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

Archive for the ‘Guest posts’ Category


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 : 3679 Post No. : 14573

Hullo Atuldom

I think I should get over this habit of waking up late to dates. I remembered that today (14 august 2018) was Johnny Lever’s birthday and later, yesterday, around seven in the evening I remembered that 14th august is also Shammi Kapoor’s anniversary. He passed away this date in 2011. Its been seven years.

Shammi Kapoor the man with “Neeli aankhen” (bade hai dil ke kale haan yehi neeli si aankhon waale) were his eyes actually blue or were they light? The gora-chitta-banka naujawan. The dancer who, I am sure, made a number of choreographers cry by doing his own stuff to the rhythm of the songs and had audiences lapping it up. And IMHO Helen was one dancer who managed to follow the choreographer when Shammi did his own stuff on his cue during dance numbers – the last part of “ai ai ya karoon main kya suku suku”is the best example for this. He would have continued in this manner but for the death of his beloved wife Geeta Bali, post which he lost interest for a few years, and then when he returned to the screen he began looking older than his age. He played Vinod Khanna’s older brother in 1971 in “Preetam” and father two years later in “Zameer”. Leena Chandavarkar, his heroine in Preetam, looks very tiny in front of him.

His movies all had memorable songs, mostly sung by Mohd. Rafi in the 60s and later in the 70s & 80s Kishore Kumar sang a few songs filmed on Shammi. There is video on YouTube wherein Shammi talks of his friendship with Kishore Kumar which possibly began at the time of “Mem Sahib” (1956/57) but (in Shammi’s words) he got a chance to lip-sync to Kishore only in the late 70s and 80s. when I heard Shammi mention “Mem Sahib” I decided to see it on YouTube. First thing that struck me was all the actors played characters that we later generation audiences are not familiar with. Meena Kumari played a mod-girl, Shammi Kapoor a negative character and Kishore Kumar a brahmachari who is confused about the ways of the world.

Yesterday when I realised the significance of 14th august with regard to Shammi Kapoor I had a chat with our Atulji to find out if there were any Shammi song left, are we at the bottom of the barrel? He gave me a list of post 1970 movies and also mentioned “Preetam”. I remember having seen this movie made by Bhappi Sonie in the times when doordarshan was the sole source of entertainment. I remember Leena Chandavarkar was paired opposite Shammi and Helen was for Vinod Khanna. I remembered the songs were also decently good.
Today’s song is a typical Shammi Kapoor song in the sense it is sung by Mohd. Rafi with music by Shankar Jaikishan. Only odd man out here is the lyricist -Rajinder Krishan.

Remembering Shammi Kapoor with this song from 1971.


Song-Sher se ladne aayi dekho shahar ki ik billi (Preetam)(1971) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Chorus

Lyrics

sher se ladne aayi dekho
shahar ki ik billi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho

maasha allaah
aankhen dekho
masha allah aankhen dekho
bilkul makdi jaisi hain
allah allaah
taangen dekho
allaah allaah taangen dekho
sookhi lakdi jaisi hai
daal ke choohe daani mein
daal ke choohe daani mein
phenk aate hain paani mein
nahin nahin
dilli thheek rahegi

sher se ladne aayi dekho shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho

doodh malaai
chori ka ye
doodh malaai chori ka ye
kha kha ke gurraati hai
kad hai poore dedh haath ka
kad hai poore dedh haath ka
meri kamar tak aati hai
bilti iski karwaa den
bilti iski karwaa den
baans bareilli pahuncha den
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ek billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
yeah
dilli thheek rahegi
sher se ladne aayi dekho

aahaa
naazuk naazuk bhoore bhoore
naazuk naazuk poore bhoore
tan par haath phiraayenge
gale mein iske baandh ke ghanti
gale mein iske baandh ke ghanti
isko dance karaayenge
sabko naach dikhaayegi
sabko naach dikhaayegi
paise chaar kamaayegi
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho

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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 : 3680 Post No. : 14572

He was born John Prakash Rao Janumala. He spent his childhood years in Mumbai’s Dharaavi and studied only upto class VII. Then he had to do odd jobs to overcome financial problems in the family. He was a good mimic. He started to perform in stage shows such as Tabassum Hit Parade and Kalyanji-Anandji Nite etc. He was noticed by Sunil Dutt at one of the stage shows and he got a chance in “Dard Ka Rishta” in 1981. His next big movie was Gul Anand’s – Pankaj Parashar directed movie “Jalwa”. Since then he has done around 350-400 movies.

Ok we adore him as Johnny Lever.

He is one from the current crop of comedians who were (I am sure) inspired by the likes of Mehmood and Johnny Walker. Can anyone forget his teaming up with Ashok Saraf in Rakesh Roshan’s ‘Karan Arjun’ or for that matter many Rakesh Roshan directed and produced movies be it ‘Kishen Kanhaiya’, ‘Koyla’, ‘Kaho Na Pyaar Hai’, ‘Koi Mil Gaya’. He was also part of any David Dhawan movies where his character was as important as the hero’s. He is a performer whose eyes all speak. And he is a decent dancer considering he has teamed up with Govinda, Shahrukh Khan, Aamir Khan etc. for many song and dance sequences. I just realized that he is 60 already and today (14th August) he will be 61. God!!!

Today’s song is from the 1997 Rakesh Roshan directed Shahrukh Khan Movie “Koyla”. The song is something like “Mere Saamne Waali Khidki Mein. . .” from ‘Padosan’ (1968) in the sense that on screen SRK is lip synching to Johny Lever’s singing. This is because SRK plays a mute character in the movie.

The song is in the voice of Udit Narayan, music direction is Rajesh Roshan and written by Indeevar. The song happens at the wedding reception of Raja, the tyrant zamindar role played by Amrish Puri, who has conned Madhuri into marrying him after showing the pic of the mute Shahrukh Khan (who is unaware of the con). Towards the end of the song SRK discovers the bride (who is supposed to be at the reception) sitting and crying in the bedroom with Deepshika filling in for her next to Amrish Puri.

 

Song – Ghunghate Mein Chanda Hai (Koyla) (1997) Singer – Udit Narayan, Lyrics – Indiwar, MD – Rajesh Roshan
Chorus

Lyrics

ghunghate mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
ghunghate mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne wala
hosh na kho de kahin
josh mein dekhne wala
ghunghate mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne wala
arey hosh na kho de kahin
josh mein dekhne wala

hmm hmmhmmhmmhmmhmm

aaj sundarta dulhan bani hai
koyi kismat ka kitna dhani hai
aaj sundarta dulhan bani hai
koyi kismat ka kitna dhani hai
munh diklayi ki khaatir
dil kya jaan bhi hai haazir
munh diklayi ki khaatir
dil kya jaan bhi hai haazir
baadalon ko mor dekhe,
chaand ko chakor dekhe
tujhko naseebon wala
hosh na kho de kahin
josh mein dekhne wala
hey hosh na kho de kahin
josh mein dekhne wala
ghunghate mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne wala
hosh na kho de kahin
josh mein dekhne wala

oooo
oooo

paas tu door tak hain nazaare
mil rahe hain dilon ko sahaare
paas tu door tak hain nazaare
mil rahe hain dilon ko sahaare
leke bahare tu aayee
door huyi hai tanhaayi
leke bahare tu aayee
door huyi hai tanhaayi
ghar ko sanwaar dega,
dil ko karaar dega
roop ye tera niraala
hosh na kho de kahin
josh mein dekhne wala
hey hosh na kho de kahin
josh mein dekhne wala
ghunghate mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne wala
arey hosh na kho de kahin
josh mein dekhne wala

aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa

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

घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
अरे होश ना खो दे कहीं
जोश में देखने वाला

हम्म हम्म हम्म हम्म हम्म हम्म हम्म

आज सुंदरता दुल्हन बनी है
कोई किस्मत का कितना धनी है
आज सुंदरता दुल्हन बनी है
कोई किस्मत का कितना धनी है
मुंह दिखाई की खातिर
दिल क्या जान भी है हाज़िर
मुंह दिखाई की खातिर
दिल क्या जान भी है हाज़िर
बादलों को मोर देखे
चंदा को चकोर देखे
तुझको नसीबों वाला
होश ना खो दे कहीं
जोश में देखने वाला
हे होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
होश ना खो दे कहीं
जोश में देखने वाला

ओ ओ ओ ओ
ओ ओ ओ ओ

पास तू दूर तक हैं नज़ारे
मिल रहे हैं दिलों को सहारे
पास तू दूर तक हैं नज़ारे
मिल रहे हैं दिलों को सहारे
लेके बहारें तू आई
दूर हुई है तनहाई
लेके बहारें तू आई
दूर हुई है तनहाई
घर को संवार देगा
दिल को क़रार देगा
रूप ये तेरा निराला
होश ना खो दे कहीं
जोश में देखने वाला
हे होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
अरे होश ना खो दे कहीं
जोश में देखने वाला

आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ


This article is written by Bharat Upadhyay, 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 : 3679 Post No. : 14571

 

[Dated 06 Aug, 2018]

Yesterday I was NOT on earth, for more than four hours . Now I know how joyful it will be in Heaven. I was a VIP guest at Jaidev’s 100 year Birthday celebration organised by by Hariharan and Chhaya Ganguli. I had full one and a half hours on back stage with artists and even was given a centre first row seat.

During that heavenly program Jaidev’s creations were presented by Hariharan, Penaaz Masani, Vibhavari Joshi,  Mahalakshmi Iyer and Suresh Wadkar.  Many luminaries like Shivkumar Sharma, Amol Palekar, Ashit Desai (who conducted the 20 piece orchestra for all the singers) etc talked about their association with Jaidev.

Penaaz Masani surprised everybody by singing a non-film, hardly heard composition written by the great poet Ramdhaari Singh Dinkar ji – a segment from his mahakavya ‘Urvashi’.  She interjected every stanza with the translated English poetry written by Khushwant Singh.

It may not be popularly known that Jaidev – the underrated genius composer, probably the best of our times, has composed literary pieces from poets like Ghalib and Kabeer to Harivanshrai Bachchan, Mahadevi Varma, Jaishankar Prasad, Maithilisharan Gupt and Ramdhaari Singh ‘Dinkar’.

I present today Jaidev ji composition of a renowned literary work – a lovely melody for Ramdhaari Singh Dinkar’s legendary opus – ‘Urvashi’. Unfortunately this partial composition, rendered by S. Janki remained unheard as the project got shelved and never completed. Jaidev truly was the Literary Composer.

In my khazaana I have a video of Jaidev ji in his own voice talking  about how he composed ‘Urvashi’ and the subsequent singing by S Janki – popularly and aptly called Lata from South India.

Enjoy this enchanting NFS, by listening to the song – you will want to listen to it repeatedly.

[Editor’s Note: ‘Urvashi‘ is a legendary lyrical drama, which is written by one of the greatest poets of modern India – Ramdhari Singh Dinkar. This creation was first published in 1961. This is a long play in 5 acts. It deals with the subject of beauty, love and passion, and the goes much beyond the superficial in exploring the depth of the quest for the truth behind the male-female union in this creation. The basis of this lyrical storytelling is the love saga of Urvashi and Pururava.

Urvashi is an apsara from swarg lok. As per the pauraanic texts, she appeared during the churning of the ocean – सागर मन्थन – the joint endeavour of the devatas (demigods) and the asuras (demons) in the quest for अमृत – the nectar of immortality. In another narrative, it is stated that when Narayan Rishi was doing penance and meditation in the Himalayas, Indra, the king of demigods, afraid for his throne, sent a group of apsaras to disturb his penance. Narayan Rishi became incensed, and to show Indra his powers, created a most beautiful apsara by simply stroking his chest (uru), whose beauty surpassed the combined attraction of all the ones sent by Indra. Since she was created from the उरु of Narayan Rishi, her name became Urvashi.

Pururava is the primeval male personality of the chandra vansh – the Lineage of the Moon (in which after many generation, Lord Krishna also appears as an incarnation). As per the Puraanas, at the beginning of creation, Manu and Shraddha, the original primal man and woman created by Brahma, called upon Vashisht Rishi to perform a yajna (यज्ञ) for begetting a child. Manu wanted a son to be born, and Shraddha wanted a daughter. As the outcome of this yajna, a duaghter was born. On seeing the disappointment on the face of Manu, Vashisht Rishi gave a boon and turned the daughter into a son. He was named Sudyuman (सुद्युम्न). When he grew up, once he went to a forest for hunting. Unknown to him, the forest was cursed, and he was not supposed to enter it. Being in the presence of that curse, he reverted to his original female form, and now he/she was named Ila (इला). In good time, Ila was married to Budh, the son of Chandrma, and from their union, a child was born who became the first generation of the chandra vansh. He was named Pururava.

In metaphysical terms, Urvahsi represents the epitome of the eternal female of this creation, and Prururava is the representation of the eternal male. Pururava is of the earth, and he desires for the pleasures and gratifications of the swarg lok. Urvashi is of the swarg lok, and with an innate and natural certainty, wants to partake the pleasures of the earth. She descends from the heavens to the earth and the two share a relationship of love. Urvashi is a representation of unbridled desires and passions, but having descended from the heavens, she is free from inner conflict and struggles. Pururava represents the earthly persona who is distracted and inconvenienced by a multitude of disturbing vibrations (रव).

In this lyrical creation, Dinkar explores the depth of the quest in a man-woman relationship. The thesis expounded is that inside a man, there is another level of existence of a man, beyond the physical. And the same holds true for the woman. Their longing for each other is a pursuit of seeking out this inner existence within each other. Their quest does not end simply on the physical union but goes much deeper, seeking the true ‘other’, the true counterpart for a more fulfilling and nourishing accord.

Dinkar received the Sahitya Academy award for this creation in 1959, and the Jnaanpeeth Award in 1972.]


Song: Main Roop-Rang-Ras-Gandh-Poorn Sakaar Kamal (NFS) Singers: S Janki, Lyrics: Ramdhari Singh Dinkar, Music: Jaidev
Jaidev
[Ed Note: The clip includes some initial lines of this piece, in the voice of Jaidev ji himself.]

Lyrics (Provided by Sudhir)

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

[Brief commentary by Jaidev ji]

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

 

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main nahin sindhu ki sutaa
talaatal-atal-vital-pataal chhod
neele samudra ko phod
shubhr jhalmal fenanshuk mein pradeept
naachti urmion ke sir par
main nahin mahatal se nikli

main nahin gagan ki lata
taarkao mein pulkit phoolti hui
main nahin vyompur ki baala
vidhu ki tanya chandrika sang
poorima sindhu ki parmojjwal abha-tarang
main nahin kirnon ke taaron par
jhoolti hui bhu par utri

main naam-gotr se rahit pushp
ambar mein udti hui mukt anand-shikha
itivrittheen saundrya chetna ki tarang
sur-nar-kinnar-gandharv nahin
priye main kewal apsara
vishw-nar ke atript ichha-saagar se sumudhbhoot

jan-jan ke mann ki madhur vhni
pratyek hriday ki ujiyaali
naari ki main kalpana charam
nar ke mann mein basne waali
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

—————————
Hindi script lyrics
—————————
पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

 

[जयदेव जी द्वारा संक्षिप्त समीक्षा]

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

 

पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं नहीं सिन्धु की सुता
तलातल-अतल-वितल-पाताल छोड़
नीले समुद्र को फोड़
शुभ्र, झलमल फेनांशुक में प्रदीप्त
नाचती उर्मियॉ के सिर पर
मैं नहीं महातल से निकली

मैं नहीं गगन की लता
तारकॉ में पुलकित फूलती हुई
मैं नहीं व्योमपुर की बाला
विधु की तनया, चन्द्रिका-संग
पूर्णिमा-सिन्धु की परमोज्ज्वल आभा-तरंग
मैं नहीं किरण के तारों पर
झूलती हुई भू पर उतरी

मैं नाम-गोत्र से रहित पुष्प
अम्बर में उड़ती हुई मुक्त आनन्द-शिखा
इतिवृत्तहीन, सौन्दर्य चेतना की तरंग
सुर-नर-किन्नर-गन्धर्व नहीं
प्रिय मैं केवल अप्सरा
विश्वनर के अतृप्त इच्छा-सागर से सुमुद्भूत

जन-जन के मन की मधुर वह्नि
प्रत्येक हृदय की उजियाली
नारी की मैं कल्पना चरम
नर के मन में बसने वाली
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰


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 : 3678 Post No. : 14570

Today (13th August 2018) would have been the 56th birthday celebration, or she would have completed 55 years of age. But that was not to be and we her fans lost her to an alleged “accidental death” on the 24th of February earlier this year. I know I don’t have to spell it out that I am speaking of Sridevi. I am sure it is a greater loss for her family – her daughters and husband. Specially when her daughter has just stepped into Bollywood and had her first release last month. And Jayaprada has put it beautifully in her tribute to her one-time co-star and supposed rival – like any mother Sri was anxious about her daughter’s debut film and audience-acceptance etc.

Instead of talking about how beautiful she was; how talented she was; and about her dances and supremely expressive eyes; or her comic timing, I want to go straight to today’s song. It is from her first ever Hindi release – ‘Solva Sawan’ (1979). It was directed by P Bharathiraja and is a remake of his Tamil original ’16 Vayathinile’, which translates to “at age 16”. The original was a commercial and critical success fetching a National award for S Janaki (playback) and Filmfare Awards for best actor (Kamalhaasan) and special award for Sridevi. Unfortunately, the movie failed in Hindi and nobody noticed the debut of Sridevi and she had to wait for four years to establish herself in Hindi films. And what a career from thereon. Infact she had six or seven releases in 1983 beginning with the extremely successful “Himmatwala” which revolutionised many things in the industry – song picturization, choreography, set decoration (songs with 100s of pots, sarees, chorus dancers etc) and music as a whole. We had songs like: “Ice Cream Khaaogi“; “Ek Aankh Maroon To Rasta Ruk Jaaye“; “Taaki O Taaki“; “Mama Mia Pom Pom” etc. to name a few of the songs that went on to become very popular – I am sure the purists who are reading this list are squirming 🙂 . I am sorry for putting all of them to discomfort but this was the route to Sridevi’s success in Hindi. What followed this wave of inane songs were sensible stuff like “Main Teri Dushman Dushman Tu Mera“; “Kaate Nahi Kat’te Yh Din Ye Raat“; “Mere Haathon Mein Nau Nau Choodiyan Hain“; “Tere Dil Mein Main Apne Armaan Rakh Doon“;what I am trying to point out is it was one inane song per movie at the most but they initially overshadowed her sensible stuff. But it was a fact that she was a darling of the masses from the time she stepped in front of the camera as a child.

Coming back to today’s song. It is a coming-of-age song where the heroine experiences pangs of love and is expressing it to whoever cares to listen – here it is the nature. And the white dress is supposed to indicate the purity of her feelings towards the veterinarian doctor (it was some actor called Madhukar, didn’t find any details about him on the net) who has arrived in the village and has managed to win her heart. The rest of the cast comprised of Amol Palekar, Kulbhushan Kharbanda, and Dina Pathak. The song is written by Naqsh Lyallpuri and music is by Jaidev. The singing voice is of Vani Jairam. Sridevi was actually only 16 when this movie was released.

[Ed Note: The censors certified this film in 1978, and the Geet Kosh carries it in the list of films from 1978. It was probably released in theatres few months later, in 1979.]

Song – Pi Kahaan, Pi Kahaan (Solvan Saawan) (1978) Singer – Vani Jairam, Lyrics – Naqsh Lyallpuri, MD – Jaidev

Lyrics

pi kahaan
pi kahaan
pi kahaan
dheere se haule se sun mere..ae
kaanon mein ye
keh de ri pavan
pi hai kahaan
pi hai kahaan
dheere se haule se sun mere..ae
kaanon mein ye
keh de ri pavan
pi hai kahaan
mera pi hai kahaan
pi kahaan pi kahaan pi kahaan
pi kahaan
kahaan. . .
kahaan. . .

chhan chhan lehariya jhoome
chhan chhan lehariya jhoome
koyal baawariya jhoome
kaari badariya jhoome
basti nagariya..aa..aa jhoome
masti mein jhoom gaya
kora badan
poochhe mera mann 
pi hai kahaan
pi hai kahaan
pi kahaan pi kahaan pi kahaan
pi kahaan
kahaan. . .
kahaan. . .

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

पी कहाँ
पी कहाँ
पी कहाँ
धीरे से हौले से सुन मेरे॰॰ए
कानों में ये
कह दे री पवन
पी है कहाँ
पी है कहाँ
धीरे से हौले से सुन मेरे॰॰ए
कानों में ये
कह दे री पवन
पी है कहाँ
मेरा पी है कहाँ
पी कहाँ पी कहाँ पी कहाँ
पी कहाँ
कहाँ॰ ॰ ॰
कहाँ॰ ॰ ॰

छन छन लहरिया झूमे
छन छन लहरिया झूमे
कोयल बावरिया झूमे
का^pरी बदरिया झूमे
बस्ती नगरिया॰॰आ॰॰आ झूमे
मस्ती में झूम गया
कोरा बदन
पूछे मेरा मन
पी है कहाँ
पी है कहाँ
पी कहाँ पी कहाँ पी कहाँ
पी कहाँ
कहाँ॰ ॰ ॰
कहाँ॰ ॰ ॰


This article is written by Sudhir, 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 : 3677 Post No. : 14568

ASAD 10th Anniversary Celebrations – 20
———————————————————————

And now, continuing the saga of the 10th anniversary celebrations. 🙂

First off, thanks to Mahesh ji for announcement that “The last batsman is in”. Quite true, and well, almost. One reason (of the many excuses that I am going to converse about today 🙂 ), is that, quite truly, I was waiting for at least one more contribution to land in, before I announce the closure of celebrations. But as the events transpired, I realized that waiting for that article would probably be like waiting for Mr. Godot.

I refer to Ben Kayti, who has promised me that she will be sending in a write up, but then – well, days have just been following one after the other. In an earlier communication she mentioned that she was little down in health, and that she has a doctor’s appointment. And then – silence. One day, two days – messages on WhatsApp, emails, phone calls, voice mail remained unanswered. When no response came, I had no option but to press the panic button. I tried to contact three other people in the family. And finally, her daughter-in-law responded to my SOS. The family is out to a vacation – Glacier National Park in Montana, where no connectivity is available. The vacationers also include the other two members of the family who I was attempting to get in touch. So it was a relief to know that all was well, and also somewhat vexing that there was a communication gap that created some worries. I will return to this and tie up the loose end left here, and continue with the mainstream of celebration.

‘19’ seems to be a lucky number for me. Quite a few significant things in my life are connected with this number. And thus, not surprisingly, I get connected with this blog that celebrates its birthday on 19th July. And then, more, I was not planning it to be so – my (previous) post comes at 19th in the series. Ah yes, as Atul ji has mentioned often, there is a hand of providence with what goes on with this blog. And let me add one more very interesting ‘19’ phenomena. As per the statistics that the WordPress maintains, the date which has had the highest number of visitors on this blog (10,630) is also a 19 – 19th October, 2011.

On 14th January this year, the visitor’s ticker on our blog home page turned into an 8 digit number for the first time. We clocked in 10 millionth visitor that evening (IST) – and it translates to 1 crore, in domestic terminology. As I write to complete this article, the ticker has already gone past 10 million 6 hundred thousand, clocking in on average ~ 3,000 visitors per day in this year so far. I would like to give it a name today – this presence that ASAD makes on the worldwide web – it is the “ASAD Phenomena“. Nowhere else probably (once again, as far as I am aware) is there any such endeavour that combines the interests and the determination of such a like-minded team with such dedication, to sustain such a significant level of interest in the central theme of this blog. All I can say is – there are music lovers in this world, and then there are ‘music lovers’ in this world.

Looking back at my association, the date was 1st October 2010 when I clicked on the subscribe button for getting the RSS feed and became a regular reader-member of this blog. And guess, what is the first song feed that arrived into my mailbox next day (on 2nd October) – “Ham to tere dil ke bangley mein aanaa maangtaa”. Now that I read this song title, I wonder whether it was a message intended for me from Atul ji, or was it supposed to be from me to Atul ji. 😀 😀  Whichever way, I think it just worked out very famously. 🙂

My first step into lyrics contribution was published on 1st Feb, 2011 and it is the famous Suraiya song from ‘Bilwamangal’ (1954) – “Parwaanon Se Preet Seekh Len”. And then it just went on from there. The first post written by me appeared on 18th Feb, 2011, a song from the film ‘Gul e Bakaavali’ (1963) “Ye Kehdo Tumhe Hamse Kyaa Chaahiye”. Missed the 19th by just a day, although there is a post on the 19th Feb also, my second one. And then it just went on from there.

कुछ लगता नहीं के सात साल गुज़र गए। Seriously, it seems just like last week or last month. In that very year (2011), in the subsequent months, we had a spectacular event on the blog, something of the type that has not yet been repeated. An event that truly marks this blog to be a Phenomena. Starting on 28th June, 2011, the blog saw an unbroken series of articles on the great KL Saigal Sb, that lasted all the way up to 18th Sep, 2011. The last song of this unbroken series, posted on 18th Sep is “Baalam To Pe Sabar Padey” from the film ‘Parwaana’ (1947). I quote a brief paragraph from that write up here,

With this post, I have now published 61 posts on Saigal Saab’s songs. In one of the interim emails, Atul ji wrote to me that every day morning, he eagerly opens his mailbox to look for an email from me. And the eagerness and urgency was no less on my side. Some of the ghazals took anywhere from 3 to 6 hours to complete the write up, with the translations and commentary to my satisfaction. There have been nights when I have sent the write ups to Atul ji at 2 am, 3 am and even past 4 am. There have been occasions that (after having fallen asleep on my laptop) I got to complete the write up later in the morning; you can identify these days by noting the delay in posting the Saigal Saab song for the day.

What a heady time it was. That endeavour was really worth it. We enjoyed it immensely, and it came to a monumental conclusion of documenting and posting each and every one of the available Hindi / Urdu recordings made by the great singer. And truly, nothing comparable to that has again been attempted on the blog so far.

One more reason that I quote this above paragraph from the earlier write up. Something of this relates to the song in this post. I will return to it again, shortly. But yes, I am talking about the relentless tempo with which this blog continues to progress. The support and participative contributions from the entire team are without doubt the bulwark that provides the strength to the arms and shoulders of what this blog is. But then the definitive power of this entire effort is the unflagging dedication and persistence of the leadership from Atul ji, which is truly the backbone of this effort.  It is an accomplishment sans pareil anywhere in the annals of the history of blogging on the internet related to Hindi Film Music.

So, beyond September of 2011, although now done with all the available songs of Saigal Saab, the journey and the saga still continued. Century milestones came with their regularity, then the 5,000th song – “Hamen To Loot Liyaa Mil Ke Husn Waalon Ne” (dated 13th Nov, 2011), more centuries of artists and other interesting statistical achievements. Then on to the 10,000th song – “Phul Rahin Belariyaan Dolen” (dated 20th July,2014), an extraordinary song published first time anywhere on the net, a song of 1931 vintage posted; and the unprecedented organized effort wherein all regular members of the group contributed a post that contains an introduction of another member. And a memorable long afternoon spent by almost the entire group connected on email, as we all waited for the post to appear on the blog.

On and on, tirelessly, doggedly – getting to honky-tonk posts at the nos. 11111, 12345, 12357 . . .

Then we came to the post no. 13182 – “Aag Lagi Shola Uttha Shamma Pe Parwaana Gira”, on 22nd April last year. It was the mostest of the most momentous celebrations, the 10,000th post by dear Atul ji. It was a surprise for Atul ji; he was under the impression that his 10,000th milestone was already past. But that was not the case. The entire group got together and gave him a standing ovation that verily resounded across the internet.

The next big whopper for our blog came on 14th Jan earlier this year, and its celebration was covered in post no. 13921 “Bhalaai Duniya Ki Jo Subh O Shaam Karte Hain” – the visitor ticker on the blog had turned from nine million, nine hundred ninety nine thousand, nine hundred ninety nine to ten million, sometimes in the late evening of 14th Jan (IST). In desi parlance, we would say  निन्यावे लाख, निन्यावे हज़ार, नौ सौ निन्यावे से हम एक करोड़ पर पहुंचे। Once again, this was a major, major occasion for the blog, and the echoes reverberated once again around the globe – literally. 🙂

And now, greetings (balated) for the date of completing 10 years since this blog’s creation by Atul ji. The date is 19th July (and I am late, of course, as usual – I have a reputation to protect and uphold, you know 😀 ). As per the Wikipedia articles, celebrations calendars and other related details available online, the tenth anniversary is represented by tin or aluminum. The color of this anniversary is blue and / or silver. And the gift of this 10th celebration is diamonds. Whooo. . .

Note that 10 is another interesting number on our blog recently – 10,000th post on blog, 10,000th post by Atul ji, 10 millionth visitor on the blog, and now the 10th anniversary of the blog itself; the last three events listed happening within the period of past 16 months. You simply just cannot cease to keep celebrating on this blog. And the wonder of wonders is that we also continue to trace and share absolutely wonderful celebration songs to go along with the event. The patterns that we conjured up for the post nos. 11111, 12345 and 12357 are quite an interesting phenomena in as of themselves, with the ”hand of providence” playing its fair share in making them happen. 🙂 For those who may not be familiar with these stories, I suggest they should view these posts – they are really very interesting tales of happenstance and coincidence. 🙂  Just click on the post numbers in the sentence above.

So, connecting back to where we started off. Finally last night (IST), the much awaited call from Ben Kayti and Jagdish Bhai materialized. It was a great relief to hear their voices, and to be assured that all is well. The planned vacation had gone on very well, and quite “frigidly”, given that the vacation spot chosen was the Glacier National Park in Montana (USA). After returning from there earlier this week, they also had some guests visiting and so Khyati Ben was completely busy with family affairs. She has once again promised that she will write a post this coming week now. I decided not to wait any further and put up the 20th post in this series today. If and when her post comes along, it will be now at an auspicious ‘पायदान’ of 21. 🙂

Amongst others in the list of my ‘reasons’ (excuses) is of course that I was also in travel during some of this intervening period. In fact most of the early posts in the 10th anniversary series were actually posted while I was on the move. Getting back home, I almost immediately got busy with celebrations for Guru Purnima at my Guru ji’s place. There, the celebrations last for 5 / 6 days, starting from the Guru Purnima day and continuing till the ‘पंचमी’ in the month of ‘सावन’. So that occupied me for almost a whole week within which I was not able to accomplish much as far as the blog activities are concerned.

Another thing was the song selection. Till almost the last hours of posting my previous article – “Dil Chaahta Hai” – I had no idea what would be the songs I am going to write about. The first song I finally zeroed in was this one. Going by a set of very good celebration songs posted by other friends in the group, I was thinking – most of these songs are of recent origin. How about searching for a similar celebration cum group dance song from the earlier decades? After sifting through many possibilities, I picked up this song from the film ‘Tarang’ of 1952. First of, this song has four singers – Rafi Sb, Geeta Dutt, Shamshad Begum and Chitragupt himself. Secondly, the song (no video available) gives a feeling of a gypsy camp by the banks of a river, where a group dance cum song is being performed.

So actually, this song was originally planned to be the earlier post. But then, in random process, I bumped into the “Dil Chaahta Hai” song, and with some contemplative considerations, my planned post got converted into two posts. And good that it did. If I would have combined both these posts with one song – well. . . 🙂

So here is a fabulous celebration song which promises that the proceedings are going to last all night, and that all are invited. And the best part, this song starts with mentioning the word ‘सावन’.

So let me now take just a couple of more minutes to link in ‘सावन’ (saawan) with this celebration. You are going to love this. After having posted all the posts received from the group, and with Atul ji’s post also in place, I started to get individual messages from members of this group, asking me about the delay as to why my post was not coming in. And me, I was without an answer; what to tell – that I have not yet identified the song even? Well, as part of this set of messages, I get this fond message from Atul ji himself on 26th or maybe 27th July, wherein he prodded me to publish my post on the 28th. Reason, he explained, was that 28th July this year is the start of the month of ‘सावन’. And back, in 2008, when this blog got initiated, the date 19th July was also the start of of the month of ‘सावन’. I was really wonderstruck. I had never made this wonderful connect before. Wow, this blog is born in the month of ‘सावन’ – ‘सावन – मन भावन’, and not just the month, on the first of the month. Now this is really auspicious. I can go on now connecting many more things, along with this connect. . .  but maybe not. Goodness, there are hundreds of songs in Hindi films that have the word ‘सावन’ in the mukhda. So I will move on by saying that this blog is blessed – for it is born in this auspicious month, showering sprinkles of delightful music in drizzles of melodious songs, one after the other. Oh sure, yes, this blog is a ‘सावन’ born. 🙂 Without any doubts. I am glad Atul ji highlighted this point to me, and that now we know what songs to post in the future, when the blog’s birthday comes along. 🙂

Coming back to this film and this song. I got the set of songs of this film from my collector friend. This film has some very wondrous songs, ten in all, eight of which are penned by IC Kapoor, and one each by DN Madhok and Ram Murti. This song is written by Ram Murti. The music composition is by Chitragupt, who has also lent his voice to two of the songs in this film, including this one. The blog already carries 5 songs from this film, and I promise you, the best of the songs are still to come. Just like this song today. It is such a joie de vivre expression of gaiety and celebration. The tempo is so sweet and so infective, that you will be swaying with the beat. When I heard this song for the first time, well, quite a while back now, I was simply bowled over by it. And even now, having heard it so often, whenever I play it again, I simply am not able to get over it.

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

Just listen to this song, and I assure you that at the end of the play, you will feel so un-satiated that you will be playing it again and again.

In some ways, this song also expresses my connect with the blog. Earlier in this article, I had mentioned a quote from the earlier posted last article in the KL Saigal series. So that is the connect here. Practically all my work for this blog happens in the dead of the night and in the wee hours of the morning. This is also mentioned in the quoted paragraph above. Even beyond the Saigal Sb series, my mode of working on the tasks related to this blog has not changed. All the posts that you see getting on to the blog at 7 am and 9 am – all these posts have been worked on and completed the previous night at times like 2 am and 3 am. 🙂

A very happy 10th birthday to ASAD; a ton of congratulations to Atul ji, and all the dear friends and co-passengers on this musical bandwagon. The saga continues. . .

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

 

Song – Nadiya Kinaare Mora Dera, Mashaal Jaley Saari Ratiyaan (Tarang) (1952) Singer – Mohammed Rafi, Geeta Dutt, Shamshad Begum, Chitragupt, Lyrics – Ram Murti, MD – Chitragupt
Chorus

Lyrics

saawan barse
kaari re badariya
phaagun rang ki phuhaar
ho oo
nainan mein mora
baanka re saanwariya

mann mein saanwariya ka pyaar. . .

. . . mashaal jaley saari ratiyaan
hoye nadiya kinaare mora dera
ho oo
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
saari ratiyaan ho saari ratiyaan
saari ratiyaan
hoye nadiya kinaare mora dera
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
ho oo main bhi karunga kabhi phera
main bhi karunga kabhi phera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa. . .
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

jaise ganga mein lehre lehariya
waise lehre gori tori chunariya
ae ji dekho kahin neha lagaa ke
bhool jaiyo na mori dagariya
oo oo dil mein hai tera basera
dil mein hai tera basera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa hhaaa
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

chanda se mil mil ke
khele ratiyaan
ho khele ratiyaan
chanda se mil mil ke
khele ratiyaan
bagiya mein khele bahaar
daar galey bainyaan
sajan sang khelun
balam sang khelun
daar galey bainyaan
sajan sang khelun
main albeli naar
ho oo kabhun na hovey savera
kabhun na hovey savera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
arre waah waah
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
oye
nadiya kinaare mora dera
ha..an
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

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

सावन बरसे
कारी रे बदरिया
फागुन रस की फुहार
हो ओ
नैनन में मोरा
बांका रे साँवरिया
मन में साँवरिया का प्यार॰ ॰ ॰

॰ ॰ ॰ मशाल जले सारी रतियाँ
होय नदिया किनारे मोरा डेरा
हो ओ
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
सारी रतियाँ हो सारी रतियाँ
सारी रतियाँ
होय नदिया किनारे मोरा डेरा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
हो ओ मैं भी करूंगा कभी फेरा
मैं भी करूंगा कभी फेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
हा॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

जैसे गंगा में लहरे लहरिया
वैसे लहरे गोरी तोरी चुनरिया
ए जी देखो कहीं नेहा लगा के
भूल जइयो ना मोरी डगरिया
ओ ओ दिल में है तेरा बसेरा
दिल में है तेरा बसेरा
मशाल जले सारी रतियाँ
नदिया किनारे मोरा डेरा
हा ह्हा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

चंदा से मिलके
खेले रतियाँ
हो खेले रतियाँ
चंदा से मिलके
खेले रतियाँ
बगिया में खेले बहार
डा गले बइन्या
सजन संग खेलूँ
बलम संग खेलूँ
डा गले बइन्या
सजन संग खेलूँ
मैं अलबेली नार
हो ओ कबहूँ ना होवे सवेरा
कबहूँ ना होवे सवेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
अरे वाह वाह
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
ओय
नदिया किनारे मोरा डेरा
हाँ॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ


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 : 3676 Post No. : 14564

Today’s song is from film Watan-1938.

This was a film made by Sagar Movietone. Those days, Sagar was a powerful film making company. They had the best of directors, big stars and MDs. Directors like Mehboob. Sarvottam Badami, Chimanlal Luhar, Ramchandra Thakur, Zia Sarhadi, Ezra Mir ( real name Edwyn Meyers), Virendra Desai,Nanubhai Vakil etc gave famous and popular films. However, not all films made by Sagar were High Class. Film ” Watan” was also one such film, which probably worked as a ‘ filler ‘ for Sagar. 1937 and 1938 were the Golden years for Sagar, in which the company gave popular films like Jagirdar-37, Mahageet-37, Gramophone singer-38 and 300 days and after-38.

Film Watan-38 had a cast of Kumar, Bibbo, Sitara Devi,Maya Banerjee, Yakub and other regulars of Sagar. The film also included Ram Marathe ( credited as Ramchandra), who became a very famous classical singer in later years. The film was directed by Mehboob and the music was by Anil Biswas. Initially Sagar had their favourite MD, S.P.Rane, who was a Maharashtrian from Gujarat. Out of Sagar’s first 18 films, Rane was MD for 15 films. Anil Biswas was associated with Sagar from film Manmohan-36, as an assistant to Ashok Ghosh. Independently, his first film was Jagirdar-37. Later he gave music to 11 more films of Sagar and 2 films of National Studios. he and director mehboob Khan teamed up in 6 films and were very good fiends-till a misunderstanding cropped up, after Sagar merged into National Studios. After this they never worked as a Team.( In 1956, Anil Biswas gave music to film Paisa hi Paisa, made by Mehboob Productions . However, the film’s director was Mehrish- who had insisted for Anil Biswas- and not Mehboob. During the film’s making, Mehboob avoided meeting AB and even left on foreign tour without meeting him even once ! ).

The Hero of the film Watan-38 was Kumar. Actually his real name was Syed Hasan Ali Zaidi. The change of his name to Kumar was part of an interesting story. Anyway, one can easily say that Kumar was the pre-cursor to the unlimited crop of various Kumars that we saw in the decades of 50s onwards.

In Hindi film industry, changing the name of the artiste was nothing new. One thing is sure. This trend of changing names was started by Kumar only. Many actresses changed their names after coming in films. Some did it because they wanted to hide their religion and some did it as there were artistes with the same name already in films. For example, Shyama. There were already 2-3 Khurshids in the films and her real name was Khurshid, so she changed it. Similarly, Meena Shorey’s name was also Khurshid. Some of the actresses who changed their names were, Jyoti, Renuka Devi, Purnima, Meena kumari, Madhubala, Rattanbai, Madhuri, Pramila, Sabita Devi, Bimla kumari, Indira Devi, Latika, Seeta Devi, Manorama, Nadira, Meera etc etc.

In case of male actors, the name changing percentage was mush less. Few cases like Ashok kumar, Kishore kumar,Ranjan,Dilip kumar,Manhar Desai and some more can be counted. Male name changing was seen in as late period as the 80s and 90s too. Cases in point are Rajesh khanna, Akshay kumar etc etc.

Actor KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,on 23-9-1903.His real name was SYED HASSAN ALI ZAIDI.
His family used to call him MIJJAN Miyan.

He was a handsome and tall person.He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name.You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR,then onwards.Truly enough,Debki Bose,thereafter, never used his name Kumar again in his life !

After doing Yahudi ki Larki,Kumar came to Bombay. First he worked in Sagar ( 5 films) , Imperial (2 films)and then joined Ranjit Studios.
In 1939,he married another actress PRAMILA ,who was actually a Jew, Esther williams. Pramila was later India’s FIRST Miss India in 1947.They got a son and a daughter Naqi Jehan(who too became a Miss India in 1967,exactly 20 tears after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat,as a Heroine.Later she married into the business family of Kamdar of Bombay and became mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage.

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.

From Najma in 1943,Kumar did only character roles in films like bhishm pratigya,Dayara,mahal,Shri 420,khiladi,Maalik,Baiju Bawra,yahudi ki ladki. His memorable role was in Mughal e Azam,that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)

In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in quite a few Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. Kumar died in 1982.

Film Watan-38 was directed by Mehboob Khan. He directed 8 films for Sagar and 1 (Aurat) for National Studios. This film, with a Muslim cultural backdrop, was released on the day of Eid. The film was dominated by grand sets and costumes. The story was usual. Conflict between Kazak and Tatar communities, lasted many generations. The film was a complete entertainment package, consisting of Dances, songs, war scenes, Enemity, Revenge, overwhelming costumes and love scenes, in a proportionate manner.

The music was composed by A.Biswas. All songs were written by Wajahat Mirza. Today’s song, ” Kyun hum ne diya dil ” by Sitara Devi was the most popular song of the film. There were total 10 songs. One of the songs-a duet by Anil Biswas and Bibbo was based on the tune made by kazi nazrul Islam ( Nazrul Geeti).

Today’s song is extremely enchanting and I would list it as the best song of Sitara Devi ( she sang 100 songs in 33 films). It truly sounds as a sad and remorseful song. The words of the song remind me of a duet by Surendra and Shamshad begum ” Kyun unhe dil diya” from film Anokhi Ada-48, composed by Naushad.


Song-Kyun hamne diya dil (Watan)(1938) Singer-Sitaara Devi, Lyrics-Wajahat Mirza, MD-Anil Biswas

Lyrics

Kyun ham ne diya dil
thha kiska ishaara
Kyun ham ne diya dil
thha kiska ishaara
aur kis ne kaha thha
ham tumse kahen kya
aur kis ne kaha thha
ham tumse kahen kya
Kyun ham ne diya dil
tha kiska ishaara
Kyun ham ne diya dil

wo khwaabon mein aana
dil mera churaana
wo khwaabon mein aana
dil mera churaana
aur deke ye jaana
aur deke ye jaana
kyun kaisa liya dil
aur keh ke ye jaana
kyun kaisa liya dil
kyun hamne diya dil
aankhon ka ishaara
kyun hamne diya dil

parwaana na aata
kyun shola jalaata
parwaana na aata
kyun shola jalaata
kabhi ishq bulaata(?)
kabhi ishq bulaata(?)
kaahe ko diya dil
ab ishq bulaata
kaahe ko diya dil
donon ne diya dil
aashiq(?) ka ishaara
kyun hamne diya dil


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3675 Post No. : 14563

# The Special Voices of the Decade (1971-1980) – 5 # Suresh Wadkar #
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Welcome all to this fifth article in this series where we are discussing Special Voices that made their debut in HFM in the Seventies and carved their own niche on the HFM scene.

Some of them enjoyed success for a little while only to fade away with passage of time. Some of them became popular and continued to remain so for considerable time.

No matter how they fared at the HFM scene, all of them contributed in enriching HFM. All of them provided music lovers with many memories to cherish and savour.

Today we will be discussing about one such talented artist- Singer- who made his debut in 1977 and over the years has given us many memorable songs and who is active even now (I think his latest film song was from ‘Bramhaand Nayak Sai Baba-2016’ and a NF -ghazal album sung by him was released in 2016 in memory of his guru ‘Acharya Jiyalal Vasant’ i.e. ‘Chupke Chupke’) In addition, he is active in singing Marathi and other regional language songs as well.)

In his career spanning almost forty years, he has more than five hundred songs to his credit (if the sources I am referring to are correct). And given the number of songs he has sung I can say that his must be the most prolific artist among all the artists who will be featuring in this series …

Incidentally I get a chance to share one of his songs for our ASAD – 10th anniversary celebrations. And regulars to this blog who have listened to this song ‘Kaale kaale baadal jab bhi chhayenge’ and the male voice in it, I am sure must be still feeling the sweetness, the magic and the melodious range of this voice lingering in their ears still now or for that matter of any songs sung by him leave this impact on the listeners as usual.

***

Suresh Ishwar Wadkar was born on 7th August’1954 in Kolhapur (Maharashtra).
We wish him a belated happy Birthday and healthy and peaceful life ahead…
(Belatedly as I could not finish the write up in time and send it to our editors in time).

Another story of coming from a very humble background and scaling newer heights through sheer dedication, sincerity and perseverance in the field of music.

Suresh Wadkar’s father was a ‘mill worker’ in Sitaram Mills. His father was very fond of music and particularly ‘bhajans’. And the surroundings in which he grown up was traditional and cultural as all festivals were celebrated with fervour and music being an intrinsic part of it.

His father was very fond of ‘bhajans’ and he used to attend many programmes of ‘bhajans’ where Suresh then 4/5 years old used to accompany his father in these programmes of ‘Bhajan’. That is where he got with in all our traditions and cultures and listening to talented singers. And as it happened he was singing something and that was noticed by his father, and thus started his formal training classes in music when he was five only.

His guru from Sangli Shri Digrajkar was then giving him lessons in singing. He advised Suresh’s father to let Suresh continue with music and singing.

When he was eight he come to Acharya Jiyalal Vasant’s gurukul and Acharya ji groomed him into what he is today. He took care of all of his education and all. And looking into his passion when he was only thirteen years old his guru Jiyalal ji advised him to give training to other students in his institute.
Looking at his understanding of music, Acharya ji advised Suresh Wadkar to pursue education and degree in music. Following his guru’s advice Suresh Wadkar joined Prayag Sangeet Samiti and secured his degree of ‘Prabhakar’ in music and later joined ‘Arya Vidya Mandir’ in Mumbai as a ‘Music Teacher.

Suresh Wadkar, naturally, has great respect and admiration for his Guru ji and other disciples at the ‘gurukul’ – his ‘guru bhai’ and ‘guru behen’ and his elder sister i.e. daughter of Acharya ji – Prem Vasant– he speaks about them with great love and passion. And he has in deep sense all the gratitude for whatever his ‘guru ji’ has given to him and that is why after his ‘guru ji’ passed away being an elder among all the disciples he has shouldered the responsibility of his ‘guru ji’s legacy’ in the form of the school of music founded by his guru – ‘Ajivasan’ (this also gives online training in music).

He also started an online music school, called SWAMA (Suresh Wadkar Ajivasan Music Academy), (an innovative initiative) under Ace Open University continue to impart training in music in New Jersey. He, his wife, and his ‘guru sister’ visits every three months to supervise the operations and classes going on there.

and for him ‘music’ is the most difficult and greatest form of art which needs more dedication, seriousness and religiousness in efforts.

He has very high regards towards all the music directors who had given him the opportunity to sing and specially for the Mangeshkars he speaks about them with respect and gratitude. In his interview here one can listen his thoughts and just imagine what kind of a ‘noble’ and ‘pure’ character must be and that is what I think we finds in his voice too.

He was also present in the recent Jaidev Birth Centenary celebrations held at NCPA (NCPA Bandish music festival) Mumbai where our Respected Senior Shri Bharat Bhai was also present.

***

How this ‘anokhi aawaaz’ make his debut in the Hindi Film Industry is another interesting story.

It so happened that in 1970s (in 1976 to be specific) a big musical competition organised by ‘Sur-Singaar Sansad’ was held where participants aspiring to be singers from all over India participated this competition.
However, Suresh Wadkar’s singing impressed everybody and he was awarded ‘Madan Mohan Puraskar’.
Famous music directors like Jaidev, Ravindra Jain, Pt Hridaynath Mangeshkar, Sudhir Phadke and Pt Shivkumar Sharma and Pt Hariprasad Chaurasia (Shiv-Hari) were the panel of the judges who judge the competition and selected the winner.

Ravindra Jain while announcing Suresh Wadkar as winner also announced that he will be singing a song in his next movie and thus happened ‘vrishti pade taapur tupoor’ …

The next opportunity for Suresh Wadkar came straight way from the most respected and talented Music director Jaidev ji who given him the opportunity to sing in ‘Gaman-1978’. Later on, Suresh Wadkar also worked with him as his assistant and sing for him whenever he was given an opportunity to do so.

While assisting Jaidev ji he got to learn many things of music and the nuances of composing music.

Somehow as they say it was destined to be, Lata Mangeshkar is said to have heard about this voice and she was so impressed by his singing that she recommended him to the famous music duo Laxmikant-Pyarelal and also to Khayyam Saab and Kalyanji bhai-Anand ji bhai.

After that, it was no looking back for Suresh Wadkar and he keep getting many opportunities from all music directors ruling the HFM at that time.

***

For me, I have vague memories of this song ‘vrishti pade taapur tupoor’ being frequently heard on radio & loudspeakers and I do like it very much.

Then ‘seene mein jalan’, I remember I liked it very much and may be that was the time when for the first time I must have been got to know about the singer or we among friends must have discussed about this voice (looking my interests in HFM since childhood, I think I can say that).

Then I remember this song from ‘Krodhi’ in 1981 ‘chal chameli baag mein’ was a regular at the ‘Binaca Geetmala’ and it stood 16th in the annual programme of the Binaca Geetmala that year.
However, the next year’s – 1982’s ‘Binaca Geetmala’ in its annual programme saw as many as four songs having Suresh Wadkar’s voice viz. ‘Main hoon Prem Rogi’, ‘Meri qismat mein tu nahin shaayad’, ‘Muhabbat hai kyaa cheez hamko bataao’ all from ‘Prem Rog-1982’ and ‘Megha re megha re’ from ‘Pyaasa Saawan-1981’.

I think with the songs of ‘Prem Rog-1981’ Suresh Wadkar became a household name and almost all of its songs were a huge hit though ‘bhanware ne khilaaya phool’ is my favourite. It is different thing that not this song but the other songs of ‘Prem Rog’ (couple of which I don’t like then), make to the annual ‘Binaca Geetmala’.

Before that we had ‘megha re megha re’ from ‘Pyaasa Saawan’ taking us to reach out the clouds about to rain ‘the message of love’ … and we got soaked in the melodious voice of Suresh Wadkar …

Surprisingly before that we had his voice at number seven of annual ‘Binaca Geetmala-1979’ singing ‘Jijaaji jiaaji honewaale jijaaji’ in which he lent voice for Vinod Mehra in ‘Saajan Bina Suhaagan-1978’.

In 1981 we also have the magical ‘ye aankhen dekh kar ham saari duniya’ from ‘Dhanwan’ which spelled its magic on audience and it was too very popular and is also one of my favourite songs. (and this was his first song to appear on our blog).

After that I remember may be sometime around 1982-83 when I was on a visit to Nagpur (may be for watching the cricket between India and Pakistan at my Uncle’s home, on TV which had just reached us then, and into the old city market I heard this song playing on Radio ‘shaam rangeen huyi hai’ and I was totally taken away by this song. At that time, I was not knowing which movie it was from. Many years I keep searching for this song which I later got to know (I think it was because of this blog only) it was from. It was from the 1981 movie ‘Kaanoon Aur Mujrim’. Once again, a gem of song but not rewarded and forgotten in the midst of other popular songs then.

Also, I cannot forget ‘ae zindagi gale lagaa le’ from ‘Sadma-1983’, so close to our hearts and may have been liked by many many like me.

‘Likhne waale ne likh daale’ from Arpan from the same year was on 19th while meri qismat mein tu nahin shaayad was on 12th in 1983 annual list of ‘Binaca Geetmala’.

Later on, we have ‘aur kyaa ahad e wafaa hote hain’ from ‘Sunny-1984’, ‘saanjh dhaley gagan taley’ from ‘Utsav-1984’, then we have gems of songs from ‘Sur Sangam-1985, popular songs coming from ‘Ram Teri Ganga Maili-1985’, ‘Khaamosh sa afsaana paani se likhaa hota’ from the UR – Libaas -1988, ‘sooni sooni ankhiyon mein’ and ‘rakibon se habibon se’ from ‘Laal Dupattaa Mal Mal Ka’, ‘lagi aaj saawan ki phir wo jhadi hai’, ‘surmayi shaam is tarah aaye’ from ‘Lekin-1990’, ‘Dil-1991’, ‘Sangeet-1992’, and there are many.
Many are my favourites too… like ‘tumse mil ke aisaa lagaa’, ‘dhadkan zaraa ruk gayee hai’, ‘husn pahaadon ka’ and many …

And how can I forget ‘hamraahi mere hamraahi’ and ‘aur is dil mein kyaa rakhaa hai’, then I had also watched this movie ‘Yaadon Ki Kasam-1985’ which had ‘Baithh mere paas tujhe dekhta rahoon’.
I also remember ‘chaudhavin raat hai, ab chaand dikha de apna’ from ‘Yaadon Ke Mausam-1990’ which was frequently heard and popular then …

Not to forget ‘chappa chappa charkha chale’ and ‘chhod aaye ham wo galiyaan’ both from ‘Maachis-1996’.

There are many … and I would like to note here that the list of his Marathi songs is another long list where I have my favourites and many gems of songs which he has sung in Marathi.

The list goes on and on and we cannot list them all (at least the popular ones) here due to space constraint (and if I have missed to mention any prominent one I would like readers to forgive me for that).

After coming into the contact with this blog initially I had shared few of his songs (in 2012-13) like ‘Goron ki naa kaalon ki’ (from Disco Dancer, which I think was also quite popular in those years), then ‘Kabhi ajnabi thhe (Title Song), and ‘Surmayi shaam’ from ‘Lekin’ which remains to be posted yet. And there are many of songs still to be posted on the blog and the reason may be that since his career started at the end of seventies and picked up later in the eighties, we still have a long way to go to represent his songs on the blog (as of now 57 only).

So, I will stop the listing them here and come back to the today’s post now …

For this post, selecting a song was very difficult because as I said above, we still have a long way to go and there are many songs to choose from.

However, I had this song ‘Ram Dulari maike gayi’ 🙂 from ‘Meri Biwi Ki Shaadi’ in my mind since many years and I had decided that I will select only this song and not any other. (And it was from a movie of seventies and nostalgic for me too 🙂 )

But, while I was browsing through the filmography of Suresh Wadkar songs I came across this movie and when I listened to this song I was totally taken by it and it started growing on me as I listened to it again and again. This was from the movie ‘Bhayaanak-1979’ composed by Usha Khanna.

I had not watched this movie earlier and even now. From the star cast I can guess that this song is lip synced on screen by Ravi Kumar, a newcomer, who was paired with Razia Sultana, another newcomer. The picturisation of this song and its singing by Suresh Wadkar makes it very special.
As the movie didn’t fare well at the box office, I think this and other songs of this movie were forgotten easily.

‘Bhayaanak-1979’ was directed by S.U. Saiyed for ‘AVM Arts International’.

It had Mithun Chakravarty, Sadhoo Meher, Niloo Phule, Chandrashekhar, Mushtaq Merchant, C.S. Dubey, Jagdish Raj, Shaheen Khan, Sushila Raut, Annu Dhawan, Sadhna Khote, Hamid Rakesh, Major Anand, Fatima, Mannu Arora, Master Danny Jr., Master Abid, Master Anis, M. Miquel, and Madan Joshi and Om Shiv Puri were the other star cast of this movie.

Ranjeeta had a special appearance in this movie. Sharad Saxena makes a Guest appearance in this movie.

The movie introduced Ranjan Garewal, Shashi Ranjan and a ‘fresh romantic pair Ravi Kumar and Razia Sultana’ (as per the movie titles 😊)

Warsi Ahmed Siddiq was the Chief Assistant Director of this movie.

Harish Choudhry was the editor of this movie, and he was assisted by Sudhir Deshpande.
M.Maroof wrote the script of this movie. Munir Shah was the Dialogue Director.
Dialogues were written by Madan Joshi, while the story was by the AVM arts story department.

It was passed by Censor Board on 23.08.1979.

It was a suspense movie released for restricted viewing with ‘A’ certificate.

Lyrics of the five songs in this movie were penned by Indivar and music was composed by Usha Khanna.

Suresh Wadkar, Hemlata, Anuradha Paudwal (wrongly spelled Paduwal in the titles of the movie) gave their voices to the songs in this movie.

(Source of Information for this post – I have used the various YT links giving biographical details of Suresh Wadkar, then his Interview available here, which I would like interested readers should visit and listen to his story in his own voice.
I also referred to Wikipedia and other information on internet and songs in my memory 
When I thought of this write up considering the information available I thought I would be able to send it before 7th Aug, however after going into the details of his life and career I doubt whether I have been able to do justice to the feelings and thoughts going in my mind, as the enormity of his talent, his struggle and what he has achieved is such that it requires a detailed study or a ‘full biography’ in the form of a book (at least for me).

Let us now enjoy today’s song … and savour this ‘magical voice’ of Suresh Wadkar. I would once again request readers to forgive me if I have from my side not been to that level in bringing this biographical sketch here. For me the memories of the voice and nostalgia, of course, is the first thing close to my heart and this is my endeavor in return for all the beautiful memories this voice and the other voices have given to me …

Earlier we had the following four posts in this series, I am listing them below for interested readers …

Maa ne kahaa thha o beta
Haseen haseen waadiyon
Jin khoja tin paayiyaan
Yoon lagne lagi aajkal zindagaani

Audio (Full version)

Video (partial)

Song=Dhuaan sa uthha dekho chaaron oar (Bhayaanak)(1979) Singer-Suresh Wadkar, Lyrics-Indeewar, MD-Usha Khanna

Lyrics

O o o o
Ho o o o o o
Ho o o o o
O raani ee

Dhuaan saa utthha aa
Dekho chaaron oar re ae
Kahin kho na jaaye
Mera chitchor re ae
Mera chitchor
Dhuaan saa utthha aa aa
Dekho chaaron oar re ae
Kahin kho na jaaye
Mera chitchor re ae
Mera chitchor
Dhuaan saa utthha aa
Dekho chaaron oar re ae ae ae

Ghirne lagey hain
Man pe andhere
Ghirne lagey hain
Man pe andhere
Phoolon ke roop mein
Baithhe lutere
Dil to hai komal
Duniya kathor re ae
O o o o o o
Dhuaan saa utthha aa
Dekho chaaron oar re ae ae ae

Jeena safal ho
Tujhko jo paa loon
Jeena safal ho
Tujhko jo paa loon
Parde mein dil ke
Tujhko chhupaa loon
Dekh le naa roop tera
Koi bhi chakor re ae
O o o o o o
Dhuaan say utthha aa
Dekho chaaron oar re ae ae ae

Husn-o-wafaa ka
Aisaa tu sangam
Husn-o-wafaa ka
Aisaa tu sangam
Tujhko jo dekhoon
Mit’taa hai har gham
Tod de na koyi
Teri meri dor re ae
O o o o o o o
Dhuaan say utthha aa
Dekho chaaron oar re ae ae ae
Kahin kho na jaaye
Mera chitchor re ae
Mera chitchor
Dhuaan say utthha aa aa
Dekho chaaron oar re ae ae ae

————————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
—————————————
ओ ओ ओ ओ
हो ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ
ओ रानी ई

धुंआ सा उठा आ
देखो चारों ओर रे ए
कहीं खो न जाए
मेरा चितचोर रे ए
मेरा चितचोर

धुंआ सा उठा आ आ
देखो चारों ओर रे ए
कहीं खो न जाए
मेरा चितचोर रे ए
मेरा चितचोर
धुंआ सा उठा आ
देखो चारों ओर रे ए ए ए

घिरने लगे हैं
मन पे अँधेरे ए
घिरने लगे हैं
मन पे अँधेरे ए
फूलों के रूप में
बैठे लूटेरे ए
दिल तो है कोमल
दुनिया कठोर रे ए
ओ ओ ओ ओ ओ
धुंआ सा उठा आ
देखो चारों ओर रे ए ए ए

जीना सफल हो
तुझको जो पा लूं
जीना सफल हो
तुझको जो पा लूं
परदे में दिल के
तुझको छुपा लूं
देख ले ना रूप तेरा
कोई भी चकोर रे ए
ओ ओ ओ ओ ओ
धुंआ सा उठा आ
देखो चारों ओर रे ए ए ए

हुस्न-ओ-वफ़ा का
ऐसा तू संगम
हुस्न-ओ-वफ़ा का
ऐसा तू संगम
तुझको जो देखूं
मिटता है हर ग़म
तोड़ दे न कोई ई
तेरी मेर दो रे ए
धुंआ सा उठा आ
देखो चारों ओर रे ए ए ए
कहीं खो न जाए
मेरा चितचोर रे ए
मेरा चितचोर
धुंआ सा उठा आ आ आ
देखो चारों ओर रे ए ए ए


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 : 3675 Post No. : 14562

Khaamosh hai zamaana chup chaap hain sitaare

The first line of the song, aayega aane waala aayega from ‘Mahal’ (1949) must have vibrated in the cinema halls many times when the film was released on October 13, 1950 (on Ashok Kumar’s birth day). How true it was! Just two months before the release of the film, the creator of the immortal melodies in the iconic film ‘Mahal’ (1949) breathed his last on August 10, 1950 in Harkishandas Hospital in Bombay (Mumbai) at the young age of 42 years.

Today, August 10th 2018 is the 68th Remembrance Day of Khemchand Prakash (12/12/1907 – 10/08/1950). In 1939, he was like a newly capped cricketer who attained the form in his very first assignment and remained in form most of the time. In a short span of 11 years in the Hindi film industry, he composed a little over 430 songs in around 45 films. His career graph was like ‘I came, I saw, I conquered’ the Hindi film music.

Khemchand Prakash was born in Sujangarh (presently in Churu district of Shekhavati region of Rajasthan) in the family of Dhrupad singers and kathak dancers belonging to Jaipur Gharana. The family had a long lineage of kathak dancers and dhrupad singers. It is said that some of them received the patronage of Mughal kings from the time of Akbar and continued the royal patronage until the death of Mohammed Shah ‘Rangeela’. Thereafter they had to seek royal patronage from other princely states like Jaipur, Jodhpur, Bikaner, Rampur, Lucknow, Gwalior etc. [Reference: Sunil Kothari’s book ‘Kathak – Indian Classical Dance Art’ (1989)].

Pandit Govardhan Prasad, the father of Khemchand Prakash was also dhrupad singer and kathak dancer who was in the royal court of Jaipur. Khemchand Prakash received training in dhrupad singing and kathak dance from his father in Jaipur. When he was still in his teen, he became the court singer and dancer in the royal court of Bikaner. Soon he got an opportunity to join the royal court in Nepal as a singer and dancer where he remained for the next 7-8 years.

Khemchand Prakash got an opportunity to work in New Theatres (NT) as a music assistant to Timir Baran who was the music director for ‘Devdas’ (1935). There has been some speculation for a long time that Khemchand Prakash composed tunes for two songs of ‘Devdas’ (1935). About 3 years back, Pavan Jha, in his Article reaffirmed:

Music director Daan Singh [(‘My Love’ (1970), ‘Bhool Na Jaana’ (1960s, UR)], who was a formal protégé of Khemchand Prakash for a year and half, had told me that two of the classic compositions from Devdas, ‘Dukh ke din ab…’ and ‘Baalam aan baso…’, were composed by Guruji (Khemchand) and yet his contributions as composer went unaccredited.

Another important event in the life of Khemchand Prakash during his New Theatres day was his comic role as an actor-singer in ‘Street Singer’ (1938) in which he performed and sang lo khaa lo madam khaana. It seems, he also had a small role in ‘Kapal Kundla’ (1939).

Sometime in 1939, Khemchand Prakash joined Prithviraj Kapoor, K N Singh and others in quiting NT and came to Bombay (Mumbai). Probably, he must have thought that with stalwarts like R C Boral and Pankaj Mullick, he had no scope for becoming a music director in NT. With Prithviraj’s connections, Khemchand Prakash got his first assignment as an independent music director for Supreme Pictures’ ‘Ghazi Salauddin’ (1939) and ‘Meri Aankhen’ (1939).

For ‘Ghazi Salauddin’ (1939), Naushad assisted Khemchand Prakash as the story of the film had a historical Muslim background. Two songs sung by Kalyanibai became popular from this film. With ‘Meri Aankhen’ (1939) which was released first, Khemchand Prakash’s association with Khursheed Bano – Ranjit Movietone’s actor-singer- began which churned out many popular songs.

Although these two films did not have a good run at the box office, the songs of the films were appreciated. Khemchand Prakash joined Ranjit Movietone as music director with ‘Paagal’ (1940), ‘Holi’ (1940) and ‘Diwaali’ (1940) in his bag. In all, he composed music for 26 films during his 5 years of association with Ranjit Moveitone.

Some of the films made under the banner of Ranjit Movietone in which songs composed by Khemchand Prakash became popular were ‘Holi’ (1940), ‘Pardesi’ (1941), ‘Chaandni’ (1942), ‘Tansen’ (1943), ‘Bharthari’ (1944), ‘Bhanwra’ (1944), ‘Mumtaz Mahal’ (1944) etc.

A special mention needs to be made about the song compositions of ‘Tansen’ (1943). In this film, two top actor-singers – K L Saigal and Khursheed Bano were teamed together for the first time. It was the first occasion for Khemchand Prakash as a music director to record the song rendered by K L Saigal. It was the first occasion to compose a song in dhrupad for K L Saigal. While the songs of Khursheed Bano were a blend of folk and raag based, that of K L Saigal were based mainly on classical raags.

After ‘Prabhu Ka Ghar’ (1945), Khemchand Prakash left Ranjit Movietone ostensibly for the differences with Sardar Chandulal Shah on engaging a new playback singer. After remaining inactive for about a year, he became a free-lancer during which he scored music for successful films like ‘Sindoor’ (1947), ‘Ziddi’ (1948), ‘Saawan Aaya Re’ (1949), ‘Rimjhim’ (1949), ‘Mahal’ (1949) etc.

Some of the lesser known songs composed by Khemchand Prakash which I like are as under:

Songs Singer(s) Movie
Main albeli titli Sitaara Devi Meri Aankhen (1939)
Mori atariya hai sooni mohan nahi aaye Khursheed Bano Pardesi (1941)
Meri atariya pe aa jaa Sitara Devi/Mukesh Dukh Sukh (1942)
wo chaand ban muskuraa rahe hain Ameerbai Karnataki Vishkanya (1943)
Mere dheere se ghoonghat hataaye piya Ameerbai Karnataki Bharthari (1944)
teri pi pi ke pukaaron ne dil loot liya Ameerbai Karnataki Bhanwra (1944)
Mohabbat mein saara jahaan jal raha hai Khursheed Bano Shahanshah Babar (1944)
ye dil na mujhe yaad dila baaten puraani Rafi/Shamshad Saawan Aaya Re (1949)
Jagmag jagmag karta nikla chaand poonam ka pyaara Kishore Kumar Rimjhim (1949)
dekh gagan mein kaali ghata kya kehti hai Nalini Jaywant Muqaddar (1950)

No discussion on Khemchand Prakash would be complete without the mention of his melodious song compositions for “Mahal’ (1949) in general and aayega aane waala aayega in particular. Probably, this was the first song in the genre of ‘haunting song’. The top popularity this song achieved after the release of the film relegated into background the other melodious songs of this film such as mushqil hai bahut mushqil and ghabra ke jo ham sar ko .

I had heard this song on the radio quite often during my childhood and teenage years. It was one of my favourite songs. During my gramophone record collection days in early 1970s, the 78 RPM gramophone record of this song (in two parts) was one of my early collections. It was then I came to know that the song was composed by Khemchand Prakash, a name unknown to me at that time. Due to the slow tempo in Part-1 of the song, I would play only Part-2 of the song on my record player on most of the time. After watching the song picturisation, now I am in a better position to appreciate Part-1 of the song as well.

It is said that after the marathon rehearsal of the song of about 6 minutes of duration, Ashok Kumar, Savak Vacha and lyricist Nakshab Jarchvi felt that the slow tempo in the song would not appeal to the audience. But Khemchand Prakash was very confident about the song becoming popular. He was supported by the director, Kamal Amrohi.

Khemchand Prakash’s prophecy came true. The song became a rage all over India. Radio listeners were asking as to who was the real singer since the name of ‘Kamini’ – the character Madhubala played in the film – was printed on the label of the 78 RPM gramophone record. Thereafter the radio anouncers started announcing the name of Lata Mangeshkar whenever the song was being played on the radio.

The musical hit of ‘Mahal’ (1949) made Madhubala a star to reckon with. Lata Mangeshkar’s playback singing career graph gained a quantum jump which helped her to become numero uno among the female playback singers and retain that status for about the next 5 decades. After being in the film industry for over a decade as a story/screen-play/dialogue writer and lyricist, Kamal Amrohi’s success in his first directorial assignment got him the recognition as a director. The debt-ridden Bombay Talkies under whose banner the film was produced, got a breather.

But Khemchand Prakash, the creator of the immortal melodies in the film was not there to witness the tremendous success of his songs. Just 2 months before the release of the film, he breathed his last on August 10, 1950. Although Khemchand Prakash had earlier composed many hit songs especially with Khursheed Bano and Ameerbai Karnataki, this one song , aayega aane waala’ has immortalised him forever in the history of Hindi film music.

As a tribute to Khemchand Prakash on his 68th Remembrance Day, I am presenting one of the rare songs from an obscure film ‘Chalte Chalte’ (1947) in which Khemchand Prakash composed 11 songs (including one multiple version song). All the songs were written by Lalchand Bismil Peshawari. The song is ‘aate hain wo aahista aahista haule haule’ sung by Patanjal and Meena Kapoor. The film was produced and directed by S K Malik under the banner of Malik Productions. The main cast included Patanjal, Latika, Sudha, Kanta Kumari, Anwari, Gope, K N Singh, Shekhar, Anjlina etc.

‘Chalte Chalte’(1947) was one of the films he was associated with after leaving Ranjit Movietone in 1946. After struggling for a year or so, I guess, he may have done some retrospection and decided to adapt to the changing scenarios in Hindi film music. Probably, this song may be the first song in which Khemchand Prakash was influenced by western music. Meena Kapoor’s singing of multiples ‘aa aa aa…’ before the start of new antaras add a feeling of joie de vivre. The symphony style orchestration mainly of violins at the beginning as well as in the interludes seems to be the contribution of Antony Gonsalves, the Goan musician, who had worked with Khemchand Prakash, Anil Biswas and Naushad when he joined them in the second half of the 1940s.

This is one of those humming melodies created by Khemchand Prakash which remained unknown to many admirers of vintage Hindi film songs.

With this rare song, ‘Chalte Chalte’ (1947) makes its debut in the Blog.


Song-Aate hain wo aate hain wo (Chalte Chalte)(1947) Singers-Patanjal, Meena Kapoor, Lyrics-Lal Chand Bismil Peshawri, MD-Khemchand Prakash

Lyrics

aate hain wo
aate hain wo
aahista aahista
haule haule
aate hain wo
aate hain wo
aahista aahista
haule haule
aaa
aa aa aaa aa
aa aa
aa aa
aa aa
aa aaa
aaaa

aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aate hain wo naazon ke paale
baanki tirchhi maang nikaale
aahista aahista
haule haule
aaa aa aa
aa aa aa aaa
aa aa
aa aa
aa aaa
aa aaa

gulshan ki duniya ne chun chun ke pahne
gulshan ki duniya ne chun chun ke pahne
baanke sajeele phoolon ke gahne
baanke sajeele phoolon ke gahne
shabnam ne chaandni ke moti roley(?)
shabnam ne chaandni ke moti roley(?)
aahista aahista
haule haule

aate hain wo
aate hain wo
aahista aahista
haule haule

raat ki raani gesu sanwaare
ha ha ha ha ha
raat ki raani gesu sanwaare
ha ha ha ha ha
neele dupatte pe chamke sitaare
neele dupatte pe chamke sitaare
jhumke suraiyya ke kaanon mein dole
jhumke suraiyya ke kaanon mein dole
aahista aahista
haule haule


This article is written by Sudhir, 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 : 3673 Post No. : 14559

ASAD 10th Anniversary Celebrations – 19
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मिले ना फूल
तो काँटों से दोस्ती कर ली॰ ॰ ॰

दस बरस पहले, एक सफर शुरू हुआ – एक सफर जिसका कुछ भी नियत नहीं था, कुछ निश्चित प्रयोजन नहीं था, कुछ आशा भी नहीं थी के ये सिलसिला जाने कब तक चले। बस सिर्फ एक धुन, और एक नग़मा – ले चला जिधर ये दिल निकल पड़े।

और साथ ये भी कह दिया कि मंज़िल कहाँ कहाँ रुकना है ऊपर वाला जाने॰ ॰ ॰

कुछ मालूम नहीं था ये सफर क्या शक्ल हासिल करेगा। क्या कोई हमसफर मिलेगा? मालूम नहीं, ये सोचा भी था के नहीं। लेकिन फिर भी क्या॰॰॰ एक ज़िंदगी का तार पकड़ कर चल दिये। और सोचा यूं कि चलते चलो चलता हुआ साहिल है ज़िंदगी। ये तो अच्छा किया कि दूर की सोची नहीं। अब तीन साल में क्या हो या पाँच सात साल में क्या होगा ऐसी हर फिक्र को धुएँ में उड़ाते हुये, बस एक दिन और एक गीत – इस क्रम पे चलना शुरू किया।

कहते हैं, जब कर्म और विचार में खोट नहीं, तो प्रकृति, दिशाएँ, तत्व, देव – सब कुछ ही साथ हो संबल देते है।  दस साल पहले जो सफर अकेले ही शुरू हुआ था, आज इन दस साल के बाद अब इसकी गिनती करोड़ों में होती है।  क्रम नहीं बदला, नीयत नहीं बदली – जो बदला वो बस यही के लोग साथ आते गये और कारवां बढ़ता गया।

दस साल बाद भी, आज कोई पूछे तो जवाब नहीं बदला – ये हँसता हुआ कारवां ज़िंदगी का न पूछो चला है किधर॰॰॰।

कितने पड़ाव आए और गुज़र गये, कितने ही मील पत्थर रास्ते में मिले और नज़रों से ओझल हुये।  इस सफर में हम कहाँ कहाँ से गुज़र गये – देस भी घूमा, दुनिया भी घूमी; सागर, नदियां, पर्वत, वादियाँ, जंगल और सैहरा, रास्ते और गलियाँ, पनघट और खलिहान, बाज़ार भी, मेले भी और अकेले भी – सब कोने छू लिए। कभी रेल में, तो कभी मोटर कार में, कभी घोड़े कि टापों के संग, तो कभी रिक्शे में। कभी बैल कि गाड़ी में घूमे, तो कभी तांगे के हिचकोले खाये। कशतियों में कभी झीलों का झरोखा, और कभी जहाज़ में समुद्र का दीदार किया। साइकल की सैर भी की, और कभी प्लेन से सारी धरती को देखा। और तो और, क्रेन, ट्रक और ट्रैक्टर को भी नहीं छोड़ा।

कभी हरी दर्शन को तड़पते मन देखे, कभी मदीने की दुआएं मांगी।  कभी बंजारों के गीत सुने, और तो फिर कभी सूफी के कलाम। बुद्ध कि शरण में गये तो कभी येशु के दर पे सर झुकाया। कभी सृष्टि के चित्रकार को ढूँढा, और कभी कर्म गति की शिक्षा सुनी। कभी शुक्राने फरमाए उस खुदा की बंदगी में, तो कभी ज़िंदगी से ऊब कर उसे खूब खरी खोटी भी सुनाई।

कभी किसी नाज़नीं से लहंगे कि फरमाइश सुनी, और कभी प्रेमी कि ज़ुबान से चाँद कि उपमाएँ। कभी बरसात ने दिल लुभाया, तो कभी बात बात में मैंने दिल तुझको दिया। कभी गर्मी की धूप से बचने की सलाह देखी, तो कभी बर्फ की सर्दी को दिल की आंच से कम होते देखा।

गोद में बच्चों को सुलाते हुये माँ कि लोरियाँ सुनी, तो कभी बच्चों से माँ के आँचल कि पुकार। नग़में सुने दोस्ती के और ग़ज़लें सुनी इश्क़ की।  मोहब्बत के जलवों से रोशन जन्नत के नज़ारे किए, तो कभी टूटे दिल के नालों ने हमें भी रुलाया।

कभी दिल मचला और झूम के गा उठा – किसान अपनी फसल देख के, फौजी छुट्टी पर घर जाते हुये, इक जवान दिल इश्क़ का इक़रार पा कर, और तो कभी बस इस कायनात की खूबसूरती पर।

कभी दिल रोया और रो कर गाया – भीख मांगते हुये बच्चे, कोई बिछड़ कर जाने लगा, कभी मोहब्बत के धोखे उठाए, और तो कभी किस्मत के थपेड़ों की शिकायत में।

कभी एक चोर की कहानी सुनी, कभी बिक्री वालों से उनकी उम्दा दलीलें सुनी, कभी मेहनतकशों की प्रेरणा भा गई, और तो कभी सड़क पे तमाशों के नज़ारे किए।

हुस्न की जल्वानुमाई देखि, तो कभी हुस्न के एहसान; कभी हुस्न की संगदिली ज़ाहिर हुई, तो कभी सिर्फ शिकवों का ज़िक्र हुआ। फ़लक पे सूरज चाँद और तारों की कहानी सुनी, तो कभी शराब की मस्ती शराबी की जुबानी सुनी।

फूलों से किसी कमसिन के चेहरे को मुक़ाबिल देखा, तो कभी किसी अल्हड़ की लापरवाह चाल से झरनों की उपमा हुई।

कसमें वादे होते देखे साँसों की हद तक, और कभी टूटे वादों के साथ दिल के टुकड़े बिखरते देखे।

कोई जश्न का मौका छूटा नहीं, कोई नाम अछूता रहा नहीं।

कभी धरती और देश के झंडे से बुलंद हुये, तो कभी इंसानी ज़ुल्म से हताश।

कभी शहीदों की कहानियाँ पलटीं, तो कभी भली आत्माओं का दर्शन किया।

सुख की घड़ियाँ, दुख के बादल; हंसी के लम्हे, आँसू की ढलकन; मिलने की खुशी, ना मिलने का ग़म; प्यार का झगड़ा, बेवफाई के ज़ख्म; बारात का बाजा, दिल का राजा; मंदिर का दीपक, खुदा से दुआएं; रिश्तों की संवेदना, और साथ ही वेदना; प्यार का फलसफा, और ज़िंदगी की तालीम।

कभी वो गीत में, कभी नज़्म में, कभी ग़ज़ल में, तो कभी भजन में, कभी ट्विस्ट में तो कभी डिस्को में; कभी क़व्वाली में, तो कभी सहगान में; कभी कविता जैसी लगी, तो कभी कथा जैसी; कभी तुम्हारी छवि दिखी, कभी उसकी; और तो ज़्यादा कहानी अपनी सी लगी।

दस साल। दस साल और पन्द्रह हज़ार उमंगें। रोज़ की नई नवेली। कभी लगता भी है कि पहले सुना था, लेकिन फिर भी लगता है नया सा। कितने सारे भावों की बरसात हुई है, क्या बेशुमार दौलत मिली है – दस साल में। नायाब खजाना है। और सोचो तो, शुरू कहाँ से किया था – “॰॰॰काँटों से दोस्ती कर ली॰॰॰”। मुनासिब ही तो है, ये दौलत काँटों से गुज़र के ही पाते हैं। और तमन्नाएं॰॰॰ उनका तो कहना ही क्या। कुछ मिल जाये, इसकी तो फिक्र कभी थी ही नहीं। बस एक ही बात, एक ही लगन॰॰॰ दिल चाहता है॰॰॰  साथ चलते रहें हम न बीते कभी ये सफर॰॰॰

जी हाँ, दिल चाहता है। जब एक गाना ढूंढ रहा था इस जश्न के लिए, तो मन बहुत घूमने के बाद इस बात पे ठहरा कि एक सफरनामा होना चाहिए, एक गाना जिस में बस सफर हो, कोई मंज़िल न हो। जिसमें बस हमख्यालों का दख़ल हो। जो सब मेरे हमकदम हों, मेरे हमनशीं, मेरे हमज़ुबाँ हों। अपनी यादों और आदतों से वहीं ढूँढता रहा साठ और सत्तर से पहले। इत्तेफाक़ देखिये, मिला तो बखूबी वही जो दिल चाहता है। हाँ ‘दिल चाहता है’ – फिल्म भी वही और नग़मा भी वही। 2001 में जारी हुई ये फिल्म मेंने उन्हीं दिनों में अपने सफरगुज़ारी के दौरान देखी। न जाने क्यों, इस फिल्म से मोहब्बत हो गई। और खास कर के इस गाने से। हल्की सी मस्ती की लहर में हल्का सा ढुलकता सा गाना, सुस्ताता हुआ, आलसी सा गाना, धीरे धीरे बहता जैसे बहार में सुबह कि मीठी सी सबा॰॰॰ लापरवाही में एक प्रतिबिम्बित चिंतन॰॰॰ गाना तो ऐसे मन को भाया के बस।

दिल चाहता है
कभी ना बीतें॰॰॰   चमकीले दिन
दिल चाहता है
हम ना रहें कभी॰॰॰ यारों के बिन

होता है ना कभी कभी ऐसे ही। कुछ ऐसा कहा जाता है दो लफ्जों में, के और कुछ कहने की कसर बाकी रहती नहीं। जो बात मन की है, वो बस इतनी ही मुकम्मल है, जो ऊपर लिखे मिसरों में ब्याँ हो गई – तमन्ना है ये साथ चलते रहें हम न बीते कभी ये सफर॰॰॰

और कुछ कहना वाजिब नहीं।

इस फिल्म के ज़्यादातर किरदारों को पहली बार देखा था। बहुत सालों बाद एक हिन्दी फिल्म देखी थी शायद। मन को जम गई। 🙂

गीत जावेद अख्तर का लिखा है, संगीत बद्ध किया शंकर-एहसान-लोय कि तिकड़ी ने। गाने वाली आवाज़ शंकर महादेवन की है। स्क्रीन पर ये गाना बैक्ग्राउण्ड में फिल्माया गया। और क्या असरदार फिल्माया गया। गीत ही गीत सुनता है, बाकी सब खामोशी है। एक तुष्टि की, एक पूर्णता की खामोशी है। एक खुशी भरी सुस्ती की खामोशी है॰॰॰ जो दिल चाहता है वो मुझे मिला है॰॰॰ ऐसी खामोशी है

कभी ना बीतें॰॰॰   चमकीले दिन
हम ना रहें कभी॰॰॰ यारों के बिन

दस बरस, फिर एक और दस बरस, फिर एक और दस बरस॰॰॰ सिलसिलेवार

कभी ना बीतें॰॰॰   चमकीले दिन
हम ना रहें कभी॰॰॰ यारों के बिन

[Author’s Note: Apologies due on many counts, including the sudden and surprising change in the presentation language above. The writing started and then I just couldn’t stop the flow. And so I let it flow. In case there are requests, I can add the English translation also. Regarding the gap in celebration sequence, that story is coming up tomorrow. 🙂 ]

Song – Dil Chaahta Hai (Dil Chaahta Hai) (2001) Singer – Shankar Mahadevan, Lyrics – Javed Akhtar, MD – Shankar-Ehsaan-Loy
Chorus

Lyrics

dil chaahta hai

dil chaahta hai

dil chaahta hai
kabhi na beeten
chamkeele din
dil chaahta hai
hum na rahen kabhi yaaron ke bin
din din bhar hon
pyaari baaten
jhoomen shaamen
gaayen raaten
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan
dil chaahta hai
kabhi na beeten
chamkeele din
dil chaahta hai
hum na rahen kabhi yaaron ke bin

jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste

oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo

jahaan rukey hum
jahaan bhi jaayen
jo hum chaahen
wo hum paayen
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan

dil chaahta hai

dil chaahta hai

dil chaahta hai

dil chaahta hai

dil chaahta hai

kaisa ajab ye safar hai
socho to har-ek hi bekhabar hai
us ko jaana kidhar hai
jo waqt aaye
jaane
kya dikhaaye

oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo

dil chaahta hai
kabhi na beeten
chamkeele din
haan haan
dil chaahta hai
hum na rahen kabhi yaaron ke bin
din din bhar hon pyaari baaten
jhoomen shaamen
gaayen raaten
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste

oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo

dil chaahta hai

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

दिल चाहता है

दिल चाहता है

दिल चाहता है
कभी ना बीतें
चमकीले दिन
दिल चाहता है
हम ना रहें कभी यारों के बिन
दिन दिन भर हों
प्यारी बातें
झूमें शामें
गायें रातें
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ
दिल चाहता है
कभी ना बीतें
चमकीले दिन
दिल चाहता है
हम ना रहें कभी यारों के बिन

जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है

दिल चाहता है

दिल चाहता है
जहाँ रुकें हम
जहाँ भी जाएँ
जो हम चाहें
वो हम पाएँ
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ

दिल चाहता है

दिल चाहता है

दिल चाहता है

दिल चाहता है

दिल चाहता है

कैसा अजब ये सफर है
सोचो तो हर एक ही बेखबर है
उस को जाना किधर है
जो वक़्त आए
जाने
क्या दिखाये

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है
कभी ना बीतें
चमकीले दिन
हाँ हाँ
दिल चाहता है
हम ना रहें कभी यारों के बिन
दिन दिन भर हों
प्यारी बातें
झूमें शामें
गायें रातें
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है


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.

Blog Day : 3672 Post No. : 14554

I just realized that, in the last few years, most of my posts here have been linked to a specific occasion. A birth anniversary, a death anniversary, a blog milestone or something similar.

In the past, I would write a post just for the heck of it – but my writing has gone down considerably. Not just in quality, but in quantity too. And I think there’s a correlation here – it’s a vicious circle. As with many skills, practice makes perfect. Forget perfection, but practice at least helps keep a skill alive.

The less I write, the less I find myself able to string words into sentences – and sentences into paragraphs. Words used to flow in the past, now they’re like Indian batsmen, barring Kohli, batting in English conditions. 🙂

So I thought I should write a post “ainven”. No anniversary or occasion – just writing for the heck of it.

The trigger for this post is actually a recent post by Peevisie’s Mom. On the occasion of Kishore Kumar’s birth anniversary, she posted the song “janam janam mere sanam” from Faasle (1985). I hadn’t heard this song in a while – but I remember liking this song a lot at the time the film was released. It was a fairly popular song in its time.

That got me thinking.

I’ve generally been harsh on 1980s music. And I’ve never made a secret of it. 🙂 Taste is personal, and what I like, or don’t like, might be very different from another person’s taste So I hope I don’t offend anyone here with my thoughts.

But my own experience has been that by the early 80s, I began feeling a decline in quality. Not with every song of course, but increasingly I was coming across “new” songs that I didn’t like very much. I often give the examples of “angrezi mein kehte hain” and “shaayad meri shaadi ka khayaal” but there were many more. I use these as examples only because they were massively popular, as evidenced by their topping Binaca Geet Mala in those years.

Then there was the onslaught of the Himmatwala (1983) storm. To be honest, much later in life I listened to the songs again – and didn’t mind them all that much. But at that time (in the 80s), already suffering from the “angrezi mein” attack, I didn’t need this. It was like facing Marshall and Holding from two ends – there was no escape.

So for years, I just shut off from listening to “new” songs. Movies like Ek Jaan Hain Hum, Love 86 and many more came and went – they had popular songs too, but I wasn’t interested.

That was also, again in my opinion, a lean period for Hindi cinema itself. Amitabh Bachchan seemed to be on a decline, and there was a sort of vacuum of credibility around. Yes, there were films being made – with Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor, Jackie Shroff, newcomer Govinda and others – but I stayed away from them all.

And I totally stayed away from the Jeeetendra-Sridevi-Jayaprada storm that followed the Himmatwala storm. I call this the “ice cream khaogi” period – some will recognise this as a line from a popular song of the time. 🙂

So all in all, I generally stayed away from films. During that period (1985-1990), I must have watched less than 10 films. I can remember Saagar, Meri Jung, Mera Jawaab – all in 1985. After that, I remember just Pushpak (1987) for the next few years.

That was also the time that Hindi cinema was going through a video piracy crisis. Not that it made a difference to me, because I didn’t watch “new” films even on video then. I just didn’t want to watch them. Some friends tried to persuade me – there were “big” movies being released like Jaanbaaz and Karma. I wasn’t interested.

I think Mera Jawaab (1985) sealed it for me. I’d gone to Hyderabad to visit my sister. We decided to go for a film in a nearby theater. We had no clue about the film except that it was a Jackie Shroff-Meenakshi Seshadri film – which was fine for us.

Now, in those days, violence was very much the norm in a film. Shakti Kapoor, Gulshan Grover were the ruling villains. In this film, the heroine, Meenakshi Seshadri, gets brutally raped by three men and killed halfway through the film. The rest of the film is a revenge story of how Jackie avenges her rape/murder.

My sister got a headache watching the film, I too didn’t enjoy it at all, and was glad when it was over.

That film only further reinforced my feeling that the movies and music of that period weren’t my cup of tea. Maybe it was my fault – maybe I was just out of tune with the times. Maybe audience tastes had changed, and I was stuck in an earlier era.

It wasn’t just the movies, it was the music too.

The golden period of music is generally considered to be upto the end of the 60s. Though I’m a 70s person, I will be the first to admit that the 70s were already a few notches lower than the 60s. And the 80s probably just continued the decline further.

Again, we should not get carried away by extremes. Some will point to a dozen superb songs of the 70s (probably Gulzar-RD Burman) to make a point that 70s too had great music. That’s not my point. One has to look at TOTAL output to see what proportion of songs you would consider as “great”. Again, I agree this is subjective – so I will go with popular opinion.

Popular opinion would suggest that the 1950s had a high proportion of songs that could be considered “great” or classic. There were films like Baiju Bawra, Awara, CID, Chori Chori, Madhumati, Naya Daur, Anari and many more that had multiple songs that fit this bill.
The 1960s too continued this trend. Films changed with the advent of colour, they became more “entertainment” and music began reflecting this too. But even so, its quality remained very high. Many of the composers were still the same, even if they adapted their style to new demands.

By the 1970s, many of the old composers had disappeared from the scene. And audience tastes changed yet again – it became even more loud, in my opinion. One could see this in the dress sense too – bright, loud colours, floral prints. I remember having pink, striped, bellbottoms at the time. 🙂

It is my personal opinion (I must emphasise this!) that music too became more loud than melodious. The reason we keep referring to the Gulzar-RD Burman songs is that they were largely the EXCEPTION for that period. They gave us relief from the loud music. The same reason why the Yesudas-Hemlata songs became so popular in that time. They were melodious, compared to a lot that was on offer.

Just to clarify, I am not saying 70s songs were not catchy. They were extremely catchy. But there’s a difference between being catchy, and being soft and melodious.

By the late 70s, the disco fever had fully caught on in India. It had started earlier in the decade already in the West – it was only a matter of time for it to catch on in India too.

For a good part of the 80s, disco music was popular. Bappi Lahiri, known as King of Disco Music, thrived.

I was fond of disco songs too – I fondly remember listening to “Disco Station Disco” from Hathkadi (1982) many times. 🙂

As the decade progressed, and I progressively lost interest in “new” movies and songs, I lost track of what was going on.

I’d get to listen to the odd song – maybe playing on radio, or during a festival. In those days, during festivals, the latest, most popular songs, would play loudly in the entire neighbourhood.

And this is how I listened to “janam janam mere sanam” from Faasle (1985). In those days I was in Mumbai (then Bombay) and this song used to play on radio quite often.

When I heard it now, after SO many years, it brought back memories of those years – the 80s.

Since then, though I avoided “new” movies then, I’ve seen many 80s films. In my “blanket ban”, I had missed out on films like Arth, Ardh Satya, Masoom, Ijaazat, Mr India, Agar Tum Na Hote – all of which I saw later. And Karma too. I’ve even seen Himmatwala, Tohfa, Mawaali and some others of the “ice cream khaogi” genre. And a few Amitabh Bachchan films too of that period – Aakhree Raasta and Ganga Jamuna Saraswati, and some more.

I liked some, I didn’t like some – but then, three decades later, it is easier to look back and have a different perspective on the time. And yes, one does mellow a bit too with age. 🙂

I realize that even if the overall standard had declined, there were a fair number of pleasant songs in the 80s too. I’ve written here earlier about “O yaara tu pyaaron se” from Kaash (1987). This was a film I saw much later – and I really liked this song.

In recent years, I’ve been coming across 1980s songs that I’d never heard before – beautiful songs like the Gulzar-RD song “roz roz aankhon tale” from Jeeva (1986) which someone introduced to me a few years ago. I am sure there are many more too.

Which brings me to my song for today.

When Peevisie’s Mom posted a song from Faasle (1985), I first confused it with Jawaani (1984).

Faasle has two young newcomers, Rohan Kapoor and Farha. Jawaani also had two young newcomers on the scene – Karan Shah and Neelam. That was the period of love stories with young pairs – probably following the huge success of Betaab (1983) and Hero (1983).

Jawaani is a film I happened to watch a few years ago. I don’t know how I ended up watching this film – I’d never even heard of it before. Nor had I heard of Karan Shah, the hero. But as I watched it, I found that I quite liked it. I don’t remember the story now – I think it was typical (rich girl, poor boy, girl’s father doesn’t approve of girl’s choice). But inspite of this, it held my attention. Or rather, I should say, since I watch such movies with zero expectations, it far exceeded my expectations. 🙂

But the highlight for me was the songs.

Usually in a film, I get pleasantly surprised if I come across a song that I immediately recognise as “arrey, ye gaana IS film mein hai?”. Now imagine that happening to 6 songs in a film! I realized, as I watched Jawaani, that I knew the following songs in the film but had no clue they were from this, or from the same, film.

Bheega bheega pyaara pyaara
Halla gulla mazaa hai jawaani
Gali gali dhoondha tujhe
Maana abhi ho kamsin
Saajna main sada tere saath hoon
Tu rootha to main ro doongi sanam

Much later, I got to know that this track was composed by RD Burman. At that time, he was not having too much success – but this film was among his successes.

When I got reminded of this film, I checked to see which songs had got posted here. To my surprise, not a single song has been posted yet. So, with this song, this film makes its debut on this blog.

I quite like Lata’s rendition here. Her voice is not just excellent, she also gives the necessary emphasis at different points to make the song more interesting and musical. You’d expect nothing less from her after all her years of experience. 🙂

This also happens to be the only film I have seen of Neelam. She was popular in her own way – but this was exactly the period that I stayed away from films. 🙂 I quite liked her in this film.

Hope you like the song. You’ve probably heard it before if you listened to radio in the mid-80s. It was quite popular.

P.S: While writing this post, I didn’t realize that the 7th of August is the death anniversary of Gulshan Bawra. A lyricist I will always associate with the songs of Upkaar and Zanjeer because that was when I first heard of him in my childhood. He has also acted in a few films. I remember the song “deewaane hain deewaanon ko” of Zanjeer picturised on him.

Today’s song, coincidentally, happens to be written by him and I would like it to be considered a tribute to him.

So this post which started as being an “ainven” post ends up being another anniversary post.


Song-Saajna main sada tere saath hoon (Jawaani)(1984) Singer-Lata, Lyrics-Gulshan Bawra, MD-R D Burman
Chorus

Lyrics

aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa

saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna

ru ru ru
ru ru ru ru
aa aa aa
aa aa aa

aaja chalein wahaan
pehre na ho jahaan
na ho dushman koi
aaja chalein wahaan
pehre na hon jahaan
na ho dushman koi
aise jahaan mein hi
jaa ke basaayenge
chhota sa ik aashiyaaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna

meri nigaahon mein
tu hi rahe sadaa
maine bas ye chaaha
meri nigaahon mein
tu hi rahe sadaa
maine bas ye chaaha
teri lagan mujhe
meri lagan tujhe
ye lagan yoon rahe jawaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna

ru ru ru
ru ru ru
ru ru ru

tere bina meri
mere bina teri
zindagi hai adhoori
tere bina meri
mere bina teri
zindagi hai adhoori
baahen hon baahon mein
pyaar ki raahon mein
chalta chale ye kaarwaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna


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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 14500 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14559

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Movies with all their songs covered =1142
Total Number of movies covered =3975

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Active for more than 3500 days.

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