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Posts Tagged ‘Rafi


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.

It occurs to me today that. . we are today reaching that point in time when this world has been bereft of Rafi Sb’s physical presence now, for almost that duration of time that this world was blessed and more complete with his presence as a singer known to the listeners. For an active career that lasted about three and a half decades, it is now about the same amount of time that he has not been with us. And his legacy grows stronger.

Remembering Rafi Sb on the anniversary of his passing away today (31st July).

Starting with mid 1940s, the formlessness of his voice provided the substance and the life breath to many generations of artists and actors till the fateful day in 1980 when he passed from this world, quiet unexpectedly and very much in the prime of his art. Barely fifty five years of age, it was not be that he would spend more time on this earth with us. A duration of life in which he bequeathed approximately five thousand gems of his voice that are a treasure that is peerless in ways more than one.

Rafi Sb is so well known for his art. But in the industry, and in society, he is equally well known for his heart. And probably more so. A person for whom human values were paramount, a person whose kindness and empathy is now a legend. And not just in his line of work – there are so many people, especially music directors of the lower rungs in the industry, who narrate incidents wherein Rafi Sb recorded songs for their music, free or for very very nominal amounts. It is true for his life, across all spheres of interaction. This day, 34 years ago, it was about 9 am when he felt uneasiness and slight pain in his chest. It was decided to take him to the hospital. His children have stated – one of the last things he communicated to his wife was, please make sure that no one ever leaves empty handed from the door of the Rafi household. A short communication that summarizes the life and personality of this great artist and even a greater human being.

In our belief system, it is said that the sound is forever. It never dies; just dissipates into the wider space and exists. The voice of Rafi Sb is a beacon that will shine for generations to come. My intuition is, as the waves rise and they fall, as the seasons change and cycle back, the music from the golden era of Hindi films will regain its old glory and new popularity.

It has to. Gold never goes out of fashion.

In memory, I present today a very lovely and endearing non film song sung by Rafi Sb. As I tried to check for the details of this song, the only one place I found some details is the giant excel file that has been compiled by Muveen Bhai. As per this source, this song is both written and composed by Shyam Sharma, a name I am not too familiar with. I checked our blog and find his name mentioned as the music director for another NFS song by Suman Kalyanpur – “Nand Nandan Bilmaai, Badraa Ne Gheri Maai Maai Ri” (http://atulsongaday.me/2013/01/28/nand-nandan-bilmaai/).

Although it does not contain any direct references, this song is also in the Radha-Krsna tradition. It is the time after He has left for Mathura, and Radha ji is waiting and pining, for he has promised that he will be back in ‘two days’. The words are exquisite;

vyaakul jiyaraa, jaise diyaraa

my restless, impatient heart
is like the burning lamp

nainon ke panghat par palchhin
ansuwan haar piroti birhan

at the wellspring of these eyes
sitting and waiting in sadness
stringing garlands
from the pearls of my tears

As I listened again today, to this wonderful memory of radio days, for the first time the meaning of the phrase ‘ansuwan haar’ literally ‘a garland of tears’, struck me like lightning. As she waits, her eyes are flowing so much that the neck and chest are all moist with tears. And that is where a garland rests, in the neck and on the chest. I am so taken in by the analogy. I had heard this in many other songs also earlier, but never caught on to this significant connect.

A lovely song, that is so lovingly rendered by Rafi Sb. A song that continues to play softly in the mind even after it is over. We know that the travelers of hereafter do never return. But still, “. . .teri baat nihaaren”.


Song-Paagal naina sagri raina teri baat nihaare (Rafi NFS)(1960) Singer-Rafi, Lyrics-Shyam Sharma, MD-Shyam Sharma

Lyrics

aaaa aaaaa aaaaa
paagal nainaa. . .
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa
aa ja re nirmohi ab to
soone mann ke dwaare. . ae ae ae
paagal nainaa
sagri rainaa

sharad suhaavan
agan lagaaye
pran papihaa
ratan lagaaye
vyaakul jiyaraa
jaise diyaraa
jal kar aap jalaa re
jal kar aap jalaa re ae ae
paagal nainaa
sagri rainaa

nainon ke panghat par palchhin
ansuwan haar piroti birhan
tujh bin tarse
manwaa tadpe
nis din saanjh sakhaare
nis din saanjh sakhaare . . ae ae
paagal nainaa
sagri rainaa
teri baat nihaare
nihaare ae
paagal nainaa
sagri rainaa

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

आss आsss आs आs
पागल नैना
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना
आ जा रे निर्मोही अब तो
सूने मन के द्वारे ॰ ॰ ए ए
पागल नैना
सगरी रैना

शरद सुहावन
अगन लगाए
प्राण पपीहा
रटन लगाए
व्याकुल जियरा
जैसे दियरा
जल कर आप जला रे
जल कर आप जला रे॰ ॰ ए ए
पागल नैना
सगरी रैना

नैनों के पनघट पर पल छि्न
अंसुवन हार पिरोती बिरहन
तुझ बिन तरसे
मनवा तड़पे
निस दिन साँझ सकारे
निस दिन साँझ सकारे ॰ ॰ ए ए
पागल नैना
सगरी रैना
तेरी बाट निहारे
निहारे ए
पागल नैना
सगरी रैना

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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.

A voice that knew no boundaries, knows no boundaries. A voice that spans the entire spectrum of octave range that the music directors dream of. A voice that displays limitless possibilities of emotions and colors. A voice that is alive and true to the very essence of the on screen scenario every moment. A voice such as his can only be explained in terms of a Divine intervention. The voice that is the voice of every performer he sang for. The voice that is Mohammed Rafi – matchless and inimitable.

Remembering Rafi Sb on the anniversary of his passing away today -31st July.

When the young man from Punjab, whose voice was fascinating music directors, came to Bombay, he did have his initial foray into the world of on screen appearances. Brief cameos happened in films ‘Laila Majnu’ (1945) and then in ‘Jugnu’ and ‘Samaaj Ko Badal Daalo’, both in 1947. But when the songs of ‘Jugnu’ and ‘Shaheed’ (1948) and ‘Mela’ (1948) hit the screens, and gained popularity, it was a judicious choice that Rafi Sb made, to continue in the industry as a singer. Judicious I say, because the other examples we see in the industry; artists with singing as their core strength, continued to try their hand at being leading men on screen, did not quite fare so well in their careers as singing stars.

In 1946, Rafi, relatively a novice in the industry as yet, got the famous and fortunate opportunity to sing along with Saigal Sb in the song “Roohi Roohi Roohi Mere Sapnon Ki Rani” in the film ‘Shahjehan’. However, this was not the first time he had met the great singer. His first meeting with Saigal Sb was actually about a decade earlier. He was all of just 12 or 13 years of age then. Since childhood, he was known to be an excellent singer in his family. Sometimes when he used to accompany his elder brother Hamid, to their family shop, he would sit there and sing, much to the delight of the customers and passersby. Hamid was well aware of the talent his younger brother displayed. He would encourage him and made many efforts to get him trained under renowned masters – names like Bade Ghulam Ali Khan, Feroze Nizami (then associated with the All India Radio station at Delhi), and Jeevan Lal Matoo. Whenever there used to be any music program of renowned artists arranged in Lahore and nearby towns, Hamid Bhai would take his younger brother along to listen and learn.

A musical evening was organized in Lahore. The main attraction of the program was Saigal Sb. The crowds had gathered in advance – it was not a program in a hall, but arranged in an open ground. Just a little while before Saigal Sb was to arrive, the sound system arranged for the program, broke down. The crowds got restive when they realized that the loudspeakers were not working. And the organizers, including Hamid Bhai, were at their wits ends on how to manage the ire of the audience. The loudspeaker system would take at least half hour to repair. In the midst of all the clamor of the audience and the confusion back stage, Hamid Bhai got Rafi on stage, and simply asked him to sing. The sight of this sprightly barely-teenager at first seemed to add fire to the irate crowd. But when his voice came down slicing through the din, it captured the attention of every set of ears on the ground that evening, and the din slowly subsided. People slowly fell silent as they were caught unaware by this engaging voice of a child barely in his teens, singing to a crowd in an open ground, sans any mike and loudspeakers. By the time the sound systems was repaired and it was time for the regular program to start, Saigal Sb had already arrived, and had listened to the singing of young Rafi. After the program, he specially called for the child, hugged him, and gave him his blessings – to be a great singer when he grows up. The magic of that evening and the blessings of the great one, himself gifted with Divine endowment was to ring in true in the life of this gifted child.

The song I present today is a gem of melancholia, one of the many genres that Rafi Sb has rendered with impeccable involvement. The film is ‘Namaste ji’ from 1965. The lyrics for this peerless creation are by Anand Bakshi, and the music composition is by GS Kohli. And the voice – that is a wonder unto itself, and an everlasting succor for the listeners.

Listen and enjoy.


Song-Hamen kya jo har su ujaale huye hain (Namaste Ji)(1965) singer-Rafi, Lyrics-Anand Bakshi, MD-G S Kohli

Lyrics

hamen kya jo har su
hamen kya jo har su
ujaale huye hain aen
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

bahaaron ne jaane
kahaan phool baante
hamaare chaman mein
khile sirf kaante
hamaare chaman mein
khile sirf kaante ae
ye insaaf bhi kya
niraale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

kisi aur ka dil
jo yoon toot jaata
to shaayad khuda se bhi
wo roothh jaata
to shaayad khuda se bhi
wo roothh jaata
hamin hain jo ye gham
sambhaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

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

हमें क्या जो हर सु
हमें क्या जो हर सु
उजाले हुये हैं
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

बहारों ने जाने कहाँ फूल बांटे
हमारे चमन में
खिले सिर्फ कांटे
हमारे चमन में
खिले सिर्फ कांटे
ये इंसाफ भी क्या
निराले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

किसी और का दिल
जो यूं टूट जाता
तो शायद खुदा से भी
वो रूठ जाता
तो शायद खुदा से भी
वो रूठ जाता
हमीं हैं जो ये ग़म
संभाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के


This article is written by Avinash Scrapwala, 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 we remember Mohd Rafi Saab – the ‘divine and soulful voice’, on his anniversary!!
My tributes to this great great great voice, a gentleman, and a humble human being, as he is known to all- Shri.Mohd Rafi Saab !

While I was working on finding the songs of ‘Pancham-Rafi Jodi’ since last nine/ten months so far and reading various posts/articles on our blog, I read some posts which mention about the so called ‘lean period’ (1971 to 1976 (or 1974?) of Rafi Saab where the quantity of Songs sung by him is said to be decreased.
For anyone of us it is hard to believe that something of this sort was possible!

Now this so called ‘weak period’ of Rafi Saab’s is cited from 1971 to 1976 so far. And it is said that he made a comeback in 1976 with Laila Majnu. (Whereas some people think he had already made a comeback with ‘teri galiyon mein na rakhenge kadam’ for Hawas in 1974)

What was going through my mind was when did it would have been actually started from? – The decline! Or the weak period for Rafi Saab!

Does the decline started with Rafi Saab singing one song for some movies and that too with the Music Directors whom he already had some great work done earlier and with whom he had a longer association so far?

Some songs easily come to my mind e.g. 1971 Haathi Mere Saathi – he got that ‘nafrat ki duniya ko chhodkar’ (which left everybody watching the movie with tears in their eyes) (HMS ranked at the TOP at the BO that year).
Music for Haathi Mere Saathi was by Laxmikant Pyarelal who has been so far given many hit numbers of Rafi Saab.
Then ‘Abhimaan’ in 1973 where Sachin Da composed the music and Rafi Saab had only one duet with Lata in that film.(Abhimaan ranked 18th at BO)

This is just my estimation and we cannot really judge what would be the circumstances then.
Similar thing must have been happened with other Singers also (and some of these types of songs must have been posted on our blog too).

Take this example of ‘Mehboob Ki Mehendi’ in 1971 where Rafi Saab had 03 solos and one duet, while Kishore Kumar the voice in demand had only one solo. (This movie wasranked 24th at the Box Office)
This was the peak time for Kishore Kumar in those years.

What I can conclude is that Rafi Saab was very much there and he also had sung a good number of songs then, only the films he sung with either performed badly or were in non-Rajesh Khanna movie.

May be, but Rafi Saab continued to give us memorable song till he was there. And I have come across some very good songs from this period up to 1980 which I have noted and which I will share in future.

While this was going through my mind, there was this song in the program ‘Rangoli’ on Doordarshan.

‘Zamaane ki aankhon ne dekha hain yaaron’ …

As I go through this meaningful song the lines repeatedly came back to me and symbolically I start to relate this song with Rafi Saab’s going through that phase at that time ….

This is from the 1972 film ‘Ek Baar Muskura Do’.
Songs sung by Kishore Kumar from this movie were very popular and we are aware of them. Now what about other songs from the movie?

The film had total 07 songs, out which Kishore Kumar had four songs – 03 solos and one duet with Asha Bhonsle. Mukesh had two songs – 01 solo and 01 duet with Asha Bhonsle.

Rafi Saab had one song!!

With O.P.Nayyar being the music director and Rafi Saab singing just one song!
How many such songs are there?
Many of them, I think, have already been posted and we shall be discussing the balance in the days to come;

Till then let us enjoy this composition of O.P.Nayyar Saab, where the beautiful verses are penned by S.H.Bihari and soulfully rendered by Rafi Saab.

Incidentally in the film this song transforms the hero Deb Mukerji to a rich and famous ‘kalaakar/sangeetkar (as he is referred to in the film) – Kumar Saab from a ‘mamooli’ aadmi and gaanewaala Dilip.


Song-Zamaane ki aankhon ne dekha hai yaaron (Ek Baar Muskura Do)(1972) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
chorus

Lyrics

Nafrat se jinhe tum dekhte ho
tum maarte ho jinko thokar
kya un pe guzarti hai dekho
ek baar kabhi ghaayal ho kar

zamaane ki aankhon ne dekha hai yaaron
zamaane ki aankhon ne dekha hai yaaron
sadaa apni duniya mein aisa nazaaraa
kabhi unko phoolon se pooja hai sabne
kabhi unko phoolon se pooja hai sabne
kabhi jinko logon ne
patthar se maara
zamaane ki aankhon ne dekha hain yaaron

pise na jahaan tak patthar pe mehendi
kisi bhi tarah rang laati nahin hain
hazaaron jagah thokaren kha na le jab tak
koyee zindagi muskuraati nahin hai
bina khud mare kisko jannat mili hai
bina khud mare kisko jannat mili hai
bina dukh sahe kisne
jeewan sanwaaraa
zamaane ki aankhon ne dekha hai yaaron

bhanwar se jo ghabra ke peechhe hate hain
dubo di hai maujon ne unki hi naiyaa
dubo di hai maujon ne unki hi naiyaa
jo toofaan se takra ke aage badhe hain
jo toofaan se takra ke aage badhe hain
bina koyee maanjhi bina hi khivaiyya
kabhi na kabhi to kahin na kahin par
kabhi na kabhi to kahin na kahin par
hamesha hi unko
milaa hai kinaaraa
zamaane ki aankhon ne dekha hain yaaron

yahaan aadmi ko sabak dosti ka
sikhaate huye jo lahu me nahaaya
maseehaa banaa aur Gaandhi banaa wo
hazaaron dilon mein yahaan ghar banaaya
unhi ki bani hai yahaan yaadgaarein
unhi ki bani hai yahaan yaadgaarein
unhi ka jahaan mein
chamka sitaaraa
zamaane ki aankhon ne dekha hai yaaron

————————————————————
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
———————————-
नफरत से जिन्हें तुम देखते हो
तुम मारते हो जिनको ठोकर
क्या उन पे गुज़रती हैं देखो
एक बार कभी घायल हो कर

ज़माने क़ी आँखों ने देखा हैं यारों
ज़माने क़ी आँखों ने देखा हैं यारों
सदा अपनी दुनिया में ऐसा नज़ारा
कभी उनको फूलों से पूजा है सबने
कभी उनको फूलों से पूजा है सबने
कभी जिनको लोगों ने
पत्थर से मारा
ज़माने क़ी आँखों ने देखा हैं यारों

पिसे न जहां तक पत्थर पे मेहँदी
किसी भी तरह रंग लाती नहीं हैं
हज़ारों जगह ठोकरें खा न ले जब
कोई जिंदगी मुस्कुराती नहीं हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद सहे किसने
जीवन सँवारा
ज़माने क़ी आँखों ने देखा हैं यारों

भंवर से जो घबरा के पीछे हटे हैं
डुबो दी हैं मौजों ने उनकी ही नैय्या
डुबो दी हैं मौजों ने उनकी ही नैय्या
जो तूफ़ान से टकरा के आगे बढे हैं
जो तूफ़ान से टकरा के आगे बढे हैं
बिना कोई मांझी बिना ही खिवैय्या
कभी न कभी तो कहीं न कहीं पर
कभी न कभी तो कहीं न कहीं पर
हमेशा ही उनको
मिला है किनारा
ज़माने क़ी आँखों ने देखा हैं यारों

यहाँ आदमी कों सबक दोस्ती का
सिखाते हुए जो लहू में नहाया
मसीहा बना और गांधी बना वो
हज़ारों दिलों में यहाँ घर बनाया
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही का जहाँ में
चमका सितारा
ज़माने क़ी आँखों ने देखा हैं यारों


This article is written by Raja, 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.

Amongst various phases that we go through in life, childhood, though the earliest of our conscious phases, usually manages to imprint some memories in our brain that seem to be indelible right through our life. We might forget what we had for lunch earlier today but we remember a seemingly inconsequential event that occurred when we were ten!

For many people, these childhood memories include films and music that they were exposed to at that time. Years later, they recall (usually) fondly these films and this music – often associating them with childhood events. Success or otherwise of these films or music is immaterial – what matters is that they were part of the person’s growing up years.

For me, those years would be, say, from 1969 – 1981.

In 1981, things changed in my life – and probably changed me too a bit. I remember Love Story, Rocky and Ek Duuje Ke Liye being released in 1981. All of these films turned out to be huge hits – and their songs were a rage on radio every day. I listened to them – but could not muster any interest in the films themselves. A bunch of new actors for the Hindi film industry – all heavily promoted – and here I was, totally indifferent. Yes, for me, personally, 1981 marked the end of an era.

The start of the era was probably 1969. I have a few memories of pre-1969 but they are rather hazy , so I will not set the marker for before this year. I do remember 1969 though – Aradhana’s popularity is a clear memory though at that time I did not know it was 1969. Another clear memory is the death of President Zakir Hussain and it being declared a school holiday. Later I realized it was 1969.

I remember seeing an issue of Madhuri magazine in 1970. In our family we did not subscribe to film magazines but our neighbour did. I happened to be at their place and chanced on the magazine. The main story was about the top three heroines of the time, with their pictures.

They were Sharmila Tagore, Asha Parekh and Waheeda Rehman.

I remember this as if it were yesterday.

Of course these were the big names at that particular moment, especially after Aradhana and Kati Patang for Sharmila and Asha respectively. I’d guess Waheeda would have in the top 3 for much of the 60s, and even in 1970, she produced an outstanding performance in Khamoshi.

But I reckon, if a similar top-3 had been produced 2-3 years later, a different name might have made it to the list.

Mumtaz.

Today is Mumtaz’s birthday (or birth anniversary as some prefer to refer to the day).

So this post is dedicated to her, as we, in this blog, wish her a very happy birthday.

Personally, I’d like to thank Mumtaz (or Mumu as she is fondly called by her fans) for many of my fond childhood film memories.

“Dekho dekho dekho, bioscope dekho…Dilli ka Qutub Minar dekho, Bambai sheher ki bahaar dekho, ye Agre ka hai Taj Mahal, ghar baithe saara sansaar dekho”.

This was Mumu in Dushman (1971). Even as she was singing this song on screen (Lata’s playback), a little boy was enthralled. That was me. ? This song got stuck in my head.

“Sun champa sun taara, koi jeeta koi haara”.

Mumu in Apna Desh (1972). Another song that enthralled me at the time and got stuck in my head.

During that period (1970-1975), I saw a number of Mumtaz movies. She was at the top of her career at the time and was extremely popular amongst the masses.
It is well-known that she and Rajesh Khanna enjoyed a terrific chemistry on screen. Many of their films became hits, many of them had songs featuring both of them, which are popular to this day. Songs like “chhup gaye saare nazaare” and “ye reshmi zulfein” (Do Raaste), “yunh hi tum mujh se baat karti ho” (Sacha Jhootha), “maine dekha tune dekha…dushman dushman jo doston se pyara hai” (Dushman), “kajra lagaa ke” and “duniya mein logon ko” (Apna Desh), “gore rang pe na itna gumaan kar” (Roti), “karvatein badalte rahen” and “jai jai Shiv Shankar” (Aap Ki Kasam) and “prem kahani mein” (Prem Kahani).

I saw all these movies during that 1970-75 period. And loved the Rajesh-Mumu pairing. But apart from these films, I also saw other Mumu films like Pardesi, Ek Nari Ek Brahmachari, Apradh, Hare Rama Hare Krishna, Tere Mere Sapne, Tangewala, Mela, Loafer and many more.

Yes, during that period, with the possible exception of Hema Malini, I don’t think I saw as many movies of any heroine as I saw of Mumtaz.

So to me, just like Rajesh Khanna was very much part of my early growing up years, so was Mumtaz.

Only later I got to know that it had not always been like this for Mumtaz.

I’d first known her when she’d already stepped into the big league. But well before that, she’d had many years of working her way up the ladder. She started when very young – for example, she can be seen in the famous “pankh hoti to ud aati re” sequence (Sehra-1963). Already by this time, she’d been acting for a few years. And this, for somebody, born in 1947.

Through the 1960s, Mumtaz worked as a heroine in B-movies (notably with Dara Singh, who was one of her favourite co-stars at the time and encouraged her a lot during that period).

When she wasn’t playing B-movie heroine, she was playing the secondary actress role in A movies – often wanting the hero, but not getting him, as in Aadmi Aur Insaan and Patthar Ke Sanam. Through the sixties, she could be seen in well-known films but not as the main heroine – films like Khandan, Sawan Ki Ghata, Humraaz, Brahmachari and Mere Sanam come to mind.

With V. Shantaram’s Boond Jo Ban Gaye Moti (1967) opposite Jeetendra and Ram Aur Shyam (1967) opposite Dilip Kumar, she made the transition to a different league – that of a lead actress in a non-B film.

Ram Aur Shyam (1967) became a huge hit. It had Dilip Kumar in a double role – one was paired opposite Waheeda Rehman, the other opposite Mumtaz. And though Waheeda Rehman had more screen time, Mumtaz had her moments too, with the popular “o baalam tere pyar ki thandi aag mein jalte jalte” picturised on her and Dilip Kumar.

From then on, things began looking up for her. Do Raaste (1969) was again a big hit. And for Khilona (1970) she even won a Filmfare award. After that, the lead roles began coming her way fairly comfortably. Once you are seen as a saleable star, producers line up at your doorstep.

So it was indeed quite a journey for Mumtaz. From being a starlet to becoming a star. It is to her credit that she persevered all the way. Some people (like Rajesh Khanna) achieve stardom very early in their careers – others have to work for years for it.

Mumtaz enjoyed her stardom years in the early 70s. But then, just when she was still very much on top, she got married and left the film industry in the mid-70s. She wrapped up her remaining assignments and settled abroad with her businessman husband. It was a Hindi film industry version of a Bjorn Borg retirement. ?

Anyway, now onto today’s song.

The song for today is from Khandan (1965).

The film was one of the biggest grossers of the year and its music became very popular. Ravi won a Filmfare Award for it, as did Sunil Dutt for his acting. While the heroine is Nutan, Mumtaz stars in the film as second lead opposite Sudesh Kumar, who plays Sunil Dutt’s brother.

The role Mumtaz plays is actually a negative one, where she and her brother, Pran, try to win over Sudesh Kumar and break his family, with the help of Lalita Pawar, who is the matriarch of the family.

It is a fun song that allows us to see Mumtaz dancing in her typical 1960s “western” style, reminiscent of her in “O meri maina” from Pyar Kiye Jaa. That Sudesh Kumar doesn’t seem to quite match up to Mumtaz in the dance, doesn’t detract from the fun of the song.

I hope you enjoy this song too – ao dance karein.
And once again, we wish Mumtaz a very happy birthday.


Song-Aa dance karein (Khaandaan)(1965) Singers-Asha Bhonsle, Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Both

Lyrics

Aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka
O aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aa aa
aa dance karein

pheeki hai zindagaani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
pheeki hai zindagani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
raahi hoon door ka main
banda huzoor ka main
zulfon ki chaahta hoon
chhaaon ghani

dil hai mera bhi
O sanam tera pyaasa
a haa ha ha
aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

haaye
aa dance karein
La la la
La la la
La la la la la la la laa

mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa
mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa

thhukra ke ye zamaana
kar le kahin thhikaana
apna to hai iraada
tera hai kya
dil hai mera bhi
O sanam tera pyaasa

haa
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aaa
aa dance karein


This article is written by Raja, 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 the 31st of July(2014).

For many Hindi film music lovers, this date makes an immediate connect in their brain. To one of the most beloved persons to have ever been part of the Hindi film industry.

Yes, I am talking about Mohammad Rafi (or Rafisaab, as he is often respectfully referred to).

Today is the death anniversary of Rafisaab.

34 years ago, in 1980, a day that I remember vividly as if it were yesterday, Rafisaab left our midst.

Only in a physical sense, of course. In every other sense, he is still very much here with his fans, connecting with them through his voice.

And there are legions of his fans. All over the world.

Like me. One of the many millions.

I’ve written about Rafisaab many times on this blog. About how I grew up in a Kishore Kumar era and how I first realized the quality of Rafisaab’s voice. From the time realization hit me, there was no going back. I was hooked for life.

I do not want to repeat all of it again. So I’ll keep it brief.

Like most children growing up in the early 70s, I was a huge Kishore Kumar fan in my childhood. He ruled at that time – and was constantly on radio with one hit or the other. For a child growing up, it was therefore only natural that he would live and breathe Kishore, as I did.

Then one day, I happened to hear a certain voice on radio. The song was “o duniya ke rakhwaale”.

And suddenly something happened within me. As it started with “bhagwaan…bhagwaan” , it took complete control of me. As it went on, I was transfixed. By the voice, the variations, the depth of emotion.

From that moment onwards, I became a Rafisaab fan for life.

(For the record, I am still a huge Kishore fan. And a Talat fan. And a Hemantda fan. And a Manna Dey fan. And I love many Mukesh numbers. I have never believed in the narrow thinking that if you are a Rafisaab fan, you cannot appreciate Kishore. Or the other way round. Fortunately the world of music is far more embracing and open-minded).

Back to Rafisaab. After that realization, I wanted to hear that song again. But those were pre-internet days and, where I lived, we had limited access to cassettes. Radio was my source of music, other than watching films of course.

But even if I didn’t get to hear this particular song that often, I got to hear more of Rafisaab. I heard “suhani raat dhal chuki”, “maine rakha hai mohabbat”, “jaane kya dhoondhti rehti hain”, “caravan guzar gaya”, “sau baar janam lenge”, “madhuban mein Radhika”, “hum bekhudi mein” and many more songs on radio. And everytime, I fell in love with the voice and the song.

There were the duets too. “Jeevan mein piya tera saath rahe”, “laagi chhoote na”, “tujhe jeevan ki dor se baandh liya hai”, “tum hi tum ho mere jeevan mein” and many more.

The more I listened to Rafisaab’s voice, the more I fell in love with it.

Come to think of it, we have been gifted to have such variety of voices available to us.

From Kishore’s baritone voice to Mukesh’s soulful voice to Talat’s silken voice, each one has its place in the pantheon of Hindi film music.

Looking for an appropriate adjective for Rafisaab’s voice, I can only think of “divine”. Yes, on one level, it is not very descriptive – but in another sense, it covers it all.

There is a lot of information about Rafisaab available online. I will therefore steer clear of repeating what’s already there. I will just mention one thing – Rafisaab is supposed to have been a very good human being too. And in my book, that places him on a very special level. It is one thing to be exceptionally good in your profession. It is another to be an exceptionally good human being. There are very few who can claim to be exceptional in both of these.

So, on this death anniversary, we remember not just an exceptional singer but an exceptional human being. Rafisaab will always be in our hearts for as long as we live.

Now onto the song for today.

This is a song from the film Bewaqoof (1960). I remember seeing this film a few years ago – but except for a very long aeroplane sequence in the end featuring IS Johar, I don’t remember very much about it. I think it is full of antics of Kishore Kumar and IS Johar.

The song is “hum to hain tum par dil se fida”. Written by Majrooh Sultanpuri and composed by SD Burman. It is picturised on IS Johar and an actress I am not able to identify. I am sure one of our knowledgeable readers will be able to enlighten us about her identity.

It is a light song, sung by Rafi saab in a “controlled” voice. I find it is a pleasant song to listen to. Hope you like it too.


Song-Ham to hain tum per dil se fida(Bewaqoof)(1960) Singer-Rafi, Lyrics-Majrooh Sultanpuri, MD-S D Burman

Lyrics

Hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

khaadim hum ulfat ke hain
aap ke hain deewaane
phir hum se
kaho kis liye
jhuki aankh lage sharmaane
khaadim hum ulfat ke hain
aap ke hain deewaane
phir hum se
kaho kis liye
jhuki aankh lage sharmaane
aaha thhodi
to keeje
khayaal hamaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

jis din se
toone dil mera
loot liya hanste mein
usi din se
tera dilwaala
gaya baithh tere raste mein
jis din se
toone dil mera
loot liya hanste mein
usi din se
tera dilwaala
gaya baithh tere raste mein
zara mudke
to dekho
kisi ne pukaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

sach maano
ye galat nahin
hum hain tumhaare bas mein
arrey jitni
hain adaayen teri
kha sakta hoon utni kasmen
sach maano
ye galat nahin
hum hain tumhaare bas mein
arrey jitni
hain adaayen teri
kha sakta hoon utni kasmen
aji vallah
nahin hai
jawaab hamaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda


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.

Chaandni Raaten – song 2
—————————–

chaand mera dil
chaandni ho tum
chaand se hai dur
chaandni kahaan

The moon and moonlight is poetically morphed to express many emotions. We will see many moods and faces of Chaand & Chaandni Raat in this series, hopefully.

This is a beautiful comment by ‘derubala ji’ which appeared recently on this song thread

” This is a beautiful memorable song by Rafisaab…Song is based on haunting lyrics and captivating harmonies. His vocals shift and bend with a vibrato effect, so this one makes fine treat for the ears. Rafisaab continues channeling music at transcendentally stratospheric levels! He knew the full value of words in relation to music.”

The song incidentally is the one fitting the theme of this series.

main ne chaand aur sitaaron ki tamanna ki thhi
mujh ko raaton ki siyaahi ke siwaa kuchh na mila aa

Mohammed Rafi sahab was blessed with a beautiful soul and a voice to match. He made the words sing. He made the song fly away and his voice is surrounding the listeners.

This is 31st July 2014 today , and in memory of Late Mohammed Rafi Sahab, this song is presented as a tribute on his 34th death anniversary.

The song, second of this series is a Rafi solo from ‘Saajan’ (1947). It is a sales pitch song written by Qamar Jalaalabaadi and the music is composed by C. Ramchandra. Only one song from the movie is posted till now. As per the excel sheet it is picturized on Ashok Kumar.


Song-O baabu gali mein teri chaand chamkaa(Saajan)(1947) Singer-Rafi, Lyrics-Qamar Jalalabadi, MD-C Ramchandra

Lyrics

o baabu
aji baabu
o baabu gali mein teri chaand chamkaa
dekho chaand chamkaa
o baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

sapnon ki paalki mein
aaya hai kaun
sapnon ki paalki mein
aaya hai kaun
thhandi thhandi chaandni ye
laaya hai kaun
thhandi thhandi chaandni ye
laaya hai kaun
chamka wo kaajal
baaji wo paayal
sarkaa wo aanchal
shor huaa chham chham kaa
shor huaa chham chham kaa
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

paas hamaare gori
solaah singaar hai ae
paas hamaare gori
solaah singaar hai
jodhpur ki choodiyaan
jaipuri ke haar hain
ye jaipur ke haar hain
awadh ka taala hai
kaashi ka pyaala hai
mathura ki maala hai
tohfaa hai ye mausam kaa
tohfaa hai ye mausam kaa
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

aa jaao gori tujhe
jaadoo sikhaaun
aa jaao gori tujhe
jaadoo sikhaaun
roothhe huye piyaa ko
teraa banaaun
roothhe huye piyaa ko
teraa banaaun
madh bhari ankhiyaan tori
baalam se chori chori
le le ye haar gori
miley pyaar baalam ka
miley pyaar baalam ka
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa aa


This article is written by Raja, 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, the 29th of July, is the death anniversary of Johnny Walker.

Since he is one of my favourite actors of yesteryear Hindi cinema, I am happy to pay tribute to him on this occasion.

Johnny Walker, whose original name was Badruddin Jamaluddin Kazi, was easily one of the most popular actors seen in Hindi cinema in the 1950s and 60s. It is safe to say that in his genre, i.e comedy, he absolutely ruled that era.

Before joining cinema he was a bus conductor in BEST (Mumbai’s bus service). While on this job, he would often entertain passengers with his gigs. Balraj Sahni is credited with noticing his talent and bringing him to the notice of Guru Dutt, for whom Balraj Sahni was then writing Baazi. Not only was Guru Dutt impressed by his “drunkard” acting, he also gave him the name of Johnny Walker, the Scottish whisky brand.

This was a start of a good friendship and mutual respect between Guru Dutt and Johnny Walker – one that saw Johnny Walker as a regular in most Guru Dutt films such as Baazi, Jaal, Baaz, Aar Paar, Mr. and Mrs.55, CID, Pyaasa, Kaagaz Ke Phool and Chaudhvin Ka Chand. In interviews, Johnny Walker has spoken very highly of Guru Dutt.

As with others who aspired to play lead roles, Johnny Walker did play the lead role in a few films in the 50s. Among the best-known ones is Chhoo Mantar (1956) with the famous “tumhi ne dard diya hai, tumhi dawa dena” song. And of course, the film Johnny Walker (1957) itself, where he was cast opposite Shyama. (Now how many actors can claim to have a film in their name – and one in which they themselves starred!)

But, for all his lead role efforts, Johnny Walker truly made his name when it came to comedy roles.

And how!

Johnny Walker struck gold as a comedian. His very presence as a comedian in a film immediately lightened the mood of the viewers. However serious the film otherwise was, one was guaranteed a few smiles by Johnny Walker. Perhaps one of the best examples of this is “sar jo tera chakraaye” in Pyaasa. An otherwise intense film is provided with a few light moments, thanks to Johnny Walker.

In fact, Johnny Walker was so popular in his time that producers would often throw in at least one song in the film picturised on him. And guess what? Quite often this song would become very popular, thereby only further feeding this practice. ? Most of these songs were sung by Rafisaab – and the voice suited Johnny Walker so much that it almost felt like Johnny Walker was singing himself!

There are many such songs one can think of – songs which come to the top of my mind now are “jaane kahaan mere jigar gaya ji” (Mr.and Mrs. 55), “ye hai Bambai meri jaan” (CID), “sar jo tera chakraaye” (Pyaasa), “jungle mein mor naacha” (Madhumati), “mera yaar banaa hai dulha” and “ye duniya gol hai” (Chaudhvin Ka Chand), “chhedo dhun matwaalon ki” (Ghar Sansar), “pata note karo” (Zara Bachke), “hum bhi agar bache hote” and “ek musafir ko duniya mein kya chaahiye” (Door Ki Awaaz) and “suno suno Miss Chatterjee” (Baharen Phir Bhi Aayengi). But this is just a chhoti jhalki – there are many more songs picturised on him, and loved by film fans.

Johnny Walker had his own style – and people loved him for it. He had a trademark way of walking and a trademark way of talking. He could charm people with just the way he delivered his dialogues. I know he charmed me every single time I saw him on screen. I can never forget the way he delivered his dialogues in Urdu (often reciting shaayri) in the Rajendra Kumar – Sadhana starrer, Mere Mehboob (1963). It was very endearing, to say the least.

Johnny Walker’s comedy was always clean. In later years, one could sometimes see double entendre getting into comedy but Johnny Walker made sure his comedy was always free of such influences. In fact, in one of his interviews, he said this was one of the reasons he began withdrawing from acting in the 70s. Although he did act in the odd role, off and on, his career was primarily a 1950s/60s career.

Another reason why he began withdrawing from acting was that the 70s heralded a new type of cinema. Till then, there were clear roles for various types of actors. The hero, heroine, villain, comedian, vamp – they all had their specific roles. The comedian provided the comedy element, the hero was the good guy, doing the heroic acts, wooing the heroine and defeating the villain.

In the 70s, the heroes began sometimes doing comedy roles too. One could see a Dharmendra or an Amitabh Bachchan or a Sanjeev Kumar doing comedy at times. And the audience loved this. The role of the typical comedian was, in the process, sometimes considered redundant.

Another reason Johnny Walker retired from acting early was that he felt he had earned enough and he wanted to spend time with family . For many years, he was the main bread winner for his family – once his family commitments had been taken care of, he did not care to keep on working and earning more money. I remember an interview where he said that he never wanted more money than he needed. I found this a very interesting thought process – usually one finds people wanting more and more money all the time. :)

So in a sense, Johnny Walker quit acting pretty much on his terms and at a time he felt right to do so. In any profession, one cannot expect more than this. To be able to work on your own terms and quit when you feel like doing so.

Johnny Walker was a much-loved person – and will be always remembered as somebody very special in Hindi cinema. I know that when I was growing up, my eyes used to light up when the name of Johnny Walker would appear in the cast of a film. I would even try to copy his walk and talk. :)

Now for today’s song.

The song that I have chosen to present here is one picturised on Johnny Walker and Shammi. It is a fun song, sung in the outdoors, from the film Kaun Apna Kaun Paraya (1963). Lyrics are by Shakeel Badayuni, the music is composed by Ravi. Needless to mention, the song is sung by Rafisaab.

This film is probably best known for another wonderful Rafi saab song “zara sun haseena-e-naazneen”. The hero of this film is Vijay Kumar (original name Vahiduddin, brother of Johnny Walker), the heroine is Waheeda Rehman.

I haven’t seen the film – but that doesn’t come in the way of my enjoying this song. I hope you enjoy the song too. Pesh-e-khidmat hai…

Video(A few lines missing)

Audio (Full)

Song-Aashiq hoon apne pyaar ke jauhar dikhaaoonga (Kaun Apna Kaun Paraaya)(1963) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ravi

Lyrics

Aashiq hoon
apne pyaar ke jauhar dikhaoonga
aashiq hoon
apne pyaar ke jauhar dikhaoonga
nazren milaake dil mein tere ghar banaoonga
No jhoot
by God
nazren milaake dil mein tere ghar banaoonga
aashiq hoon
apne pyaar ke jauhar dikhaoonga

dil ki zameen pe daal ke buniyaad pyaar ki
deewaar ik uthhaoonga sabr-o-qaraar ki
dil ki zameen pe daal ke buniyaad pyaar ki
deewaar ik uthaoonga sabr-o-qaraar ki
phir us mein intezaar ki khidki lagaaoonga
fresh hawa aane jaane ko haan
phir us mein intezaar ki khidki lagaaoonga
nazren milaake dil mein tere ghar banaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga

ulfat ki shaandaar imaarat ke waaste
Laaoonga aasmaan ke taare bhi todke
ulfat ki shaandaar imaarat ke waaste
Laaoonga aasmaan ke taare bhi todke
makhmal na mil sakegi to aankhen bichhaoonga
import band hai na darling
makhmal na mil sakegi to aankhen bichhaoonga
nazren milaake dil mein tere ghar banaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga

naksha badaa ajeeb hai dil ke makaan ka
mushkil se ismein hoga guzar mehmaan ka
naksha badaa ajeeb hai dil ke makaan ka
mushkil se ismein hoga guzar mehmaan ka
aur mera kya hai main to kahin baithh jaaoonga
apun to ghar ka aadmi hai na, aa
aur mere kya hai main to kahin baith jaaoonga
nazren milaake dil mein tere ghar banaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga


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.

“Ek Baap Chhe Bete”(1978) was produced by Ashok Shinde and directed by Mehmood for Shinde Enterprises. The movie had Mehmood, Nutan, Jaya Bachchan, Shobha Khote, Yogita Bali, Mohan Choti, Kishore Kumar, I.S.Johar, Mukri, Farhad, Mrs.Tracy Mahmood, Madhu Kapoor, Moushami Chatterjee, Bindu, Keshto Mukerjee, Sunder, Junior Mahmood, Sulochana, Maruti, Masood Ali aka Pucky Ali, Maqsood Mehmood Ali Aka Lucky Ali, Maqdoom Ali aka Macky Ali, Masoom Ali, Mansoor Ali, Manzoor Ali 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.

Today (22 july 2014) is the birth anniversary of Edwina Violette, affectionately called Edu by her aquiantances. She was born in a Military Hospital and the Matron of the hospital gave her the Name Edwina after Lady Mountbatton.
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.

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

Atul Song-A-Day 10K Song Milestone Celebrations – 48 (Post number 10003)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –– – – – – – – –– – – –

Internet became available to public in 1995, and it became available to Indian public in 1996. I became exposed to it in 1997 and I began to have internet connection at home from 1998 onwards.

Development of internet took place rapidly and internet forums came into existence soon. I was a cricket enthusiast and I was looking forward to join a cricket forum. I could not find an Indian cricket forum of my liking. There were cricket forums populated by loud, jingoist and abusive ignorants but those sites were not my cup of tea. I finally settled for a Pakistani cricket forum called pakcricbuzz (by now defunct). This was quite a sensible cricket forum and it had some Indians too in it. One Indian called Saurabh was one of its moderators. This happened in the second half of 2004.
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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 10000 songs post by now.

Total number of songs discussed

10037

Number of movies (All songs covered)

483

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