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

Archive for the ‘Ghazal’ Category


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4050 Post No. : 15179

shaam-e-gham ki kasam aaj ghamgeen hain ham

The evening in the first line turned into a night of sadness when I came to know from ASAD Group that Khayyam saab is no more with us. His popular songs started ringing in my ears. Those were the songs with which I have grown up from a teenager to a senior citizen. I had a disturbed sleep last night as some of his songs resonated intermittently in my mind. In the morning, I thought that the best way to get out of such feeling is to write a tributary article for Khayyam saab.

With his death, we have lost the last icon among the music directors of the golden period of Hindi film music He created his own ‘gharana’ of Hindi film music and very rarely deviated from it. The melodious songs he composed were mainly based on Hindustani classical raagas.

As I said, some of his songs were often coming to my mind. The emotional support song tum apna ranz-o-gham apni pareshaani mujhe de do was the one which gave me goosebumps. Not only Khayyam saab and Jagjit Kaur were creators of this melody, I felt that the latter was actually the emotional support system for the former. I identify wo subah kabhi to aayegi as optimistic in the midst of pessimism. I remember Khayyam saab in bahaaron mera jeevan bhi sanwaaron for its a long prelude of nearly 100 seconds of santoor, sitar and flute which created the right ambiance for Raag Pahadi based melody. Among other songs, how can I forget ye kya jagah hai doston and the ‘haunted feel’ song with pauses, ae dei-e-nadaan arzoo kya hai?

Khayyam saab who was so much committed to the quality of his musical compositions, selected only films with good story line. His musical compositions had the benefit of poetry rather than the lyrics. This is reflected in his working mostly with poets of repute like Sahir Ludhianvi, Kaifi Azmi, Jaan Nisar Akhtar, Raja Mehdi Ali Khan, Nida Fazli, Shahryar etc.

There was something for his young listeners and audiences too. Like hai kali kali ke lab par from ‘Lala Rukh’ (1958), a teasing song, jis pyaar mein ye haal ho us pyaar ki tauba from ‘Phir Subah Hogi’ (1958), a jazzy number rut jawaan jawaan raat meherbaan from ‘Aakhri Khat’ (1966), an aspiring love song, aankhon mein hamne aapke sapne sajaaye hain from ‘Thhodi Si Bewafaayi’(1980) and many more.

Coming from a highly educated family from Jalandhar, Khayyam saab could not complete even his high school studies as he was smitten by his idol, K L Saigal and Hindi films. His wish was to become an actor-singer like K L Saigal. Expelled by his father from his house for neglecting his studies, Khayyam saab came to Delhi and stayed with his uncle. Realising his nephew’s interest in music, his uncle arranged his musical training under Pandit Amarnath and his brothers, Husnlal and Bhagatram.

A filmy career which spanned over 7 decades, Khayyam saab started as an apprentice to music Director, G A Chishti in Lahore in 1945. He came to Mumbai in January 1947 with Rahman Verma who was also assisting G A Chishti. Khayyam saab sang his first song ‘dono jahaan teri mohabat mein haar ke’ a duet with Zohrabai Ambalewali under Husnlal-Bhagatram for the film ‘Romeo & Juliet’ (1947). His first film as a music director in partnership with Rehman Verma was ‘Heer Ranjha’ (1948) under the pseudo name Sharmaji-Vermaji.

The song which brought Khayyam saab into limelight was akele mein wo ghabraate to honge from ‘Biwi’ (1950), his third film. This did not help him much in his career path. ‘Footpath’ (1953) was his first film in which he gave the music under his real name, Khayyam on the advice of the film’s director, Zia Sarahadi. shaam-e-gham ki kasam aaj ghamheen hain hum from this film became very popular as a ‘blue mood’ song. Khayyam saab had revealed that he had used western symphony based interlude in this song, especially the first interlude.

The high points in musical compositions of Khayyam saab were reflected in all the songs of ‘Lala Rukh’ (1958), ‘Phir Subah Hogi’ (1958), ‘Shola Aur Shabnam (1961), ‘Shagoon’ (1964), ‘Mohabbat Isko Kehte Hai,’ (1965) and ‘Aakhri Khat’ (1966). Still the success in terms of recognition and box office alluded him. By this time, he had already spent about 2 decades in Hindi film industry but was not in the reckoning in the list of top music directors.

Sometime in the latter half of 1960s, Khayyam saab decided to take a sabbatical from Hindi film industry when he felt that the films he was being offered were not his worth. The sabbatical continued for nearly 8 years. During this period, he devoted his time and energy to compose some of his finest non-film songs among 200 odd songs. Here also he did with the top playback singers like Talat Mehmood and Mohammed Rafi. Begum Akhtar who was very close to Madan Mohan, chose Khayyam saab for composing ghazals for her LP Ghazal album in 1974.

Generally, it is said that once a film artist remains out of film industry for a long time, it is difficult for that artist to make a comeback. I think, Khayyam saab is the only among music directors who made a grand come back with the success of ‘Kabhie Kabhie’ (1976) for which he got Filmfare Award. The next feather in his cap was the outstanding music in ‘Umrao Jaan’ (1981). He was bestowed with National Award for music in this film. In his second coming, he remained active for about 10 years.

It was interesting to know that some of his best music compositions had come from films like ‘Phir Subah Hogi’ (1958), ‘Kabhie Kabhie‘(1976), Umrao Jaan’ (1981) and ‘Razia Sultan’ (1983) where he was not the first choice as a music director. How much efforts and pain he must have taken to prove his credentials to the respective producers/directors to make the music of these film extraordinaire to justify their faith in him.

I have always felt that God has been unkind to Khayyam saab. At every stage of his life – from his childhood time onward, he had to struggle for survival. It took nearly 3 decades to come under the category of a successful music director when ‘Kabhie Kabhie’ (1976) became successful. He got recognition from the film industry as well as from the Government. But his success gave him company for less than 10 years. When he had everything for his modest living, he lost his only son, Pradeep in March 2012. But Khayyam saab had no complaint against God. In almost all his interviews I had read and watched, he had always said ‘Allah ki meharbaani hai, waah Guruji ki kripa hai, Ishawar ki kripa hai’.

Khayyam saab had also composed songs for about dozen unreleased films, one of which was ‘Anjuman’ (1986). As a tribute to Khayyam saab, I am presenting one of songs from this film, ‘kab yaad mein tera saath nahin kab tera haath mein haath nahin’ which is close to my heart. This ‘Faiz Ahmed Faiz’s song is rendered by Khayyam saab and his wife, Jagjit Kaur. I think, this is the only film song which they have sung together.

I offer my condolences to the bereaved family and his friends.

Khayyam saab, you will always be with us through your melodious music.

Video Clip :

Audio Clip:

Song-Kab yaad mein tera saath nahin (Anjuman)(UR)(1986) Singers-Khayyam, Jagjit Kaur, Lyrics-Faiz Ahmad Faiz, MD-Khayyam
Both

Lyrics

kab yaad mein tera saath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin

maidaan-e-wafa darbaar nahin
jaana munsab ki poochh kahaan

maidaan-e-wafa darbaar nahin
yahaan munsab ki poochh kahaan
aashiq to kisi ka naam nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
kab yaad mein tera sath nahin
kab haath mein tera haath nahin

jis dhaj se koi maqtal mein gaya
wo shaan salaamat rahti hai
jis dhaj se koi maqtal mein gaya
wo shaan salamat rahti hai

ye jaan to aani jaani hai
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin

gar baazi ishq ki baazi hai
jo chaaho laga do dar kaisa
gar baazi ishq ki baazi hai
jo chaho laga do dar kaisa
gar jeet gaye to kya kahna
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
ab hizr ki koi raat nahin

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4033 Post No. : 15156 Movie Count :

4161

In my last article, I had discussed Nagesh Kukunoor, a NRI and a Chemical Engineer from USA, who left his lucrative job there to become a film-maker. Somnath Sen was another NRI who, after working as a Software Engineer in the U.S., decided to become a film-maker. Armed with a Master’s in film-making from the University of Southern California, he returned to India to begin his passion for film making.

Initially based in Delhi, Somnath Sen started his work in the visual media with television serials. Later, he moved to Mumbai, where he began his apprenticeship in the various fields of film-making viz, direction, screen-play, cinematography, production-coordinator etc by associating himself with films like ‘Rangeela’ (1995), ‘Raja Hindustani’ (1996), ‘Judwaa’(1997), ‘Kachche Dhaage’ (1999), and ‘Jaanam Samjha Karo’ (1999). He was also associated with documentaries, music videos, corporate films and commercials. In around 2000, Somnath Sen moved back to Los Angeles and became the Creative Head of Lemon Tree Films, a Hollywood film banner floated by two American-Indians who were in the entertainment business.

‘Leela’ (2002) was Lemon Tree Films’ first full length feature film in English which was produced in Hollywood and directed by Somnath Sen. I was neither aware of this film nor was I aware of songs in it. It was only when I was browsing through the filmography of Gulzar saab I came across this film. Luckily, the DVD of the full film is available on the internet. I watched the film and came to know that it was a Hollywood film in English, shot mostly in around Los Angeles with most of the American crew.

The film in DVD is about 100 minutes’ duration. Some of the dialogues are muted probably on the suggestions of CBFC. There are three old Hindi film songs – one each from ‘Junglee’, ‘Jaanwar’ and Kohra’ played in the films (got the names from the credit titles) during some occasions but these are also muted either partly or fully probably on copyright issues.

The theme of the film is broadly the same as that of Nagesh Kukunoor’s ‘Hyderabad Blues’ (1998). However, there is subtle difference in the sense that while ‘Hyderabad Blues’ (1998) highlights the identity crisis faced by a returning NRI in India, ‘Leela’ (2002) is about the identity crisis experienced by an American-Indian teenage son of a NRI couple settled in the USA and a visiting professor from India to the USA. The film also portrays as to how the rules of moral conduct in India get diluted once NRIs spend long period of stay in the USA yet they remain engraved to some extent in them.

The story of ‘Leela’ (2002) revolves around two couples – one the Mumbai-based and the other the Los Angeles based. Leela (Dimple Kapadia) is a professor at the University of Bombay. Her husband, Nashaad (Vinod Khanna) is a poet-singer. Leela is not happy with marital life as her husband is a womaniser. However, separation from her husband is not in her mind as she still loves him.

The film starts with a funeral of Leela’s mother shot in Madh Island (This, with Leela travelling to Mumbai airport are the only scene from the film shot in India). Leela is depressed because of her mother’s death. Additionally, she also feels that she has lost her identity to her husband as she is more known as the wife of the poet Nashaad than a professor. She gets a timely offer from University of Southern California as a visiting professor on the subject of heritage of South Asian countries in a college. She accepts the offer and departs to her new abode to find her own space leaving her husband behind.

Once in the U.S., Leela meets Krishna who is known as Kris (Amol Mhatre, an American-Indian actor) among his friends. He is one of the students in her class. This 18-year boy comes from a broken family and is torn between two cultures, as he was born in the States to parents who immigrated from India. He has been brought up by single mother, Chaitali (Deepti Naval) a divorcee whose ex-husband, Jai (Gulshan Grover) stays with his American girl friend. When Leela befriends Kris’s mother, Chaitali, another professor in the same college, Leela comes to realise that there is much that she can learn about herself from Chaitali. She finds herself exploring the real meaning of freedom.

After some initial hesitation, Kris becomes close to Leela. He starts visiting Leela’s house to learnt more about Indian heritage. He also gets to know about Hindustani classical music and learns to play Sarod. Over a period of time, Kris’s constant meeting with Leela turns into his infatuation of her. Leela discovers herself in a way that would not have fit in the Indian moral code. She starts spending time with Kris. Despite the age difference, it is a meaningful relationship for the two – Leela looking for freedom and Kris getting to know about his Indian heritage.

The story takes a dramatic turn when Kris comes to know that her mother has an affair with an American man. It was a great shock to him. He leaves the house and his father arranges for him a separate house to stay. Around the same time, Leela on a telephonic talk with Nashaad, comes to know that he has a woman in his house. In a fit of anger, she bangs the telephone and remove the cord as she is in no mood to listen to Nashaad’s excuses. At this point, Kris visits Leela’s house and finds her in very bad mood. Both Kris and Leela are emotionally at the venerable situations. Both need each other for solace. At this juncture, both finds in each other’s arms and inevitable happens.

This incidence stains the relationship between Leela and Chaitali. She develops contempt for Leela. In the meanwhile, Nashaad who is worried about the strange behaviour of Leela, decides to accept an offer for his concert tour in the USA. He visits Leela’s house who shares her guilt with Nashaad of her ‘one-night stand’ with Kris. Nashaad is not perturbed by this news. On the contrary, he consoles Leela and at the same time chats with Kris. They became friends. In one of Nashaad’s private concerts, Kris even plays guitar as accompanying musician. After the end of his concert tour, Leela decides to return to India with Nashaad. The film ends with Kris at the departure gate of Los Angeles airport giving his cap to Nashaad as a memento. In return, Nashaad puts his folded shawl on the shoulder of Kris.

As told by director, Somnath Sen in one of his interviews, ‘Leela’ (2002) is a Hollywood film with a soul of a Bollywood. The elements of Bollywood are represented by Hindi songs of different genres – classical, Gujarati garba, Punjabi folk, ghazals and light music. More importantly, the film has a happy ending.

The film was a box office disaster. As per the Box Office India report, the film was made at a total cost of around Rs.2.25 crore. But world-wide, the film could garner about half of the cost of the film. The film was critically acclaimed in the US reviews but Indian reviews were not kind to the film.

The highlight of the film is the brilliant music given by Jagjit Singh (5 songs) and Shantanu Moitra (2 songs). I am presenting one of the songs ‘khumaar-e-gham hai mahekti fiza mein jeete hain’ which is a ghazal composed and sung by Jagjit Singh. The ghazal is written by Gulzar. All the she’rs of the ghazal sum up the relationship between Nashaad and Leela.

A video clip of the song made from short clips of the various scenes from the film is available on the internet, I feel that this is not the original video clip because I have seen these scenes in the film in the different context. My gut feeling says that this song was picturized on Nashaad (Vinod Khanna) during a get together with his fans in the USA. There is a scene in the film of get-together in which Nashaad’s fans request him to sing a ghazal. But the next scene jumps to Leela’s house. Probably, this song must have been deleted from film’s DVD which was released in 2006.

This lovely ghazal of Gulzar in the silken voice of Jagjit Singh fits very well to what English poet P B Shelly had said – ‘our sweetest songs are those that tell of saddest thought’.

Video Clip :

Audio Clip :

Song-Khumaar e gham hai mahakti fizaa mein jeete hain(Leela)(2002) Singer-Jagjit singh, Lyrics-Gulzar, MD-Jagjit Singh

Lyrics(Based on Audio Clip)

khumaar-e-gham hai mahekti fiza mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

bade ittefaaq se milte hain milne waale mujhe
bade ittefaaq se milte hain milne waale mujhe
wo mere dost hain teri wafa mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

firaaq-e-yaar mein saanson ko roke rakhte hain
firaaq-e-yaar mein saanson ko roke rakhte hain
har ek lamha guzarti qaza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

na baat poori huyi thhi ke raat toot gayi
na baat poori huyi thhi ke raat toot gayi
adhoore khwaab ki aadhi saza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain

tumhaari baaton mein koi maseeha basta hai
tumhaari baaton mein koi maseeha basta hai
haseen labon se barasti shaba mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3999 Post No. : 15098

Saga Of Sleepless Nights – 5
– – – – – – – – – – – – – – –

un aankhon mein neend kahaan
jin aankhon se preetam door basey. . .

It was October of 2017, a year and 8 months ago. The previous episode of this series was posted then. After that – this long gap. There have been many a sleepless nights in the intervening months. Yet, somehow I could not get back into the groove with this series. And actually, and inadvertently I should say, two songs that I was saving for this series, got posted otherwise, depleting my list of song. Anyhow, not an issue – the wealth of the Hindi film song still will reveal more songs for this category. 🙂

‘Ek Masoom’, a film from 1969, appears to be a film that likely took some time to get going, get completed and released. This film was rare and unavailable for decades, and it has been recently unearthed and then made available in public domain.

It is a lesser known film of Tanuja, who is paired opposite to a gentleman named Salim Durrani. Yes, the name sounds very familiar, but this gentleman is not the India’s cricketing great, as even I had jumped to conclude first time when I read this name. The cricketer Salim Durrani has appeared in one film – BR Ishaara’s ‘Charitraheen’ (1973). The Salim Durrani appearing in ‘Ek Masoom’ is a different person. From checking the Geet Kosh, it seems that this film is the only one in which this non-cricketer Salim Durrani has appeared, just like his cricketing namesake.

The story of this film is the theme of same-face-confusion. A mix up is caused when two individuals who look exactly alike, happen to inadvertently wander into the life space of one another. One of the characters has links to the world of crime. And so, the mix up results in some predictable situations, where one individual is arrested for the crimes of the other. The matters reach the court, and are finally settled when both of them eventually reach the courtroom at the same time, come face to face with each other, and mix up is sorted out.

Of course, in the interim, the lives of the people connected with this same-face duo, become topsy turvy. The gentleman who is the straight and shareef person, is the love interest of Tanuja. But when the suspicions are cast on his actions and his character, misunderstandings are created, bringing agony to the lady.

This song is the result of that agony Tanuja is undergoing, spending sleepless nights – awaiting for some sign of good hope that may dispel her apprehensions, and clear the air around the man she loves.

And so the refrain from the poet –

jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya

 The sleepless nights bother those hearts that are torn asunder with the storms of emotions and anxiety. These storms will keep one awake. Thoughts of what could have been and what may possibly happen, rage through the mind. And the sleep – it is far, far away from the eyes.

Another sleepless night. And another song of sleepless nights.

Song – Jo Na Poore Hon Un Armaanon Ne Soney Na Diya  (Ek Masoom) (1969) Singers – Asha Bhosle, Lyrics – Fareed Tonki, MD – N Dutta

Lyrics

jo na poore hon un armaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

har ghadi tere khayaalon ne rulaaya mujhko
har ghadi tere khayaalon ne rulaaya mujhko
din to kya shab ko bhi
deewaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya

jo na poore hon

yaad jab bhi teri aai to phir aati hi gayi
yaad jab bhi teri aai to phir aati hi gayi
lakh chaaha magar afsaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

jo tadapte hain wo tadpa bhi diya karte hain
jo tadapte hain wo tadpa bhi diya karte hain
raat bhar shamma ko parwaanon ne soney na diya
dil mein uth’te huye toofaanon ne soney na diya
jo na poore hon un armaanon ne soney na diya
jo na poore hon

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

जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

हर घड़ी तेरे ख्यालों ने रुलाया मुझको
हर घड़ी तेरे ख्यालों ने रुलाया मुझको
दिन तो क्या शब को भी
दीवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

याद जब भी तेरी आई तो फिर आती ही गई
याद जब भी तेरी आई तो फिर आती ही गई
लाख चाहा मगर अफसानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों

जो तड़पते हैं वो तड़पा भी दिया करते हैं
जो तड़पते हैं वो तड़पा भी दिया करते हैं
रात भर शम्मा को परवानों ने सोने ना दिया
दिल में उठते हुये तूफानों ने सोने ना दिया
जो ना पूरे हों उन अरमानों ने सोने ना दिया
जो ना पूरे हों


This article is written by Nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3997 Post No. : 15093

Mohammed Rafi : The Incomparable (II) – Song No. 12
———————————————————-

This particular ghazal, as some other Mirza Ghalib ghazals, has been sung by various singers.  Some of the famous renditions by KL Sehgal Sb, Suraiyya and also by Jaddanbai are already posted in the blog:

https://atulsongaday.me/2012/11/20/nuktaa-cheen-hai-gham-e-dil/      KL Sehgal (‘Yahudi Ki Ladki’, 1933)

https://atulsongaday.me/2010/04/17/nukta-cheen-hai-gham-e-dil/        Jaddanbai (Non-Film song, 1930)

https://atulsongaday.me/2011/03/13/nukta-cheen-hai-gham-e-dil-2/         Suraiyya  (‘Mirza Ghalib’, 1954)

Another rendition of the golden era is yet to find its way into the blog, so here is the Rafi Sahab rendition.  This is a very small simple ghazal with only the four sha’irs being rendered.

The starting word is ‘nuktaa cheen’, which means to be critical or criticism of something or someone.  The word ‘nuktaa’  in common urdu actually means ‘a point” or ‘a dot’.  In geometry it used to be ‘nukta alif’ to ‘nukta bey” as in point A to point B.

Nukta cheeni as being critical of someone or something, ably comes out in this sha’ir by Qateel Shifai :

wohi to sab se zyada hain nukta cheen mera
jo muskura ke hamesha gale lagaye mujhe 

Here the word is used in the sense of ‘being critical of someone”.  But Ghalib says “nuktaa cheen hai gham-e-dil”, he means to use the word in the other English meaning of the word i.e. cirtical, as in serious ill or a critical condition of health.  I have always felt like this about this sha’ir.  Did Ghalib have knowledge of the English word for ‘nukta-cheeni’ and also its another usage, i.e. critical ?  Who can say!  It is more likely that ‘nukta cheen’ is a Persian origin word meaning critical, as in health condition.

Actually this blog has quite a few anecdotes about Mirza Ghalib recorded in the write-ups and comments. Those who wish to know more can read the comments on this page : https://atulsongaday.me/2011/02/23/aah-ko-chaahiye-ik-umr-asar-honey-tak/  including anecdote regarding this sha’ir :

banaa hai shah ka musaahib phire hai itraata
w
agarna shehar mein ghalib ki aabroo kya hai

 Also a few more things that I can recite from memory high lighting the legendary poets talent for ‘fil-ba-dih” replies  i.e. quid pro que replies, what we mean when we say tit-for-tat.

Once Ghalib was taking a walk in the garden with the Emperor (Bahadur Shah Zafar) a few days after the holy month of Ramazaan.  The Emperor asks him “Roze kitne rakkhe ?”.

Ghalib who is known for not observing the religious obligations, was ready with his reply “huzur, ek nahi rakkha”.  Perfect example of telling the truth yet not saying it.

Mirza Ghalib was said to be very fond of mangoes.  Once he was sitting down with friends and eating mangoes to the heart’s content.  They all kept eating the mangoes and throwing the peel (chhilka) to one side.  One among them who didn’t like mangoes was not eating.  Some donkeys happened by and they made towards the mango peels, but did not eat them.  The person who was not eating the mangoes, took the opportunity to ridicule the others including Ghalib, saying that “ke dekho aam to gadhe bhi nahin khaate”.  To this Ghalib had the last word saying “gadhe hi aam nahin khaate”.

It has now been a few years since I had any meaningful, at length discussion with my cousins, uncles or even friends in live discussions.  Since we grew up and became responsible persons in our lives, we all seem to meet on occasions, for a few short hours or days if we are lucky.  And since most of my cousins are staying abroad, and lone friend from my school days is staying in faraway place, I miss this type of discussions.

It’s really funny how some conceptions or misconceptions are formed in mind and are difficult to dislodge. There are a few such instances related to words, where I carried misconceptions that were later corrected.  One was about the Urdu word ‘habshi’ (meaning – a person belonging to the Habsh tribe of North Africa, a dark coloured person).  I read the word as ‘Jashi”, since both words have the same formation as written in Urdu, except for placement of the dot below the alphabets. the ‘hai in ‘habshi’ is the same in the word as ‘jeem’, except for the dot below ‘jeem’. Actually the dot below the next alphabet ‘be’ may have looked like it below ‘hai’ and I read it as ‘jeem’ and read the word as ‘jashi’ to begin with, and the first impression stuck.

It was as late as 1981, when the film ‘Razia Sultan’ was released, and I became aware of my mistake.  My elder sister had a hearty laugh at that time and she told the joke to her friends too. 🙂

Next such thing happened to me with the song “Mera Mann Tera Pyaasa” from Gambler (1971). In this song there is this stanza :

 

zindagi hai meri ik daao
tu hai haar jeet meri
aise waise jaise bhi tu khel ham se
jaisi marzi teri …..

This is one of my favourite Rafi/SDB song, but I thought the lines were:

zindagi hai meri ik daao
tu hai ‘haathhi’ meri

It must have been as late as 2003-04 when I was disabused of the fact that the word was ‘haar jeet’ and not ‘haathi’, by my friends in office.  I took pain to explain how I could have thought of a ‘haathi’ in this line, mainly that since there is daao in first line, it can be a chess game and hence the haathi !  The friends managed not to double over with mirth 🙂 .

Having come to this song, I can leave it without quoting the last stanza :

pataa nahin kaun hoon main
kyaa hoon aur kahaan mujhe jaanaa
apni wo kahaani jo ajaani
ho ke ban gayi, fasaanaa
jeewan kyaa hai, tamaashaa
meraa man tera. . .

Here is this non-film ghazal rendered by Mohammed Rafi Sahab, which is composed by Khayyaam. Each and every word is rising from the throat as rose petals, falling on water – so light and slow, floating in the air first and resting on the water to swim.

This voice – a gift from the Almighty and a favour for mankind. . .

[Ed Note: This recording is from the LP released by HMV in 1967 on the occasion of the birth centenary celebrations of Mirza Ghalib. This is a very special LP – music by Khayyaam, singing voices of Begum Akhtar and Rafi Sb, narration by Kaifi Azmi and sleeve notes prepared by Ali Sardar Jafri. In current times, this LP has become a collector’s item.]

Song – Nukta-cheen Hai Gham e Dil, Us Ko Sunaaye Na Baney (NFS – Mohammed Rafi) (1967) Singer – Mohammed Rafi, Lyrics – Ghalib (Traditional), MD – Khayyaam

Lyrics 

nuktaa-cheen hai gham-e-dil
us ko sunaaye na baney ea ea
kya baney baat jahaan
baat banaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

khel samjha hai kahin
chhod na de bhool na jaaye
kaash yoon bhi ho ke 
bin mere sataaye na baney ea ea
kaash yoon bhi ho ke

bojh wo sar se giraa hai ea
ke utthaaye na utthe ea ea
kaam wo aan padaa hai
ke banaaye na baney ea ea
kaam wo aan pada hai

ishq par zor nahi  
hai ye wo aatish ghaalib
ke lagaaye na lagey
aur bujhaaye na baney ea ea
ke lagaaye na lagey
aur bujhaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-

नुकता चीं है ग़म-ए-दिल
उस को सुनाये न बने ए ए
क्या बने बात जहां
बात बनाए न बने ए ए
नुक़ता चीं है ग़म-ए-दिल

खेल समझा है कहीं
छोड़ न दे भूल न जाए
काश यूँ भी हो के
बिन मेरे सताये न बने ए ए
काश यूँ भी हो के

बोझ वो सर से गिरा है ए
के उठाये न ऊठे ए ए
काम वो आन पड़ा है
के बनाए न बने ए ए
काम वो आन पड़ा है

इश्क़ पर ज़ोर नहीं
है ये वो आतिश ग़ालिब
के लगाए न लगे
और बुझाए न बने ए ए
के लगाए न लगे
और बुझाए न बने ए ए
नुकता चीं है ग़म-ए-दिल


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3949 Post No. : 15025

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Blog 10-Year Challenge (2009-19) – Song No. 31
——————————————————————————————

Aah, the heady days of a decade before. Posting six songs was quite the norm. On 11th May, the following films got represented on the blog.

Mashaal

1950
Hamraaz 1967
Aankhen 1968
Parichay 1972
Ghar 1978
Nikaah

1982

Believe it or not, except for ‘Ghar’, all the remaining films made their debut on the blog that day. As I check the record of the films over the intervening years, five of the films have completed their tenure, and all their songs are now showcased here. Just one of these films has not yet been yippeee’d. And that is ‘Nikaah’ from 1982.

When ‘Nikaah’ hit the theatres in 1982, it did create a popular flutter. The doe eyed Salma Agha caught the fancy of the audiences early on. For a brief time, she was quite a rage. Then, the second quality of this film, that drew crowds and appreciation, was the music and the songs. Practically all the songs were hits, and have enjoyed lasting popularity and appeal.

The film has six songs, and four of them have already occupied their places on the blog. Browsing the list, one is once again struck with wonderment and praise, for the songs are –

Beete Huye Lamhon Ki Kasak Saath To Hogi
Dil Ke Armaan Aansuon Mein Beh Gaye
Fazaa Bhi Hai Jawaan Jawaan
Dil Ki Ye Aarzoo Thhi Koi Dilruba Miley

Fabulous songs, each one of them. Now about the remaining songs of this film. There is one qawwaali song, which is more or less incidental in the film. It is the other remaining song that is notable, unique and having its own claim to fame.

Ghulam Ali does not need any introduction to the readers. This phenomenal singer, was quite a rage in India during the 1980s and 90s. Even today, his performances are enthralling and much awaited. It is quite sad that his performance trips to India have become a victim of politics.

When this film was released, it was acknowledged that BR Chopra had accomplished almost a coup, in being successful to have a song, a ghazal actually, sung by this popular and legendary singer, included in the film. I am not sure, but perhaps this is the only instance of Ghulam Ali’s voice being a part of a Hindi film.
[Ed Note: Based on the inputs received from Anekant ji and Sadanand ji, in the comments section below – certainly this song is not the only instance of Ghulam Ali singing for Hindi films. Thanks to both for this important update. 🙂 ]

And so, as I was checking the details, I was quite taken by surprise that this song is not yet posted here on our blog. Well, today, it comes on board.

For its times, this film was a bold statement addressing social issues relating to marriage and divorce in the Muslim community. The predicament of the lady getting a raw deal in life at the hands of a whimsical male partner, whose bizarre behavior and fanciful decisions are quite supported by the norms of the society, completely unmindful of the traumatizing consequences on the mind and the psyche of the lady – and all that, for no fault of hers.

This famous ghazal, which has been one of the all time favorites outside of the film domain, is penned by Maulaana Hasrat Mohaani.
[Ed Note: Sadanand ji further informs us that this ghazal as a non-filmi creation, is also sung by Jagjit Singh for the the TV Serial ‘Kahkashaan’ (1992) produced by Ali Sardar Jaffrey. That version is already posted on our blog at “Chupke Chupke Raat Din. . .“, by Sadanand ji himself. That post also includes a detailed bio-sketch of the poet, Maulaana Hasrat Mohaani – a very interesting read. Thanks Sadanand ji.]

The music composition is by Ghulam Ali himself. The complete ghazal is of course much longer, and there are various variations in different live performances and other recordings. In the film, only two she’rs are included. There are versions of this ghazal as being in the film, which are apparently longer with more couplets, but those are the handiwork of technology only. Some folks have uploaded longer versions, which are copy-paste extensions of the visual clips, overlaid with additional audio, giving an impression of a longer song in the film. But watching with little attention, one can make out that it is a fake.

On screen, this rendition is performed by the gramophone player. Deepak Prashar, having dismissed and divorced his wife, Salma Agha, is having bouts of depressive regrets, and he misses her. If I recall rightly, it is his birthday celebration, and he invites Salma. In this clip it is cake that we encounter first. Then we see a weepy Deepak listening to this ghazal, as it plays on a gramophone in the room. Salma makes an entry, unnoticed by Deepak, and she witnesses the pain of loss and regret that Deepak is exhibiting. Rest, as part of the story, to be discussed another time.

A salute to this legendary singer from across the border, who has a very solid grounding and training in the Hindustani classical music. And this post brings this popular film to being one short of having all its songs posted here. So the yippee-dom announcement should not be too far off now. 🙂

 


Song – Chupke Chupke Raat Din Aansoo Bahaana Yaad Hai (Nikaan) (1982) Singer – Ghulam Ali, Lyrics – Maulaana Hasrat Mohaani, MD – Ghulam Ali
Chorus

Lyrics

hmmm mmmm mmmm mmmmmm
aaa aaaa aaaaaa
hmmm mmmm mmmm mmmmmm

chupke chupke raat din
aansoo bahaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

khench lena wo mera
parde ka kona daf-attan
khench lena wo mera
parde ka kona daf-attan
aur dupatte se wo tera
munh chhupaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

dopehar ki dhoop mein
mere bulaane ke liye
dopehar kid hoop mein
mere bulaane ke liye
wo tera kothe pe
nange paanv aana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

hmmmmm hmmmmmm hmmm hmmm hmmm
aaaa aaaa aaaa
hmmmmm hmmmmmm
hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
hmmmm hmmmm hmmm
hmmmm hmmmm hmmm

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

हम्मम म्ममम म्ममम म्मममममम
आs आsss आsssss
हम्मम म्ममम म्ममम म्मममममम

चुपके चुपके रात दिन
आँसू बहाना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
और दुपट्टे से वो तेरा
मुंह छुपाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

दोपहर की धूप में
मेरे बुलाने के लिए
दोपहर की धूप में
मेरे बुलाने के लिए
वो तेरा कोठे पे
नंगे पाँव आना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

हम्मममम हम्ममममम हम्मम हम्मम हम्मम
आss आss आsss
हम्मममम हम्ममममम
हम्मम हम्ममम हम्ममम
हम्मम हम्ममम हम्ममम
हम्मममम हम्ममम हम्मम
हम्मममम हम्ममम हम्मम

 

 


This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3874 Post No. : 14895

Mohammed Rafi : The Incomparable (II) – Song No. 07
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I remember during the radio days, whenever a non filmy song programme would start, we would shut down the radio.  Now it was time to play or to do some study seriously or even watch TV.  The time for all of these things was limited.  Entertainment was available only on its time with fixed hours and no more, because even if we were free the friends will be called home and play time was over.  Time spend with friends in the colony playing or just doing gup-shup was precious.

One Doordarshan showed, programs in English, Marathi and Gujarati in variety of topics, kids shows, game & sports, filmy shows, quiz shows, songs etc.  There used to be a program even for farmers called ‘Aamchi Maati Aamchi Manasa” (Our Soil and Our People).  Childrens shows such as ‘Aao Maare Saathe’ and ‘Santa Kukdi’ are there in the memory.  Shows like Sabira Merchants ‘Whats the Good Word’ and Tabassum’s ‘Phool Khile Hain Gulshan Gulshan’ and some shows by Yaqub Saeed are also in the recesses of deep memory.

Now everything is available anytime anywhere, with no fixed hours.  Unlimited everything and I am back to the same theme of technology being good, but too much dependence on it is not so good.  Its advancement are there for the human use, but what is happening all around is the other way round.  The technology of internet /wi-fi is occupying the total collective human waking time and imagination.  In fact there is nothing left to imagination, all of it is on display, so to speak.

Now back to what I was saying in the first paragraph.  So sugam sangeet and anyhting non-filmy was a no-go zone as far as I can remember.  I think it was my older sister who found those geet/songs drama shows like ‘Hawal Mahal’ etc. boring.  So Vividh Bharati and All India Radio Urdu Service, both were only used to … listen to film songs. 🙂  Now I realise that this way I missed out on the non-film songs of various singers including those of Rafi Sb.  Even Radio Ceylon was only for Binaca Geet Mala, and nothing else.  So I had zero exposure of non film songs till those private videos started on television, for popularising the private music albums.  Since my association with the blog I have learnt to appreciate the non-film songs and geets a lot better.

This post is to revive a series on Rafi Sb which I had started in 2016. The last post (no. 6) appeared in the blog on 31.07.2016, which was song No. 06 – Hum To Chale Pardes Hum Pardesi Ho Gaye.

Now his song no. 07 is a non-film ghazal which is written by Mirza Ghalib and composed by Khayyaam Sb.  And rendition is by the one and only Rafi Sb.  This is taken from the LP ‘Ghalib – Portrait of a Genius’, which was released by HMV in 1968 on the occasion of the birth centenary celebrations of this poet genius.

This is a popular ghazal and there are many renditions by other singers too.  They seem to have been circumspect in selecting the ‘asha’ar’ to include in the rendition as have Khayyaam and Rafi Sb.  This ghazal was made popular also by Gulzar Sahab, when he used a sha’ir from this ghazal for the mukhda of the song ‘Dil Dhoondta Hai Phir Wohi‘ in ‘Mausam’ (1975).

About the rendition what can one say that has not been said before.  Words are inadequate as the listeners can listen and realise.


Song – Muddat Hui Hai Yaar Ko Mehmaan Kiye Huye (NFS) (1968) Singer – Mohammed Rafi, Lyrics – Mirza Ghalib, MD – Khayyaam

Lyrics

muddat hui hai yaar ko mehmaan kiye huye..ea
josh-e-qadah se bazm charaghaan kiye huye..ea
muddat hui hai yaar ko. . .

maange hai phir kisi ko lab-e-baam par hawas 
maange hai phir kisi ko lab-e-baam par hawas 
zulf-e-siyaah rukh pe pareshaan kiye huye..ea
zulf-e-siyaah rukh pe. . .

ik nau bahaar-e-naaz ko taake hai phir nigaah
chehra farogh-e-mai se gulistaan kiye huye..ea
chehra farogh-e-mai se. . .

ji dhoondhtaa hai phir wohi fursat ke raat din
ji dhoondhtaa hai phir wohi fursat ke raat din
baitthe rahe tasavvur-e-jaanan kiye huye..ea
baitthe rahe tasavvur-e. . .

‘Ghalib’ hamen na chhed ke phir josh-e-ashk se..ea
baitthe hain ham tahaiyya-e-toofan kiye huye..ea

muddat hui hai yaar ko mehmaan kiye huye..ea..ea

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

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए
जोश ए क़दाह से बज़्म चरागां किए हुये॰॰ए
मुद्दत हुई है यार को॰ ॰ ॰

मांगे है फिर किसी को लब ए बाम पर हवस
मांगे है फिर किसी को लब ए बाम पर हवस
ज़ुल्फ ए सियाह रुख पे परेशान किए हुये॰॰ए
ज़ुल्फ ए सियाह रुख पे॰ ॰ ॰

इक नौबहार ए नाज़ को ताके है फिर निगाह
चेहरा फ़रोग़ ए मय से गुलिस्ताँ किए किए हुये॰॰ए
चेहरा फ़रोग़ ए मय से॰ ॰ ॰

जी ढूँढता है फिर वही फुर्सत के रात दिन
जी ढूँढता है फिर वही फुर्सत के रात दिन
बैठे रहे तसव्वुर ए जानां किए हुये॰॰ए
बैठे रहे तसव्वुर ए॰ ॰ ॰

ग़ालिब हमें ना छेड़ के फिर जोश ए अश्क से॰॰ए
बैठे हैं हम तहइय्या ए तूफाँ किए हुये॰॰ए

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए॰॰ए


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3873 Post No. : 14892

Today (24 february 2019) is the 95th birth anniversary of Talat Mehmood (24 February 1924-9 May 1998).

Talat Mehmood sang some 450 songs in all which includes HFM as well as NF songs. This blog contains 377 of his songs. So we are only about 70 odd songs short of covering all Talat Mehmood songs in the blog.

Today, on this occasion, here is a non film song of Talat Mehmood. Like most NFS, this song too has superb lyrics which are penned by Jigar Muradabadi. The song is composed by Iqbal. The date of release in not known, and I have assumed it to be 1960.

This is a Talat Mehmood song that I heard for the first time only just now, when I realised that today was Talat Mehmood birth anniversary.

Lots of me to Ghazal singers came up on the scene in later decades, but it is Talat Mehmood was the original pioneer of this genre of songs. And it can safely be said that few other ghazal singers can cast a spell over their listeners as Talat Mehmood can. Here is this ghazal as a ready proof.


Song-Bekaif dil hai aur jiye ja raha hoon main(Talat Mehmood NFS)(1960) Singer-Talat Mehmood, Lyrics-Jigar Moradabadi, MD-Iqbal

Lyrics

Bekaif dil hai aur
jiye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
Bekaif dil hai ae

majboori e kamaal e muhabbat to dekhna aa aa
majboori e kamaal e muhabbat to dekhna aa aa
jeena nahin qubool
jiye jaa raha hoon main aen
Bekaif dil hai ae

wo dil kahaan hai
abke jise pyaar keejiye ae ae
wo dil kahaan hai
abke jise pyaar keejiye ae ae
majbooriyaan hain
saath diye ja raha hoon main aen
Bekaif dil hai ae ae

pehle sharaab jist thhi
ab jist hai sharaab
pehle sharaab jist thhi
ab jist hai sharaab
koi pila raha hai
piye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
Bekaif dil hai ae ae


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3809 Post No. : 14805

I am presenting a non-filmi ghazal recorded sometime in the early 1940s which I had heard a few years back. But after a long gap, this ghazal resurfaced when I was looking for information on the music director Chitta Roy in the context of one of the songs, aayi jawaani aayi aayi composed by him. The ghazal is ‘gham-e-zindagi kaa yaa rab na milaa koi kinaaraa’ (1940) sung by Talat Mehmood. Chitta Roy composed the music for this ghazal. The shaayar of this ghazal has been mentioned as I A Minai or Idris A Minai, a name I heard for the first time.

Despite searching extensively on the internet, I could not get even the basic information about Idris A Minai. A Google search on him gave information mostly about Ameer Minai, a well-known classical Urdu poet of the 19th century whom the current generation of fans of ghazals identify with his popular ghazals like ‘sarakati jaaye re rukh se naqaab aahista aahsta’ and ‘jab se bulbul tu ne do tinke liye’. There was, however, one name ‘Khalid Minai’ which appeared on a Google search as a Facebook page. A surprise was in store for me when I opened the page. Khalid Minai was none other than Idris A Minai who had adopted ‘Khalid’ as his nom de plume. The Facebook page, started by his son on the occasion of his 100th birth anniversary has a detailed biography of Idris A Minai. I have majorly edited his biography from the Facebook page – Khalid Minai, to make it concise. The edited version follows as under:

Idris Ahmad ‘Khalid’ Minai (29/08/1916 – 08/02/2008) was the grandson of the great Urdu poet and scholar, Ameer Minai (1827 – 1900) and the son of Mohammad Ahmad Minai and Raees Fatima. He was born in the “Purani Khandsar” quarter of the State of Rampur, (now in Uttar Pradesh) where both Ameer Minai and his son Mohammad Ahmad Minai served as high officials of the State of Rampur. The family who had settled in Rampur since 1858, moved to Hyderabad (India) in 1937 shortly after the death of his father, Mohammad Ahmad Minai.

Idris Minai completed his BA from Allahabad University in 1937, and MA in Economics from Osmania University, Hyderabad, in 1940. After a stint as a journalist for the paper “Payaam”, edited by Qazi Abdul Ghaffar, Idris Minai joined the Hyderabad State Bank (now State Bank of Hyderabad) in 1941, serving as the branch chief in Aurangabad (now in Maharashtra).

After Partition, Idris Minai was the first of the seven Minai brothers to move to Pakistan in 1948. After working in the State Bank of Pakistan for 2 years, he moved to the then newly formed National Bank of Pakistan – Pakistan’s first official commercial bank. Over the next twenty years, he served the bank in various capacities – both in West and the then East Pakistan (now Bangla Desh). He retired from the National Bank of Pakistan as Deputy Managing Director in 1971.

Literature and poetry were a major part of the environment in which Idris Minai grew up. His grandfather, Ameer Minai, was regarded as one of the major poets in the history of Urdu literature, and had succeeded the great poet, Ghalib, as the poetic mentor of the Nawab of Rampur. His father, Mohammad Ahmad Minai, was also a prolific poet, though he gave up the pursuit later in life. It was, therefore, natural for him to express himself in poetry, and, following the common practice, he chose a nom de plume, ‘Khalid’ (meaning, ‘eternal’).

Most of his poetic training occurred informally through interaction with his peers and elders which included Jaleel Manakpuri, the famous Urdu poet and the student of Ameer Minai, Fani Badayuni, Jigar Muradabadi, Hasrat Mohani, Hairat Badayuni, and Qazi Abdul Ghaffar, who gave him his first job. He developed close personal friendships with poets such as Sikandar Ali Vajd, Mahirul Qadri, Saeed Shaheedi, and several others. A notable influence for him was his eldest brother, Ismail Ahmad “Tasneem” Minai, who was himself a distinguished poet and writer. He was also influenced by Allama Iqbal for his universal vision which went beyond the classical poetry.

One of Idris Minai’s early works is an ode on the River Ganga which he wrote based on his experience while he was staying in Allahabad for his graduation. A collection of Idris Minai’s works is in the preparatory stage. In addition to poetry, he also wrote Urdu prose pieces in a language that recalled Oscar Wilde in its stylish beauty

Throughout his active life, Idris Minai participated in literary activities, beginning with mushairas in Allahabad, Hyderabad, Bombay (Mumbai), and elsewhere. After moving to Pakistan, the Minai siblings organised regular poetic events in Karachi and Lahore featuring the leading poets of the time.

Idris Ahmad ‘Khalid’ Minai breathed his last on February 8, 2008 in Karachi.

The ghazal under discussion has two versions. Talat Mehmood sang the original version in 1940 as per the uploader of the video. I could not get information on the internet as to when the original record was released. If the uploader is correct, then this ghazal precedes Talat Mehmood’s first recorded song sab din ek samaan nahin thha (1941). Talat Mehmood re-recorded this ghazal in almost identical orchestration sometime in 1960. I have given videos of both the versions for comparison purpose. My preference is the original version because Talat Mehmood voice was fresh without much of quiver as against the 1960 version.

Audio Clip :

(Original recorded in 1940)
Audio Clip :
\
(Re-recorded in 1960)
Song-Gham e zindagi ka ya rab na milaa koi kinaara (Talat Mehmood NFS)(1940) Singer-Talat Mehmood, Lyrics-Idrees A Minai, MD-Chitta Roy

Lyrics (based on Original recording)

gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
meri fikr-e-bekaraan ne
do jahaan ko chhaan maaraa
meri fikr-e-bekaraan ne

meri aarzoo ko bakhshi
teri har nazar ne rafat
meri aarzoo ko bakhshi
teri har nazar ne rafat
usse bekaraan karegaa
mere shauq kaa sharaaraa
usse bekaraan karegaa

main kabhi ravaan davaan thhaa
kahin dasht-e-bekhudi mein
kisi door ki sadaa ne
mujhe pyaar se pukaaraa
kisi door ki sadaa ne

meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
na sukhan se raaz paidaa
na jabeen se aashkaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi ee ee ee ee eee

———————————–
Meaning of some Urdu words

Yaa rab= Oh God

Fikr-e-bekaraan= Limitless anxiety

Rafat= Elevation

Shararaa= Spark, Flash

Ravaan= Moving

Davaan= Running

Dasht-e-bekhudi= Wilderness of intoxication

Sadaa= Call

Zarf= Capability

Sukhan= Words, News

Jabeen= Forehead

Aashkaaraa= Clear, Visible


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3803 Post No. : 14795

Jigar Muradabadi (06/04/1890 – 09/09/1960) has been often called as ‘shaayar of beauty and love’. Jigar confined his poetry mostly covering his admiration for beauty, love, and emotions. It is said that his poetry has some influence of Daagh Dehlvi and Momin Khan Momin.

I have read through almost all of his ghazals that are available online and in Hindi (or Roman Hindi). There are no philosophical or spiritual tones in almost all of his ghazals. Like-wise I have not come across any poetry depicting the situations during the British rules though he had spent much of his life under British rule. Even if such poems do exist, perhaps they have not been well publicised. After independence also, his poetry did not venture much into the socio-economic situations in the country which had been the main plank of Urdu poets associated with PWA.

Jigar says :

Unka jo farz hai wo ahl-e-siyasat jaane
Mera paighaam mohabbat hai jahaan tak pahunche

[What is their duties only politician would know.
I give the message of love wherever it reaches]

As in the case of some Urdu poets like Majaaz Lucknawi, Jigar’s ghazals are a sort of his own autobiography. From 1920 to 1938, his life was captivated by alcohol and the beauty. Married at an early age, he had numerous love affairs, all of which turned out to be failures. These are all reflected in his ghazals. But unlike Majaaz who rued his failed love affairs in his poetry, Jigar can find joy even in his unfulfilled love because, for him, the experience of love itself is a joy.

It has been stated that he had a huge fan following encompassing both the elites and the masses. The respect he got cut across the religious lines. It is said that participation of Jigar Muradabadi was a sure success of a mushiara due to his poetry and the melodious renditions.

Jigar did not formally become guide to the budding young Urdu poets of his time. But he was a source of inspirations and mentors for poets like Behzad Lucknawi, Majrooh Sultanpuri, Shakeel Badayuni, Khumar Barabankvi etc.

I am presenting Jigar Muradabadi’s one of those ghazals which seems to have been ignored by many prominent ghazal singers. This beautiful non-film ghazal is ‘sharmaa gaye lajja gaye daaman chhuda gaye’ (1993). Ghazal is composed and rendered by Rochana Dahanukar. Her rendition of the ghazal is preceded by a she’r which has, more or less, the same meaning as that of the maqta of the ghazal. I am not sure whether the first she’r was written by Jigar Muradabadi. I have tried to translate the ghazal below to the best of my ability:

taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

Taghaaful = Neglect, unmindful.
Tajaahul= Feigning ignorance.
Tabassum= Smile.
Takallum= Converations, Talking.

[She is uncaring, she ignores me, at times she talks and smiles.
At least she has slowly reached me thus far.]

sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye

Marhabaa=Hello, Welcome

[She blushed, shied and then moved away from me.
O my love, welcome, at least she came thus far.]

dil par hazaar tarah ke auhaam chhaa gaye
yeh tum ne kya kiya meri duniya mein aa gaye

Auhaam= Whims, superstitions.

[A thousand types of superstitions descended on me.
What you have done by coming into my life.]

sehn-e-chaman ko apni bahaaron pe naaz thha
wo aa gaye to saari bahaaron pe chaa gaye

Sehn-e-chaman= Garden courtyard.

[The courtyard of garden was so proud of the season of spring.
When she came, she overshadowed the season of spring.]

ab kya karoon main fitrat-e-nakaam-e-ishq ko
jitne thhe haadsaat mujhe raas aa gaye

Fitrat-e-nakaam-e-ishq= nature/creation of unrequited love.
haadsaat= Calamities

[What can I do about the creation of unrequited love?
The number of such calamities I faced, I enjoyed them.]

Rochana Dahanukar had started as a classical/ghazal singer with 3 albums to her credit in the 90s. Later on, she had her own musical band giving performance in India and abroad. She is also a voice trainer for the upcoming singers.

This ghazal of Jigar Muradabadi has joie de vivre in all the she’rs except the last one where the poet is helpless in facing numerous calamities from his unrequited love. But he still says that he enjoyed them because of the experience of imagining the love.

Enjoy this beautiful ghazal in the sonorous voice of Rochana Dahanukar.

Audio Clip:

Song-Sharma gaye laja gaye daaman chhuda gaye (Rochana Dahanukar NFS)(1993) Singer-Rochana Dahanukar, Lyrics-Jigar Muradabadi, MD-Rochana Dahanukar

Lyrics

taghaaful tajaahul tabassum takallum
taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

sharmaa gaye laja gaye daaman chhuda gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

dil par hazaar tarah ke auhaam chhaa gaye
dil parrrrrrrrrr
dil par
dil par hazaar tarah ke auhaam chhaa gaye
yeh tumne kya kiya meri duniya mein aa gaye
yeh tumne kya kiya meri duniya mein aa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

sehn-e-chaman ko apni
sehn-e-chaman ko apni bahaaron pe naaz thhaa
sehn-e-chaman ko apni bahaaron pe naaz thhaa
wo aa gaye to saari bahaaron pe chhaa gaye
wo aa gaye to saari bahaaron pe chhaa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

ab kya karoon main fitrat-e-naakaam ishq ko
ab kya karoon main fitrat-e-naakaam ishq ko
jitne thhe haadsaat mujhe raas aa gaye
jitne thhe haadsaat mujhe raas aa gaye
ai ishq marhaba wo yahaan tak to aa gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye


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.

“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.

The movie had eight songs in it that were composed by two music directors. HFGK mentions three songs as composed by Fareh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.

Two songs (both composed by Fateh Ali Khan) have been covered in the past.

Here is another song from “Aaina”(1944). This song has two versions. One version is sung by Kalyani and other by Shama. sung by Zohrabai Ambalewaali and Gope. Pt Phani is the lyricist. This song was composed by Gulshan Soofi.

Only one version of the song (sung by Kalyani) appears to be available though one can find youtube links passing on the same voice as that of Kalyani as well as Shama in different links. 🙂

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

PS-Now, Mr Sadanand Kamath, our own inhouse old song expert, has made available the Shama version of this song. One can notice that her voice is clearly distinct from that of Kalyani Bai. Moreover, her version of the song has one stanza less than in the Kalyani Bai version.

With this song, Shama makes her debut as a playback singer in the blog.

Kalyani Bai version

Shama version


Song-Misl e khayaal aaye thhe aa kar chale gaye(Aaina)(1944) Singer-Kalyani bai/Shama, Lyrics-Pt Phani, MD-Gulshan Soofi

Lyrics

——————————–
Kalyani Bai version
——————————–
misl-e-khayal aaye the
aa kar chale gaye ae ae
duniya humaare gham ki basa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

aayi na thhi humaare chaman mein bahaar abhi
aayi na thhi humaare chaman mein bahaar abhi
wo aag aashiyaan mein laga kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye

————————————————————-
Shama version
————————————————————-
misl-e-khayaal aaye thhe
aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe
aa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae


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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 over ELEVEN years. This blog has over 15200 song posts by now.

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

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Total Number of movies covered =4181

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