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

Archive for the ‘Post by nahm’ Category


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

Blog Day : 4178 Post No. : 15357

Commemorating Naushad Sahab’s 100th birth anniversary on 25th December 2019 :
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Naushad Sahab’s journey as a music director is an astounding journey of 65 years beginning from 1940 to 2005. This is as in active working career. Born in Lucknow on 25th December, 1919, he completed his journey of the mortal existence on 5th May, 2006, in Mumbai. He is described as a composer, music director, film producer, writer, and a poet. Also credited for being the major contributor towards incorporating Hindustani classical into film music right from the 40’s.

I have just now found a portion of the thumri extracted from the movie “Paakezah” where it plays in the background in one of the scene’s. I have often seen references to the lost thumris of “Paakeezah”. They all have been used in the film in different scenes.

This particular thumri is having a famous ghazal by Mir Taqi Mir ‘dekh to dil ke jaan se utthtaa hai …..ye dhuaan sa kahan se utthtaa hai”. This ghazal has been immortalized by many singers in recorded version too. One of those versions by Mehdi Hasan was used in the background of one scene in Sai Pranjpe’s “Chashme Bad-door”. That also is a one memorable scene, where the friends sharing accommodation in Delhi, sharing much more including their cigarette’s are Farooq Shaikh, Rakesh Bedi and Ravi Baswani, while this ghazal is playing in the background. The full ghazal’s link is here.

I am giving the link here as those interested can see the full ghazal and can try and understand the spirit of it through meaning of words and terms also.

In the stats page, there are 3 songs credited to Mir Taqi Mir, so this should be the fourth. Two songs namely Patta patta boota boota from “Ek nazar” and dikhaayi diye yoon ke bekhud kiya I could connect with Mir Taqi Mir. Third one I couldn’t find.

He finds mention in this Mirza Ghalib Sha’ir:

Rekhte ke ek tumhi ustaad nahi Ghalib
Kehte hain agle zamaane mein koi ‘Mir’ bhi thha
Actually in the portion of this ghazal used in the film is only two sha’irs with words in the matla’a changed. Actual words are like this :
ishq ik ‘Mir’ bhari patthar hai
kab ye tujh na-tawaan se utthta hai

Here is the word “na-tawaan”. I have just recently written a hindi poem, which has this word “na-tawaan”, which I simply must share here.

आहट
जो मैं सुनती हूँ अँधेरों में
वो आहट, क्या तुम्हें भी सूनाई देती है
इन दीवारों की गहरी खौफनाक दराडों में
अनगिनत नातवां चींटियाँ दफन हैं
इन चींटियों को क्या हक़ था
की वो महलों के ख्वाब देखतीं
खुद को बुलबुल जान कर
गुलिस्ताँ में चहचहाती
क्या यह उनका अपना गुलिस्ताँ था
फिर क्यूँ वो इतना खिलखिलाती थीं ?
फिर जो भारी गूंज उठी गुलिस्ताँ में
बुलबुलों का चहचहाना बंद हो गया
क्यूंकी एक खूबसूरत इमारत जो बननी थी
उस में कुछ खुश्क रंगों की ज़रूरत थी
अति सुंदर, रंगीन, अंतिम लिबादा ओढ़े
सामने वही खूबसूरत इमारत खड़ी है
जो मैं सुनती हूँ अँधेरों में
वो आहट, क्या तुम्हें सूनाई देती है ।
——- x ——–

This small portion of the ghazal in thumri format is composed by Naushad and singer is Naseem Chopra. This song is a debut for Naseem Chopra in the blog, as her name is not featuring in the ‘stats’ page.

Audio :

Video :

Song-Dekh to dil ke jaan se uthhaa hai (Paakeezah)(1971) Singer-Naseem Chopra, Lyrics-Mir Taqi Mir, MD-Naushad

Lyrics

Dekh to dil ke jaan se utthtaa hai ae
Ye dhuaan sa kahaan se utthtaa hai
Ye dhuaan sa kahaan se utthtaa hai
Ishq ek ‘Mir’ bhaari patthar hai
Ishq ek ‘Mir’ bhaari patthar hai
Bojh itnaa kahaan se utthtaa hai
Ye dhuaan sa kahaan se utthtaa hai

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Devnagri script lyrics (Provided by nahm)
——————————-

देख तो दिल के जाँ से उठता है
ये धुआँ सा कहाँ से उठता है
ये धुआँ सा कहाँ से उठता है
इश्क़ एक ‘मीर’ भारी पत्थर है
इश्क़ एक ‘मीर’ भारी पत्थर है
बोझ इतना कहाँ से उठता है
ये धुआँ सा कहाँ से उठता है


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

Blog Day : 4178 Post No. : 15356

Mohammed Rafi : The incomparable (II) – Song No. 15
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It is very much true even today that the title of ‘Sone ki chidiya” suits India very well. This guileless person, named Mohammad Rafi is one of the genuine golden feathers of this ‘Sone ki Chidiya”

“Sona” in material terms as we all know is Gold, as in precious metal. And in our country traditionally and religiously Gold is treated as Goddess Laxmi. Other cultures in the world treat it as a precious metal and metal alone. But we in india have been revering “Gold” as much more than a costly metal. It is equated with wealth and prosperity. If a percentage of the country’s household are super rich, a bigger percentage of households are comprising of the so called middle classes and all of these people have amassed gold reserves in the families. I have seen women, mostly housewives saving up to buy gold jewelry. My own mother used to save up to years, so that she could get some small gold jewellery pieces. My mother’s savings habit has saved many a rainy day, if we believe the stories she tells of this event or that event. Many times the relatives will be in trouble and some or the other need will arise in the household and her savings or even gold jewellery was the only thing to be cashed.

It boggles the imagination to ascertain the quantum of gold stashed away in small or minute holdings even, over crores of households. And most of it will hopefully be useful in their hours of need. If a small token of wealth is not useful in saving a life or a way of paying a child’s school fees, than it is not ‘laxmi’, not really.

Southern India and it’s cultural make up is famous for flaunting its obsession with gold. Temples and shrines all over the country are reportedly laden with gold and jewelry, naturally donated by the devotees.

Since ancient times, the regions of present day india were part of the larger region broadly known as ‘Hind’ or ‘Hindustan’. This region is sometimes described as ‘sone ki chidiya’ in legends and ‘daastaan’. By now even if it has broken into many pieces and fragments, with conflict and strife spread over the whole region, with malice towards one and all, inside these fragmented nation states and elsewhere, it is worth reminding ourselves of the history and cultural heritage of our ancestors. A sense of preservation needs to prevail in our collective deeds, if this flourishing civilized society, invaded for centuries on end, and yet surviving all trials and tribulations, because of its thinkers, philosophers, poets, musicians and sant mahatma’s, is to continue the journey into eternity. Languages, arts and cultural values and music has always been the backbone of this heritage.

Some months ago I had written one article in hindi titled “sone ki chidiya” for the office magazine. I am including that article here for the readers benefit and contemplation.

– सोने की चिड़िया –
मकानी हूँ के आज़ाद –ए-मकां हूँ
जहां में हूँ के ख़ुद सारा जहाँ हूँ
वो अपनी लामकानी में रहें मस्त
मुझे इतना बता दें मैं कहाँ हूँ
कुछ दिन पहले मैं अपनी बहन के साथ एक मॉल में गयी । वहाँ घूमते हुए और दुकानों की चकाचौंध देखते हुए अचानक मेरी बहन जो वर्षों से गल्फ में बसी है, कहने लगी की यह बात बहुत उपयुक्त है की यह देश पिछले दो से तीन सौ सालों में दोबारा से ‘सोने की चिड़िया’ बन गया।
प्राचीन काल में हमारा भारत देश सोने की चिड़िया के नाम से मशहूर था यह सब तो हम ने किताबों में बचपन से पढ़ा है। यही वजह थी की हजारों सालों से इस सर – ज़मीन पर विदेशी हुकमुरानों ने बार बार आक्रमण किए । कुछ लोगों ने लूट मार की तो कुछ लोगों ने यहां की तहजीब में रच बस कर इसे और निखारा और संवारा और इस धरती का ‘सोने की चिड़िया’ खिताब को सदियों से बने रहने में अपनी अपनी भूमिका निभाई।

यह भी सम्झना आवश्यक है की ये वो ज़माना था जब सब तरफ ‘ माइट इस राइट ‘ का चलन था , जो कोई भी अपनी भारी भरकम सेना ले कर किसी दूसरे के राज्य पे आक्रमण कर फतेह कर ले वो राज्य उस का हो गया । और इस तरह इस फतेह किए हुए राज्याओं पर राज्य बनाए रखने के लिए ‘फ़िज़िकल माइट’ का बहुत महत्व होता था ।

ऊपर मैंने आक्रमण करने वाले हुकमूरानों के संदर्भ में न चाहते हुए या यूं कहें की बड़ा हिचकिचाते हुए विदेशी शब्द का प्रयोग किया। उस काल में तो हर क्षेत्र के लोग अपने आस पास के इलाक़ो के बाहर हर जगह को विदेश ही समझते होंगे । जबकि यह देश और विदेश की कल्पना उन्नीसवी / बीसवीं सदी में ही जागृत हो कर पूरे विश्व में फैल गयी और एक प्रकार का विभाजन हुआ और अलग अलग ‘nation states’ का चलन चला, चल क्या निकला , पूरा विश्व छोटे छोटे टुकड़ों में बट गया। कहीं मज़हब, कहीं भाषा, कहीं संस्कृति तो कहीं कुछ और, हर एक मुल्क अपनी अपनी सीमाओं में बंद हो गया । यह कैसा सोचों का, विचारों को, नदियों का, हवाओं का, पहाड़ों का, खेतों का, शहराहों का, शहर-क़स्बों का, तंग घाटियों का, द्वीपों का, क़िस्से कहानियों का, गीतों और रागों का, और जाने क्या क्या कुछ….. बटवारा हो गया । साथ ही बंटवारा हुआ प्राकृतिक संसाधनों का और कुदरत की दी हुई बेशुमार नयमतों का । बट गईं मानवता की धार्णएं और 21वी सदी में तो ऐसा लगता है की यह धरनाएं सिर्फ किताबों में सीमित हैं। पिछले युग के राजे महाराजे अपनी ताक़त के बल बूते राज्य करते और आज भी नेशन स्टेट्स अपना ‘पॉलिटिकल माइट ‘ इस्तेमाल कर न सिर्फ स्टेट पर बल्कि दूसरे स्टेट्स की प्रकृतिक संसाधनों पर भी अपना नियंत्रण बनाते हैं और उसे बनाए रखने के लिए हर एक मानव्य/अमानव्य हत्यारों का इस्तेमाल करने से बिलकुल संकोच नहीं करते। और इसी से ज़मीर के साथ conflict वाली स्टीथि भी है की जो कोई कार्य या विचार धारणा मेरे लिए सही है तो वही सोच और धारणा दूसरे के लिए गलत है । मुझे नहीं लगता की इस सृष्टि की रचना का उद्देश्य यह होगा की मानविक समाज इस तरह देशों, प्रान्तों ,भाषाओं और इन सब के प्रेम की आड़ में अपने अपने अहंकारों की, आत्महित के दायरे में, और चक्रव्युह में फंस कर, एक दूसरे से सदैव संघर्ष और तुछ लड़ाईयाँ लड़ता रहे। क्यूंकी आज भी जब हम आपस के संघर्ष को , अपने नजरियों का दायरा बड़ा कर के देखें तो यह सब तुछ ही हैं।
आज मानवता पूरी तरह से बटी हुई है । यह वो मनुष्य जाति है जो इस ब्रह्माण्ड में ईश्वर की सर्वश्रेष्ठ रचना है । सारी की सारी रचनाओं में सर्वश्रेष्ठ होना क्या होता है ये शायद हम मनुष्यों को रास न आया।

ऐसी अंतर्राश्त्र्य अनुशासन तथा सामाजिक तंत्र के चलते किसी एक व्यक्ति, कोन्सोर्टिउम, कॉर्पोरेट, या व्यवस्था या कोई नेशन-स्टेट को सोने की चिड़िया बने रहने में जो मनव्य मूल्यों के त्याग की आवश्यकता थी वो तो हमारी अर्थव्यवस्था कर ही चुकी है और इस की मानवता ने भारी क़ीमत भी चुकाई है और चुका रहें हैं हम सब ही व्यक्तिगत सतह पर। सिर्फ यह है की इस क्षति का और उस के परिणामों का आभास कुछ ही लोग कर पा रहे हैं।

एक और अनुभव जो पिछले कुछ महीनों में मुझे छू गया , उस का विवरण यहाँ करना उपयुक्त है।

मैं मुंबईकर हूँ और यही पली बढ़ी होने के कारण मुझे यहाँ के विद्यालयों के प्रति लगाव है। मेरे माता पिता के बाकी परिवार के सभी लोग बेलगाम (कर्नाटक) में रचे बसे हैं और हर तरफ फैल गए हैं। मेरे छोटे मामा के बेटे ने कुछ वर्ष पूर्व बेलगाम से पढ़ाई पूरी की थी, और नेत्र विशेषज्ञ के रूप में केरल में प्रशिक्षण कर रहा है। मैं ने उसे फोन किया यह पुछने की मैं मेरे बेटे के लिए मुंबई के अलावा कौन से कॉलेज में प्रवेश को प्राथमिकता दूँ। सारी औपचारिकताएँ समाप्त होते ही मैं ने मुद्दे की बात छेड़ दी । मेरी सारी बात सुनते ही पहली बात जो मेरे ममेरे भाई ने कही वो यह थी की आप अपने बेटे को बेलगाम में क्यूँ नहीं दाखिला दिलाते? मैं इस प्रश्न को सुन परेशान हो उठी, की यह सवाल मेरे दिल-ओ-दिमाग में दूर दूर तक नहीं आया। मैं ने अपने लहजे के पूरे आश्चर्य को बिलकुल भी न छिपाते हुए कहा की मुंबई और महाराष्ट्र में इतने अच्छे और नामचीन कॉलेज के होते हुए भी मैं मेरे बेटे के लिए बेलगाम का कॉलेज क्यूँ चुनुंगी । पर वो तो बिलकुल भी प्रभावित न हुआ मेरी बात से और अपने बिन्दु पर टिका रहा और कहा “क्यूँ बेलगाम की जीएमसी तो कर्नाटक के चोटी के 3 कॉलेज में है अच्छे कॉलेज की शिक्षा से काफ़ी फर्क पड़ता है “ । मैं ने कहा की ऐसा होगा लेकिन जब मैं मुंबई निवासी हूँ और यहाँ के 5 में से 4 कॉलेज पूरे देश की किसी भी सूची में चोटी के पंद्रह या बीस के अंदर ही आती हैं तो बेलगाम के कॉलेज के बारे मुझे विचार की भी आवश्यकता नहीं लगती।

इतनी बातचित के बाद भी मेरा ममेरा भाई मेरे दृष्टिकोण को नहीं समझ पा रहा था, तो अंत में मैं ने उस से कह दिया के वो अपने मित्र मण्डल में जो की महाराष्ट्र में पढे हैं उन से सलाह कर के मुझे यहां के कॉलेज की आपस में श्रेणी की सही सही जानकारी दे दे ताकि मेरे बेटे को उस के श्रेणी के अनुकूल मुंबई या मुंबई के बाहर के कॉलेज में प्रवेश मिल सके।

इस वार्तालाप के बाद मैं सोच में पड़ गयी कि वो एक चिकित्सीय व्यवसायिक होने के बावजूद क्यूँ नहीं समझ पा रहा या मान रहा की मैं मुंबई में हूँ जो की हमारे देश की दूसरी बडी जगह है चिकित्सीय शिक्षा के लिए, दिल्ली के बाद । फिर जब सोच की इंतेहा पर समझ आया की वो तो उस का दृष्टिकोण था । ऐसा बिल्कुल नहीं था की वह मेरी बात समझने की क्षमता नहीं रखता । लेकिन यह दोष उसके दृष्टिकोण का था जो उस को उसकी सोच के दायरे से बाहर देखने ही नहीं देता। क्यूंकी वो खुद बेलगाम से हैं और पढ़ाई पूरी वही की और अब भी वहीं जा के बसने की कामना करता है, और उसे अपने शहर और कॉलेज के प्रति बहुत गर्व भी है । यह सब जब मेरे दिमाग में और यादों के पर्दों से बाहर आया, तो प्रतीत हुआ की उस का नज़रिया उस को रोक रहा था मेरे नजरिये को देखने से । उस की सोच की सीमा वहीं तक सीमित है और वो उस से आगे देख नहीं पा रहा।

यही काम तो है सीमाओं का जो की मानवता को बांधने में, इस की मानसिक रूप से मर्यादित करने में सफल हो गयी हैं। सोच की सीमाएं, चाह की सीमाएं, अनजानी चीजों को देखने परखने में संकोच और ऐसी सीमित करने वाली मानसिक पीड़ाओं से हमारा समाज और सामाजिक-तंत्र बंधा हुआ है। हर कोई अपनी सोच और अपने दृष्टिकोण के आगे, बाहर या आस पास और उस से दूर पनपने वाली बेहतर और उच्च चीजों या बातों को अपनी पहुँच से बाहर पता है। ऐसा क्यूँ है ?

और देखिये क्या कहते हैं अललमा इकबाल :

सितारों से आगे जहां और भी हैं ।
अभी इश्क़ के इम्तेहान और भी हैं ।
तिही ज़िंदगी से नहीं ये फ़ज़ाएं
येहां सैकड़ों कारवाँ और भी हैं ।
कनाअत न कर आलम-ए-रंग-ओ-बु पर
चमन और भी हैं आशियाँ और भी हैं।
अगर खो गया एक नशेमन तो क्या ग़म
मुक़ामात-ए-आह-व-फुगाँ और भी हैं।
तू शाहीन है परवाज़ है तेरा काम
तेरे सामने आसमां और भी हैं ।
इसी रोज़-व-शब में उलझ कर न रेह जा
के तेरे ज़मान-व-मकां और भी हैं ।
गए दिन के तन्हा था मैं अंजुमन में
येहां अब मेरे राज़दान और भी हैं ।
***************

Also remembering this song :

jahaan daal par sone ki chidiya karti hai baseraa
woh bhaarat desh hai meraa

The Rafi song featured here is from the film ‘Johar in Kashmir’. The word ‘Johar’ means, a jewel or a gem and pearl. ‘jawahrat’ – is a word for collection of precious jewels, diamonds, pearls etc. ‘Johar’ also means talent or stupendous ability etc.

This song is written by Indeevar and composed by Kalyanji Anandji. The tune is reminding me of Jis ka koi nahin uska to Khuda hai yaaron from Laawaris.

Rafi sahab has rendered this song with his customary gusto. ‘Gusto’ is a word that Atulji used a lot in respect of Rafi songs years ago.

The message in the song is quite apparent. The I S Johar is the dervaish, giving sermons to all and sundry that the day of judgement is not far and none of the oppressors (those committing excesses on fellow beings) will be forgiven and allowed to go scot free.

Essentially what the dervaish is doing is trying to warn the oppressors to be afraid of God almighty and his wrath, ask for his forgiveness while there is still time. It is like trying to help the oppressors, by convincing them to stop the bad deeds and obtain forgiveness from the God Almighty.

Like this hadith:

Allah’s messenger (pbuh) said, ‘Help your brother, whether he is an oppressor or he is an oppressed one.”
People asked “O Allah’s Messenger! It is all right to help him if he is oppressed, but how should we help him if he is an oppressor?”
The Prophet said, “By preventing him from oppressing others.”

Video :

Song-Aanewaala hai din qayamat kaa… koi zaalim na bakhsha jaayegaa (Johar in Kashmir)(1966) Singer-Rafi, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

Begunaahon ka lahu hai
ye rang laayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koi zaalim na bakhsha jaayegaa
koi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

hamaare bhai huye ham na huye
karbala ke sitam to kam na huye
zulm duniya mein ab bhi zinda hai
aadmeeyat hai ke sharminda hai
aadmeeyat hai ke sharminda hai
maa shaheedon ki ab bhi roti hai
zulm ki hadd bhi koyi hoti hai
haqq paraston ko bhi na-haqq maara
haay dil gham se hai paara paara
haay dil gham se hai paara paara
yazid ki ho hukumat ya kisi zaalim ki
har ek zulm ka insaaf kiya jaayegaa
har ek zulm ka insaaf kiya jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

zarre zarre mein guzar rakkhta hai
sab ki harkat pe nazar rakkhta hai
nek aur bad chhupaa nahi uss se
khudaa to sab ki khabar rakkhtaa hai
khudaa to sab ki khabar rakkhtaa hai
meher pe aaye to gaffar bhi hai
qehar pe utre to jabbar bhi hai
yun to har deen se upar hai khudaa
qadmeeyat ka tarafdaar bhi hai
aadmeeyat ka tarafdaar bhi hai
sholey nafrat ki dilon mein
na tu bhadkaa zaalim
apni hi aag mein tu
aap hi jal jaayegaa
apni hi aag mein tu
aap hi jal jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

nahin kaafi hai musalmaan honaa
bas nahin hafiz-e-quraan honaa
Allah ta’alaa ka pyaar paane ko
laazmi hai teraa insaan hona
laazmi hai teraa insaan hona
amal to saathh tere ho le gaa
khoon to sar pe chadh ke bole gaa
khudaa mazhab hi na dekhegaa teraa
teri insaaiyat bhi toley gaa
teri insaaiyat bhi toley gaa
pyaar par rakkhi hai buniyaad har ek mazhab ki
koyi talwaar pe rakkhegaa to kya paayegaa
koyi talwaar pe rakkhegaa to kya paayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

tu ne pyaason se Pyaale chheene
tu ne honton se niwaale chheene
tu ne sham’ean jalaayin qabron par
aur makaanon se ujaale chheene
aur makaanon se ujaale chheene
dilon mein farq iss qadar daale
tu ne dariyaa bhi khoon se bhar daale
ek dharti banaayi Allah ne
tu ne tukde hazaar kar daale
tu ne tukde hazaar kar daale
tunaah kartaa hai tu kis ke liye soch to le
thaali haathon hi tu tanhaa yehaan se jaayegaa
khaali haathon hi tu tanhaa yehaan se jaayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

ye padosi se ladaayi kaisi
sabhi bhaai hain judaayi kaisi
ye tabaahi ki saari baaten hain
iss mein insaan ki bhalaayi kaisi
iss mein insaan ki bhalaayi kaisi
nek neeyat ko tu armaan kar le
aadmeeyat ko tu imaan kar le
yahi islaam ki naseehat hai
apne dil ko bhi musalmaan kar le
apne dil ko bhi musalmaan kar le
hadd se aage na tu badh waqt hai kar le taubaa
roz samjhaane ko darvesh nahin aayegaa
roz samjhaane ko darvesh nahin aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa


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

Blog Day : 4176 Post No. : 15352

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————

Remembering Mohammed Rafi Sahab on his 95th birth anniversary :

Someone once told me that to become cynical you first had to be an idealist and it was the loss of those ideals that created the disillusionment. But than what is an idealist if not an individual with independent thinking and with the added ability to incorporate diverse ideas. And cynicism is bound to be an integral part of any ideological theory if it seeks to negate the perceived or real concepts of injustice against humanity. Critical analysis of any ideological concepts will possibly make the ideologist a cynic if the said ideology is not perfect enough or as perfect as the ideologist wanted it to be. Cynical person is often very critical of things and situations and their repercussions. While as an idealist, will find a lot to express about the idea rather than focusing on criticism of anything else. That makes cynicism the anti-thesis of idealism. On the other hand, idealism if it seeks to unilaterally implement a social order in a given society is regressive to its intellectual and overall progress as a civilization, since it seeks no introspection and encourages narrow thoughts. Whereas a cynic will look at all things surrounding it and might even be able to look beyond it.

It looks like I want to have my cake and eat it too. Isn’t it ?

Of course, in the complex scheme of nature, nothing is as simple as the above monologue. Things are almost always multi-layered and multi-hued. There is also the matter of view-points, one can put in a blob of prejudices and rigidity. But overall there is also a certain accounting for taste.

I am remembering a word of Urdu which is “zarf”. This word is almost always pre-fixed with “aa’laa” and it becomes “Aa’la Zarf”. Urdu is the language of ‘adab’ i.e. respectfulness and ‘adaab’ i.e. principles. Any student or seeker of these two qualities will end up with the ‘zarf’, which is better taste, with or without the prefix.

It can be as domestic as the idealism of my brother against the cynicism/pragmatism/practicality of my own.

And what does one call people who do not expect anything from anyone? Not loyalty, not goodness of heart, nothing. And these are often the neediest, in terms of attention and togetherness.

This was certainly Rafi sahab. This type of personalities which who have refused to claim any material benefits, were without ambitions or nor made demands on anyone. It must have been so easy to convince him that he has sung so many songs that he can approach the “Guinness book of world record” for singing highest number of songs.

The other day I saw a video on youtube, where the presenter is trying to analyse, what made Mohammed Rafi such an exceptional person. He says this about Rafi Sahab : “ Unhen pata hi nahi thha ke duniya mein sharafat ke ilaawa bhi koyi cheez hai ”. “Sharafat” is too simple a word in my understanding which just is a way of life that includes simplicity, honesty and integrity. But when I googled it, I found nobility, civility, good manners. So my own definition is more integral and personal than google’s definition. To be “Shareef” on personal level is one thing, but to believe that there is no other thing in the world apart from “Sharafat” is another thing altogether. We see quotable quote which say similar things like to think and believe the best about others also. These type of exhortations are common is all social, religious set ups across the board.

To be on that plane where you see the best in others and believe the best about others, discarding all negative notions about anything and anybody, what a blissful state that must be. Rafi Sahab had this inherent quality without trying to achieve it. Truly blessed by the Almighty. Where is the ‘Zarf” in all this ? ‘zarf’ cannot be left behind, because it is also high ideals and values. By all accounts Rafi Sahab never let go of his ‘zarf’, without ever realising those high ideals/values were chronicled widely in literature and philosophies. I hope that he was always giving thanks to the Almighty for these known and unknown blessings. It is a fact that we the ignorant humans are unable to know in what all ways the Almighty has blessed us all.

I am presenting a solo song by Rafi song from the film ‘Mera Geet’ (1946). The composer is Shankar Rao Vyas and Ramesh Gupta is the lyricist. My favourite period for Rafi Sahabs songs in actually 1950’s. It is picturised on Susheel Kumar as per the excel sheet. I am aware that huge no of Rafi songs from 50’s are yet to be posted in the blog. There are a few songs from 40’s also are available for posting. For the last few months I was trying to do the series of ‘Dheere dheere” songs and some other newer songs of post-Rafi era.

Hopefully, the new year we will see more songs by Rafi Sahab in the blog,

The audio link available is reasonably clean and clear, unlike most songs of this period.


Song-Aapas ke jhagdon ne dekho Bharat ko barbaad kiya(Mera Geet)(1946) Singer-Rafi, Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics

aapas ke jhagdon ne dekho
bharat ko barbaad kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya
aapas mein ham rahen jhagadte
gairon ne aa raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere iss bharaat mein bhi jee
doodh ki nadiyan behti thhi
thhi doodh ki nadiyaan behti thheen
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
thha kuber ka bhandaar yahaan
heeron ki hoti kheti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
aaj ussi gulshan ko dekho
kusum(?) ? ? ka raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere gulshan ki daaliyaan
hari bhari lehraati thhin
haan hari bhari lehraati thhin
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
thhaa saraswati ka vaas yahaan
daulat insaan ki daasi thi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
sur mein thhe sab saaz mere
ye kis ne besur aaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

naye taraane sunte sunte
bhool gaye ham apnaa taal
gairon ke sang chalte chalte
bhool gaye ham apni chaal
aish mauj fashion mein phans kar
aaj huaa bhaarat kangaal
aaj huaa bhaarat kangaal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti eee
roti eee
roti eeee


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

Blog Day : 4163 Post No. : 15335

Today is 97th birthday of the thespian Dilip Kumar. Dilip Kumar, real name Yusuf Khan is the most revered and copied star of this film Industry. The second most inspiring and copied star would be Mohammed Rafi’s voice. Because truly the voice was the star in Rafi Sahab’s case.

Dilip Kumar has had a fruitful and successful career of more than 50 years. This has again been equalled only by Amitabh Bachchan in recent years.

Dilip Kumar is like a lone man standing from the pre-independence era. Again he has only Lata Mangeshkar for company. Also yesteryears actress Nimmi(Born 1933) is giving him company, but she is more than a decade younger than Dilip Kumar. Nimmi was a co-star in significant films in Dilip Kumar’s career, namely Amar, Aan and Deedar. I feel she was type cast in this as the third angle in a triangle.

Dilip Kumar is the true ‘Gulfaam’ of the hindi film world. There was a Urdu Magazine by that name back in the 80’s which I had thought was dedicated to Dilip Kumar, as almost every issue had Dilip Kumar on its cover. I found a very interesting article on “The lost world of Urdu film magazines” in the net, link is here.

Dilip Kumar has often been described as an institution, by many of the later day film stalwarts, especially by the actors.
I have found the genesis of acting style of all the major superstars of hindi film industry can be found in Dilip Kumar’s style of acting.
As per the excel sheet of “Mohammed Rafi songs”, there are roughly 60 songs where Rafi Sahab gave playback for Dilip Kumar. This include one small ditty from Ganga Jamuna and the small snippet of a beautiful song from ‘Insaaniyat’ (1955). The list misses a song from “Kranti” (1981), “chana jor garam baabu” where Rafi Sahab sang just this line for Dilip Kumar :

Mera chana hai apni marzi ka
Ye dushman hai khudgarzi ka
Sar kafan baandh ke nikla hai
Deewana hai ye pagla hai
Mit jaane ko mit jaayega
Aazaad watan kar jaayegaa

I am presenting here the small snippet from the film ‘Insaaniyat”(1955) , which is composed by C. Ramchandra. Lyrics are by Rajendra Krishan and Dilip Kumar is singing this with obvious enjoyment while driving a bullock cart. I tried finding a whole song, which was not available. It may have been recorded as a full- fledged song, but I could not find it on youtube.
Some of my favourite songs by Rafi songs on Dilip Kumar are :

1. Dil mein chhupa ke pyaar ka toofaan le chale
2. maan mera ehsaan arre naadaan
3. Huye ham jinke liye barbaad
4. Meri kahaani bhoolne waale
5. Nain lad jainhe to manwa maa kasak
6. Ude jab jab zulfen teri
7. Ye desh hai veer jawaanon ka
8. Na tu zamaneen ke liye hai

So presenting a small but appealing ditty in Rafi Sahab voice to celebrate Dilip Kumar Sahab’s 97th birthday today.


Song-Gori kar le tu aaj singaar (Insaaniyat)(1955) Singer-Rafi, Lyrics-Rjinder Krishan, MD-C Ramchandra

Lyrics

Hoye ye ye
Ha haa aaa haa
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu
Ho Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Ho oo ooo
Ah haa aaa haa


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

Blog Day :

4154 Post No. : 15321

As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi.  It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.

Sir,

Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books.  Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.

The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.

I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.

In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice.  As opposed to valour.  The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.

But this is an era of “tamashbeen”.  A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.

I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.

One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.

It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence,  rot. No new civilisation can emerge from such decayed rot.

So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.

Regards.

I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article.   I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction  :).

Now I simply must quote this from the article :

It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.

Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’.  And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.

May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day.  The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.

If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway.  The life we are living is like a tight rope walk of ‘pul-e-siraat‘.  One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.

But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :

mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai

So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001).  The singer is Srinivas and composers are Shankar-Ehsan-Loy.   Yeah, the name of composers has a message in it.  I can try and translate the middle one i.e. ‘Ehsan’.

We all are familiar with word  ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning.  It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.

The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas.  The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream,  full moon, in a dreamy halo of light and roshni.   In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter.  Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.

Video

Audio

Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy

Lyrics

kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .

kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan

kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn

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

कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न


This article is written by nahm, 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 : 4143 Post No. : 15307

My stint as a post writer for the blog started with this song from the film “Gumnaam”. This was a Helen song, and I chose it as the song for my first post in the blog for no particular reason. Maybe it was not yet posted in the blog was the only trigger, apart from my husband suggesting it.

Another remarkable thing about my first posts was that, it got posted within a few hours of sending the mail. There were very few outside contributors who were writing posts back than in 2012, could have been one of the factors in being given such priority treatment 🙂 . Guest posters were few and lyrics contributors were many. I was one of the early song lyric contributors. Those were very heady days of finding known, much loved songs not yet posted in the blog. I remember with fondness, sending lyrics of some of my all-time favourite songs like “ ab to hai tum se har khushi apni” from “Abhimaan” and the hauntingly beautiful rendition of ‘hai tere saathh meri wafaa” from “Hindustan ki Qasam”.

Now I am a veteran of 302 lyrics and 243 posts, at last count. Lyrics contribution has stopped for obvious reason that, if I can write posts also that why would somebody else want to write them for the songs which I want posted in the blog. Sometimes I think, I should go back to sending lyrics contributions, also for no particular reason. You see random thought in the mind don’t necessarily have to be for a reason or logic.

Similar way my posts are written straight from the heart and not with too much deliberations. Though at times they may seem so, if I quote some poems and my own ‘essay’s. There have been a few posts by me which had on length discussions (my own seesaw of thoughts – if they can be called discussions) not related in anyway to the songs accompanying the posts. Some of the posts were direct from the heart and reflected my feelings, impressions etc. No matter what I have enjoyed my experience here, much misunderstood and all. I feel that language can only be source of communication, which is one dimensional only.

Going back to my first post – A Helen song. Helen Anne Richardson Khan (born Helen Anne Richardson on 21 November 1938), best known as Helen. She is turning 81 on 21st November, 2019, and this is posts to celebrate her persona and her contribution in her chosen field. Having stated this there is not much about ‘Helen’ I will be writing.

In the post (My first post) I had this to say about the film ‘Khaamoshi”(1996):

‘Not that have anything against Jatin-Lalit, in fact their score for ‘Khaamoshi – The Musical ” is one of my few favourites in this two decades. The other day, I looked up the songs of this film, solely for the Helen song “Gaate thhe pehle akele aaj gaata hai saara jahaan”, trying to find a better alternative to this song from “Gumnaam” which I am supposed to discuss. Yeh dil sun rahaa hai, mausam ki sargam ko sun, jaana suno ham tum pe marte hain, hayya haaya ho let it let let it go, and aaj main uper aasman neeche are all competing for the best song of the film(Khaamoshi-The Musical).’

Having said this much about the film in the post, I have so far managed to post only one song. So I have chosen a “Helen” song with a difference from this film as this birthday post.

In this song, Helen playing the matriarch of a Goan family, ‘Mariamma’ in the film is trying to make the best of the situation where ‘A Piano’ being family heirloom is sold to the local antique collector, Raghuvir Yadav. The Piano is maybe last thing remaining which belonged Mariamma’s husband and her link with him. As the Piano is taken away, there is procession of villagers singing and dancing, Mariamma is a part of it with her grandchildren. The Piano is finally taken away abroad a ferry, and she cannot follow it anymore. She has tried her best to mollify the children that all is not lost and those things which are lost, eventually comeback. As the song ends, Mariamma is also seen going beyond the horizon. That’s the end of the ‘Mariamma too in the film.

The singers are Kavita Krishnamoorthy, Shradha and Khusnum. The later two are new names for the blog, who sing for the kids. There is a lot of chorus and unique composition in its own way. Jatil-Lalit are the composers and Majrooh Sultanpuri is the lyricist of this beautiful song. Helen as the Anglo-Indian elderly widow in the black and white dress, made a charming grandmother in the film. With her demise, Annie’s(Manisha Koirala) child hood is also over. The film, if the readers have not seen it, is to be recommended for any student of cinema. The reasons of this recommendation are many, and songs also is one of the reasons.

The audio version and the film version are the same, but both links are given, just that we can hear the song twice, if seen only once. Again.

Audio

Video

Song-Gaate thhe pehle akele (Khaamoshi)(1996) Singers-Kavita Krishnamoorthy, Shraddha, Khushnum, Lyrics-Majrooh Sultanpuri, MD-Jatin Lalit
Chorus

Lyrics

Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal

Gaate thhe pehle akele
Aaj gaata hai saara jahaan
Kaisa khushi ka samaa hai
Pi ke aansoo hanso re sanaa
Pyaar se muskuraa
Kya huaa bhool jaa

Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal

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

Jo kho gayaa
Uss ka gham kya
Jo paas hai
Woh hai kam kya
Baat achhi hai naa
Baat sachchi hai naa
Baaje re baaja hamaaraa
Naache re sansaar saaraa
Pyaar se muskuraa
Kya huaa bhool jaa
Gaate thhe pehle akele
Aaj gaata hai saara jahaan
Kaisa khushi ka samaa hai
Pi ke aansoo hanso re sanaa
Pyaar se muskuraa
Kya huaa bhool jaa
aye haathh-gaadi nahin yeh hai baaja
Hey raaja odhe sambhaal
aye haathh-gaadi nahin yeh hai baaja
Hey raaja odhe sambhaal

ho o o o
ho o ho ho
ho o o o
ho o ho ho

Ham to sunaa jo jaataa hai
Wo laut kar phir aataa hai
Baat achhi hai naa
Baat sachchi hai naa

Baaje re baaja hamaaraa
Naache re sansaar saaraa
Pyaar se muskuraa
Kya huaa bhool jaa

Gaate thhe pehle akele
Aaj gaata hai saara jahaan
Kaisa khushi ka samaa hai
Pi ke aansoo hanso re sanaa
Pyaar se muskuraa
Kya huaa bhool jaa

Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal

Aa aaaa Aaaaa
Aaaaaaaaa
Aaaaaaaaa
Aaaaaaaaa
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal
Hey mauj me le chalo mil ke baaja
Hey raja odhe sambhaal

—————————
Devnagri script Lyrics (Provided by nahm)
—————————-
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल

गाते थे पहले अकेले
आज गाता है सारा जहां
कैसा खुशी का समां है
पी के आँसू हंसो रे सना
प्यार से मुस्कुरा
क्या हुआ भूल जा

हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल

आ आ आ आ आ
आ आ आ आ आ

जो खो गया
उसस का ग़म क्या
जो पास है
वो है कम क्या
बात अच्छी है ना
बात सच्ची है ना
बाजे रे बाजा हमारा
नाचे रे संसार सारा
प्यार से मुस्कुरा
क्या हुआ भूल जा
गाते थे पहले अकेले
आज गाता है सारा जहां
कैसा खुशी का समां है
पी के आँसू हंसो रे सना
प्यार से मुस्कुरा
क्या हुआ भूल जा
ए हाथ गाड़ी नहीं ये है बाजा
हे राजा ओढ़े संभाल
ए हाथ गाड़ी नहीं ये है बाजा
हे राजा ओढ़े संभाल

हो ओ
हो हो हो हो
हो ओ
हो हो हो हो
हो ओ
हो हो
हो हो हो
हो हो हो
हो हो हो
हो हो हो

हम तो सुना
जो जाता है
वो लौट कर
फिर आता है
बात अच्छी है ना
बात सच्ची है ना

बाजे रे बाजा हमारा
नाचे रे संसार सारा
प्यार से मुस्कुरा
क्या हुआ भूल जा

हा गाते थे पहले अकेले
आज गाता है सारा जहां
कैसा खुशी का समां है
पी के आँसू हंसो रे सना
प्यार से मुस्कुरा
क्या हुआ भूल जा

हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल
हे मौज में ले चलो मिल के बाजा
हे राजा ओढ़े संभाल


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

Blog Day : 4102 Post No. : 15251

Amitabh Bachhchan, the star of the Millennium, was born in the than Allahabad (which is the English name of city named Ilahbad in Urdu) on 11.10.1942. His given name is Inquilab Srivastava, as per Wikipedia. This is a surprise for me and surely for many people, as a never heard fact. Also has the distinction of acting as the hero in the film ‘Inquilab’ not named after him :-). His father did name him after the slogan of freedom movement “Inquilab Zindabad”. I have never heard of anyone named ‘inquilab’, but have a friend named ‘Kranti’ which is the same thing with change in language only.

So, on 11.10.2019, he is celebrating 77th birthday as the most celebrated star actor and film personality. The Government of India honoured him with the Padma Shree in 1984, the Padma Bhushan in 2001 and the Padma Vibhushan in 2015 The Government of France honoured him with its highest civilian honour, “Knight of the Legion of Honour”, in 2007 for his exceptional career in the world of cinema and beyond. As per Wikipedia page again, he has won 15 filmfare awards, the most nominated actor with 41 nominations so far and still counting.

His achievements include 4 national awards and Dada Saheb Phalke award for “Lifetime Achievement”.

Luckily, I had the lyrics of this song from the film “Shaan” (1980) ready to present as the birthday celebration post. I said in my reply to Peevecie’s Mom’s comments on this post that BEST buses is a topic of another post. I had this song in mind, most of which is picturized on a BEST double decker bus. “BEST” was formerly Bombay Electricity Supply and Transport, now it is renamed as ‘Brihan Mumbai Electricity Supply and Transport”. My father has been saying this to us right from the beginning that though BEST’s face are the buses which have been the more reliable lifeline of Bombay since almost a century now, its main business and source of income is the electricity supply to the city areas.

If I have to write about the BEST than the story has to start with my father. It is in family folklore that my father had after completing engineering had the option of coming to Mumbai (than Bombay) or to go to Lucknow to join the Railways. This was in the early 60’s, and Bombay was a known place of people in the family, who used to visit it for business purposes also. Also my mother’s ‘Maternal uncle’ had studied in Grant Medical College in the 40’s and everyone was familiar with the city. There was a job in hand in Lucknow, which is an unknown place, nobody in the family had ever been and far away from Belgaum. The family was in favour of Bombay as my father’s sister was already staying here at Kalyan. The decision was left to my father’s youngest sister, who voted in favour of Bambai. So he came to Bombay and joined BEST as a “foreman” trainee. There is a lot more I want to write about my father’s journey (most of it is related to BEST), but will save it for another post. Sometimes I do wonder, if he had gone to Lucknow instead of coming to Mumbai, how different the things would have turned out. I envy the people who have spent their formative years in Lucknow(met a few in my working life), their diction of Urdu language. Some of them, though convent educated did speak a fluent form of spoken khari boli which is closer in diction and grammar to the Urdu that our teachers taught us, compared to my own, the so called Urdu medium product, with our typical bambaiyya dialect. More of the royal ‘aap’ and ‘hum’ in the conversations of people of my generations who spent years in Lucknow, or thereabouts, even as far as some northern cities of Madhya Pradesh.

Will go back to Amitabh Bachchan for now. The first movie I am aware of watching in the theatre is “Do aur do Paanch”, with a similar star cast of Amitabh, Shashi Kapoor and Parween Babi, similar to ‘Shaan’ I mean. Incidently both these films were released in the same year. But we all saw “Do aur do paanch” at Belgaum during summer vacations, whereas “Shaan” was seen in Mumbai. Thereafter, Amitabh Bachchan movies were seen regularly, with the whole family. The movies of before 1980 are all seen on TV, but the movies after 1980, including “Silsila”, “Kaalia”, “Namak Halaal”, ‘Naseeb”,”KhudgarzKhuddaar”, “bemisaal”, ‘Laawaris” etc. I remember watching in theatre.

My personal favorite Amitabh films are not the comic or multistarrers, but his solo films like ‘Zanjeer’, ‘Bemisaal”, ‘Kaalia”, “Abhimaan” ‘Anand’ etc. Among the films of the new millennia, I have seen a few, but missed most of them. He is without doubt the longest running superstar of the hindi film industry.

So here in this song there are four singers, Kishore Kumar for Amitabh Bachchan, Mohammed Rafi for Shashi Kapoor, Asha Bhosle for Parveen Babi and Usha Mangeshkar for Bindiya Goswami. Anand Bakshi is the lyricist and is composed by R. D. Burman.

The film is ‘Shaan’(1980), also mentioned in para 4 above.


Song-Jaanu meri jaan main tere qurbaan (Shaan)(1980) Singers-Kishore Kumar, Mohammed Rafi, Asha Bhosle, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman
Asha Bhoonsle + Usha Mangeshkar
All

Lyrics

Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaanu saara hindustaan
main tera tu meri
jaane saaraa hindustaan

Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan

nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyon kisi ka naam le
arre nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyun kisi ka naam le
Jaanu meri jaan
main tere qurbaan
O Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan

ha aha ha haan haan ha

hey ae ae
ae ae aaaaa
ae ae ae
oo ooo oooooo
chhoti si ik baat bani
baat se daastaan

bhool ke sab baaten hans de
hai yahi pyaar ki shaan
chhoti si ik baat bani
baat se daastaan

bhool ke sab baaten hans de
hai yahi pyaar ki shaan
jaanu meri jaan
main tere qurbaan
o jaanu meri jaan
main tere qurbaan
tu mera main teri
jaane saaraa hindustaan

tu mera
main teri
jaane saaraa hindustaan
arrey Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
Hoy main tera tu meri
jaane saara hindustaan
tu meraa main teri
jaane saaraa hindustaan

————————————-
Devnagri script lyrics (Provided by nahm)
————————————-
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

हा हा हा ह आहा हा

हे ए ए
हो हो हो हो
ओ ओ ओ ओ

छोटी सी इक बात बनी
बात से दास्तां

भूल के सब बाते हंस दे
है यही प्यार की शान
छोटी सी इक बात बनी
बात से दास्तां

भूल के सब बातें हंस दे
है यही प्यार की शान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
तू मेरा मैं तेरी
जाने सारा हिंदुस्तान

तू मेरा
मैं तेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
हो मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान


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

Blog Day :

4095 Post No. : 15240

wo chaand hai to aks bhi paani mein aayegaa
kirdaar khud ubhar ke kahaani mein aayegaa
(Iqbal Sajid)

Aks – reflection
Kirdaar – character

“jis ke paas koyi saboot nahin hota, kya wo kabhi beqasoor nahi ho sakta.”

This is the dialogue spoken by Meenakshi Sheshadri to Anil Kapoor, a lawyer, when he has refused to take her sister’s Beena’s case.  Meenakshi’s sister is a doctor and a patient dies in her private clinic, after she has administered a medicine to the patient. The medicine contains poison, and the bottle is already in the custody of the courts/police. There is no way anyone can prove that the patient did not die because of the medicine in that bottle. So all the lawyers are refusing the case and Meenakshi and the brother in law Parikshit Sahani, also a doctor, are running from pillar to post to find a lawyer who can defend Beena in the court.

The moment she says this dialogue, Anil Kapoor is transported to his childhood, when his mother Nutan had said the same words to the lawyer/ public prosecutor Amrish Puri, in defense of her husband Girish Karnad.  This whole story is in flash back – the story of Anil Kapoor, his sister and parents.

In the present, Anil Kapoor decides to defend Beena in the courts, and in true heroic style, drinks the medicine from the very bottle to prove that the patient did not die because of the medicine. Within minutes, the case is over, judgment delivered, Beena is ‘ba-izzat bari’.  Parikshit Sahani takes Anil Kapoor to the hospital immediately and treats him to save his life.  What happens to the actual culprit who put poison into the medicine bottle, I don’t know.

The court language in this type of films had glossary like ‘mulzim’ which is the one accused of a crime, ‘mujrim’ is the one whose crime is proved.  Crime is ‘jurm’ and ‘mere faazil dost’ means ‘my esteemed friend’ – this is how lawyers would refer to each other in front of a judge.

So with the case over, the doctors are grateful to Anil Kapoor and Meenakshi is in love with him. The doctors host a party to celebrate and Anil Kapoor on piano, again revives his child hood memory of the theme song at the party. This is Part-II of the song. After this party this dream sequence song, “Ae Mere Khwaabon Ke Shehzaade” comes up. This is a beach song, posted Peevicies’s mom and I have seen that song too just now. That song is one extravaganza on Madh island or Aksa beach and what is Meenakshi wearing in the last sequence? Looks as if she was trying to be a South Indian Cleopatra.

Now back to flashback:  Girish Karnad is convicted of a crime he did not commit. Nutan has tried in vain to get someone to fight her husband’s case against the formidable Amrish Puri. Their happy family is ruined, even as she manages to obtain a stay on the conviction of ‘sazaa-e-maut’, but reached late on the location. Girish Karnad has been hanged. After this I think, she loses her mind and is taken to mental Asylum.

Meanwhile the young children Anil Kapoor and the sister are left to fend for themselves in the big bad world. That is when Anil Kapoor is remembers the song that his mother and father used to sing, with his father on the piano, “Jeet Jaayenge Hum. . .”.  The song is highly motivational, though situational.  It is songs like these which make Laxmikant-Pyarelal such kings of the proverbial situational songs.  Theme song or not, the lyrics and composition is all more than apt for the mood and need of the script.  And to think that the script by Javed Akhtar originally had no scope for songs.

The events of childhood have a profound effect on the young Anil Kapoor and the song motivates him to keep fighting and to always hope and strive to win against all odds. And win he does, grows up to become a lawyer himself, struggles with the system and grows to achieve his goals step by step. All this while he is always conscious of how his mother’s struggles with the system to save his father from being punished from the crime which he has not committed. He has raised his younger sister Khushoo and who is now studying in a college. Anil Kapoor manages to trace his mother also and brings her home. But she is still not well and does not remember her children. Which is a cause for more pain, prompting Anil Kapoor to recall the childhood song again. This is when the Part-III of the song is played when Anil Kapoor and Meenakshi sing this song at home, hoping to revive Nutan’s memory and restore her mental health.

I thought, this was a movie made by GP Sippy, but turns out it was eventually made by Subhash Ghai.   Actually I found this song on YouTube a few days ago and saved the link to see it sometime. Today I got the time to see it and all the memory of the story, dialogue and songs etc. came rushing in the mind.

Jab itna kuchh likhne ke liye yaad aa gayaa to ek post to ban hi jaati hai. 🙂

The song is played multiple times throughout the film. This can’t be anyone other than Anand Bakshi’s doing, the lyrics I mean. Singers are Shabbir Kumar (in full Rafi mode) for Anil Kapoor, Nitin Mukesh for Girish Karnad and Lata Mangeshkar for Nutan, Meenakshi Sheshadri and Khushboo.

It shows that successful people have motivation for success, early in life and have to be ready for struggle. Come what may, we will not give up. Because life is always a struggle, even if one cannot foresee the difficulties to come. ‘Jung’ is not war here, but an avowal not to give up against adversities. In every way, it is struggle to succeed and defeat the bad. And this struggle starts with self to improve the self and its abilities and make them pure, truthful, honest and trustworthy. Because to do ‘jung’ with your lot is to do ‘jidd-o-jahad’ i.e. to struggle and strive.

I found a poem in the photos which I had taken in the hotel at Jaipur, during our vacation visit earlier this year.  I am searching the net for the name of the poet but even Rekhta.com is not having the works of this poet.  The title of the poem is ‘Kuchh Kehna Chaahta Hoon”.

tum kuchh lafz
musta’aar de do
main bolna chaahta hoon

mere lafzon ke haathh
ab sar par aa chuke hain
jaise haarey huye sipaahi

wo itna jhooth pee chuke hain
sach keh nahin sakte

apaahij, beemar aur za’eefon ki tarah
un ko sirf taknaa aata hai

tum kuchh lafz
musta’aar de do
main kuchh kehnaa chaahta hoon.

Musta’aar – lend, loan for a while.
Apaahij – handicap
Za’eef – aged, frail with age

Video (Part I)

Video (Part II)

Video (Part III)

Audio (Part III)

Song – Zindagi Har Qadam Ik Nayi Jung Hai (Meri Jung) (1985) Singer – Lata Mangeshkar, Nitin Mukesh, Shabbir Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lata Mangeshkar + Nitin Mukesh
Lata Mangeshkar + Shabbir Kumar

Lyrics

(Part I)
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
oo oo ooooo
oo oo ooooo
aaa aaaaa aaaaa
hmmmmmm mmmmm
hmmmmmm mmmmm

jeet jaayenge hum
oo ooo ooooo
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

tu ne hi
sajaaye hain
mere honthon pe ye geet
tu ne hi
sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera roop rang hai ea ea
zindagi 
har qadam
ik nayi 
jung hai
zindagi 
zindagi ee
har qadam
ik nayi 
jung hai

hausla na chhod
kar saamna jahaan ka
hausla na chhod
kar saamna jahaan ka
wo badal rahaa hai
dekh rang aasmaan ka
rang aasmaan ka
ye shikast ka nahin
ye fateh ka rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

roz kahaan dhoondenge
sooraj chaand sitaaron ko
aag lagaa kar hum roshan
kar lenge andhiyaaron ko
gham nahin jab talak
dil mein ye umang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai

(Part II)
ooo ooooo
hmmmm mmmm mmmmm
hmmm mmmm mmm
oooo ooooo
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ek nayi
jung hai

(Part III)
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

ik dooje se
ham donon ke
naam judey hain aise
ik dooje se
ham donon ke
naam judey hain aise
mast hawaaon mein ea
saaz judey hain aise
jaise main dor hoon
aur tu patang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
jung hai

aaaaa aaaaaaaa
oooo oooooo
aaaa aaaaaaa
ooooooo oooooooo
ooooooo

[Nutan speaks]

tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi
tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera  aa
mera aa
mera aa
mera aa

[Anil Kapoor : gaao na maa]

main hoon ik tasveer
tu mera roop rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
tu agar
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai


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

Blog Day :

4092 Post No. : 15236

I have been meaning to write a post on Majrooh Sultanpuri for some months now to commemorate the 100th birth Anniversary of a poet and film song writer par excellence.   But as usual one puts somethings on back burner and postpones things for some other time.

Last week I started the lyrics of this song from ‘Qayaamat Se Qayaamat Tak’ (1988), incidentally on my iPad and saved the file in yahoo mail. But that file is not opening in the any of the computers, so this post again didn’t even start.  Today is 1st October, 2019.  A very nice post by Sadanad Kamath Sir has appeared in the blog, which is quiet inspiring and it gave fresh ammunition to my jaded thoughts to start this write up.

Majrooh Saab’s super success with all music director, big and small, prolific and selective, is not comparable to anyone else.   None of the major song writers in his era can boast a list of composers as comprehensive as him, and more importantly successful, famous and hit songs.  Be it Madan Mohan and SD Burman, Chitragupt and Laxmikant Pyarelal, or RD Burman, Roshan, Rajesh Roshan & Khaiyyam, least of all Naushad & OP Nayyar, C Ramchandra & Salil Chaudhary also. I don’t have to start listing the beautiful lyrical and profound songs, Majrooh Saab wrote with/for all these composers.

Among his contemporaries, Kaifi Azmi, Sahir Ludhianvi, Shailendra, Hasrat Jaipuri, Rajendra Krishnan, Shakeel Badayuni, Qamar Jalaalabadi, later on Indeevar, Anand Bakshi and Gulzar etc., most were aligned with a music director or a film production  group etc.  Music Directors also preferred to work with a single lyricist or a couple at a time.  Among the major composers only SD Burman seemed to have worked with all of the above listed lyricist, as well as Majrooh.

Sahir Ludhianvi was more prone to making tributes to other poets in his songs.  But Majrooh seems to have paid a ‘khiraj-e-aqeedat’ to his fellow progressive poet Faiz Ahmed Faiz in Madan Mohan’s “Chiraag’ song “Teri Aankhon Ke Siwa Duniya Mein Rakha Kya Hai”.  This line is part of the immortal Nazm by Faiz – “Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang“.

In recent times, I have found that reading good work by others inspires me to write my own thoughts.  This is truer about poetry.  When I listen to some poets work, it given wings to my thoughts too.  I feel like writing something not necessarily on similar lines, better or superior, but some verse, some tributary sentences.

One can only wonder how such great creative minds must have felt when they heard some inspiring work of other greats and felt like expanding on the theme.  In this instance Majrooh Saab has gone on another tangent –

teri aankhon ke siwaa duniya mein rakkha kya hai
ye utthen subha chale, ye jhuken sham dhaley
mera jeena mera marna inhi palkon ke taley

As a poet with a heart that was Majrooh, why won’t he say –

dil me rakh lena ise haathon se ye chhoote na kahin
geet naazuk hai mera sheeshe se bhi toote na kahin

In my earlier tribute post for Majrooh Saab I have stated that just the lyrical poetry in “Rahen Na Rahen Hum, Mehka Karenge” in ‘Mamta’ (1966) is enough to make his place in the ‘Hall of Fame’ of Hindi film music.   Many colourful songs for Nasir Hussain’s films are written by Majrooh Saab for OP Nayyar and RD Burman.

The new age songs written by Majrooh for the film ‘Khaamoshi’ (1996) are among my favourites.  This time I have chosen a song from the 1988 film ‘Qayaamat Se Qayaamat Tak’ produced by Nasir Hussain and directed by his son Mansoor Khan for launching of Tahir Hussain’s son Aamir Khan. Incidentally dialogues, story and screenplay all are credit to Nasir Hussain.  The song starts with prelude music of clocks going “tick tock tick tock” in a departmental store, where Juhi Chawla has come to shop with her parents, Dalip Tahil and Beena.  She accidentally runs into Aamir Khan, who has promised his parent that he will not meet and talk to Juni Chawla for 6 month (?) or so. Aamir Khan and Juhi Chawla belong to two Rajput families who are at logger heads with each other over past broken alliances among the families due to which Dalip Tahil’s sister had committed suicide.

Juhi Chawla and Aamir Khan met during a picnic trip to Mount Abu and fell in love without knowing that their families are having this rivalry.  Due to this, the love story is actually doomed to end in tragedy, but at the time of this song the lovebirds are unaware of this and are happily waiting for the wait period to get over. The singers are Udit Narayan and Alka Yagnik, and the music is by Anand-Milind. The songwriter is one and only Majrooh Sultanpuri.   If I remember correctly, this was the film which started the trend of abbreviating the name of film as QSQT.

A song of hope and happy endings. A song with birthday parties, picnic on cycles and dreamy dates and marking days in the calendar till happy days are here again.

Song – Ae Mere Humsafar, Ek Zara Intezaar (Qayaamat Se Qayaamat Tak) (1988) Singer – Udit Narayan, Alka Yagnik, Lyrics – Majrooh Sultanpuri, MD – Anand Milind

Lyrics 

ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
kaise na milegi
manzil pyaar ki
ae mere
humsafar
ek zaraa intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
roke kab ruki hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

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

ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
कैसे न मिलेगी
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता 
वहीं से गिरि है दीवार
प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता
वहीं से गिरि है दीवार
रोके कब रुकी है
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की


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

Blog Day :

4030 Post No. : 15150

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————-

Remembering Mohammed Rafi Sahab on his 39th death anniversary :

No need to keep a reminder in the mobile.  I come across Rafi Sahab’s  name or reference to or one of his songs every day.  The figure is at 2955/4845 on the blog’s stats page.  The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs.  The difference between the two figures is more than 500 songs.

The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).

 

Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni
Chal Chal Ri Goriyaa Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni

 

The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube.  It is debatable, if these can be treated as songs.

I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.

Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans.  I have chosen a naat as the commemorative post for today’s occasion.  I am giving the lyrics as per the recorded version.  There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same.  The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere.  Only the lyricist name is available as Nirang Sambhali.  It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.

It expresses the yearning to visit Makkah and Madina and perform Hajj.

INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.

Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.

Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.

INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.

BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.

It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’  aka ‘raah e madina’ in the ‘Naat’.

On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan.  Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts  and wonders of the Master, are you both (man and Jinn) going to be in denial of’.

I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.

Ar-rahmaan (The Beneficent):

I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.

The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?

He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?

The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?

From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?

And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?

Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?

All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?

We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?

O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?

There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?

And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?

Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?

The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?

This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?

But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?

Having (spreading) branches.
So which of the favours of your Lord would you deny ?

In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?

In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?

They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?

In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?

As if they were rubies and coral.
So which of the favours of your Lord would you deny ?

Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?

And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?

Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?

In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?

In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?

In them are found good and beautiful  –
So which of the favours of your Lord would you deny ?

Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?

Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?

Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?

Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.

The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth.  Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime.  Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).

I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :

And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.

Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.

 

(Live)

(Recorded)

Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]

Lyrics 

agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa

jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa

meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien 
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa

agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi 
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa

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

अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा

जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा

मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा

अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा


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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 ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15382

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4241

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Active for more than 4000 days.

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