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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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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.

“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 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 (13 october 2014) is an important day for HFM as anniversaries of several artists fall on this day. After posting two “normal” posts in the morning, I posted an anniversary song dedicated to Ashok Kumar whose 103rd birth anniversary falls today.
Read more on this topic…


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.

“Kamal Ke Phool” (1950) was directed by D D Kashyap for Famous pictures. The movie had Badri Prasad, Suraiya, Jeevan, Raj Mehra, Leela Misra, Niranjan Sharma, Shakuntala, Amarnath etc in it.
Read more on this topic…


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.

“Vijay”(1988) was produced and directed by Yash Chopra. The movie had Anupam Kher, Rajesh Khanna, Hema Malini, Rishi Kapoor, Sonam(Introducing), Anil Kapoor, Meenakshi Sheshadri, Gulshan Grover, Parikshit Sahni, Raj Babbar, Moushumi Chatterjee, Parijatha, Arjun Sablok, Saeed Jaffrey, Manmohan Krishna, Vikas Anand, Neil Nitin Mukesh as a child artiste, Shakti Kapoor, Anju Mahendru, Anant Mahadevan,Anjana Mumtaz etc in it.
Read more on this topic…


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.

“Manzil” (1979) was directed by Basu Chatterji for Ambika Pictures, Bombay. The movie had Amitabh Bachchan, Mausami Chatterji, Rakesh Pandey, Satyen Kappu, A K Hangal, Urmila Bhatt, C S Dubey, Pravin Paul, Sundar, Anwar Ali, Sushant Bhatnagar, Lalita Pawar, Shriram Laagoo (Special appearance) etc in it.
Read more on this topic…


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.

“Manzil” (1979) was directed by Basu Chatterji for Ambika Pictures, Bombay. The movie had Amitabh Bachchan, Mausami Chatterji, Rakesh Pandey, Satyen Kappu, A K Hangal, Urmila Bhatt, C S Dubey, Pravin Paul, Sundar, Anwar Ali, Sushant Bhatnagar, Lalita Pawar, Shriram Laagoo (Special appearance) etc in it.
Read more on this topic…


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.

I am sure that quite a few regulars of this blog must be wondering why an Amitabh Bachchan song had not appeared so far, seeing that today is his 72nd birthday (DOB 11 october 1942). As it is, I typically work up from older songs to newer ones in a day. I have discussed four songs of 1940s and 1950s today whereas Amitabh Bachchan made his debut in Hindi movies only in late 1960s. :)
Read more on this topic…


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.

Greetings to Vinod Khanna on his 68th birthday. (6 october)

A commanding personality to contend with on screen. In whatever role he appears, he has the capacity to be the center of gravity in every scene. In the last scenes of ‘Mere Gaon Mera Desh’ (1971), appearing as the sardaar (leader) of a gang of dacoits, he is down and beaten, by Dharmendra. Even in that scene, he exudes strength, and gives the perception of being the stronger.
Read more on this topic…


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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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