Aaiye/Chale aaiye and Jaaiye/Chale jaaiye in songs: Are they the same or is there a difference?

I have been forced into temporary inactivity. During such periods I can do nothing but contemplate on some issues. I find thinking about Iran-US-Israel War, the Middle East crisis quite mind boggling, so I reflect on simple things like the Hindi film songs. Of late, my mind has been reflecting on the pairs, Aaiye & Chale aaiye; Jaaiye & Chale jaaiye. Is there a difference or are they the same? It seems there is indeed a difference in the connotation of Aaiye and Chale aaiye and Jaaiye and Chale jaiye. It appears to me that the addition of the adverb adds an extra degree of pleading. Look at these pairs:

1A. Aaiye meherban by Asha Bhosle from Howrah Bridge (1958), lyrics of Qamar Jalalabadi, music OP Nayyar

Asha Bhosle by her voice, and Madhubala by her emoting do seem to be sincerely inviting the patrons.

https://www.youtube.com/watch?v=go4ixEgnecg&list=RDgo4ixEgnecg&start_radio=1

1B. Dil ki mehfil saji hai chale aaiye by Rafi from Saaz Aur Aawaz (1966), lyrics Khumar Barabanqvi, music Naushad

But to my mind, the effort stands nowhere in comparison to this Rafi gem. It could be my weakness for Naushad, but the addition of Chale makes the song extra melodious.

2A. Aana hai to aa raah mein kuchh pher nahin hai, Bhagwan ke ghar der hai andher nahin hai by Rafi from Naya Daur (1957), lyrics Sahir Luhiyanavi, music OP Nayyar

Rafi sings a very serious bhajan, but look at the impact of the plain word, Aana hai to aa, as if you do not care.

https://www.youtube.com/watch?v=e2_mUvDpk-Y&list=RDe2_mUvDpk-Y&start_radio=1

2B. Akele hain chale aao jahan ho, kahan aawaz dein tum ko jahan ho by Rafi from Raaz (1967), lyrics Shamim Jaipuri, music Kalyanji-Anandji

Rafi again, now singing for Rajesh Khanna in one of his earliest films, when he had not yet become the Phenomenon. But now the lyricist has added the words, Chale aao and see its impact.

Jaaiye/ Chale jaaiye

The same phenomenon happens with the other pair, Jaaiye/Chale jaaiye.

3A. Jana hai to jaao manayenge nahin, nakhre kisi ke uthayenge nahin; aana hai to aao by Mahendra Kapoor  & Asha Bhosle from Bandhan (1969). lyrics Indivar, music Kalyanji-Anandji

Rajesh Khanna had had enough of Mumtaz’s tantrums; now he is not concerned whether she leaves him; he is not going to mollify her.

3B. Chale jana zara thehro kisi ka dam nikalta hai by Mukesh and Sharda from Around the World (1967), lyrics Hasrat Jaipuri, music Shankar-Jaikishan

Add ‘Chale’ to ‘Jana’ and there is an automatic pleading in the voice.

https://www.youtube.com/watch?v=UM13G1YFdnA&list=RDUM13G1YFdnA&start_radio=1

4A. Jana tha humse door bahaane bana liye by Lata Mangeshkar from Adalat (1958), lyrics Rajendra Krishna, music Madan Mohan

This is a beautiful composition, sung equally poignantly by Lata Mangeshkar. But in the plain “Jana tha humse door”, there is a resigned acceptance.

https://www.youtube.com/watch?v=pvwC9c81esY&list=RDpvwC9c81esY&start_radio=1

4B. Chale jana nahin nain mila ke sainya bedardi by Lata Mangeshkar from Badi Bahan (1949), lyrics Rajendra Krishna, music Husnlal-Bhagatram

Lata Mangeshkar again. She sings a great song. But now there is Chale jana (nahin), the lyricist, too, is the same.  There is an impish Geeta Bali pleading to the man: Don’t go away after falling in love with me. I can see Pran on the screen, his expression seems to be that he is up to his familiar tricks of seducing a girl for ulterior purposes.

Aaiye-Jaaiye in the same song

We just saw jana hai to jaao-aana hai to aao in the same song #3. I have come across at least a couple of more songs which has both aana and jaana in the same song, in a more conspicuous manner. Both are my great favourites: one from the 50s, when SJ were the tops. The other from the 60s, composed by SJ-successor Laxmikant-Pyarelal.

5. Aate jaate pehlu mein aaya koi, mere dil batla na chhupa, aaj se tujhe dil kahun ya dilruba by Lata Mangeshkar from Yahudi (1958), lyrics Shailendra, music Shankar-Jaikishan

The bonus of this song is a happy Meena Kumari, dancing with gay abandon. SJ have composed some beautiful dance songs in the voice of Lata Mangeshkar. I like the eye-candy, chirpy Meena Kumari, dancing and laughing with joy. I find it sad that she transformed herself into a weepy, suffering sati savitri.

6. Aane se uske aaye bahar jaane se uske jaaye bahaar, badi mastani hai meri mehbooba by Rafi from Jeene Ki Raah (1969), lyrics Anand Bakshi, music Laxmikant-Pyarelal

During the late 60s and early 70s, LP were belting out such superhit songs in the voice of Rafi (and Lata Mangeshkar) routinely. Their rhythm was infectious. They were on way to breaking all records and displacing SJ from their pedestal. This song also uses the pair of words aana-jaana. Not my as great a favourite as their early 60s composition, but they had by now mastered the art of winning Filmfare Awards.

But I have not yet come across songs which uses both words with the emphasis added, chale aana-chale jaana. Since I am not able to locate songs with the tandem pairs, the best I can do is to give you my Vintage Era favourites with chale aana, and chale janaa.

7. Kabhi yaad kar ke gali paar kar ke chali aana hamare angana by Chitalkar and Binapani Mukherjee from Safar (1946), lyrics Gopal Singh Nepali, Music C Ramchandra

C Ramchandra was quite a genius. Whatever he sang became a superhit. This is one of his earliest hits. Note how the emphasis Chali aana hamaare angana embellishes the meaning.

https://www.youtube.com/watch?v=k4Z0nhfho8o&list=RDk4Z0nhfho8o&start_radio=1

8. Chale aana more raja wada yaad kar ke, chala aaun mori maina wada yaad kar ke by Paro Devi and GM Durrani from Heera (1947), lyrics Qamar Jalalabadi, music Husnlal-Bhagatram

Several elements make this song remarkable. First, the best of Vintage Era singing. Paro Devi starts at a high pitch, typical of Vintage Era female singing. The Rafi-predecessor GM Durrani remains in his comfort zone – middle range, but the contrasting pair pull the song to great heights. These varieties have disappeared with the Lata Mangeshkar becoming the Female playback singer, post-1949. Then note the emphasis word Chale aana. Another noticeable point is that GM Durrani does not respond to raja with rani as you commonly expect, but with extra-endearing Mori maina. Husnlal-Bhagatram, the first famous duo of music directors created a recognisable instrumentation.

https://www.youtube.com/watch?v=6ueeJkx2jrQ&list=RD6ueeJkx2jrQ&start_radio=1

9. Phir chaahe to na aana O aan baan wale….Chale jaiho bedarda main roye marungi  by Rajkumari from Beqasoor (1950), lyrics Arzoo Lakhnavi, music Anil Biswas

For two chale aana songs, I have to end with two equally great Chale jana songs. The old master Anil Biswas was now overtaken by Naushad and C Ramchandra in popularity stakes. The latter had a magic touch of combining super-quality music with superhit, spectacular films. But the old master had not yet lost his creative genius. He composes a superb mujra in the voice of Rajkumari with the emphasis words Chale jaiho bedada main roye marungi.

10. Thahariye hosh mein aa lun to chale jaiyega by Rafi & Suman Kalynapur from Mohabbat Isko Kahte Hain (1965), lyrics Majrooh Sultanpuri, music Khayyam

Khayyam always maintained his top quality. This film from the mid-60s had many great songs. My special favourite is a fast-paced Mukesh-Asha Bhosle duet, Humse hoti mohabbat jo tumko, tum ye apna chalan chhod dete. It is rare for a film to have an equally superb Rafi-Suman Kalyanpur duet, Thahariye hosh mein aa lun to chale jaiyega. The combo word Chale jaiyega creates an ethereal impact.

Acknowledgement and Disclaimer
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