atul's bollywood song a day- with full lyrics


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.

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Bangalore Gangout – The Remote Version – In 10,400

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Us din mujhe achhi daant padi – got an earful to listen from the family.

But then, before I get to describe my travails of that day, and the reasons behind that, I must take a pause and announce the celebration for today. Yes, yes, we are at the 10,four00th milestone. Goodness, and here I was thinking that we are going slow, as our “fearless” leader is under the control and command of his superiors, and the pace these days is not his usual self, but when I checked the numbers earlier in the evening, of course nudged by Atul ji himself in an email message that actually got delivered 30 hours late – goodness, can you imagine something like that happen in the bookfaced world of today; ah but that is a different gripe that I will not dwell upon right now, and just say that soon as I realized that we are so smacking close to the century marker, that it all became a scramble, not that I was not ready with something, meaning this post, just that I was thinking, abhi do chaar din baad mein, to repair and finalize for posting, but Atul ji’s message changed all the priorities – and by the way don’t you also feel that this sentence now needs a full stop. Whew.

So, will return to the discussion on ‘Ulysses’ and James Joyce on another occasion. For now, it is welcome all to the Ten Thousand Four Hundredth post on this journey of unbeatable appeal and multiplying achievements. By the time you get to read this, the visitor counter has already clocked nearly 40,000 more visitors in just the last 10 days i.e. since 13th October when the six million mark was breached. And so, not just the achievements of the bandwagoneers, but also the visitors rate is a healthy average of four thousand per calendar day. That is a wow.

And plus it is also Diwali today. Greetings once again, to one and all – friends, readers and of course, co-conspirators. :) Have a wonderful celebration of lights that bring in blessings of peace and happiness into your household. Cheers to all.

And, now where was I. Ah yes, I had just started ruminating about the tribulations that I had got into, on 5th October, the day of the jackal; no sorry, wrong author; the day of the gangout.

Picking up the thread where I had started a few paragraphs earlier – Us din mujhe achhi daant padi – got an earful to listen from the family. Waah, kya mazaa aaya, both with ghar ki family and gangout family.

To put it in context for those who may not be aware. I was initially planning to come down to Bangalore for the get together. Being festival days, a family get together was also planned at home. As luck would have it, it got decided for the same day. I tried to get it changed, but too many other variables were there. So I relented and stayed home. Now the extended family were all at home on the ground floor. All was sailing along pretty well and smooth. And then. . .

And then around 11.10 am, the phone rang.

Now, why is it that the ring of the phone sounds sinisterly creepy, when something of ominous flavor is about to happen. Suddenly that ring of the phone seems to be the only sound present in the room, despite that there may be twenty people talking in that room. That day, that call, that ring – it felt that way.

The freezing voice at the other end was that of Mastermind, trying the NA Ansarique effect. It would send cold chills running down the spines of seasoned henchmen. The message said that the mob had gathered. It was important for all mobsters to attend, since the heist being planned was really a big one. And all hands would be required for the operation. I was given the secret codes to dial into the Mastermind’s den, in the secret bunker in the electronic city down south. Of course, my absence in person was coldly disapproved. Signing on to the hideout hotline would be the only redeeming factor if I intended to avoid walking the plank. And the line was cut, the suddenness adding to the already thick air around me.

So unceremoniously taking leave from the family gathering, I ascended to the hidden communication center (a la ‘Aankhen (1968)). The codes were for a new and refined messaging system that had to be downloaded from a secret center in the Andes mountains of South America. I did not know that Mastermind has branches as far down as Falkland Islands – wow, the tentacles of Bombay industry are really spread far and wide. And with Mastermind, one is always in for a surprise.

I set up the comms and downloaded the new messaging software. At precisely 11:27 the message arrived from the bunker that my login into the gang network was accepted. The images slowly started to form on my computer screen, like the fog clearing up and the images of the portended adversary starts to form on the crystal ball of the wicked witch of the south tower. The first one to come in focus was Katie, also known as Ben Katie, the attractive and beautiful blonde gang member who had dialed in from across the seven seas, from the land of Al Capone and Don Corleone. I could go on about the beauty of her face and her eyes, but before that she chimed in with a gruff ‘kemchho’, and I was brusquely reminded of our first tryst in the distant land when I had made the momentous mistake of handing over the red rose meant for her, to another damsel in flight. I was still trying to figure out an appropriate set of words to once again apologize to her, when the second image flashed in and formed on the screen. This time it was the bunker down south, and the image of the Mastermind was prominent in a bright red shirt. His standard dress when he has to address the gang members. He seemed to be bright and relaxed, but I was saddened a little bit to observe that the last of the black has left his hairline, leaving behind a hay field covered with snow. Maybe that is where he gets his freezing accent and icy temperament.

As the scenario at the den cleared up, I could see a very domesticated and social scene. Mastermind has his ways to camouflage the scenarios very expertly, since the onetime three years ago when an electronic eavesdropper had taken video recordings of an earlier such meeting that were selectively leaked to the authorities. Our Mastermind was still a few steps ahead in the game and was able to leave that particular hideout (in Zurich) ahead of the police raid, and headed to Amsterdam where he is based now. He still rues the loss of the Zurich bunker that was complete with the bar overflowing will wines of all vintage, the card tables, slot machines, the band on one side including the essential bongo players, the dancing girls in skimpy outfits, the roving hostesses with bunny ears, and the bouncers, big and heavy, with a menacing look on their faces that could freeze the most expressive conversationalists. Plus yes, it had one of the most modern projection theatres, where we were allowed to watch only the reel stories that included Helen and NA Ansari.

The scene that presented itself today was a far cry from the original. But I know Mastermind. He has learnt the electronic tricks very quickly, and now has the knack of showing in the frame what he wants the world to see. Just like the geniuses of the ilk of Satyajit Ray and Michaelangelo Antonioni. He knows and he manages everything in the frame and outside it. But lets the world see only the frame. And as for the bouncers, today I could see just one such person also wearing a red T-shirt with black stripes, trying his hardest to conceal the frowns and the menace in his facial muscles behind a large smile of sparkling white Pepsodent teeth. He was smiling too often and that was a giveaway. Maybe needs more training from the Mastermind.

The ladies of the mob were very respectfully dressed, and I marveled at the Mastermind’s eye for detail. I knew that the guns would be just an arm’s length away, just on the edge of the frame. But in the frame, it was really a very homely scene. No matter now experienced the eavesdropper be, now there is no way to get anything out of the Mastermind’s frame and its transmissions across the international net. Gosh, even the food was planned so well. Now I was feeling like a cad for not having traveled down to the bunker for the meeting.

Introductions came into order. Some of the gang members I had met before. I mentioned Ben Katie a few sentences before. Also present was Whiplash, the newest and the youngest recruit to the mob, who also goes by the name of Peevesie. To the unlettered unfortunates of this world, it sounds like a code for an adhesive, but for the more erudite in the human race, she is the young spirit of chaos. Surely one marvels at the Mastermind’s planning. In sticky situations, especially when there is danger to life or limb, or one is stuck on the alphabet letter to identify suitable lyrics, what one needs is a diversion. What a better agent for that than Peeves (blessed be JK Rowling). The young lady was accompanied by her mother. And in case you are unable to guess, she goes by the name Peevesie’s Mom. The cryptic-ism fits so well into the gang. Glad to know that at least one family is carrying forward the gang traditions. That is a healthy start and a very positive outlook for future generations and for the ultimate good of mankind and this world.

I have had the good fortune of hosting both of them on a very curricular and academic visit that they made to my city few months back. One is always glad to see the best side of co-conspirators – lends a lot of confidence and gumption to the team. I say this because I was a bit taken aback to see the fierce side of Peevesie’s Mom. In one of the images (code no. DSCF9550) that got circulated after the meeting, she is carrying the expression that enough to stop in tracks, any weak hearts that be subjected to it. I was later to find out that Mastermind was telling about the security breach at the Zurich bunker and how the electronic eavesdropping had happened. Turns out that it was an inside job, and when Mastermind revealed the name, that is when the expression to kill came on that otherwise docile face. :D :D

Coming to the gang members I had not met before. But before that, I must bring up an important point. As I scanned the scenario, and also confirmed from the images later, every member present at this meeting in the bunker had a part of dress that was red or a variation thereof. I must remember this for the future meetings, and so must you. You must have an attire that has a red piece, or else you will be denied entrance to the meeting. Mastermind, Peevesie, her mom, the menacing strong man (I will come to him in just a bit), all were wearing a red top. And the other two ladies, although not wearing a red top, were still compliant to the rule by wearing red trousers.

So coming to the two ladies. One of them, who was wearing a yellow top that day, goes by the name Aparna HM. (Some diligent digging on the side reveals that HM stands for Her Majesty). I daresay, she has a dignified and stately presence – a lady of few words. I have been in electronic communication with her earlier on the matter of the mob, and it was nice to be introduced to her in person. And the second lady, we were informed, is Savitri ji, the sister of Mastermind. As reported, her presence was in the role of the formal host to the gangland gathering, and she was also the arranger and provider of the gastronomical fare, to see the gang members through the grueling day that is was supposed to be

And now that leaves the strong man. This ‘gentleman’ (given the constant smile, I must say), belongs to the region further east of the bunker location. There have been rumors that he is the driving light behind (or maybe in the front of) the ‘Chennai Express’, but these assertions are as yet unconfirmed. It seems he had traveled overnight to be present for the meeting. He came all armed and prepared with the electronic gizmos to ensure that no security breaches would happen at this meeting. He is known in the gang as the ‘YIPPEEEE’ hood. The pseudonym continues to be a mystery thus far within the gang. Mastermind has allowed him to take liberty with the code name, since he is running some very important technical projects for the gang. I have tried to ferret out this information from other members who know him more closely. None is sure, but it is possible that the code name stands for ‘Yahoo In Pentamodal Project of Euphonious and Enchanting Enjoyable Entities’. The definitive description of this expansion of the acronym will be known as soon as one of the gang members will have enough courage to ask ‘Déjà vu 007’. Ah yes, that is the code name of the ‘gentleman’ strong man. He has won his spurs following the trails laid down by the now legendary James Bond of the Universal Exports of London, and the Déjà vu part comes from the iconic ‘You Only Live Twice’ adventure of his idol.

After the introductions were done, the next item on the agenda was the individual reporting by each gang member. For this, Mastermind had laid out a brilliant scheme. In the remotest of remote possibilities that any intruder into the electronic space was trespassing, one – he would get no visual information, because of the domesticated frame that had been set in the visual of the messaging system, and two – if someone was recording the audio he would simply get no information about the gang’s machinations and undertakings, since the conversation was codified in musical terms. The eavesdropper would be convinced that the group was playing a game of ‘Antaakshri’. The fact that all members of the gang are confirmed dyed-in-the-wool fans of music, and they carry such in depth knowledge that it is routine for all of us to be communicating all gang related information in musical terms, be it verses, melodies, translations or even qawwaalis. Well, you have to be able to join the gang to get the real flavor of this expertise. And oh yes, by the way, you need to have this expertise to join the gang. Now you may want to mull over it as to what comes first.

So, in any case, the reporting was started and each member who was present in bunker, and those who had logged in remotely, i.e. Ben Katie and myself, we all were supposed to present our reports in musical terms to the group. I was somewhat unprepared with my homework, and was hesitant, lest my reporting be construed as erroneous and out of tune. Ben Katie came to my rescue at this moment, with the assurance that whatever technical expertise Déjà vu had brought with him to this meeting, he still does not have an electronic method to transfer rotten eggs and rotten tomatoes across the internet space to remote participants. And so, the two of us were very safe. This thought was such a relief, after which I whole heartedly participated in reporting activity.

To a casual eavesdropper, it may sound as a load of tuneful gibberish, but the message was well received within the team. As for me, I was to report on my information gathering activities of the recent few months. For my latest assignment, I had actually got into a sticky situation recently. While trying to extract the schedule and sea route information on the next consignment of gold coming in from South Africa to the government of India, I had slipped up a little bit. And I had a lucky escape by just a razor’s edge, with a couple of rose cheeked female operatives hot on my heels. Any other day, I would gladly have let myself be overpowered by such enchanting and gorgeous pursuers, but not that day. It was a matter of gangland honor. So my report was presented as follows,

Laal laal gaal jaan pe hain laagu
O dekh dekh dekh dil pe rahe kaabu
Ho chor chor chor bhaag pardesi baabu

While this reporting round was in progress, we heard a crackle on communication channels. AKD, also known as ‘AK Country Face’, was trying to connect in from the western region, that is the famous playground of the likes of Chhota S and D Ibrahim. Ben Katie was the first to catch on, and happily announced the arrival of AKD. He seemed to be having some problems in connecting into the channels. So I got onto a direct voice call with him and tried to help him. We got him into the system but the problems continued. Sometimes it was the visual that played truant, and other times it was the audio that simply wouldn’t duplex. If we heard him, then he could not hear us. And the other way round, if he heard us, we couldn’t hear him. Intermittently, the connection would be full duplex, but such interludes lasted just seconds. As soon as we seemed to have an established channel, Mastermind requested AKD to give his report. But unfortunately, the channel started getting noise amplification, and the connection was lost. This scenario got repeated multiple times in the next one hour or so. Every time we thought we had a settled connect, Mastermind would address AKD requesting for the report. And swearing by the wave packets on the internet, each and every time the connection was lost. After the first couple of times, it almost became comical, and predictable. The visual of AKD would appear, his sound would come thru, Mastermind would request for the report, and voila, the connection is gone. So much so that as it progressed, in the later iterations, Mastermind simply had to say ‘AKD?’, and whoosh, the image would evaporate and silence descended on the line. After a few trials, AKD gave up trying to connect in.

Just a side thought here, I am sharing with you, please do not say anything to AKD. I think he too was not prepared with his home work for the meeting, i.e. the report out to the team. Now why else would the connection be lost every single time when he was requested to give the report. That is too much of a coincident. But in any case, the matter of further reporting was deferred to the next meeting (which is to be scheduled).

Next item on agenda was the report out by Déjà vu on the ‘YIPPEEEE’ project. The massive data that has been extracted from various classified sources, has been categorized and catalogued as per the requirements agreed upon by the team. To maintain security and to avoid this data falling into wrong hands, Déjà vu has assembled the current latest version onto a high power, high security and high capacity solid state storage device. This is a steel encased device size of a tiny chewing gum strip, but I am told it will hold data that will fill at least 10 thousand pages. Now we know that the ‘YIPPEEEE’ project is in right hands. No no, I do not mean that Déjà vu has two right hands. He is very normal with one right and one left hand. I mean the project is being managed by the correct person in the team.

Déjà vu also explained that the device will be physically sent to each member of the gang, so they can make copies of data for future reference, reporting and usage. As per current status, the device has already passed through the hands of our fearless leader, Raanchiwaala Gaanewaala, and has now reached me. I am supposed to send it forward to AKD now.

At this point, lunch was announced by the gracious hostess at the bunker. It was a silent sigh of relief that escaped my lips. No, no, food was not the main thing on my mind. I was fasting that day. The relief was that I got a break to descend into my family gathering for a few minutes, to mend some offended minds.

Joining back after lunch, the gathering was enhanced by the arrival of an as yet non-member, invited on special request to attend as an observer cum participant. As I gathered from the conversation, it was kind of an initiation for her into the gang. Her name was codified as ‘illuminating’. She is a friend of Déjà vu. The members present very much appreciated the fact that she already was adhering to the dress code for these meetings. (Please see above, for details about the dress code). She participated actively in the initiation and does seem to be a promising candidate to join the gang.

The first item on the agenda after lunch was related to gangster training. Déjà vu is a big one on training and is continuously upgrading the skills of team members. For this session, he had brought with him a code scrambling software. The conversation and the inter team messages are already codified in form of Hindi film songs before being shared or transmitted. At this session, Déjà vu took this dexterity to the next level of complexity. The software he brought would further scramble the messages codified as Hindi film songs, and then play them back. The contest was to identify the correct Hindi song code from the scrambled version that was being played. It was somewhat a difficult task, but then the team is also very well versed with this codification by now. Across the team, we were able to identify 80 to 85 % of the codified and scrambled messages. We all deserve a good pat on the back for that. :)

At this point, Mastermind threw open the floor and free conversations flowed. Topics from all aspects of gangland activity were covered – financial transactions through Papua New Guinea, automotive consignments going in containers, from Australia to Peru and Bolivia, tomatoes and jack fruit shipping from China to Maldives through the Straits of Martban, setting up the neo-Dunkirk beachhead, ahead of the posited change in the EU governance that is being so masterfully negotiated by Mastermind sitting in Amsterdam, plans for the pan-Asian single currency policy akin to the Euro plan in Europe (incidentally, the name suggested for this currency is ‘Me:)’ as opposed to ‘Eu-ro’), technology options for re freezing of the Arctic ice cap and the fees to be charged to world governments etc. On this last item, Déjà vu reported that Lesotho, Afghanistan and the central Asian republics have refused the offer, saying they do not have a coastline, and so the melting or freezing of the Arctic ice cap is inconsequential from their perspective. Ben Katie was charged with the task to convince these states that the Arctic ice cap still mattered for these states, and that they cannot refuse paying the fees that other nations were to be subjected to. Aha, knowing the persistent and persuasive temperament of Ben Katie, this is a job that is given to just the right person. ;)

In case you are wondering – ah yes, this entire conversation was in music code, just as the individual reporting that happened before. All the names, terms, events, plans etc. were codified in terms of Ghulam Haider, Khemchand Prakash, Sahir Ludhianvi, Hansraj Behl, Mahendra Kapoor, Paakeezah, Laxmikant Pyaarelal, Ravi, Rafi, Sudha Malhotra, Mubarak Begum, Ilyaraj, Bappi Lahiri, RDB and Kishore Kumar, AR Rehman, Shailendra, Shammi Kapoor, GM Durrani, Khan Mastaana, Asha Parekh, Jeetendra, so on and so forth. The planning was just perfect, and so was the contributions by all gang members. Any casual eavesdropper would have mistaken this meeting to be a gathering of the diehard lovers of Hindi film music.

After another one and one half hour of this open floor exchange, Ben Katie announced the departure from the meeting. It was getting to be 2 am in her time zone, and she had activities planned for the subsequent morning. After about another hour or so, Peevesie and her mom announced their departure from the Bunker as Peevesie had some travel planned for next day. The rest of the meeting still continued with the same steam, with one notable change. With the departure of the three ladies, Ben Katie, Peevesie and Peevesie’s Mom, it seemed that Mastermind came in to his true presence. The rest of the meeting was monopolized by the near total monologue by him, outlining his plans for the new world order, takeover of the financial-industrial complex of the three major continents, plans for the protection of living species of all colors and flavors, setting up of new technology initiatives to disprove the Darwin’s theory of evolution that in any case did not explain 95% of the world’s natural inhabitants, setting up of the new world architectural authority to oversee all aspects of usage of wood and clay in construction of new habitation, plans for cultural and artistic reciprocal exchange agreement with the social authorities on the inhabited planets in Alpha Centauri and Andromeda Miniora and more. He was the gushing self that he is known for, brilliant in more than just patches. But most of us though were left wondering – why after the departure of the three ladies. :D :D.

And of course, if you are still wondering , this entire exchange was also completely and meticulously codified in Hindi film music terms, just as all the conversations for the day that went by. The topic and terminology simply kept on expanding to include the detailed discussion on Rafi songs, Hemant Kumar and the music of Naagin, music of the some of the lesser known directors in the industry, and many many more. From all appearances, it was clear that the team is all very well honed in this craft by now.

We all contributed our bits to this exchange. I was taking short breaks in between, to present myself at the family gathering in progress, but would soon return to my station, lest I would miss any major item that needed my inputs and attention. Then, just past the 6.30 pm mark, the consensus announcement was made to close the meeting for the day. Déjà vu had travel to accomplish to reach back his habitation, and others, including myself, had other things to return to. I closed the work station and descended to the family gathering. And I repeat what I said at the beginning of this report – mujhe achhi daant padi – got an earful to listen from the family.

But the good thing is that all participants agreed to declare this day’s convention as a rip-roaring success, and unanimously passed the resolution to have follow up get togethers. Next possibility that was suggested and is under consideration is the gangout in Bombay in December, when Ben Katie will be in India on a planned trip. Plans are afoot and the participants are requested to post their suggestions, ideas etc. Schedule and agenda decisions will be circulated soon.

And so ended the marathon day. There are two items that still need an honorable mention, that have not been covered in the above report.

The first relates to the gourmet details that were incidentally shared after the meeting, in electronic exchanges. Gosh, what a feast to miss. I would have jogged all the way from my city to the bunker in south, had I known the details, and had it not been a fasting day for me. From little that was exchanged, here are some details of the gourmet fare that was arranged for that day. The following is the real quote from the message sent by Aparna HM – “Rajaji’s sister toh stuffed us with varieties of food. Dosas, coffee, tea, juice, pulav, chapaatis, raitha, rasam, rice, biscuits, chakkuli muruku and what not!! Are you people thinking that we are gluttons?? Yes, all of us were that for a day, each dish was invariably delicious. Ooohhhhhh!!!!”.

To the above, Sadanand ji responded with the following note – “When Bangalore Gangout meet was in progress. I was on my way back to Mumbai from Kolhapur. In any case, with so many of my favourite breakfast items mentioned , I felt Google Hangout was useless for me even if I was successful in using it. “Hangout mein ‘meet-up’ ho sakta hai per ‘eat-up’ nahin ho sakta.”

Sadnanad ji, I am so much in agreement with you. And I continue to regret the timing and my decision not to be present in person at the meeting. :(

The second relates to another exchange that followed the discussion on the gastronomical fare. It started with Aparna HM announcing that- “I am not much of a talker, like to listen and observe. But between Mastermind, Peevesei and Peevesie’s Mom, meri toh bolti band ho gayi.”

What followed was totally unbelievable. The participants and even non-participants piled on rapidly, one over the other, to claim the fame of being a quiet person. The rub is that everyone, and I mean everyone, claim this honor, whereas we know, especially from the days’ proceedings, some of these claims WILL NOT hold water. But I say that without specifying, and leave it to the readers to come to their own conclusions.

First it was Thandapani from far, far north, one of the non attendees. Then came Déjà vu, followed by Bharat ji from the land of AKD. Then the surprise one – from Peevesie’s Mom. And then the bombshell from Mastermind himself – if, as he said, if Peevesie’s mom claims to be a “quiet” type, then he too is a “quiet” type. There was an immediate expression from Peevesie’s mom, who beat me to this comment – Sub log quiet hain toh hum bhi quiet hai…. Toh phir yahan bol kaun raha hai.

Million dollar question – yes, if everyone claims that they are the quiet type, then who was doing the talking that day? I continue to wonder. . .

With that poser, I close this remote report out to the Bangalore Gangout of 5th October. Maybe this enigma will get on to the agenda for the next meeting in December. Till then, just chill, and visit the blog daily.

Cheers

About this song. As I was searching for a zestful melody which talks of togetherness and singing, I ran across this wonderfully zany number from the 1952 film ‘Jeevan Nauka’. Now this film comes from down south, from Madras, the banner being K & K Productions, and is directed by K Wembo. Star cast includes B Saroja Devi, Indira Acharya, Baby Girija, Thikkurisi, Sukumaran Nair, Sabestian Kunju Baghaathaar, Muthukullam Raghavan Pillai, SP Pillai, Mathappan, Pankaj Valli and Jaanamma Jagthamma. Wo, that was quite a mouthful list of names.

The film has 13 songs that are written by Ramesh Gupta, Bharat Vyas and MG Adeeb. This song is from the pen of MG Adeeb. Also, there are two music directors, Shankar Rao Vyas and Pt Gobind Ram. This song is composed by Pt Gobind Ram. The singing voices are of Shamshad Begum and Mohammed Rafi. And as I said, a wonderfully zany number, put together very interestingly. Listen and enjoy.


Song-Prem ke suhaane geet ga (Jeewan Nauka)(1952) Singers-Shamshad Begam, Rafi, Lyrics-M G Adeeb, MD-Pt Govind Ram
Both

Lyrics

prem ke suhaane geet gaa
prem ke suhaane geet gaa
zindagi ke saaz par
dil ki awaaz par
prem ke suhaane geet gaa
raat ye suhaani hai
pyaar ki nishaani hai
prem ke suhaane geet gaa

taaron ki ye baaraat
kaisi khushi ki baat
hai tera mera saath
prem ke suhaane geet gaa

preet ke behne lagey dhaare
tere sahaare
ho jeevan naiyyaa paar kinaare

baahen galey mein donon daare
jannat se pyaare
dil ki baazi haare
prem ke suhaane geet gaa

o o o mere dil ki chaandni
(aaa aaa aaaa aaaaa)
dil mein samaa jaa tu
(aaa aaa aaaaaa aaaa)
o o o mere dil ke chaand
(ooo ooo ooo ooooo)
mere dil mein zaraa aa tu
(ooo ooo ooo ooo ooooo)
aarzoo hai tujhko meri
mujhko teri bhi
preet ke behne lagey dhaare
tere sahaare
ho jeevan naiyyaa paar kinaare

baahen galey mein donon daare
jannat se pyaare
dil ki baazi haare
prem ke suhaane geet gaa

hoo ooo ooo
la la la laallal la
laallal la la lalla

—————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————–
प्रेम के सुहाने गीत गा
प्रेम के सुहाने गीत गा
ज़िंदगी के साज पर
दिल की आवाज़ पर
प्रेम के सुहाने गीत गा
रात ये सुहानी है
प्यार की निशानी है
प्रेम के सुहाने गीत गा

तारों की ये बारात
कैसी खुशी की बात
है तेरा मेरा साथ
प्रेम के सुहाने गीत गा

प्रीत के बहने लगे धारे
तेरे सहारे
हो जीवन नैय्या पार किनारे

बाहें गले में दोनों दारे
जन्नत से प्यारे
दिल की बाज़ी हारे
प्रेम के सुहाने गीत गा

ओ ओ ओ मेरे दिल की चाँदनी
(आss आss आsss आsssss)
दिल में समा जा तू
(आss आss आsssss आsss)
ओ ओ ओ मेरे दिल के चाँद
(ओss ओss ओsss ओssss)
मेरे दिल में ज़रा आ तू
(ओss ओss ओss ओsss ओssss)
आरज़ू है तुझको मेरी
मुझको तेरी भी
प्रीत के बहने लगे धारे
तेरे सहारे
हो जीवन नैय्या पार किनारे

बाहें गले में दोनों दारे
जन्नत से प्यारे
दिल की बाज़ी हारे
प्रेम के सुहाने गीत गा

होss ओss ओss
ला ला ला लललला
लललला ला ला लल्ला

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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.

Today (23 october 2014) is the festival of deepaawali. This festival is supposed to bring joy and happiness in the lives of everyone. I can certainly vouch for that. My main computer that has been hijacked by my wife for the last few days was surprisingly available to me this morning. I wake up earlier than others on the pretext of letting the dog out and teaching the daughter. The dogs were wide awake as usual but my daughter (and wife) are not (as usual). That gave me the opportunity of sitting on my main computer and try and give finishing touch to the posts for the day.

Just as I thought I could get away unnoticed, I found my wife questioning me why I was seated on the computer. I assured her that I needed this computer only for another half an hour then it would be all hers for her to play her computer game. My wife is addicted to an old computer game installed in the computer and she has spent most of her waking time playing that game from last sunday onwards. :)

When not at the computer, she would nag me for getting the pending jobs in the household done. Why the electrician is not arriving ? why the gas supplier has not delivered the cylinder ? What are you doing about all that vegetation that has grown up all over ? etc etc.

After three days of her nagging, some progress was made yesterday. Electricians arrived at the house just as I was leaving for the office. After they attended the routine works, my wife asked them about the inverter (My inverter is out of order for last ten days, remember ?). The electricians gave her some vague address of a place where invertors get repaired. In the afternoon, I asked my wife and daughter to join me in going to this place. We took the invertor with us (my wife and daughter detached the two wires connecting the invertor with the battery while I looked on :)). After asking around, we managed to find the place. The owner took a look at the invertor and informed that the invertor was alright. Perhaps it was the battery that was defective. Let us bring the battery as well, my wife suggested. So we went back home. The battery is so heavy, why are we going to take that to the shop, I wondered. We managed to load the heavy battery in the car and went back to the repair shop.

Realising that the battery costed the most in an invertor setup, my wife gave me her main ATM card to withdraw money from an ATM. Recently, I changed her ATM PIN at her behest and told her the new number. Some time later, when she went to an ATM to withdraw money, she had forgotten the number and was unable to use the ATM card. She phoned me to ask the number which I did not remember either. She tried various combinations, at the rate of two combinations daily, but to no avail. There are some private banks that freeze the ATM card after two wrong combinations, but fortunately her sarkaari bank was more lenient. Recently, when she joined me during the dashara festival, she gave me the task of finding out the forgotten ATM PIN. After trying unsuccessfully for two days, I managed to find the correct PIN on the third day ! That came as a big relief to both of us and that came as a big relief to her for her shopping spree.

To cut a long story short, she said that the battery was going to cost money so we should have enough money for that. She gave me her ATM. I went to the ATM booth that I could found. I used the card to withdraw money and I got the message that the ATM did not have cash ! Fortunately there was another ATM in the booth. I typed in a lesser amount while using that ATM and fortunately that ATM had that much money.

Flush with the cash, we went back to the place where we had left our invertor. I stopped the car as close to the shop as the busy festival traffic would allow. While I stayed in the car, my wife and daughter took the battery towards the shop located on the first floor of the shopping complex.

After a while, I realised that people did not seem to mind my way of parking. One may park anyway one feels like here, as long as road traffic can pass. In fact the vehicle ahaed of me was so parked that it has blocked the road going to a bylane, but no one seemed to mind that either. Thus assured, I left the car parked and went to the shop.

The shopowner told us that the battery was defective as it had completed its life of four years and a new battery was required to be procured. He gave us an option of two batteries. We chose the one with three years warranty. How much does this weigh? I asked. The shopowner told us that the battery we were buying was 52 KG whereas our old one was 40 KG. My wife and daughter had brought 40 KG battery to the first floor shop without realising how heavy it was ! The shopkeeper sent one of his staff with the new battery to the car where it was kept in the car whereas that staff followed us in his two wheeler to our residence.

The invertor and battery were connected and the invertor began to function flawlessly as before. After that I am waiting for the electicity to go off so that the inveror may show its worth, but the spoilsport bijli is refusing to go away. :)

In the evening, when I momentarily got hold of the main computer while the wife was away, I found that internet was not working on the computer ! On diagnosis, the message flashed was that the wifi was switched off in the computer. The router was functioning all right because other devices (viz smartphones etc) were working on wifi alright. So it meant that the wifi in the laptop was accidentally swiched off. Blaming one’s better half is a risky proposition but then internet connectivity is a serious matter for me, so I took the risk of blaming her while she in turn tried to blame me and our daughter for it. In the meanwhile I tried to find the way of turning the wifi on. I asked my daughter to search the solution on her smartphone. We tried various sulutions. Then one solution given was that there was a wifi slider in the computer that had to be slided. I asked my daughter to search for it. She looked for it and found it in the front, towards the left. She slided it and the wifi got activated again. !

My wife now sheepishly admitted that it was her left hard that had stuck at that position and she had slided that slider without realising what it meant. So finally all was well.:)

On this occasion, here is a happy family song from “Amba”(1980). This song is a mega affair, as it is sung by five singers and chorus and it picturised on a whole kunba which is happy and is seen celebrating various festivals like Deewaali, holi etc. Manhar Udhas,Suresh Wadkar, Anuradha Paudwal,Kavita Krishnamurthy, Mohammed Aziz are the singers while the song is picturised on Shabana Azmi, Sujit Kumar, Dulaari, Kanwaljeet Singh,Anil Kapoor, Kiran Juneja, Jaya Mathur, Meenakshi Sheshadri, Radheshyam, Shivraj, Rajan Sippy, Sudhir Pandey, Birbal, Yunus Parwez, Master Rajat Dube, Satish Shah etc.

Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

Lyrics of this song were sent to me by Prakashchandra.

On the occasion of Deepaawali, I wish happy and safe deepaawali to one and all. Let the forthcoming new year bring joy, happiness and prosperity in the lives of all of us.

Audio

Video

Song-Ek swarg hai aasmaan par (Amba)(1990) Singers-Manhar Udhas, Suresh Wadkar, Anuradh Paudwal, Kavita Krishnamurthy, Mohammed Aziz, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

ek swarg hai aasmaan par
ek swarg hai dharti par

ek swarg hai aasmaan par
ek swarg hai dharti par

aasman ke swarg se sundar
swarg ye hamaara hai
wahaan jaane kya hai kya nahin hai
yahaan ghar hamaara hai

ek swarg hai aasmaan par
ek swarg hai dharti par
aasmaan ke swarg se sundar
swarg ye hamaara hai
wahaan jaane kya hai kya nahin hai
yahaan ghar hamaara hai

ek swarg hai aasmaan par
ek swarg hai dharti par

ho o o o
o o o o o
ye saari duniya kehti hai
iss ghar mein Amba rehti hai
iss ghar mein Amba rehti hai

o o o o o
o o o o
mat samjho ek makaan hai ye
devi maa ka vardaan hai ye
iss baat ka sabko dhyaan rahey
iss ghar ki oonchi shaan rahey

hamko maa tera kehna
jaan se bhi pyaara hai

wahan jaane kya hai kya nahin hai
yahan ghar hamaara hai
ek swarg hai aasmaan par
ek swarg hai dharti par

meri aisi bahoo
aise bachche
sanjog hai mere kitne achche ae
sanjog hai mere kitne achche

maa tu hum sabki maataa hai
tujhe kaun zyaadaa bhaata hai
iss ghar ki shaan hai tum sabse
meri jaan mein jaan hai tum sabse
koyee dil ka hai tukda
koyee aankh ka taaraa hai

wahaan jaane kya hai kya nahin hai
yahaan ghar hamaara hai
ek swarg hai aasmaan par
ek swarg hai dharti par

sapnon ke deep jalaao
aao pyaar ki jyot jagaao
aisi hai ye pyaar ki jyoti
jo kabhi bhi kam na hoti

ho o o o o
o o o o o
ye raat hai deeponwaali
maanaa hai aaj deewaali

maata teri mamtaa ka ye
saaraa ujiyaara hai
wahaan jaane kya hai kya nahin hai
yahaan ghar hamaara hai
ek swarg hai aasmaan par
ek swarg hai dharti par

ho o o o
aa aa aa aa aa a a aa
ho ohho o
ho ho ho o
ho ohho o
ho ho ho o

ho din aayaa bada ye rangeelaa
ho din aayaa bada ye rangeelaa
rang bikhar gayaa neelaa peelaa

ho mat chhed
haan mat chhed
qayamat kar doongi
teri maa se shikayat kar doongi
teri maa se shikayat kar doongi
tyohaar ye logon holi ka
yaa khel hai aankh michholi ka

pakdoongaa main peechhe daudoongaa
bhaabhi tujhe rang`ke chhodoonga

ankhiyaan kahaan hain devar ji
kahaan ye ishaara hai
ankhiyaan kahaan hain devar ji
kahaan ye ishaara hai
wahaan jaane kya hai kya nahin hai
yahaan ghar hamaara hai
ek swarg hai aasmaan par
ek swarg hai dharti par
aasman ke swarg se sundar
swarg ye hamaara hai
wahaan jaane kya hai kya nahin hai
yahaan ghar hamara hai
ek swarg hai aasmaan par
ek swarg hai dharti par
ek swarg hai aasmaan par
ek swarg hai dharti par


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.

Happy Diwali.

Greetings to all dear fellow travelers of this musical voyage, and all dear friends and readers on this blog. Another new celebration of the festival of lights – may it illuminate your life with the brilliance of joy and happiness. And may it bring blessings of good health, peace and satisfying prosperity – blessings that may come visiting, and then continue staying in your household. Till the time when it is due for celebration again, and this greeting will be refreshed – again.

The day that marks the return of Bhagwan Shri Ram to his home in Ayodhya, after a gap of fourteen years. Fourteen long and dreary and joyless years for the people of Ayodhya; years that were spent without the presence of Lord Ram amongst them. While this tenure was in progress, it seemed limitless and overawing. But when the day arrived and the dear Lord returned home, it was a celebration of happiness never seen before.

In the epic ‘Ramayan’, there is a description of two other fabulous celebrations, one when the Lord appears in family of Raja Dashrath, and the second when the young Prince is married to Sita, the daughter of Raja Janak. Both celebrations have been described in detail in the epic. Both celebrations are also portrayed as epitomes of joy and fulfillment. And yet, it is the celebration of the return of Lord Ram that is the most celebrated. For it is the day when, after a wait of fourteen long years, the people of Ayodhya, who had known the joy of His presence amongst them, and had lost him on a pretext, were reunited with His presence and His grace once more. The happiness knows no bounds, when one receives back something that is a source of joy and fulfillment, something that was taken away, and then finally it is returned once again.

It is a celebration of the second homecoming of this happiness. It is the return and the revival of joy into life. It is the time to light up so many lamps that the night becomes as luminous and dazzling as the day itself. Let this celebration sweep through not just your home, but also through your self, your being. With the prayers that this return of the blessings and joy is now forever.

Presenting another wonderful non film rendition by Rafi Sb for this occasion today. This songs comes from the other side of the 78 rpm record that also carries the other Diwali celebration song by him – “Falak Se Utre Zamee Pe Taare” . An NFS that is recorded sometimes in the 1960s, for which information about the poet and the composer is as yet not available.

Listen and enjoy. May this celebration of the visitation of Divine presence and fulfillment, remain with you always.

Happy Diwali.


Song-Aayi deewaali ki dulhaniya (Rafi NFS)(1960) Singer-Rafi

Lyrics

aayi deewali ki dulhaniya
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley
aayi deewali ki dulhaniya
phoot padey kirnon ke jharne ae
phoot padey kirnon ke jharne
laagey mann ko bhaley
laagey mann ko bhaley
aayi deewali ki dulhaniya

ban thhan kar aaye parwaane ae ae ae ae ae
jal jal kar deewali manaane ae
jal jal kar deewali manaane
log kahen deewali jisko
log kahen deewali jisko
pyaar kisi ka hans ke jaley
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley

aaaa
birhan ke ghar aayi deewali
birhan ke ghar aayi deewali
sang mein dukhde laayi deewali
sang mein dukhde laayi deewali
lok laaj se darr kar chaahe
lok laaj se darr kar chaahe
us ne kiya singaar bhale
aayi deewali ki dulhaniya

jug jug se koi deepak gaata
jalaa hua dil aur jalaata
apne mann ki pyaas bujhaata
in taaron ki chhaon taley
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley
jhil mil deep jaley
jhil mil deep jaley

——————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————–

आई दिवाली की दुल्हनीया
आई दिवाली की दुल्हनीया
झिलमिल दीप जले
झिलमिल दीप जले
आई दिवाली की दुल्हनीया
फूट पड़े किरणों के झरने
फूट पड़े किरणों के झरने
लागे मन को भले
लागे मन को भले
आई दिवाली की दुल्हनीया

बन ठन कर आए परवाने ॰ ए॰ ए॰ ए॰ ए
जल जल कर दिवाली मनाने
जल जल कर दिवाली मनाने
लोग कहें दिवाली जिसको
लोग कहें दिवाली जिसको
प्यार किसी का हंस के जले
आई दिवाली की दुल्हनीया

आssss
बिरहन के घर आई दिवाली
बिरहन के घर आई दिवाली
संग में दुखड़े लाई दिवाली
संग में दुखड़े लाई दिवाली
लोक लाज से डर कर चाहे
लोक लाज से डर कर चाहे
उसने किया सिंगार भले
आई दिवाली की दुल्हनीया

जुग जुग से कोई दीपक गाता
जला हुआ दिल और जलाता
अपने मन की प्यास बुझाता
इन तारों की छांव झिलमिल दीप जले
झिलमिल दीप जले
तले
आई दिवाली की दुल्हनीया
झिलमिल दीप जले
झिलमिल दीप जले
झिलमिल दीप जले
झिलमिल दीप जले

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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.

The festival season in India begins with the festival of Ganesh Chaturthi and we have one major festival after onther following in quick succession. This is the season that sees people in festive mood and in a mood to spend money and prop up the economy of the nation with their spending. :)

Today (23 october 2014) is deepaawali, easily the biggest festival in India. Legend has it that Lord Ram, after vanquishing Raavan and after completing his vanvas returned to Ayodhya on this day and the people of Ayodhya celebrated the occasion by lighting diyaa in their households.

As far as the business community is concerned, it is the festival of goddess Laxmi, the goddess of wealth. Everyone covets wealth, irrespective of their religious beliefs. So Deepaawali is a festival for all either as worshippers or as suppliers of goods that the worshippers buy. If one digs deep, one will find that the idols of Goddess Laxmi that one buys these days are made in China. :)

People do not just buy items of worship on this occasion, of course. This festival is supposed to be the occasion for splurging on big spending. I do not think that the ancient scriptures that tell us about this festival tell us about spending money on this occasion. “Deepaawali as the auspicious occasion for big spending”-this has to be one of the biggest marketing coup that has been pulled off in India with great success. We are told it is the right occasion for buying cars, mobiles etc. No matter how much one tries,one will fail to find out any references to buying of cars and mobiles on old references of the festival of deepaawali. :) But no one bothers, of couse. So people celebrate deepaawali by buying vehicles manufactured by Japanese, Koreans, German, Americans etc and by buying mobiles manufactures by Koreans, Japanese, Norwegians, Chinese etc. None of these nations celebrate Deepaawali, per se, but it is a big festival for them as well. :)

As far this blog is concerned, deepaawali is a big occasion for us as well. :) We stick to our core competency. Instead of telling our readers to buy something on the occasion, we discuss deepaawali related songs on this occasion. This happens to be the seventh deepaawali for this blog. And come to think of it, seven years of active blogging which saw considerable growth in the scope of the blog, is quite a feat for us.

Here is a song from “Bilwamangal” (1954) on this occasion. As many as eleven (out of twelve) songs have been discussed in the past. I had held on for this twelfth song for several months because this song happens to be a Deewaali song. Today is deewaali, so here is this song from “Bilwamangal” (1954). This song is sung by Suraiyya and C H Atma. D N Madhok is the lyricist. Music is composed by Bulo C Rani.

Lyrics of this song were sent to me by Nitin Shah.

With this song, “Bilwamangal” (1954) joins the list of movies that have all their songs covered in the blog.

And I take this opportunity to with all our readers a very happy and safe Deepaawali and a prosperous new year.


Song-O deewaali ke diye (Bilwamangal)(1954) Singers-Suraiya, CH Atma, Lyrics-D N Madhok, MD-Bulo C Rani

Lyrics(Provided by Nitin Shah)

o deewaali ke diye
o deewaali ke diye
ismein jalta tel hai
ya dil jale unke liye ae
o deewaali ke diye

o deewaali ke diye
aao kisi ki yaad mein
din raat mar mar ke jiyen aen

o deewaali ke diye
din to guzra
raat guzre na hamaari
badhi jaaye hai dil ki beqaraari

dil diya
duniya ke sab dukh le liye
dil diya
duniya ke sab dukh le liye
aankhon aankhon mein kisi ke ham na pyaasa dekhiye ae
o deewaali ke diye

wo bhi aataa
pyaar ko
do par lagaa ke
kathin hai manzilen
ya ??

rakh diye hain dwaar per dil ke diye
rakh diye hain dwaar per dil ke diye
pat khule nainon ke dono hain sajan tere liye
o deewaali ke diye
oh deewaali ke diye


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.

“Chalte Chalte” (1976) was produced by Bheeshm Kohli and directed by Sundar Dar for Kailashpati pictures. The movie had Simi Garewal, Vishal Anand aka Bhisham Kohli, Nazneen, Chandrima Bhaduri, Dr ShreeRam Lagoo, Dinesh Hingoo, Jagdish Raj, Ashalata Wabgaonkar, Hakim, Ratan Gaurang, N.Mehra, B.Paremeshwar,Ghanshyam Dubey, Jaswant, Jankidas, Tarun Ghosh, Dinu Harish etc in it.

Four songs from this movie have been discussed in the past. Here is the fifth and final song from the movie. This song is sung by Sulakshana Pandit and Shailendra Singh. The song is picturised on Vishal Anand (aka Bheeshm Sahni) and Simi Garewal.

Amit Khanna is the lyricist. Music is composed by Bappi Lahiri.

Lyrics of this song were sent to me by Prakashchandra.

With this song,”Chalte Chalte” (1976) joins the list of movies that have all their songs covered in the blog.


Song-Sapnon ka raaja koyee man mein thha jis ko basaaya (Chalte Chalte)(1976) Singers-Sulakshana Pandit, Shailendra Singh, Lyrics-Amit Khanna, MD-Bappi Lahiri
Both

Lyrics(Provided by Prakashchandra)

sapnon ka raajaa koyee
mann mein tha jiss ko basaayaa
aaj hamein mil gayaa hai
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

sapnon ki raani koyee
mann mein thi jo samaayee
aaj hamein mil gayee hai
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

aankhein meri
bechain si
tujhko piyaa hain nihaarthi
pichhale janam ke
saathi hain hum
saansein yehi hai pukaarthi
dhadhkan mein tum
aisse bassey
aane lagaa hai qaraar
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

tumhara jo dil
gayaa hamko mil
aur hamein kyaa chaahiye
haathon mein haath
sadiyon ka saath
aur hamein kyaa chaahiye
aansoon bhi ab
hansne lagey
jaagi khushiyaan hazaar

yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

ek aas hai
ek pyaas hai ae
sapne hamaare ek hain
sab dukh tumhaare
ab hai hamaare
khushiyaan hamari ek hain

hum jo miley
phool hain khiley
saraa jahaan hai bahaar
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

sapnon ka raajaa koyee
sapnon ki raani koyee
mann mein thaa jiss ko basaayaa
mann mein thi jo samaayee
aaj hamein mil gayaa hai ae ae ae
aaj hamein mil gayee hai ae ae
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar


This article is written by Satyajit Rajurkar, 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.

Mohd Rafi in the 70s
————————-
The introduction to my Facebook group “Mohd Rafi – The Virtuoso” starts with – “Rafi Saab ek ehsaas hai jise mahsoos kiya jata hai, bayaan nehin. Yeh ek naam hai jise sunte hamare dil mein sukoon aur chhehre par muskurahat aa jati hai (Rafi Saab is a feeling that is felt, which cannot be told. It is a name that brings a smile on our face and we feel relaxed). To us he is ethereal; someone from another world; larger than life. No less than a God. This one name evokes a million feelings inside us. We have a smile on our lips and tears in our eyes. In other words, we feel alive when we hear this name – Mohammad Rafi.”

Laxmikant and Pyarelal duo are the most successful composers of Hindi film music. They were at the top during the 70s and 80s, having started as performers in orchestras, becoming arrangers for Hindi film music, which often included ghosting for composers. They composed music for about 635 Hindi movies from 1963 to 1998.

Laxmikant learnt the violin with Husnlal while Pyarelal learnt music from the his father Pandit Ram Prasad Sharma as well as goan music teacher, Anthony Gonsalves. Pyarelal assisted Bulo C. Rani at Ranjit, while both of them assisted Naushad, C. Ramchandra and Kalyanji- Anandji. Their first film as music directors, Parasmani, yielded a major hit, Hansta hua nurani chehra. They broke through big time with Milan (1967), with the Lata-Mukesh duet “Sawan Ka Mahina”.

And what can one say about the lethal combination of Mohd Rafi and the magical duo of Laxmikant and Pyarelal?!? They have given us hundreds of songs {total of 369songs, including 186 solos}.

Praising Rafi Saab, Pyarelal Ji once said: “What can I say about a man jo tareef se bahut hi oopar hai, and had countless golden qualities? I am only able to feel my deep regard for him, not to express it. Rafi Saab aisi sargam thi jisse koi bhi raag ban saktaa tha. He could sing in any range or octave. If today’s composers are to flower, the Almighty should create nine Rafis more!”

Together the LP-Rafi combination gave us many treats and amongst Rafi saab’s best ever sung songs are those composed by L-P. “Tere pyar ne mujhe gham diya” from Chaila Babu (1967) lyrics by Hasrat Jaipuri was LP & Rafi saab’s first song together. It was recorded in 1961 but it got released in 1967.

Rafi Saab was to give L-P a major hit with Chahoonga Main Tujhe in Dosti. Over the years, he’s rendered a string of hits for the music directors – including Beimaan Hai Bada (in Loafer), Na Tu Zameen Ke Liye (Dastaan), Aane Se Uske Aaye Bahar (Jeene Ki Raah), Chalkaaye Jaam and Hui Shyam Unka (Mere Humdum Mere Dost), Yeh Jo Chilman Hain and Itna To Yaad Hai Mujhe (Mehboob Ki Mehndi), the title songs of Patthar Ke Sanam and Khilona title song, Jhilmil Sitaron Ka (with Lata Mangeshkar in Jeevan Mrityu), Parda Hai Parda (Amar Akbar Anthony), Dafliwale (with Lata in Sargam), Dard-e-Dil (Karz) and scores of others. In fact, Rafi’s last song Tu Kahin Aas Paas Hai Dost was recorded for LP for the film Aas Paas.

LP were the staunch Rafi loyalist throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music. Laxmikant-Pyarelal’s tunes used to be very simple but at the same time it used to be extremely sweet, catchy and melodious. When it came to composing great and classy music, LP were in a class of their own. Their melody and orchestration was outstanding and the variety in their work was excellent.

Rafi Saab voice was extensively used by this duo in all forms of film songs – Classical, Folk, Qawwali, Western, Lori, Bhajan, Ghazal etc. They were also outstanding at exploiting several instruments, including their favourite Dholak, Tabla, Violin, Guitar, Bongo, Piano, Santoor, Sitar, Mandolin, French Horn, Rabab and many other Indian as well as Western instruments.

LP churned out song after song with Rafi Saab from “Parasmani” till “Aas Paas”. The songs were simply out of the world.

Pyarelal has plenty of memories of Rafi Saab, among which, some are mentioned below, for the benefit of Mohd Rafi fans:

“Rafi Saab was like a farishta. No other word would be more appropriate to describe him” he recalls “He talked less and had a special style of nodding his head. He always looked down and talked, no matter whom he talked with. For him, everybody was the same, and he talked to everybody in the same tone,” he points out.

“Rafi Saab had a special habit of keeping his car spotless clean”; “Another thing he loved was good food. He’d have a lavish meal whenever he could,” he says.

Pyarelal, however, points out that Rafi rarely went to parties. “He liked to stay in his own world, and concentrate on two things – namaz and riyaz. But he has come to my birthday party twice. They may be among the exceptions he made, but we were so close,” he adds.

On Rafi Saab’s approach towards singing, Pyarelal says “He was God-gifted. He used to do so much riyaz that everything looked so simple. Then, he would modulate his voice to suit each hero, whether it was Dilip Kumar, Bharat Bhushan, Rajendra Kumar or Shammi Kapoor.” Pyarelal says Rafi was a strict disciplinarian when it came to work. He elaborates: “He never cancelled any recording, even if he had a 1020F temperature. In fact, he was the first singer to regularly go on foreign tours. He would go every year, first with his small orchestra, and later with a bigger group.”

Was there anything that Rafi Saab loved as much as singing? “Yes, he loved whistling. He would whistle regularly, either in the form of a tune or just loudly when he was happy.” For Pyarelal, the tales would never cease. But then, Laxmikant Pyarelal and Rafi Saab not only made some great music together, but shared a special bond too.

Some of my favourite (rarer) solo songs sung by Rafi Saab composed by Laxmikant Pyarelal are given below:

Tauba Ye Nazare Ye Katil Ishare “Dillagi” (1966)
Tere Pyar Ne Mujhe Gam Diya “Chhaila Babu”(1967)
Akela Hoon Main Humsafar Dhoondata “Jaal” (1967)
Aankh Milaye Na Muskuraye Na “Milan Ki Rat” (1967)
Kaise Koi Jaane Bhala “Taqdeer” (1968)
Gudiya Si Meri Ladli “Wapas” (1969)
Door Hai Wo Aanchal “Wapas” (1969)
Rom Ke Wadiyon Mein Do Dil “Spy In Rome” (1969)
Haseen Dilruba Kareeb Aaa Zara “Roop Tera Mastana” (1972)
Tu Mujhe Thaam Le Ke Main “Suraj Aur Chanda” (1973)
Main Wohi Wohi Baat Mere “Naya Din Nai Raat” (1974)
Muhobbat Hi Mubobbat Hai “Geeta Mera Nam” (1974)
Meri Dushman Hai Ye Mere Ulzan Hai “Main Tulsi Tere Aangan Ki” (1978)

“Roop Tera Mastana” (1972) stars Jeetendra, Mumtaz, Pran, I.S. Johar, Leela Mishra, Brahm Bhardwaj, Malika, Birbal, etc. It was directed by Khalid Akhtar for RKD Studios and had music by Laxmikant Pyarelal with lyrics penned by Asad Bhopali and Verma Malik.

The Story is about Princess Usha (Mumtaz), who is the successor to the throne. She is murdered by her minister Ajit (Pran) and is replaced by a duplicate, a happy village girl Kiran (Mumtaz), that looks exactly like her. She meets with Usha’s fiancé (Jeetendra), a Prince himself, and falls in love with him, not realizing that her feelings will soon be history when those few days come to an end, and she must then give up her wealthy life-style and go back to being poor again.

The story line is very similar to another movie released in the same year – Raja Jani (1972).

Now coming to today’s song, Rafi Saab has sung this beauty in an extremely romantic, sensuous and passionate way. The prelude music starts with beautifully played rubab, santoor, piano and guitar. And the song is accompanied by great orchestration primarily using these four instruments along with accordion, tens of violins and percussion.

Five songs of this movie have been discussed previously on this blog. This is the sixth out of the total seven songs in this movie.

“Haseen dilruba karib aa zara ke abhi dil nahi bhara” by Mohd Rafi, Music by Laxmikant Pyarelal, Lyrics by Asad Bhopali from “Roop Tera Mastana” (1972)


Song-Haseen dilruba kareeb aa zara (Roop Tera Mastaana) (1972) Singer-Rafi, Lyrics-Asad Bhopali, MD-Laxmikant Pyarelal

Lyrics

Hmm hmm hmmmm
hm hm hm Hmmm
ah hahaha

haseen dilruba
kareeb aa zara
ke abhi dil nahi bhara
kareeb aa zara
ke abhi dil nahin bhara

haseen dilruba
kareeb aa zara
ke abhi dil nahin bhara

raat kitni baar pee
mujhko yaad hi nahin
itna yaad hai ke pyaas
badh gayi bujhi nahin
shabaab se saja
gulaab mein basa
sharaab se bana
jawaan badan tera
idhar to la zara
ke abhi dil nahin bhara
haseen dilruba

sharm aur laaj ke saare
band khol de
mere ang ang mein apna
pyaar ghol de
na haath yoon chhuda
na aankhen yoon dikha
na chehra yoon chhupa
ke mujhse sharm kyaaa
Lipat bhi ja zara
ke abhi dil nahin bhara
haseen dilruba
kareeb aa zara
ke abhi dil nahin bhara
ke abhi dil nahin bhara


This article is written by Arunkumar Deshmukh, 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.

Hindi film industry is like an ocean.Several small and big rivers join it and the ocean too gracefully accepts everything. Once inside, the individual rivers lose their identity and become a part of the ocean. Similarly, people from all corners of India join this industry, but only few get proper opportunity and recognition here. The rest simply disappear in this ocean. Success, they say, has no formula. Famous composer C.Ramchandra had once said, ‘If only there is anyone who can predict correctly what will succeed and what the public will like, such a person can earn millions here !’

To succeed, only Talent is not enough, one requires the backing of Good luck too. There are hundreds of cases to prove this. If it were not so, actress Farida Jalal would have become Top Heroine or composers like C.Arjun, Jamal Sen, Daan Singh or composer GANESH would have become A grade Music Directors !

Two years back, I had written an article on Composer Ramprasad Sharma, in the series ” Unknown composers”, on 17-12-2012. GANESH was the son of this Ramprasad Sharma. His siblings were Pyarelal, Naresh, Mahesh and Gorakh. Being son of a Musician, Ganesh wanted to learn music and instruments. He soon learnt and became an expert Violin player. In fact all the brothers were Violinists. Gorakh was a good Guitarist and played for several eminent composers in later years. Father Ramprasad was a Trumpet player (He had played Trumpet in the film ‘Barsaat’-1949). He was an expert in writting ” Notations ” ( Swar Lipi)…perhaps, being in the British Band had helped him. He taught this to all his sons. only Pyarelal ( who was a part of Laxmikant-Pyarelal jodi) and Ganesh understood its importance and they became experts in this.

Ganesh was also an expert in making Tunes. It was a natural Gift to him. being a lead – violinist and Tune builder, he started his music career as an assistant to L-P. ( Same time even Shashikant-brother of Laxmikant was also an assistant to L-P ). There was a special style of Ganesh in making a Tune. In all his songs, there used to be one player, only clapping, throughout the song, to maintain rhythm. This ” clapping ” was a trademark of Ganesh, and his songs could be recognised by this clapping.

His contribution in the initial success of L-P was well known in the industry and many producers offered films to Ganesh. So much so that at one time he had many offers on hand and he had to say ‘NO’ to many. He started his independent career with ” Husn aur Ishq”-1966. The Mukesh song-‘Aye mere dil’, Usha/Krisnha kalle song-‘Nahin nahin’ and Rafi’s-‘Jin ki tasweer’ from this movie became quite famous. In 1966, Ganesh did 3 more films, including Thakur Jarnail Singh-66. This was a B grade film, Dara Singh in the lead, but its song-‘ Hum tere bina ‘ by Asha Bhosle was included in the “My Favourites” series of Asha Bhosle.

No composer gives best songs all the time or in every film, but some Gems become All Time Hits. Talented composers like Ganesh did give such gems, from whatever little number of films they got. These songs signify their originality and talent. For whatever reasons, Ganesh never got into the Big League and ended up giving music only to these 16 films- Husn aur ishq, Shera Daku, Smuggler, Thakur Jarnail Singh, Sub ka Ustaad, Anjaam, Ek nanhi munni ladki thi, Kahin aar kahin paar, Kundan, Shararat, Dhamkee, Sa re ga ma pa, Chaalaak, Ek naari do roop, Badnaam and Dozakh-1986.

He composed a total of 87 songs, out of which 52 songs are already posted on this Blog. Today’s song is his 53rd song to appear in the blog. After his last film in 1986, Ganesh was not keeping good health and he died of a sudden Heart attack on 28th march 2000, leaving behind wife, one son and a daughter.

It is worthwhile noting that Hindi Film music is enriched not only by the famous and A grade Big time composers alone,but talented small time composers-like Ganesh-have also contributed substantially to the heritage of our film music.

Today’s song is from film ‘ Ek nanhi munni ladki thi ‘-70. It was a Ramsay films production. Yes,they were the same Ramsays, who started Horror films in India with their first film-‘Do gaz zameen ke neeche’-72. The producer was F.U.Ramsay and the story was by Kumar Ramsay. This social film was directed by one of the most talented, highly educated,Sahitya Academy winner,writer dramatist/producer and director- VISHRAM BEDEKAR.

Born as Vishwanath Chintamani Bedekar, on 13-8-1906 at Amravati, Maharashtra,he took the name Vishram once he started writing. After graduation,he did his Post-graduation in English Literature from Nagpur university. He went to Poona in 1930 to do a Teaching job. here he met his student cum future wife Balutai Khare…who was one of the First girls riding on Bicycle to college,in those days. They got married in 1938. She became Malat Bedekar,a famous Marathi writer later on. His first novel ” Ranangan” came out in 1939, while he was in film business. He started by directing a Balwant Pictures film-Krishnarjun Yudha-1934, a bilingual in Marathi and Hindi.. He directed many landmark films in Marathi. Prabhat films invited him to direct Lakharani-1945. This was the first film in which Guru Dutt played a role and also did its Choreography. It was here that Guru Dutt met Dev Anand,who had joined Prabhat as an apprentice.

Vishram Bedekar divided his life and time between writing and films. He was a trained Cinematographer and Director from London in those days. he wrote several Dramas in marathi. After directing 28 films an Marathi and Hindi,he left films after doing Bharat ke shaeed-1972. In 1985 he wrote his autobiography in Marathi- एक झाड आणि दोन पक्षी-. He got Sahitya Academy Award for this book. he is the only Film director with such laurels. Vishram Bedekar died in Pune on 30-10-1998, at the age of 92 years.

Let us now enjoy a song by composer Ganesh, sung by Asha Bhonsle from the film ” Ek nanhi munni ladki thi “-1970. This song is picturised as a telephone song on Mumtaz. Asad Bhopali is the lyricist of this song.


Song-Kahaan gaya mera sanam (Ek Nanhi Munni Ladki Thhi)(1970) Singer-Asha Bhonsle, Lyrics-Asad Bhopali, MD-Ganesh
Unknown male voice

Lyrics

hello
sun and sand
ji wo hain
wo kaun
ji wo hain
ji nahin

ho o
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
yes shaalimaar
zara unhen bulaaiye
kinko
unhinko
jinke bina neend nahin aati
neend nahin aati
nonsense

ho o
mujhe to mere sanam ke bina
neend zara na aayegi
akeli hi jaa tadapte huye
aaj sahar ho jaayegi
pyaar ka mausam
aur ye aalam
sochti hoon
karoon main kya
aa aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
hotel natraj
dekhiye
wo aaye hain kya
wo kaun
yahaan bhi nahin
ho o
mahakti huyi nasheeli hawa
jhoom ke jab jab aati hai
umangon bhare jawaan dil mein
ik aag si bhadka jaati hai
dard hai doona
pehloo hai soona
sochti hoon
karoon main kya aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
ho o
ho o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
yes madam
itni raat guzar gayi
unka koi pata nahin
wrong number

ho o
kidhar kho gaya kahaan so gaya
kaun ye ab batlaayega
khabar to miley
pata to chaley
chaand mera kab aayega
aaj to saari raat hai bhaari
sochti hoon karoon main kya aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat gujri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam


This article is written by Bharat Upadhyay, 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.

========================
Raaga Maala in Hindi Films – 17
========================
Not to be confused with the same name 1992 film, Shola Aur Shabnam is a 1961 film written and directed by Ramesh Saigal. It stars Dharmendra, Tarla Mehta, Abhi Bhattacharya, Vijayalakshmi and M. Rajan in pivotal roles. It was one of the very early films of Dharmendra.

The film is about a young man torn between love for his long lost childhood sweetheart, and devotion towards a friend who has helped set him up in his career. The film features music by Khayyam. The original soundtrack contains some of the most famous songs, like “Jane Kya Dhoondti Rahti”, “ Phir Wohi Saawan Aaya”, “Jeet Hi Lenge Baaji”, “Pahele To Aankh Milana”, “Ladi Re Ladi’ etc.

The present composition was presented in the form of a ballet on the stage. Music was composed by, Khaiyyam using four ragas. The singers are Manna Dey, Geeta Dutt and Kaumudi Munshi. This composition shows the departure of Krishna from Gokul to Mathura, leaving behind Radha, Gopikas and all his childhood friends forever. There is a hidden pathos filled atmosphere in this song. This, a unique creation of music director Khaiyyam, who is capable of drawing the whole episode before our eyes, whenever we listen to it. The lyrics of this song were penned by Pt. Ram Murti Chaturvedi.


Song-Mathura Shyam Chale(Shola Aur Shabnam)(1961) Singers- Manna Dey, Geeta Dutt, Kaumudi Munshi, Lyrics- Pt. Ram Murti Chaturvedi, MD- Khaiyyam

Lyrics

mathura shyam chale aaaaa
mathura shyam chale aaaaaaaa
mathura shyam chale hooooo
mathura shyam chale hooooo
sawan ghan sa umand pada brij
sawan ghan sa umand pada brij
mathura shyam chale hooooo
mathura shyam chale hooooo
rath se lipati, haaaaa
path se lipati, haaaaa
baawariya vrajanaari aaaaaa
boli radha, prem agadha,
na jaao giridhari, na jaao giridhari
mathura shyam chale hoooo
mathura shyam chale

kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge
jaane naahi dungi, pag dharungi, naa darungi
jaane naahi dungi, pag dharungi, naa darungi
saanware main teri raah mein marungii,
naa tarungi, naa tarungi ho
kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge

tan ke kaare rahe tum kanha
man ke kaare bano nahi shyam
tan ke kaare rahe tum kanha
man ke kaare bano nahi shyam
tum bin hoga jeewan soona
narak banega gokul dhaam
tum bin hoga jeewan soona
narak banega gokul dhaam
jaane naahi dungi, pag dharungi, naa darungi
saanware main teri raah mein marungii,
naa tarungi, naa tarungi ho
kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge
mathura shyam chale hooooo
mathura shyam chale hooooo
sawan ghan sa umand pada brij
sawan ghan sa umand pada brij
mathura shyam chale hooooo
mathura shyam chale

bansi to mein kaun gun, jaa pe rijhe naath
mukh se gaaye rahet hai har dam raakhe saath

( janam baans ghar bhayo hamaaro, kaat hamen koi laayo
tukade tukade kar ke mohe ang agan ghulsaayo
aath chhed more tan kinho nithur pran mero har lino
tan nahi mero man nahi mero aur sakhi nahi jeevan mero )
wohi soor main baajun radhe jo bhagwan bajaaye
wohi boli bolun radhe jo bhagwan bulaaye
radhe
krishna
radhe
krishna
radhe
krishna
radhe
krishna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna
radhe .. krisna


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.

An important date today – 21st October. It is the birth date of two very dear performers who have held the center stage for sustained periods, enthralling many generations of filmgoers and music lovers – Shammi Kapoor and Helen. In their own spaces, both these artists ruled the silver screen through the decades of 1960s.

Shammi Kapoor’s transformation from a generic performer to the flamboyant young lover happened in the later part of 1950s, with films like ‘Tumsa Nahin Dekha’ (1957) and ‘Dil Deke Dekho’ (1959). And he continued to remain on the top for the next decade. After the mid 1970s, he transitioned into character roles and continued to regale the audiences with his style and histrionics. The curtain on this illustrious career came down a little over three years ago, on 14th August, 2011.

For Helen, the launching pad was really the iconic “Mera Naam Chin Chin Choo” in ‘Howrah Bridge’ (1958). And then on for two decades, she ruled as the princess of dance, going from strength to strength with each performance. For over two decades, her dance numbers were a fixture in the film production in Bombay. No matter the formula, her dances would definitely be part of the script.

Wishing Helen ji all the best in life – good health and happiness, on this day today.

A number of songs that include both the artists, are already showcased here on the blog. And locating new numbers which show both on the screen together, is becoming a tough task. I have been able to locate this dance number from the 1974 film ‘Chhote Sarkar’. Shammi Kapoor is present in the scene, but he is not singing. He is the artist who is sitting in one corner, sketching out the figure of the dancing belle.

‘Chhote Sarkar’ is produced by Pinky Films, Bombay and is directed by K Shankar. Cast of actors includes Shammi Kapoor, Sadhna, Shashikala, Sulochana, Sunder, Helen, Shammi, Asit Sen, Jagdish Raj, Rashid Khan, Uma Dutt and Rajan Kapoor etc. The songs of this film are penned by Rajendra Krishan and the music is by Shankar Jaikishan.

No matter the quality of the film and picturization, the performance that Helen presents is with full heart and energy. Simply cannot find a fault with that. Simply see and enjoy.


Song-Main kesar kasturi (Chhote Sarkaar)(1974) Singer-Krishna Kalle, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kahaan kahaan se aa jaate hain
raat ke raahi rang jamaane
beete din ki bhool ke thokar
raat ki taaza thokar khaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

aankh mein jhhoothi rangeeni hai
jeevan sabka pheeka pheeka
har maathe per lagaa huaa hai
gham ke chandan ka ik teeka
apna apna dard chhupaaye
chalte phirte ye saaye
apna apna dard chhupaaye
chalte phirte ye saaye
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kadam kadam par jinke peechhe
maayusi ke lagey hain pehre
haath mein leker wo paimaane
dekh rahe hain khwaab sunehre
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

———————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————-

मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कहाँ कहाँ से आ जाते हैं
रात के राही रंग जमाने
बीते दिन की भूल के ठोकर
रात की ताज़ा ठोकर खाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

आँख में झूठी रंगीनी है
जीवन सबका फीका फीका
हर माथे पर लगा हुआ है
ग़म के चन्दन का इक टीका
अपना अपना दर्द छुपाए
चलते फिरते ये साये
अपना अपना दर्द छुपाए
चलते फिरते ये साये
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कदम कदम पर जिनके पीछे
मायूसी के लगे हैं पहरे
हाथ में ले कर वो पैमाने
देख रहे हैं ख्वाब सुनहरे
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी


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.

“Do Phool” (1958) was directed by A R Kardar for Silver Wings Productions. The movie had Baby Naaz,Romi, Vijaya Chowdhary, Bipin Gupta, Ullhas, Jeevan, Pratima Devi, Rajan Haksar, Neelam, Ameer Banoo, Mumtaz Begum, Bannerji, Nasreen, Tiloo, Amir Ali, Agha, David Abraham etc in it.

Eight songs from this movie have been discussed in the past. Here is the ninth and final song from the movie.

This song is sung by Asha Bhonsle and chorus. It is picturised on Master Romi and Baby Naaz.

Hasrat Jaipuri is the lyricist. Music is composed by Vasant Desai.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Do Phool” (1958) joins the list of movies that have all their songs covered in the blog.


Song-Haaye ghabraaye re bin tere mera dil(Do Phool)(1958) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Vasant Desai
Chorus

Lyrics(Provided by Prakashchandra)

oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo

ooo ooo oooo oooooo…ooooo…oooo
aa jaa…aaa
aa jaa rey

haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aa jaa rey (oooooo)
main akelaa phiroon
laagi tori lagan (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
aaaa…aaaaaaaa…..aaaaa
aaaa…..aaaaaaaa…aaaaa
aaa…..aaaaaaaaa…..aaaa
aaa…..aaaaaaaaa…..aaaa

ab roh rehti hai har dum do
ankhiyaan hamari
khoyee khoyee rey ae
kaari badri bhi thham thham ke
gham pe hamaare royee royee rey ae
laakh barsaat ho (oooooo)
phir bhi jaltaa hai mann (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aa jaa rey (oooooo)

aaa…aaaa…aaaaa aaa….aaaaa…aaaaa
aaa…..aaaaaa….aaaaa
aaa…aaaa…aaaaa aaa….aaaaa…aaaaa
aaa…..aaaaaa….aaaaa

main toh baadal ke sang sang
nadiyaa kinaare doloon doloon rey ae
teri gudiyaa se ro ro ke
gham ki kahaani boloon boloon rey
bujh na jaayein kahin (ooooo)
mere paagal nayan (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aajaa rey (oooooo)

aaa…aaaaaa….aaaaa
aaaa…aaaa….aaaaa…..aaa
aaa…aaaaaa….aaaaa
aaaa…aaaa….aaaaa…..aaa

main toh anjaan panchchi hoon
raahein na jaanoon
kaise aaoon rey ae
mere dil ki jo tadpan hai
woh main hi jaanoon
kyaa bataaoon rey
bass ke ujdaa meri (oooooo)
zindagi ka chaman (oooooo)
ab toh aa jaa aajaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aajaa rey (oooooo)

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(© 2008 - 2014) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has exactly 10400 songs post by now.

Total number of songs discussed

10400

Number of movies (All songs covered)

552

Total visits so far

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