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 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.

Prabhat Film Company’s ‘Padosi’ (1941) can be regarded as the first Hindi film based on the theme of Hindu-Muslim unity. This theme was considered as a courageous and risky proposition as sword pf Damocles was bound to hang over the head any producer dealing with such an explosive subject. The fanaticism prevalent in both these communities could wreck the box office prospects of the film. Defyung such dire predictions, ‘Padosi’ (1941) went on to became a box office hit.

The success of ‘Padosi’ (1941) in tealing with this sensitive theme of Hindi Muslim unity seems to have encouraged the producer of the film ‘Bhakt Kabir’ (1942) to try and utilise the same theme in a historical setting. It is said that when the film was announced, the film fraternity in Bombay (Mumbai) described it as a foolhardy endeavour on the part of this new productionto take up such an emotionally charged up subject of Hindu-Muslim unity in their very first offering. The producers of the film – Rameshwar Sharma and Lahori Ram Parashar from Punjab were new to the film industry. However, when the film was released in 1942, it received a very good response from the audience. The then Governments of Punjab, Sind and Bombay waived off the entertainment tax in their states for this film.

BHAKT KABIR (1942) was produced under the banner of Unity Productions, Calcutta and it was directed by Rameshwar Sharma. The star cast included Mazhar Khan, Mehtab, Bharat Bhushan, Padma Devi, Jyotsana Gupta, Gyani, Ramesh Sinha etc.

There were 16 songs in the film written by Sant Kabirdas and Pandit Shivkumar. However, distribution of songs between them is not known. On the SAREGAMA website, there are 9 songs available, all sung by Himangshu Dutta who also composed the music for the film. Surprisingly, I could not find any of these 9 songs on YT. I have mp3 audio clip of one more song which I had downloaded from Dr Surjit Singh’s website. This makes a total of 10 songs.

I heard the name of Himangshu Dutta (1908-1944) as singer and music director for the first time. Wikipedia describes him as a singer and composer of Bengali songs who was a contemporary of Rabindranath Tagore and Kazi Nazrul Islam. I have condensed Himangshu Dutta’s profile based on Wikipedia as set out below:

Himangshu Dutta was born in Comilla (now in Bangladesh) in 1908, to Jogendrachandra Dutta and Nirada Devi. After receiving primary and secondary education at Comilla and passing the entrance examination from Comilla Zilla School in 1924, he came to Kolkata and joined Presidency College to get the ISC degree. He received his bachelor degree from Vidyasagar College under Calcutta University.

Jogendrachandra was very fond of music and many eminent musicians of Comilla used to visit his house in a regular manner. This not only helped child Himangshu to listen quality classical music at his very young age but also to get closer to various forms of music like Dhrupad, Khayal, Ghazal, folk songs, and other various local music forms of Comilla.

Himangshu Dutta’s mother was also a noted singer of that time and she used to sing Rabindra sangeet to her sons and daughters. Himangshu Dutta received the first lessons of music from his mother. He learnt Dhrupad from Acharya Shyamacharan Dutta and Bhajan from Ustad Khasru Miya, and Pandit Khitimohan Sen-Shashtri. He also received training on classical music from his elder brother Shachindra Dutta. Before reaching his teenage, Himangshu Dutta started singing Bramho sangeet and Bhajan in different local functions at Comilla.

In 1923, Rabindranath Tagore visited Comilla and the young Himangshu Dutta sang Rabindra sangeet in a public function in front of Rabindranath Tagore. Rabindranath appreciated it very much.

Besides having a deep interest in music composition, Himangshu Dutta was an avid notation writer from the very young age. He wrote notations for various musicians including Atul Prasad Sen and Rabindranath Tagore. Maestros like Pankaj Mullick also mentioned this in his writing.

In 1931, Gramophone Company of India released the first record based on the composition of Himangshu Dutta. The artist was Haripada Roy. In the same year, the company also published another record from its HMV division where Sati Devi was the singer, and Himangshu emerged as a star in the history of so-called modern Bengali songs.

Himangshu started using both Indian classical music and western harmony to bring a complete new type of music in the history of Bengali music composition. Beside composing music for basic Bengali songs, Ghazals, and Raga based songs, in 1934, he entered the world of film industry through the Bengali film ‘Taruni’ (1934). In the next ten years he worked as composers in about 20 Bengali films and 3 Hindi films – Bhakt Kabir (1942), ‘Pati Puja’ (1943) and ‘Bhai Chaara’ (1943).

Himangshu Dutta died in 1944 at the age of 36.

I am presenting a very rare song not from the 10 songs which I mentioned above but a different song. This song is ‘ilaahi tu to rabbul aalam hai’ which was uploaded on YT by Vidur Sury. This is a hamd ( a devotional song in praise of God). The singer has been identified as Ram Dulari by a learned commentator on the video clip and I tend to agree with him when I compared the voice in her songs from ‘Chitralekha’ (1941).

I guess the words ‘rabbul aalami’ in the first line are the same as ‘rabbul aalamee’ in which case it means ‘Lord of the Universe’.

What a beautiful hamd! I have listened to this devotional song many times and yet I feel like listening again and again.

With this song, ‘Bhakt Kabir’ (1942) makes its debut in the Blog.


Song-Ilaahi tu to rabb ul aalami hai (Bhakt Kabir)(1942) Singer-Raamdulaari, Lyricist- Pt Shivkumar, MD-Himanshu Dutt

Lyrics

ilaahi
tu to rabb ul aalami hai
ilaahi
tu to rabb ul aalami hai
teri rahmat kaa kuchh kehna nahin hai
teri rahmat kaa kuchh kehna nahin hai
ilaahi

haan aan aan aan
aan aan aan aan
teri khairaat le le kar r
palen aen aen aen aen hain
teri khairaat le le kar r
pale….n aen aen aen aen hain
baz?? kuchh khairaat kuchh apna nahin hai

mujhe kehna aa aa aa aa hai
tujhse ae kuchh ilaaheda
haan aan aan aan aaan
mujhe kehna aa aa aa aa hai
tujhse kuchh ilaaheda aa
sunaa kar sabko wo kahna nahin hai
sunaa kar sabko wo kahna nahin hai

haan aan aan aan aan
main kya maangoon oon
tujhe ae ae sab kuchh khabar hai
haan aan aan aan aaan
main kya maangoon
tujhe ae ae sab kuchh khabar hai ae
hamaare ghar mein ek gehna nahin hai
hamaare ghar mein ek gehna nahin hai
ilaahi tu to rabb ul aalami hai
ilaahi


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.

#the Decade of Seventies – 1971 – 1980 #
———————————————————–
# Bhoole-Bisre Geet # 50 # Shatrughan Sinha’s Birth Anniversary #
———————————————————————————————————-

‘Chambal Ki Qasam-1979’ was an M.P.D.Productions presentation. It was produced by V L Murlidhar and directed by Ram Maheshwary. It had Raj Kumar, Shatrughan Sinha, Moushmi Chatterjee, Farida Jalal, Ranjeet, Nirupa Roy, Paintal, Gopal Sehgal, R.Tiwari, Usha Kiran, Peace Kanwal, Jagdish Raj, Nazir Hussain, Gufi, Paro Devi, Maruti, Uma Khosla, Raj Rani, Master Bhagwan, Gurucharan, Usha(Gwalior), Pandit Ganga Prasad(Gwalior), Mansaram, Master Rajesh, Master Rahul, Master Sonu, Master Rajiv, Baby Shaloo, and Manu Arora. Pradeep Kumar makes a guest appearance in this movie, whereas Amjad Khan makes a special appearance in this movie.

Story of this movie was written by M.K.Tamanna and Screenplay was written by Benoy Chatterjee. Dialogues of this movie were written by Sagar Sarhadi and Safdar Hussain. Additional Dialouges were by Ela Maheshwary. Editing for this movie was done by D.N.Pai and M.S.Shinde. This movie was passed by Censor Board on 29.12.1979.

This movie had eight songs, which were sung by Jagjit Kaur, Lata Mangeshkar, Manna Dey, Mahendra Kapoor and Mohd Rafi. Music of this movie was composed by Khayyam Saab and lyrics for all the eight songs were penned by Sahir Ludhianvi.

Three songs of this movie have been posted on the blog so far.

Today 9th December 2016 is the 71st birth anniversary of actor and our (the fans of Seventies🙂 ) beloved Shatru Bhai aka Shatrughan Sinha (DoB 09.12.1945) .

On this occasion here is this lovely song sung by Rafi Saab and composed by Khayyam Saab. Lyrics of this ‘poetic gem’ are written by Sahir Ludhianvi.

Video

Audio

Song-She’r ka husn ho (Chambal Ki Kasam)(1979) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Khayyaam

Lyrics

She’r ka husn ho o
She’r ka husn ho
Naghme ki jawaani ho tum
Ek dhadakti huyi
Ek dhadakti huyi
Shaadaab kahaani ho tum
She’r ka husn ho

Aankh aisi
Aankh aisi ke kanval tumse nishaani maange ae
Zulf aisi ee
Zulf aisi ke ghataa sharm se paani maange ae
Jis taraf se bhi
Jis taraf se bhi
Nazar daalen
suhaani ho tum
She’r ka husn ho

Jism aisa aa
Jism aisa ke Ajanta ka amal yaad aaye ae
Sangemarmar mein dhalaa
Sangemarmar mein dhalaa
Tajmahal yaad aaye ae ae
Pighle pighle ae
Pighle pighle huye
Rangon ki rawaani ho tum
She’r ka husn ho

Dhadkanen bunti hai jisko
Wo taraana ho tum
Sach kaho kis ke muqaddar ka khazaana ho tum
Mujhpe maail ho
Mujhpe maail ho
Ke
Dushman ki deewaani ho tum
She’r ka husn ho
naghme ki jawaani ho tum
She’r ka husn ho
She’r ka husn ho

(Maail – inclined, bent, attracted)
——————————————-
Lyrics in Devnagri Script:
——————————————-
शे’र का हुस्न हो ओ
शे’र का हुस्न हो
नगमे की जवानी हो तुम
एक धड़कती हुयी
एक धड़कती हुयी
शादाब कहानी हो तुम
शे’र का हुस्न हो

आँख ऐसी
आँख ऐसी के कँवल तुमसे निशानी मांगे ए ए
ज़ुल्फ़ ऐसी ई
ज़ुल्फ़ ऐसी के घटा शर्म से पानी मांगे ए ए
जिस तरफ से भी
जिस तरफ से भी
नज़र डालें
सुहानी हो तुम
शे’र का हुस्न हो

जिस्म ऐसा आ
जिस्म ऐसा के अजंता का अमल याद आये ए ए
संगेमरमर में ढला
संगेमरमर में ढला
ताजमहल याद आये ए ए
पिघले पिघले ए
पिघले पिघले हुए
रंगों की रवानी हो तुम
शे’र का हुस्न हो

धड़कने बुनती है जिसको
वो तराना हो तुम
सच कहो किस के मुक़द्दर का खजाना हो तुम
मुझ पे माईल हो
मुझ पे माईल हो
के
दुश्मन की दिवानी हो तुम
शे’र का हुस्न हो नगमे की जवानी हो तुम
शे’र का हुस्न हो
शे’र का हुस्न हो


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.

If one were to analyse Hindi film songs by content, most of them would fall in the love-romance category. This is understandable because a very high proportion of films revolve around love and romance.

Then there are those which are based on non-romantic relationships. Parent-child, siblings, friends and so on.

Then there are inspirational songs, philosophical songs, religious songs, party songs and many other categories of songs. In fact on this blog, thanks to its fairly granular tagging, we can zoom into any specific category of songs of interest.

One particular category of songs that is not all that common is the political song. By this, I mean a song that takes on the political establishment. There are of course films depicting politicians, often in a bad light, but most of them have a romantic side to them. So the songs are also usually of the romantic type.

The first song that comes to my mind in this connection is “ye jo public hai ye sab jaanti hai “ from Roti (1974). When I checked this song on the blog just now, I could not help a wry smile as I noticed that Atul has categorized it under “ground reality”. There doesn’t seem to be a “political song” tag yet.

The song for today could also come under this “ground reality” tag. It has been sent to me by Avinashji, who has also written down the lyrics for it (both in English and Devanagari). He requested me to do a write-up on it, possibly because it lends itself to philosophical musings on politics. And Avinashji is by now familiar with my tendency to philosophise.🙂

So here goes.

First of all, I must say that my views are not specific to a particular political party. Or even limited to the Indian political environment. They could apply anywhere, at any time because they are based on first principles of citizen-government engagement.

I will try to keep this brief here because this is a song blog and not the right platform for philosophy. I don’t want to bore the readers.🙂

This song is picturised on Mehmood and a bunch of donkeys. Its core message is citizen protest against the government of the day. The donkeys supposedly represent citizen leaders who want to lead a protest to Delhi on behalf of citizen donkeys.

So what are their demands? Among others, freedom from persecution and oppression (represented by dhobi raaj). Recognition of hard work of labourers (represented by the hard-working donkey, a term sadly used as an abuse). Demand for basic necessities of life, like a roof over one’s head (a “quarter”) and food (“tamatar”).

Thus, in a nutshell, this song captures some of the most basic complaints citizens have of government. That citizens are symbolized by donkeys is a deliberate attempt to highlight their plight and thankless lives.

Although this song is almost exactly 50 years old, much of it resonates even today in Indian society.

Of course India has progressed a lot since 1967. Many more Indians lead comfortable lives today compared to people of that time.

But there are still many millions who are suffering from the plight that this song highlights.

Important in this song is the “protest” element. Mehmood not only appeals to the government but also threatens to go to the UNO, he threatens to file a case against the government (there is a picture in the background which I believe is the Bombay High Court).

Of course this is all in jest – in reality, the power imbalance between the citizen and the government makes such a course of action laughable.

And this is what I often philosophise about. And feel sad about.

The power imbalance between citizen and government.

In theory, the government, represented by the Cabinet (and the PM), and the bureaucracy which works under the government, exists for the people. In theory.

A government without people is unthinkable. If people didn’t exist, there would be no reason for a government to exist.

A government exists ONLY because there are people who need a collective force to execute tasks on their behalf. Tasks that are in common interest – like protecting people from external and internal threats. For maintaining law and order. Or providing common infrastructure that might not be feasible or practical for each individual to separately attempt for himself.

In a democracy, this is achieved through people electing leaders from amongst themselves. These leaders are vested with the right to act and decide on behalf of the population. And naturally, with such right, comes the duty to deliver to this expectation.

So, in every sense, in theory, the elected representatives are only agents of the people. Those who they appoint to work for the people (i.e the bureaucracy) are also “public servants”. So in theory, the power lies with the people.

This is also how the Constitution envisaged the situation – and provided for appropriate checks and balances in the system. This was mainly through attempting to avoid situations of conflict of interest (Executive, Legislature and Judiciary clearly separated). And through the creation of institutions that would be independent of these.

Sadly, as we all know, this is only theory.

In reality, much of this has been compromised. As a result, today, the power equation is hugely skewed in favour of the government. Citizens, supposed to be the master, often feel powerless.
Yes, they can choose to voice their views once in five years, through the ballot box. But that’s once in five years! And as long as the systemic issues are not addressed, it means, even if there’s a change of government, things are not likely to improve for the citizen.

So much of my philosophizing has to do with this. It bothers me when I see citizens behaving like slaves. We need citizens to become more aware of their rights. Duties too, of course – we often forget that too.

But if we want to have a more evolved society, we definitely need citizens to step up. We need them to not just accept a situation as it is. We need them to demand more from those in power. Make them accountable at all levels – even to the lowest level of a local project in a village or ward.

Only when we have this level of citizen engagement and empowerment, will we have the government too on its toes. The media is supposed to be the public watchdog for this purpose – but the less said about today’s media, the better.

Anyway, these thoughts crossed my mind when I listened to this song, so I thought I’d share them here on the blog. Hope I didn’t bore you too much.🙂

Once again, this has nothing to do with a specific government. It’s more about “first principles” and therefore apply in any situation.

I will now leave you to enjoy this song, starring a bunch of donkeys. And Mehmood too, of course. The song is in Rafisaab’s voice, written by Rajinder Krishan and composed by Ravi.

Enjoy!

Video

Audio

Song-Mera gadha gadhon ka leader (Meharbaan)(1967) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Aauon
aa aa aa aa aan

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas naa khaaungaa
Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa aa
O mera Gadha Gadhon ka Leader r r r r

Sabse pehli maang hamaari
Dhobi raaj hataa do
Aauon
aa aa aa aan

Sabse pehli maang hamaari
Dhobi raaj hataa do
Ab Na sahenge dandaa chaahe
Phaansi par latkaa do
Gar naa maani Sarkaar
Kiya inkaar
To U N O tak jaaungaa
Nahin to ghaas naa khaaungaa
O mera Gadha Gadhon ka Leader r r

Dooji maang ke zaat hamaari
Mehnat karnewaali
Aauon
aa aa aa aa

Dooji maang ke zaat hamaari
Mehnat karnewaali
Phir kyun ye insaan Gadhe ka naam
Samajhte gaali
Na badlaa ye dastoor
To ho majboor
Main in par case chalaaunga
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader

Teeji maang hamaari
Hamko de do ek ek quarter
Aauon
aa aa aa aa

Teeji maang hamaari
Hamko de do ek ek quarter
Hafte mein ek baar
Ghaas ke badle mile tamaatar
Gar kar do ye ehsaan
O meri jaan
Duaayein deta jaaunga
Kabhi Naa Dilli aaungaa

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader r r r r r
Aauon
aa aa aa aa aan

—————————————–
Lyrics in Devnagri Script 9Provided by Avinash Scrapwala)
—————————————-
औओं आ आ आ आ आँ

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा
मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र र र

सबसे पहली मांग हमारी
धोबी राज हटा दो
औओं
आ आ आ आँ

सबसे पहली मांग हमारी
धोबी राज हटा दो
अब न सहेंगे डंडा चाहे
फांसी पर लटका दो
गर ना मानी सरकार
किया इनकार
तो यु एन ओ तक जाऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र

दूजी मांग के जात हमारी
मेहनत करनेवाली
औओं
आ आ आ आ

दूजी मांग के जात हमारी
मेहनत करनेवाली
फिर क्यूँ ये इंसान गधे का नाम
समझते गाली
ना बदला ये दस्तूर
तो हो मजबूर
मैं इन पर केस चलाऊंगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
औओं
आ आ आ आ

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
हफ्ते में एक बार
घास के बदले मिले टमाटर
गर कर दो ये एहसान
ओ मेरी जान
दुआएं देता जाऊँगा
कभी ना दिल्ली आऊंगा

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर र र र र र
औओं
आ आ आ आ आँ


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.

Today’s song is from the film Dasshera-56. It is a melodious bhajan by Mohd. Rafi. In the decade of 50s, Mohd. Rafi’s name was synonymous with melodious and popular bhajans. He must have sung at least 100 to 200 such Bhajans during this period.

The decade of 1950s was a Golden Period for Mythological and Religious films. As many as 124 mythological films were released during these 10 years, averaging One Mythological film every month for 10 continuous years ! That was a period when Joint family structure was still prevalent in India and every family had at least 2 to 3 old people. These seniors and the women folk were the captive audience for such films. They came in groups to the theaters. Usually a young person or a boy accompanied them. When I was a school kid, I was the caretaker of the group of these oldies. Since I myself liked the Mythological films, I would happily take up this job.

In Hindi films, there is a branding process- means the story of the film usually decided the cast of the film. For example. if it is a tragedy, first choice was Dilip Kumar among males and Meena Kumari among females. If it was a naughty comedy, it was surely Kishore Kumar. For Police stories, Murder and Mystery stories, Ashok Kumar or Pradeep Kumar were standard names. For Historicals, only Sohrab Modi would do and for costume, stunt or action films, it was Mahipal or Ranjan. Similarly, in the 1940s, for Mythologicals it was either Prem Adeeb or Trilok Kapoor while Mahipal or Manhar Desai were the names to go to during 1950s.

Likewise for music to village background films, it was Naushad, for social films it was Ravi and for Mythologicals / Religious films it used to be S.N.Tripathi or Avinash Vyas. Sometimes a misfit used to give us a shock. For example, from the beginning, Ashok Kumar was associated with social films acting the shy lover. Later from Kismat and Sangram, he switched to crime thrillers. But when he acted in a Historical film like Humayun-45 or a Mythological film Satyawan-Savitri-38, he made a laughing stock of himself !

Same was the case with Music Directors. Usually the composers identified with Religious films were not called for crime films nor were the composers of lilting club dances invited to compose for Religious films ! S.D. Burman became famous for his melodious and popular songs in films like, Baazi,Taxi Driver,H.No.44, Munimji, Funtoosh, Paying Guest etc. Can you ever imagine S.D.Burman composing tunes for a Mythological film ? But yes, he did give music to one ( the only one in his life) Mythological film ” Radha Krishna”-54. Sahir Ludhiyanvi was usually his favourite lyricist, but for this film he settled for Narndra Sharma and S. Athaiah. Still, The only song penned by Sahir for a religious film was from this film Radha Krishna. For this film, N.Datta was Burman’s assistant.

Later on N.Datta or Datta Naik became known for club songs and songs based on western instruments. He started with Milap-55 and Marine drive-55 and did Chandrakanta, Mohini, Mr. X etc In all these films, he was known to make use of western instruments like saxophone. Accordion etc. A composer like him was called upon to compose music for a Mythological film ” Dasshera-56″. Yes, he composed soft and melodious Bhajans and songs for this film. Later on in 1965 also he did another religious film “Gopal Krishna”, but he was passing through his bad phase at that time and so he had little choice . In his last days, he had no films and for survival,he used to work as an instrument player in other composers’ orchestra. When Laxmikant-Pyarelal came to know about his plight , they made him a part of their orchestra. He would be paid at his house even if he was unable to attend the orchestra.

Film Dasshera-56 had 11 songs. Rafi sang 3 very good Bhajans in it. Asha had 5 songs, and one song each was sung by Lata, Shamshad and Kavi Pradeep respectively. Usually N.Datta preferred Sahir for his songs, but in this film he used Pradeep for 10 songs and 1 song was written by Saraswati Kumar Deepak. As usual, the Bhajan sung by Pradeep ” doosron ka dukhda door karnewale” became a hit and it was the most popular song of this film. Kavi Pradeep had a habit of providing tunes also along with his lyrics and he was always keen to sing his own songs. Most composers were averse to this habit of Pradeep and so they kept away from him. Actually Pradeep was a learned person and he had a good command over Hindi language. Still, because of this habit of thrusting his tunes on the music director and insistence on singing his songs, he only had a limited number of music directors to work with. Later on, he mostly wrote for religious and costume films and for those composers who welcomed his ready made tunes.

Pradeep was not the only lyricist to insist on his tunes. There was another Lyricist of eminence once upon a time, in the 1940s with similar inclination. He was Deenanath Madhok aka D.N.Madhok. He too provided tunes along with his lyrics. During his initial phase of career, Naushad used him to his advantage and once he acquired fame and name, Naushad discarded D.N.Madhok. Madhok too was not liked by many major self respecting composers.

For the film Dasshera-56, N.Datta’s assistant was Ramakant Paingankar, who was a long time assistant of C.Ramchandra. He is the same person who tried his hand at being a composer himself in the late 1940s. He gave music with Shyamsunder and Ramchandra Pal in Urvashi-46, with Lal Mohammed in Mitti-47 and with Karnad in Shadi se Pehle-47. It was in this film “Shaadi Se Pehle”(1947) that Rafi sang his first duet with Lata-” chalo ho gayee taiyyar-” . Ramakant gave music to film Rupiah-50 independently. Then he turned to Marathi films. In his last days, he came back to Hindi films again as assistant to many composers.

Now let us enjoy this beautiful bhajan, which I am sure, many of the readers will have remembered listening to in distant past.


Song-Raam Ji jo chaahen to kya nahin hota (Dashehra)(1956) Singer-Rafi, Lyrics-Kavi Pradeep, MD-N Datta
Chorus
Rafi + Chorus

Lyrics

aao karen logon prabhu se samjhauta
hari se samjhauta
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

o bahti hai ganga
laga lo re gota
ho laga lo re gota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

ajab hai wo daata
aa aa aa aa
ajab hai wo daata
re ghazab ka vidhaata
dukh ki ghadiyon mein
ek wahi kaam aata
arre ho o
o o o
ajab hai wo daata
re ghazab ka vidhaata
dukh ki ghadiyon mein
ek wahi kaam aata

jisko rakhe saain wo kabhi nahin rota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

chaahe jale jwaala aa
chahe chale bhaala
chaahe jale jwaala
chaahe chale bhaala
kiska tumhen dar hai
jab wo bachaane wala
kiska tumhe dar hai
jab wo bachane waala

uski sharan lo re
wo kabhi na dubota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

suno re duniya waalon o o o
suno re duniya waalo
hari ke gun gaa lo
aankhno pe jo parde pade
tum unhen hataa lo
arre
ho o o
o o o
suno re duniya waalon
hari ke gun gaa lo
aankhon pe jo parde pade
tum unhen hataa lo

udega re ek din ye pinjre ka tota
raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota

o
bahti hai ganga
laga lo re gota
o laga lo re gota

raam ji jo chaahen to kya nahin hota
prabhu ji jo chaahen to kya nahin hota


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.

PYAAS (1941) was produced under the banner of Ranjit Movietone for Murli Movietone and it was directed by Ram Daryani. The star cast included Ishwarlal, Snehprabha Pradhan, Shamim, E Billimoria, Nazir, Gulab, Gope, Sharifa etc.

The film was reviewed in March 1942 issue of ‘Filmindia’ magazine. For a change, the reviewer has praised its director Ram Daryani for an all-round delightful entertainment through well-balanced ingredients of comedy, pathos, romance and music.

The story of the film is as under:

Rai Saheb Bhagwandas (Nazir) is a rich man with a modern outlook. His wife has been ailing for some time and is under the treatment of Dr. Sunderlal (E Billimoria) who plots to get rid of Rai Saheb’s wife and her child to install his niece Menaka (Sharifa) as his wife. The ailing wife suspects the plot and one day she runs away from home with her child. She walks to a nearby village and handover the child to the Village Chief.

After some days, a dead body of a woman is fished out from a river which turns out to be that of Rai Saheb’s ailing wife. He is heart-broken. He searches for the child but fails to find the baby. In the meanwhile, Dr Sunderlal has managed to get married his niece Menaka to Rai Saheb. Now, Dr Sunderlal starts blackmailing his own niece and manage to extract money from her.

The adopted child of Village Chief has now grown up as Chiman and finds a playmate Radha (Snehprabha Pradhan), the daughter of a village doctor. One day, Rai Saheb and his party come to the village for a picnic. Coincidentally, Chiman and Radha meet Rai Saheb who introduces Roop (Shamim), the daughter of Rai Saheb’s close friend, to both of them.

Chiman goes to the city and meets Roop and her elite circle of people. Chiman is fascinated by the glamour of the city. However, Radha compels Chiman to return to the village. At this stage, Relu, a village eccentric who secretly loves Radha, picks up a quarrel with Chiman and spills the beans regarding the mystery of his parentage. Chiman is devastated by the revelation and goes to the city to find out his real parent unmindful of the fact that Rai Saheb whom he has met is his real father.

During his search for his real father, Chiman meets Dr Sunderlal who tries to kill him by injecting some poison but is saved by Roop. Having completely exposed of his wrong doing, Dr Sunderlal commits suicide. Chiman is restored to his real father, Rai Saheb. Chiman, now a rich man, moves with Roop. Rai Bahadur is happy that Chiman is liking the company of Roop and holds an reception to announce the engagement of Chiman with Roop. During the reception, Chiman remembers Radha but under pressure, he has to reluctantly agree for the announcement of his engagement with Roop. Radha steps into the reception hall and Chiman runs towards Radha.

Now, there is a competition as to who would sacrifice the love for Chiman – Radha or Roop. Ultimately, it is Roop who sees Chiman’s emotional attachment to Radha and decides to give up her claim over Chiman. Radha gets married to Chiman.

The film had 9 songs, all written by D N Madhok which were set to music by Khemchand Prakash. Here is the first song from the film ‘jaake naina matwaale hain baal ghunghur waale hain’ to appear on the Blog. The song is sung by Ishwarlal, Shamim, Snehprabha Pradhan and Chorus. It is obvious that all the three have sung on themselves in the film. This is a typical song set in the background of love triangle in which Ishwarlal and Shamim sing Krishna song and Snehprabha Pradhan sings the song waiting for her ‘Sainyyan’ to return to her.

With this song, ‘Pyaas’ (1941) makes its debut in the Blog.

Audio Clip:

Song-Jaake naina matwaale hain (Pyaas)(1941) Singers-Ishwarlal, Shamim, Snehprabha Pradhan, Lyrics-D N Madhok, MD-Khemchand Prakash
Chorus

Lyrics

jaake naina matwaale hain
baal ghunghur waale hain
jaake naina matwaale hain
baal ghunghur waale hain
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

jaaki ter(??) pyaari pyaari hai
naam banwaari hai
jaaki ter(??) pyaari pyaari hai
naam banwaari hai
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

jamuna ke tat pe charaawe hai jo gaiyaa
jamuna ke tat pe charaawe hai jo gaiyaa
khud jaa(?) ke kaam karen raadha ji ke sainyaan
khud jaa(?) ke kaam karen raadha ji ke sainyaan

wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

hans hans ke man har liye jaayen
hans hans ke man har liye jaayen
manmohan jag mein kahlaayen
manmohan jag mein kahlaayen

wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam
wohi morey shyaam

sooraj dhalta jaaye
sooraj dhalta jaaye
ajhun naa aaye
ajhun naa aaye
sooraj dhalta jaaye
sooraj dhalta jaaye
jhhoothi saans jhhoothon ki baaten
jhhoothi saans jhhoothon ki baaten
man pe chhaayi kaali raaten
man pe chhaayi kaali raaten
ghadi ghadi bhar aaye
ghadi ghadi bhar aaye
sooraj dhalta jaaye
sooraj dhalta jaaye
sooraj dhalta jaaye


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.

So today is the 81st birthday of our favourite “he-man” (a tag like the angry-young-man tag that was given to Amitabh Bachchan a long time ago.)

Born in Punjab and loved the world over he is an actor first who went on to become a producer to launch his sons in filmdom. He was possibly the only actor to have sailed successfully through the Rajesh Khanna and then the Amitabh Bachchan wave. He had a hold on comedy too -“Chupke Chupke” is a case in point. So today we are celebrating Dharamendra.

He is the recipient of the civilian award Padma Bhushan in 2012. His debut was in the 1961 Arjun Hingorani produced and directed “Dil Bhi Tera Hum Bhi Tere”. Their association went on for about thirty years.

His first action movie was O.P.Ralhan’s “Phool Aur Pathar”; the 1971 “Mera Gaon Mera Desh” only confirmed his action hero status. He has worked with directors of various styles from Bimal Roy (Bandhini) to Hrishikesh Mukherjee (Guddi etc) to Pramod Chakravarty etc.

His pairing with Hema Malini was the most loved (any doubts here) but he was also comfortable with Asha Parekh, Tanuja, Nutan, Waheeda, Sharmila, Mumtaz, Rakhee, or the later heroines like Rekha, Zeenat, Parveen, Anita Raaj, Sridevi or Jaya Prada. He was a male costar who had equal standing in movies which were multi starrers i.e. where there were two or more male leads. He has sung in the voices of all the leading sigers of the Hindi film world be it Mohd. Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor, Manna Dey or even some of the playback singers who followed these legendary singers. All the voices seemed to suit him.

So where does all these talks lead us? To a problem. What problem? Problem of a wide range to choose from.

So how does one solve the problem? Think up a song and check (and hope) that it is not yet posted. What foloows is that many of the songs in my list are already posted ad movies of the Garam- Dharam that are yet to be yyiippeed only have one or two songs left but those are not filmed on our dear Dharam paaji.

But I have not given up, I have zeroed in on a very entertaining song which does justice to Dharamendra’s comic timing. And as an icing to the cake it is in the voice of the redoubtable Kishore Kumar. The song was written by Anjaan and Bappi (disco) Lahiri was the music director. Here is Anita Raaj is the Biwi to whom Dharamendra plays a “Naukar”. (I am sure many girls of that time would have died to have a “Naukar” like this *😉 Omprakash is Dharam’s grandfather-in-law here. Nishi Kohli gave playback in this song to Anita Raaj.

So wishing our Dharamendra a very Happy Birthday let us have the song.

Video

Audio

Song-Zamaana to hai naukar biwi ka (Naukar Biwi Ka)(1983) Singers-Kishore Kumar, Nishi Kohli, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

brru
he ae ae sambhal
arey log mujhe kyun dete hain taana
haan main hoon biwi ka deewaana
arrey to kya hua
zamaana to hai naukar biwi ka
tak dhina dhin
tak dhina dhin
tak dhina dhin
zamaana to hai naukar biwi ka
log mujhe kyun dete hain taana
haan main hun biwi ka deewaana
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka

haan
saare shehar ko aankh dikhaaye
sabki udaaye khilli
shauhar baahar sher bane par
ghar mein bheegi billi
saare shehar ko aankh dikhaaye
sabki udaaye khilli
shauhar baahar sher bane par
ghar mein bheegi billi
ghar ghar ka dastoor yahi hai
bambai ho ya dilli
kya
haan
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka
haan
zamaana to hai naukar biwi ka

jai ho patni raani
har pooja se badh kar dekhi
maine patni pooja aa aa aa
pyaar mein dooba biwi ke toh
aur nahin kuchh soojha
har pooja se badh kar dekhi
maine patni pooja
pyaar mein dooba biwi ke toh
aur nahin kuchh soojha
duniya mein khush rahne ka
koi aur na rasta dooja
kyun
kyon ki
zamaana to hai naukar biwi ka
haan

biwi aisi kahaan doosri
mahun mahun mahun mahun mahun
karoonga saari umar naukari
mahun mahun mahun mahun mahun
doonga main din raat salaami
karoonga main har waqt gulaami
pyaar mujhe tu sacha de de ae
de de
de de
de de
kya
de de bas ek bachcha de de
de de bas ek bachcha de de
o dont be silly
shut up

main to boloonga
main to boloonga
koi kunwaara
maane na maane
shaadi jo kar le
ye wohi jaane
zamaana to hai naukar biwi ka
arey chhodo na
haan
zamaana to hai naukar biwi ka
off ho
ye kya kar rahe ho

haan
zamaana to hai naukar biwi ka
arre re
dada ji dekh rahe hain

haan haan
zamaana to hai naukar biwi ka
off ho chhodo na
aah aah


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.

#the Decade of Seventies – 1971 – 1980 #
———————————————————–
# Bhoole-Bisre Geet # 49 # Dharmendra’s 81st Birth Anniversary #
———————————————————————————————————-

Today 8th December’2016 is the 81st (08.12.1935) Birth anniversary of actor and producer Dharmendra.On this occasion here is a song from the 1980 movie ‘The Burning Train’.

Many songs picturised on Dahrmendra are yet to be posted on the blog, and quite a few of his movies have not even made their debuts on the blog, so a wide choice of movies and songs are available that can be considered for an occasion like this.

However, since the lyrics of this song were already lying ready and un-posted (since Oct’2013) I have selected this song from ‘Kishore Kumar-R.D.Burman’ combination for discussion on this occasion.

‘The Burning Train -1980’ was directed by Ravi Chopra for B.R.Films, Bombay. It was produced by B.R.Chopra. Ravi Chopra also wrote the story of this movie. It had Dharmendra, Hema Malini, Vinod Khanna, Parveen Babi, Neetu Singh, Danny, Vinod Mehra, Jeetendra, Navin Nischol, Simi, Asha Sachdev, Padmini Kapila, Romesh Sharma, Payal, Asrani, Ranjeet, Iftekhar, Om Shivpuri, Sujit Kumar, Nana Palsikar, Rajendranath, Mukri, Keshto Mukherji, Padma Khanna, Komila Virk, Nazir Hussain, Indrani Mukherji, Paintal, Dinesh Thakur, Yunus Parvez, Shammi, Ravindra Kapoor, T.P.Jain, Jankidas, Jagdish Raj, Gufi, Sudha Shivpuri, M.Rajan, Uma Dhawan, Mac Mohan, Anand Balraj, Prem Bedi, Master Bittoo, Baby Khushboo, Junior Danny,Master Romy, Master Salim and others. Madan Puri, Chandrashekhar, Satyen Kappu and Urmila Bhatt make a guest appearance in this movie. Its screenplay and dialogues were written by Kamleshwar ji. Pran Mehra was the chief editor for this movie and S.B.Mane and R.P.Bapat assisted him. This movie was passed by Censor Board 20.03.1980.

This movie had six songs penned by Sahir Ludhianvi and composed by R.D.Burman. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Padmini Kolhapure and Sushma Shreshtha and Usha Mangeshkar gave their voices to the songs in this movie.

Two songs of this movie have been posted on the blog. Like Olympic games, the songs of this movie also appear in the blog at four years interval.🙂. The first song from the movie to appear on the blog was ‘pal do pal ka saath hamaara’ on 08.12.2008 and the second one ‘teri hai zameen tera aasmaan’ was posted four years later on 17.10.2012. And four years later, here is this third song from the movie to appear in the blog.🙂

Let us now enjoy the beautiful verses of Sahir that are beautifully composed by R.D.Burman and sung by Asha Bhonsle and Kishore Kumar, and wish Dharmendra a very very happy birthday today!!

Video

Audio

Song-Waada haan ji waada (The Burning Train)(1980) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Sahir Ludhianvi, MD-R D Burman
Both

Lyrics

Waada
Haan waada
Ho o o
Ho o
Jab tak ambar par taare hon
Aur dharti par phool khile
Isi jagah aur isi tarah
Ham do matwaale roz milen
Samjhe ae
Jab tak ambar par taare hon
Aur dharti par phool khile
Isi jagah aur isi tarah
Ham do matwaale roz milen
Karo waada
Hmm
Haan ji waada
Haan waada
Haan ji waada aa
Ho o o o
Jab tak ambar par taare ho
Aur dharti par phool khilen
Isi jagah aur isi tarah
Ham do matwaale roz milen
Waada aa
Bolo bolo
Haan haan ji waada
Ho o o waada
Haan haan ji waada aa

Dekho ab bichhde na
Mil ke nigaah
Kahaa hai to ham sadaa
Karenge nibhaah

Tapi-tapi ghuli-ghuli saanse hai gawaah
Jiyen chaahe mare ab ghategi na chaah
Waada aa
Bolo bolo
Haan ji waada
Kaho na waada
Haan
Haan haan ji waada

O o o o
Jab tak nadiyon mein paani ho
Aur pedon ke haath hiley
Isi jagah aur isi tarah
Ham do matwaale roz miley
Bolo waada

Haan ji waada aa aa
Ek baar aur
Waada

Kahaa na waada aa

Dekho kal dhoondhe nahin
Hamko ye raah
Judaa ho ke jeena ho to
Jeena hai gunaah

Miley rahe sadaa yoonhi
Baahon ki panaah
Ghatega na kabhi mera
Pyaar hai athhaah
Waada
Bolo

Haan ji waada aa aa
Haan aa
Haan waada

Bol diyaa na waada
O o o o
Phool bichhe ho is raste mein
Ya kaanton se paanv chhile
Isi jagah aur isi tarah
Ham do matwaale roz milen

Waada
Haan ji waada
Ho
Waada

Haan ji waada
Aa aa aa

Waada
Waada

——————————————————
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————————

वादा
हाँ वादा

हो ओ ओ
हो ओ
जब तक अम्बर पर तारे हो
और धरती पर फूल खिले
इसी जगह और इसी तरह
हम दो मतवाले रोज़ मिले
समझे ए
जब तक अम्बर पर तारे हो
और धरती पर फूल खिले
इसी जगह और इसी तरह
हम दो मतवाले रोज़ मिले
करो वादा
हं
हाँ जी वादा
हाँ वादा
हाँ जी वादा आ
हो ओ ओ ओ
जब तक अम्बर पर तारे हो
और धरती पर फूल खिले
इसी जगह और इसी तरह
हम दो मतवाले रोज़ मिले
वादा आ
बोलो बोलो
हाँ हां जी वादा
हो ओ ओ वादा
हाँ हां जी वादा आ

देखो अब बिछड़े ना
मिल के निगाह
कहा है तो हम सदा
करेंगे निबाह

तपी तपी घुली घुली साँसे है गवाह
जीयें छाहे मरे अब घटेगी न चाह
वादा आ
बोलो बोलो
हां जी वादा
कहो न वादा
हाँ
हाँ हां जी वादा

ओ ओ ओ ओ
जब तक नदियों में पानी हो
और पेड़ों के हाथ हिले
इसी जगह और इसी तरह
हम दो मतवाले रोज़ मिले
बोलो वादा

हाँ जी वादा आ आ
एक बार और
वादा

कहा ना वादा आ

देखो कल ढूंढें नहीं
हम को ये राह
जुदा हो के जीना हो तो
जीना है गुनाह

मिले रहे सदा यूँही
बाहों की पनाह
घटेगा न कभी मेरा
प्यार है अथाह
वादा
बोलो

हाँ जी वादा आ आ
हाँ आ
हाँ वादा

बोल दिया न वादा
ओ ओ ओ ओ
फूल बिछे हो इस रस्ते में
या कांटो से पाँव छिले
इसी जगह और इसी तरह
हम दो मतवाले रोज़ मिले

वादा
हाँ जी वादा
हो
वादा

हाँ जी वादा
आ आ आ

वादा
वादा


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.

Kishore Kumar – his many moods …
————————————–
In my current search for missing Kishore Kumar songs on the blog, this song fits the bill perfectly. This is a song from his earlier decades i.e. before the seventies, here Kishore Kumar is singing for himself and this is the only Kishore Kumar song from ‘Asha – 1957’ that is yet to be discussed in the blog. In addition, this song also had the added qualification of being one of the ‘lesser heard’ songs too. Personally I do not recall any occasions of listening to this song in the past.

‘Aashaa-1957’ was directed by M.V.Raman for Raman Productions, Bombay. He was also the producer of this movie. The movie had Vyjayantimala, Kishore Kumar, Pran, Lalita Pawar, Om Prakash, Raj Mehra, Minoo Mumtaz, Randhir, Naina, Shivraj, Patanjali, Jagdish, Asha Parekh, Chamanpuri, Chandabai, Dhoomal, Praveen Pal, Gajendra Singh, Rajan Kapoor, Ravikant, Nand Kishore and Uma Dutt. Sundar made a guest appearance in this movie.

This movie had total of eight songs in it(including one multiple version song which is also the most known song of this movie ‘eena meena deeka’) composed by C.Ramchandra. Rajinder Krishan penned the lyrics for all the songs. Asha Bhonsle, Kishore Kumar and Lata Mangeshkar gave their voices to these songs.

This movie was passed by the Censor Board on 31.08.1957.

Four songs from this movie (five considering the one multiple version song) have been posted on the blog so far.

Let us now enjoy this final Kishore Kumar song from this movie, which talks of a ‘egalitarian society’ for all and seeking justice for the deprived ones …

As mentioned above the song is composed by C.Ramchandra and it is written by Rajinder Krishan.

Video (Full)

Audio

Song-Ek padosi raat ko soye aur doosra roye (Aasha)(1957) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-C Ramchandra
Chorus

Lyrics

Arey chhote aur bade ka ab to
Huaa puraana qissa
Arey duniya ki jaagir hai sabka
Ek baraabar hissaa

Ek padosi raat ko soye aur doosraa roye
Ek padosi raat ko soye aur doosraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai
Arey kaho agar insaan kisi ki
Raah mein kaante boye
Kaho agar insaan kisi ki
Raah mein kaante boye
To insaaf kahaan ka hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai

Banaaya maalik ne sabke liye hai
Chaand sitaaron ko
Banaaya maalik ne sabke liye hai
Chaand sitaaron ko
To phir kyaa haq hai
Haan
To phir kya haq hai bande ko
Kare taqseem bahaaron ko
Kare taqsim bahaaron ko
Sab ke baag bagiche par
Jab ek kaa kabzaa hoye
Sab ke baag bagiche par
Jab ek kaa kabzaa hoye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur dusraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai

Banaa hai saanp khazaane ka
Ye hai insaan ki nadaani
Banaa hai saanp khazaane ka
Ye hai insaan ki naadaani
Bataao kitna kha lega
Bataao kitna kha lega
Ye daana aur hawaa paani
Ye daana aur hawaa paani
Arey paise jaisi cheez ki khaatir
Koyi sharaafat khoye
Paise jaisi cheez ki khaatir
Koyi sharaafat khoye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur dusraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai

Sabhi ek daal ke panchhi hain
Sabhi kaa ek thikaanaa hai
Sabhi ek daal ke panchhi hain
Sabhi kaa ek thikaanaa hai
Lagaao ek saath
Lagaao ek saath naara
Ke ye janta ka zamaana hai
Ye janta kaa zamaana hai
Koyi Kisi ka beej chura kar
Apni kheti boye
Koyi Kisi ka beej chura kar
Apni kheti boye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur doosraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai

——————————-
Devnagri Script lyrics (provided by Avinash Scrapwala)
——————————
अरे छोटे और बड़े का अब तो
हुआ पुराना किस्सा आ आ
अरे दुनिया की जागीर है सबका
एक बराबर हिस्सा

एक पडोसी रात को सोये और दुसरा रोये
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
अरे कहो अगर इंसान किसी की
राह में कांटे बोये
कहो अगर इंसान किसी की
राह में कांटे बोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

बनाया मालिक ने सबके लिए है
चाँद सितारों को
बनाया मालिक ने सबके लिए है
चाँद सितारों को
तो फिर क्या हक है
हाँ
तो फिर क्या हक है बन्दे को
करे तक्सीम बहारों को
करे तक्सीम बहारों को
सब के बाग़ बगीचे पर
जब एक का कब्ज़ा होए
सब के बाग़ बगीचे पर
जब एक का कब्ज़ा होए
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

बना है सांप खजाने का
ये है इंसान की नादानी
बना है सांप खजाने का
ये है इंसान की नादानी
बताओ कितना खा लेगा
बताओ कितना खा लेगा
ये दाना और हवा पानी
ये दाना और हवा पानी
अरे पैसे जैसी चीज़ की खातिर
कोई शराफत खोये
पैसे जैसी चीज़ की खातिर
कोई शराफत खोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

सभी एक डाल के पंछी हैं
सभी का एक ठिकाना है
सभी एक डाल के पंछी हैं
सभी का एक ठिकाना है
लगाओ एक साथ
लगाओ एक साथ नारा
के ये जनता का ज़माना है
ये जनता का ज़माना है
कोई किसी का बीज चुरा कर
अपनी खेती बोये
कोई किसी का बीज चुरा कर
अपनी खेती बोये
तो इन्साफ कहाँ का हैं
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है


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.

Atulites – Mumbai Meet – 20th-21st Nov’16
———————————————
My sincere thanks to Atul ji for making this year -2016 a ‘memorable year’ for me. This year, I was able to meet many of our regular members at Chennai, Bengaluru and Mumbai. In addition, I could also meet new personalities in this field of Hindi Film Music.

I may well become known as ‘always present Avinash’ instead of ‘illusive Avinash’ if it goes on like this.🙂. Bharat Bhai ji ne naam bhi aisa diya hai ki iske viruddharthi shabd agar aap ‘Google’ par dhoondhe to bhi bade atpate se hain
If you search for the opposite of ‘elusive’ you get this on Google page:

The word “elusive” has many antonyms, but most of them do not convey the exact opposite meaning the way an antonym should. Three words that reflect the opposing meaning of elusive well are “confronting,” “encountering” and “facing.”

I do not know if he has deliberately chosen to use the word ‘illusive’ instead of ‘elusive’ (Deshmukh Sir has pointed this out in one of his comments) because both have different meanings.

I would like to thank Shri Bharat Bhai Upadhyay ji, Shri Sadanand Kamath ji and Shri Arun Deshmukh Sir for all the arrangements of the ‘Mumbai Gang out’ on 20th November 2016. I also thank all our respected guests and regulars who attended the ‘gang out’ for being there and gracing the occasion.

***

On 19th November evening, when I boarded the ‘Samarsata’ (I thought they spelled wrong, and it should be ‘Samarasta’, but, even announcement at the Railway Station sounded to me as ‘Samar –Sata’🙂 ) Express at Nagpur railway station, I was more than happy and heaved a great sigh of relief.

After missing the ‘Mumbai gang outs’ three times in a row + one (which did not happen due to very less participants) finally I was going to attend it this time on 20th November 2016.

I could not attend the very first gang-out in Dec’14 due to certain developments at my work place. It happened the Second time in Aug’15 when the train ‘Prerna Express’ (Ahmedabad bound) was cancelled due to heavy rains. I was supposed to travel from Anand to Mumbai on that occasion. It happened for the third time in this current year 2016 in May when again due to work priorities I had to cancel my trip.

Fourth time it was again in this year in September when a possibility of a ‘gang-out’ was being explored but it finally didn’t materialize due to low availability of participants.

On all the previous four occasions mentioned above, my train tickets to and fro were booked and they had to be cancelled at the last minute resulting in ‘revenue-generation’ to the IR and in turn to GOI. It was a small contribution from my side for my love ‘the Indian Railways’. I have been making such contributions for the cause of the nation right from 30th Nov’1988 when I began my professional career.🙂

I arrived at the venue of meeting on the morning of 20th november 2016 with our guest invitee Mr.Deepak Chowdhari, who had joined me at Badnera Station. Three of our Senior members from Mumbai were already available there to welcome us.

After seeing me in person, they all had just this one line of remark … “aakhir aap aa hi gaye”… ‘so finally you have come for ‘Mumbai Gang-out’ !!

Sadanand ji specially made it a point to request Bharat Bhai to now remove the ‘tag’ – ‘illusive’ that he added to my name due to my tendency of backing out from previous ‘gang-outs’ at the last moment.

I will not go into the details on the proceedings of that day which our respected Deshmukh Sir has already covered in his two posts on this ‘gang out’.

I will straight away come to this song which I had already chosen in September 16 when the modalities of ‘gang out’ were being finalised.

Thinking about our respected Deshmukh Sir – ‘our in-house encyclopedia’ and keeping in mind his ‘core’ area of interest and the write-ups on the topics that I liked most i.e. ‘mythological movies’, I searched for a song that would fit in expressing my feelings of my eagerness to meet him and other members, I had chosen this film ‘Krishna Sudaama-1957’ and this song that is being discussed today.

After attending the ‘gang-out’, meeting all the members and staying with Deshmukh Sir for a day, I feel that I should pat myself on my own back for chosing this song which is just the perfect song to express my feelings.

Why?

Let me elaborate on this…

What we seek from these meetings or ‘gang outs’? What does one get and what does one feel after meeting so many knowledgeable persons in Music, movies and/or and HFM?

(PS: Now Deshmukh Sir, in his second post on the ‘gang out’ has also discussed it. I had already drafted this post in advance and I was happy to know that his views were similar to my feelings on this matter.

The first and foremost gain is the ‘everlasting joy of meeting people whom we already know through this blog’ and then the ‘eternal happiness’ we feel after meeting these people.

These are people with whom over the years we have developed a ‘strong bond of relationship’, and meeting them in person is like getting into a ‘different world altogether’ (Words fail me here to express my feelings).

In this context, what motivates and inspires me is ‘HFM’, this blog ‘ASAD’, then meeting team members of regular contributors and visitors of this blog, and last but not the least is the discussions on and about ‘HFM’.

And if one is a keen observer of people around us one can learn a lot and learn many new things in life from them.

All the things that could motivate me, inspire me and rejuvenate me were going to be there in the meet, so what more could I have asked for?

In my journey of life I have always taken care to seek ‘blessings’ and ‘best wishes’ from elderly and senior people, and also from people that I came in contact with during my professional or personal interactions. That gives me utmost satisfaction and somewhere I feel that it is this goodwill and best wishes of people accumulated over the years that is my wealth and it is this that enables me to keep me going and even succeeding in this journey of my life.

All the persons that I met in this ‘Mumbai gang out’ were seniors to me – in age and knowledge both. The only person (actually there are two) that, if by mistake🙂 looked like younger than me also had ‘greater knowledge’ of classical music and instruments. So they were all seniors to me.

They all blessed me by sharing their thoughts and their knowledge. Just the act of being in the company of such music lovers can cause one to forget all the ‘griefs’, sorrows and ‘pains of life’- if one had any.

And what a day it was !

I got this opportunity to meet all the stalwarts in person. Each and every person was so passionate about music, so generous in sharing things and so happy to meet each other.

I was to stay with Deshmukh Sir at his home for a day.Though I had taken his appointment for a full day during my communications with him prior to the visit, I was not sure if I would be staying with him, since I had never visited his place earlier.

I called him a day before the gang out (the same day evening I had to board the train) to check his schedule and my plan of return journey. He specifically reminded and insisted that ‘you are staying with me after the gang out was over’.

All of us are aware that he stays alone at Mumbai. During the travel to his home he was explaining to me that it’s a bachelor’s house and that I will find it like that and he hoped that I would feel myselfcomfortable there etc etc.

After reaching his place, I found that I had reached a ‘very well organized and maintained place’. But more surprise was in store for me. Our respected Guru ji kept inquiring with me about what I would like to have in dinner etc etc. I thought he was going to order the food from outside. But there at his place he had already done some planning for me with some special menus and for every meal time he could offer me multiple choices or combinations of multiple choices.

And last but not the least was the option of ‘food cooked by our Guru ji himself’:)

What more could I have wished for?

I will never ever forget that evening’s ‘Khichdi’, it was like ‘amrit tulya’ for me because it was cooked by Guru ji himself. This was the ‘mahaprasad’ that Guruji cooked specially for me with all his love and compassion therein.

Next day’s morning’s tea, breakfast, and lunch was a ‘divine’ experience for me and I will cherish these memories forever.

In addition, the ‘wisdom’ he shared with me and his guidance on certain aspects and on the queries which I had noted down to for discussing with him. My cup of joy was full to the brim.

***

For me this gang out and meeting all the ‘stalwarts’ there was like having the ‘darshan’ of the ‘viraat roop’ of Lord Shri Krishna. The ‘encyclopedia’ already there and with so many thoughts shared and so many things discussed was nothing less than ‘geeta ka gyaan of HFM’ for me.

My HFM related queries that I had noted down to be anwered by our seniors were like the ‘grievances’ of Sudama that he sought to get redressed from Lord Krishna in this song.🙂. The ‘nirdhanta’, ‘poverty’ or ‘inadequacies’ of Sudama is like my ignorance on the vast treasure trove of HFM.

What I got during my two days stay there in the form of ‘joy’, ‘happiness’, ‘learning’, ‘discussions’ and being a part of that ‘company’ is like getting ‘blessed by divine powers’.

It was as if the divine and spiritual powers of music had taken me to the path of ultimate happiness and peace!!

The movie:

‘Krishna Sudaamaa-1957’ a ‘mythological movie’ was directed by Shanti Kumar for Tajviristan, Bombay. It was produced by Lekhraj Bhakri. It had Nirupa Roy, Balraj Sahni, Rajkumar, Prem Adeeb, Umakant, Nand Kishore, Malay Sarkar, Santosh, Madhvi, Vimal Ghaisas, Sinha and Indira Bansal.

As per HFGK Vol III this movie had as many ten songs composed by Husnlal-Bhagatram. Lyrics for these ten songs are shared by Qamar Jalalabadi – six songs, Pt.Radheyshyam – two songs and Ramesh Gupta – two songs.

HFGK mentions that the recording of songs of this movie was completed in 1954 itself though this movie was released in 1957.

This movie was passed by Censor Board on 24.01.1957.

Today’s song is sung by Mohd Rafi and written by Qamar Jalalabadi. Music is composed by Husnlal-Bhagatram.

***

After the gang-out was over, its report was to be presented in the blog. As Kamath Sir was to get occupied with his already planned schedule and Bharat ji said that his will be only in ‘very few lines,’ we all requested Guru ji that he should write the posts. At that time I jokingly told him that from my end I will do a post as a ‘return-gift’ in return of his posts. So here is that post, and it is not a ‘return gift’ but my ‘homage’ to all whom I met on that day.


Song-Chal more manwa shyaam ke dwaare (Krishn Sudaama)(1957) Singer-Rafi, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Chal more manwaa
Shyaam ke dwaare
Chal more manwaa
Shyaam ke dwaare ae
Charan kamal mein jaa kar rakh de
Apne dukhde saare saare
Chal more manwaa
Shyam ke dwaare

Main nirdhan aur lamba path hai
Na koi doli na koi rath hai
Nange pairon chalaa Sudaama aa
Phool ban gaye kaante saare
Chal more manwaa
Shyaam ke dwaare

Shyam ke path par
Kaal jo aaye
Hans hans galey lagaaun oon oon
Jag ishwar Narsingh ki mahima
Ho matwaala gaaun
Ho matwaala gaaun
Dekh Sudaama roop badal kar
Aaye Mohan pyaare ae ae
Chal more manwaa
Shyaam ke dwaare

Shesh naag ka roop dekh kar
Yaad aaye Girdhaari ee ee
Ek jaan to kya hai kar doon
Sau jaanen balihaari ee
Kitni door se lene aaye
Ham ko Shyaam hamaare ae ae
Chal more manwaa
Shyaam ke dwaare

O nadiya toofaan uthhaa le
Mil ke rahenge milne waale
Chal re Sudama Shyam salona (?)
Tujhko aaj pukaare ae
Tujhko aaj pukaare ae ae
Tujhko aaj pukaare ae ae ae ae

————————————————
Devnagri script lyrics
————————————————-
चल मोरे मनवा
श्याम के द्वारे
चल मोरे मनवा
श्याम के द्वारे ए
चरण कमल में जा कर रख दे
अपने दुखड़े सारे सारे
चल मोरे मनवा
श्याम के द्वारे

मैं निर्धन और लम्बा पथ है
न कोई डोली न कोई रथ है
नंगे पैरों चला सुदामा आ
फूल बन गए कांटे सारे
चल मोरे मनवा
श्याम के द्वारे

श्याम के पथ पर
काल जो आये
हंस हंस गले लगाऊं ऊँ ऊँ
जग इश्वर नरसिंह की महिमा
हो मतवाला गाऊं
हो मतवाला गाऊं
देख सुदामा रूप बदल कर
आये मोहन प्यारे ए ए
चल मोरे मनवा
श्याम के द्वारे

शेष नाग का रूप देख कर
याद आये गिरधारी ई ई
एक जान तो क्या है कर दूं
सौ जाने बलिहारी
कितनी दूर से लेने आये
हम को श्याम हमारे ए ए
चल मोरे मनवा
श्याम के द्वारे

ओ नदिया तूफ़ान उठा ले
मिल रहेंगे मिलने वाले
चल रे सुदामा श्याम सलोना
तुझको आज पुकारे ए
तुझको आज पुकारे ए ए
तुझको आज पुकारे ए ए ए ए


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.

Many of the music directors of the the Golden era and the pre- golden era were competent singers as well. They sang mostly in their own films, but sometimes they also sang under the batons of other music directors. Today’s song, a qawwaali from “Samrat”(1954), is one such song, where C Ramchandra sings for Hemant Kumar. Rafi and chorus accompany C Ramchandra in this song.

C.Ramchandra was quite fond of singing in films and he usually sang in his own films. However, he also sang for other music directors, for instance for his Mentor Anil Biswas, S D Burman, Roshan and Hemant Kumar. Today’s song is one of the two songs he sang for Hemant Kumar. The other comedy song was from film ‘Lagan’-55. Besides them, C Ramchandra also sang for Mir Saheb, Chic Chocolate, Laxmikant-Pyarelal, Usha Khanna and Kishore Kumar.

Film Samrat-54 had 9 songs. 4 songs from this film are already discussed. This will be the 5th song. All the songs of this film are very good. The best song was “sabko mubarak Naya saal’ by Asha and chorus. For a long time, Radio Ceylon used to play this song on every 31st December night / First January every year. I do not know if this is going on even now.

SAMRAT-1954 was a film by Filmistan. Those days Ajit and Premnath were very fond of roles of rebels in a kingdom,sword fighting and the likes of it.many films with stories woven around kings,wicked Vazirs,beautiful princesses,a young rebel from the Aam janata etc were the staple of those days.India had gained Independence just 7-8 years ago and the acceptance of Kings,queens,Rajkumaris etc was still there. In fact such films were made almost till 1969,when Indira Gandhi abolished the states,Rajas,and maharajas by stopping their purses paid by the Govt.

This was a film directed by NAJAM NAQVI,who started as a continuity man with Bombay Talkies.His original name of Syed Najmul husain Naqvi was changed to Najam Naqvi here only,as there was a famous actor Najmul Hasan already.

Najam Naqvi was an actor, producer and Director.He directed 12 films from punarmilan-1940 to Samrat-1954.After this film he migrated to Pakistan where also he directed 6 films till 1966(Payal ki jhankaar).He died in Lahore,Pakistan on 26-1-1982.

Nasir Hussain, who became a famous Director later had written the S/Play and Dialogues of this film,along with Hamid bhatt.The MD was Hemant Kumar,ably assisted by a future top composer-Ravi.

The cast of this film was Ajit, Rehana Kamlesh kumari(Junior) etc. KANU ROY had also acted in this film. He did the role of Kanu-the side kick of the hero.

Guman Singh(Randhir) is Diwan of the kingdom but has connections with a Pirate chief Tunda.Sagar(Ajit) and two of his friends,Kanhaiya and Kanu,learn from a wounded sailor about the activities of Guman.Bijli(Kamlesh Kumari) a dancer in a pub of pirate and a mute lover of Sagar also fives similar info.Sagar approaches the King and warns him.But he is misunderstood and jailed as Guman is engaged to the Rajkumari.The Rajkumari(Rehana) has doubts about Guman and she finds out all about him in disguise by visiting pirate’s island.After she tells her fathe,Guman is called.Sensing trouble,Guman captures King,puts him in prison,replaced by his look alike who promptly sentences Sagar to Death.Rajkumari and Sagar escape but she is captured and made to dance on the Pirate’s ship.Sagar attacks the ship.rescues her,then turns to Guman,killing him in a sword duel and releasing King from prison.
Sagar and Rajkumari marry and he is the new Diwan now.

MUMBAI GANGOUT REPORT PART 2 (Final)….
————————————————-
The meeting was on the 20th of november 2016. On the evening of the 19th, we got WhatsApp messages from Avinash ji that he had boarded the train to Mumbai. On the way, he was to be joined by our honourable guest shri Deepak Chowdhari ji from Amravati (Badnera ?). After reading the messages that the train had left Nagpur with Avinash ji on board, we heaved a sigh of relief. Now it was 99.9% sure that he was coming for the meeting !

Bharatbhai had instructed Sadanand ji to prepare a cardboard paper table of 12″ x 12″ size with 16 squares. His idea was to take Autographs of all participants on this. The table also had their favourite song Titles. Accordingly the table was prepared very nicely. They both were to reach the venue at about 8 am to check and oversee the arrangements of the Hall. By 8.30 or so I too reached the hotel.

The arrangements were excellent. Electricity connectivity, enough lighting and free WI-FI was provided. Morning Breakfast was from 9 am onwards, but we delayed it as members had not yet come. Bharat bhai was busy in connecting his Audio-Visual and computer equipment. He was looking so enthusiastic, I felt a little envious of him. If at the age of 83-84, he can be so zealous and full of life, humour and activity, every ageing person needed to follow in his footsteps. Just looking at him brightened my mood and the tension eased out. Sadanand ji was busy checking Name plates. They had made the seating arrangements with some basis. First few seats were for the Regulars and then the Guests were seated.

I was supposed to chair the meeting. The Agenda was written on a white Board. It was strategically placed so as no one could read the items except the very bold ” Agenda “, indicating what it was ! Our experience was that the Agenda was a mandatory decorative item which was never followed as planned. It always remained a wishful thinking. But we wanted to be ‘proper’, hence Agenda was on the board !

Slowly and steadily members started trickling in the hall. Khyati ji, Shishir Sharma ji and some more guests came. When there were enough number of guests to make it look like a gathering, we started the Breakfast. At around that time, Avinash ji and Deepak ji arrived with the baggage, straight from the station. Looking tired but enthusiastic, they soon disappeared into the Men’s enclosure to freshen up and change. Within half an hour, having finished the 3-S, they joined us for the breakfast. The last pair to arrive was Gajendra ji and Nishant ji.

After the Breakfast, we all went into the hall. Though the names were assigned to the seats, members cleverly adjusted themselves as per convenience and choice of neighbours. I could read the disappointment and pain on the face of Sadanand ji, to see his efforts go waste. The last guest to enter the hall was Shri Mohan Joshi ji, a knowledgeable member, for whom this was the second meeting.

The members were-
Regulars- A. Deshmukh, Bharat Upadhya ji, Sadanand Kamath ji, Ms. Khyati ji, Avinash ji, Gajendra ji and Bakshish Singh ji.
Honourable guests- Mohan Joshi ji, Shishir Krishna Sharma ji, Nishant Shah ji, Deepak Chowdhari ji, Mahendra Bafna ji, Lalit Sahni ji, and Shyam Sawant ji.

Bharatbhai informed me that as his son from USA has come to Mumbai only for a day and was to leave tonite, he would leave early to join his son. He further suggested that we conduct his programme ‘ Favourite song ‘ on priority, ahead of other item on the Agenda, to which I agreed as all members would be involved in that programme.

Finally, the meeting started. The first item was welcome speech by Bharat ji. I reproduce here his ‘ entire ‘ welcome speech.

” Good Morning. I welcome you all for this meeting. I request Mr. Deshmukh to take over as the Chairman. Thank you.”

He sat down. Everyone dutifully clapped. The next item was ‘ self introduction by the members ‘. The idea was to acquaint others about the member and we thought the best person to do this was he himself. We had estimated that this item would take at the most an hour. We forgot that people like to talk about themselves. As there was no time limit set, this exercise went on and on and on. However, it was very interesting and gave us an insight into their lives. Some of the experiences narrated were very informative, like when Mohan Jjoshi ji met famous people of the film industry, how Lalit Sahni ji recorded more that 1000 Bhajans on tunes of popular film songs or the exciting experiences of Sharma ji while interviewing famous people. By the time we finished the introduction round it was Lunch time !

The lunch arrangements were in the Hotel’s restaurant. The food spread was four times more than what was mentioned in our contract ! So nice of them. Everyone enjoyed the tasty food and the desserts. While the lunch was going on, photos were being taken by almost everyone. The atmosphere was so cordial, friendly and full of joy that I felt the purpose of meeting was fulfilled. After all we meet not only to discuss mundane matters on the agenda, but to come closer to each other and discuss matters of mutual interest, common to all,like films and music. This was clearly a case of “friendship beyond Borders “. Such Get togethers make memorable events in our life. Films and Music bind people of diverse careers and personalities.

When we re assembled after the Lunch, it was announced that the next item was ” Favourite songs “. Members were happy.I doubt if anyone remembered that originally the next item was to be some other item. The format of this programme was easy. First Bharat ji would announce the member’s name, give his favourite song details, then one stanza of the song would be played and then the member has to tell us why he liked it and what was special in it.

Among all the meets that I have attended, this programme was genuinely most enjoyable. Members were very enthusiastic and questions were asked and answered. Barring none, all the songs were excellent and justified being in the list of Favourite songs. Members became emotional while talking about their Favourite song. Halfway through the programme, we broke for Evening Tea and again started the programme. By the time we finished all 14 songs, it was nearing 5 pm.

Hurriedly, Bharat ji arranged for the Autograph and photograph session- the last item of the day. This was required for his video. The Autograph sheet was placed on the table. The member announced his name and then signed the sheet. All this was filmed by Bharat ji.

Now the time came for the closure of the meeting. We had already crossed the Hotel’s deadline of 5 pm, but the Hotel was very considerate and allowed us without any objection. I tried to sum up the day’s activities, thanked everyone heartily and declared the Meeting as over.

A question is often asked by many as to what are the gains of such meetings which have no apparent and measurable parameters of any achievement. In my opinion, such meetings work as a Tonic for the Music lovers. Most old music lovers are from the age group of 45+ and above. At such an age, it is difficult to get New friends. Such meetings convert casual and online acquaintances into good friendships. You also get the joy of adding to your knowledge. Once tasted, the attraction of such meets prompts people to try and attend more such meetings.

How else can you explain why people spend their money and time in travelling from Delhi to Mumbai or Mumbai to Bangaluru and vice versa or Nagpur to Mumbai or to Chennai ? Surely, there must be some intrinsic gain beyond measure or a parameter ! Its difficult to put it in words but I am sure you must have understood what I mean. When I put Meeting photos on my FB page, one of our regular readers, Mr. P Seshadri ji from Ahmedabad wrote, ” If I had known, I would have also come to the meeting in Mumbai “. This is the Gain !!!

All things in this world can not be measured, some are felt and some are desired irrespective of Age, Status, Distance or Language. So Hail the Meets and let’s meet again and again…sometime….somewhere….

Let us enjoy this qawwaali from “Samrat”(1954).


Song-Jaan dena aashiqon ka kaam hai (Samrat)(1954) Singers-Rafi, C Ramchandra, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Chorus

Lyrics

haan
kya kaha ustaadon ne

arre haath seene per jo rakkhe ae ae
zara sambhal ke
aur thhandi saans le ae
haaye
haath seene per jo rakkhe
aur thhandi saans le ae ae ae
husn waale cheez kya hain
udti chidiya faans len

haan
arre waah jamboora waah waah

jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

arre gair ke pehlu mein unko dekh kar ar ar
dil pe kya guzri kisi ko kya khabar

aa aa aa aa aa
gair ke pehlu mein unko dekh kar
jee haan unko dekh kar
dil pe kya guzri
kisi ko kya khabar
jee haan kisi ko kya khabar
jee haan kisi ko kya khabar

aa aa aa aa
aashiqui ke imtihaan ka waqt hai
ae ae ae ae ae ae ae
waah waah waah
dekhna hai aaj ulfat ka asar
dekh lo ustaad ji
arre dar gaya jo ishq mein naakaam hai
dar gaya jo ishq mein naakaam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai

aahe
jaan dena
waaah aahe waah
jaan dena
kya samjhe re
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

jismein qurbaani na ho o
wo ishq kya
waah waah
sach

haa aa aa
pooch parwaane se jalne ka maza
jee haan jalne ka maza
jee haan jalne ka maza

aa aa aa
rah gaya deewaana jal ke aag mein
deewaana jal ke aag mein
deewaana jal ke aag mein

aa aa aa aa aa
aa aa aa aa aa
rah gaya deewaana jal ke aag mein
deewaana jal ke aag mein

arre raakh ke zarron se aayi ye sada
kya bhala
aise jalne mein bada aaraam hai
aise jalne mein bada aaraam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
aahe
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

aa aa aa
aa aa aa
aa aa aa
is ada se aaj wo mehfil mein hain aen aen aen
aa aa aa
door rah kar bhi hamaare dil mein hain
aa aa aa aa
is ada se aaj wo mehfil mein hain
ji aaj wo mehfil mein hain
door rah kar bhi hamaare dil mein hain
jee wo hamaare dil mein hain
jee wo hamaare dil mein hain

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
jee mein aata hai ke ye bhi dekh len
kya ustaad
zor kitna baazu e qaatil mein hai
dekh lo ustaad ji aaj
arre
ishq mein to roz qatl e aam hai
ishq mein to roz qatl e aam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
aahe
jaan dena

waah waah ustaad ji
jaan dena
arre waah beta
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai


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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 12600 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008..

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Blog Start date: 19 july 2008 Active for 3000 days.