atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


This article is written by Pamir Harvey, 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.

Today is Raja Swaminathan’s second birthday! On this blog, I mean! I don’t know Raja’s age, but what I see and hear from him, he must be very young and very active. As many of you must already know, Raja is a passionate blogger. Yes, passionate is the word, which I would use to describe Raja in one word. Raja is passionate about politics, social politics and not party politics. Yes, he has a keen sense of justice and injustice. He is aware of the many wrong things going on in this world. I admire this quality in him very highly. What I admire about him is also his ability to put all his wonderful thoughts in words. When I sit and torture myself with the composition of each sentence. To him his nouns, verbs, adjectives and adverbs flow with an ease which would put a bubbling stream to shame. What’s more they flow in perfect syntax. Then he also has a wonderful sense of humour, particularly his PJs are very funny. And going by all his posts and comments on fb, Raja comes across as a very nice person. Now, you must have realized that I have not met him, although I’ve a feeling I already know him quite well. Dearest Raja, please try to always remain the person you are, Happy Birthday!

Well, before I go ahead and write some words about the song below, I should say Raja is a very modest person and never in his wildest dreams would he even think of being boastful like the hero of the film does in this song below. Maybe if Dheeraj Kumar had been a bit modest he would have succeeded as a hero. Yes, my dear readers, Dheeraj Kumar of “Kahan Gaye Woh Log”-fame started as a hero. He plays a thief with James Bond like gadgets and a penchant to sleep around with women or at least boast about it. And then there are the bad guys headed by turned-bad-to-rescue-daddy Jayshree T, Shatrughan Sinha, Hitler-like Jeevan and a mysterious ‘madam’, who are all set to destroy India. They are served in this purpose by big machines with colourful bulbs and pulsating o-meters. Even though all of these are enticing stuff, I have managed to stop myself being lured to watch this film.

Enjoy this song and raise a toast to the rightful Raja, Raja Swaminathan!


Song-Raaton kaa raajaa hoon main (Raaton Ka Raja)(1970), Singer-Rafi, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

Mere liye aati hai shaam
chandaa bhi hai
meraa gulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

mehfil saje
doloon jidhar se
saaqi behke
meri nazar se
mehfil saje
mehfil saje
doloon jidhar se
saaqi behke
meri nazar se
chaahoon to abhi
khud aaye chalke jaam
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

khidki khule
mujhe bulaaye
mehlon mein hai
mere hi saaye
khidki khule
khidki khule
mujhe bulaaye
mehlon mein hai
mere hi saaye
sote jaagte ae
sab jaane meraa naam
mere liye
aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main

maine jawaan
honthon ki laali
aksar palkon se hi churaa le
maine jawaan
maine jawaan
honthon ki laali
aksar palkon se hi churaa le
saare gulbadan
mujhe karte hain salaam
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main
raaton kaa raajaa hoon main

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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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Songs to Tickle Your Memory – 1
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With 10,400 songs already posted on this blog, we are still at just about 20% of the songs from the first five decades. And further, just about 11 or 12 % if one considers all the films from all the decades from 1931 to the present. There is a whopping number of songs that are still waiting out there to be posted. That is quite a number and it shall keep this team (of all quiet people ;) ) busy for quite a while.

The songs that are still pending, fall into two categories. One is the group of songs that are obscure and rarely heard, now or even before, in our living years. And the second group is the one that have been heard and the mind is familiar with them. The first group of songs is an effort of perseverance and searching.

The second group can be further subdivided into two categories. One is the group of songs that have been very popular, and their availability is very easy as they continue to be republished in selections and are played often on the radio waves even today. The second sub group is of the songs that have also been popular, but did not have the staying power, i.e. their presence slowly dissipated from the collective memory for various reasons – unreleased films, B/C grade films, underrated and less preferred artists and music directors etc. The first sub group is a set of songs that is easily accessible.

The second sub group can be further subdivided into two categories. One is the group of songs that have been made more accessible through the diligent efforts of music lovers and they keep appearing with a regular frequency on the internet space. The second sub group is of the songs that are part of the active memory channels, but have been unheard for ages, as their availability and access has become progressively more arduous over the years. The first sub-sub group is a set of songs that keep surfacing in the memory, and then with some effort, one has been able to trace them and revive the sound.

The second sub-sub group can be further subdivided into two categories. One is the group of songs that have become available through the efforts of individual music lovers, and they are posted on our blog. The second sub-sub-sub group is of the songs that continue to tickle the memory threads, continue to be hard to trace, and have not yet appeared on our blog.

With this post, I am initiating a series that tackles these memory ticklers that form the second sub-sub-sub group of songs. These are songs that, once upon a time, two three decades ago, were relatively frequently featured in the farmaishi and other programs on the radio. With the waning of radio listening as a popular medium, the sounds of these songs slowly faded from the listening space. Only those songs that have the staying capacity as part of continued publication in various selections as preferred choices over the decades, remain the ones that are continuously available. The other songs, although they flip on once in a while in the mind’s radio, but are otherwise almost unheard in the physical domain.

I have compiled a short list of such songs that I have been able to trace, and will be posting them in this series. For me, these are memory ticklers that I have been searching for some time now, some years actually. With some luck, I have been able to trace them with the help of many collector friends, some with such huge collections that we are not even sure what all is actually existing in their treasury.

I initiate this series with this attractive piece from the 1967 film ‘Sab Ka Ustad’. And there is a special reason for bringing up this for posting today. I will come to that shortly. Before that, about this song. This is one of those numbers that occasionally plop up from the depths of memory, and start to play in the mind. For the reason that way back then, in the radio listening days, this song was popular and has stuck to the memory, simply on account of the quality of words and the music. As my search started some time back for this song, I realized that I have the film in my collection. So I avidly pulled it out and played it.

Bad luck sometimes plays such strong hands that one is left helpless. The disc version does not have the complete song. I was aghast. How could this be? Such a lovely song, and just one paragraph available in the “official” release of the video. I checked and rechecked within my circle of friends but none had any version other than the disc made available in the market. The song was not available on the internet. After some diligent searching, that remained result-less for many months, I am able to now locate a recent upload (as recent as two weeks ago), but which is simply the version from the disc, containing just the one stanza. I could see references to the vinyl records being discussed on online forums, but the song itself was available nowhere. Unless the Film Archives in Pune have an original celluloid set, and they make it publicly available, the video of this song is now practically lost for good.

As I looked for the audio version from the vinyl records, I eventually got confirmation from my collector friend in Delhi, Zafar Bhai, that he has the 78 rpm set from this film. He then proceeded to make an audio CD copy from the records and shared it with me. Today, I am uploading the complete audio version of this song, to make way for this post.

Another very quirky, but wholly expected thing I encountered on the internet. As I was searching for this song, I find that some sites have uploaded the lyrics of the partial version. And the same have been absolutely mindlessly copied by dozens of sites, from someone’s original upload. And including the wrong transliteration spellings of Hindi words. The entire internet is chock full of incomplete and erroneous lyrics for this song, all mindlessly copied, all carrying the same mistakes. It is so obvious that the video is incomplete. It is so obvious that the lyrics are incomplete. In their thoughtless copy-paste endeavors, no one has even spend half a minute to insert a bracketed comment to say that part of lyrics is missing. This speaks of the quality of the minds behind these websites, and also of the quality of interest they have in this music. It is simply deplorable.

‘Sab Ka Ustad’ is the regular ‘Sheikh Mukhtar’ genre fare that have punctuated the decades of 1950s and 60s very regularly. Produced under the banner of RM Arts Production, it is directed by R Thakar. The cast of actors includes Kumkum, Sujit Kumar, Anwar Hussain, Maruti, Meenakshi, Shekhar, Madhumati, Lalita Kumari, and Helen amongst others. The seven songs listed for this film are from the pen of Asad Bhopali. And the music – a delightful melody from the mind of that inimitable genius – Ganesh. Our dear Arun ji has recently done a somewhat detailed write upon this prodigious music director here.

The song is filmed as a dance performance at a wedding – the wedding of Kumkum with Sujit Kumar. One can very briefly see Sheikh Mukhtar and Maruti in the clip. As for the dancers, I request other knowledgeable readers to help with the identification.

Now coming to the other important reason for bringing up this post today. Some may have guessed by the title of the song itself. Yes, it is the birthday today of Mastermind, our chief of worldwide field operations ;). And this song goes online today, for him. Happy Birthday Raja ji.

Listen and enjoy.

(Video – Incomplete)

(Audio – Complete)

Song-Raja aana hamaare bangle pe (Sab Ka Ustaad)(1967) Singers-Asha Bhonsle, Kamal Barot, Lyrics-Asad Bhopali, MD-Ganesh
Both

Lyrics

raja aana hamaare bangle pe
raja aana hamaare bangle pe
kahin dhokhe se jaana na sauten ke dwaar
kahin dhokhe se jaana na sauten ke dwaar
raja aana hamaare bangle pe
raja aana hamaare bangle pe

aankhon hi aankhon mein hongin do batiyaan
aankhon hi aankhon mein hongin do batiyaan
zulfon ki chhainyaan mein beetengi ratiyaan
aate jaate na koi tujhe dekhe
chal na dena hamaara dil le ke

jalne waalon se
jalne waalon se rehna zaraa hoshiyaar
raja aana
balma aana
sajnaa aana
hamaare bangle pe
raja aana hamaare bangle pe

phoolon ki chaadar pe tujhko bithaaungi
phoolon ki chadar pe tujhko bithaaungi
resham si baahon ke takiye lagaaungi
tera nazron se jiyaa bhar doongi
tujh pe waari jawaani kar doongi

galey daaloongi
galey daaloongi main kachchi kaliyon ke haar
raja aana
balma aana
sajnaa aana
hamaare bangle pe
raja aana hamaare bangle pe
kahin dhokhe se jaana na sauten ke dwaar
kahin dhokhe se jaana na sauten ke dwaar
raja aana hamaare bangle pe
raja aana hamaare bangle pe

————————————————-
Hindi script lyrics (Provided by Sudhir)
————————————————-
राजा आना हमारे बंगले पे
राजा आना हमारे बंगले पे
कहीं धोखे से जाना ना सौतन के द्वार
कहीं धोखे से जाना ना सौतन के द्वार
राजा आना हमारे बंगले पे
राजा आना हमारे बंगले पे

आँखों ही आँखों में होंगी दो बतियाँ
आँखों ही आँखों में होंगी दो बतियाँ
ज़ुल्फों की छंईयां में बीतेंगी रतियाँ
आते जाते ना कोई तुझे देखे
चल ना देना हमारा दिल ले के

जलने वालों से
जलने वालों से रहना ज़रा होशियार
राजा आना
बलमा आना
सजना आजा
हमारे बंगले पे
राजा आना हमारे बंगले पे

फूलों की चादर पे तुझको बिठाऊँगी
फूलों की चादर पे तुझको बिठाऊँगी
रेशम सी बाहों के तकिये लगाऊँगी
तेरा नज़रों से जिया भर दूँगी
तुझ पे वारी जवानी कर दूँगी

गले डालूँगी
गले डालूँगी मैं कच्ची कलियाँ के हार
राजा आना
बलमा आना
सजना आजा
हमारे बंगले पे
राजा आना हमारे बंगले पे
कहीं धोखे से जाना ना सौतन के द्वार
कहीं धोखे से जाना ना सौतन के द्वार
राजा आना हमारे बंगले पे
राजा आना हमारे बंगले पे


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.

Sahir, from Ludhiana – the poet rebel or the rebel poet. With childhood spent in dearth and need, in the narrow lanes of the poorest sections of the city, he grew up with a strong disdain for the establishment and the rich and powerful of the society. When the poet within him awakened and stretched, one of the first poems (nazm) that expressed his bottled emotions – starts the line “Kasam Un Tang Galiyon Ki Jahaan Mazdoor Rehte Hain” (swearing upon the narrow lanes which are home to the poor laborers.

Remembering Sahir Sb on the anniversary of his passing away (25th October).

Sahir’s real name was Abdul Hayi. Actually born into a rich family of landowners, his mother left his father’s home, taking him along, when he was just six months old. His father was the stereotype rich playboy, who had fourteen wives in his lifetime. After studying at Khalsa High School and Government College in Ludhiana for his matriculate, he came to Lahore in 1943 to do his bachelor’s at the Dyal Singh College. Another objective of coming to Lahore was to get his first book of poetry – ‘Talkhiyaan’ – printed and published. It took almost two years before the publication saw the light of the day. For economic reasons, he had to drop his college studies in between, and started working as editor for Urdu publications – ‘Adab e Lateef’ and ‘Shaahakaar’.

In 1947, when the partition happened, he continued to stay in Lahore. At that time he was the editor of the Urdu publication ‘Savera’. His editorials were not seen kindly by the new government in Pakistan. In 1948, for a specific editorial that criticized the govt. for issues relating to social resurgence and nation re-building, warrants were issued in his name. He bid good bye to Lahore and moved to Delhi. His fame as a poet was on the rise. His stay in Delhi did not last long. Accompanied by his friend and fellow verse-maker Majaaz Lucknowi, he made his way to Bombay and the Hindi film industry.

His first film as a lyricist is ‘Azaadi Ki Raah Par’ which was a 1948 production. In this film he wrote four of the six songs. After this, he had to wait for three more years before songs written by him appeared in more films. 1951 saw the release of films ‘Naujawaan’ and ‘Baazi’, for both of which he wrote all the songs. Also released in 1951 was film ‘Sazaa’, in which he contributed just one song – a song that turned out to be a memorable gem selection – “Tum Naa Jaane Kis Jahaan Mein Kho Gaye” . It is very interesting to note that in his three films in 1951, the music direction was by SD Burman.

Another legendary artist that we remember with reverence today is Manna Dey. Yesterday (24th October) was Manna Da’s first anniversary of passing away. A year ago, Manna Da breathed his last, after an illustrious career in films that spanned well over six decades.

The name of SD Burman is also interestingly linked with Manna Da. It was under the baton of Sachin Da that he sang the now iconic “Upar Gagan Vishal” for the film ‘Mashaal’ (1950). He had already been active in the industry as a singer for more than seven years, and it was this song that brought him popularity and singing stardom, and established him as one of the top rung singers in the industry.

This song from the 1970 film ‘Samaaj Ko Badal Daalo’ brings together Sahir Sb and Manna Da, under the music direction of Ravi. The film is from the house of Gemini, Madras and is directed by V Madhusudan Rao. The main cast of actors includes Ajay Sahni, Sharda, Prem Chopra, Aruna Irani, Pran, Mehmood, Kanchana, Shammi, Naqi Jahan, Kanhaiya Lal, David, Praveen Pal, Jaishri Talpade, Baby Brahmaji, Baby Dolly, Manmohan Krishan, Dhumal, Sundar, and Mukri etc. On screen this song is picturized on Sharda and Ajay Sahni.

A song from the genre that is very familiar both to the poet and the singer. I present it with fond remembrance of these two stalwart artists who have left us a treasure of musical memories that are eternal.

Listen and ruminate.


Song-Ab akele hi chalna padega (Samaaj Ko Badal Daalo)(1970) Singer-Manna Dey, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics

bin paani ki machhli jaise
bin patvaar ki naav
kya jaane ab duniya tujhse
karegi kya bartaav

ab akele hi chalna padega
ab akele hi chalna padega
zindgani ke lambe safar mein
ab akele hi chalna padega
paanv zakhmon se kaise bachenge
laakh kaante hain is guzar mein
ab akele hi chalna padega

tujhko godi mein jisne khilaaya
aaj sar se utha uska saaya
tujhko godi mein jisne khilaaya
aaj sar se utha uska saaya
aaj tu jis qadar hai akeli
utni tanhaa na thi umra bhar mein
utni tanhaa na thi umra bhar mein
ab akele hi chalna padega
zindgani ke lambe safar mein
ab akele hi chalna padega

[dialogue – Ajay Sahni]

ye bhayaanak andheron ki duniya
kaatilon aur luteron ki duniya
ye bhayaanak andheron ki duniya
kaatilon aur luteron ki duniya
kaun hai jo tera haath thaame
sangdil zaalimon ke nagar mein
sangdil zaalimon ke nagar mein
ab akele hi chalna padega
ab akele hi chalna padega
zindgani ke lambe safar mein
ab akele hi chalna padega
ab akele hi chalna padega
ab akele hi chalna padega

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

बिन पानी की मछली जैसे
बिन पतवार की नाव
क्या जाने अब दुनिया तुझसे
करेगी क्या बर्ताव

अब अकेले ही चलना पड़ेगा
अब अकेले ही चलना पड़ेगा
ज़िंदगानी के लंबे सफर में
अब अकेले ही चलना पड़ेगा
पाँव ज़ख़्मों से कैसे बचेंगे
लाख कांटेन हैं इस रहगुज़र में
अब अकेले ही चलना पड़ेगा

तुझको गोदी में जिसने खिलाया
आज सर से उठा उसका साया
तुझको गोदी में जिसने खिलाया
आज सर से उठा उसका साया
आज तू जिस क़दर है अकेली
उतनी तन्हा ना थी उम्र भर में
उतनी तन्हा ना थी उम्र भर में
अब अकेले ही चलना पड़ेगा
ज़िंदगानी के लंबे सफर में
अब अकेले ही चलना पड़ेगा

[संवाद – अजय साहनी]

ये भयानक अँधेरों की दुनिया
कातिलों और लुटेरों की दुनिया
ये भयानक अँधेरों की दुनिया
कातिलों और लुटेरों की दुनिया
कौन है जो तेरा हाथ थामे
संगदिल ज़ालिमों के नगर में
संगदिल ज़ालिमों के नगर में
अब अकेले ही चलना पड़ेगा
अब अकेले ही चलना पड़ेगा
ज़िंदगानी के लंबे सफर में
अब अकेले ही चलना पड़ेगा
अब अकेले ही चलना पड़ेगा
अब अकेले ही चलना पड़ेगा


This article is written by Sadanand Kamath, 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.

phir na keejey meri gustaakh nighaai ka gilaa
dekhiye aapne phir pyaar se dekha mujhko

Sahir Ludhainvi wrote this couplet in the height of his courtship with a Sikh girl during his college days in the early 4Os. His sitting with this companion in the lawn of the college led to his expulsion from the college. There was no chance of his love blossoming in to a marriage because of the different class and religious background. The girl got married and he relocated himself to Lahore in 1943. His failure in love, a troubled childhood and the bad experiences during his stay in Lahore made him bitter. Note the transformation of Sahir from the following couplet:

ham ghamzaada hain laayen kahaan se khushi ke geet
denge wahi jo paayenge iss zindagi se ham

Incidentally, both these couplets were recited in the film ‘Pyaasa’ (1957). Sahir wrote a full song using the first couplet as mukhda for the film ‘Phir Subah Hogi’ (1959).

No doubt, Sahir Ludhianvi appropriately named his first collections of Urdu poems ‘Talkhiyaan’ (Bitterness) which got published in 1945.

Thebook also has a short and interesting foreword which indicates his state of mind:
Duniya ne tajurbaat o hawaadis ki shakl mein jo kuchh diya hai wo lauta raha hoon.

With the publication of ‘Talkhiyaan’, Sahir became famous as a poet. This book was always in demand as can be gauged by the fact that up to now, 25 editions in Urdu and 14 editions in Hindi have been published. According to one of Delhi based publishers, ‘Talkhiyaan’ is the most published work in Urdu after ‘Diwan e Ghalib’. Some of the nazms and ghazals in ‘Talkhiyaan’, the list of which is given below (not exhaustive) have been used in Hindi films in shorter versions as well as in the diluted form for the easy understanding of the songs.

Chakle (jinhe naaz hai hind par wo kahaan hain)

Taj Mahal (meri mehboob kahin aur mila kar)

Khoobsoorat Mod (chalo ek baar phirse ajnabi ban jaaye hum dono)

Mataa e Ghair + Hiras (pyaar par bas to nahin hai)

Intezaar (chaand maddham hai aasmaan chup hai)

Kabhi Kabhi (kabhi kabhi mere dil mein khayaal aataa hai)

Main pal do pal ka shaayar hoon (main pal do pal ka shaayar hoon)

Mohabbat Tark Ki Maine (mohabbat tark ki maine)

Tang aa chuke hain (tang aa chuke hain)

Most of these nazms and ghazals have some anecdotes behind their inclusion in the films which I propose to discuss in my articles some other time. Interestingly, none of nazms and ghazals listed above was suggested by Sahir Ludhianvi for include in films.

October 25, 2O14 is the 34th death anniversary of Sahir Ludhianvi. Even after over 3 decades of his death, Sahir continues to retain his iconic status in the Hindi film industry even among the current generation. To the best of my knowledge, Sahir Ludhianvi is the only poet-lyricist of Hindi film industry whose personal life, traits and works continue to attract attention from the theatre. Danish Iqbal wrote a musical play ‘Sahir’ which was staged for the first time in 2O1O. The success of the play has prompted a couple of Hindi film producers to attempt to make a biopic film on Sahir Ludhianvi. Yet another Hindi play ‘Ek Mulaaqat’ based on the unrequited love between Sahir and Amrita Pritam has been making waves in the theatres.

True to his name, Sahir (magician) was really a magician in weaving a mix of fitting Urdu and Hindi words in his lyrics in such a way that the people at large could get the broad meanings behind those verses. Javed Akhtar, in his younger days, had once asked Sahir Ludhianvi as to how he could use some hard Urdu words in his lyrics and yet make them understandable to masses. Sahir Ludhianvi had explained to him that if a line in the verse had some hard Urdu words, he would try to write the preceding and the succeeding lines of that verse in lighter words in such a way so as to derive the broad meaning of the line with hard Urdu words.(This was revealed by Javed Akhtar in one of the T V episodes ‘Classic Legends’).

Much has been said about Sahir Ludhianvi in books, media, TV channels and of course on some dedicated websites on him. But his stature in the realms of Hindi film industry as well as in Urdu literature coupled with his personality traits is such that there will always be insatiable appetite to know more about him. I am a great admirer of Sahir Ludhianvi’s film songs and of his non filmy poems. But these are not the only reasons for my admiration for him. I admire him for his courage of convictions even though for some, it may tantamount to a display of arrogance.

I admire 13 year old Sahir Ludhinavi for choosing to stay with his pauper mother rather than staying with his wealthy father thus foregoing the luxuries of life. That was his response when the Judge gave him the options on a case filed by his father against his divorced mother for the custody of his only son.

I admire Sahir Ludhianvi for his filmy songs and poems highlighting the role of the mother and chgampioning the cause of woman’s emancipation. There are well known songs from Sadhana (1958), Baabar(196O), Trishul (1978) etc. But I regard his famous nazm Chakle highlighting the inhuman treatment of women in brothels to be the mother of all his nazms. What amazed me in this nazm is the Sahir’s courage (may be his inner conviction) to compare the women in brothels as belonging to the same species as that of daughters of Radha and Zulekha. If this was to be written in today’s environments, probably, Sahir would have invited the wrath of the fundamentalists.

I admire Sahir Ludhainvi for courageously managing his filmy career in the aftermath of his casual remarks about his lyrics rather than music being the reason for the success of ‘Pyaasa’ (1957). For this remark, he became persona non grata to S D Burman and O P Nayyar, two of the top music directors of that time who refused to work with him. The other two top music directors of that time viz., Shankar Jaikishan and Naushad had their own dedicated lyricists. Earlier, on the issue of lyricists versus playback singers, he had a tiff with Lata Mangeshkar which resulted in her refusal to sing songs written by him. Normally, in these kinds of situations, one would come to the conclusion that the filmy career of Sahir Ludhianvi was almost over. But to the utter surprise of the doomsday predictors, Sahir Ludhainvi came out successfully with the second line of music directors (as they are called in Bollywood terminology but in terms of compositions, they are first rate music directors) in ‘Dhool Ka Phool’ (1958), ‘Phir Subah Hogi’ (1959) and ‘Barsaat Ki Raat’ (196O).

I admire Sahir Ludhainvi for being a frank, honest and forthright individual in saying that Shailendra deserved Filmfare Award for best lyricist for his song mat ro mataa laal tere bahutere (Bandini, 1963) instead of his song Jo waada kiya wo nibhaana padega(TajMahal) (Taj Mahal, 1963) which won him Filmfare Award. He did not attend the Filmfare Award function, 1964 to receive his trophy. It may be mentioned here that Filmfare Awards are based more on the popularity of the song than the literary value of the lyrics. The song for which Sahir got award was on the top of Binaca Geetmala chart for a long time.

Lastly, a bit trivial but nevertheless good enough for me to admire Sahir Ludhianvi’s special nazm which he wrote and recited it on the occasion of his facilitation with a gold medal by Government College, Ludhiana as a part of its golden jubilee celebrations in 1971. The nazm titled ‘Nazar e Kaalij’ he wrote and recited on this occasion, shows Sahir Ludhianvi in full of humility. The full nazm is here. Notwithstanding the fact that it was the same college which expelled him sometime in early 4Os for sitting with his girl friend in the college lawn, the nazm indicates his emotional bond with the college. For instance, note the last stanza of the nazm:

iss sarzameen pe aaj ham ik baar hi sahi
duniyaa hamaare naam se bezaar hi sahi
lekin ham in fazaaon ke paale huye to hain
gar yahaan ke nahi to yahaan se nikaale huye to hain

After his death, the auditorium of the same college was named as Sahir Ludhianvi Auditorium.

Sahir Ludhianvi was an atheist. One would rarely find in his collections of poems, any verse reflecting the praise of or prayer to God. But in so far as filmy songs are concerned, he wrote some beautiful devotional songs in ‘Devdas (1955), ‘Pyaasa (1957), ‘Hum Dono (1962), ‘Kaajal (1965) etc. What is of significance is that this atheist could discuss religious philosophy in such related songs. If ye ishq ishq hai ishq ishq has a shade of Sufiana philosophy, sansar se bhaage phirte ho and man re tu kaahe na dheer dhare are theological discussions on the Hindu philosophy of life. I have personally derived some comfort from the following lines of Sahir to console myself whenever some of my close family relations and friends departed for heavenly abode:

utnaa hi upkaar samajh koi
jitnaa saath nibhaa de
janam maran kaa mel hai sapnaa
ye sapnaa bisraa de
koi na sang mare

Incidentally for public at large, the song man re tu kaahe na dheer dhare is known more for the Rafi’s rendition than for coming out of Sahir’s pen.

According to Prakash Pandit, one of Sahir’s close friends since his Lahore days, after the death of his mother in 1978, he had decided to quit the film industry to concentrate writing Urdu poetry. As it is, he was under pressure from his PWA friends such as Ali Sardar Jafri and Kaifi Azmi by their caustic remarks that Sahir had completely submerged into Hindi film industry and he was neglecting writing Urdu nazms and ghazals. But before he could get freed from the commitments of Hindi films, he breathed his last on October 25, 198O.

On the occasion of the death anniversary of Sahir Ludhianvi, I have selected a lesser known devotional song penned by him for the film ‘Chambal Ki Kasam’ (1980). The song is ‘parmeshwar rakhwaala teraa’ sung by Lata Mangeshkar and composed by Khayyam. The song ends abruptly in the video clip as dacoits on horseback enter the house. I liked the song on the audio clip as there are no sounds of horse riding which, in my view, obstructs the flow of divinity of the song in the video clip. So I have given both the links.

Remembering Sahir Ludhianvi with this beautiful bhajan in the divine voice of Lata Mangeshkar.

Video

Audio

Song-Parmeshwar rakhwaala tera (Chambal Ki Kasam)(1980) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Khayyam

Lyrics (based on video clip)

parmeshwar rakhwaala teraa
parmeshwar rakhwaala
parmeshwar rakhwaala teraa
parmeshwar rakhwaala
wo hi maata
wo hi pita hai
wo hi maata
wo hi pita hai
maine to bas paala aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

sukh sapne saakaar huye ae
sukh sapne saakaar huye
jab maine tujhko paaya aa
teen lok kaa saain tere
sar par rakkhe saaya
tu mera nanha manmohan
tu mera nanha manmohan
tu mera nandalaala aa aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

jis daata ki den hai tu u
jis daata ki den hai tu
uss par mamta balihaari
nis din mehke lehke tere
jeewan ki phulwaari ee
hanstaa bastaa
dekh ke tujhko
hanstaa bastaa
dekh ke tujhko
jhoome man matwaala aa aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala
wo hi maata
wo hi pita hai
wo hi maata
wo hi pita hai
maine to bas paala aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

bairi…..


This article is written by nahm, 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.

Assalaam u alaikum wa rehmatullahi wa barakatahu
Walaikum as salaam wa rehmatullahi wa barakatahu

First is the salutation for greeting and second is the reply. Both the greeting and reply mean ‘May Allah be with you and keep you safe and sound, with his mercy and bountiful blessings ‘. There are different pronunciation used all over the world by people of different regions and linguistic groups.
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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.

= = = = = = = = = = = = = = = = == = = = =

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.
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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.

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.
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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
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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.”
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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 !’
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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.

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Raaga Maala in Hindi Films – 17
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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.
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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 over 10400 songs post by now.

Total number of songs discussed

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