Archive for the ‘Children’s song’ Category
Chale chak chak chak chak rail
Posted on: August 17, 2018
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3682 | Post No. : | 14578 |
Today’s song is from the film Mera Munna-1948. This film was made by Minerva Movietone. However, it was not directed by Sohrab Modi, but by an outsider- Vishram Bedekar.
Nostalgia ! This feeling is very common amongst Senior Citizens. However, middle age or young people too may indulge in Nostalgia of their favourite times in life or even an incident. Nostalgia is defined as ” Sentimental yearning for the past”. Everyone has some sweet memories of the past. When alone,one indulges in Nostalgia. Sometimes it is shared with the near and dear ones. Many times, an event, an old friend, an old movie or a film songn or an old house,town or anything on this Earth can trigger Nostalgia, if happy memories are connected with it. When you visit your first company where you started your career, surely Nostalgic memories will haunt you.
Same thing happened to C.Ramchandra, when he visited Minerva Movietone in 1948 to sign a contract for giving music to its film ‘Mera Munna’. It was Minerva Movietone, where, in 1936, he had begun his training in Music Composition. After his first film as a Hero-” Naganand “-35 bombed badly ( the first show had only 7 people in the audience-who also left in the interval. Naturally, there were no further shows of the film ! ), he shifted from Kolhapur to Bombay, looking for suitable jobs.
One day he learnt that a big actor from a drama company was about to start a film studio and that recruitment was going on, he decided to try his luck there. Selling a Gold medal he had won in some competition, he stitched a coat and went for the interview. It was Sohrab Modi who took his interview and appointed him as an assitant worker on a salary of Rs. 15 pm. In the two and half to three years that he spent in Minerva, in the beginning of his struggle, he learnt many things.
At Minerva, his first teacher was Bundu Khan as MD. Second was Habib Khan. Next was B.S.Hoogan. C Ramchandra learnt notation writing and use of western instruments for indian ragas. After Hoogan, came Meer Saheb. He was truly a very knowledgeable musician and C Ramchandra learnt many things from him. Actually the training of Meer Saheb gave him the confidence that he too could give music and make tunes. During Meer Saheb’s tenure in Minerva, C Ramchandra became friendly with an young actor and director- Master Bhagwan. He was acting and directing a film ‘Bahadur Kissan’-38. Meer Saheb was the Music Director for this film. Most work was done by C Ramchandra, on behalf of Meer saheb. During this period Bhagwan and he became very good friends.
One day Bhagwan offered C Ramchandra an opportunity to give music to a Tamil film, which Bhagwan was to direct. C Ramchandra gladly did it. After doing one more Tamil film in Madras/Kerala, C Ramchandra got his first Hindi film ” Sukhi Jeevan”-42 as a music director-thanks to Master Bhagwan who was its director. This was the beginning of an eventful and illustrious career of C Ramchandra, who gave music in 112 films, composing 947 songs. He also sang 198 songs in 77 films during his career.
When Sohrab Modi sent a call to him to come for composing songs for one of his films, C Remembered remembered all this. While in Minerva, he knew Modi as a strict disciplinarian and a kind soul. In the subsequent period, C Ramchandra was impressed with the extraordinary success of Minerva movies like Pukar-39, Sikander-41 and Prithwi Vallabh-43. Afterall, his and Minerva’s careers had started together only ! Though he had become a famous and successful Music Director now with films like Shehnai, Saajan, Nadiya ke paar and Khidki etc amongst his 30 odd films, he went to meet Modi.
There was a tremendous change in circumstances when he left Minerva in 1938 and today when Minerva requested him to work for them in 1948. He had become so big that he could have easily refused to work for them, but he was not ungrateful. C Ramchandra has described this meeting to one of his friends, Isak Mujawar thus…
” When I entered the office of Minerva, after 10 years, I realised that while I had grown in my stature, Minerva had lost some of its sheen and its place among the top studios. Whatever I had learned while working here had made my foundation so strong that I could never repay Minerva’s debt fully. As I entered, I saw the same tall, well built Sohrab Modi and by his side Mehtab was sitting next to him. As soon as I crossed the door, both of them stood up. I was embarrassed. I went ahead and touched his feet. He murmured something and hugged me. I did Namaste to Mehtab ji. Modi talked briefly about his film and their expectations about the music. Then with a little hesitation, he asked me my fees. I smiled and said, “Give me just One Rupee, sir. That’s my fees for Minerva”. However, they did not agree and a nominal token fees was fixed. I signed the contract “.
Those were the days when artistes gratefully acknowledged the help they received in their early careers !
There is a name in the film’s cast- Wazir Mohammed Khan, who made his name written in Hindi film History for ever, for being the first ever singer on the screen, when he sang ” de de khuda ke naam par “, in film Aalam Ara-1931, India’s first Talkie film. Despite my efforts, I could not get any information about him, from any source at my disposal.
W.M.Khan was a Pathan. His first film was ‘Alam Ara’-31 and his last film was also Aalam Ara-73. he sang a song in the first film and again the same song in the similarly titled film Alam Ara-56. I saw him on the screen first time in film Kabuliwala-61, in which he lip synched the famous song ” Aye mere pyare watan…”. W.M.Khan acted in 73 films. He sang 6 songs in 4 films, namely Alam Ara-31, Sair e paristan-34, Dard e dil-34 and after 22 years he sang his first song again in film Alam Ara-56- though no record was issued for it. When he acted in the third version of Aalam Ara in 73, he became the first male actor to have worked in 3 films with the same title, from the very first Talkie film. The next and the only other actor to achieve this feat was Ashok kumar, who acted in Kangan-39, kangan-59 and kangan-72. The only female actress to achieve this feat was Sulochana ( Ruby Meyers) who had acted in Anarkali-28, Anarkali-35 and Anarkali-53.
Today’s song is the second song in a span of one month, which talks of ‘going to Bombay’, after a song from film ‘Kirti’-42, posted on 19-7-2018. The singer’s name of today’s song is not mentioned in HFGK. I hear 2 separate voices in the song, but people with better hearing than me can know more about the voices.
( credits- Autobio of C Ramchandra, Isak Mujawar’s book, Flash back, HFGK, MuVyz, and my notes )
Song-Chale chak chak chak chak rail (Mera Munna)(1948) Singers-Unknown child voice 1, unknown child voice 2, Lyrics-Qamar Jalalabadi, MD-C Ramchandra
Lyrics
chale chak chak chak chak rail
chale chak chak chak chak rail
chalo jee zara Bambai chalen
haan Bambai chalen
lage ismein na paani na tel
lage ismein na paani na tel
chalo jee zara Bambai chalen
haan Bambai chalen
hamne baapu ki ghanti churaayi
hamne baapu ki ghanti churaayi
maan ke aanchal ke jhande banaayi
maan ke aanchal ke jhande banaayi
hamne ghar mein banaaye hai rail
hamne ghar mein banaaye hai rail
chalo jee zara Bambai chalen
haan Bambai chalen
chale chak chak chak chak rail
chalo jee zara Bambai chalen
haan Bambai chalen
baapu laayenge jaa kar langoti
baapu laayenge jaakar langoti
maata laayenge ?? ki ??
maata laayenge ?? ki ??
ham khilaunon se bhar lenge rail
ham khilaunon se bhar lenge rail
chalo jee zara Bambai chalen
haan Bambai chalen
chale chak chak chak chak rail
chalo jee zara Bambai chalen
haan Bambai chalen
mere chaachaa jee Bambai se aayenge
mere chaachaa jee Bambai se aayenge
ghoda laayenge
tamtam bhi laayenge
ghoda laayenge
tamtam bhi laayenge
laayenge tota maina ka khel
laayenge tota maina ka khel
chalo jee zara Bambai chalen
haan Bambai chalen
chale chak chak chak chak rail
chalo jee zara Bambai chalen
haan Bambai chalen
lage ismein na paani na tel
chalo jee zara Bambai chalen
haan Bambai chalen
Bum bum boley
Posted on: August 5, 2018
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3670 | Post No. : | 14549 |
Happy Friendship Day (5 august 2018) to all Atulites.
It is has become a practice in recent times to celebrate Friendship Day on the first Sunday of August. So, I did a little reading up about it on the internet. The website of Indian Express gave me this:
First proposed in Paraguay in 1958, the General Assembly of the United Nations declared July 30 as the official International Friendship Day on April 27, 2011. But many countries, like India, celebrate it on the first Sunday of August. It all started when Joyce Hall, the founder of Hallmark cards proposed the celebrations in 1930. Before this, only greeting cards promoted the day and it was seen more as a gimmick. However, Nane Annan, the wife of UN Secretary-General Kofi Annan, declared the adorable bear Winnie the Pooh as the global Ambassador of Friendship at the UN in 1998. Every year, friends commemorate the day by exchanging gifts, greeting cards and going out for a get-together. Several restaurants, eateries and public spaces also, in their own way, celebrate this day and ensure that it is remembered by those who visit. There is also a common practice of exchanging bands among friends, as a token of their friendship. Friendship Day is for friends, those who stood by you when nobody did, and for those who had your back even in all the adverse situations. While we do celebrate the togetherness on other days too, isn’t it important to remember friends and have a dedicated to them?
So that then is what I found on the internet; that there is practice of exchanging bands, gifts and greeting cards and at the turn of the century it has become a huge commercial activity. For that matter everything is a commercial activity these days- Mother’s Day, Valentine’s day, Father’s Day etc.
I am meeting my “bachpan ke friends” this weekend and first time in all these years that we have met the meet is on Friendship Day. I am surely excited. This is the set of friends who know me from class 1. We are meeting to celebrate the 91st birthday of a person who was our teacher-cum-headmistress at school and I wouldn’t miss the event. We are expecting all her ex-students to congregate at our school. It sure is an emotional event. It has become all the more emotion-filled after another of our old teacher passed away last week at 92, and a friend of mine wrote a very nostalgic post of how she had groomed us, taught us arithmetic etc. It just jolted me that all those who mattered to us when we were growing up have also grown up, I don’t like to say GROWN OLD or AGED.
I was thinking whether there are any songs in Bollywood that show a loving teacher and her/ his students and I remembered: “Desh ka payara sab ka sahara kaun banega”; “bachchon tum taqdeer ho” etc. In recent years we had “Taare Zameen Par”. It had Aamir Khan play art teacher, who takes special care of Darsheel Safary, a student with Dyslexia, and helps him take the first step in overcoming his learning disability. The movie showed students of class 2 or 3 and the bonding between Darsheel and his classmate who has a physical disability. I am sure all of us would have had special friends in childhood and who we cared for fondly. Today we will have a song that is sung by Shaan and Aamir Khan, written by Prasoon Joshi and music is by Shankar- Ehsaan- Loy and Shailendra Barve.
Song-Bum bum bole (Taare Zameen Par)(2007) Singer-Shaan, Aamir Khan, Lyrics-Prasoon Joshi, MD-Shankar Ehsan Loy
Lyrics
chaka raka chi chaay
lo chak lorum
gun do one do
laka raka tam
akko takko idi idi idigo
idipaay idipaay
chiki chiki cho
gili gili mal
sulu sulu mal
maka naka
bukubuku re
tukubuku re
chakalaka
rikko chikko
sili sili siligo
bagaddum chaggaddum
chiki chaka cho
hee hee ha ha ha
hee hee ha ha ha
shh
dekho dekho
kya wo ped hai
chaadar odhe ya khada koi
hey
dekho dekho
kya wo ped hai
chaadar odhe ya khada koi
baarish hai ya aasmaan ne
chhod diye hain nal khule kahin
ho hum jaise dekhen yeh jahaan hai waisa hi
jaisi nazar apni ee
khulke sochen aao
pankh zara phailaao
rang naye bikhraao, chalo chalo chalo chalo naye khwaab bun le
he ae ae ae
ae ae ae ae
he ae ae ae
ae ae ae ae
he ae ae ae
ae ae ae ae
he ae ae ae
ae ae ae ae
sa pa
sa pa
dha re
dha re
ga re
ga re
ga ma pa sa
ga ma pa sa
bum bum bum
bum bum bum
bum bum bum bole
bum bum bum bole
hey bumchik bole
hey bumchik bole
are masti mein dole
are masti mein dole
bum bum bole
masti mein dole
bum bum bole
masti mein tu dol re
hey
bum bum bole
masti mein dole
bum bum bole
masti mein tu dol re
bhala machhliyaan bhi kyun udti nahin
aise bhi socho na
socho suraj roz nahaaye ya
baal bhigo ke yeh budhdhu banaaye hame
saare taare timtimaaye,
ya phir gusse mein kuchh badbadaate rahein
khulke sochen aao
pankh zara phailaao
rang naye bikhraao
chalo chalo chalo chalo naye khwaab bun len
ye ye ye ye ye ye
ye ye ye ye ye ye
bum bum bole, masti mein dole
bum bum bole, masti mein tu dol re
o rat rat ke kyun tanker full
tanker full
tanker full
ankhein band toh dabba gul, oy dabba gul, dabba gul
o band darwaaje khole re,
khol re, khol re, khol re
ho ja bindaas bol re,
bol, bol, bol, bol bol re
main bhi hoon
main bhi hoon
tu bhi hai
tu bhi hai
main bhi
tu bhi
hum sab milke
bumchik bum, bumchik
bum bumchik
bum bumchik
bum bumchik
bum bumchik
bum bumchik
bum bum bum bum bum
bum bum bole
masti mein dole
bum bum bole
masti mein tu dol re
aisi rangon bhari apni duniya hai kyun
socho toh
socho na
pyaar se chun ke inn rangon ko
kisi ne sajaaya yeh sansaar hai
jo itni sundar hai apni duniya
uparwaala kya koi kalaakar hai
khul ke sochen aao
pankh zara phailaao
rang naye bikhraao
chalo chalo chalo chalo
chalo chalo chalo chalo
naye khwaab bun len
bum bum bole
masti mein dole
bum bum bole
masti mein tu dol re
bum bum bole
masti mein dole
bum bum bole
bum bum bole
masti mein tu dol re
bum bum bole
masti mein dole
bum bum bole
bum bum bole
masti mein tu dol re
oy bum bum boley
hahahaha
Ghar Jaana Hai
Posted on: June 26, 2018
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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 : | 3630 | Post No. : | 14455 |
Yesterday, 25th June was the birth anniversary of actor Raghuveer Yadav and we wish him a very happy birthday and a healthy and peaceful life ahead. (In the anniversary list on our blog his birth date is mentioned as Jan 1st, however almost all of the internet sites that I came across during search for his biography have mentioned 25th June’1957 as his date of birth. So now I only have doubt about the year of his birth if it is correct, the reason is mentioned in the write up below.
Many of us movie Hindi Movie lovers are aware of Raghuveer Yadav and his multifaceted talent. I cannot exactly tell when my first interaction was watching his perform was but going by the chronology I think it was his TV serial ‘Mungerilal Ke Haseen Sapne’ which left an indelible mark on my mind. Later on, so far, I think I had watched very few of his movies, not even the newer ones too.
But still Raghuveer Yadav is one such name that brings many things to mind – unmatchable talent, his rustic-but so natural-and innocent acting which gets him immersed into the character and the one watching it gets involved so much so that when he came out of the movie hall he came with this character (which ever he is playing) all around oneself and it take time before one comes to normal after that. His acting does not only shake your mind and leave its imprints but leaves its magic on your ‘soul’ that is how I would like to put it in my words.
A story of simplicity, struggle, and an extra-ordinary achievement coming from an ordinary background. A living saga of dedication, hard work and immense talent. So, I think, to know why Raghuveer Yadav is what he is today, one must learn about his formative years mainly, which evolve him into being a ‘living legend’ today. I am approaching this post in a different manner without mentioning the name of the movies he has acted till now. Because as he himself has mentioned that his best is yet to come and whatever he has done till now, he feels, could have been done much better than that. As an ‘actor’ he thinks, he cannot achieve what he wants to achieve in this ‘single life’ and needs ‘one (or may be more)’ lives to achieve that. The journey is on. . .
Raghuveer Yadav was born on in Jabalpur District of Madhya Pradesh on 25th June, 1957. His father was a farmer in a small village near Jabalpur. Among five siblings – three sisters and two brothers – he was the second after his elder sister. Since his childhood he was fond of singing even though none from his family was even remotely related with singing. Given the background of living around farms and learning in a small village school where the classes were conducted below a tree and sitting on the wooden planks, it was natural for him to get attracted towards the nature and maybe he developed that habit of observing the happenings around since those days. He used to take his cattle or grazing around and travelling bullock-carts.
As he was not interested much in studies he somehow completed his education till Higher Secondary (as told by himself in his interview in ‘Guftagoo’ on Rajya Sabha TV). When he was asked to learn Science in Higher Secondary, in apprehension of failing in exams he planned to run away from home and ‘fortunately’ so there was a person in his village who used to run-away from home at regular intervals and had become a ‘professional bhagouda’. Raghuveer run away with him and they reach at the person’s Uncle. After the money stolen from (his father’s pocket) was finished Raghuveer’s friend returned back to his village. However Raghuveer decided to stay back and joined a ‘Parsi theatre group’ in those years and started singing there. In Parsi theatre the ability to sing was a very necessary qualification to get any work there.
Well in those years (1967 as per him i.e. why I think his year of birth should be earlier than 1957, if we consider he ran away from home when he was doing higher secondary.). He got the job of singing in between the intervals during the change of ‘scenes’. He used to get Rs.2.50 per day or even Rs.1.00/1.50 sometimes then and thus had to be without food many times. When the survival became difficult and the singing opportunities were getting reduced he has to take on ‘acting’ at the behest of the owner of the group. There he also started learning, writing and speaking ‘Urdu’.
After working with this ‘play group’ for almost six years and travelling through various places for doing plays, Raghuveer finally come to Lucknow and started doing ‘Puppet’ shows. And after that he landed in Delhi and joined the National School of Drama. And, from here under the baton of Ibrahim Alkazi he learned and learned a lot about theatre, set designing, craft, music and singing, and his journey till reaching here had already given him lot of insights on ‘human life’ too.
He was a part of the NSD Repertory when he got his first opportunity to work in movies and thus his entry in movies happened with ‘Massey Saheb-1985’, which fetch him two International awards too. He was awarded the Silver Peacock for best acting at the 11th International Film Festival of India in 1987.
He always wanted to be a singer and has a passion for music. He plays many instruments and even builds some on his own. Singing and Music has remained his strong passion and that is why in trying and testing times or in depression he always resorted to music which gives him peace and satisfaction. During his interviews he has mentioned that the music during the ‘sixties’ was his favourite, however so far he didn’t mention any of the Bollywood songs which he liked most. It will be interesting to know which songs his favourite during those years have been and which motivated him if any. Or may be since he was mainly attracted towards theatre, the poetry-based songs and/or folk songs remained his main attraction. He also fondly remembers his days of theatre in ‘Delhi’ and all his friends there whom he missed a lot. (I would request readers to watch and listen to his singing of ‘Delhi’ and ‘Majnu’ in his interviews which is very touching).
Given the hardships he faced in life and reaching the heights where he is today cannot be summed up in one article here. It required a detailed biography which I am sure will be interesting and inspirational for the many who wants to achieve a ‘purpose’ in life.
Today I present a song from the movie ‘Aasmaan Se Giraa’ (1991). This film is directed by Pankaj Parashar for ‘Children’s Film Society of India’. Pankaj Parashar also wrote the story and screenplay of this movie. Neena Bhatnagar was the additional screenplay writer of this movie. It had Raghuveer Yadav, Abhishek, Kalpana Iyer, Rakesh Shrivastava, Sunil Ranade, Navtej Hundal, Ranjit Shah, Kurush Deboo, DK Mathur, DN Shaily and Sanjeev Shah. Sheeba, Tisca Arora, Rajesh Puri, Anupam Kher, Sridevi, Anil Kapoor and Amjad Khan make ‘guest appearances’ in this movie. Commentary in the movie was done by Shaban Azmi. Anubhav Sinha was the Chief Assistant Director of this movie, and V Ramesh Babu was the Chief Assistant Editor. Editing for this movie was done by Afaque Husain. Choreography of this movie was done by Vijay Oscar, Bhupendra Singh, Pankaj Parashar. Bijon Das Gupta was the Art Director of this movie. Raghuveer Yadav, Shailendra Singh, Suresh Wadkar, Kavita Krishnamurthy, Hema and Abhishek gave their voices to the songs in this movie. Kamlesh Pandey was the lyricist for this movie and he also wrote the dialogues for this movie. Music for this movie was composed by Louis Banks.
It was passed by the Censor Board on 30.08.1991 (but seems to be released in theatres on 04.09.1992 as most of the internet sources mentioned it). The following synopsis about this movie and brief about the Director of this movie Pankaj Parashar has been taken as given with the YouTube link (Ultra Kids Zone, posted on 06.08.2016) of this movie;
A young prince is trained for a time when he will grow up to become king. The lonely boy is frustrated at being kept secluded while being taught the art of statesmanship by great scholars. One day he finds a strange little man from another planet. He names his new friend Trishanku and the two exchange views about their own worlds. Trishankhu is homesick and wishes to return back to his planet. The two-escape trying to find ways for Trishankhu to go back. On their journey they develop a deep bonding and it is hard for Trishankhu to let go.
This heartwarming film by popular TV and film director Pankaj Parashar stars a galaxy of Bollywood stars in guest appearances including Sridevi, Amjad Khan, Anil Kapoor and Anupam Kher.
Pankaj Parashar A reputed director of films and TV series. He is an alumnus of FTII, Pune. His diploma film ‘Malfunction’ for the institute won him a Filmfare Award for Best Documentary. Since then he has held the directorial chair for many reputed films most notable being ‘Jalwa’ (1987) and ‘Chaal Baaz’ (1989) with the latter winning him another Filmfare award. He also made the immensely popular TV serial ‘Karamchand’, India’s first detective series in 1985. Currently Pankaj divides his time making ad films and working on his next feature film
I remember having watched this movie on ‘Doordarshan’ may be in 1994-95, and since then I could not forget it. I was searching for its songs since many years now and particularly I liked the other song of this movie very much and I and my cousins used to discuss about it and sing it whenever we used to get together. The movie also has some beautiful locations of Rajasthan and this could be the other factor why it is close to my heart as I was in Rajasthan then from 1989-1996 🙂 though I watched the movie on TV during visit to hometown in Maharashtra.
Let us now enjoy the today’s wonderful-philosophical song, sung by Raghuveer Yadav and Master Abhishek, which I sincerely hope you too will like and enjoy.
Song – Ghar Jaana Hai (Aasmaan Se Gira) (1991) Singer – Raghuveer Yadav, Master Abhishek, Lyrics – Kamlesh Pandey, MD – Louis Banks
Lyrics
kitni gol hai duniya teri
reh gaya main chakraake
aasmaan se giraa magar
atkaa khajoor mein aake ae
mujhe ghar jaana hai ae
ghar jaana hai ae ae
ghar jaana hai ae
hamaara itihaas mahaan hai
mahaa puroshon ki khaan hai
itihaas?
ye kya hota hai
ek tha sikandar
aadmi tha ya bandar
ha ha ha
yunaan ka raja tha
sikandar mahaan
sapna tha uska
loote saara jahaan
desh pardesh
uske jhande taley aate gaye
raja maharaja sabhi sar jhukaate gaye
mere bhaai
ye jhanda kya hota hai
dande ke upar ek kapda hota hai
jo haar jaata hai
to ban jaata hai ghulam
jeetnewaale ke jhande ko
karna padta hai salaam
samjhaa aa
sab ka alag alag jhanda hai
jhande ke andar danda hai
jisko guroor aata hain
apna danda dikhlaata hai
jhande se jhanda ladta hai
aadmi kat’ta marta hai
har ek desh jhande se lais
jiska danda usi ki bhains
isiliye to dete naara
jhanda ooncha rahe hamaara
jhanda ooncha rahe hamaara
sikandar ne lekin
saari duniya ko jeeta
achchha hota
agar wo ghar baith kar chaai peeta
chai peenewaale
itihaas nahin banaate
yahi agar itihaas hai to
kya karna isey dohraake
aasmaan se giraa magar
atkaa khajoor mein aake ae
mujhe ghar jaana hai
ghar jaana hai ae ae
ghar jaana hai
hamaari sanskriti hai bahut puraani
hamaare yahaan huye hai
bade bade gyaani
mere bhaai
kya hota hai gyaan
kya hota hai gyaani
gyaani wo jisne jaani
aatma kya hai
partmaatma kya hai
ye sab moti moti kitaabon mein likha hai
kya likha hai
aatma kya hai
aatma amar hai
chaurasi lakh yoniyon ka safar hai
na koyi jeeta hai
na marta hai
aatma bas nayaa roop dharta hai
koyi jeeta na koyi marta hai
koyi farq nahin padta hai
phir to koyi kisi ko maare
begunaah saare hatyaare
naa koyi khooni naa koi laash
mujrim judge sab ek hi saath
janam janam ka pheraa hai
chidiya rain basera hai
janam janam ke phere mein
main rah gaya chakkar kha ke
aasmaan se giraa magar
atkaa khajoor mein aake ae
mujhe ghar jaana hai
ghar jaana hai ae ae
ghar jaana hai
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
कितनी गोल है दुनिया तेरी
रह गया मैं चकराके
आसमान से गिरा मगर
अटका खजूर में आके ए
मुझे घर जाना है ए
घर जाना है ए ए
घर जाना है ए
हमारा इतिहास महान है
महा पुरूषों कि खान है
इतिहास?
ये क्या होता है
एक था सिकंदर
आदमी था या बन्दर
ह ह ह
यूनान का राजा था
सिकंदर महान
सपना था उसका
लुटे सारा जहां
देश परदेश
उसके झंडे तले आते गए
राजा महाराजा सभी सर झुकाते गए
मेरे भाई
ये झंडा क्या होता है
डंडे के ऊपर एक कपडा होता है
जो हार जाता है
तो बन जाता है गुलाम
जीतनेवाले के झंडे को
करना पड़ता है सलाम
समझा ॰ ॰ ॰
सब का अलग अलग झंडा है
झंडे के अन्दर डंडा है
जिसको गुरूर आता हैं
अपन डंडा दिखलाता है
झंडे से झंडा लड़ता है
आदमी कटता मरता है
हर एक देश झंडे से लैस
जिसका डंडा उसी कि भैंस
इसीलिए तो देते नारा
झंडा ऊँचा रहे हमारा
झंडा ऊँचा रहे हमारा
सिकंदर ने लेकिन
सारी दुनिया को जीता
अच्छा होता
अगर वो घर बैठ कर चाय पीता
चाय पीनेवाले
इतिहास नहीं बनाते
यही अगर इतिहास है तो
क्या करना इसे दोहराके
आसमान से गिरा मगर
अटका खजूर में आके ए
मुझे घर जाना है ए
घर जाना है ए ए
घर जाना है ए
हमारी संस्कृति बहुत पुरानी है
हमारे यहाँ हुए है
बड़े बड़े ग्यानी
मेरे भाई
क्या होता है ज्ञान
क्या होता है ग्यानी
ग्यानी वो जिसने जानी
आत्मा क्या है
परमात्मा क्या है
ये सब मोटी मोटी किताबों में लिखा है
क्या लिखा है
आत्मा क्या है
आत्मा अमर है
चौरासी लाख योनियों का सफ़र है
ना कोई जीता है
ना कोई मरता है
आत्मा बस नया रूप धरता है
कोई जीता न कोई मरता है
कोई फर्क नहीं पड़ता है
फिर तो कोई किसी को मारे
बेगुनाह सारे हत्यारे
ना कोई खुनी ना कोई लाश
मुजरिम जज सब ही साथ
जनम जनम का फेरा है
चिड़िया रेन बसेरा है
जनम जनम के फेरे में
मैं रह गया चक्कर खा के
आसमान से गिरा मगर
अटका खजूर में आके ए
मुझे घर जाना है ए
घर जाना है ए ए
घर जाना है ए
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 : | 3555 | Post No. : | 14262 |
“Anmol Tasweer”(1978) was directed by Satyen Bose for Children’s Film Society, Bombay. This “Children’s” film had Ashok Kumar (guest appearance), Preeti Ganguly, Anoop Kumar, Birbal, Master Pappu Chagla, Baby Geeta Khanna, Miss Chintu, Praveen Pal, Bhagwan Sinha, Manik Dutt, Subrat Mahapatra, Moolchand etc in it.
It was believed those days that a film featuring many children constituted a children’s movie. And by that yardstic it was a Children’s movie. 🙂
The movie had one song according to HFGK.
Here is that song from “Anmol Tasweer”(1978). The song is a chorus song and the names of singers are uncredited. Loomba Brothers (whoever they were) are credited as the lyricist as well as music directors.
The song picturisation shows several children making fun of the bulk of Preeti Ganguly. Yes, children laughing at a overweight lady was considered light hearted comedy fit for a children’s movie those days.
I request our knowledgeable readers to throw light on this movie.
Since this song is the only so9ng in the movie, so “Anmol Tasweer”(1978) makes its debut as well as get YIPPEED in the blog with this song. 🙂 If every Hindi movie had just one song then life would have been much easy for those seeking to post “debutant” as well as “YIPPEE” movie everyday. 🙂
Song-Dam dam bole dhol khole pol dhamaadham (Anmol Tasweer)(1978) Lyrics-MD-Loomba Brothers, MD-Loomba Brothers
Lyrics
hey
hey hey hey hey
dam dam bole dhol
khole pol dama dam
chor ke peechhe mor naache
guddham guddham
dam dam bole dhol
khole pol dama dam
chor ke peechhe mor naache
guddham guddham
hey
hey
uska mota pet
usmein kya kya hoga
bol tere pet mein kya hai
uska mota pet
usmein kya kya hoga
apne bada gendon ka
?? hoga
ho o o
uske chaunsathh daant saaf
kaise karti
peepal ka ped ukhaad ke
daanton pe malti
hahahahaha
haathi kya kya ??
jo itne mote hain
haan
breakfast men sau ande
murgi ke nahin haathhi ke
haathhi ke
tank mein ek magarmachh poora
khhaati hai wo chaba chaba ke
arre bhedon mein jo seeng dikhaaye
dinner mein wo ?? kha jaaye
hey
king kong ko
de ek jhaapad
wo bhi gir jaaye dam
dam dam bole dhol
khole pol dhamaadham
chor ke peechhe mor naache
guddam guddam
dam dam bole dhol
khole pol dhamaadham
chor ke peechhe mor naache
guddam guddam
phisal gayi ik baar sadak pe
phisal gayi ik baar sadak pe
bhaagi jo hamaare peechhe
sadak pe phir gayi
roller jaise
ek sire se paar doosre
ae ae ae
arre plane ban gaya rasta saara
oobad khaabad thha jo kab se
hey
municipality
se hua na
kar diya ek dam
dam dam bole dhol
khole pol dhamaadham
chor ke peechhe
mor naache
guddam guddam
dam dam bole dhol
khole pol dhamaadham
chor ke peechhe
mor naache
guddam guddam
guddam guddam
guddam guddam
guddam guddam
Bachchon tum ho khel khilaune
Posted on: March 8, 2018
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 : | 3520 | Post No. : | 14139 |
My workplace has a bank in its premises. Yesterday (7 march 2018), the female branch manager of the bank came to me seeking permission to organise a seminar for women. “Tomorrow 8 march is women’s day, you know”- she explained.
So today (8 march 2018), the bank organised a women’s day programme in the meeting hall of our workplace. The bank manager spoke on the occasion, I was asked to speak on the occasion. Bank had invited a gynaecologist who spoke about cancer among females and preventive measures to be taken.
In my address, I mentioned that I was aware of today being Women’s day because I was aware of today was Sahir Ludhianvi’s birth anniversary. I also know that Sahir Ludhianvi was born on Women’s day. 🙂 So I was aware of 8 march being the women’s day. I need to thank Raja because his articles about Sahir Ludhianvi on these occasions over the years has had the effect of this date getting indelibly ingrained in my brain’s ROM. 🙂
I cannot help but talk of Indian economy whenever I address people, no matter if they are women. 🙂 I stated that Indian GDP was growing at 7% per year. At this rate, an economy doubles in size every ten years. Indian today is a $ 2.5 trillions economy, ten years ago it was a $ 1.2 trillions economy whereas twenty years back India was $ 442 billions economy. So Indian economy is getting doubled up every ten years. I expressed the view that the contribution of Women in Indian workforce is quite meagre. If they join in the workforce and contribute to the national GDP then Indian may grow at a higher rate which means India may start doubling its economy every 6-7 years instead of every 10 years.
I also stated that we should not expect others to do our work. We popularly feel that “sarkaar” should do everything. Who is “sarkaar” ? We are “sarkaar”, since we are a unit of a central government organisation ourselves. If we improve our performance then we will help add our mite to the growth of Indian economy. Then I informed our female staff, and also the female staff of the bank how our unit was in some way among the best units in its category, thanks to the hard work done by us over the past couple of years.
Then I declared that I practiced in my personal life what I was preaching as far as women empowerment was concerned. 🙂
It is my opinion that every day is women’s day and not just 8 march. For that matter every day is man’s day as well, and every day is a children’s day as well. why wait for that designated day. we can observe these days every day. 🙂
Women empowerment does not mean using the term as a buzzword for page 3 discussion. It means given women the freedom to do what they want to do with their lives without requiring to give explanations to others, viz family, society etc and they deserve to get all the support that they can get.
There are some Hindi movies that can be described as movies supporting this theme. I posted the penultimate song of “Tapasya”(1975) recently and in the process I realised that the movie was a befitting movie to be showcased on Women’s day. This movie is based on a story by Ashapoorna Devi, a Gyanpeeth Award and Padmshree award winner Bangla novelist.
This movie was directed by Anil Ganguly for Rajshre Productions. The movie had Raakhi (in the central role), Parikshat Sahni, Asrani, Manju Bansal Asrani, A K Hangal, Nasir Hussain, Adil, Manju Bhatia, Urmila Bhatt, Birbal, Abha Dhulia, C S Dubey, Raja Duggal, Master Eknath, Gayatri etc in it.
The Hindu newspaper carried the following review of this movie :-
…We have Indrani Sinha (Raakhi Gulzar), eldest daughter of an ailing professor, Chandrakant Sinha (AK Hangal), caring for her father and three younger siblings. The college going Indu (as Indrani is fondly called) and the ailing professor’s doctor, Sagar Verma (Parikshat Sahni) fall in love, and just when Indu goes to Sagar’s house to meet his mother (Lalita Pawar), disaster strikes.
Chandrakant Sinha bids adieu to the world, leaving the responsibility of his three younger children on the shoulders of Indu, who takes the selfless decision of not getting married. In the midst of heart tugging drama and poignancy, she spurns Sagar’s proposal for marriage, even though he offers to take the three siblings to his house and care for them. Her decision is moulded to a certain extent by Sagar’s mother’s belief that being saddled with her family’s responsibility, Indu might be unable to fulfil her commitments as a wife and daughter-in- law.
To make ends meet and take care of her siblings, Vinod (Asrani), Madhu and Chanda, Indu leaves her studies and starts a school on the advice of her father’s colleague (Nazir Hussain). The first sign of dissent in the house surfaces when Vinod is exhorted to leave his house by his prospective father-in-law (Om-Shivpuri) in lieu of a good job. After the marriage, Vinod and his wife, Pinky comes to Indu’s house to attend a function. During the course of song and dance, an irritated Pinky (Manju Asrani), has an altercation, first with Madhu and Chanda, which results in an escalation of tension, at the end of which Indu slaps Vinod for offending Sagar.
A chastised and hurt Sagar decides to stop meeting Indu, and leaves on a pilgrimage with his mother. In his absence, Indu concludes the marriage of her two sisters. Thereon, she decides to leave her house for a sabbatical, but in the nick of time Vinod and Pinky come, with Pinky atoning for her prudishness. With everything settled, the only question is the outcome of Indu’s sacrifice and Sagar’s wait?
Of the cast, Asrani is a revelation. One cannot but rue the penchant of Bollywood to typecast brilliant and versatile actors into silos which they are unable to break again. Parikshat Sahni, in a restrained portrayal that suits his limited histrionic prowess, is ideal opposite Rakhee. Rest of the character actors, including Hangal, Lalita Pawar and Nazir Hussain are competent in their roles.
The movie had four songs in it. Three of the songs have been covered in the past. These are the three most well songs from the movie. Here are the details of songs already covered in the blog:-
|
Song Title |
Post No. |
Post Date |
| Do pancchi do tinke | 530 | 11-Jan-09 |
| Jo raah chunee toone | 4800 | 13-Oct-11 |
| Bhaabhi ki ungli mein heere ka chhalla | 14134 | 7-Mar-18 |
The fourth and final song, which is the song under discussion is one that I had never heard before. But when I heard this song for the first time, I realised that this song was a special song and this deserved to be discussed as the last song, and on a special occasion with a special writeup. So here is this heart warming song from a heartwarming movie on the occasion of Woman’s day. The song is sung by Aarti Mukherji. M G Hashmat is the lyricist. Music is composed by Ravindra Jain.
Picturisation shows Raakhi running her school and singing this song to young kids. Different stanzas in the song represent different years when Raakhi growing older and her younger siblings growing up. The younger siblings are finally shown grown up as the song comes to an end.
This movie “Tapasya”(1975) which I have not watched earned the national award for Best Popular Film Providing Wholesome Entertainment for the year. In addition, Raakhi won the Filmfare award for best actress for her role in this movie. That way Raakhi did a Sanjeev Kumar in this movie, playing a role of an elderly woman when she was not even 30 years of age at that time !
With this lovely song, “Tapasya”(1975) joins the list of movies that have all their songs covered in the blog.
Song-Bachchon tum ho khel khilaune (Tapasya)(1975) Singer-Aarti Mukherji, Lyrics-M G Hashmat, MD-Ravindra Jain
Chorus
Lyrics
bachchon tum ho khel khilaune
bachchon tum ho khel khilaune
aane waale
kal ke sapne ae
aane waale kal ke sapne
sundar aur salone bachchon
tum ho
khel khilone
didi hum hain khel khilaune
phool bano aur mehak lutaao
khud bhi hanso aur sab ko hansaao
phool bano aur mehak lutaao
khud bhi hanso aur sab ko hansaao
o o o o o
jo bhi tumko gale lagaaye
phoolon jaisa vo khil jaaye
is duniya mein
hansi khushi ki ee
is duniya mein hansi khushi ki
kami na dena hone
bachchon tum ho khel khilaune
didi hum hain khel khilaune
jaante ho
apni manzil ki raah kaafi tay kar chuki hoon
kabhi kabhi sochti hoon
tum abhi tak wahin intzaar kar rahe ho
ek din jahaan se main aage badhhi thhi
tumhaara khayaal
achaanak kadmon ko rokne lagta hai
dar lagta hai
ki kahin
ye safar
adhoora na rah jaaye
aur kab tak intzaar karte rahoge
haha
main samajh gaya
tumhen is baat ka darr hai
ki kahin mere aane jaane se
tumhaari tapasya mein baadhaa na pad jaaye
main tumse vaada karta hoon Indu
ki jab tak tumhaari tapasya poori nahin hogi
main tumse nahin miloonga
mukhda tumhaara bhola bhaala
karta hai is ghar mein ujaala
mukhda tumhaara bhola bhaala
karta hai is ghar mein ujaala
hmm hmm hmm
tumpe koi aanch na aaye
meri umar tumhen lag jaaye
sab kuchh kho kar
tum ko paaya aa
sab kuchh kho kar
tum ko paaya
tumhen na doongi khone
bachchon tum ho khel khilaune
didi hum hain khel khilaune
kitna jeevan beet gaya hai
neh tumhaara jeet gaya hai
kitna jeevan beet gaya hai
neh tumhaara jeet gaya hai
o o o o
kitna phaila pyaar tumhaara
main to bhool gayi jag saara
aaj khushi ke
aansu meri ee
aaj khushi ke aansu meri
palken lagin bhigone
bachchon tum ho khel khilaune
bachchon tum ho khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune
Hum Jab Chalen To Ye Jahaan Jhoome
Posted on: March 8, 2018
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3520 | Post No. : | 14137 |
Today, March 8th is the 97th birth anniversary of Sahir Ludhianvi, one of my favourite poet-lyricists. Before him, there were other eminent Urdu poets such as Arzoo Lucknowi, Safdar Aah Sitapuri, Behzad Lucknowi, Josh Malihabadi etc who had been associated with the Hindi film industry sometime or the other. But it was Sahir Ludhianvi who clicked with the Hindi film industry as a poet and raised the status of the lyricists. Eventually, he created such a status for himself in the Hindi film industry that some of the established producers/directors first took him on board before finalising the music directors for their films.
The traumatic childhood and the failed love affairs coupled with his leftist ideological leanings, are reflected in his ghazals and nazms published in the book ‘Talkhiyaan‘ (‘Bitternesses’) in 1945. However, it was his association with the Hindi film industry which gave him the opportunity to write film songs in the poetic form covering almost all the facets of human life. Some samples below:
Romantic songs
Kashti Ka Khamosh Safar Hai
isi Patthar Ki Moorat Se Muhabbat Ka Iraada Hai
‘Togetherness in Love’ songs
Tum Apna Ranj o Gham Apni Pareshaani Mujhe De Do
Dukh Aur Sukh Ke Raaste Baney Hain Sab Ke Waaste
Songs on Women’s plights
Aurat Ne Janam Diya Mardon Ko
Aurat Ko Faqat Jism Samajh Lete Hain
Songs of Hypocrisy
Ye Duniya Agar Mil Bhi Jaaye To Kya Hai
Kyaa Miliye Aise Logon Se Jinki Fitrat Chhupi Rahe
Satirical songs
Cheen o Arab Hamaara Hindustaan Hamaara
Aasmaan Pe Hai Khuda Aur Zameen Pe Hum
Fun songs
Dil Ye Kya Cheez Hai
Chaahe Koi Khush Ho Chaahe Gaaliyaan Hazaar De
Teasing Love songs
Hum Aapki Aankhon Mein Is Dil Ko Basaa Den To
Uden Jab Jab Zulfen Teri
Khushnuma (feel good) songs
Thandi Hawaayen Lehraa Ke Aayen
Phaili Huyi Hain Sapnon Ki Baahen
Motivational/Inspirational Songs
Raat Ke Raahi Thhak Mat Jaana
Main Zindagi Ka Saath Nibhaata Chala Gaya
Mother-Child songs
Tu Mere Pyaar Ka Phool Hai
Tere Bachpan Ko Jawaani Ki Dua Deti Hoon
In addition, Sahir Sahab also wrote other genres such as qawwali, patriotic songs, devotional songs etc. A question is raised as to what is so unique about Sahir Sahab’s songs? His contemporary Urdu poets like Shakeel Badayuni, Majrooh Sultanpuri and Kaifi Azmi also wrote many genres of songs for the films. In my view, the main difference was that Sahir Sahab’s songs were an extension of his literary poetry (adabi shaayari) while the others wrote mostly lyrics for the songs. While Majrooh Sultanpuri and Kaifi Azmi rarely mixed the PWA ideology in their film songs, Sahir Sahab’s songs covered such thoughts even in some fun songs in films like ‘Taxi Driver’ (1954), ‘Funtoosh’ (1956) and ‘Pyaasa’ (1957).
We should be thankful to Sahir Sahab for joining the Hindi film industry. Had he remained away from Hindi film industry and concentrated only on the literary Urdu poetry, we would have certainly missed the range of his poetry in the Hindi film songs. Surely, he would have joined the list of the Urdu poets of pains, bitterness and sorrows like Mir Taqi Mir, Faani Badayuni, Majaaz Lucknowi, Sudarshan Faakir etc. But in this process, he would have missed ‘the poet of mass appeal’ tag.
Again, I would say that Sahir Sahab’s association with Hindi film industry perforce made him to look for the brighter side of the life. Note how he starts one of the songs in ‘Shagoon’ (1964) in a pessimistic note and ends with optimism:
zindagi zulm sahi zabr sahi gham hi sahi
dil ki fariyaad sahi rooh kaa maatam hi sahi
going on to
ham hain maayoos magar itne bhi maayoos nahin. . .
ek na ek din to yah ashkon ki ladi tootegi
ek na ek din to chhatenge ye ghamon ke baadal
ek na ek din to ujaale ki kiran phootegi
Sahir Sahab first came to Bombay (now Mumbai) in January 1946. He began his filmy career in the same year with an assignment to write songs for the film ‘Aazaadi Ki Raah Par’ under the baton of music director GD Kapoor. He wrote 3 songs for this film. (The film’s release was delayed and it got released only in 1948). After this assignment, there is a gap of about 3 years in his filmy career. When partition happened he returned to Lahore in September 1947 to search for and bring back his mother. Sometime in the middle of 1948, he had to hurriedly leave Lahore. After returning, he first came to Delhi, where he occupied himself editing an Urdu periodical for about a year. In May 1949, he came to Bombay with a resolve to become a song writer for the films.
The greatest handicap for Sahir Sahab in pursuing his career in film industry was that he was already a popular Urdu poet with his published work ‘Talkhiyaan’ (1945). The film industry is generally wary of poets’ capabilities of writing lyrics for the songs for given situations in the films. After struggling for about 2 years, he got the opportunity to write songs for the film ‘Naujawaan’ (1951) under SD Burman. The box office success of ‘Baazi’ (1951) in the same year with its hit songs gave a boost to his career in the film industry. During 1951-57, Sahir Sahab majorly worked with SD Burman (138 songs out of 218).
Sahir Ludhianvi’s ‘obsession’ to place his song writings above the contributions of singers and music directors seems to have come into open sometime in mid 1950s when he had arguments with Lata Mangeshkar on this issue. It is a moot point whether it was Lata Mangeshkar who refused to sing his songs or other way round. But the end result was that Sahir lost 9 out of 11 films because producers/directors will have Lata Mangeshkar rather than Sahir Ludhianvi [Source: Javed Akhtar on TV programme ‘Classic Legends’]. Two films which remained with him were ‘Pyaasa’ (1957) and ‘Naya Daur’ (1957) in which Lata Mangeshkar had no songs. But it was these two films which gave him the status as a song writer par excellence. Here Sahir Sahab proved his point that his songs could still become popular without Lata Mangeshkar.
However, the success of these two films also resulted in the termination of Sahir Sahab’s association with two top music directors at that time – SD Burman and OP Nayyar due to clash of egos. Again, the issue raised was that it was his songs more than the music that these two films became hits. In support of his claims, he started quoting his fees for song writings in a film one rupee above the amount agreed to be paid to the music director of that film. With his tiffs with the top playback singer and two top music directors of that time, many in the Hindi film industry must have felt at that time that Sahir Sahab committed a hara-kiri and his filmy career was doomed.
While Sahir Sahab eventually made up with Lata Mangeshkar, now it was the time for him to prove that his songs can still become popular in the films without the services of the commercially top rated music directors of that time. He roped in music director Khayyam for ‘Phir Subah Hogi’ (1958), N Dutta for ‘Dhool Ka Phool’ (1959) and Roshan for ‘Barsaat Ki Raat’ (1960). While the first film did not fare well at the box office, its songs became very popular. The other two films were super hits on the box office. In this process, Sahir Sahab not only retained his eminent position in the film industry as a song writer, he became instrumental in giving boost the sagging careers of music directors, Khayyam, Roshan and later Ravi (‘Gumraah’, 1963).
In the 1960s, he worked mainly with the second line music directors but had super hit films like ‘Hum Dono’ (1961), ‘Dil Hi To Hai’ (1963), ‘Gumraah’ (1963), ‘Mujhe Jeene Do’ (1963), ‘Taj Mahal’ (1963), ‘Kaajal’ (1965), ‘Waqt’ (1965), ‘Hamraaz’ (1967), ‘Aankhen’ (1968). Some of the films which did not fare well at the box office but their songs are remembered even today were ‘Aaj Aur Kal’ (1963), ‘Chitralekha’ (1964), ‘Ghazal’ (1964), ‘Shagoon’ (1964) and ‘Bahu Begum’ (1967).
There is no denying the fact that there is something magical in Sahir Sahab’s song writings. Most of his songs struck a chord with the audience and the listeners. My own experiences in listening to some of his songs are that his lyrics are the characteristic that first registered in my mind, for most of his songs.
There is a quote in the fashion world – the dress must follow the body and not the body following the shape of the dress. If this quote is extended to film songs, one can say that a beautiful body (lyrics) brings out the best in the dress (music). Sahir Sahab believed that it is the beautiful poetry which brings best of the music composition. He became more forthcoming in keeping his song writings ahead of the music director after the success of ‘Pyaasa’ (1957). In my view, he was not off the mark, particularly for his popular songs.
In my younger days, when I had listened to “Ye Duniya Agar Mil Bhi Jaaye To Kya Hai” and “Jinhen Naaz Hai Hind Par Wo Kahaan Hain”, the lyrics came to my attention first because they were soulful, momentarily forgetting the contributions of playback singer and the music director. The reason was that the first verse itself created interest in me to listen to the full lyrics. That SD Burman composed the orchestration with bare minimum musical instruments and Rafi sang in a soft voice are the recognition of the importance of the lyrics of these two songs. Probably, this was also the intention of Guru Dutt as a director.
“Jaane Kya Tu Ne Kahi Jaane Kya Maine Suni” brought the singer (Geeta Dutt) to the fore in my mind because of her seductive rendition. Yet, he is successful in bringing the words also in the forefront despite the fact that he had written the song on a pre-set tune. The reason is that this song has been written in short verses – mostly within 4 words. In the context of today’s world, one can say the song has been written in Whatsapp language – short yet effective to convey the message.
Even the dream sequence song, “Hum Aapki Aankhon Mein Is Dil Ko Basaa Den To” which was said to be added in the film on the insistence of film distributor/financier, the imageries used in the song for teasing are unique and remain in the mind of the listeners. This was basically a ‘relief’ song for the audience in the midst of sad and depressing theme of the film. Generally, such type of ‘addition’ of the song goes out of mind quickly but this song became unforgettable.
I will stop analysing the remaining songs of ‘Pyaasa’ at this stage. Sahir Sahab’s list of beautiful film songs is endless. In fact, one can attempt to write a separate article on each of Sahir Sahab’s films about his songs especially of his films like ‘Phir Subah Hogi’ (1958), ‘Dhool Kaa Phool’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Taj Mahal’ (1963), ‘Dil Hi To Hai’ (1963), ‘Ghazal’ (1964), ‘Chitralekha’ (1964), ‘Waqt’ (1965) etc
In the 70s, Sahir Sahab continued to be in demand but his charisma in his song writings seems to have somewhat waned. This could be because of two main reasons. First, he was basically a romantic poet and the romantic theme in the films had given way for action-oriented themes with angry man image. It appears he had a premonition about this when he first wrote the nazm “Main Pal Do Pal Ka Shaayar Hoon“.
Secondly, after the death of his mother in 1976, he seems to have lost interest in song writing. Also, his PWA friends were advising him to concentrate more on writing literary poetry. It is said that he had almost decided to reduce his commitments for song writing and concentrate more on literary poetry. However, before he could complete his films’ commitments, a massive heart attack took him away from us on October 25, 1980 at the age of 59.
Sahir Sahab’s life can be summed up in one verse of his nazm Faraar published in ‘Talkhiyaan’ (1945):
ishq naakaam sahi zindagi naakaam nahin
Sahir Sahab’s love affairs failed but he lived his life at his own terms and immensely contributed to the making of the golden era of Hindi film music. During the three decades of his association with Hindi film industry, he wrote 732 songs in 114 films worked with 30 music directors. Details are given in the table below:
| Music Director | No. of films | Total songs |
| S D Burman | 18 | 138 |
| Ravi | 19 | 131 |
| N Dutta | 17 | 109 |
| Roshan | 07 | 59 |
| Khayyam | 06 | 42 |
| Laxmikant-Pyarelal | 07 | 36 |
| R D Burman | 04 | 24 |
| O P Nayyar | 05 | 23 |
| Madan Mohan | 03 | 20 |
| Jaidev | 03 | 16* |
| Chitragupt | 02 | 13 |
| Sapan Chakravarty | 02 | 11 |
| Ravindra Jain | 02 | 10 |
| Kalyanji-Anandji | 02 | 09 |
| Anil Biswas | 02 | 07 |
| Usha Khanna | 02 | 03 |
| Other Music Directors (14) | 14 | 81 |
| TOTAL (30) | 114 | 732 |
*Note: Includes 3 songs of ‘Laila Majnu’ (1976).
[Source: List of film songs of Sahir Ludhianvi as appendix to ‘Sahir Ludhianvi – People’s Poet’ – Akshay Manwani (2013).]
It can be observed that out of 732 songs Sahir Ludhianvi wrote during his filmy career, as many as 479 songs (65%) were written for just 5 music director – S D Burman (138), Ravi (131), N Dutta (109), Roshan (59) and Khayyam (42). He had no occasion to write songs for big names like Naushad and Shankar-Jaikishan and the second line music directors like Salil Chaudhury, SN Tripathi etc.
On the occasion of 97th birth anniversary of Sahir Ludhianvi, I have chosen the song “Hum Jab Chalen To Ye Jahaan Jhoome”, the only song he wrote for the film ‘Hum Hindustani’ (1960). This is a motivational song for the youngsters and is aptly sung by Mohammed Rafi under the baton of Usha Khanna.
Video
Audio
Song – Hum Jab Chalen To Ye Jahaan Jhoome (Hum Hindustani) (1960) Singer – Mohammed Rafi, Lyrics – Sahir Ludhinavi , MD – Usha Khanna
Lyrics
hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .
hum naye jahaan ke .. paasbaan
hum nayi bahaar ke .. raazdaan
hum hanse to hans pade .. har kali
hum chalen to chal pade .. zindagi
saare nazaaron mein
phoolon mein taaron mein
hamne hi jaadu bhara
hum jab chalen to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .
hamse hai fizaaon mein .. rang-o-boo
hum hai is zameen ki .. aabroo
nadiyon ki raagini .. hamse hai
har taraf ye taazgi .. hamse hai
saare nazaaron mein
phoolon mein taaron mein
hamne hai jaadu bhara. . .
hum jab chalen to. . .
door ho gayin sabhi .. mushkilen
khinch ke paas aa gayin .. manzilen
dekh ke shabaab ke .. hausle
khud-ba-khud simat gaye .. faasle
saare nazaaron mein
phoolon mein taaron mein
hamne hi jaadu bhara. . .
hum jab chale to
ye jahaan jhoome
aarzoo hamaari
aasmaan ko choome
o ho ho ho
hum jab chalen to. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰
हम नए जहान् के ॰॰ पासबाँ
हम नई बहार के ॰॰ राज़दाँ
हम हँसें तो हंस पड़े ॰॰ हर कली
हम चलें तो चल पड़े ॰॰ ज़िंदगी
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰
हमसे है फिज़ाओं में ॰॰ रंग ओ बू
हम हैं इस ज़मीन की ॰॰ आबरू
नदियों की रागिनी ॰॰ हमसे है
हर तरफ ये ताजगी ॰॰ हमसे है
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो॰॰॰
दूर हो गईं सभी ॰॰ मुश्किलें
खिंच के पास आ गईं ॰॰ मंज़िलें
देख के शबाब के ॰॰ हौसले
खुद ब खुद सिमट गए ॰॰ फासले
सारे नज़ारों में
फूलों में तारों में
हमने है जादू भरा
हम जब चलें तो
ये जहान् झूमे
आरज़ू हमारी
आसमान को चूमे
ओ हो हो हो
हम जब चलें तो॰॰॰
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