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

Hamen to loot liyaa mil ke husn waalon ne

Posted on: November 13, 2011


This is the 5000th song writeup for the blog. This writeup is written by not one or two, but three enthusiasts of Hindi movie music , namely Raja, Sudhir as well as by me.

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Raja’s writeup
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Every now and then, we lovers of this blog like to get together in this space and celebrate a milestone or landmark that this blog has achieved.

It may be a landmark to celebrate a particular artist’s hundredth (or even thousandth) song on this blog. Or it may be a landmark to celebrate yet another “century” on the blog song-count itself.

Recently, as we have now got multiple contributors to this blog, we have also celebrated “centuries” by contributors.

Each one of these milestones always gives me a warm, fuzzy feeling.

Imagine then how I must be feeling today, when I find myself having the honour of providing a write-up to celebrate the 5000th song on this blog! Yes, that’s a 5 with three zeros following it.

Today, while still just a little over three years into the blog, we have hit the magic number of 5000!

Having said that, I think I’d also like to clarify something rightaway.

It has never been the objective of this blog to just post songs for the sake of posting songs and racking up statistics. If that were the case, Atul could have just blindly posted links from the interwebs and we’d be done.

No, when Atul started this blog – and I know, because I was there – his idea was to discuss, with the broader online community, songs that were close to his heart. As simple as that.

In those days, Atul and I were members of a cricket forum (we still are!) and would often discuss songs there. (Though it is mainly a cricket forum, we used to, and still do, discuss all sorts of topics there).

Anyway, we had this concept of “Geetmala” on that forum where members would pick up a topic and post songs of their choice on that topic for general listening/discussion. I distinctly remember Atul posting a list of “train songs”. I myself posted something like “songs that cheer me up”. 🙂

It was around that time that Atul got interested in getting into the world of blogging. As far as I know, he’s always been good at picking up and trying out new ideas and things, so blogging wasn’t a particularly difficult thing for him to get into. He started with Blogger but moved onto WordPress after a while.

His first blog was actually not even this song-a-day blog. He started with another blog but, once he started on this one, it not only became very popular but it also began consuming most of his online time. So gradually, his other blogs began having less updates and this song-a-day blog became his main blog.

I think initially the idea was to post one song a day. A song that Atul really likes. Atul wanted to talk about the song, the picturisation in the film, the various people involved with the song, any interesting trivia and so on.

Atul also wanted to make it as complete as possible, therefore including lyrics of the song alongwith its video. There are lyrics of various songs available out there on the interwebs but most of them are copied from another source, thus compounding an error if the original source itself is incorrect (and there are many examples of this). Atul, being a perfectionist in this respect, wanted to get the lyrics right, so he decided to work on them himself. He’d listen to the song again and again till he felt he’d got the words right. So when he put a song out there, it would be only after he’d given it his best shot.

When he started with this format, it was just a song a day but very soon realized there were SO many songs he wanted to post – and such few days in a lifetime 🙂 – that Atul realized he would always be left wanting more.

Besides, his blog started becoming very popular. I was one of the first few visitors and, as is my wont, I began requesting him to post songs that I like. Poor guy! This was supposed to be HIS blog where he was supposed to post songs HE likes. But I got excited and started sending him farmaishes (requests). Nice guy that he is, Atul used to oblige every single time.

Soon others started sending him farmaishes too. Lalitha was one of the more prolific ones – I remember she made me feel slightly less guilty for bombarding Atul with my farmaishes. 🙂 I’d wait for her to send a farmaish before I’d send my next one. 🙂

Obviously one song a day was never going to cut it. Soon it became 3-4 songs a day, depending on time available with Atul. For me, it became a daily ritual to just check the site to see what songs had been posted (or more selfishly speaking, whether any of my farmaishes had been posted 🙂 ).

The blog began getting more and more popular. More visitors, more hits, more farmaishes. Atul even introduced a separate “farmaishes” section to cater to his readers.

One of the thoughts early on was to also provide a translation for each song (for non-Hindi speakers) but that is a lot of work, so the idea was dropped. However, on a case-to-case basis, and often on request, translations for specific songs are also provided on the blog.

Soon the blog began becoming a sort of reference library for Bollywood songs. Thanks to the categorization, one could easily find songs of a particular category if he wanted. If you want “birthday” songs or “picnic” songs or “lullabies” all you had to do was to visit Atul’s blog.

At one point in time, once the number of songs became significant, it began making sense to keep some statistics on the blog. Just to see which artistes were being featured and to what extent. A natural fallout of this was that we began celebrating milestones for artistes as they approached a milestone.

(For me personally, this statistics page is very interesting because it also makes me realize the diversity of contribution that has gone into Hindi songs all these years. Yes, there are the biggies like Mohammad Rafi and Lata Mangeshkar but there are so many more who have contributed. And hopefully they are finding a mention on this blog, in some form or other).

To me, this blog has never been about quantity. Or about “the most popular” songs. If that were the case, Atul could have just published the top n songs of each year and built up the blog without much thought.

But then, we would have lost out on SO much. Everybody (well, almost everybody) knows songs like “mera joota hai japani” and “chaahe koi mujhe jungle kahe” but how many know songs of movies like “Dholak (1951)”? How many have even heard of a movie called “Dholak”? Yet, Atul’s blog features this movie prominently because its songs, even if almost forgotten today, are wonderfully melodious and deserve to be preserved for eternity.

And THAT to me is the BIGGEST contribution this blog is making.

Most of the songs it features are by artistes that are no more, or will soon be no more. That is a fact of life. But music is bigger than any individual and deserves to live on, being passed from generation to generation. Unfortunately, this is easier said than done, especially with the proliferation of new music with every passing year. And the unfortunate disregard in general for appropriate preservation of music of yesteryear.

That is where this blog plays such an important role in not only unearthing gems of yesteryear (and hopefully popularizing them) but also preserving them for posterity.

Perhaps the best thing to happen to this blog is the collaborative nature that it has now embraced. It is of course very much Atul’s blog but over a period of time, it has become a collaborative effort now.
There are knowledgeable readers out there who are now very much part of the blog-building team.

These readers contribute in various ways – from providing write-ups or lyrics to providing amazingly informative comments about songs and movies. Comments that are probably not available anywhere else and therefore make this blog the only source of information on the subject. I must mention the name of Arunkumar Deshmukhji in this respect – he is an absolute encyclopaedia in this respect. Then there is Sudhir Kapurji with his fantastic, detailed write-ups (translation et al). There are more too – I will not mention more names only because I’m sure I’ll miss out somebody. Let’s just say it is now a very good team effort and that helps the blog to progress at a good pace.

I can go on and on writing but I’ve just realized that this is getting way too long, even by my own standards. And I haven’t even started discussing this 5000th song. I think I just got carried away by the sheer excitement of the occasion and began rambling (something I seem to do quite well. And worryingly, quite frequently 🙂 ).

Ok, now onto the song.

The special song on this special occasion happens to be a popular song of one of my favourite genres of Hindi songs. It is a qawwali – and I absolutely LOVE qawwalis.

One of the sad things about Hindi movies nowadays is that the qawwali seems to have almost completely disappeared from them. It is probably a reflection of the times and of the types of films being made nowadays. Most of the stories are very urban in nature and do not lend themselves very easily to qawwali scenes. Even if there is scope to fit in a qawwali, it is more likely that the qawwali will lose out to an item song. A case in mind is “munni badnaam hui” from Dabangg. Like I said, it is a reflection of the times and I cannot really complain. Movies mirror society after all.

I am anyway thankful for the qawwalis that we’ve had in the past – and we’ve had many lovely ones. It used to be a very common feature in films of the 1950s/60s and even in the 70s. It is only sometime in the 80s that they began disappearing from the scene. Many of the qawwalis of yesteryear are very popular to this day – those of Barsaat Ki Raat, Taj Mahal, Chaudhvin Ka Chand, Mughal-e-Azam are still favourites for many.

This 5000th song, a qawwali, is also well-known amongst qawwali lovers. “Humen to loot liya milka husnwaalon ne” from Al-Hilal (1958) is easily the stand-out reason the movie is remembered at all.

The movie itself is a B-movie starring Mahipal and Shakeela (though Shakeela was quite popular at that time). But this song is outstanding in that it just lifts your mood by the way in which it is composed and, if you watch the video, the way it is picturised. Clearly everybody is having a lot of fun.

What is particularly interesting about this lovely, iconic qawwali is that it is not composed by one of the usual maestros like Roshan or Naushad. It is composed by Bulo C Rani.

And this happens to be his 100th song on this blog. Yes, this qawwali marks a double milestone – it is not only the 5000th song on this blog but also Bulo C Rani’s 100th here.

I will admit that I knew very little about Bulo C Rani before this blog came around. I had heard of him but had no clue about his portfolio of songs. I think it is safe to say that he is definitely not a household name.

But then, that is one of the reasons this blog is here at all. Not that Bulo C Rani is ever going to become a household name but a composer who has produced masterpieces like the songs of Jogan (1950) and a qawwali like “humen to loot liya” certainly deserves to be known better. I remember watching the movie “Maghroor” a while ago and absolutely loving the songs. That also happened to be Bulo C Rani’s composition. And then there were Kaise bataaun from Anjuman and Armaan bhara dil toot gayaa from Wafa.

The fact that we are celebrating his 100th song today speaks also for his volume of work. With this iconic qawwali, marking a very special occasion, this blog hopes to pay tribute to this much-forgotten composer of yesteryear.

And now, after what has become a much longer write-up than I had expected it to be, I’m going to sign off from here, leaving you with this lovely song. I am sure you will all enjoy it very much.

Thanks for your patience in reading through this long write.

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Sudhir’s writeup
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I remember having seen this qawwaali on Doordarshan as a very small child. And I remember the thrill and laughter of seeing the main protagonist perform on the screen. He is the lone person singing on screen, except for the chorus, that comes from what looks like a group of idlers and no-good-nicks. The movements and dance steps are almost hilarious, and the body language and face expressions of the lead singer are a treat to watch. He has a round face and a big-lip smile to match the humor that is being pronounced in the lyrics. The childhood memory of this performance is totally unmatched, not matter how many times I have viewed this qawwaali again. An absolutely fabulous piece de resistance, very unique, very special, utterly outstanding. . . . (apologies, let me stem the flow of superlatives 🙂 and get on with the write up).

Avid radio listeners of the earlier decades would remember that there used to be farmaishi (on request) programs broadcast, which had a much different format than today. In that, the details about the song to be played i.e. lyricist, composer, singer etc., plus the names of all folks who had written in the farmaish for that particular song, were actually spoken out before or after the song was played. Records and record players were luxuries, and the only way to get to listen to a song was to go see the film, or write to the local radio station with a request. And then stay tied to the radio, for one does not know when in the program with that special song will be played. The days used to be different, and so were the interactions. An interesting anecdote about a particular edition of such a farmaishi program (from Listener’s Bulletin #50, Sep 1982). In one such program of old songs – the program was all of 20 minutes long – the announcer first presented the list of names of folks who had requested the particular song. The announcement of the complete list went on for 16 minutes, at the end of which the song was played, the only song to be played that day, and then the announcer said goodbye and closed the program. The song – the iconic duet “Badariyaa Baras Gayee Us Paar” from film ‘Moorti’ (1945), written by Pt. Indra Chandra, and sung by Mukesh and Khursheed. And the music director – Bulo C Rani.

Bulo C Rani’s tuneful creations from the 1940s, 50s and 60s are legendary. But his work now lies buried under the sands of time. There have been Sixty two films on the Hindi side of the industry, composed over an active career period of more than two and a half decades. No definitive enumeration of this work has been undertaken, but a rough estimate can be no less than 400 songs, that carry the signature of this wonderfully talented composer. It is a very proud moment, to know that this renowned composer now has a full century of his creations represented on this blog.

Bulo Chandiram Ramchandani, was born on 6th May, 1920 in Hyderabad, Sindh, now in Pakistan. There is almost no information available about his childhood or education, and neither about his musical training, except that his father was also a musician and composer. The next trace available is at the age of 20, when in 1940, he arrived in Lahore with the intent of working as a composer in films. Lahore, being a major cultural center in North (undivided) India, had also become the major film production city in the North. With some introduction, he approached Ghulam Haider, and started working under him. In the film Khandaan (released in 1942), he had overseen the composition and musical arrangement for the song ‘Tu Kaun Si Badli Mein Mere Chaand Hai Aa Jaa’. It appears that he did not get much encouragement from Ghulam Haider Saab. He met with the lyricist DN Madhok. A lasting friendship was struck, and Madhok Saab brought him to Bombay, and introduced him to Khemchand Prakash, who was associated with Ranjeet Movietone. Bulo CR started working as an assistant with Khemchand Prakash. He worked with Khemchand ji for the films ‘Chaandni’ (1941), ‘Dukh Sukh’ (1942), ‘Qurbaani’ (1943), ‘Taansen’ (1943) and ‘Shahenshah Baabar’ (1944). The song “Bulbul Aa, Tu Bhi Gaa. . .” from the film ‘Shahenshah Baabar’, sung by Khursheed, is composed by him. He also assisted Gyan Dutt, for the film Shankar Parvati (1943), and sang a duet, “O Jogi, O Bairaagi. . .” for this film with Ameerbai Karnaataki. Then, in 1944, he got the independent assignments for the films ‘Carvaan’ and ‘Pagli Duniya’. ‘Pagli Duniya’ has thirteen songs, seven of which are rendered by Ameerbai. Those were the days in Ranjeet Movietone, where every song was composed using 4 different tunes, and then the artistic group of producers, directors, artists, composers, singers etc. would get together to review and select the best tune for each song, which would then be recorded.

Came 1946, and an ambitious film was planned by Chandulal Shah of Ranjeet Movietone. The film ‘Jogan’, a tale of a wandering ‘perseverant’, a seeker who has forsaken the material world. A curious difference was that the protagonist was visualized as a female person, singing the hymns of Meera Bai. The lead characters in the film were supposed to be the singing duo sensation of the 1940s, KL Saigal and Kaaanan Devi. The music composition was assigned to Bulo CR. Preparation of songs and recording were initiated. By some accounts, the song ‘Shikaari, Shikaari, Shikaari. . . Sundartaa Ke Sabhi Shikaari’ , recorded in 1946, is purported to be the first Hindi film song that was recorded by Talat Mehmood after coming to Bombay. Fate intervened in terms of declining health and the eventual demise of Saigal Saab in early 1947. The film was shelved briefly, but then re-planned with Dilip Kumar and Nargis in the lead roles, and finally released in 1950. This film was a major success on the box office. It has 15 songs, of which 6 are traditional bhajans by Meera Bai. The songs proved to be the sterling silver in the glowing success of this film, and the records sales were huge. A general comment about this film was that Bulo CR’s music was a more compelling reason to watch the movie than the powerful presence of Dilip Kumar and Nargis. The film proved to be a tour de force, and Bulo CR had arrived on the music scene of Hindi film world.

In between the recordings of ‘Jogan’ in 1946 and its release in 1950, Bulo CR had already started getting attention for his musical score for films like ‘Rajputani’ (1946) – ”Jaa Parwaane Jaa Kahin Shama Jal Rahi Hai”, and ‘Anjuman’ (1948) – Kaise bataaun unse is dil ko pyaar kyun hai . 1950 also saw the release of ‘Magroor’ (for which Bulo CR shared the music composition with Sajjaad Hussain), ‘Lavangi’ (with CS Ram) and ‘Wafaa’ (with Vinod). The iconic duet Armaan bhara dil toot gayaa , rendered by Mukesh and Lata Mangeshkar for ‘Wafaa’, was one of the top hits of the year.

1953 saw the release of ‘Gul Sanobar’, the music composition is a collaboration with Khayyaam. The two songs Isey Na Aur Lootiye, Ye Dil Badaa Gareeb Hai , and Kai Aise Bhi Aansoo Hain proved to be popular hits.

Then came 1954, and another magnum opus in ‘Bilwamangal’ starring CH Atma and Suraiyyaa. And for all practical purposes, his last really significant outing as a music director. The memorable song Parwaanon Se Preet Seekh Len. . ., a melody in the voice of Suraiyyaa, that is sure to make you pause and listen. And the iconic song by CH Atma, Panghat pe morey Shyam bajaaye muraliyaa is a veritable treat for aficionados. The songs of ‘Bilwamangal’ became singularly popular.

But then, beyond 1954, his career simply drifted. Despite the huge success of ‘Jogan’ and ‘Bilwamangal’, his talent got relegated to B/C grade stunt films and social dramas. He continued to create fabulous melodies, but the mainstream had moved away from him, and he was left a loner doing films of the like – ‘Jahaazi Lutera’ (1957), ‘Al Hi-Lal’ (1958), ‘Tin Tin Tin’ (1959), ‘Black Tiger’ (1960), ‘Pedro’ (1960), ‘Room No. 17’ (1961), ‘Jaadoo Mahal’ (1962), ‘Madam Zorro’ (1962), ‘Magic Box’ (1963), ‘Shahi Lutera’ (1965) and then ‘Jaadoo’ (1966). The year 1966 also saw the release of ‘Sunehre Qadam’, with music composition shared with S Mohinder. Once again, two melancholy sounds from this film are very impressive and became very popular on the radio programs – Na Baaz Aayaa Muqaddar Mujhe Mitaane Se and Maangne Se Jo Maut Mil Jaati. And then that’s it.

‘Sunehre Qadam’ was the last Hindi film that Bulo CR composed for. He continued to be called upon by Sindhi cinema, and his last Sindhi film was ‘Naqli Shaan’ (1972). In an interview in 1982, when asked why had he discontinued composing for films, his response was that the film world did not need him anymore, and that he would not go to ask for work from anyone. A personal dilemma that probably confronted him and many other talented artists in the industry, when they would refuse to go and beg for work. For them maybe, the personal satisfaction of being with the music was more than the professional competition of numbers.

Bulo CR passed away in 1993, at the age of 73. By some accounts, it was a suicide. I can only speculate in the absence of more details. But if true, then it sure is a sad commentary on the state of affairs in the industry. An almost surreal manifestation of the last songs he composed for ‘Sunehre Kadam’ – “Na Baaz Aayaa Muqaddar Mujhe Mitaane Se” and “Maangne Se Jo Maut Mil Jaati”, and performed by him bidding goodbye to this world.

Bulo CR – your wonderful music gave life to so many lyrics. There will always be a remembrance, till the time these sounds last.

And the sound, as they say, is forever. Thanks for the melody.

Some paragraphs earlier, I simply listed the film Al Hi-Lal (1958) and moved on. But we do need to pause and talk some more about it. After the grand success of Bilwamangal in 1954, the next best thing for Bulo CR happened in 1958. The attention of the listening public was totally captured by the sounds of Ismail Azaad Qawwaal, and the unforgettable ditty – ‘Hamen To Loot Liya Mil Ke Husn Waalon Ne’. A qawwaali that has reigned supreme for decades, in all selections, in all listings, and for all generations. The absolutely catchy lyrics by Shewan Rizvi and the unique and completely unmistakable voice of Ismail Azaad Qawwaal. The sum total of all efforts was this almost sublime piece of music that continues to command popularity more than 50 years after it first hit the radio waves.

Al Hi-Lal – the Judgment of Allaah, is produced by Ram Kumar under the banner of Akkoo Productions, that name being the same as the director of this film, i.e. Akkoo. The star lineup of this film includes Mahipal, Shakila, Heeralal, Sulochana (Ruby Myers), Master Romi, Sheikh, Nasreen, Indira, Ram Kumar, Habib Jr., Malik Maqbool, Akaashdeep, Agha Miraz, Kedar, Gulab, Bansi, Narayan, Shafi, Nargis Jr., Hanuman, Seemaab, etc.

Al Hi-Lal is a story of good vs. evil, the power of Allaah vs. the evil designs of Iblees, the devil incarnate. The story is set in an Arabic kingdom. The ruler, Kehraan (played to the hilt by Heeralal) would have his subjects worship him in place of Allaah. He deals very cruelly with the followers of the faith (Islam), and punishes them either with banishment from the kingdom or making them blind, or both. Needless to say, such cruel repression would breed a revolt. Mahipal, who is a slave in the palace, and very close to the king, is actually a believer and an inside person looking for an opportunity to foster a rebellion. Shakila is a poor knife sharpner whose objective in life in the death of Kehraan. For a major part in the film, Shakila masquerades as a boy, and only in the second half of the film she appears as a lady. The king is blessed with a son. The soothsayers predict that he would be a believer. Kehraan in incensed as this prediction, and starts a reign of torment on his own wife and son. He tries many times to kill him, but the child is saved every time through miracles. As the story progresses, Mahipal is exposed and he escapes from the palace. The prince is banished from the castle to die in the desert. But he is rescued by Shakila, who takes him to her village. Next, the king blinds his own wife and turns her out also. All players meet together in Shakila’s village and start planning an overthrow of Kehraan. Other events intervene and this group of rebels gets support from a Christian king of a neighboring kingdom. As the story moves towards a closure, there is an inordinately long fight sequence, that takes place in the palace, wherein all the main characters are fighting free hand or with swords, with each other. The ending is as expected. Kehraan is slain by Shakila, the young prince ascends the throne and makes the necessary proclamations for setting right the wrongs done by his father, and Mahipal and Shakila live happily ever after.

The qawwaali as such, has very little congruence to the main storyline. Fazloo (role played by Sheikh) is a friend and side kick of Mahipal. His love interest is Nasreen. This qawwaali is presented on screen in two parts. As you would see in the video clip also, there is a distinct jump in the play. The person who has posted this has thankfully spliced the two parts together as a single video clip. In the movie, the first part is presented at the time when the courtship between Fazloo and his beloved (Nasreen) reaches a point where she consents to his proposal for marriage, and voila, Fazloo is seen singing this qawwaali (LOL). The first three antaraas are presented, and there is a sudden glitch in the flow, as the qawwaali is snipped mid sentence (thankfully not from the antaraa), and the scene cuts to horse riders rushing through hilly terrain. That is first part of the qawwaali.

Then the action continues, the fight in palace takes place, the new king is anointed, and all is well. When the king gives Mahipal the permission to marry Shakila, then as is the stock reaction from the comic sidekick, Fazloo requests that he should also be blessed in marriage to his beloved (Nasreen). He too gets permission, and the camera pans away taking the entire group into the frame, and then a black screen appears with ‘THE END’ written in huge letters. First time viewers would start to pack up and get up, cursing the editor of the film, or the makers of the disc version to have deleted half this iconic qawwaali, and wish that ‘iblees’ would take them with him. But lo, wait, for the screen becomes bright once again, and Fazloo appears. He is calling out to all in the audience to please sit down, and at least witness the celebrations of his wedding, and listen to the second half of the qawwaali. And then, the qawwaali starts once again, and the remaining three antaraas are then presented. And then at the end of this part of the qawwaali, a person walks into the frame with his back to the camera. And on his the back of the dress he is wearing, the words ‘THE END’ are written in large white letters. So this is the actual final end of the film. From all the films I have seen, this is the only one which uses this gimmick to end the film. Full marks for originality, even if you deduct all marks for not making any logical sense of the sequencing of events. 😀 😀

A brief note about Ismail Azaad. Ismail Azad Qawwal, is a very celebrated qawwal of the era 1940-50s, who has sung many renowned qawwalis, a huge proportion of which were the masterpieces written by the poet Anwar Masroor. He is famous for singing qawwaliz with lyrics having sheer meanings and lessons in them. His qawwalis and singing style has been copied by other qawwaali singers in the sub continent. Many qawwals seemed to have been inspired by his beguiling compositions and the way he delivers the verses. The dominant feature of his masterpieces is the simplicity and the meaningfulness of the kalaam and the catchy compositions that caught the attention of the listeners and generated a considerable fan following. Unlike a traditional qawwal, he never focused on the ‘raag’. Yet he possessed a melodious, sharp and easily distinguishable voice. Since he made his mark far before the legends of recent years, namely Aziz Mian, Sabri Borthers and Nusrat Fateh Ali Khan, he is considered as a significant trendsetter in the realm of qawwali world. Naat, Manqabat and Shan-e-Auliya (Grandeur of Saints) are the major topics of his qawwalis though he has sung for many films as well (including this number). His other famous qawwaalis are “Paaray Paaray Pe Likha Hai Kamli Walay Ka Naam”, “Mere Peer Hain Jilani”, “Takhti”, “Haider Ki Talwar”, “Bade Peer Benazir” and many more. (It is unfortunate to note that he died as a result of gunshot wounds received as he was attacked during a qawwaali performance on stage in 1964).

And so, celebrating the 5000th post on this blog, and venerating this absolutely peerless qawwaali creation. I must acknowledge the pushing and cajoling received from our dear Arun ji Deshmukh, through farmaish column and through emails, rooting for this qawwaali to get posted on this blog. And when Atul ji revealed his idea for making this qawwaali the 5000th post, it became a bargained agreement; and Arun ji agreed to wait for the 5000th post (his request is pending since much before the 4900th post).


Enjoy this wonderful creation by Bulo CR.
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Atul’s writeup
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Since this song is a very special occasion for this blog. I had decided that this writeup should be special. Raja and Sudhir are very special to this blog, and so I requested them for their writeups. And I had decided that I too would write something at the end. After the stunning writeups by Raja and Sudhir, for which they both devoted considerable time, I now find that I had not even written my portion of the writeup ! I am feeling like a person who had urged others to get dressed up for a special occasion, and when others have got ready, I find myself totally unprepared for the occasion, walking around in chaddi banyan, so to say.

Or, to talk in cricketing parlance, Raja had given us a blazing opening, Sehwag style, and Sudhir had contributed handsomely in the middle order, Dravid and Tendulkar style. Now I, as the tailend batsman, has to try and score a few runs myself.

Raja has very eloquently described the genesis of this blog and its progress over the last three years and more. The realisation that we are at our 5000th song in a matter of just three years is quite mind boggling. It works out to an average of over four songs a day almost throughout this period without taking any breaks for week ends, holidays etc.

Along the way, the blog has evolved almost unnoticeably, but unmistakably. Now it has become a collaboration among fiercly dedicated likeminded music lovers. This write up itself is one such example. Raja and Sudhir have not only contributed significantly to the progress of this blog, they have also added new dimensions to it. Both of them, through their translations (here and elsewhere) are enabling non Hindi speakers to savour Hindi movies and its music.

This blog is a labour of love, and this love knows no bounds. I have realised that this blog takes lots of time and effort than what most people may be able to /willing to spare. It is a round the clock effort, 365 days a year. Devoting this much time and effort wold not have been possible but for the unstinted love and encouragements by the visitors of this blog. Many of them have now become regulars and they feel like friends, even though I have never met them.

I recently noticed that the blog has clocked 2 million visits. Nearly one quarter of these vistors came in the last three months ! This blog, which used to average 2000 hits a day till a few months ago is now averaging over 7000 hits a day. And I noticed that the blog which had a google pagerank of 3 till yesterday now has a pagerank of 4. All these facts are votes of confidence from the music lovers and it is these votes of confidence that will enable this blog to continue to grow and evolve.

From the beginning of talking Hindi movies in 1931, when the music and songs became the staple feature, till 1980, which is the period of special interest for this blog, saw just over 5500 movies being produced, and I recently realised that nearly one third of all these movies are represented in this blog ! Yes, the blog is inadvertently helping catalogue the list of Hindi movies and their songs.

As of now, over two hundred singers, over two hundred lyricists and over 160 music directors have been represented in this blog. This includes well known names as well as names who have been forgotten with time. It gives me special satisfaction when we are able to highlight the contributions of lesser known artists. Bulo C Rani is very much a lesser known artist. When I decided that the 5000th song of this blog should be Bulo C Rani’s 100, then Bulo C Rani’s song count in the blog was 20, and the blog was on 4700. So I consciously began to add Bulo C Rani’s songs from that time onwards. so one can say that 80 out of the last 300 songs of the blog have been Bulo C Rani’s compositions. Unlike some more prolific artists, the number of Bulo C Rani compositions that are available is not much. I needed to dig deep and often upload rare Bulo C Rani songs to ensure this century. Many of the songs out of the 100 Bulo C Rani songs were not available on video hosting sites before they were discussed in this blog.

The fact that Bulo C Rani is the composer of this iconic qawwali is a fact that we all need to recognise. To discuss Bulo C Rani’s composition as the 5000th song of this blog is our attempt to honour this forgotten artist.

Let us not forget the lyricist who wrote the lyrics of this song. In fact, I had the ambitious idea that Shewan Rizvi, the lyricist of this song too should reach his century alongwith Bulo C Rani, but that was unpracticable, because it meant that nearly 200 out of 300 blog songs had to be their creations. Shewan Rizvi’s time too will come and we will honour him suitably as he reaches his 100th song in this blog. In any case, lyrics of any song is the soul of the song and Shewan Rizvi created the soul of this iconic qawwali.

Here is the 5000th song of this blog, and the 100th song of Bulo C Rani. It is a great and memorable day for this blog. I am sure that with the continued encouragement and participation of all concerned, this blog will grow from strength to strength. I take this opportunity to thank one and all.

——————————————————————————————
Translation-Provided by Sudhir
——————————————————————————————
hamen to loot liyaa mil ke husn waalon ne
kaale kaale baalon ne
gorey gorey gaalon ne

The bevy of charming beauties
Bewitch us with their charm
The charm of their flowing black tresses
And the charm of their fair skin
They rob us (men) of everything, even our senses
And make us like paupers

nazar mein shokhiyaan aur bachpanaa sharaarat mein
adaayen dekh ke hum phas gaye mohabbat mein

The mischievous twinkle in their eyes
And the impish childlike naughtiness
This charm ensnares us into this enticing game of love

hum apni jaan se jaayenge jin ki ulfat mein
yakeen hai ke na aayenge wo hi mayyat mein

A day shall be that we will lay down our life for their love
And it is certain they will not even bother join the funeral

khuda sawaal karega agar qayaamat mein
to hum bhi keh denge hum lut gaye sharaafat mein

On the Day of Judgment,
When Allaah will enquire about our deeds on this earth
We shall speak the truth, we were naïve and unsuspecting
And that we were defrauded

wahin wahin pe qayaamat ho wo jidhar jaayen
jhuki jhuki hui nazron se kaam kar jaayen

They are the harbinger of calamity, wherever they go
And with their coy glances, foist devastation and ruin

tadaptaa chhod de raste mein aur guzar jaayen
sitam to ye hai ke dil le len aur mukar jaayen

They are unkind and heartless
And will leave a smitten one suffering by the wayside
And go their merry way
They are spiteful – they will steal your heart
And then brazenly disclaim responsibility

samajh mein kuchh nahin aataa ke hum kidhar jaayen
yehi iraadaa hai keh ke hum to mar jaayen

It is a dilemma where to turn for justice
Seems the only way out is a resolve to give up this life
And leave behind this message. . .

wafaa ke naam pe maaraa hai bewafaa’on ne
ke dam bhi hum ko na lene diyaa jafaa’on ne

They are wicked and untrustworthy
Yet, we are done in, in the name of trust and promises of faith
Their incessant acts of betrayal leave one stunned and breathless

khuda bhulaa diyaa in husn ke khudaa’on ne
mitaa ke chhod diyaa ishq ki khataa’on ne

These lords of comeliness and glamor
Make one turn away even from God
And their misdeeds in the name of love decimate and devastate (the lover)

udaaye hosh kabhi zulf ki hawaa’on ne
khyaale naaz ne lootaa kabhi adaa’on ne

Some days it is the flowing tresses that rob us of our senses
And sometimes
It is the thoughts of their delicate grace and winsome dalliance
That does us in

hazaaron lut gaye nazron ke ik ishaare par
hazaaron beh gaye toofaan ban ke dhaare par

Thousands have perished just on the allurement of a glance
And a thousands have drowned in the storm (of passions)

na in ke waadon ke kuchh thheek hai na baaton ka
fasaanaa hota hai in ka hazaar raaton ka

Neither their words, nor their promises are to be trusted
Their saga of conversations will last a thousand nights

(NOTE: A very clear allusion here to the thousand tales of the Arabian Nights. The story is about King Sharyar. He is shocked to discover that his brother’s wife is unfaithful. And then, discovering that his own wife’s infidelity has been even more flagrant, he has her executed. In his bitterness and grief he decides that all women are the same. He begins to marry a succession of virgins only to execute each one the next morning, before she has a chance to dishonour him. Eventually the vizier, whose duty it is to provide them, cannot find any more virgins. Scheherazade, the vizier’s daughter, offers herself as the next bride and her father reluctantly agrees. On the night of their marriage, Scheherazade begins to tell the king a tale, but does not end it. The king is thus forced to postpone her execution in order to hear the conclusion. The next night, as soon as she finishes the tale, she begins (and only begins) a new one, and the king, eager to hear the conclusion, postpones her execution once again. So it goes on for 1,001 nights. 🙂 ).

bahut haseen hai waise to bholpan in kaa
bharaa hua hai zehar se magar badan in kaa

Their apparent innocence is really very charming
But beware, their being is full of poison

ye jisko kaat len paani wo pee nahin saktaa
davaa to kyaa hai duaa se bhi jee nahin saktaa

There is no way to comfort one who is smitten by them
For he is unable to even partake water, though he may be dying of thirst
What to say about medical remedies
He may not even be sustained by pleadings to the Lord Himself

inhi ke maare huye hum bhi hain zamaane mein
hain chaar lafz mohabbat ke is fasaane mein

We too are victims of these scheming enchantresses
There is but a few words to say about our own circumstance. . .

zamaanaa in ko samajhtaa hai nek aur masoom
magar ye kaise hain kyaa hain kisi ko kyaa maloom

World thinks of them as compassionate and innocent
But not many know their true colors and true character

inhey na teer na talwaar ki zaroorar hai
shikaar karne ko kaafi nigaah-e-ulfat hai

They have no need for weapons like swords and arrows
For their one glance of fondness is enough to hunt and destroy (us men folk)

haseen chaal se dil paayemal karte hain
nazar se karte hain baaten kamaal karte hain

With their charming temptations, they devastate (their admirers)
They will say more with their eyes
And what they say is so lovingly perfect and enticing

har ek baat mein matlab hazaar hotey hain
ye seedhe saade badey hoshiyaar hotey hain

Each pronouncement has a thousand meanings
They seem simple and modest, but beware they are cunning and crafty

khudaa bachaaye haseenon ki tez chaalon se
padey kisi ka bhi paalaa na husn waalon se

May the Lord rescue us from the charming deceit of these charmers
And pray that none is taken in by these deceptive temptresses

husn waalon mein mohabbat ki kamee hoti hai
chaahne waalon ki taqdeer buree hoti hai

The beautiful ones don’t have a heart that can understsand love
That is the misfortune that befalls their admirers

un ki baaton mein banaavat hi banaavat dekhi
sharm aankhon mein nigaahon mein lagaavat dekhi

There is duplicity and deception in their words
The eyes may be bashful, and the glances full of affection

aag pehle to mohabbat ki lagaa detey hain
apne rukhsaar ka deewaanaa banaa detey hain

They will start by inflaming the embers of love in the heart
And make our hearts pine with passion, for a glimpse of their face

dosti kar ke phir anjaan nazar aatey hain
sach to ye hai ke beimaan nazar aate hain

They will strike a friendship, and then pretend to be strangers
In reality, they are dishonest and cannot be trusted

maut se kam nahin duniya mein mohabbat in ki
zindagi hoti hai barbaad badaulat in ki

Their affection and love is no less than a kiss of death
And the tales abound, of those who have forfeited their lives for their sake

din bahaaron ke guzarte hain magar mar mar ke
lut gaye hum to haseenon pe bharosaa kar ke

Their companionship appears like spring
But the passage of days is a tale of misery and slow death
Just one error of judgment, we put our faith in their bonny comeliness
And that ruined our lives and made us destitute

hamen to loot liyaa mil ke husn waalon ne
kaale kaale baalon ne
gorey gorey gaalon ne

Yes, we have been ruined and turned into paupers
By this bevy of charming beauties
Who entice us with their charming magic spell
The magic of their flowing black tresses
And the charm of their fair skin
They rob us (men) of everything, even our senses


Song-Hamen to loot liya mil ke husn waalon ne (Al Hilaal) (1958) Singer-Ismaael Azad Qawwaal, Lyrics-Shewan Rizvi, MD-Bulo C Rani
Chorus

Lyrics

hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

nazar mein shokhiyaan aur bachpanaa sharaarat mein
adaayen dekh ke ham phans gaye mohabbat mein
ham apni jaan se jaayenge jinki ulfat mein
yaqeen hai ki na aayenge wo hi maiyyat mein
Khuda sawaal karegaa agar qayaamat mein
to ham bhi kah denge,
ham lut gaye sharaafat mein
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

wahin-wahin pe qayaamat ho wo jidhar jaayen
jhuki-jhuki huyi nazron se kaam kar jaayen
tadaptaa chhod den raste mein aur guzar jaayen
sitam to ye hai ki dil le len aur mukar jaayen
samajh mein kuchh nahin aataa ki ham kidhar jaayen
yahi iraadaa hai ye kahke ham to mar jaayen
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

wafaa ke naam pe maaraa hai bewafaaon ne
ki dam bhi ham ko na lene diyaa jafaaon ne
Khudaa bhulaa diyaa in husn ke Khudaaon ne
mitaa ke chhod diyaa ishq ki khataaon ne
udaaye hosh kabhi zulf ki hawaaon ne
hayaa ne naaz ne lootaa kabhi adaaon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

hazaaron lut gaye nazron ke ik ishaare par
hazaaron bah gaye toofaan banke dhaare par
na inke waadon kaa kuchh theek hai na baaton kaa
fasaanaa hotaa hai inkaa hazaar raaton kaa
bahut haseen hai waise to bholpan inkaa
bharaa huaa hai magar zahar se badan inkaa
ye jisko kaat len paani wo pea nahin saktaa
dawaa to kyaa hai duaa se bhi jee nahin saktaa
inhin ke maare huye ham bhi hain zamaane mein
hai chaar lafz muhabbat ke is fasaane mein
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

zamaanaa inko samajhta hai nek aur maasoom
magar ye kaise hain kyaa hain kisiko kyaa maaloom
inhen na teer na talwaar ki zaroorat hai
shikaar karne ko kaafi nigaah e ulfat hai
haseen chaal se dil paayemal karte hain
nazar se karte hain baaten kamaal karte hain
har ek baat mein matlab hazaar hote hain
ye seedhe-saade bade hoshiyaar hote hain
Khudaa bachaaye haseenon ki tez chaalon se
pade kisi kaa bhi paalaa na husn waalon se
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

husn waalon mein mohabbat ki kami hoti hai
chaahne waalon ki taqdeer buri hoti hai
unki baaton mein banaawat hi banaawat dekhi
sharm aankhon mein nigaahon mein lagaawat dekhi
aag pahle to mohabbat ki lagaa dete hain
apne rukhsaar kaa deewaanaa banaa dete hain
dosti kar ke phir anjaan nazar aate hain
sach to ye hai ki beimaan nazar aate hain
maut se kam nahin duniyaa mein muhabbat inki
zindagi hoti hai barbaad badaulat inki
din bahaaron ke guzarte hain magar mar-mar ke
lut gaye ham to haseenon pe bharosaa kar ke
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne
hamen to loot liyaa
mil ke husn waalon ne
kaale-kaale baalon ne,
gore-gore gaalon ne

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28 Responses to "Hamen to loot liyaa mil ke husn waalon ne"

Atulj

congratulations

regards
prakash

hullo Atul
Congrats on the grand number 5000.
unfortunately after reading the long write up by Raja i ran out of patience so i am yet to read what Sudhirji and u ve written. sorry for that. now i ve to muster up some interest to read the rest of the write up coz i can’t afford to give it a skip as i like all 3 styles.
dekho Rajaji don’t feel offended by what i said
congrats once again

Raja ji,
Thanks for a very good nostalgic write up,which shows your personal attachment to this Blog and Atul ji.It is really romantic to travel thru time enumerating the various stages of growth,like we do for children,and then be proud of their present status.
You have truely identified that ,essentially an Atul Blog,it has taken a shape of a collaborative venture now,where people of common interests,strive hard to make it a complete package of Indian Film info.It includes Story,songs and info on related matters.
I have no knowledge of any other such venture on the internet.This Blog is UNIQUE.
Thanks once again.
-AD

Sudhir ji,
I have no words to describe the emotional attachment you have developed for this Blog.It shows in your write ups too.
Your write ups are not ony ‘ups’ but ‘downs’and ‘sideways’ too,meaning, they are simply perfect in describing the beautyspots of the songs and the ways of enjoying the inner meanings. This is a God given gift !
Thanks for making this Iconic qawwali understandable to the less urdu empowered music lovers and to all those overseas HFM lovers who are not that conversant with Hindi/Urdu languages,thru your Translations.
I feel contended that my Farmaish has become a landmark song.
Thanks once again.
-AD

Arun ji,

So kind of you for this nice message of appreciation and encouragement. And I agree with you – He inspires me, tells me the words, and I just type it.

I just love to be part of this effort. 🙂

Rgds
Sudhir

Sudhir ji,
You write so meaningfully that it becomes a smooth flow and the song is enjoyed in its fullest.
You,Deshmukh ji,Raja ji and many others are among the NAVRATNA s which Atul ji is having,for this Blog.
My best wishes to you,and others for a more eventful future.
-Boodhemiyan,saudi arabia

Boodheymiyan ji,

Aap ke alfaaz, mer kitna hauslaah badhaate hain, mein bayaan nahin kar saktaa. Bahut bahut shukriyaa. 🙂

Rgds
Sudhir

Atul ji,
CONGRATULATIONS on reaching a major landmark of 5000 songs.
It is no mean achievement,in the sense that this Blog could easily be the only place on the Internet,providing a feast of nostalgic HFM from 1931 to 1980,in such quantity.
And Lo,its not just songs alone,but also titbits,film reviews,info on singers,songs,lyricists,movies and all that is related to it.
In fact you are now providing a TOTAL PACKAGE of nostalgic Musical Feast !
Thank you and May God give you the strength,and means to scale Higher,Newer and Taller peaks in the future.
-AD

Heartiest congratulations on this feat of 5000 songs on the blog !

I had somehow guessed, that this qawwali is going to be the 5000th milestone. Thanks for the lovely write ups too. Here is wishing all the best for all those higher peaks and milestones in the future:

Guzr ja aql se aage, ke yeh noor
chiraag-e-raah hai manzil nahin hai.

I heard this song many times, but didn’t realize it is this old (1958).

I wish I can share nahm’s optimism that the blog is ‘chiraag-e-raah’ but not a ‘manzil’. He i simplying that manzil is far far away, with a lot of ‘safar’ to enjoy meanwhile.

But as someone recently commented here, the concept of music is a non-entity in the current hindi cinema (with perhaps rare exceptions), so I am wondering how much the of future will be safar without being suffer.

Krishna ji

By some rough estimates, the total number of talking Hindi films that have been censor certified from 1931 to 1980 is approximately 5,664, and the number of songs contained in this set of movies is approximately 44,000.

So just for this treasure alone (i.e. till 1980), we are still looking up ahead at many more years (almost two decades) of effort, at the current rate of posting. 🙂

From my personal experience I can tell you, each song that I post, or that I view on this blog, I can think of at least 4 to 5 other songs that should be posted here. So rest assured that there is still a lot of safar to be covered with good music (and without suffer) 🙂

Rgds
Sudhir

Atul ji,
and all readers connected to this blog,

Congratulations, congratulations, congratulations galore,

A remarkable achievement, and more so in the light of the fact that this is a labor of love and not a venture of any other kind. The pace at which this blog is progressing and growing, is astounging, in all aspects. Songs, consistency, readership, contributions and mental togetherness that one experiences, when connected to this page, or doing some prep for it. I have been personally tied up for the past couple of weeks, and my response to comments has almost been nil (I assure that I have been viewing all comments, and will respond in the next three to four days.) But today and this post is significant, and I had to write in.

Raja ji,
Thanks a ton for providing such a vivid account about the history of this blog. Your write up clearly sets the temper of where this blog is coming from, and how it has been. It is really romantic (as Arun ji has stated).

Atul ji,
Your summary of some very important statistics and numbers is really very encouraging. The growth of this blog is really fantabulous. I would like to add the following data with reference to growth across these three years.

# Post no. 1 19 Jul 2008
# Post no. 1646 19 Jul 2009 — One Year Complete – 1646 Posts
# Post no. 2641 19 Jul 2010 — Two Years Complete – 995 Posts
# Post no. 4233 19 Jul 2011 — Three Years Complete – 1592 Posts

# Post no. 1 19 Jul 2008
# Post no. 1000 30 Mar 2009 — 8 months 11 days
# Post no. 2000 27 Sep 2009 — 5 months 28 days
# Post no. 3000 20 Sep 2010 — 11 monhts 23 days
# Post no. 4000 13 Jun 2011 — 8 months 23 days
# Post no. 5000 13 Nov 2011 — 5 months, 1 day

The journey from 4001 to 5000 is the fastest thousand – in just 5 months.

I wholeheartedly reflect the sentiments expressed by Nahm ji.
. . . yeh noor, chiraag-e-raah hai
manzil nahin hai

Wishing all of us, a fabulous musical journey ahead.

. . . log saath aate gaye, carvaan badhtaa gayaa. . .

Rgds
Sudhir

CONGRETS
VERY NICE

Party time! Congratulations on the 5000th post, Atul, and for the triple sundae (Sunday) delight – I mean, triple update – on a delightful qawwali! I would also like to thank Raja, nahm, Sudhirji, Prakash chandraji, Peeveesie’s mom, Mr. Deshmukh, and all the others who have become fellow travelers and contributors on this blog, who have added to the pleasure of this journey.

We used to sing this song all the time, with garbled words, and it was much later that I figured out the correct words! It brings back delightful memories of afternoons in my grandfather’s house, the three of us cousins on the terrace upstairs, listening to the radio, with plates loaded with all the goodies made by my grandmother (and stored upstairs – the empty jars were discovered a week before we were supposed to return to Delhi/Lucknow/Kanpur!) – those were the days!

Congratulations again, and here’s wishing to many more such delights on our way to the 10,000th song!

Atul, Sudhir and Raja,

Hearty congratulations for reaching a magic figure of 5000 songs’ post. As Sudhir has said, it may take a decade or two to discuss the remaining Hindi film songs. And who knows that some more hidden gems may come out in the meantime.

With 5000 posts and more posts to come, the responsibility of maintaining the blog also increases manifold with timely responses to the readers’ comments and the usual head-ache of restoring the missing video/audio links of the songs that have already been posted.

So, Atul, you will not have free time in years to come. But I know, you enjoy being tied up with this venture 🙂

Atul ji,
Heartiest Congratulations on the 5000 mark.
You are doing something which will be,I am sure,noted by God up there surely,for you are quenching the thirst of millions of old HFM lovers all over the world.
The contribution of Raja ji as an initiator and encourager,Sudhir ji as a load sharer with his excellent articles,Deshmukh ji with his unmatched knowledge/information pills and few others is laudable too !
May God give you time,energy and will to continue and achieve many more milestones in future.
-Boodhemiyan,saudi arabiya

Its a very good charitable service you are doing for hindi music lovers like me. Pl. do continue. May God bless you in your life.

Sir, most of the songs video are not available. I am so pleased with your site otherwise.
saxena surendra

This blog is truly an example of how powerful the internet can be in bringing people with interests and knowledge together to create a powerful record (no pun intended) of history that otherwise wouldn’t exist. Wah! way!

Mubarak ho, Atul and everyone else in the family 🙂

Got a bit busy the last couple of days, so could not react earlier. Sorry for that!

Thanks to everybody for their comments. These comments and the constant encouragement means a lot to Atul and to the blog.

Peevisie’s Mom, I’m not the slightest bit offended. 🙂 I know my write-up is waaaay too long – my problem is that I get carried away, I just dump my thoughts – and then don’t even bother to re-read them or edit them. It’s like “Raja unplugged”. 🙂 I’d have had no problem if Atul had just brutally edited half of what I’ve written here. 🙂

I do hope that people do take the trouble to read Sudhirji’s and Atul’s write-ups too. This is a combined effort to celebrate the 5000th song here and I’d hate to be a reason for hogging reader time at the cost of their write-ups, that too only because I happen to have been gone first. (Sort of similar to multiple speakers at a function where the first speaker takes so much time that the others don’t get the time they deserve).

Anyway, if there is another “joint write-up” situation in future, I’ll bear this in mind. Or at least make sure I go last. 🙂

There’s a famous quote from a British author, I think – I didn’t have the time to write you a short letter, so I wrote a long one.

thats exactly Raja’s problem i suppose.
firstly he writes very little. starves us for his write-ups. and when it comes it floods us.

The main guy who lip syncs for the song (at 1:09)
M.Y.Sheikh(courtesy Surjit Singh ji`s photo gallary

5000 songs annotation is a great achievement and you chose a great song to do it with. I have previously looked at the lyrics of this song at other sites (which shall remain nameless) and all of them have a major error at the end of the first stanza. But here it has been transcribed correctly and translated with a zest. The write-ups are all informative and heartfelt. Bravo!
Let me add one point about this song. This song and the film it is from fit a tradition from the early history of Hindi films- films based on middle-eastern or Mughal fables with an essential Islamic character. Al-Hilal means the crescent moon, a holy sight for the Muslims. As the translation above notes, the song makes reference to Thousand and one Arabian Nights. And, of course, it is a qawwali.
Before the partition of British India in 1947 and many years after it, there was a tradition of films based stories from the Islamic history and traditions. Rustam Sohrab, Layla Majnoo, Mughal-e-Azam are some films from this genre. They reflected partly the influence of talented Hindu and Muslim producers, actors and singers who came from western Punjab (e.g. Lahore) and Sindh. Bulo C. Rani, a Hindu, was born in Hyderabad, Sindh. It also reflected story-telling and musical tradition that were popular then. As India moved away from some of those cultural traditions, so has the film music industry. That is as it should be, but to me this song is a reminder of a great musical tradition in our recent past that we can still enjoy- thanks to the efforts of Atul and others.

Thanks for your comments. Providing accurate and full lyrics to all songs is one of the main aim of this blog and providing interesting and authentic information in writeups is also one of the aims. We in this blog are aware that there are online resources that copy from each other instead of taking the troubles to check the accuracy of that information (lyrics or other details), and we in this blog rely on our own inhouse resources (dedicated and knowledgeable set of contributors) for our lyrics and writeups.

Thanks Atul et al. I did not realize I would learn so much when I opened this page simply out of interest. This is one of my favorite qawwali. I am going to check now if you have posted Jhoom Barabar Jhoom Sharabi – 5 Rifles (1974) by Janab Aziz Nazan … I remember listening to it when was very young – from the music stores . . .

Thanks to the team for a brilliant translation that made this evergreen song more enjoyable. Loved the story of arabian nights as well. kudos to the entire team 🙂

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(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13603

Number of movies covered in the blog

Movies with all their songs covered =1020
Total Number of movies covered =3725

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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