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

Archive for the ‘Background song’ Category


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4116 Post No. : 15269

Here is that date again.

The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.

Sahir Ludhianvi.

I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.

There have been more famous figures in the industry.

And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.

And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.

They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.

A lyricist goes a step further than even a singer.

While a singer can put his heart and soul into a song, he does not create it. He only renders it.

The text comes from the lyricist.

And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.

And I feel no one did this better than Sahir.

With Sahir, what you saw was what you got.

Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.

He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.

Imagine if this had not happened. Imagine what might have been lost to us.

Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂

And Sahir never looked back.

From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.

I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.

With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.

That was when it hit me.

Oh, “aage bhi jaane na tu” was Sahir’s?

And “ye raat ye chaandni phir kahaan”?

Oh, and “udey jab jab zulfen teri” also?

And “abhi na jao chhod kar”?

And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”

And “tu Hindu banega na Musalmaan banega”?

Oh, and “jeevan ke safar mein raahi” also?

And “tadbeer se bigdi hui taqdeer bana le”?

There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.

At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.

It was only at that moment I realized what a legend Sahir had been. And what the world had lost.

After that, I paid a lot more attention to the lyricist, while listening to songs.

And often it was Sahir.

Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.

It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.

And that is when I realized that Sahir’s lyrics were different.

They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.

If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.

Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.

Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.

You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.

At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.

Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.

Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.

I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.

Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.

This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.

Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.

So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.

But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.

Clearly Sahir was a rebel, a non-conformist.

And his poetry often reflected this, since he wrote straight from the heart.

But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.

Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.

Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.

It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.

If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.

That’s a sobering thought.

Now, let’s move on to the song for today.

It’s from the 1969 film, Paisa Ya Pyaar.

As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.

I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.

I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂

But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.

Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.

The song is sung by Hemant Kumar, music composed by Ravi.

Please do listen.

I’d like to end by saying that Sahir was wrong in one respect.

He wrote

“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”

Sahir saab, I can only say you grossly underestimated our love and respect for you.

jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin

Thank you SO MUCH for what you’ve given us, Sahir saab.

And, very importantly, for just being you.

Video

Audio

Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi

Lyrics (based on audio link) (Provided by Avinash Scrapwala)

Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa

Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला

मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

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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 : 4101 Post No. : 15248

“Kabeela”(1976) was produced and directed by Bholu Khosla for Khosla Enterprises, Bombay. The movie had Feroz Khan,Rekha,Bindu(special appearance),Kamini Kaushal, Imtiaz, Premnath, V.Gopal, Sudhir, Shyamkumar, Manju Bansal, Trilok Kapoor(special appearance), Dhumal, Surendranath, Hiralal, Habib, Dumasia, Nawab, Baby Sonia, Darshan, Rammi, Madan Verley, Jagadish Joshi, Sharad Saxena etc in it.

The movie had four songs in it. One song has been covered in the past.

Today (10 october 2019) is the 65th birthday (DoB 10 october 1954) of Rekha. Daughter of Gemini Ganeshan and Pushpawalli, both well known movie actors themselves,

Rekha made her debut in Hindi movies with “Saawan Bhaadon”(1970). The movie was a hit. It was like a batsman hitting a century on debut.

Those were the days when Indian cricketers who scored century on debut failed to score another century in their career. A batsman called Gundappa Vishwanath had scored a century on debut at Kanpur in 1969. Like his predecessors, he struggled to score another century and people thought that his test career was doomed. It took him fourteen more tests and four more years before he scored his second test century in Bombay (in february 1973) and broke a big jinx for Indian test cricketers scoring a test century on debut. Subsequently, batsmen like Azharuddin, Saurav Ganguly, Sehwag, Shikhar Dhawan and Rohit Sharma scored centuries on debut and subsequently scored more centuries.

Rekha, after her smashing debut lost her way. Movie critics of those days likened her to Faryal and commented that she was squandering her career like Faryal.

It was during 1978 that Rekha reinvented her in “Ghar”(1978). It was like an ugly duckling has transformed into a swan, with this movie.

And Rekha never looked back since.

On the occasion of her 65th birthday, here is a song from her ugly duckling days, when she was still struggling in Hindi film industry.

This song is sung by Lata. Farooque Kaiser is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a background song. Rekha, Feroz Khan.Prem Nath,Hira Lal, Kamini Kaushal and Sharat Saxena are visible in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

We take this opportunity to wish Rekha a very happy birthday and many happy returns of the day.

Video

Audio

Song-Do phool zindagi ke hans kar yahaan khile thhe (Kabeela)(1976) Singer-Lata, Lyrics-Farooque Kaiser, MD-Kalyanji Anandji

Lyrics(Provided by Prakashchandra)

sajnaaa aa
o sajnaa
o o sajnaa

do phool zindagi ke ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa aa aa
o sajnaaa
sajnaa
yeh woh jagah hai
hum tum jahaan miley the ae
do phool zindagi ke
hans kar yahaan khiley thhe

tera der se woh aanaa
mera roothh roothh jaanaa
tera der se woh aanaa
mera roothh roothh jaanaa
tera pyaar se manaanaa
mera toot toot jaanaa
shiqwe thhe woh milan ke
shiqwe thhe woh milan ke
woh pyaar ke giley thhe ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa
yeh woh jagah hai
hum tum jahaan miley the ae
do phool zindagi ke
hans kar yahaan khiley thhe ae

aawaaz tere dil ki
raahon se aa rahi hai
aawaaz tere dil ki
raahon se aa rahi hai
khushboo tere badan ki
baahon se aa rahi hai
jaanaa thhaa door ham se
jaanaa thhaa door ham se
kyun pyaar se miley thhe ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa aa aa aa
sajnaa aa aa aa
sajnaaa aa
sajnaa aa


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

Blog Day :

4093 Post No. : 15237 Movie Count :

4188

Just like so many more human endeavors, wherein the concepts and philosophical models of ‘-isms’ are all so correct and convincing, and their practical implications and implementations are so faulty and distorted that the discussions about the defects and flaws, also sounds very convincing in the hindsight.

Take Communism for example. The writings of Karl Marx, Friedrich Engels and Vladimir Illych Lenin – as they write about the class struggle between the ‘haves’ and the ‘have nots’, and lucidly present their ideas on how to address this social divide, for the betterment of humanity – are so very a convincing, palpable and substantial, that it is easy to be convinced about the failings and deficiencies of the capitalist / imperialistic model of the world order, which should be replaced everywhere with the model of Communist social order. When Marx passed away in 1883, the debate on this subject was quite vigorous both amongst the elite and the working class in the countries of Europe.

Not long thereafter, the revolution of the working class came about in 1917, in Russia, under the leadership of Lenin. A new model of state and governance, and a new social order was established. The history is replete with the narrative of violence and misery that accompanied this change, but the Communist movement had come on to stay. Over the next three decades, this model of a new social order spread to other neighboring states – towards the west of the erstwhile USSR, which formed the countries in eastern European bloc and towards the South East, i.e. China.

For all the populism and the PR that was a big budget activity in the USSR, the model did not quite stick for very long. Within our own lifetimes, we have witnessed the downfall of Communism in 1980s – the so called perestroika or restructuring of the social order and government in the USSR, now Russia. The theories of the great philosophers of the late 19th century, did not quite hold on together when implemented and the rubber met the road. Although China still holds out with their powerful Communist Party supported by their strong army, the Communistic form of social order did last, albeit just for about seven decades.

A similar pageant has played out and is playing out, in India. The ‘-ism’ that is associated with Mahatma Gandhi, that Munna Bhai so endearingly likes to call ‘Gandhi-giri’ (‘Lagey Raho Munna Bhai’, 2006), has seen its prime during the early decades of the twentieth century, and its subsequent devaluation in the closing decades of the same twentieth century. I remember – in the 1980s and 90s, around the time of his birth anniversary (2nd October) every year, one was treated to editorials and articles in newspapers, and panel discussions on Doordarshan, with titles that were variations on “The Relevance of Gandhi Today”. Even then, my mind used to react that as a society, we have apparently lost Gandhi and his ideals, if now that the intelligentsia is beginning to discuss the relevance. Just so strongly underscores the fact that the question of relevance comes to fore, when the storm of doubts and disbelief is surging strong in the society. That discussion still continues.

Where and what are the fault lines? I had read his autobiography – ‘The Story of My Experiments with Truth’ way back when I was in college. I was, and honestly I still am, deeply impressed, influenced, overwhelmed by honesty and simplicity with which he has laid bare his persona and his internal turmoils, his candid admissions of his faults, expressions of his ideals and idealistic resolutions, and the strength of character to personally follow and implement those ideals in practical life. It is a frightening tale of development of a human mind from the basic animalistic existence to literally a sainthood. It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”

A time was, at the turn of the century, when the nation was seeking a simple philosophy in leadership. Here was a teacher, who did not just teach. In fact he refused to teach or direct others, for things that he himself had not practiced and not lived through himself. A hallmark of a true saint, whose existence within his own mind, and as seen by those around him, is starkly the same. My readings about the Tolstoy Farm that he established in South Africa in 1910, are such an impactful influence. And also a conviction that this soul is an honest and truthful spiritual leader, who will not lead his flock astray for personal or ideological gains.

For all his goodness and his saintly leadership of the people, his words and his teachings stand at crossroads today. The retinue of his followers diminishing over time, and bevy of protesters calling out their criticisms and insults – their tribe is incessantly increasing. Where is the fallacy? Is there an aberration that we see on the radar of history?

A lot has been written and continues to be written about him. But I really wonder how many of us are actually, really reading him. He has written extensively, and not just one book. His complete works including his articles and speeches, will form a complete section of a good size library. Many years ago, maybe more than three decades ago, I read the following in one of his articles printed in 1927 in the journal ‘Young India’. Countering all that I had read till then, and had been hearing about his philosophy of ahimsa (non-violence), here was a paragraph that stunned me with its clarity of thought and perfection of logic.

“My creed of non-violence is an extremely active force. It has no room for cowardice or even weakness. There is hope for a violent man to be someday non-violent, but there is none for a coward. I have therefore said more than once in these pages that if we do not know how to defend ourselves, our women and our places of worship by the force of suffering, i.e., nonviolence, we must, if we are men, be at least able to defend all these by fighting.”

All his life, he incessantly tried to differentiate for his followers, the distinction he made between non-violence and cowardice. In the same journal, in another article, even earlier in 1920, he writes,

“I do believe that, where there is only a choice between cowardice and violence, I would advise violence…. But I believe that non-violence is infinitely superior to violence, forgiveness is more manly than punishment. Forgiveness adorns a soldier. But abstinence is forgiveness only when there is the power to punish; it is meaningless when it pretend to proceed from a helpless creature.”

At another place, his words on this same theme are

“Where choice is set between cowardice and violence, I would advise violence. . . I prefer to use arms in defense of honor rather than remain the vile witness of dishonor. . .”

Are we, in this age and these circumstances, aware of this strong advocacy of the above distinction he makes between the oh so terribly misunderstood themes of non-violence vs cowardice? And are we teaching, nay even projecting the correct understanding of all that this great soul stood for all his life?

The generation that had spent time with him, that had experienced his influence and his aura first hand, is already relegated to history. Well, almost. The survivors of that generation are very few. In another few years, maybe a decade or so, we shall not be hearing of a Gandhian anymore. For the newer crop of followers that we see, Gandhi is more of a political crutch, and face to be put on the currency notes, nothing much more than that.

Where lies the answer to the ‘WHY’ connected with this scenario? I do not know. There are many an ill of the human tendencies and human traits that we can expound to explain. But probably the answer lies deeper – deeper inside the very constitution of this existence itself. A simple axiom that makes up the destiny of everything that we can observe. Simply put – everything decays. Ensconced in these two simple words is the terrible and profound truth that applies to everything in this universe, and to the universe itself. I will posit it from two different directions that I am aware of.

One – our scriptures. It is written in our scriptures, in the sections where the creation of this universe is described, that when He created this universe, it was perfect, in every possible way that can be thought of. But this perfection lasted for just that first instant of creation. This perfect universe started to decay in the very next instant. It is stated so, in our books. And this decay encompasses everything that is material and even non-material in existence. That is the progression of the ‘yugas’ (eras) that we are so familiar with in our scheme of the universe and its passage through time. The good shall diminish and the things will always be progressively worse.

Two – from the perspective the study of the physical nature of this universe as a subject – Physics. There is a branch of this study called Thermodynamics, which deals with the energy within a system, and all aspects related to it. This branch of physics was formalized as a subject through the research work, both physical and philosophical, of scientists in the 18th and 19th centuries – names like Count Rumford, Sadi Carnot, William Thomson, Gibbs, James Maxwell etc. Based on their works, this branch now has a set of laws called the Laws of Thermodynamics, which are time tested and form the foundations of a huge segment of physical sciences. The second of these laws has a very simple, very interesting statement, and a very profound implication for the entire universe itself. The law states that –

“The total entropy of an isolated system can never decrease over time.”

The key element to understand in this statement is ‘entropy’. Simply defined, entropy is the measure of the state of disorderliness in a physical system. Going by this law, a deduction that can be inferred immediately is that in any physical system, the disorderliness will always increase with time. To put it even more simply, and bluntly, every system will always and only, decay with time. That brings us back to a concurrence with the assertions contained in our scriptures.

And so, as with everything, the social systems will also decay with time. I am sure I do not need to explain this statement further. People with awareness of history, and also, the awareness of the experiences of a lifetime, will concur.

Truth, however, remains unchanged. In all the rigmarole of the eras and human evolution, and the transitions of history that we are aware of, the only thing that remains unchanged is the Truth. In Hindi, the word is ‘सत्य’ which comes from the root ‘सत्’. If I may draw an analogous word from the English language, it would be ‘stat’ or ‘static’, which also means – un-moving, at rest, unchanging. Truth, in this creation, and as a conceptual idea, remains static unchanged, in this tumultuous ocean of creation that is eternally in a chaos of constant change and decay.

The concept of this unchanging Truth is discussed and described quite at length in our scriptures. A basic characteristic of this Truth is that not just that it is unchanging, but it is also inert and passive. It does not DO anything. It just IS.

That thread now brings us back to the Mahatma again. Here is one person who realized quite early in life, the nature of this Truth, as is evident from the title of his autobiography – ‘The Story of My Experiments with Truth’. Understanding the passive and inactive nature of Truth, he set out on a journey to experiment with it, to understand it better. That realization, and his unflinching endeavor to pursue and investigate it, is what makes him stand out as a giant amongst men. He belongs to that list of a handful people in the history of the human civilization who have raised this query within themselves, and have encountered the answer. For that, he is a Mahatma – the extraordinary soul, and a notch above the Atma – the ordinary souls, who can be counted in millions.

The song being presented today, belongs to the 1978 film ‘Nasbandi. The period of history covered in this film is that of June 1975 to January 1977, during which Emergency was proclaimed in our country. I am not going into the politics behind this episode. Enough to say that in 1977, when the elections were held, the powers that proclaimed and benefitted from this state of emergency, lost, and a new political equation was written into history of India. The film deals with the topic of forced sterilization of menfolk, one of the key ingredients of the political battle in 1977.

The film is produced by Johar Films, and is directed by IS Johar. The name is sufficient to give an idea of what kind of a comical spoof this film is. Especially when we have IS Johar and Rajendranath playing the lead roles.

Geet Kosh lists seven songs for this film, written by Indeewar, Rajendra Krishan and Hullad Muradabaadi. This particular song is written by Indeevar and the music is composed by Kalyanji Anandji. This is a background song in the film, rendered by Kishore Kumar.

The song is a regretful complaint about the state of the nation, and a supplication to the Mahatma – as to the social and political conditions prevailing. That the dream of a disciplined and amiable social edifice that the Mahatama had envisioned, was in shambles. The instances of regrets are many, and the passing years and decades, have only added to them. None of them have been is taken away.

And that brings us back to the thread of the continuous decay, everywhere.

The philosophies and the visions of great men are like beacons of light in the thick fog of chaos and uncertainty that this universe, this existence is. And that existence is steadily moving towards more chaos, more uncertainty. That is the nature of existence itself. These great men – Nanak, Buddha, Abraham, Moses Prophet Mohammed, Christ, Socrates, Gandhi, Zoroaster, Kabeer, and many more – have been the extraordinary souls that have realized the Truth of this existence. Their messages to the humankind are an effort to make more of us ordinary souls understand this path, and its goal. But this world is what it is. Despite that so many extraordinary souls have visited and tried to spread this message. Or maybe, we can say that this world is what it is today, because of these enlightened souls – it would have been even a worse present, had these men not visited this earth.

O Gandhi, the vision of society that you shared with us, lies unread in books no one reads anymore, in libraries that no one visits any more.

And thieves have stolen the ‘बकरी’ (goat) whose milk had nourished your soul.

Song – Gandhi Tere Desh Mein Ye Kaisa Atyachaar  (Nasbandi) (1978) Singers – Kishore Kumar, Lyrics – Indeewar, MD – Kalyanji Anand ji
Chorus
Kishore Kumar + Chorus

Lyrics

janta ki awaaz hai ye
sun le o bapu gandhi
ye kaisa hahaakaar desh mein
ye kaisi aag ki aandhi

kahaan gayi wo teri ahinsa. . .
kahaan gayi wo teri ahinsa
kahaan gaya wo pyaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar
ek bharat mein ban gaye
jalianwaale baagh hazaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

tu ne jab awaaz lagaai..ee..ee
saara hindustan utha
saara hindustan utha
angrezon ke dil bhi dehle..ea..ea
aisa ik toofaan utha
aisa ik toofaan utha
khushi khushi tere kehne par
bharatwaasi jail gaye
seene par goli jhel gaye
apne praanon par khel gaye
apne praanon par khel gaye
naam pe tere par laakhon jawaan
duniya ke sab sukh bhool gaye
dulhan ka ghunghat bin khole hi
phaansi par jhool gaye
phaansi pe wo jhool gaye
tu swaraaj le aaya. . .
tu swaraaj le aaya
hum to phir bhi rahe lachaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

azaadi ki jung ladaa tha
isi liye kya hindostan
isi liye kya hindostan
arey nyaye maangne nyayaalay mein
ja na sakey koi insaan
ja na sakey koi insaan
kitne hi nirdosh yahaan
misa ke andar band huye
andhe kuen mein kitne hi
azaad samandar band huye
azaad samandar band huye
ismat loota karte hain jo
ban kar raaj ke pehredaar
apni satta rakhne ko jo
chheene janta ke adhikar
chheene janta ke adhikar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

dekhi kahin kalam-bandi
dekhi kahin zubaan-bandi
dekhi kahin zubaan-bandi
darr ki hukumat har dil par bhi
saara hindostan bandi
saara hindostan bandi
nasbandi ke naam pe zulm huye
wo dukhion deenon par
lagta tha latka ho jaise
prajatantr sangeenon par
prajatantr sangeenon par
prajatantr sangeenon par
turkmaan wo gate aasmaan
toota jahaan zameenon par
chala diye bulldozer jab
bebas logon ke seenon par
bebas logon ke seenon par
bebas logon ke seenon par
apnon ke haathon hi..ee..ee..ee
apnon ke haathon apnon pe
goli ki bauchhaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

saare desh par zulmon sitam ke
ghor andhere jab chhaaye
ghor andhere jab chhaaye
tab prakash ki kirnen le kar
jai prakash aage aaye
jai prakash aage aaye
gandhi tere naam ki
ab hogi jai jaikaar
gandhi tere name ki
ab hogi jai jaikaar
arey jo bhi hukumat zulm karegi
uski hogi haar
jo bhi hukumat zulm karegi
uski hogi haar

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

जनता की आवाज़ है ये
सुन ले ओ बापू गांधी
ये कैसा हाहाकार देश में
ये कैसी आग की आँधी
कहाँ गई वो तेरी अहिंसा॰ ॰ ॰
कहाँ गई वो तेरी अहिंसा
कहाँ गया वो प्यार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार
एक भारत में बन गए
जालियाँवाले बाग हज़ार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

तूने जब आवाज़ लगाई
सारा हिन्दोस्तान उठा
सारा हिन्दोस्तान उठा
अंग्रेजों के दिल भी दहले
ऐसा एक तूफान उठा
ऐसा एक तूफान उठा
खुशी खुशी तेरे कहने पर
भारतवासी जेल गए
सीने पे गोली झेल गए
अपने प्राणों पर खेल गए
अपने प्राणों पर खेल गए
नाम पे तेरे लाखों जवाँ
दुनिया के सब दुख भूल गए
दुल्हन का घूँघट बिन खोले ही
फांसी पर झूल गए
फांसी पे वो झूल गए
तू स्वराज ले आया॰ ॰ ॰
तू स्वराज ले आया
हम तो फिर भी रहे लाचार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

आज़ादी की जंग लड़ा था
इसीलिए क्या हिन्दोस्तान
इसीलिए क्या हिन्दोस्तान
अरे न्याय मांगने न्यायालय में
जा ना सके कोई इंसान
जा ना सके कोई इंसान
कितने ही निर्दोष यहाँ
मीसा के अंदर बंद हुये
अंधे कूंए में कितने ही
आज़ाद समंदर बंद हुये
आज़ाद समंदर बंद हुये
इस्मत लूटा करते हैं जो
बन कर राज के पहरेदार
अपनी सत्ता रखने को जो
छीनें जनता के अधिकार
छीनें जनता के अधिकार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

देखी कहीं कलम-बंदी
देखी कहीं ज़ुबान बंदी
देखी कहीं ज़ुबान बंदी
डर की हुकूमत हर दी पर भी
सारा हिन्दोस्तान बंदी
सारा हिन्दोस्तान बंदी
नसबंदी के नाम पे ज़ुल्म हुए
वो दुखिओं-दीनों पर
लगता था लटका हो जैसे
प्रजातंत्र संगीनों पर
प्रजातंत्र संगीनों पर
तुर्कमान वो गेट आसमान
टूटा जहां ज़मीनों पर
चला दिये बुलडोज़र जब
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
अपनों के हाथों ही॰॰ई॰॰ई॰॰ई
अपनों के हाथों अपनों पे
गोली की बौछार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

सारे देश पे ज़ुल्म ओ सितम के
घोर अंधेरे जब छाए
घोर अंधेरे जब छाए
तब प्रकाश की किरणें ले कर
जयप्रकाश आगे आए
जयप्रकाश आगे आए
गांधी तेरे नाम की
अब होगी जय जयकार
गांधी तेरे नाम की
अब होगी जय जयकार
अरे जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार
जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार


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 :

4090 Post No. : 15232 Movie Count :

4185

#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # 87 # Jeewan Sangraam-1974 #
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Every year we celebrate our Republic Day on 26th January and Independence Day on 15th August.
This year we celebrated our our 70th Republic Day on 26th January (26.01.2019)and 73rd Independence Day on 15th august 2019.

Hearts of Indians are naturally filled with pride and enthusiasm on such occasions. It is also natural that we are reminded of the many ‘patriotic songs’ on these occasions- they could be from Hindi movies or non-film songs.

This year our Atul ji posted a very nice song and an appropriate article on the occasion. I enjoyed this song and, in the process, also browsed the blog for the other songs which I do remember whenever we celebrate our Independence Day and Republic Day. These songs always bring back those memories when I was a school going boy.

We used to get ready very early in the morning and after the flag hoisting at school and ‘prabhat-pheri’ up to the ‘gram panchayat’ school we again used to attend the flag hoisting ceremony at our colony club ground where the general function would take place for all employees (of the state electricity board) and their families. The distribution of sweets after the program was also a big attraction for us children then.

This time on both the occasions i.e. on Independence Day and Republic Day I could not send a song or a post from my side for the blog. But then I was thinking that is it necessary that we post patriotic songs on these two occasions only?
There are many other special occasions too where we have birth anniversaries and Remembrance Day of the leaders who lead the ‘freedom struggle’ and laid their lives for the freedom, even though they followed different thought process and different line of action to reach their goals.

Yesterday 28th September 2019 was the birth anniversary of one of the most loved martyrs of our country Bhagat Singh. And we remember him on his anniversary and paid our tributes as possible in our own ways.

We do always remember our ‘freedom struggle’ and the ‘hard earned freedom very much and ‘WE’ value it every day.
And may be in the history of our ‘freedom struggle’ it is possible that not a single day was without the fight and sacrifice by our countrymen.

Similarly, our armed forces guarding our borders have to fight every day to secure our borders and foil any attempt against our country by those who want to disturb peace in our country.

And even though we are busy with our daily routine our heart is always with our armed forces who are securing our borders and delivering their duties in the most difficult conditions and delivering their best in the many adverse conditions be it weather or other created circumstantial difficulties time to time, and many times sacrificing their lives whenever it is required so.

I remember one song from Marathi movies ‘sainik ho tumchaysaathi’ which is very close to my feelings that I have mentioned above and also those which I am unable to express in words. This song is just perfect to express those feelings.

(This is from the Marathi movie ‘Paahu Kiti Re Vaat-1963’, of which the lyrics are written by G.D. Madgulkar and it was composed by Datta Davjekar. This song is sung by Asha Bhonsle)
The lyrics are in Marathi and are given with the YT link above, so I am not reproducing them here. I am also not trying to translate it because I feel I will not be able to do that perfectly, except the last three lines;

“रक्षिता तुम्ही स्वातंत्र्या प्राणांस घेउनी हाती
तुम्च्यास्तव आमुची लक्ष्मी तुम्च्यास्तव शेतीभाती
एकट्या शिपायासाठी झुरतात अंतरे कोटि”

You protect our freedom exposing your lives to danger
Our prosperity is because of you
Our livelihood (farms and crops) are because of you
Billions of hearts yearns/flounders for every soldier

And, why I am mentioning this above is that many times, I and may be all of us have to go through these feelings and even helplessly we cannot we do anything except reading in the news and expressing our solidarity with our forces whenever there are attacks or commotion on our borders, or other domestic problems where to control the situations our forces are deployed, and while doing so they have to sacrifice their lives…

But our soldiers who are there protecting us are braver then we think, just see this ‘tweet’(which was on tweeter recently) by an army Officer after one of our Officer was captivated by our neighboring country after the attacks on our CRPF Jawans in February this year , and we all were praying for his safe return …

“Dear Friends, things happen. It’s a War… don’t feel disheartened. Indian Armed Forces are capable to take on any mission! Cheer Up… Chin Up… Keep the josh HIGH Just stand UNITED and behind your soldiers, their families and veteran. They will NEVER EVER disappoint YOU Jai Hind”

***

So the spirit of our armed forces and people is always there to protect our country and fight for the country even if it requires of sacrificing of our lives.

Our love and concern for our motherland is always there. We are proud of our history, culture, heritage, and the stories of bravery and valor that will continue to inspire the coming generations.
And, if we have a movie on such historical incidence it has to be here on the blog and that is the reason for this post today.

Many of us (I consider people of my age here) may be remembering to have read about ‘Koma Gata Maru’ in the textbooks of history while in schools. (I am not aware if all those incidences of history which I read in my school days are still included in the today’s school curriculum).

Well, here is a brief about ‘Koma Gata Maru’…

Koma Gata Maru or S.S. Koma Gata Maru a Japanese steamship was hired by Gurudit Singh or Baba Gurdit Singh who was a businessman in Hong Kong.
It sailed on 04.04.1914 from Hong Kong to Coal Harbor, Vancouver and anchored there on 23.05.1914.
What inspired Gurudit Singh can be mentioned in this idea that “The visions of men are widened by travel and contacts with citizens of a free country will infuse a spirit of independence and foster yearnings for freedom in the minds of the emasculated subjects of alien rule”

The ship was to carrying around 346 passengers to Canada who want to immigrate there. However, the strict Canadian immigration laws doesn’t allow them to embark there and the ship was sailed back to Calcutta.
Gurdit Singh was aware of the discriminatory Canadian laws for the south Asians, however India under British rule then and Indians being a British subject he challenged the Canadian laws. The ship was hulled in the sea for almost two months and later on forcefully sailed back to India (on 23.07.1914) except twenty peoples were allowed to enter Canada. This incident has gone down as a shameful incident in the history of Canada.

When the ship sailed back to India and docked at the Budge Budge dockyard at Calcutta the Britishers who by now were known of the revolutionary intent of the people in the ship mostly Sikhs attacked them with Bullets and many people were killed in this incident while the leaders were successful to escape and enter India.

In India, the ‘Koma Gata Maru’ memorial was set up near Budge Budge, Calcutta in 1952 which was inaugurated by our first Prime Minister Jawaharlal Nehru.
In 2014 government of India issued two special coins, INR 5 and INR 100, to mark the centenary of the Komagata Maru incident.

In Canada a monument in remembrance of the Komagata Maru incident was unveiled in July 23, 2012 near the steps of the seawall that lead up to the Vancouver Convention Centre West Building in Coal Harbour.
A stamp commemorating the 100th anniversary of the arrival of Komagata Maru was released by Canada Post on May 1, 2014.

(source of information – Wikipedia and many articles available in Canadian media, official website of Canadian Museum for Human Rights, Canadian Encyclopedia, Ottawa Citizen etc.)

Today’s movie ‘Jeewan Sangram-1974’ was made on this subject.

And how I became aware of this movie and its song also has story behind it.

I always vaguely remembered to have watched a movie with my Uncle in my childhood days titled ‘Sangram’ having actor Shashi Kapoor.
The other thing I vaguely remember which always keep me haunting with this movie name was Shashi Kapoor tied in ropes and many people surrounding him and he is trying to pull the ropes and fighting with them.

Over the years this image could not erase from my memory. And from the movie name which I had in my mind I imagine that the hero is struggling for something or may be his life has become a ‘Sangram’.

As I grow, I keep searching for this movie for many years. After coming into contact with this blog and getting more familiar to internet and continued searching, I finally came to know that the movie is not ‘Sangram’ but it is ‘Jeewan Sangram’.

Then I started looking for this movie or its songs. There was not a single song from this movie which was popular or which I remember to have listened to anywhere. Even I think this movie may not have been a successful movie of its time.

Well, as few years passed, I found one song available on YouTube which was picturised on Manmohan (and I was planning for an article on him …). Then one day I find this today’s song and listened to its one part (that time I think only one part was available) and then forgotten again.

Finally, months back when I checked this song again and realized that this song is a song praising our ‘mother land’ and love for the country, or this was a ‘patriotic song’ to put it straight.

Now coming to the image that I had in my mind since my childhood. Well I watched this movie online and there is no such scene in this movie, where Shashi Kapoor is tied with ropes.

However, there is one scene in the end of the movie where Arjun Singh (Shashi Kapoor) himself come out and face bullets from all corners where the Police has already been waiting for him to surrender, but he embraces death to make people awake and thinking that his sacrifice will inspire people to fight the Britishers. (So, one can understand how deep impact this scene has on my impressionable mind then, and it kept haunting me all these years 🙂 )

**

As I watched this movie in parts and not at one go, I keep noting many things which I would like to share for information only.

The movie starts with the following offerings;

“The makers of this movie offer their homage to Baba Gurdit Singh whose courage and vision steered S.S. Koma Gata Maru back to Indian Shores.
Baba Sohan Singh Bhakna – Founder-President of the Ghadar Party (in California USA) – an undisputed leader of the early revolutionaries.
Kartar Singh Sarabha – Stormy petrel of the Indian Revolution. Fearless Fire-brand who was sentenced to death at the tender age of nineteen only.
And those thousands of others, who like the hero of our film, gave of their utmost to their motherland, but whom history has cruelly ignored…”

And that gives us an idea of the storyline of this movie.

The movie starts with 29th September 1914, Budge Budge dockyard Calcutta where the ship ‘S.S.Koma Gata Maru’ carrying Indians abroad reached from Canada, where entry to these peoples was denied.

After the titles we are introduced by the commentator …

“Door deshon se aaye huye ye wo kaumi parwaane hain, jo desh ke liye apna sab kuchh lutaakar Bharat ko aazaad karaane ke liye aaye
Duniya ki sabse badi sultanat ke khilaaf baghaawat ka jhanda lehraate huye, inn muthhi bhar janbaazon ne, jaise hi apne desh ki dharti par qadam rakhaa to inka swaagat … (goliyon se huaa)” …

The leader of these Baba Gurdit Singh Sandhu from Sarhali and other patriots were also involved in ‘Ghadar Party’ activities to fight with the British and make India free from Britishers.
Baba Gurdit Singh’s initial idea that “The visions of men are widened by travel and contacts with citizens of a free country will infuse a spirit of independence and foster yearnings for freedom in the minds of the emasculated subjects of alien rule” lead him to gather patriotic Indians from abroad whom he want to take to Canada, however entry to all of them was denied and they were sent back to Calcutta. Reaching Calcutta all these leaders and their associates were attacked by British resulting brutal killings of many and arrests of many, except Baba Gurdit Singh, Baba Nidhan Singh and Arjun Singh who fled away.
After this the main protagonist in the movie Arjun Singh (Shashi Kapoor) with Baba Nidhan Singh and Sachin Sanyal continue the cause of Ghadar Party and preparations for the mutiny in ‘British Indian Army’ which is planned for 21st Feb’1915.
However British Police lured one of the activists who becomes informer for them and the mutiny is advanced for 19th Feb.
Here I would stop myself from detailing of what happens next 😊 the movie is available online and those who are interested to watch it may watch it at least once. (I watched it full once and then repeat for many parts during the preparation of this article.)

The tagline in the posters of this movie mentioned it as ‘The flaming story of a people’s revolt against tyranny’

I also like the dialogues in this movie and why not after all they are written by Gulzar and Qamar Jalalabadi.

“Marna bhala hai uska, jo apne liye jiye,
Jeeta hai wo, jo mar chuka hai desh ke liye”

Arjun Singh (Shashi Kapoor) says this to Baba Nidhan Singh insisting him to allow to go to Calcutta to meet Sachin Sanyal instead of Baba Nidhan Singh going there and endangering his life.

The most interesting and introspecting dialogues are between Om Shivpuri and Shashi Kapoor.
As police gets the information and they start following Arjun Singh (Shashi Kapoor) from Calcutta in train and Arjun Singh after a scuffle and fight with them gets injured and jumped into a river and finally landing in the ‘khema’ where Om Shivpuri is the leader who has seen the 1857 revolution and how the infighting, treachery and back-stabbing among ourselves helped the British. He has lost all the hopes of people rising again to fight the British.

Ye ajeeb naashukaron ka desh hai beta
Ajeeb bujhdil hai yahaan ke log

Arjun Singh’s reply is;

Is desh ki haalat
In logon ki khudgarzi
Mujhse chhuppi nahin hai
Lekin ye khudgarzi, ye loot-khasot jab aakhri had ko pahunch jaati hai tabhi inquilaab ka waqt aata hai, aur aaj …aaj wo waqt aa gaya hai.

Seeing hope in Arjun Singh, Om Shivpuri extends support to Arjun Singh in the cause of ‘freedom’ …

Further story is how all these patriots fights the British till their end …

***

‘’Jeewan Sangraam-1974’ was produced and directed by Rajbans Khanna for his home production ‘Rajbans Pictures, Bombay’.

Rajbhans Khanna also wrote the story of this movie.

It had Shashi Kapoor, Radha Saluja, Om Shivpuri, Iftekhar, Jalal Agha, Asit Sen, Manmohan, Murad, Tarun Bose, Padma Khanna, Ram Mohan, Tun Tun, Laj Bedi, Kishan Mehta, Gopal Bhatnagar, Abhimanyu Sharma, Yash Kumar, Dhanna, Kamal Deep, Meena Chitnis, Paresh Nanda, Om Sahani, Sujata, Sudhir Thakkar, Sunil Chakravarty, Bhag Singh, Fatima, and Monika Gupta.

Editing of this movie was done by Das Dhaimade.

Screenplay and Dialogues of this movie were written by Gulzar and Qamar Jalalabadi.

This movie had total four songs (including one ‘three-part’ song i.e. the today’s song).
Lyrics of these songs were written by Indeewar (two songs), and Gulzar and M.G. Hashmat had written one song each.
Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Mahendra Kapoor, Chanchal gave their voices to the songs in this movie.
Music for this movie was composed by Kalyanji-Anandji.

This movie was passed by Censor Board on 30.12.1974.

Let us now enjoy the today’s song sung by Narendra Chanchal and composed by Kalyanji-Anandji. Lyrics are by M.G. Hashmat.
As I have mentioned above earlier, I thought this song was only one part, but then I find second part and when checked through HFGK Vol-V (1971-80) it mentioned this song as a ‘three part’ song. I found audio for the first part with an extra stanza which, I think, was not included in the movie. I already had located videos of other two parts except the first part. Later on, I also found the video for the first part of this song. I am thankful to all the uploaders who have uploaded this movie and its songs on YouTube.

(This song appears in the movie at the following timings as given below)
00:00:39 to 00:03:16 (part-I)
00:05:44 to 00:06:17 (chorus, mukhda)
00:07:50 to 00:08:10 (mukhda, chorus)
01:06:01 to 01:07:02 (chorus, mukhda)
01:24:11 to 01:26:08 (part-II)
02:04:51 to 02:07:07 (part-III)

The ‘Koma Gata Maru’ incident in history took place on 29th September 1914 and today is 29th September 2019. One hundred and five years have passed to this incident.
But grateful nation always remembers its martyrs and all those known and unknown who have fought for the freedom of India.
Every small incident in our history of freedom struggle is a source of great inspiration for the coming generations, and all those stories of courage, valor and sacrifice needs to be passed on to them by every Indian in his lifetime.

Let us now listen to the today’s song in the special and unforgettable voice of Narendra Chanchal who has rendered it very soulfully …

With this today’s song “Jeewan Sangraam-1974” makes a debut on the blog!!

(Note- Thanks to our Sudhir ji who hold this post shared by me in March this year and advised me that we should present it on the anniversary of the ‘Koma Gata Maru’ incident i.e. on 29th September today).

Video (Part I)

Video (Part II)

Video (part III)

(Audio version)

Song-Meri zindagi tumhaare pyaar pe qurbaan ho (Jeewan Sangraam)(1974) Singer-Narendra Chanchal, Lyrics-M G Hashmat, MD-Kalyanji Anandji
Chorus

Lyrics (Provided by Avinash Scrapwala)
——————-
Part I
——————-
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho
Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho

Main sar utthha ke jee sakoon
Main sar utthha ke ae jee sakoon
Meri maut mein bhi shaan ho
Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho
Aa aa aa
Aa aa aa
Aa aa aa
aa aa aa aa
Aa aa aa aa aa

O o o o
Tere ehsaanon ke aage
Har qurbaani kam hai
Maa
Har qurbaani kam hai ae ae ae
Har qurbaani kam hai
O o zanjeeron mein jakdi hai tu
Iskaa mujhko gham hai maa
Iskaa mujhko gham hai ae ae ae
Iskaa mujhko gham hai
Ho o o o o
todoonga main ae ae ye zanjeerein
Aa aa aa aa aa
todoonga main ye zanjeerein
Badloonga bigdi taqdeerein
Sah naa sakoon apmaan ko
Meri zindagi tumhaare ae ae
Aa aa aa aa aa
Pyaar pe qurbaan ho
Aa aa aa aa aa
Meri zindagi tumhaare ae ae
Aa aa aa aa aa
Pyaar pe qurbaan ho
Aa aa aa aa

—————————————-
Part II
—————————————-
Chhod mujhe ae kyon chal di aye maa aa
Tujh bin kaun hai mera aa
Tere binaa ye saara aa jeewan
Ab to lagega aa andhera
Tujh se bichhad ke
Tadap rahaa hoon
Bin manzil ke ae bhatak rahaa hoon
Andhiyaare mein ae ae ae
Jyot jagaa de ae
Jyot ki dil mein ae
aag lagaa de ae
Poora karoon armaan ko
Meri zindagi tumhaare ae ae
Hmm hmm hmm
Pyaar pe qurbaan ho
Hmm hmm hmm
Meri zindagi tumhaare ae ae
Hmm hmm hmm
Pyaar pe qurbaan ho
Hmm hmm hmm

—————————————————
Part III
—————————————————

Meri zindagi tumhaare ae ae ae
Pyaar pe qurbaan ho
Main sar uthha ke ji sakoon
Meri maut mein bhi shaan ho

Ho o o o o o
Ho o o o o o
Ho o o o o o
O o o o o o o
O o o o o o o

Ho o o o
Ek marey Bharat ka beta
Laakh ubhar ke aayen ae ae ae
Laakh ubhar ke aayen
O o o
Aag ke sholey bankar lapken
Zulmon se takraayen
Zulmon se takraayen
Ho o o o
Qurbaani ko o o o
chali toliyaan
Qurbaani ko chali toliyaan
Qurbaani ko chali toliyaan
Khoon se khelen veer holiyaan
Jawaan iraade jhuk naa paaye
Baaghi dariya ruk naa paaye
Baaghi dariya ruk naa paaye
Jo bhi huaa aa aa Shaheed watan par
Roop badal kar phir aayega
Todega Bharat ke bandhan
Yahi taraana dohraayega
Yahi taraana dohraayega
Aa aa aa aa
Poojoon quami nishaan ko
Meri zindagi tumhaare ae ae ae
Pyaar pe qurbaan ho

——————————————
Audio Version
——————————————
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho
Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho

Main sar utthha ke jee sakoon
Main sar utthha ke ae jee sakoon
Meri maut mein bhi shaan ho
Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho
Aa aa aa
Aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Ho o o
pyaar ko toone janam diya hai
Pyaar amar ho tera aa Maa
Pyaar amar ho tera aa aa aa
Pyaar amar ho tera aa
O o o isi pyaar ki laaj bachaana
Deen dharam hai mera Maa
Deen dharam hai mera aa aa aa
Deen dharam hai mera
O o o o
Jo bhi tujhpe ae aankh uthhaaye
Aa aa aa aa aa
Jo bhi tujhpe ae aankh uthhaaye
Wo mera dushman kehlaaye
Le loon uski jaan ko
Meri zindagi tumhaare ae ae
Pyaar pe qurbaan ho
Aa aa aa
Aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

O o o o
Tere ehsaanon ke aage
Har qurbaani kam hai ae
Maa
Har qurbaani kam hai ae ae ae
Har qurbaani kam hai
O o zanjeeron mein jakdi hai tu
Iskaa mujhko gham hai maa
Iskaa mujhko gham hai ae ae ae
Iskaa mujhko gham hai
Ho o o o o todoonga main ae ae
ye zanjeerein
Aa aa aa aa aa
todoonga main ye zanjeerein
Badloonga bigdi taqdeerein
Sah naa sakun apmaan ko
Meri zindagi tumhaare ae ae
Aa aa aa aa aa
Pyaar pe qurbaan ho
Aa aa aa aa aa
Meri zindagi tumhaare ae ae
Aa aa aa aa aa
Pyaar pe qurbaan ho
Aa aa aa aa aa

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————–
(भाग – १) (द्रुक-श्राव्य कड़ी के आधार पर)
——————————
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो

मैं सर उठा के जी सकूँ
मैं सर उठा के ए जी सकूँ
मेरी मौत में भी शान हो
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ

ओ ओ ओ ओ
तेरे एहसानों के आगे
हर कुर्बानी कम है ए
माँ
हर कुर्बानी कम है ए ए ए
हर कुर्बानी कम है
ओ ओ जंजीरों में जकड़ी है तू
इसका मुझको ग़म है माँ
इसका मुझको ग़म है ए ए ए
इसका मुझको ग़म है
हो ओ ओ ओ ओ तोडूंगा मैं ये जंजीरें
आ आ आ आ आ
तोडूंगा मैं ये जंजीरें
बदलूँगा बिगड़ी तकदीरें
सह ना सकूँ अपमान को
मेरी ज़िन्दगी तुम्हारे ए ए
आ आ आ आ आ
प्यार पे कुर्बान हो
आ आ आ आ आ
मेरी ज़िन्दगी तुम्हारे ए ए
आ आ आ आ आ
प्यार पे कुर्बान हो
आ आ आ आ आ
——————————
(भाग – २ )
——————————
छोड़ मुझे ए क्यों चल दी अय माँ आ
तुझ बिन कौन है मेरा आ
तेरे बिना ये सारा आ जीवन
अब तो लगेगा आ अँधेरा
तुझ से बिछड़ के
तड़प रहा हूँ
बिन मंजिल के ए भटक रहा हूँ
अंधियारे में ए ए ए
ज्योत जगा दे ए
ज्योत की दिल में ए आग लगा दे ए
पूरा करूँ अरमान को
मेरी ज़िन्दगी तुम्हारे ए ए
ह्म ह्म ह्म
प्यार पे कुर्बान हो
ह्म ह्म ह्म
मेरी ज़िन्दगी तुम्हारे ए ए
ह्म ह्म ह्म
प्यार पे कुर्बान हो
ह्म ह्म ह्म
————————————-
(भाग – ३ )
————————————-
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
मैं सर उठा के जी सकूँ
मेरी मौत में भी शान हो
हो ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ

हो ओ ओ ओ
एक मरे भारत का बेटा
लाख उभर के आये ए ए ए
लाख उभर के आये
ओ ओ ओ
आग के शोले बनकर लपके
ज़ुल्मों से टकरायें
ज़ुल्मों से टकरायें
हो ओ ओ ओ
कुर्बानी को ओ ओ ओ चली टोलियाँ
कुर्बानी को चली टोलियाँ
कुर्बानी को चली टोलियाँ
खून से खेलें वीर होलियाँ
जवान इरादे झुक ना पाए
बाग़ी दरिया रुक ना पाए
बाग़ी दरिया रुक ना पाए
जो भी हुआ आ आ शहीद वतन पर
रूप बदल कर फिर आएगा
तोड़ेगा भारत के बंधन
यही तराना दोहराएगा
यही तराना दोहराएगा
आ आ आ आ
पूजूं क़ौमी निशान को
मेरी ज़िन्दगी तुम्हारे ए ए ए
प्यार पे कुर्बान हो

———————————————
(पहले भाग का श्रवण कड़ी के अनुसार दिया गया पहला अतिरिक्त अंतरा जो फिल्म में शामिल नहीं किया गया ऐसा प्रतीत होता है)
———————————————–
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो

मैं सर उठा के जी सकूँ
मैं सर उठा के ए जी सकूँ
मेरी मौत में भी शान हो
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ

हो ओ ओ
प्यार को तूने जनम दिया है
प्यार अमर हो तेरा आ माँ
प्यार अमर हो तेरा आ आ आ
प्यार अमर हो तेरा आ
ओ ओ ओ
इसी प्यार की लाज बचाना
दीन धरम है मेरा माँ
दीन धरम है मेरा आ आ आ
दीन धरम है मेरा
ओ ओ ओ
जो भी तुझपे ए आँख उठाए
आ आ आ आ आ
जो भी तुझपे आँख उठाए
वो मेरा दुश्मन कहलाये
ले लूं उसकी जान को
मेरी ज़िन्दगी तुम्हारे ए ए
प्यार पे कुर्बान हो
आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ

ओ ओ ओ ओ
तेरे एहसानों के आगे
हर कुर्बानी कम है ए
माँ
हर कुर्बानी कम है ए ए ए
हर कुर्बानी कम है
ओ ओ जंजीरों में जकड़ी है तू
इसका मुझको ग़म है माँ
इसका मुझको ग़म है ए ए ए
इसका मुझको ग़म है
हो ओ ओ ओ ओ
तोडूंगा मैं ये जंजीरें
आ आ आ आ आ
तोडूंगा मैं ये जंजीरें
बदलूँगा बिगड़ी तकदीरें
सह ना सकूँ अपमान को
मेरी ज़िन्दगी तुम्हारे ए ए
आ आ आ आ आ
प्यार पे कुर्बान हो
आ आ आ आ आ
मेरी ज़िन्दगी तुम्हारे ए ए
आ आ आ आ आ
प्यार पे कुर्बान हो
आ आ आ आ आ


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Blog Day :

4089 Post No. : 15230

Today (28 september 2019) is the 90th birthday of Lata Mangeshkar (DoB 28 september 1929).

She started her playback career in 1940s and she went on to sing till early 2000s, viz for seven decades ! Mindboggling indeed.

She sang just under 5700 songs in Hindi movies according to our estimate. The blog has 3475 of her songs and so we are one of the rare places on internet where so many of her songs can be accessed at one place.

Another 2000 odd of her songs remain uncovered. it is a matter of time before her remaining songs (that are available) will also find representation in the blog.

On this occasion, here is a song from “Dard”(1981). “Dard”(1981) was produced by Shyam Sundar Shivdasani and directed by Ambreesh Sangal fo Murghan Enterprises, Bombay. This “social” movie had Rajesh Khanna, Hema Malini, Poonam Dhillon, Om Shivpuri, Krishn Dhawan, Pinchoo Kapoor, Shashi Kiran, Madhup Sharma, Kamaldeep, Harjeet, Poornima Jairam, Mazhar Khan (2), Master Raju etc wih special appearance by Ranjeeta.

The movie had seven songs in it. Four songs have already been covered in the past.

Here is the fifth song from “Dard”(1981) to appear in the song. This song is sung by Lata. Naqsh Llayalpuri is the lyricist. Music is composed by Khayyam.

The song is picturised as an expression of love song on Hema Malini and Rajesh Khanna. The song is not lip synced by Hema Malini rather it gets plays in the background.

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

Video

Song-Na jaane kya hua jo toone chhoo liya(Dard)(1981) Singer-Lata, Lyrics-Naqsh Llayalpuri, MD-Khayyam

Lyrics(Provided by Avinash Scrapwala)

Na jaane kyaa huaa
Jo toone chhoo liyaa
Naa jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Nikhar nikhar gayee
Sanwar sanwar gayee
Nikhar nikhar gayee
Sanwar sanwar gayee
Banaa ke aainaa tujhe ae jaaneman
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Bikhraa hai kaajal fizaa mein
Bheegi bheegi hai shaamein
Boondon ki rimjhim se jaagi
Aag thhandi hawaa mein
Aajaa sanam
ye haseen aag ham
Len dil mein basaa
Naa jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Aanchal kahaan
main kahaan hoon
Ye mujhe hosh kyaa hai
Ye bekhudi toone di hai
Pyaar kaa ye nashaa hai
Sun le zaraa
saaz e dil gaa rahaa
Hai naghmaa teraa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Kaliyon ki ye sej mehke
Raat jaage milan ki
Kho jaayein dhadkan mein teri
Dhadkanen mere mann ki
Aa paas aa
teri har saans mein
Main jaaun samaa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Nikhar nikhar gayee
Sanwar sanwar gayee
Banaa ke aainaa tujhe ae jaaneman
Na jaane kyaa huaa
Jo toone chhoo liyaa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Na jaane kyaa huaa
Jo toone chhoo liyaa

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Devnagri Script lyrics(Provided by Avinash Scrapwala)
——————————
न जाने क्या हुआ
जो तूने छू लिया
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
निखर निखर गयी
संवर संवर गयी
निखर निखर गयी
संवर संवर गयी
बनाके आइना तुझे अय जानेमन
न जाने क्या हुआ
जो तूने छू लिया आ

बिखरा है काजल फिजा में
भीगी भीगी है शामें
बूंदों की रिमझिम से जागी
आग ठंडी हवा में
आजा सनम
ये हसीं आग हम
ले दिल में बसा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
न जाने क्या हुआ
जो तूने छू लिया आ

आँचल कहाँ
मैं कहाँ हूँ
ये मुझे होश क्या है
ये बेखुदी तूने दी है
प्यार का ये नशा है
सुन ले ज़रा
साज़ ए दिल गा रहा
है नगमा तेरा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
न जाने क्या हुआ
जो तूने छू लिया आ

कलियों की ये सेज महके
रात जागे मिलन की
खो जाएँ धड़कन में तेरी
धडकने मेरे मन की
आ पास आ
तेरी हर सांस में
मैं जाऊं समा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
निखर निखर गयी
संवर संवर गयी
बना के आइना तुझे अय जानेमन
न जाने क्या हुआ
जो तूने छू लिया आ
न जाने क्या हुआ
जो तूने छू लिया आ
न जाने क्या हुआ
जो तूने छू लिया आ


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 :

4065 Post No. : 15200 Movie Count :

4177

Most traditional Hindi movis are formula movies. The formula keeps changing with time and the movies made during that era have same stories based on the same formula with minor variations.

Once in a while we have movies based on real life events. One finds that movie makers try to convert them to a formula movie.

Movies during the early years post independence tended to be tragic movies with sad ends. No matter what the topic, the movie would still have the usual songs. So, when movies based on true life stories were made, they followed the same formula.

“Lahore”(1949) is one example, which was made on the background of partitition. Same was the case with “Nastik”(1954). These movies had lots of songs, and the characters are seen suffering most of the time.

Then in 1960s, we had “Haqeeqat”(1964), made on the background of Indo China war. This movie was based on war, but it was mostly a musical movie with lots of hit songs, and war almost getting relegated to the background.

After many decades, Indians slowly started to have some achievemments under their belts. So, accordingly, Indian movies stories became more positive where the hero was more assertive than before.

During the last few years, several movies have been made on real life events, and most of these movies are success stories.

“Dangal”(2016) was based on a real life story of a man who despite living in a male dominated society manages to turn his daughters into international wresters. It was a real life inspiring story that caught the imagination of not only Indians but also Chinese audience ! The movie did a business of over Rs 700 crores in China !

Personally I loved “Parmanu”(2018), which was based on Pokharan II, an eventthat signalled the rise of a new and assertive India, far from the days of 1962 that “Haqeeqat”(1964) depicted.

“Uri” (2019) was based on surgical strike of 2016. There were people who left no stones unturned to tell us that surgical strike did not take place, and their supporters in India asked for proof. Believers went to the movie and turned it into a box office success. This episode, like the episode described in “Parmanu” (2018) demonstated the rise on a new and assertive India which would not take things lying down if wronged and would retaliate aggressively.

A country gains self confidence when it is doing well in economy and related fields. Indian economy is doing well for the last few years and India economy is fifth largest GDP in the world. Some media houses gleefully reported that India had slipped to seventh position, but that was on december 2018. As on today, India is again 5th biggest economy, a fact that our media is hiding from us.

A country can rise up the economy ladder only if it has high quality highly educated manpower. Low quality manpower can take an economy up to certain level, but after that level, you need top class manpower to take you forward. India at present is a low middle income group nation (per capita earning in the region of $ 1000 to $ 40000 per annum). India will need to more than double its GDP and then we can hope to break into the ranks of upper middle income nations (per capita income in the region of $ 4000 to $ 12000). Final barrier is $ 12000 and a country with per capita earning above that figure becomes a high income country.

Only those countries that invest in high quality education and high quality infrastructure can break in the league of upper middle group nations and finally into higher income nations. India has a long long way to go. But India is in the right track. I can visualise India breakin into the rank of upper middle rank nations when Indian GDP reaches about $ 6 trillions. It woulkd be sometime in the next ten years.

GDP of a nation keeps climbing at a good rate only if a country is doing high quality work which can be sold all over the world. India is a world leader in high quality research products like pharmaceuticals, health services etc. These sectors will help India grow up in future. In manufacturing sector, I hope to see some interesting world class products, like say Train 18 from Indian Railways and Tejas from HAL, which will have good market worldwide, if Indian Government can plan and execute the plans well.

ISRO, Indian space agency is a shining example of what Indian manpower is capable of. ISRO has earned tremendous name and goodwill for its stellar works. It has launched many satellites of foreign advanced nations and they have played an important role in earning respect for Indian manpower. It is not for nothing that many silicon valley big wigs are people of Indian origin.

“Mission Mangal”(2019) is based on ISRO’s mangalyaan expedition. With this mission, ISRO succeeded in sending its spacecraft (mars orbiter) to Mars successfully in thhe very first attempt, and they did it on a shoe string budget.

The movie “‘Mission Mangal” (2019) is jointly produced Cape of Good Films, Hope Productions, Fox Star Studios, Aruna Bhatia, and Anil Naidu and directed by Jagan Shakti. The movie has Akshay Kumar, Vidya Balan, Taapsee Pannu, Nithya Menen, Kirti Kulhari, Sharman Joshi, H. G. Dattatreya, Vikram Gokhale, and Sonakshi Sinha etc in it.

When this mission had actually taken place, social media was abuzz with a photograph that showed a few homely housewife looking ladies who were in reality ISRO scientists and who had played important roles in the success of the mission. The makers of this movie have been greatly influenced by this fact. The movie shows lots of female power in the movie.

The story , based on real life ISRO stories, starts by showing failure of a GSLV launch on December 25, 2010 due to an error of judgement by project director Tara Shinde (Vidya Balan). Rakesh Dhawan (Akshay Kumar) takes the responsibility of the failure on himself. As a punishment posting, he is hunted out to “Mangalyaan” mission, a mission no one has much hopes on.

Maenwhile Tara Shinde too gets herself transferred to Mangalyaan project and she has some idea about how this project can be successfully executed. Rakesh Dhawan and Tar Shinde convince the ISRO head (Vikram Gokhale) to support them by budget and staff. Budget is limited and keeps getting reduced, and the manpower asked in not what was needed. They end up with rookie scientists like Eka Gandhi (Sonakshi Sinha)the propulsion control expert, who is dying to leave ISRO and join NASA as soon as possible, spacecraft autonomy designer Neha Siddiqui (Kirti Kulhari ) whose second name causes raised eyebrows when she is looking for rented accomodation, navigation expert Krittika Agarwal (navigation expert) who has great difficulty learning to drive a car. Her husband is in Army who gets injured in an accident. Satellite designer and payload expert Varsha Pillai (Nithya Menon) has a nagging mother in law at home who taunts her for being childless.

There are two male scientists too. Astrology believing Parmeshwar Joshi (Sharman Joshi) is told by his astrologer that his “Mangal” is bhaari and that is why he is unable to get married. No wonder he is reluctant to join the mission. Then there is Anant Ayengar (H G Dattatreya) who is one year short of retirement and is already counting days.

How Rakesh Dhawan and Tara Shinde get their team to deliver and how successfully deal with major hurdles constitutes the story. While there are some critics who have found lots of weaknesses and holes in the story, I loved the movie. I find the episodes quite entertaing. When Rakesh Dhawan first goes to the mangalyaan area of ISRO, he finds that vacant and without any sings of life. Then he finds a matka with water in it. So there is water in mars- he observes. Then a cat enters the hall. So, there is life in Mars, he concludes.

The movie is based on a real life story, so we all know what hexactly happened. Still the movie keeps you glued to your seat. And it gives you goosebumps when the rocket lifts off from its launch pad.

This is a movie only Indians could have made and only Indians could have identfied with. I am happy that a movie was made on this subject. The makers have done the best they could have. insteda of finding faults (like what some people have done) I take it as glass half full and I enjoyed th movie. I think that most Indians who like to be positive about their lives and about their country will enjoy this movie.

The movie has three songs in it. My personal favourite is the theme song. The lyrics of this song are by Amitabh Bhattacharya and he has indulged in some interesting word play in this song. The song is sung by Benny Dayal , Vibha Saraf and others. Music is composed by Amit Trivedi.

This song happens to be the 15200th song in the blog. It is the first time that this blog has a new song from the current year as the century song. I think this song fully deserves it. It is a song that I loved from the vey fist time I heard it and watched it.

These days we have two actors who are competing for making movies on nationalistic subjects. One is Akshay Kumar and another is John Abraham. I had loved John Abraham’s “Parmanu”(2018) and I loved Akshay Kumar’s “Mission Mangal”(2019). In 1960s and 1970s, we had Manoj Kumar making patriotic movies. Today we have John Abraham and Akshay Kumar. There is one cartoon which shows the two of them grabbing each other by their collars, arguing about who should take up which nationalistic story next. Then there is another cartoon showing Akshay Kumar with P M Modi. Modi tells Akshay Kumar-“Keep making movies, I will keep giving you story ideas.” It must be said that the story idea for Article 370 is something that a Frederick Forsyth or Leon Uris would have been proud to write.

So, here is the 15200 th song for the blog. It must be one of the most unnoticed century post occasion which apparently no one was looking forward to, including even I myself. Nevertheless, the needful needs to be done. So we are now 15200 song post old with this writeup. I take this opportunity to thank all our visitors and well wishers for their continued encouragement and support. May we keep scoring many more centuries in future.

With this song, “Mission Mangal”(2019) makes its debut in the blog.


Song-Dil mein Mars hai (Mission Mangal)(2019) Singers-Benny Dayal, Vibha Saraf, Lyrics-Amitabh Bhattacharya, MD-Amit Trivedi

Lyrics

Om mangalam mission mangalam
Om mangalam mission mangalam
Om mangalam mission mangalam

Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai
Om mangalam mission mangalam
Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai

Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
Kyun ki dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai
Dil mein Mars hai
Om mangalam mission mangalam
Space mangalam shuttle mangalam
Cool mangalam swag mangalam
Hash mangalam tag mangalam
Dream mangalam vision mangalam
Countdown ignition mangalam
Om mangalam mission mangalam telescope dhaari … swaaha

Om mangalam mission mangalam
Om mangalam mission mangalam
Apne brain brain brain ki hai kaarastani
Hum toh dhoondh dhoondh dhoondh len fire mein paani
fire mein paani
Apne desh desh desh mein sab kuch mumkin hai
We don’t need need need need no meherbaani
no meherbaani ee ee
Thode fail fail fail hain
phir bhi pass hain
Fulltu mood mood mood mein hum bindass hain
Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
O dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai ae
Kyun ki dil mein Mars hai

Om mangalam mission mangalam
Speed mangalam medal mangalam
Josh mangalam jashn mangalam
Style mangalam tashan mangalam
Cosmos condition mangalam
Take-off permission mangalam
Om mangalam mission mangalam
kayinaat saari … swaaha


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

Blog Day : 4057 Post No. : 15190

Songs Repeated in Hindi Films – 10
– – – – – – – – – – – – – – – – – –

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Blog 10-Year Challenge (2009-19) – Song No. 43
——————————————————————————————

As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .

The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.

10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.

Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai Bandi 1957 1814
O Pawan Veg Se Udne Waale Ghode Jai Chittod 1961 1815
More Ang Lag Jaa Baalmaa Mera Naam Joker 1970 1816
Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa Haseenon Ka Devta 1971 1817
Mile Mile Do Badan Khile Khile Do Chaman Blackmail 1973 1818
Pahraa Hai Yahaan Pahraa Badnaam 1975 1819

There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.

And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.

In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,

haan babu ye circus hai
aur ye circus hai show teen ghante ka

pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai

The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.

The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.

And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –

duniya mein tere teer ka
ya taqdeer ka maara hoon. . .

This verse segment is the one that I never seem to have been able to get over all my life.  “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.

This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.

An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.

A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –

haaye. . .
awaara hoon..oon..oon. . .

This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.

Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ??  Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂

Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂

Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂

And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.

I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”

And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.

No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”.  There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.

I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.

Song Repeat – Mera Naam Joker (1970)

Song Reprised at End – Awaara (1951)

Song – Aawaara Hoon. . .  (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan

Lyrics

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon

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

आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ


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 : 4048 Post No. : 15177

Clad in starched white kurta and pyjama with an unshaven face, his appearance gives an impression of a Bengali intellectual. His early association with Bimal Roy, Hrishikesh Mukherjee, Hemant Kumar and Salil Chowdhary supported that impression of mine until one day I came to know that he was born in a Sikh family in pre-partition Punjab.

Yes, he is Sampooran Singh Kalra, better known by his pen name, Gulzar (born on 18/08/1934) who turns 85 today and is still active in pursuit of his first love – writing poems and short stories. He continues to be associated with Hindi films with occasional indulgence as a lyricist. His association with Hindi films started, first as a lyricist followed by screen-play/dialogue writer and finally as a producer/director. He has already spent nearly 6 decades in Hindi film industry and this association is continuing.

Gulzar saab had spent nearly a decade (1950s) in the company of some of the writers/poets of Progressive Writers Association such as Krishan Chandra, Khwaza Ahmed Abbas, Shailendra, Sahir Ludhianvi, Sagar Sarhadi etc, who were associated with Hindi film industry. But he was not attracted towards making a career in Hindi film industry. His interest was to become a poet/writer like Mirza Ghalib and Rabindranath Tagore.

Gulzar saab was destined to be associated with Hindi films and Shailendra became a catalyst in introducing him to the Hindi films. When he advised him to meet Bimal Roy for writing songs for ‘Bandini’ (1963), Gulzar saab’s first reaction was ‘I do not want to be a lyricist’. It was only when Shailendra reprimanded him for losing the opportunity to work with a great film-maker, Bimal Roy and the music director, S D Burman, Gulzar saab relented and wrote his first song mora gora ang lai le mohe shyaam rang dai de for the film.

By the way, this was the only song Gulzar saab wrote for ‘Bandini’ (1963) and for S D Burman. But this song opened up his association with Bimal Roy as Assistant Director in Bimal Roy Productions and became his grooming ground to learn the art of screen-play/dialogue writing and the film direction.

Gulzar saab is one among a few film lyricists of the golden period of Hindi film music about whom much has been documented through articles, memoirs and scores of his interviews both to print as well as electronic medias. I had also covered his journey into the Hindi film industry in my article while covering the song shaam se aankh mein nami si hai. So, I will skip the details about his celluloid journey. Broadly, Gulzar saab’s filmy career can be divided into three main phases.

During the first phase (1960-1970), Gulzar saab mostly worked as lyricist with his music directors like Salil Chowdhury and Hemant Kumar who were his colleagues in Bimal Roy Productions. Out of 16 films he was associated as lyricist in this phase, as many as 10 films were with music directors Salil Chowdhury and Hemant Kumar. He also worked with Hrishikesh Mukherjee as a screen-play/dialogue writer for films like ‘Aashirwad’ (1968), and ‘Anand’ (1970).

In the second phase (1971-1999) Gulzar saab’s career was the most active as a screen-play/dialogue/song writer and producing/directing the films. He was associated with 60 Hindi films of which he directed 19 films. Almost all of his films which he directed come in the definition of ‘middle of the road’ films which included ‘Mere Apne’ (1971), Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’ (1982), ‘Lekin’ (1991), ‘Maachis’ (1996). Though none of the films he directed created ripple in the box office front, these films are regarded as classic in the history of Hindi films.

Gulzar saab’s association with Sanjeev Kumar and R D Burman was the highlights of his second phase in Hindi film industry. Sanjeev Kumar acted in Gulzaar saab’s films, ‘Koshish’ (1972), ‘Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’(1982),and ‘Namkeen’ (1982). With R D Burman, Gulzar saab worked for 23 films writing 101 songs. The association would have continued but for the untimely death of Sanjeev Kumar in 1985 and of R D Burman in 1993.

The third phase of Gulzar saab’s filmy career started in the new millennium and is continuing. After the release of his film ‘Hu Tu Tu’ (1999), he had taken a decision to give up producing and directing films as he wanted to devote a considerable time in writing. In this phase, he has confined himself mostly as a lyricist and occasionally script/dialogue writing.

During this phase, Gulzar saab has been associated with the third generation of music directors like A R Rahman, Shankar-Ehsaan-Loy, Vishal Bhardwaj. He has already written lyrics for Vishal Bhardwaj in 19 films so far and perhaps he may break his own record of the highest number of films with R D Burman(23 films). He seems to be as comfortable with the new generation as he was with the older ones.

In the 1960s, he wrote songs like hawaaon pe likh do hawaaon ke naam for Hemant Kumar. Almost 5 decades later, he also wrote a rustic song ‘beedi jalaayi le jigar se piya’ for Vishal Bhardwaj. Both these songs have unusual imageries. The first one is about the nature giving the ‘feel good’ factor. The second song, though sounds rustic, has not prevented Gulzar saab sharing his thought on the real side of the world in two lines:

Dhuaan na nikaari o lab se piya
Je duniya badi dhaank hai

[O beloved, do not exhale smoke from your lips (from beedi)
The realities in this world are already masked].

Once, A R Rahman after getting explanations from Gulzar saab on his song, jiya jale jaan jale commented ‘Gulzar saab, you are a poet of imageries. I will amend his comment to say that Gulzar saab is a poet of unusual imageries. His six songs which I have covered during the last two weeks for the Blog would give the readers the taste of his unusual imageries/metaphors, choice of words and vocabularies.

I have been following Gulzar saab’s songs for many years. For me, he is an extension of what Sahir Ludhianvi did in 1950s to 1970s – to make the song lyrics an important part of Hindi film music. Though Gulzar saab belongs to the old generation of lyricist, he still gels well with the new generation. From the year 2000 until now, Gulzar saab has written lyrics for about 60 films. ‘I am going with the flow, but making sure that my aesthetics are in place,’ he had said in a recent interview.

There is another side of Gulzar saab’s personality. He has been active in writing short stories and poems side by side with his filmy career. Many of his short stories and poems have been published. He has received Sahitya Akademy Award for his Urdu book ‘Dhuaan’ in 2002. He has been associated with the children’s poems -both in films/TV and in prints. His most popular among jingles, ‘jungle jungle pata chala hai’ for ‘Jungle Book’ (1993) in Hindi which was telecast on Doordarshan, has become synonymous more with his name than its creator, Rudyard Kipling. Gulzar saab has done such a vast work of writing short stories and poems that they require a separate article which I intend to write some other time.

Gulzar saab’s association with R D Burman in 23 films has been one of the important segments in the history of Hindi film music. I regard Gulzar saab’s collaboration with A R Rahman, the continuation of that process. In fact, I feel that after the untimely death of R D Burman in 1993, A R Rahman has carried forward ‘Pancham’s legacy’ with refinements as new techniques and new types of musical instruments have emerged.

Hence, on the occasion of Gulzar saab’s 85th Birthday, I have chosen one of the songs born out of Gulzar-Rahman collaboration, ‘ae hairat-e-ashiqui jagaa mat’ from the film ‘Guru’ (2007). The song is mainly a duet sung by Hariharan and Alka Yagnik with Mohammed Aslam singing Sufi chants in the prelude and the first interlude with chorus singing in the second interlude and at the end of the song.

A R Rahman, in an interview published in the book ‘A R Rahman, The Spirit of Music’ (2012) by Nasreen Munni Kabir has revealed that whenever he gets stuck in composing tune for a given situation in the film, he has relied on the melodies of Amir Khusrau, Bulleh Shah and Subramania Bharati. The song under discussion was one of such songs for which A R Rahman relied on the melody of Amir Khusrau’s composition, ‘ae sharbat-e-aashiqui’. Rahman has based the tune on Raag Yaman Kalyan. Gulzar wrote the lyrics to the tune as per the song situation in the film.

I wish Gulzar saab a very happy and a healthy 85th Birthday. I remember his song ‘dil to bachcha hai jee’ from ‘Ishqiya’ (2010). I hope that the ‘bachcha’ (child) in his heart will inspire him to write many more poems of unusual imageries and metaphors in the years to come.

Video Clip:

Audio Clip:

Song-Ae hairat-e-ashiqui jagaa mat (Guru)(2007) Singers-Hariharan, Alka Yagnik, Mohammed Aslam, Lyrics-Gulzar, MD-A R Rahman
Chorus,
Alka Yagnik & Chorus

Lyrics(Based on Audio Clip)

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

kyun Urdu Faarsi bolte ho o o
kyun Urdu Faarsi bolte ho
dus kehte ho do tolte ho
jhoothhon ke shanshahaa bolo na

kabhi jhaankon meri aankh….en
kabhi jhaankon meri aankhen
sunaayen ik daastaan
jo honthhon se ae kholo na
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
o o o
ae hairat-e-aashiqui

dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara

do chaar maheene se lamhon mein
do chaar maheene se lamhon mein
umron ke hisaab bhi hote hain
jinhen dekha nahin kal tak
jinhen dekha nahin kal tak
kahin bhi ab kok mein
woh chehre bote hain

ae hairat-e-ashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui

ae hairat-e-aashiqui
o o
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
o o o

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena


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 :

4034 Post No. : 15158 Movie Count :

4163

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 85 #Remembering Kishore Kumar on his birth anniversary#
——————————————

Today 4th August (2019) (4 August 1929 – 13 October 1987) is the 90th birth anniversary of the ‘Versatile Genius’ Kishore Kumar or Abhas Kumar Ganguly or as he always liked to introduce himself as – Kishore Kumar Khandwewaala.

I have mentioned in my earlier posts that I cannot forget Khandwa when I am writing about Kishore Kumar. The place has been associated with his name forever and I have fond memories of visiting Khandwa, his ‘Gouri-Kunj’ and his memorial there on Indore road, when I was at Nagpur from 2015-2017.

For today’s post I am not going to discuss more about ‘Khandwa’ or ‘Gouri-Kunj’, but the song I am going to present today has a ‘Khandwa connection’ because I came across this song during my visit to Khandwa in ‘2015’ when I was preparing a post with a Kishore Kumar song 🙂

This being a song from the seventies I thought I would share it on the blog someday.
When I listen to this song first time (a lesser heard one), I had feeling of hearing it years back, may be on radio. This is a song from the 1971 movie – ‘Jai Baangala Desh’. Both the song and the movie name were new for me except the information about this movie and its song mentioned in HFGK Vol V which I was possessing.

I would request knowledgeable readers to throw more light on this movie and about its songs.

‘Jai Bangalaa Desh-1971’ was directed by I.S. Johar.

He also wrote the story of this movie and was also the producer of this movie.

The cast of this movie includes I.S. Johar, Ambika Johar, Rajeev Johar, Kaveri Choudhary (Bangladesh), S.N.Bannerjee, Ram Kamlani, Nazeer Kashmiri, Madhumati, Lakshmi Chhaya, Shefali, Pal Sharma, Bhagwan, Dilip Dutt, Polson, Jery, Tuntun, Ramesh Johar, Anand Vij, Satyadeep, Ratan Kashmiri, Master Alankar, Baby Tabassum, Ranger(Dog) and Radha in guest appearance and others.

This movie had total eight sound tracks including title music, theme music and one Dog chase music released on the records of this movie.

The remaining five songs were composed by Kalyanji-Anandji, while three lyricists namely Indeewar wrote three songs, Qamar Jalalabadi and Farooq Qaiser penned one song each.

Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor and Sushma Shreshtha had given their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar (the only song he had in this movie) and composed by Kalyanji-Anandji.
Lyrics are by Indeewar.

(This song plays in the background, and I am unable to identify the actor and other supporting actors shown in the picturization of this song. I would request knowledgeable readers to help in identifying of the actors please.)

On ‘friendship day’ today and paying our tributes to Kishore Kumar, I selected this song sung by Kishore Kumar, which is giving a message of ‘humanity’ and ‘brotherhood’ among the many other songs which I had thought I can share on this occasion today.
Moreover, I personally think that ‘music’ is the best friend making friends all over and bringing people together cutting across the barriers of caste, creed, race and religion all over the world.

So far, on the blog we have 1149 songs of Kishore Kumar posted out of the total 2709 songs (our statistics). And that means we still have a long way to go getting may of the Kishore Kumar songs on the blog. And day to day while listening the radio I am coming across many of his beautiful songs of ‘many moods’ from the eighties which we have to bring here on the blog.

Let us now listen and enjoy today’s song…

With this today’s song the movie ‘Jai Baangla Desh-1971’ is makes a debut on the blog!!!

(Note: – HFGK Vol V mentions that this movie was revised and passed with a new title of ‘Aage Badho’ in 1971 (13.09.1972). The first version of this movie ‘Jai Baangla Desh-1971’ was passed by Censor Board on 26.10.1971).

Video

Audio

Song-Main hoon ek roop anek (Jai Baangladesh)(1971) Singer-Kishore Kumar, Lyrics-indeewar, MD-Kalyanji Anandji
Chorus

Lyrics(Based on audio link)
—————
dialogues
————–
(first male voice, second male voice, third male voice)

(Kahaan hai Allaah
Allaah hota to mujhe is tarah andhaa
Kar diyaa jaata?
Main desh ke liye lad rahaa hoon,
Anaathon, vidhwaaon ke lad rahaa hoon

Allaah apne bandon ka imtihaan leta hai
Allaah ka naam lo,
Thheek ho jaaoge!

Main Allaah ka naam kabhi nahin loonga!!

Naa lete huye bhi tumne Allaah ka naam le liya hai
ab uski rehmat ka karishmaa dekho!!

Masjid mein main hi Khuda hoon,
Girijon mein main hi Isaa,
Mahaveer, Budhh hoon main hi,
Mandir mein main hi moorat,
Jab jaisi jahaan zaroorat,
Waisi hi meri soorat…
)

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ban ke Kanhaiyya bansi bajaiyya
Prem ka raaz dikhaaya hai
Ban ke Budhh kabhi shuddh kiya man
Jag ko tyaag sikhaaya hai
Kabhi Mohammad ban ke basaaya
Makka aur madeene ko o
Isaa ban ke chhalni kiya
Maine kabhi apne seene ko
Naanak ban ke
Kabhi gyaan ke deep jalaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Kabhi Quraan
To Kabhi Bible
Kabhi Ved kabhi Geeta hoon
Kabhi hoon Mariam
Kabhi Yashoda
Kabhi Fateema
Seeta hoon
Mere naam ki de ke duhaayi
Jo logon ko ladaate hain
Wo hain bande dharm ke andhe
Wo na kabhi mujhe paate hain
Aata nahin ladaane ko main
Mel karaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek

———————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————-
हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

बन के कन्हैय्या बंसी बजैय्या
प्रेम का राज़ दिखाया है
बन के बुद्ध कभी शुद्ध किया मन
जग को त्याग सिखाया है
कभी मोहम्मद बन के बसाया
मक्का और मदीने को ओ
इसा बन के छलनी किया
मैंने कभी अपने सीने को
नानक बन के
कभी ज्ञान के दीप जलाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

कभी कुरान
तो कभी बाइबल
कभी वेद कभी गीता हूँ
कभी हूँ मरियम
कभी यशोदा
कभी फातीमा
सीता हूँ
मेरे नाम की दे के दुहाई
जो लोगों को लड़ाते हैं
वो है बन्दे धर्म के अंधे
वो ना कभी मुझे पाते हैं
आता नहीं लड़ाने को मैं
मेल कराने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4030 Post No. : 15147

It is that day of the year again.

The 31st of July.

A date that doesn’t need any reminder for lovers of HFM.

Of all the days in the calendar, a few stand out – and the 31st of July is one of them.

For it is the death anniversary of one of the most loved and respected figures of the Hindi film industry, Mohammad Rafi, respectfully referred to as Rafisaab.

Today on his 39th death anniversary, we on this blog, remember him with great fondness and respect.

I’ve written about Rafisaab many times here on this blog. In fact, there’s no one I have written about more than about Rafisaab.

To be honest, there really isn’t anything more for me to say that I haven’t already said before.

How I, growing up in a Kishore-dominated era, fell in love with Rafisaab’s voice.

How I’ve done all-nighters listening to Rafisaab songs, completely losing track of time.

How much I respect Rafisaab for being such a good human being, inspite of having the power to abuse his position, if he had wanted.

I’ve written about all this – and more. And I don’t want to bore readers here by repeating stuff.

Not that I get bored of writing about Rafisaab. Never. When I don’t ever get bored of listening to his voice, how can I possibly get bored of writing about him? It is such a pleasure, and an honour, to write about Rafisaab.

So whether I have any new material or not, I will write about Rafisaab – even if it is only a few lines. That is the very least I can do for someone who has given me so much joy in life. And on his Remembrance Day, I just have to write a few lines for him – to thank him for everything.

Different people make a mark in this world for different reasons. Not all leave a legacy of course, but I doubt even those who do, have any idea of the magnitude of the legacy they would leave behind. And its endurability.

I doubt Rafisaab thought about all this when he was alive. He was a simple man, happy to earn his living through the one profession that he loved, and knew he was loved for – singing. Even for that, he was humble enough to always point upwards, to God, to suggest He was to thank for everything.

Rafisaab was very soft-spoken. For all his animation while singing, he was an extremely shy person in conversation and avoided interviews. Which is also why there are very few interviews of him available out there. It is our loss, but then that was the person he was. At least we have his songs, and anecdotes of those who knew him with us.

Rafisaab was devoted to his profession – he would do riyaaz for hours. He enjoyed spending time with his family. And enjoyed playing badminton. And good food. A man who always had a smile on his lips, who never thought ill for others – on the contrary, he went out of his way to help others.

A simple man – but what a legacy!

One that he would never have imagined during his lifetime.

Even today, 39 years after he is gone, there isn’t a day when his songs are not playing on radio. There isn’t a day when HFM lovers from around the world are not listening to his songs on whatever device they have. Today, thanks to technology, we have access to music on demand.

Yes, Rafisaab has enriched the lives of millions by his sheer voice. And that, for decades. And, I am sure, will continue for decades too. Such is the love people have for Rafisaab. It transcends generations.

This is another aspect that makes me really happy for him. It is great to see young generations today, even teenagers, listen to Rafisaab’s songs. Of course, their music interests are current too – and they should be. But from what I’ve seen, many of them are still happy to listen to old HFM songs – and Rafisaab, of course. Which is why I say Rafisaab’s voice transcends generations.

In my own case, I know my next generation is also very fond of Rafisaab. My niece’s husband invariably plays Rafisaab songs in his car. Not just for me, but for himself too. Not that my niece complains. She is herself very fond of Rafisaab. 🙂 They like current songs too, but Rafisaab is a fixture in their car. Especially 1960s songs like “dil ke jharoke mein”, “pukaarta chala hoon main” and “deewana hua baadal”. I swear, I did nothing to influence them – it all happened by itself. 🙂 Actually, my niece’s father-in-law is also a Rafisaab fan, so maybe that played a role too.

Now my niece has a kid – he is not even 3, but I have a feeling he will also soon be listening to Rafisaab. 🙂

I will not be surprised if this is the story in many other families too. I hope it is – then Rafisaab’s legacy is in safe hands.

Rafisaab deserves nothing less. A person with such a divine voice, a person who had such a good heart, who did good for so many, deserves every little bit of love and respect he gets.

I always have a warm feeling, and feel energized, when I discuss, or write about, Rafisaab. His songs immediately come to my mind, THAT voice, those intonations in the rendering. I get lost, happily so, thinking about his songs.

I can keep going on and on, but then I will be repeating what I’ve written in the past. And will be boring the readers. 🙂

So I’ll just move on to the song for today.

This is from Jaani Dushman (1979). A decade right up my sleeve, given that I’m a 1970s boy. Avinashji, himself a huge Rafisaab fan, sent me the lyrics and requested me to do a write-up.

By the late 70s, Rafisaab had regained his place in public mindspace. The first half of the decade had been totally dominated by Kishore Kumar (inspite of a few Rafisaab hits). But by the mid-70s, Rafisaab began coming back. I remember Laila Majnu (1976) songs being a success. A year later, he had chartbuster hit songs in Amar Akbar Anthony (1977), Hum Kisise Kam Nahin (1977) and Apnapan (1977), to mention just three films.

And so he continued, with hits in Abdullah (1980) and Karz (1980), right until his untimely death.

Jaani Dushman (1979) was during his revival phase.

The film has the popular, foot-tapping Rafisaab-Asha Bhosle duet “tere haathon mein pehna ke chudiyaan”, but also the song of today “chalo re doli utthao kahaar” (which comes multiple times in the film, if I remember right), was popular too.

The film itself is a multi-starrer in keeping with the trend of the time. Those were the days of multi-starrers – many commercial films had two or more lead heroes and heroines. JD went a step further, and must be considered a mother of multi-starrers – it had at least 5 “heroes” – Jeetendra, Sanjeev Kumar, Vinod Mehra, Shatrughan Sinha and Sunil Dutt. And Rekha, Reena Roy, Bindiya Goswami, Neetu Singh and Sarika amongst the “heroines”. Other movies of that era that were multi-multi-starrers that come to mind are Naagin (1976) and the Burning Train (1980).

I remember seeing the film at the time, but given my pathetic memory, I don’t remember too much of it. I do remember that it was meant to be a horror film of sorts, where a monster is supposed to murder every newly-wed bride. Something like that.

The songs of the film were quite popular, and the film too did well I think.

“Chalo re doli utthao kahaar” is a background song, picturised during the bidaai of a daughter as she leaves her parents’ home. It is a typical Rafisaab song – he was very good at emotional, background songs of this type. With their ebbs and flows.

Talking of emotional, background songs, am reminded of Ravi, the composer of songs of Waqt (1965) saying he had insisted with the Chopras on Rafisaab singing “waqt se din aur raat”, though Mahendra Kapoor, and not Rafisaab, was generally their preferred singer. He had said that this song would suit Rafisaab more than anyone else.

Similarly Kalyanji Anandji picked Rafisaab to sing a couple of lines as background song in that death scene in Muqaddar Ka Sikandar (1978) – “zindagi to bewafa hai, ek din thukraayegi”. Anandji said in an interview that he was a bit embarrassed to ask Rafisaab to sing those lines, because he had no other song in the film, and it was only a couple of lines. But he wanted them to be in Rafisaab’s voice. Without the slightest ego, Rafisaab rendered those lines with his usual high standards.

L-P, ever loyal to Rafisaab, even during Kishore Kumar’s peak, used him to render the emotional background song “nafrat ki duniya ko chhod ke” of Haathi Mere Saathi (1971) even though Kishore Kumar sings the songs picturised on Rajesh Khanna.

This song for today is also an L-P composition. I request you to please listen to this song – and remember Rafisaab today.

Rafisaab, you will always be in our hearts. The years roll by, but the love and respect does not diminish one bit. For what you’ve given the world, millions are ever grateful to you.

Personally, I can’t thank you enough, hence this post as a humble tribute.

(As mentioned above, lyrics for today’s song have been provided to me by Avinashji. I thank him for providing me these lyrics).

Video

Audio

Song-Chalo re doli uthhaao kahaar piya milan ki rut aayi (Jaani Dushman)(1979) Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Chorus

Lyrics (Provided by Avinash Scrapwala)-Based on audio link

Hmm hmm hmm
Hmm hmm hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Pi ki nagri le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Jin nainon ki ee tu hai jyoti
Un nainon se ae barse moti
Daawaa nahin hai
koi Zor nahin hai
Beti sadaa hi paraayi hoti
Jaldi naihar se le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee

Chhaayi hai dekho hariyaali ee ee
Aayi hai rut khushiyon waali ee
Har aasha parwaan chadhi ee ee ee
Din hai Dashehra
Raat deewaali ee
Galey daal baahon ka haar
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Tan maike man teri nagariyaa
Ud jaaun main Ban ke badariyaa
Chaand nagar ko Chali chakori ee ee
Pyaasi hoon milan ki sanwariyaa
Mere sapne sajaao
Qahaar
Piya milan ki rut aayi ee
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Sooni padi ee
Bhaiyya ki ee haveli
Vyaakul behnaa aa
Rah gayi akeli ee
Jin sang naachi
Jin sang kheli ee
Chhoot gayi wo o
Sakhi Saheli ee
Ab naa deri lagaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Piya milan ki rut aayi
Piya milan ki rut aayi ee

—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
हं हं हं
हं हं हं हं ह
हं हं हं
हं हं हं
हं ह
हं हं हं

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
हं हं हं
हं हं हं हं ह

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
पि की नगरी ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
हं हं हं
हं हं हं
हं हं ह

जिन नैनों की तू है ज्योति
उन नैनों से बरसे मोती
दावा नहीं है
कोई जोर नहीं है
बेटी सदा ही पराई होती
जल्दी नैहर से ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई

छायी है देखो हरियाली ई ई
आई है रुत खुशियों वाली ई
हर आशा परवान चढ़ी ई ई ई
दिन है दशहरा
रात दिवाली ई
गले डाल बाहों का हार
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

तन मयके मन तेरी नगरिया
उड़ जाऊं मैं बन के बदरिया
चाँद नगर को चली चकोरी ई ई
प्यासी हूँ मिलन की सांवरिया
मेरे सपने सजाओ
कहार
पिया मिलन की रुत आई ई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

सूनी पड़ी ई
भैय्या की ई हवेली
व्याकुल बहना आ
रह गयी अकेली ई
जिन संग नाची
जिन संग खेली ई
छूट गयीं वो ओ
सखी सहेली ई
अब ना देरी लगाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
पिया मिलन की रुत आई
पिया मिलन की रुत आई ई


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

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