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

Archive for the ‘“Fun on Sea” song’ Category


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Today we pay tribute here on the blog to Mahendra Kapoor, one of the well-known voices of the golden era of Hindi music, on the occasion of his 9th death anniversary. There are many ways to start this tribute but, instead of “getting my eye in”, let me, Sehwag-style, straightaway go for it. By “it”, I mean the elephant in the room.

That is, why are there so many people who dislike Mahendra Kapoor’s voice? On many occasions when I’ve discussed music with other music-lovers, there have been varying opinions on Rafisaab, Kishore, Shankar Jaikishen, RD Burman and others. Most of these artistes are much-admired but there has  been the occasional detractor too. This makes for interesting debate for me, because I like to understand the rationale behind the minority contrarian view.

With Mahendra Kapoor, it seems to be just the opposite. In fact, I probably find myself now holding the minority contrarian view on him, considering the majority view of music lovers seems to not rate him much. In fact, even amongst some Atulites, there is a certain scepticism about Mahendra Kapoor. So where does this come from? And if many, knowledgeable, music-lovers share this, can they all be wrong?

Even OP Nayyar in an interview late in his life said that he didn’t exactly rate Mahendra Kapoor as a singer.  And this, from someone, who used Mahendra Kapoor fairly extensively in the mid/late 60s after being upset with Rafisaab. In fact, MK had delivered quite a few hits for OP – songs like “Mera Pyaar Wo Hai“(from ‘Ye Raat Phir Na Aayegi’, 1966), “Laakhon Hain Yahaan Dilwaale” and “Aankhon Mein Qayaamat Ke Kaajal” (from ‘Kismat’, 1968), “Andhere Mein Jo Baithe Hain” (from ‘Sambandh’, 1969), “Kamar Patli, Nazar Bijli“, “O Yaaron Ki Tamanna Hai Teri Zulfon Mein Fans Jaayen”  and “Tumhaara Chaahne Waala Khuda Ki Duniya Mein” (from ‘Kahin Din Kahin Raat’, 1968). All popular songs. In the interview, OPN made this comment in the context of missing Rafisaab, but I feel it was rather harsh on MK.

Yet, MK had a fairly successful career spanning five decades. Would that have happened if he had really not been of a certain standard?

My take on this is, each singer is different.  He has his own voice, style, range which makes him unique. This might endear him to others – or it might not, depending on the listener’s taste.  There are many who do not even like Mukesh’s singing. They consider him limited. And there are many who swear by him. So it is a matter of taste.

We could apply the same reasoning to MK too. He had his unique voice, style and range – which clearly did not appeal to some.  I think what made it much more difficult for him was the constant comparison with Rafisaab.  Invariably, it ended up making MK look like an imitator, the poor man’s Rafisaab – with the consequent aversion to his singing. In MK’s defence, this is not his fault. He was who he was, never claiming to be anywhere at the level of Rafisaab. He was very conscious of the fact that Rafisaab was in a different league altogether – MK considered him his guru. He can hardly be blamed if the composers wanted a Rafisaab clone and thought he could fit the bill.

I must mention here that when the two, MK and Rafisaab, did sing together in Aadmi (1968) for “Kaisi Haseen Aaj Bahaaron Ki Raat Hai”, MK totally held his ground. (This song was initially recorded as a Rafisaab-Talat duet, but in the film version, the playback pair was Rafisaab-MK).

And that is the point I am trying to make. I am no diehard MK fan – but I am not a critic either.  Like I’ve often said, I enjoy listening to various singers – and that includes MK. Every singer has sung excellent songs – and some not-so-good ones (at least in my humble opinion). MK is no exception. I’m no music expert, but I think the one thing that is most impressive about MK’s singing – and I hope even his critics will agree on this – was his high range. It is really astounding – he could hold his voice even at highest octaves, which even a singer of Rafisaab’s stature could not match. Just listen to “Chaand Chhupaa Aur Taare Doobey” from the 1958 film ‘Sohni Mahiwal’ and “Na Munh Chhupaa Ke Jiyo Aur Na Sar Jhukaa Ke Jiyo” from ‘Hamraaz’ in 1967, and you’ll know what I mean. Another song that comes to mind is “Ramchandra Kah Gaye Siya Se” (from ‘Gopi’, 1970). There are other songs too where this particular ability of MK was sought to be put to good use by the composers.

Talking about composers, it is hard to think of Mahendra Kapoor without thinking of Ravi. Now Ravi is another artiste who sometimes draws criticism from music lovers. But if anyone could get the most out of MK, it was certainly Ravi. Especially in BR Chopra films, the combination of Mahendra Kapoor and Ravi, with Sahir as lyricist, delivered hit after amazing hit. Songs of ‘Gumraah’ (1963) and ‘Hamraaz’ (1967), to name just two of these films, are hugely popular to this day. I used to have a cassette with songs of these two films (on the two sides) and would play it non-stop on long car journeys. To date, I can listen to the songs of these two films any number of times. Fast forward, and I would also like to mention “Dil Ki Ye Aarzoo Thi Koi Dilruba Miley” from ‘Nikaah’ (1982).

Another composer who used MK successfully is the Kalyanji Anandji duo. Manoj Kumar  often used Mahendra Kapoor as his voice, especially after the huge success of “Mere Desh Ki Dharti” (Upkaar). In fact, this is the first Mahendra Kapoor song that I remember listening to in my life. Other songs that come to mind are “Iktaara Boley” from Yaadgaar (1970), “Hai Preet Jahan Ki Reet Sada” and “Dulhan Chali O Pehan Chali” from ‘Purab Aur Paschim’ (also 1970), which were also hugely popular. In fact, except for the one Mukesh song in ‘Purab Aur Paschim’, Mahendra Kapoor was the main male playback in a film full of songs.

Manoj Kumar’s preference for Mahendra Kapoor, even in the 70s and later, when Kishore Kumar was the reigning voice, could be seen in ‘Roti Kapda Aur Makaan’ (1974) – “Aur Nahin Bas Aur Nahin” and ‘Kranti’ (1981) – “Ab Ke Baras Tujhe Dharti Ki Raani Kar Denge“. Both these films had Laxmikant-Pyarelal as composers, but Manoj Kumar preferred MK as his voice.

Apart from Hindi films, Mahendra Kapoor sang a number of songs for regional cinema. Younger generations (well, younger than those who were already familiar with MK from before the 80s) will probably remember him best for the TV serial, Mahabharat, produced by, who else but, BR Chopra.

So, whatever be anyone’s opinion of Mahendra Kapoor (and each person is entitled to his/her opinion), I will always be grateful to him for the songs of ‘Hamraaz’ and ‘Gumraah’.

Now, moving on to the song for today. This is from the film ‘Anmol Moti’ (1969), starring Jeetendra and Babita. After the phenomenal success of ‘Farz’ (1967), this was a popular pairing, especially after ‘Aulaad’ (1968) also did well. They also came together in ‘Bikhre Mot’ (1971), ‘Banphool’ (1971) and ‘Ek Haseena Do Deewaane’ (1972).

Anmol Moti (1969) is a film I remember seeing as a very young boy. In fact, I saw this film right after I saw ‘Suhaag Raat’ (1968), also starring Jeetendra. In that film, Jeetendra’s character dies at the end. So when I saw ‘Anmol Moti’, I was very confused. I remember asking my sisters how he had come back after dying. They had a jolly good laugh at my expense. 🙂

I haven’t seen this film recently but I do remember this being a film about pearl diving. It was also the first time I heard of an octopus in my life. I also remember a few songs from this film, the most famous song probably being”Ae Jaane Chaman Tera Gora Badan“. The song being posted today, “Sehmi Sehmi Kahaan Chali” was also quite popular in its time. So when I was looking for a song for Mahendra Kapoor, this one came to mind – and happened to still be available for posting. The music is by Ravi, the lyrics by Rajinder Krishan.

Enjoy this popular song from the radio listening days.


Song – Sehmi Sehmi Kahaan Chali (Anmol Moti) (1969) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishan, MD – Ravi
Chorus

Lyrics

sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
ho kabhi na kabhi to phansegi mere jaal mein

o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
ghir kar aa
baras bhi jaa
kab tak yunh tarsaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
aankh milaa
maan bhi jaa
kab tak haath na aayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein

o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
हो कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
घिर कर आ
बरस भी जा
कब तक यूं ही तरसाएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
आँख मिला
मान भी जा
कब तक हाथ ना आएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में

ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली

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It was in 1960s that Indians were first treated to views of countries outside India and the Indian audiences were left gasping at the sight of the world, viz Japan, Europe etc and the progress that they had made vis a vis India left a lasting mpression in Indian minds, not that it led to any progress or introspection among Indians. They were just happy to enjoy these foreign locales on the movie screens.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1031
Total Number of movies covered =3761

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Blog Start date: 19 july 2008

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