Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4368 Post No. : 15700

While covering songs on most days, I do not feel much pressure. The only pressure on me is that the day should not end up as a DOT day. I make sure that at least one writeup appears on the blog every day. Fortunately there has been no DOT days this year. The last DOT day of the blog was in December 2019.

The other “pressure”, apart from that of avoiding DOT day, is to make sure that guest posts are published within a day or so. If there is too much delay in publishing them then it may lead to avoidable misunderstanding. Then there is pressure of publishing articles that are topical (having to do with anniversaries, special days etc) which must be published on the appointed day otherwise they lose their relevance.

When it is a question of publishing one post to avoid DOT day, I am happy just being able to publish a bare bones article, an article that hardly has any details other than the most basic information, a far cry from some of the three thousand words plus writeups in the blog. A few of the special occasion writeups are also like that. Guest posts are “easy” because all the hard work is already done by others. It is articles by me on special occasions that put me under pressure. If I am aware of the special occasion well in advance then I am mentally prepared, but if I become aware of the special occasion only on the day when it arrives, then I am in “trouble”. It happens with me in case of many of the anniversaries, seeing that I am not very good in remembering such dates.

Then there are some many days, like Mother’s day, Father’s day, Doctor’s day, Chocolate day and other such largely artificially created days that one becomes aware of only in the morning when one starts the computer and open the search page viz google. And there is some special google doodle staring at you, informing you that it was “Milk” day on that day ! I became aware of “milk” day on the morning of 1st June 2020. I felt that I needed to write an article on the occasion. Much of my day was spend thinking about an appropriate song, because there were very few songs on milk. Then it struck me that milk products qualify as well. And there are so many Hindi film songs on “Maakhan” (butter). We in India even have a God (Lord Krishna) who is the brand ambassador of “Maakhan”. It was already afternoon when this idea struck me and then I started typing out my writeup on the topic. This article finally appeared on the blog in the afternoon at 16:39 IST.

I feel the most “pressure” when the blog reaches its nervous nineties. It means that we need to have a special song as our blog century song. Nowadays, we are barely going at the rate of two or three songs in a day and we do not seem to able to muster the kind of creative writing juices that seemed to flow in abundance till a few years ago. Those days, people would start eagerly anticipating the moment. They would sometimes even stat guessing the song, taking hint from the tallies of various artists in the blog, or basing their guess on the anniversaries to come.

Those days are behind us. Those days we were galloping at Rajdhani express speed, reaching a century in 16 days. These days we are crawling at the speed of a passenger train, reaching centuries in over 50 days.

Just like in case of special occasion songs, I obviously has to think of an appropriate song for the blog century song. The song must be a “special” song befitting the special occasion. As in the case of other “special” occasion songs, this special occasion also puts me under pressure. This time the pressure is of my own making because I myself do not pay attention to the matter in time, and start worrying about it only at the last moment.

I was aware that we are reaching out 157th century, viz song post number 15700, but it was only yesterday (2nd July 2020) when I finally realised that the century post had to be inevitably posted on 3rd July 2020, if I had to ensure that this occasion did not clash with other special occasions viz anniversaries etc.

Like on many similar blog century occasions, I have chosen a “special” song as the blog post number 15700 of the blog. This song can be described as belonging to the category of rare songs, that few people may have heard of. Forget the song, one may not even have heard the name of the movie. The movie is called “Safed Ghoda Kaala Sawaar”(1960) aka “Black Rider”(1960). It was directed by Mehmood (same as the comedian or someone else ?) for Screenarts Bombay. The B grade obscure movie had Kamran, Krishnkumari, Habeeb, Shaam, Najma etc in it. HFGK mentions five songs for this movie.

One song from this movie has been covered in the past. Here is the second song from “Black Rider” (1960) to appear in the blog. The song is sung by Balbir and Minu Prushottam with chorus. Naqsh Llayalpuri is the lyricist. Music is composed by Harbans.

The song is a qawwaali and sounds wonderful to listen to. But while most qawwaalis are quite long, this qawwaali ends after three minutes , after just two stanza, with the listeners wanting more. I wonder if this song was originally longer and only three minutes long version of the qawwaali was released on record. I request our knowledgeable readers to thow light on the movie as well as on the picturisation of the song.
[Ed Note: As Sudhir ji points out in his comment, the full song is double the length – it is 6+ minutes and appears on two sides of a 78 rpm record. Whoever has uploaded the song did not take care enough to upload the full song. Sudhir ji has now uploaded the full qawwaali and updated the lyrics.]

With this extremely rare song, the blog reaches another century in the blog. This century took 53 days. Now that we are onto song post number 15700, the next magic number 16000 appears near by. Hopefully we will reach that big landmark in a matter of another few months.

With this post done, now I feel free to post next few articles without much pressure, before it would be time for the next important events for the blog, viz blog anniversary (which falls in july itself) etc.

I take this opportunity to thank one and all for their continued support in helping this musical bandwagon keep chugging along merrily. Many more musical gems still lie ahead that we need to explore and savor.

Song – Husn Waale Khilauna Jaan Ke Dil Tod Dete Hain (Black Rider)(1960) Singers – S Balbir, Meenu Purushottam, Lyrics – Naqsh Llayalpuri, MD – Harbans
Male chorus
Female chorus

Lyrics

aa aa aa
haseenon ki adaaon ne
hazaaron ko mitaa daala
kisi ko kar diya ruswa
kisi ka ghar jalaa daala

husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

kabhi palken jhukaa ke aur
kabhi zulfon ko bikhraa ke
aa aa aa
kabhi nazren milaa ke aur
kabhi aanchal ko lehraa ke
aa aa aa
dilon ko loot lete hain
dilaason per hi behlaa ke
tamaasha dekhte hain phir
tadapte dil ko tadpaa ke
sahaara dene se pehle
sahaare chhod dete hain
sahaara dene se pehle
sahaare chhod dete hain
nazar se loot lete hain
tadapta chhod dete hain
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain

hamaara naam bhi badnaam
kar daala zamaane ne
haa..aa..aan
ghazab ki talkhiyaan bhar di
mohabbat ke fasaane mein
bade hi tez hain ye ishq waale
dil lagaane mein
basa ke apne haathon
pyaar ki basti mitaane mein
ye aise raahbar hain jo bhatakta chhod dete hain
ye aise raahbar hain jo bhatakta chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

haa..aa..aa..aan
bade masoom bantey hain
bahut hoshiyaar hotey hain
haa..aa..aan
sambhal paate nahin wo
jin pe inke waar hotey hain
ye zaalim ishq waale
kis qadar ayyaar hotey hain
jo in se dil lagaate hain
bahut bezaar hotey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
aaa aaa aaa aaa aaaaa
aaa aaa aaa aaaaa
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
aaa aaa aaa aaa
aaa aaa aaa aaa
ishq waale laga kar aag daaman chhod dete hain

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

आ आ आ
हसीनों की अदाओं ने
हजारों को मिटा डाला
किसी को कर दिया रुसवा
किसी का घर जला डाला

हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

कभी पलकें झुका के और
लाभी ज़ुल्फों को बिखरा के
आ आ आ
अभी नज़रें मिला के और’
कभी आंचल को लहरा के
आ आ आ
दिलो को लूट लेते हैं
दिलासों पर ही बहला के
तमाशा देखते हैं फिर
तड़पते दिल को तड़पा के
सहारा देने से पहले
सहारा छोड़ देते हैं
सहारा देने से पहले
सहारा छोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं

हमारा नाम भी बदनाम
कर डाला जमाने ने
हाँ॰॰आँ॰॰आँ
ग़ज़ब की तल्खियाँ भर दीं
मोहब्बत के फसाने में
बड़े ही तेज़ हैं ये इश्क़वाले
दिल लगाने में
बसा के अपने हाथों
प्यार की बस्ती मिटाने में
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

हाँ॰॰आँ॰॰आँ॰॰आँ
बड़े मासूम बनते हैं
बड़े होशियार होते हैं
हाँ॰॰आँ॰॰आँ
संभाल पाते नहीं वो
जिनपे इनके वार होते हैं
ये ज़ालिम इश्क़ वाले
इस कदर अय्यार होते हैं
जो इनसे दिल लगाते हैं
बड़े बेज़ार होते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
आ आ आ आ आ
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
आ आ आ आ आ
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4368 Post No. : 15699

Main ik panchhi matwaalaa re …

In this case we have a ‘reverse’ ‘repetition of song’ of a Hindi movie, i.e. reverse repetition on our blog 😊 where the new song was posted first and older will be covered here. 😊

– The song has been posted on the blog under the movie ‘Mamta Ki Chhaaon Mein-1989’ and it has also been mentioned there that it was recorded for ‘Door Ka Raahi-1971’ …

1) When it was recorded for ‘Door Ka Raahi-1971’, Amit Kumar (born on 3rd July’1952) must be around 17-18 yrs old.

2) The songs/soundtracks listing of ‘Door Ka Raahi-1971’ included this song, which is also mentioned in HFGK, so technically we need to include this song, the recording which was done when the singer was ‘Amit Ganguly’, on the blog.

3) Then, this song has a second stanza (which TILL NOW has not been mentioned or posted on the blog) and the full song is given below.

4) When the same song was recorded for ‘Mamta Ki Chhaaon Mein-1989’, it was recorded again and it was not the same recording from ‘Door Ka Raahi-1971’. The age of Amit Kumar (now he was Amit Kumar) at the time of second recording must be around 32-34 yrs, so here the voice is more matured now and I think the ‘length of the ‘sur’s’ too.

5) The song in ‘Mamta Ki Chhaaon Mein-1989’ has an additional second stanza as given in this audio link. The link of this song and the earlier song has also been posted by our ‘passionate favorite’ team members, but so far, they do not mention about the second stanza: –

There is onlyone difference in the lyrics at one place highlighted in red.

‘ghor ghataa chhaaye, chaahye bijlee
daraayein’
‘ghor ghataa chhaaye, chaahye bijuri daraayein’


Song-Main ik panchhi matwaala re (Door Ka Raahi)(1971) Singer-Amit Kumar, Lyrics-Kishore Kumar, MD-Kishore Kumar

Lyrics

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

door gagan ka panchhi hoon main
door thhikaana mera aa
door gagan ka panchhi hoon main
door thhikaana mera aa
is bagiyaa ki daal pe mera
ik pal rain basera aa
hichkoley khaaun
chah-chahaaun
gungunaaun
baadlon ke sang sang
ud ud jaaun
main apne aap mein bhoolaa re
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
taan ke seenaa udoon gagan mein
har mushqil ko jhelaa aa
ghor ghataa chhaaye
chaahye bijlee daraayein
badhhtaa chaloon main
lehraaye bal khaaye ae
main dhoop chhaaon mein
khelaa re ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

mera is duniyaa ke baagh mein
aanaa jaana re
mera is duniyaa ke baagh mein
aanaa jaana re

____________________________________________________________

Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————-
मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे

मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
इस बगिया की डाल पे मेरा
इक पल रेन बसेरा आ
हिचकोले खाऊं
चह चहाऊँ
गुनगुनाऊं
बादलों के संग संग
उड़ उड़ जाऊं
मैं अपने आप में भूला रे
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तान के सीना उडूं गगन में
हर मुश्किल को झेला आ
घोर घटा छाये
चाहे बिजली डरायें
बढ़ता चलूँ मैं
लहराए बल खाए ए
मैं धुप छाँव में खेला रे ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4368 Post No. : 15698 Movie Count :

4328

Today 3rd July 2020 is the sixty-eighth birth anniversary (born on 3rd July 1952) of Singer Amit Kumar Ganguly or Amit Kumar.

On this occasion here is a song from the movie ‘Swarthi-1986’ sung by him.

“Swarthi-1986” was directed by Radhakant for ‘Filmnagar’. It was produced by Sohanlal Kanwar. Smt. Vijayalaxmi was the co-producer of this movie. It had Suresh Oberoi, Neeta Mehta, Shafi Inamdar, Komal Mahuvakar, Aruna Irani, Paintal, with Anupam Kher, supported by Chand Usmani, Arun Mathur, Baba, Vandana Shastri, Sunanda, Rana Jung Bahadur, Tulsi, Manjit Sikhwal, Kaka, Malik, Sehgal, Ashok Saxena, Amar Nath and Alka Noopur and others.

Story of this movie was written by Ram Kelkar. Editing of this movie was done by Satpal Suri and Narinder Arora.

This movie had six songs (including one multiple version song). Lyrics of these songs for this movie were written by M.G. Hashmat (four songs, including one multiple version song), Vishweshvar Sharma and Dilip Tahir (one song each). Music was composed by Sapan Jagmohan.

Amit Kumar, Anuradha Paudwal and Suresh Wadkar had given their voices to the songs in this movie.

Today’s song is written by M.G. Hashmat and sung by Amit Kumar. Sapan Jagmohan is the composer as mentioned above.

Let us now enjoy this entertaining song. Lyrics of this song were sent by Prakashchandra. Only audio of this song is available and my guess is that it must have been lip synced by Suresh Oberoi the hero of this movie. The other details of this movie are taken from the ‘titles’ of the movie available on YT link. However, the date of passing by Censor Board of this movie could not be confirmed.

When Prakash ji had sent this song, he had put a question mark against the year-1985/1986- of this movie and that prompted me to check for this movie details. However, since this movie is not mentioned in the HFGK Vol-VI (1981-1985) I guess the year of the release of this movie is 1986. I was also not aware of this movie name or its songs. And I was listening to this song first time, I think. Amit Kumar has sung the song in his style with gusto and it’s a nice song to enjoy. 😊

With this song ‘Swarthi-1986’ makes its debut on the blog. …

(audio)
Song-Mera to iraada hai jaan e mann (Swaarthi)(1986) Singer-Amit Kumar, Lyrics-M G Hashmat, MD-Sapan Jagmohan

Lyrics(Provided by Prakashchandra)

mera to iraadaa hai jaan-e-mann
teraa kyaa iraadaa hai jaan-e-mann
mera to iraadaa hai jaan-e-mann
ho o o mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aajdil ke paas aane de
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
meraa to iraadaa haijaan-e-mann…aaa

sab haseenon mein tera
maine intikhaab kiyaa
ek zarre ko
mohabbat ne aftaab kiyaa aa
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasveer teri
dil pe roz sotaa hoon
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasweer teri
dil pe roz sotaa hoon
kab ke bichhde aaj miley hain
bujhe bujhe dil milke jaley hain
dil ko na rok aaj dil ke paas aane de
aaj kaa to waadaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa hai jaan-e-mann
lutf aisaa nahin
kisi jannat ke maikhaane mein
jo nazar aaye tere
husn ke paimaane mein ae
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa aa
haan aa
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa
kyon na badan ki aag bujhaa lein
pyaas ko peekar pyaas mitaa lein
dil ko na rok aaj dil ke paas aane de
raat ka taqaazaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa haijaan-e-mann a a a

ho o o meri ungli mein tere
husn kaa aa nagina ho
maroon to munh pe tere
pyaarkaapaseenaa ho o o
ha hahee
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai ae
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai
ek duje mein kho jaayenge ae
chain se phir to so jaayenge
dil ko na rok aaj dil ke paas aane de
donon kaa hi faaydaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aaj dil ke paas aane de
meraa to iraadaa hai jaan-e-mann
tera kya iraada hai jaan-e-mann
bol meraa to iraadaa hai jaan-e-mann
ha haha
ho hoho
heeheehee

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन
हो ओ ओ मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन अ अ अ

सब हसीनों में तेरा
मैंने इन्तिखाब किया
एक ज़र्रे को
मोहब्बत ने आफताब किया आ
कहने को हंसता हूँ
समझो तो रोता हूँ
रख के तस्वीर तेरी
दिल पे रोज़ सोता हूँ
कब के बिछड़े आज मिले हैं
बुझे बुझे दिल मिलके जले हैं
दिल को ना रोक आज दिल के पास आने दे
आज का तो वादा है जानेमन
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन

लुत्फ़ ऐसा नहीं
किसी जन्नत के मयखाने में
जो नज़र आये तेरे
हुस्न के पैमाने में ए
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना आ
हाँ आ
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना
क्यों न बदन कि आग बुझा लें
प्यास को पीकर प्यास मिटा लें
दिल को ना रोक आज दिल के पास आने दे
रात का तकाज़ा है जानेमन
बोल तेरा क्या इरादा है जानेमन अ अ अ

हो ओ ओ मेरी ऊँगली में तेरे
हुस्न का आ नगीना हो
मरूं तो मुंह पे तेरे
प्यार का पसीना हो ओ ओ
ह ह ही
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है ए
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है
एक दूजे में खो जायेंगे ए
चैन से फिर तो सो जायेंगे
दिल को ना रोक आज दिल के पास आने दे
दोनों का ही फायदा है जानेमन

मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
बोल मेरा तो इरादा है जानेमन
ह ह ह
हो हो हो
ही ही ही


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4368 Post No. : 15697 Movie Count :

4327

Hindi songs in Bangla Films – 33
————————————–

Music Directors, Ravi (Ravi Shankar Sharma) and Hemant Kumar (Hemant Mukherjee or Hemant Mukhopadhyay as he is known in Bangla films industry) had an interesting and collaborative partnership in the 1950s. As revealed in his multiple TV interviews, Ravi came to Mumbai in 1950 to become a playback singer. He started as a chorus singer and his first song as a chorus singer was for zara jhoom le jawaani ka zamaana in ‘Naujawaan’ (1951).

Hemant Kumar got his first Hindi film assignment as a music director in Filmistan’s ‘Anand Math’ (1952) in which Ravi got a chance as a chorus singer for the song vande maataram. Hemant Kumar seems to have found Ravi as a knowledgeable and resourceful person having good command over Hindi and Urdu, the latter being the weak points for Hemant Kumar. So, he appointed Ravi as his Music Assistant. What I have gathered from the TV interviews is that Ravi had become Hemant Kumar’s man Friday. Whenever Hemant Kumar found some ‘musical resources gap’, it was Ravi who would step in to fill the gaps – be as a musician, lyricist and singer and apprising him of the nuances of Hindi and Urdu words in lyrics.

One of the best collaborative efforts of Hemant Kumar with Ravi as his Assistant Music Director was in ‘Naagin’ (1954). All the songs of the films were super hit and Hemant Kumar won Filmfare’s Best Music Director’s Award for the film. In one of the film’s songs, Hemant Kumar did not want to use the Been as an instrument but he wanted the sound of the Been. Ravi came forward to compose the Been music on Harmonium which was played on Clavioline (a keyboard music instrument) by Kalyanji to produce Been like sound. The Been music was created on the tune of mera dil ye pukaare aaja and used in mann doley mera tann doley. The songs with Been music became so famous that HMV came out with a gramophone record covering only the Been music for which Ravi was given credit for composing the Been music.

Hemant Kumar was very much inspired by an East Bengal folk song ‘Allah megh de paani de chhaaya de tui’ which was made very popular by S D Burman when he sang this song in Jodhpur Music Festival held sometime in mid-1940s. Hemant Kumar wanted to use this folk tune in one of the songs of ‘Naagin’ (1954). But Ravi did not want the song to sound like folk tune. So, he played a variation of the mukhda tune on his harmonium based on the folk tune which Hemant Kumar liked and incorporated in the song chhod de patang meri chhod de. Only listeners of Hindi film songs with keen ears could have made out that this song was based on a folk song referred to above. At least, I can say for myself that I did not realise this fact until Ravi himself had revealed this in one of his TV interviews, despite the fact that I was aware of allah megh de paani de used in ‘Guide’ (1965) by S D Burman and I also knew that it was partially used in de de pyaar de pyaar de pyaar de re by Bappi Lahiri.

One more instance where Ravi came as a filler for Hemant Kumar’s muscian was on the day of the recording of the song na ye chaand hoga na taare rahenge for ‘Shart’ (1954). The musician playing the Clavioline did not turn up for recording. Since it was the main instrument to be used for prelude and interludes, Hemant Kumar decided to cancel the recording. But Ravi stepped in and offer to play the Clavioline. Thus, the song recording was completed as per schedule with Ravi playing the Clavioline.

During his association with Hemant Kumar, Ravi also stepped in as one-song lyricist in ‘Bandish’ (1955), ‘Arab Ka Saudagar’ (1956), Hamaara Watan’ (1956) and ‘Bandi’ (1957). Ravi as an Assistant Music Director also sang under Hemant Kumar in ‘Daaku Ki Ladki’ (1954), ‘Bahu’ (1955), ‘Lagan’ (1955), ‘Arab Ka Saudagar’ (1956), ‘Laalten’ (1956) and ‘Yahudi Ki Ladki’ (1957).

Ravi worked with Hemant Kumar as Assistant Music Director in 22 films during 1954-57 which included ‘Shart’ (1954), ‘Jaagriti’ (1954), ‘Naagin’ (1954), ‘Bahu’ (1955), ‘Bandish’ (1955), ‘Inspector’ (1956), ‘Ek Hi Raasta’ (1956), ‘Durgesh Nadini’ (1956), ‘Yahudi Ki Ladki’ (1957), ‘Ek Jhalak’ (1957), ‘Champakali’ (1957) etc. During this period, Ravi also got assignments as an independent music director in ‘Vachan’ (1955). ‘Albeli’ (1955), ‘Prabhu Ki Maya’ (1955), ‘Ayodhyapati’ (1956), ‘Ek Saal’ (1957) and ‘Narsi Bhagat’ (1957).

The association of Hemant Kumar and Ravi ended sometime in 1957, when the former advised Ravi to look for independent assignments as a music director. Hemant Kumar he felt that working with him as Assistant Music Director for a long time would restrict his musical career. Though Ravi was not keen to leave his association with Hemant Kumar, he saw logic in his mentor’s advice and parted his fruitful association with him. However, Ravi did not have to struggle to get his independent assignments as three of the production banners – Devendra Goel, S D Narang and Nadiadwala with whom he had worked as Assistant Music Director for Hemant Kumar, engaged him as music director for their films. After the success of his music in ‘Chaudhvin Ka Chaand’ (1960), Ravi never looked back in his musical journey. Before and after parting of their association, as per my counting, Hemant Kumar sang least 22 songs under the music direction of Ravi.

Hemant Kumar and Ravi also collaborated in a Bangla movie, ‘Shesh Parichaya’ (1957), where Ravi was associated as a lyricist for two Hindi songs in the film. These two songs are ‘chal aisi jagah ae dil’ and ‘jhoom jhoom kar gaa le’, both rendered by Lata Mangeshkar. Unfortunately, the film is not available for viewing online on any of the video sharing platforms. I do not have any idea about the story of the film. Whether the film ‘Shesh Parichaya’ (1957) has any connection with a novella of the same title written by Sharatchandra Chattopadhyay is difficult to guess. The only available information on-line is that the film was directed by Sushil Majumdar and Basanta Chaudhury, Sabitri Chatterjee and Chhabi Biswas acted in the film. Hemant Kumar was the music director.

I am presenting first of the two Hindi songs from “Shesh Paricay”, viz. ‘chal aisi jagah le chal’ sung by Lata Mangeshkar. The song reminds me of chali jaa chali jaa chali jaa from ‘Ham Log’ (1951).

Audio Clip:

Song-Chal aisi jagah ae dil (Shesh Parichay)((Bangla)(1957) Singer-Lata, Ravi, MD-Hemant Kumar

Lyrics

chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil

bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko…o
koi nahin sunega
bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko..o
koi nahin sunega
seene mein daba le tu
iss gham ke fasaane ko
kehna na zamaane ko
chal aisi jagah ae dil

duniya ne aaj tujhse
badlin hai jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
duniya ne aaj tujhse
badlin hain jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
taqdeer bani dushman
jab tere mitaane ko
ghar tera jalaane ko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4366 Post No. : 15695 Movie Count :

4326

Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.

When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.

The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.

Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !

Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.

Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, Jadui putli etc.

The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.

Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.

From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.

Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.

I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.


Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both

Lyrics

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye

apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa

dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye


This article is written by Avinash Scrapwala, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4365 Post No. : 15694

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 94 # Kalyanji-Anandji – Year 1975
———————————————–———————————————

Today 30th June 2020 is 92nd birth anniversary of Kalyanjibhai Virjibhai Shah (30 June 1928 – 24 August 2000) of the great music director duo Kalyanji-Anandji.

On this occasion as a tribute to him here is a song from the ‘1975’ movie ‘Rafoo Chakkar’. I vaguely remember to have watched this movie with my parents and brothers in my childhood. I was just around seven years old then (considering the date of release of this movie). However, the songs of this movie have always remained in my memory. I think they were very popular in those years and were frequently heard on loud speakers and radio. Particularly the songs ‘chhuk chhuk chhak chhak Bombay se Baroda tak’, ‘tumko mere dil ne’, ‘kisi pe dil agar aa jaaye to kya hota hai’, ‘dil lena buri balaa hai’, ‘ae zamaane tu kar le sitam pe sitam’…

Almost all songs from this movie were good and I have a big nostalgia of the songs of this movie. So, when I became a member of this blog I had shared a couple of songs, and one of them ‘tumko mere dil ne’ was posted on 21.01.2014 (much later according to me, because when I joined the blog I always thought all songs of the seventies must be already there . 🙂

‘Tum ko mere dil ne’ has always been my big favorite and so is ‘kisi pe dil agar’ but then there is one more song from this movie which brings back memories for me and I am going to present this song today.
And since this song was pending since 2013, I thought I should go with it instead of taking another song when I was thinking of a post on this occasion today. All these years this song has been in my dormant memory associated with the name of this movie ‘Rafoo Chakkar’. I have no recollection of having watched this movie again either in theatre or on TV channels. I have only watched a couple of its songs on TV. I may have watched parts of this movie when it was being aired on TV.

“Rafoo Chakkar-1975’ was a presentation from the ‘House of Nadiadwala’. It was produced by I.A. Nadiadwala for ‘M.I. Films Pvt Ltd’. This movie was directed by Narinder Bedi.

Ajay Kumar was the chief assistant director while assistant director was Kapil Kapoor. Raj Bedi was the dialogue director.

Story of this movie was written by Jayant Dharmadhikari, whereas the dialogues were written by Kadar Khan. K.K. Shukla had written the screenplay of this movie.

Editing of this movie was done by Babubhai Thakkar.

It had Rishi Kapoor, Neetu Singh, Rajindernath, Faryal, Asrani, Master Chikkoo with Paintal, Madan Puri, Anwar Hussain, Sulochana, Mumtaz Begum, Shetty, Viju Khote, Shamim, Surender Shetty, K.N. Singh, Sudhir, Bhagwan, MacMohan, Man Mohan, Habib, Jankidas, M. Rajan, Tiwari, Mohan Sherry, Hiralal, Rajan Haksar, Goga, Dalpat, Sapru and Kamran.

Lyrics were written by Gulshan Bawra and music was composed by Kalyanji-Anandji.

Asha Bhonsle, Usha Mangeshkar, Shailendra Singh, Kanchan, Mahesh Kumar and Aziz Nazan were the playback singers who had given their voices to the songs in this movie.

Jaikumar conducted the music while Frank Fernand was the arranger and Babla was the assistant in music of this movie.

This movie was passed by Censor Board on 02.01.1975.

In 1975 there were a ‘dozen’ of movies where Kalyanji-Anandji had composed the music for them. Here is the list;

Sno. Title Year Passed by Censor Board Lyricist Represented on the Blog</
1 Anokhaa 1975 02.04.1975 Indeewar, Sawan Kumar N
2 Apne Dushman 1975 19.11.1975 Verma Malik, Qamar Jalalabadi N
3 Bhoolaa Bhatkaa 1975 13.10.1975 Anand Bakshi
4 Chori Mera Kaam 1975 30.04.1975 Verma Malik Yes/Yippeeee’ed
5 Dharmaatmaa 1975 30.04.1975 Indeewar Y
6 Do Thug 1975 05.12.1975 Rajinder Krishan N
7 Faraar 1975 11.11.1975 Rajinder Krishan Y
8 Himaalaya Se Ooncha 1975 15.04.1975 Indeewar Y
9 Monto 1975 15.05.1975 Verma Malik
10 Rafoo Chakkar 1975 02.01.1975 Gulshan Bawra Y
11 Uljhan 1975 31.10.1975 M.G. Hashmat Y
12 Zoro 1975 31.10.1975 Verma Malik

None of the songs of this movie “Rafoo Chakkar-1975” make it to the annual list of ‘Binaca Geetmala’ of that year. And only two compositions of Kalyanji-Anandji featured in that year’s list one from the previous years’ release ‘Haath Ki Safaai-1974’ i.e. ‘waadaa kar le sajnaa’ at number six and another from the movie ‘Dharmaatma-1975’ which was ‘tere chehre mein wo jaadu hai’ at number thirty-one.

The title song of ‘Uljhan-1975’ figured at number eleven in the annual list of ‘Binaca Geetmala-1976’.

Let us now enjoy the today’s song which is sung by Aziz Nazan and Kanchan. On screen Rishi Kapoor and Neetu Singh are lip syncing the voices of Aziz Nazan and Kanchan whereas we can see Rajindernath, Paintal, Sulochana, Mumtaz Begum and many others in the picturization of this song.
Rishi Kapoor, Neetu Singh, Rajindernath and Paintal are performing ‘hippies’ in disguise (not for viewers) to get release of the captivated Sulochana and Mumtaz Begum.

Video

Audio (Full)

Song-Bhajan binaa chain naa aaye Raam(Rafoo Chakkar)(1975) Singers-Aziz Naaazaan, Kanchan, Lyrics-Gulshan Baawra, MD-Kalyanji Anandji
chorus

Lyrics

dekh ke tu pinjare mein panchhi ee ee ee ee
kaahe ko muskaaye
hum sab hain is jag mein qaidi ee ee ee
tu ye samajh naa paaye ae

bhajan binaa aa aa
chain naa aaye raam
bhajan binaa aa aa
chain naa aaye raam

koi naa jaane kab ho jaaye ae
koi naa jaane kab ho jaaye
is jeewan ki shaam aam
is jeewan ki shaam

bhajan binaa chain naa aaye raam

moh maaya ki aas to pagle ae
moh maaya ki aas to pagle
hogi kabhi naa puri ee ee
hogi kabhi naa poori
poori ee
hogi kabhi naa poori
karte karte bhajan prabhu kaa
karte karte bhajan prabhu kaa
mit jaayeagi doori ee ee
mit jaayeagi doori
doori ee
mit jaayeagi doori
o o o o
hum bhakton ke ae ae ae ae
hum bhakton ke saath saath lo
sab hi prabhu ka naam
naam aam
bhajan binaa aa aa aa
chain naa aaye raam
bhajan binaa aa aa aa
chain naa aaye raam

bolo raam raam raam
raadhe shyaam shyaam shyaam
seeta raam raam raam
raadhe shyaam shyaam shyaam
bolo bolo bolo
bolo
hare raam raam raam
raadhe
raadhe shaam shaam shaam
seeta
seeta raam raam raam
raadhe
raadhe shaam shaam shaam

bhajan hai amrit ras kaa pyaala aa
bhajan hain amrit ras kaa pyaala
shaam savere peena aa aa
shaam savere peena
peena aa
shaam savere peena
isko peekar saara jeewan
isko peekar saara jeewan
masti mein tu jeena aa aa aa
masti mein tu jeena
jeena aa
masti mein tu jeena
o o o o o
bhakti kar to o o o o
bhakti kar to
ban jaayenge apne bigde kaam
kaam
bhajan binaa aa aa
chain naa aaye raam
koi naa jaane kab ho jaaye ae
is jeewan ki shaam

shaam m m m
is jeewan ki shaam
shaam
is jeewan ki shaam
bolo raam raam raam
raadhe shaam shaam shaam
seeta ram raam raam
raadhe shaam shaam shaam
hare raam raam raam
bolo bolo bolo
radhe shaam shaam shaam
seeta raam raam raam
radhe shaam shaam shaam

raadhe
hare raam raam raam
seeta
radhe shaam shaam shaam
radhe
bolo raam
sita raam raam raam
radhe shaam shaam shaam

bolo raam
hare raam raam raam
radhe shaam shaam shaam

bolo raam
sita raam raam raam
radhe shaam sham shaam

bolo raam


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4365 Post No. : 15693 Movie Count :

4325

During my visits to Jorasanko Thakur Bari (Tagore family residence) in Kolkata and thereafter a full day visit to Shanti Niketan in 2012, I had often come across the name of Kadambari Devi who was supposed to have inspired Gurudev Rabindranath Tagore in his literary, musical and artistic pursuits. But at that time, it never occurred to me to know more about Kadambari Devi.

Last Sunday, while browsing one of the OTT platforms, I found a Bangla film ‘Kadambari’ (2015) where I read a two-liner summary of the film that connected me with Kadambari Devi. The film is a biopic on Kadambari Devi who was the wife of Jyotirindranath Tagore, the elder brother of Gurudev Rabindranath Tagore. The story of Kadambari Devi is a tragic one which is, in my view, is not less than Shakespearean tragedies. Let me first briefly discuss her biography before I set out her story as depicted in the film.

Kadambari Devi (1859-1884) was a daughter of an employee of Jorasanko Thakur Bari who was married to 21-year old Jyotindranath Tagore on July 5, 1868 when she was 9. In Thakur Bari, 7-year old Rabindranath Tagore, the youngest son of Debendranath Tagore, became Kadambari’s playmate as no other family members in the Tagore family were of their age group. Her husband was a multi-talented person interested in literature, music, theatre, painting, publications besides the family business. He made arrangements for home education of Kadambari Devi as also  for training in horse riding etc.

After the death of Rabindranath’s mother, Kadambari Devi’s childhood relationship with him was turned from playmate to that of a surrogate mother. The next relationship between Kadambari Devi and Rabindranath in their adulthood became more like platonic love. Everyday, Rabindranath would write poems which he would first recite to Kadambari Devi who would give her critical assessments. Gradually, an intellectual relationship developed between Rabindranath and Kadambari Devi.

The close relationship between Rabindranath and Kadambari Devi during their adulthoods were not liked by the elder family members. So, at the age of 17, Rabindranath was sent to England for further studies. During his short stay in England, he used to write letters to Kadambari Devi discussing about poems and literature and how he was missing her in his literary pursuit. He returned to India without completing his studies and once again their literary companionship started. Rabindranath got his letters to Kadambari Devi published in one of the Bengali magazines. Though these letters were high in their literary contents, the elders in the family read in-between the lines as to whom the emotions expressed in the letters were meant. Elders in the family were afraid that scandal could break out tarnishing the image of the family. So, they decided to get Rabindranath married at the age of 21 with a bride of 11 years who was named as Mrinalini Devi.

After the marriage of Rabindranath, the distance between Kadambari Devi and him widened. On the other hand, Jyotirindranath’s busy schedule with his businesses and other activities made her lonely. After about 4 months of Rabindranath marriage, Kadambari Devi committed suicide by taking an overdose of opium on April 21, 1884 at a young age of 25 years. There was no clue left as to why Kadambari Devi committed suicide.

The story of Kadambari Devi has all the ingredients of making a social drama film. The first Bengali film on this story was made by Satyajit Ray titled ‘Charulata’ (1971) which was based on Rabindranath Tagore’s Bengali novella ‘Nashtanirh’ (Broken Nest). Scholars believe that this novella may have been based on the relationship between Jyotirindranath Tagore, Kadambari Devi and Rabindranath Tagore himself which was published in 1901. The second film, ‘Chhelebela’ (2002) was made which was based on the Rabindranath Tagore’s novella of the same name which meant ‘My Boyhood Days’. Thereafter, two more films – ‘Chirosakhe He’ (2007) and ‘Jeewan Smriti’ (2011) were made in Bengali.

‘Kadambari’ (2015) is the latest Bangla film which is more like a biopic of Kadambari Devi.  The film is directed by Suman Ghosh. The film is based on the Bengali novel ‘Prothomo Alo’ by Sunil Gangopadhyay, ‘Kobir Bouthan’ by Mullika Sengupta and various writings of Rabindranath Tagore. The cast includes Konkana Sen Sharma (Kadambari Devi), Parambrata Chattopadhyay (Rabindranath Tagore), Kaushik Sen (Jyotirindranath Tagore), Sanjoy Nag (Debendranath Tagore), Titas Bhowmik, Srikanto Acharya, Srilekha Mitra etc.

Though the film is a biopic of Kadambari Devi, the director has taken some cinematic liberties in dramatizing some events in the life of the three main characters in the film. The story of Kadambari Devi in the film is as under:

The film starts with the suicide of Kadambari Devi in her bedroom with an overdose of opium. The patriarch of the Tagore family, Debendranath Tagore instructs all in the house not to leak the news of the suicide to outsiders as it is the question of reputation of the family. All the subsequent scenes in the film are shown as flashbacks of Kadambari Devi until her death like  her marriage to Jyotirendranath, Rabindranath as her childhood playmate etc. She feels lonely in the big house as she is the child and the other members of the household are adults. Same is true of Rabindranath as he is the youngest of the Tagore family (7 years). So naturally, both the loners find their relationship as  playmates rewarding.

After the death of Rabindranath’s mother, Kadambari Devi is assigned the duty of looking after him. She would supervise his meals after his return from school. She has become an expert cook and prepares delicious dishes for Rabindranath who, for the first time, feels that the food tastes better than those churned out by the cooks at Thakur Bari.

During the adulthood, Kadambari Devi becomes his literary companion. Rabindranath would recite his new poems first to her to get her feedback which, most of the time, would be adverse. At one point, she says to him that Banckhim Chandra Chattopadhyay writes better than him just to prop him up. There are literary soirees on the terrace of Thakur Bari in the night when there would be poetry recitations, music and singing when all the members of Tagore family would participate. Both of them bond well in all the stages of their relationship in which Rabindranath always addresses Kadambari Devi as ‘bouthan’ (sister-in-law). She is Rabindranath’s total support system all through her life.

The close relationships between Kadambari Devi and Rabindranath in their adulthood is resented by the elder women of the Tagore family. They instigate Debendranath (his father) to send him for study in England. He goes but returns quickly as he develops some illness. Then there are back-biting from the elder women of the family for Kadambari being issueless. She has ‘adopted’ her sister-in-law’s daughter, Urmila who dies in a freak accident in the house and the blame for her death falls on Kadambari Devi for her momentary neglect.

The elder women get upset when they come to know that Rabindranath has published his poems in a magazine which indirectly hint at his admiration for Kadambari Devi. So, the elders decide to get Rabindranath married to Mrilanali Devi. With this, Kadambari Devi has become once again a lonely lady already neglected by her elders in the family and her husband who, as usual, is busy with his businesses and theatre. There is also a hint in the film that Jyotirindranath is having affairs with an actress of one of his plays. With the death of Urmila, Kadambari Devi has gone into depression.

The triggering point for Kadambari Devi’s suicide is when her husband failed to turn up to pick her up from the Thakur Bari for the launching of his new ship at the port.  Even though, her husband has sent a horse cart to pick her up, she refuses to go as she has accidentally found a letter addressed to him by one of the actresses of his play informing him of his child taking shape in her womb. The film ends with Kadambari Devi drinking a liquid from a bottle and goes to sleep never to wake up.

‘Kadambari’ (2015) is the director’s film. He has full control over the main actors and also the fast-paced story telling. All the three main actors – Konkana Sen Sharma, Parambrata Chattopadhyay and Kaushik Sen have given the excellent performances of their roles. Despite a serious subject, there is not a single dull moment in the film. The film has been mostly shot in the houses of the Tagore family and estate lending the authentic period atmosphere.

It sounds strange as to why Debendranath Tagore who is regarded as a social and religious reformer and also an advocate of the girls’ education, got his sons, Jyotirindranath and Rabindranath married to child girls with wide age differences. Also, there is a hint in the film of the patriarchal family system where women have no voice in decision making in the Tagore family. There are dialogues in the film to that effect.

There are speculations in the literary circles as to what kind of relationship Rabindranath Tagore had with Kadambari Devi. Whether their love which was of an innocent and affectionate nature in their childhood had turned into an amorous one in their adulthood. It is difficult to get an answer. It is said that soon after the death of Kadambari Devi, the letters exchanged between Kadamabari Devi and Rabindranath Tagore were destroyed except those which were already published in a magazine. Probably, their relationship was  for companionship and the emotional solace. So, let their love remain as love without assigning any qualifier to it. That’s what Gulzar has said in one of his film songs – “Pyaar Ko Pyaar Hi Rehne Do Koi Naam Na Do.

Since ‘Kadambari’ (2015) is the story on the relationship between Rabindranath Tagore and Kadambari Devi, it is not surprising that almost all of the songs are based on Rabindra Sangeet. There is one song which was written by Maithili poet, Vidyapati which finds place in the film. It is said that Rabindranath Tagore liked this song so much that he set the song to the tune while reciting it in the company of Kadambari Devi. The song is “Bhara Baadar Maah Bhaadar, Shunya Mandir Mor’ – In the month of Bhadra, clouds are full of rains. but my mind is an empty shrine.

In the film, the situation is that after return from Tripura, Rabindranath meets Kadambari Devi in the garden of their estate on the banks of River Ganga. It has started raining and Rabindranath recites these verses of Vidyapati with impromptu tune composed by him.

The song is rendered by Ustad Rashid Khan on the tune set by Rabindranath Tagore. The orchestration of the song is conducted by Bickram Ghosh.

By the way, Aparna Sen also used these Vidyapati’s verses in her Bangla film, ‘Ghawre Bairey Alo’ (2019) in a different situation in the film.

Video

Audio

Song – Bhara Baadar Maah Bhadara, Shunya Mandir Mor (Kadambari) (2015) Singer – Ustad Rashid Khan, Lyrics – Vidyapati, MD – Rabindranath Tagore (Orchestration by Bickram Ghosh)

Lyrics

bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
he ae ae ae aa
he ae ae ae ae
sa re  ae ae ae
ra ra ra ru ru
aa aa aaa
aaa aa aaa aaa aaa
ra ma…
bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
bhara baadar maah bhaadar
shunya mandir mo…r
bhara baadar
 
jharjha ghan garjanti santati
bhuwan bhari barikhintiyaa
kaant paahun birah daarun
saghane khar shar hantiaa
kulisha shat shat paat modit
mayur naachat maatiaa aa
mayur naachat
mayur naachat
mayur naachat maatiyaa aa
matta daaduri daake daahuki
phaati yaawat chhatiyaa
 
timir dig bhari ghor yaamini
akhir bijurika paanthiyaa
Vidyapati kah kaiche gonaaibi
Hari vine din raatiaan aa
bhara baadar maah bhaadar
shunya mandir mo….r
bhara baadar


This article is written by Peevesie’s Mom, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4365 Post No. : 15692

Hullo Atuldom

Today I did a tiny research with the resources available at my disposal. I have inferred that the music duo Kalyanji Anandji have scored music for most of the movies where Feroz Khan was in the lead; till the time of Kalyanji’s passing in 2000. In fact, I found two Feroz Khan starring movies, on our blog, that are on the threshold of being yippeee’d. One has two songs left, but the album of that movie shows that Kalyanji-Anandji have given music for three sequences where there is no song. I am sure one music piece has Helen burning the dance floor, that is as brilliant as is the theme music for that movie. So for today we leave that movie alone and concentrate on the one that is one short of yippeee-hood.

That film is ‘Shankar Shambhu’ (1976). The four out of possible five songs from that move were posted thus:-

No. Song Title Post No. Post Date
1 Hum Lootne Aaye Hain Hum Loot Ke Jaayenge 11964 1-Apr-16
2 Aa Pahunchi Hai Is Mele Mein Saddi Aaj Sawaari 12492 25-Oct-16
3 Mera Dil Chura Kar Na Aankhen Churaa 15075 17-Jun-19
4 Gar Nibhaane Ki Himmat Na Thhi Aap Mein 15565 27-Apr-20

The final song of the movie is sung by Asha Bhonsle and Mohammad Rafi. It has Feroz Khan romancing Sulakshana Pandit in various locations. If my memory is right the couple have just got wet because they jump out of the boat on which they were having a joy ride in a lake to escape from constables led by Bhagwan Dada.

I don’t know what is there left to write about the music duo that the readers of this blog don’t know. So without much ado let us get to the song and thank Kalyanji Virji Shah (who would have been 92 today) and his brother Anandji Virji Shah for the treasure trove of songs that they have left for us to relish. And on the blog we have 583 from a possible 1435 songs i.e. not even halfway done.

With this post now, ‘Shankar Shambhu’ has all its songs on the blog.

Video

Audio

Song – Bheege Huye Jalwon Par Aise Na Nazar Daalo  (Shankar Shambhu) (1976) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – Kalynji Anand ji
Asha Bhosle + Mohammed Rafi

Lyrics 

bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par 
aise na nazar daalo
dil chaahe idhar rakho 
par aankh udhar daalo
bheege hue jalwon par

in garam nigaahon se 
jazbaat bhadakte hain
in garam nigaahon se 
jazbaat bhadakte hain
ehsaas sulagta hai 
armaan dhadkate hai
ruk jaao 
ruk jaao
ruk jaao abhi dil par
itna na asar dalo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par

soyi hui dhadkan ko 
khud tumne jagaaya hai
soyi hui dhadkan ko 
khud tumne jagaaya hai
saanso se pukaara hai 
nazaron se bulaaya hai
mat apni khataon ko
mat apni khataon ko 
ab aur ke sar daalo
oooo
bheege huye jalwon par 
aise na nazar daalo
bheege huye jalwon par

kab hamne kaha tumse 
hum tum pe nahin marte
kab hamne kaha tumse 
hum tum pe nahin marte
tum kuch bhi kaho tum par 
ilzam nahi dharte
bereham ho 
bereham ho
bereham ho qaatil ho 
ye qatl bhi kar daalo
hmmm mm hmm
hmmm mm hmm
dil chaahe idhar rakho 
par aankh udhar daalo

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

भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
दिल चाहे इधर रखो
पर आँख उधर डालो
भीगे हुये जलवों पर

इन गरम निगाहों से
जज़्बात भड़कते हैं
इन गरम निगाहों से
जज़्बात भड़कते हैं
एहसास सुलगते हैं
अरमान धड़कते हैं
रुक जाओ
रुक जाओ
रुक जाओ अभी दिल पर
इतना ना असर डालो
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर

सोई हुयी धड़कन को
खुद तुमने जगाया है
सोई हुयी धड़कन को
खुद तुमने जगाया है
साँसों से पुकारा है
नज़रों से बुलाया है
मत अपनी खताओं को
मत अपनी खताओं को
अब और के सर डालो
ओ ओ
भीगे हुये जलवों पर
ऐसे न नज़र डालो
भीगे हुये जलवों पर

कब हमने कहा तुमसे
हम तुम पे नहीं मरते
कब हमने कहा तुमसे
हम तुम पे नहीं मरते
तुम कुछ भी कहो तुमपे
इल्ज़ाम नहीं धरते
बेरहम हो
बेरहम हो
बेरहम हो क़ातिल हो
ये कत्ल भी कर डालो
हम्ममम म्मम हम्ममम
हम्ममम म्मम हम्ममम
दिल चाहे इधर रखो
पर आँख उधर डालो

 


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4364 Post No. : 15691 Movie Count :

4324

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 93 # Remembering Lyricist Gauhar Kanpuri
—————————————–—————————————–
(#Music Composer-Singer-Bappi Lahiri # 3)

In one of my posts on the blog I had mentioned that the month of ‘June’ had many important days or anniversaries of film personalities (and the team members of this blog too).

Today 29th June is the ‘Remembrance Day’ of lyricist Gauhar Kanpuri. He passed away in the year 2002. He was active during the decade of seventies and thereafter till his death in 2002.

As per information available online he wrote lyrics for many songs of Hindi movies (more than one hundred fifty songs for around fifty-six movies). The detailed information about his filmography needs to be compiled. Also, I could not find much detailed information about his biography. (I would request knowledgeable readers to throw more light on the information available on him).

He wrote the famous title song of ‘Saawan Ko Aane Do-1979’, then songs for the movies like ‘Zakhmee-1975’, ‘Do Khiladi-1976’, ‘Phir Janam Lenge Ham-1977’, ‘Haiwaan-1977’, ‘Dada-1978’, ‘Dulha Bikta Hai-1982’, ‘Woh Jo Haseena-1983’, and many others, and including ‘Baazigar-1993’ of the nineties.

I may have missed some of his movies where the songs were popular, but then, as I said above, the list of his filmography needs to be compiled from authentic sources.

Today’s song is from the movie “Shikshaa-1978”. All songs for this movie were written by him. Music was composed by Bappi Lahiri.

I have mentioned it in my earlier post here that there are many Bappi Lahiri compositions before early eighties or his ‘pre-Himmatwaala period which are very nice and needs to be discussed here. And in this case like in this movie ‘Shikshaa-1978’ we have the frequently heard ‘yaari hai phoolon se meri yaari hai’ sung by Bappi Lahiri and the gem ‘teri chhotisi ek bhool ne’ sung by Yesudas and other songs.

But, for today’s presentation I have selected this beautiful ‘Raam ‘Bhajan’ sung by Chandrani Mukherjee which I think was a lesser heard song from this movie. I was also not aware of this song till few weeks before and had not heard it earlier. And when I listened to it first time and second time and more it keeps growing on and I liked this song very much.

Gauhar Kanpuri has a long association with Bappi Lahiri and most of his works have compositions by Bappi Lahiri.

For this post I have compiled his list of movies with Bappi Lahiri in the decade of 1971 to 1980 where they had nine movies together;

Sno. Title Year Date Lyricist BLOG
1 Nanha Shikari 1973 16.04.1973 S.H. Bihari, Yogesh, Gauhar Kanpuri Y
2 Zakhmee 1975 15.05.1975 Gauhar Kanpuri Y
3 Sangraam 1976 21.12.1976 Gauhar Kanpuri, Hasan Puri Y
4 Haiwaan 1977 03.10.1977 Gauhar Kanpuri, Hasrat Jaipuri, Pradeep Roychaudhari, Amit Khanna, Dada Ji Y
5 Phir Janam Lenge Ham 1977 23.06.1977 Gauhar Kanpuri Y
6 Pratima Aur Paayal 1977 03.09.1977 Rajkavi Tulsi, Shivkumar Saroj, Indeevar, Gauhar Kanpuri
7 Khoon Ki Pukaar 1978 29.05.1978 Hasrat Jaipuri, Gauhar Kanpuri Y
8 Shikshaa 1978 28.12.1978 Gauhar Kanpuri
9 Jaan E Bahaar 1979 10.08.1979 Gauhar Kanpuri Y

“Shikshaa-1978” was directed by S. Ramnathan for ‘New Horizon Films, Bombay’. It had Rajkiran, Benjamin Gilani, Shashi Saxena, Jagdeep, Iftekhar, Urmila Bhatt, Pinchoo Kapoor, Krishna Dhawan, Surendra Kumar, Vikrant Taneja, Viju Khote, Brijen Mohan, Babbanlal and others. This movie introduced Sushma Verma, Master Sandeep and Bina Banerjee.
Bhagwan, Mukri, Jairaj, Shobha Khote, Pilu Wadia and Ritu Kamal made a guest appearance in this movie.

This movie had total five songs plus one music track as mentioned in HFGK Vol-V (1971-1980). The lyrics for the songs (all songs) were penned by Gauhar Kanpuri.

As mentioned above music was composed by Bappi Lahiri (assisted by Bansari Lahiri, Anil & Arun).

Arti Mukherjee, Anuradha Paudwal, Bappi Lahiri, Chandrani Mukherjee, Shailendra Singh and Yesudas had given their voices to the songs in this movie.

This movie was passed by Censor Board on 28.12.1978.

Let us now enjoy today’s song – a soulful rendition by Chandrani Mukherjee and lip synced on screen by Bina Banerjee. Also seen in picturization of this song are Benjamin Gilani, Rajkiran, Master Sandeep and others.

With this song the movie “Shikshaa-1978” makes its debut on the blog…

Audio

Video

Song-Jehi vidhi raakhe Raam tehi vidhi rahiye (Shiksha)(1978) Singer-Chandrani Mukherjee, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Chorus

Lyrics

jehi vidhi raakhe raam
tehi vidhi rahiye
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

ham to khilaune maati ke hain
nirbal aur kamzor
ho ho ho o o o o o
ho o ho o
ham to khilaune maati ke hain
nirbal aur kamzor
haare koyi maane yaa naa maane ae ae
uske haathon hai sabki dor
honi hoke rehti hai
koyi laakh machaaye shor
raaamaa
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

tan ki ye doori hai majboori
tum to ho man ke saans
o ho ho o
o o o o o
ho o ho o
tan ki ye doori hai majboori
tum to ho man ke saans
swaami saanson ke har taar mein tum ho o
jeewan ke saathi tum hamaar
aanaa jaana
milnaa bichhadnaa
hai daataa ke haath
raamaa
jehi vidhi raakhe ae raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
जेहि विधि राखे राम
तेहि विधि रहिये
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

हम तो खिलौने माटी के है
निर्बल और कमज़ोर
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
हम तो खिलौने माटी के है
निर्बल और कमज़ोर
हारे कोई माने या ना माने ए
उसके हाथों है सबकी डोर
होनी होके रहती है
कोई लाख मचाये शोर
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ
तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
स्वामी साँसों के हर तार में तुम हो ओ
जीवन के साथी तुम हमार
आना जाना
मिलना बिछड़ना
है दाता के हाथ
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम

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 over ELEVEN years. This blog has exactly 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15700

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4323

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Active for more than 4000 days.

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