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

Archive for the ‘Children’s song’ Category


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 : 3702 Post No. : 14625

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Discussion of Railway related matters-2
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Discussion on economics-1
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We in this blog have covered lots of HFM from all eras. While doing that, we have had lots of discussions on Hindi movies as well.

Yesterday night, and early morning today, I was thinking about the differences between Indian music and Western music, and I realised that there is considerable technical and conceptual differences between the two and the difference between the two kinds of music is something that very few people are aware of. I realised that the “western” music that we in India have brought in is not really “western” music as it is in the west. We have failed to import the spirit of western music. We have ended up introducing western instruments in India but we have failed to tap the vast richness of western music. We have ended up largely becoming a frog in the well, deluding ourselves that our music is older and richer and all that vis a vis western music, whereas the real facts are altogether different. It is a very interesting (at least to me) topic and a rather vast and somewhat involved topic as well. I hope to able to discuss it in detail when I get my thoughts sorted out on this topic.

While thinking about Indian music vis a vis Western music, my thoughts veered to movies- Indian movies vis a vis western movies. And I realised another very interesting and deeply significant difference between the two kinds of movies. This is the topic of discussion in this writeup.

When Hindi (and other Indian language) movies began to be made, the movie makers obviously wanted to make profits. Those were the days when India was quite a poor country with extremely low purchasing power per capita. Moreover, vast majority of Indians were illiterate. Under there circumstances, the movie makers decided that they needed to address each and every section of society as well as age group in their movies. Their idea was to maximise the head count for their movies and they hoped to achieve that by catering to all their “requirements”. Thus we had the situation where the movie would pack in all possible kinds of situations and scenarios, viz love, misunderstanding, separation, bedard zamaana, remonstrating with the Almight mother, cruel villain, helpless sister etc. Likewise, we have several songs in the same movie catering to the different emotion requirements of the movie.

Each and every movie tried to attract the same (real all) sections of the population. If a movie became successful, they everyone else would try to ape the contents of that movie. In short, every movie wanted to be a please all movie, and in the process it often ended up pleasing none.

There are some cases where niche market movies were made that appeals to a small portion of audience rather than entire audience, for instance religious movies. But these niche movies were made more out of financial considerations ( availability of small budget) rather than by design.

When one tried to pack in everything in every movie, then obviously the movie ended up looking like jack of all trades and master of none. So the qualities achieved by these movies were not as high as they possibly could have been had they dispensed with some of the lesser important ingredients (for instance comic side plots) and had concentrated only on the main ingredients.

When I compared Indian movies with Western movies, I found a startling difference. Western movie makers did not try to cater to every section of their population. They made movies on a particular genre and tried to cater to lovers of that particular genre only. The result was overall high quality of their movies. Even though these western movies were not targetted at the entire population, they still did big business becaue the audience there were prosperous and even smaller head count for a Western movie meant bigger amount of revenue for Western movies than say for Indian movies that attracted bigger head count. So good quality movies meant for niche market (plus prosperity of the market) meant that overall good quality movies with good budget were made in the West and that did good business.

To put it arithmetically, Indian movie makers had the LCD (least common denominator) of population in mind while making their movies while Western movie makers had the HCF (highest common factor) of population in mind while making their movies. And Western movies proved that quality products aimed at niche market can earn far more in a prosperous population that what can be earned by lesser quality product (where ceiling on quality was imposed deliberately) aimed at impoverished masses in a poor country. So Western movie makers considered market segmentation whereas Indian movie makers tried to cater to the entire population treating that as a unified market without any segmentation.

I have often likened Hindi movies to Indian Railways. And I find that Indian Railways have traditionally followed the very same policy as Hindi movie makers as far as their target audience is considered. Hindi movies try to pack in all ingredients in each and evey movie and end up with a movie that is often unsatisfactory. Indian Railways try to run all kinds of trains, viz Rajdhani, Express Trains, Passenger trains, Goods trains etc on the same track. The passenger tickets are kept artificially lower and goods fares are kept artificially high. As a result, Indian Railways ends up losing punctuality as well as revenue while running passenger trains. They also end up losing goods traffic because goods traffic switches to road which turns out to be economical for them.

Today India is not a poor country unlike in the past. India is the sixth biggest economy in the world with a nominal GDP of $ 2.8 trillions. Per capita annual GDP of $2000 may be low but it is still a vast improvement (200 times) from the past when Indian per capita annual income used to be $100 in 1960s. Using 80:20 principle, which states that 20 % popuation has 80 % of money and the rest 80 % population has the remaining 20% money, it means that today 20 % population of India has a per capita income of $8000 whereas remaining 80 % population has a per capita income of $500. So one can say that 20 % population (viz 26 crore population) of India is already reasonably well off. 26 crore population is equal to the population that Indonesia, the fourth most populous country in the world. So now it is possible for Hindi movies makers to produce movies of various genres with niche audiences as targets audience rather than seeking to attract the entire population as the target audience, because the niche audiences are now sizeable in number and they are prosperous enough.

Indeed that is happening. Many recent movies are meant for niche audience and the movie makers do not try and make all kinds of compromises that old time movie makers did in their attempt to make please all movies. And the results are quite outstanding.

Take the example of “Dangal”(2016). It is the tale of a rustic retired wrestler who wants to live his dream of wrestling glory through his daughters. He fights society that disapproves of girls taking up such activities and he subjects his daughters to lives of extreme discipline and physical exertion. Usual Hindi movies of yore woould show the girls winning their bouts rightaway after just a token exercise or two, but that is not how it is shown in this movie. The girls work hard but keep losing repeatedly and after every loss, they are made to work even harder. That is how it is in real life. In the past, such movies would not work in India. Movie watchers in the past expected their lead actors to be supermen/ supergirls who were not required to work hard. In fact Indian movies themselves rarely showed the lead actors doing any hard work, or for that matter any work at all. They would only sing songs and that is all they seemed to be doing throughout the movie.

“Dangal” (2016) was a professionally made movie and it caught the imagination of Indian public. More dramatically, it caught the imagination of movie goers in China as well, and the movie did bigger business in China than in India ! It earned more than Rs 800 crores from Chinese market !

It showed that a movie that had outstanding quality had universal appeal even beyond the traditional Indian audience and their diaspora.

That is true for Railways as well. India is at present in a situation where they can think of catering to niche markets of customers by providing them dedicated facilities. Instead of running all kinds of trains on the same track, running goods trains on a dedicated track and passenger trains of separate track would ensure that both kinds of customers would get proper attention. Work on dedicated freight corridor is in advance stages and soon we will be in a situation when goods trains will run on their own dedicated tracks and that would free up the existing Indian Railway tracks for passenger carrying trains.

Then Bullet trains are coming up as well. People who criticise this project as a wasteful exercise are like old time movie makers and old time Railway organisation who feel that all trains and all movies should be for everyone. Bullet trains have noting to do with Indian Railway. They are more like metro rails which too have nothing to do with Indian Railways. We have seen how Metro Rail has changed the face of commuter services in Delhi. Unlike Indian Railways, Metro rail have proved that it is possible to ensure that every commuter enters with a valid ticket and after proper security check. So Metro Railway has been a quantum leap in public transportation in India and it is absolutely world class. Bullet trains too will have its own track and it will have nothing to do with existing rail ntwork. Bullet train too will have Metro rail like effect. In fact Bullet train has more in common with Metro rail rather than normal trains. It competes with short duration flights and it will in fact be a more convenient option compared to flights in those sectors where they will run. It will basically ensure that places like say Ahmadabad and Mumbai would become like suburbs that one could reach in a couple of hours or so.

Just like airlines are meant for more prsperous people, bullet trains too will be for the same segment of population. as mentioned by me earlier, India have 26 crore people who are prosperous and this bullet train is meant for them. They will use it and they will pay full unsubsidised ticket price. Just because the existing Indian Railways train tickets are subsidised does not mean that all future trains and other services need to be subsidised. As mentioned earlier, India is no longer a poor third world coutry. Japan started its bullet rtrains in 1964, just before it became the first Asian country to host Olympics. Japan GDP per capita at that time was $ 840. China had its first bullet train in 2003. at that time. Chinese per capita income was $ 1289 . So these two Asian countries were poorer than India when they developed their high speed trains for the first time. And these bullet trains changed the face of these countries. Now one can reach from Beijing to Shanghai (1300 km) in a little over four hours. This distance is similar to the distance between New Delhi and Mumbai (1386 km). At present New Delhi- Mumbai Central Rajdhani takes about 16 hours to cover this distance. Just imagine this distance being covered in 5 hours ! That would shrink distance for people. This train is a success in China and such trains would succeed in India as well.

I was telling our regulars that I would discuss Railway related topics in detail in my writeups. This writeup gives me one such opportunity where I have put my views across about bullet trains. I hope rail enthusiasts among us (such as Raja, PAvinash Scrapwala, eevesie’s mom, Peevesie’s brother etc) will get some food for thougt with this writeup.

As I mentioned, it is time India stopped thinking local and started thinking global. Bullet train would be a step in that direction. “Dangal”(2016) was very much a world class movie made in India. “Bahubali” was another world class movie. These movies have earned India great respect worldwide and have enhanced Indian soft power among foreigners. When I visited Bali recently with my family, a local of Bali asked where we were from. I replied “India”. “Bahubali part two!”- that person exclaimed. 🙂

I watched “Dangal”(2016) onboard the flight on my way back from Bali. And I was suitably impressed. It is a fantastic movie that keeps one spellbound throughout. It is a professionally made movie that has an universal appeal.

Hindi movies cannot do without songs. This movie too has songs but they are background songs and they blend in nicely with the movie. I am happy that the movie makers did not consider throwing in the usual formula of yore where hero’s wife would sing a bhajan, hero would sing an inspirational song, a fakeer would sing a philosophical song and a comedian would sing a comedy song follwed by a cabarat. A movie like this would have fallen flat. Many such Dev Anand movies have fallen flat because of such reasons in the past. Fortunately Aamir Khan the producer of this movie is a professional.

The songs are quite interesting. The song under discussion is especially interesting. The lyricist Amitabh Bhattacharya has come up with fun lyrics from the point of view of the two daughters of Mahavir Singh Phogat (played by Aamir Khan). A word like “haanikarak” is what Hindi medium students use in their science class while discussing some chemicals. 🙂

The song is sung by Sarwar Khan and Satraz Khan. Music is composed by Preetam.

The song picturisation is quite good as well. Overall, a superbly created and picturised song.

With this song. “Dangal”(2016) makes its debut in the blog.


Song-Baapu sehat ke liye tu to haanikaarak hai(Dangal)(2016) Singers- Sarwar Khan, Sartaz Khan, Lyrics-Amitabh Bhattacharya, MD-Preetam

Lyrics

re bapu
re bapu
hmm
Auron pe karam, bachchon pe sitam
Re baapu mere ye zulm na kar
Auron pe karam
bachchon pe sitam
Re bapu mere ye zulm na kar
Ye zulm na kar

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

Baapu sehat ke liye
Baapu sehat ke liye
Tu toh haanikaarak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
Hum pe thhodi daya toh karo
Hum nanhe baalak hain
Hum pe thhodi daya toh karo
Hum nanhe baalak hain

Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
ham pe thhodi daya to karo
ham nanhe baalak hain
ham pe thhodi daya to karo
ham nanhe baalak hain
Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

re bapu
Tanne bola picnic shiknik jaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re baabu
Re bachcho se hi bole
Ke na karna bachpana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Re bapu!

Toffee churan khel khilone
Kulche naan paratha
Keh gaye hain tata
Jabse bapu toone daanta

Jis umar mein shobha dete
Masti sair-sapaata
Uss umar ko naap raha hai
Kyun ghadi ka kaanta

Apni kismat ki gaadi ki
Khasta haalat hai ae
Apni kismat ki gaadi ki
Khasta haalat hai

Aur humaare bapu
O aa gayo re bapu
O humare bapu
Iss gaadi ke vaahan chalak hain
Bapu sehat ke liye
tu toh haanikaarak hai

Tanne bola khatta teekha khaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re bapu
Re mitti ki gudiya se bole
Chal body bana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Hey… Re bapu
re bapu
Mmm.. tail lene gaya re bachpan
Jhad gayi phulwaari
Kar rahe hain jaane qaisi
Jang ki taiyyaari

Sote jagte chhoot rahi hai
Aansu ki pichkaari
Phir bhi khush na hua Mogambo
Hum tere balihaari

Teri nazron mein kya hum
Itne naalayak hain ae
Teri nazron mein kya hum
Itne naalayak hain

Re tujhse behtar toh o
(Manne chhod do re bapu)
Re tujhse behtar apni
Hindi filmon ke khalnaayak hain
Bapu sehat ke liye
Tu toh hanikarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!

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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 : 3686 Post No. : 14593

It is felt that changes take place slowly, especially in a country like India. Nevertheless, one cannot imagine how much India has changed in the last half a century or so. Actions that were considered acts of bravery and machismo those days are today wrong, undesirable, unhealthy, unsafe and even illegal. For instance, tiger hunters were considered saviors of humanity in India and they were respected by every one. Books written by hunters were taught in schools and colleges. Likewise felling trees and clearing space was considered a work of development and progress which was an act of nation building.

Today, killing tigers and other wild animals is illegal in India. In fact, movies showing animals must carry a disclaimer that no animals were harmed while picturising them. As for trees, entire Rail industry ran on wooden sleepers made out of trees felled on mass scale. In fact, olden steam locomotives in many countries (including India) used wood (and not coal) as fuel. Today, felling a single tree is considered a bigger crime in India than killing human beings.

Smoking was considered a macho male act. Today smoking itself is considered an unhealthy act that destoys one’s lungs and lead to cancer. Heroes are no longer shows smoking in movies unlike in the past and there too the statutory warning is required to be carried out.

In olden days, studying was good and playing was bad.

“padhoge likhoge banoge nawaab
kheloge koodoge hoge kharaab”

It was a very popular saying in India for many decades. Today of course no one believes in it. Sports have become professional and top sportsmen (often school dropouts) in lucrative sports earn such high incomes that majority of studious people can only dream about.

Likewise, government policies that were considered great those days have ended up becoming discredited. India followed socialism for the first four decades after its independence. By late 1990, this policy led to the counttry becoming virtually bankrupt and that policy has been discarded by now.

“Maalik” (1958) was directed by S M Yousuf for Sunny Art Production. The movie had Talat Mehmood, Suraiyya, Lalita Pawar, Roopmala, Jeevan, Mukri, Radhakrishen, Kumar , Jagdeep etc in it.The movie had eight songs in it. Four songs have been covered in the past. The last song from the movie was covered in 2014.

The song under question was planned by me to be discussed in 2014 itself and I had decided to make it post number 9929, to be posted in june 2014. Somehow this song did not materialise then. Now, more than four years later, here is this song from “Maalik”(1958). It is fair to say that the messages contained in the song would be considered by and large irrelevant today. 🙂

The song is sung by Asha Bhonsle and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

Only the audio of this song is available. My guess is that this song is sung by a school teacher to her pupils who enthusiastically sing along in approval. 🙂

I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Padhoge likhoge banoge nawaab (Maalik)(1958) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Asha Bhonsle + Chorus
Chorus

Lyrics

padhoge likhoge
banoge nawaab tum
banoge nawaab
jo kheloge koodoge
hoge kharaab tum
hoge kharaab
padhoge likhoge
banoge nawaab tum
banoge nawab
jo kheloge koodoge
hoge kharab tum
hoge kharab

jo bachche kabhi likhte padhte nahin
wo izzat ki seedhi pe chadhte nahin
jo bache kabhi likhte padhte nahi
wo ijjat ki sidi pe chadhte nahin

yahi din hain padhne ke padh lo kitaab
yahi din hai padhne ke padh lo kitab
padhoge likhoge banoge nawab tum banoge nawaab
jo kheloge koodoge hoge kharab tum
hoge kharaab

buraai ke raste se bach kar chalo
buraai ke raste se bach kar chalo
kabhi jhooth bolo na chori karo
kabhi jhooth bolo na chori karo
agar mar bhi jaao na peena sharab nahin peena sharab
agar mar bhi jaao na peena sharab
padhoge likhoge banoge nawab tum banoge nawaab
jo kheloge kudoge hoge kharab tum
hoge kharaab

jawaan hoke bharat mein Nehru bano
jawaan hoke bharat mein Nehru bano
tum inte bade ho ke Bapu bano
tum inte bade ho ke Bapu bano
jawaan hoke bharat mein Nehru bano
tum inte bade ho ke Bapu bano

na ho duniya bhar mein tumhaara jawaab
na ho duniya bhar mein tumhaara jawaab
padhoge likhoge banoge nawab tum
banoge nawaab
jo kheloge kudoge hoge kharaab tum
hoge kharaab


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


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


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 : 3642 Post No. : 14468

A recent anniversary that I had been preparing for – and missed on account of some travel engagements – is the remembrance day for the exceptional poet and lyricist – Bharat Vyas. He passed away in 1982, on 5th July.

The mention of this name brings to mind names of films such as ‘Chandralekha’ (1948), ‘Rim Jhim’ and ‘Saawan Aaya Re’ (both 1949), ‘Janamashtami’ and ‘Hamaara Ghar’ (both 1950), ‘Parineeta’ (1953), ‘Do Aankhen Baraah Haath’ and ‘Amar Singh Rathod’ (both 1957), also ‘Janam Janam Ke Phere’ from 1957, ‘Samraat Chandragupt’ (1958), ‘Bedard Zamaana Kya Jaane’ and ‘Goonj Uthi Shehnaai’ (1959), ‘Navrang’ and ‘Raani Roopmati’ (again 1959), ‘Angulimaal’, ‘Veer Durgadas’ and ‘Saaranga’ (all 1960), ‘Jai Chittod’ and ‘Pyaar Ki Pyaas’ (1961), ‘Kan Kan Mein Bhagwan’ (1963), ‘Boond Jo Ban Gayi Moti’ (1967) – and many more films with many a memorable song.

A career that lasted well over four decades, starting in the early 1940s. with about 1200 songs from more than 130 films. And a majority of these films, say around 70%, is an exclusive list of religious and historical films that forms a very impressive read. So yes, his specialization seems to be poetry on religious themes. Even a (then) modern dance based love story – the film ‘Cha Cha Cha’ from 1964; when the producer needed a couple of songs of traditional nature, Bharat Vyas is the poet who was called upon for this task.

I am presenting this surprisingly very fun song from a nondescript children’s film ‘Phool Aur Kaliyaan’ from (1960). When I landed at this song and started listening, it seemed to be some sort of a normal bhajan beginning, being sung by a group of young children. The earnestness and sincerity writ upon their faces as they start the singing, is very engaging. And the mind prepares itself for some wonderful bhajan to follow. But just after the introductory lines are done with, the song transforms into a hilarious entreaty to the Almighty, wherein the children are praying for a very specific boon from Him.

As the song continues, the play of emotions continues to transform from one antaraa to the next, adding more and more hilarity with every passing line. The earnestness on the faces of these children, their expressions of entreaties, and their actions to the words in the song, adds to the humor. And the listener realizes that the children are dead serious with their pleadings to the Lord. In the entire process, the children use all forms of inducement – literally following the traditional method of “साम, दाम, दंड, भेद” which is inducement by praising, by promises of alluring gifts, by threats, and by logic.

The picturization of this song is excellently imaginative. I am just continuously laughing whenever I start listening to this song. The चाचा (uncle) of the children is a tailor. The song is being performed in his work place. The children pick up miscellaneous things from around them and contrive some very peculiar instruments to create the orchestra for the music. The expressions and the fervour of their delivery has been handled extremely well by the director, and of course by the kids themselves.

As the songs gets to its closing lines, the fervour and the intensity of expressions starts to increase. Suddenly come to mind certain other bhajans, in which the picturization shows a similar amplification of fervour and music, and by experience we know – a miracle is about to happen; the statue of God will shed a flower, or a tear. Or an unconscious, near dead person will start breathing and mumbling.

The film ‘Phool Aur Kaliyan’ comes from the banner of Rajkamal Kala Mandir of Bombay, which has been the flagship banner of V Shantaram after his separation from Prabhat Studios in 1942. The film is directed by Ram Gabaale. Geet Kosh lists four songs for this film, all from the pen of Bharat Vyas. The music composition is by Pt Shivram. The singing voice is that of Charusheela, the daughter of V Shantaram from his first wife Vimalabai.

So watch and listen to this oh so engaging song, and I promise you will be smirking and laughing all the way through, to the last when the miracle occurs. Needless to say, I am verily bowled over by this song. And if any listener disagrees and is not fully satisfied, I am ready to return their money. 🙂 🙂

 

Song – Jai Jai Krishn Murari, Jai Jai Krishn Murari  (Phool Aur Kaliyan) (1960) Singer – Charusheela Shantaram, Lyrics – Bharat Vyas, MD – Pt Shivram
Chorus

Lyrics

jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

gol gol is gend ke jaise laddu khilwaayen
laddu laddu laddu
ke gol gol laddu
ke laddu khilwaayen
gol gol is gend ke jaise laddu khilwaayen
gend miley jo humko
gend miley jo humko din bhar tere gun gaayen
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

dhruv ji aur prehlad se
hum bhi baalak hain saare
dhruv ji aur prehlad se
hum bhi baalak hain saare
ik to rakshak tum ho
ik to rakshak tum ho
ik hain chacha bechaare
ik to rakshak tum ho
ik hain chacha bechaare
jai jai krishna murari
jai jai krishna murari
khel kood mein kho gai dekho
hum se gend hamaari
jai jai krishna murari
jai jai krishna murari

ik din gend tumhaari bhi
gir gai thi jamuna jal mein
naag naath ke kaise laaye
apni gend ko pal mein
ik din gend tumhaari bhi
gir gai thi jamuna jal mein
naag naath ke kaise laaye
apni gend ko pal mein
hum bhi sharan tumhaari aaye
hamri baat banaa do
dhoondh dhaandh ke kahin se bhagwan
gend hamaari la do
gend hamaari la do
gend hamaari la do

jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari
jai jai krishna murari

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

गोल गोल इस गेंद के जैसे लड्डू खिलवाएँ
लड्डू लड्डू लड्डू
के गोल गोल लड्डू
के लड्डू खिलवाएँ
गोल गोल इस गेंद के जैसे लड्डू खिलवाएँ
गेंद मिले जो हमको
गेंद मिले जो हमको
दिन भर तेरे गुण गाएँ
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

ध्रुव जी और प्रहलद से हम भी हैं बालक सारे
ध्रुव जी और प्रहलद से हम भी हैं बालक सारे
इक तो रक्षक तुम हो
इक तो रक्षक तुम हो
इक हैं चाचा बेचारे
इक तो रक्षक तुम हो
इक हैं चाचा बेचारे
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
खेल कूद में खो गई देखो
हमसे गेंद हमारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी

इक दिन गेंद तुम्हारी भी
गिर गई थी जमुना जल में
नाग नाथ के कैसे लाये
अपनी गेंद को पल में
इक दिन गेंद तुम्हारी भी
गिर गई थी जमुना जल में
नाग नाथ के कैसे लाये
अपनी गेंद को पल में
हम भी शरण तुम्हारी आए
हमरी बात बना दो
ढूंढ ढांढ के कहीं से भगवन्
गेंद हमारी ला दो
गेंद हमारी ला दो
गेंद हमारी ला दो

जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी
जय जय कृष्ण मुरारी


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 : 3624 Post No. : 14444

“Aulaad”(1954) was produced by Kuldeep Sahgal and directed by Mohan Saigal for Kuldeep Pictures, Bombay. This “social” movie had Nirupa Roy, Balraj Sahni, Usha Kiran, Arun, Prabhu, Ramesh Kapoor, Lalita Kumari, Radhakishan etc in it.

This obscure movie had six obscure songs in it. One song has been covered in the past.

Here is the second song from “Aulaad”(1954) to appear in the blog. This song is sung by Shamshad Begam and Mubarak Begam. Vishwamitra Adil is the lyricist. Music is composed by Sardar Malik.

Only the audio of this song is available. The song itself is an obscure and rare song. It is a light hearted song. From the sounds of it, the song is about two kids finding themselves alone in their home and they decide to play the game of “school school”. 🙂

It is the first and only duet sung by the pair of Shamshad Begam and Mubarak Begam as far as I can remember. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

The lyrics are quite interesting but I have failed to note down the full lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the song.


Song-Aaj gharwaale ghar nahin bhaiyya (Aulaad)(1954) Singer-Shamshad Begam, Mubarak Begam, Lyrics-Vishwamitra Adil, MD-Sardar Malik

Lyrics

Aaj gharwaale ghar nahin bhaiyya
oy Aaj gharwaale ghar nahin bhaiyya
o tata thaiyya
o taata thaiyya
?? ka bhi dar nahin bhaiyya
?? ka jee dar nahin bhaiyya
o tata thaiyya
o taata thaiyya
tata thaiyya
tata thaiyya
tata thaiyya
Aaj gharwaale ghar nahin bhaiyya

aao band bajaaye
?? tu
aao band bajaaye
aao band bajaaye
?? tu
tum aur main
nahin I and you
tum aur main
nahin I and you
laraularalu laralu
laraularalu laralu
ukkad dukkad bamba bo
assee nabbe poora sau

baazar gayi hai maiyya
o baazar gayi hai maiyya
Aaj gharwaale ghar nahin bhaiyya
o tata thaiyya
o taata thaiyya

?? ka bhi dar nahin bhaiyya
o tata thaiyya
o taata thaiyya
tata thaiyya
tata thaiyya
taata thaiyya
Aaj gharwaale ghar nahin bhaiyya

aa tujhko padhaaun A B C D
Cat maane chooha
Rat maane chooha
galat galat
chal kaan pakad
chal naak ragad
haay teacher jee badi bhool huyi
peetoon one chal
murga ban chal
murga ban
kukdu kukad koon
kukdu koon
tu kaanon mein ??
haay daiyya
haay daiyya
haay daiyya
Aaj gharwaale ghar nahin bhaiyya
o Aaj gharwaale ghar nahin bhaiyya
o tata thaiyya
o taata thaiyya
tumhe ?? ka bhi dar nahin bhaiyya
tumhe ?? ka bhi dar nahin bhaiyya
o tata thaiyya
o taata thaiyya
tata thaiyya
taata thaiyya
taata thaiyya


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


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


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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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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1147
Total Number of movies covered =4018

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