, she would insist on trying it (the tricky composition) once more.
For the Talash song, ‘Khaai Hai Re Hum Ne Kasam Sang Rehne Ki’, Lata was not able to do it correctly the first day. She kept coming for two, three, four days to practice till the time she was able to render it in a a satisfactory manner. Everyone knew Dada was a superior singer and anyone else would find it tough to match up to him.
On his preference for less orchestration, Majrooh Sb says,
He used to be a little nervous about recording and orchestration. He was not fond of too many instruments or musicians. He would be comfortable with as minimal use of instruments as possible. Pancham usually would handle this but when he (SD Burman) would come to the recording, he would sometimes do away with quite a few musicians. He would say, if you load so many ornaments on the song, the song would get hidden. Remove this, reduce violin here, remove two percussion, etc.
Both Burman Dada and Majrooh Sb started their careers in the industry at about the same time – in 1946. Burman Dada’s debut film is ‘Eight Days’ and Majrooh Sb’s debut is with the film ‘Keemat’. They continued to work in parallel for more than a decade before they came together finally in 1957 for the first time. The film – Navketan’s ‘Nau Do Gyarah’. From that point onwards, till the passing away of Burman Dada in 1975, both worked together in about a score of films. Together, they created some wonderful musical bonanzas, as in ‘Nau Do Gyarah’ (1957), ‘Paying Guest’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Kaala Pani’ (1958), ‘Solvan Saal’ (1958), ‘Sujaata’ (1959), ‘Bambai Ka Babu’ (1960), ‘Manzil’ (1960), ‘Teen Deviyan’ (1965), ‘Jewel Thief’ (1967), ‘Talaash’ (1969) and ‘Abhimaan’ (1973).
This song is from the 1962 film ‘Baat Ek Raat Ki’. It is picturized as a roadside tamaasha song. A group of street acrobats and performers are singing and dancing, and yes walking the tightrope too, to make a living. Walking the tightrope combines so well with the ‘mukhda’ of this song, “Jo Hain Deewaane Pyaar Ke Re, Sadaa Chalen Talwaar Pe”.
The primary performer is Waheeda Rehman. I am not able to place the rest of the performers, and I request other friends and readers to please help identify some of the main performers. I think the bearded person who repeats the line “Guru Ne Theek Kahaa” during the course of this song – he is Nana Palsikar. But I could be mistaken.
The primary audience is a an elderly gentleman. The actor is Jagdish Sethi. In the film, he is a producer of films. As he watches this performance, he is making up his mind about picking the lead dancer from this group, i.e. Waheeda Rehman, as the heroine for his next film.
With this song, this film joins the growing tribe of films that have all their songs showcased on our blog. So we have a ‘YIPPEEEE’ moment at hand. I would like to remind the readers that the acronym coined was deciphered just about a year ago, the Regulars Meet at Bangalore. The complete form of this oft repeated exclamation is ‘Yahoooo In Pentamodal Project of Euphonious and Enchanting Enjoyable Entities’. I remind, lest others may forget. ;)
Enjoy this fun song based on Marathi folk, and joyfully remember Burman Dada and Majrooh Sb, on the anniversaries of their birth, today.
Acknowledgements and thanks are due to dear Arun ji, for his help to note down a few lines of this song, which are in Marathi.
Song – Jo Hain Deewaane Pyaar Ke Re (Baat Ek Raat Ki) (1962) Singer – Asha Bhosle, Mohammed Rafi, Unidentified Male Voice, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus
Lyrics (Provided by Khyati Bhatt)
haa. . .aa. . .
arre haa haa
arre ho ho
arre he he
arre ha. . .aa. . .
guru ne thheek kaha
agdam bagdam baaje dhol
sambhal pori jaayeel tol
arre sambhal
arre sambhal
are sambhad pori jaayeel tol
haan
aga baai ga
jo hain deewaane pyaar ke re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaaaa aaa
jo hain deewaane pyaar ke re
aa ho
aa ho
aaaa aaaa aa
aaaa aaaa aa
aaaa aa
aaaa aa
ho oo
kabhi kabhi pahunche ye
sajni ke gaon bhi
nahin to hua yahi
kat gaye paaon bhi
ho oooo oooooo
oooo haaye
kabhi kabhi pahunche ye
sajni ke gaon bhi
nahin to hua yahi
kat gaye paaon bhi
paaon kat gaye to phir
sar ke bal chala kiye
sar bhi kat gaya to phir
chal diye wafaa liye
paaon kat gaye to phir
sar ke bal chala kiye
sar bhi kat gaya to phir
chal diye wafaa liye
guru ne thheek kaha
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaaaa aaa
jo hain deewaane pyaar ke re
aaaa aaaa aa
aaaa aaaa aa
aaaa aa
aaaa aa
aaaaa
khinchi talwaar hai
jeevan rain ki
chali chali dhaar hai
duniya ke nain ki
ho oooo oooooo
oooo haaye
khinchi talwaar hai
jeevan rain ki
chali chali dhaar hai
duniya ke nain ki
tukde tukde ho jigar
wo chhuri ye pyaar hai
pyaar is ko na kaho
maut ki kataar hai
hoye
tukde tukde ho jigar
wo chhuri ye pyaar hai
pyaar is ko na kaho
maut ki kataar hai
guru ne thheek kaha
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
aaaa aaaa aa
jo hain deewaane pyaar ke re
sadaa chalen talwaar pe re
jo hain deewaane pyaar ke re
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हा॰॰॰आ॰॰॰
अरे हा हा
अरे हो हो
अरे हे हे
अरे हा॰॰॰आ॰॰॰
गुरु ने ठीक कहा
अग्ड़म बग्ड़म बाजे ढोल
सांभाळ पोरी जाईल तोल
अरे सांभाळ
अरे सांभाळ
सांभाळ पोरी जाईल तोल
हा
अग बाई गा
जो हैं दीवाने प्यार के
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के
आ हो
आ हो
आss आss आ
आss आss आ
आss आ
आss आ
हो ओ
कभी कभी पहुंचे ये
सजनी के गाँव भी
नहीं तो हुआ यही
कट गए पाँव भी
हो ओss ओssssss
ओss हाये
कभी कभी पहुंचे ये
सजनी के गाँव भी
नहीं तो हुआ यही
कट गए पाँव भी
पाँव कट गए तो फिर
सर के बल चला किए
सर भी कट गया तो फिर
चल दिये वफा लिए
पाँव कट गए तो फिर
सर के बल चला किए
सर भी कट गया तो फिर
चल दिये वफा लिए
गुरु ने ठीक कहा
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के
आss आss आ
आss आss आ
आss आ
आss आ
आssss
खिंचि तलवार है
जीवन रैन की
चली चली धार है
दुनिया के नैन की
हो ओss ओssssss
ओss हाये
खिंचि तलवार है
जीवन रैन की
चली चली धार है
दुनिया के नैन की
टुकड़े टुकड़े हो जिगर
वो छुरी ये प्यार है
प्यार इसको ना कहो
मौत की कटार है
होय
टुकड़े टुकड़े हो जिगर
वो छुरी ये प्यार है
प्यार इसको ना कहो
मौत की कटार है
गुरु ने ठीक कहा
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
आss आsssss आss
जो हैं दीवाने प्यार के
सदा चलें तलवार पे
जो हैं दीवाने प्यार के
