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 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 :

4507 Post No. : 16050

Bhaari bhaari meena kumari
ghar mein jaa ke maara maari

This was the sales pitch sh’air by some urchins in Mumbai local trains, selling small items like hairbands, hair clips, fancy earrings, finger rings and combs etc. I have had an highly educating experience of travelling in local trains on regular basis from 1988 to 1994, during peak hours, traversing the length and breadth of Mumbai on central, western and harbor lines. The sales pitch and the bol bachchan street seller’s ingenuity in using colourful simile’s, in the present song reminded me of the long forgotten ditty above. (bhaari means costly or rich in mumbaiyya)

I have a tendency of getting involved in different types of hobbies and activities if they catch my interest. I usually follow these interests for a while till something else occupies the space in my time. In school we had a learning topic of ‘home science’. They taught cooking, stitching, crocheting, embroidery etc. But I was only doing those things, to the extent necessary. But crocheting and embroidery had sort of caught my interest and I dabbled in them whenever the opportunity arose. If my mom was doing some knitting, then I would want to take up crochet and finish the wool which she brought to knit some sweater etc. I found the creativity there fascinating, especially in embroidery. Also crocheting and embroidery with wool is quicker.

Once I saw an advert in a magazine for a thread manufacturing co. The ad had a very colourfully embroidered one dimensional ‘charminar’. Not the cigarette box, but the actual ‘charminar’ of Hyderabad. It must have been early or late 80’s. I liked the colourful mural like look of it so much, that I wanted to make it immediately. I got hold of whatever new cloth piece I could find at home, which happened to be orange. I made a drawing of the charminar on a paper and traced it on to the cloth. Once basic work is done, then there is the need for the colourful silk thread, plus a big size ring to fix the cloth and needles. All the paraphernalia was arranged and I set to work, till it finished. It is one my treasured created things, along with one another similar whimsy design which was actually front portion of a small jacket. Many years later I had that embroidered ‘charminar’ framed. Now that frame is also broken, and the orange cloth is lying somewhere in a drawer, waiting reframing or whatever is its destiny.

It so happened that I visited Hyderabad city in April 2019. There was a wedding to attend and some business related visit. It was my second visit there, first being in 2008, which incidentally coincided with the annual “Numa’ish”. It is a traditional yearly event in Hyderabad, which is an exhibition cum sale, on a huge scale and an area is devoted to this “numa’ish”. Special buses are run from the outskirts and surrounding areas for people to travel to and fro, and all that razzmatazz. People came for this exhibition in droves. Now I don’t know if it is the same with all the changes, huge malls being more attractive. I myself found it easier to roam around alone at IKEA, while my husband attended to business.

The annual “Numaish” is held in the second half of january and the night prior to ‘republic day’ all govt. building were lit up with colourful lights. We visited the ‘charminar’ on the night of 25th January, to see it aglow with white lights. During that visit we couldn’t go inside the monument, which we rectified during the 2019 visit. A portion of it was closed even, as it was damaged during the previous monsoon. The huge complex of ‘chowmohalla palace’ is in close vicinity, but it is like an oasis of peace, if feels like another place altogether in total contrast to the area surrounding ‘charminar’. I think it must have been a walled city once upon a time with its multiple gates in all 4 directions, as was traditional for great cities.

Now of course, the city manages to hold in great contrasts, with all the commercial areas hosting huge multinationals office complexes.

After the 2019 visited, I looked and looked for a song featuring the city of Hyderabad to post. But I did not find any such songs. But yesterday I was looking for a good song composed by Sardar Malik, and found this Rafi solo, a sales pitch song, composed by Sardar Malik, written by Hasrat Jaipuri which is entirely shot in locations of Hyderabad old city. It is said that “dhoondne se khudaa miltaa hai”, so what is a song, how would it not be found. I found this song when I had given up finding such a song. The movie is “Mera ghar mere bachche”(1960) and the song is picturised on Charlie. The films cast included Sohrab Modi, Sulochana, Sudesh Kumar, Kumari Naaz, Balraj – I, Daisy Irani, Kavita, Nana Palsikar, Subbiraj, Sadhna Chowdhry, and S’aadat Ali, apart from Charlie. This movie is produced and directed by Sohrab Modi.

The rendition by Rafi Sahab is as usual the star of the show second only to the magnificent charminar filmed 60 years ago. The print is good, so some other historical buildings can also be seen in the song, like Safdarjung museum(ghanta ghar), the Chowmohalla palace entrance etc.

6 out of the 9 songs in the movie are already posted in the blog :

Song Date posted
Bahaaron se poochho mere pyaar ko tum 22 September 2009
Dil mera naache thunak thunak 4 September 2010
Chanda ke desh mein rehti ek raani 11 March 2012
Wo hi oodi oodi ghataayen hain 1 July 2016
Zulm bhi karte hain aur kehte hain ke fariyaad na kar 19 June 2017
Peena haraam hai to nigaahen milaa ke pee 4 September 2020

The expressions in the song, like ‘sauda haathhon haathh hai’ , ‘muraaden dil ki bar aayen’, ‘andhere mein bahot kuchh soojh jaayegaa’, ‘aap ki munh mein ghee shakkar’,’ maare sharam ke phir gayaa paani’, so freely used are a refreshing reminder of a very civilized part of mumbaiyya dialect.

Video :

audio :

Song-Le lo jee paanch paanch aane (Mera Ghar Mere Bachche)(1960) Singer-Mohammed Rafi, Lyrics-Hasrat Jaipuri, MD-Sardar Malik

Lyrics

Mud mud ke
har koyi dekhe
maal mein kuchh to baat hai
paise do aur maal utthaao
sauda haathhon haathh hai
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane
haan
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane ae

yeh kangha leejiye
baabu
muraaden dil ki bhar aayen
koyi ganja
kare sar mein
to us ke baal aa jaayen
meraa surmaa
agar aise
ke ji andhaa lagaayegaa
to andhe ko
andhere mein
bahot kuchh soojh jaayegaa aa

ye surmaa kya hai jadoo mantar
aap ki munh mein ghee shakkar
jo bhi chaaho
le lo saayin
paise ki sab baat hai
paise do aur maal utthaao
sauda haathhon haathh hai
le lo ji le lo o
paanch paanch aane ae
aayenge phir na aa
aise zamaane
haan aane
le lo ji le lo o
paanch paanch aane ae
aayenge phir na aa
aise zamaane

ham ko London ka powder maangtaa hai
mem saab
idhar to India ka maal miltaa hai
haan khaalis hindustaani
hindustaani
chhee chhee chhee

hamaare desh ke har maal pe
duniyaa hai deewaani
videshi maal per
maare sharam ke
phir gayaa paani
lagaate hain nazar ham par
yeh cheeni aur japaani
chali aati hai lene maal
inglistaan ki naani
inglistaan ki naani eeee

tum letaa London se takkar
aap ke munh mein ghee shakkar
London waale laakh jalen
par uparwaala saathh hai
paise do aur maal utthaao
sauda haathhon haathh hai ae
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zama..aane
haan aa
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane aewaah
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane


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 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 :

4496 Post No. : 16028

Munawwar Sultana – 96th Birth Anniversary on 08/11/2020

The name Munawwar means, shining brightly or aglow. Combined with Sultana, it becomes “an empress who shone with a bright light”. Munawwar Sultana was born on 8th November, 1924 at Lahore, she had a compact but meaningful career from 1941 to 1956 of working in 28 films. After this she settled down to married life and devoted her-self to raising her family. She expired at the age of 82 on 15th September 2007.

I have not seen any of the films she acted in but some of the songs picturised on her are my personal favorites. The song Afsaana likh rahi hoon de=il e bekaraar ka is one of those songs which will be remembered till hindi film songs are remembered. From what I have read about her career, she was very much part of the A list actors and film makers of the era, and she quit while still in demand. She might even have cut down on films because she wanted to quit. She never made a comeback despite living in Mumbai all her life and in the thick of things at Pali Hill. The busiest and eventful time of her career is from 1947 to 1952.

Another important film of Munawwar Sultana is Babul 1950, which has her lip syncing this famous unforgettable duet Milte hi aankhen dil huaa deewaana kisi ka .

I was looking for a song picturised on her and found this film “Pyar Ki Manzil” 1950, with music by Husnlal Bhagartam. It is my experience that whenever I have stumbled upon their songs, I have not moved on to look for a better choice. So here is the melodious, female duet by Lata Mangeshkar and Shamshad Begum.

Here is the list of this films songs already posted in the blog;

Song Date of posting
Aankhon mein aankhen daal ke 16 May 2011
Bichhde huye saajan ki 20 June 2011
Ae chaand zaraa sun le 28 September 2011
Padosan ke ladke ne dil mera chheena 2 February 2015
Bheega hua daaman hai to aankhon mein hai paani 17 December 2017

Though the film “Pyar Ki Manzil” is available on youtube, only audio of songs are there. In the absence of video, I have no way of knowing which song is pictured on Munawwar Sultana, among the remaining 5 songs of the film, not yet posted. So it is doubly prudent that I chose this song, a female duet, the chances of it featuring Munnawar Sultana doubles. Actually Rehman is the hero, and two singers are talking about him in the song.

Shewan Rizvi is the lyricist, of this wonderfully tuned song. It should have been a popular song, even in 1950 crowded as it was with all the great songs of the era.

This is the present tally of Huslal-Bhagatram and Shewan Rizvi in the blog:

Artist Songs in the blog Career tally of songs
Husnlal Bhagatram 289 451 (50 movies)
Shewan Rizvi 118 381

100th song of Shewan Rizvi was some years ago, which raises the thought that it is time to improve this poets tally in the blog. Some of the 28 movies starring Munawwar Sultana, not yet yippeed or represented in the blog, may have a few more songs filmed on her, and who knows what all pearls are lying in wait to be discovered.


Song-Ham se dil ki lagi na chhupaana (Pyaar Ki Manzil)(1950) Singers-Lata Mangeshkar, Shamshad Begum, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram

Lyrics

Ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

thhandi hawaaon ka kar ke bahaana
kar ke bahaana
kahaani hamaari
hamin se chhupaana
hamin se chhupaana
bhole balmaa ne yeh nahin jaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

na be-chainiyan dil ki na tum se chhupengi
na tum se chhupengi
zubaan chup rahi to
nagaahen kahengi
nagaahen kahengi
lagi dil ki hai mushkil chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

wo ruk ruk ke kehnaa
mazaa de rahaa thha
mazaa de rahaa thha
ke nazaron ka jhuknaa
pataa de rahaa thha
pataa de rahaa thha
lagaa dil pe nazar ka nishaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa

yahi dekhnaa hai
na kab tak kahoge
na kab tak kahoge
kahaan tak muhobbat mein
chup chup rahoge ae
chup chup rahoge
piya kab tak karoge bahaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa
ham se dil ki lagi na chhupaana
ham se dil ki lagi na chhupaana
dekho ji kahin keh de na nigaahen yeh fasaanaa
dekho ji kahin keh de na nigaahen yeh fasaanaa


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 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 :

4495 Post No. : 16025

Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).

Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai

I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.

I am giving a part of a story here:

A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.

The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.

In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.

I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.

So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.

Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.

Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.

The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.

The following three songs of Ghazab 1951 are posted:

Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda

This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.

Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.


Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus

Lyrics

Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa


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 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 :

4494 Post No. : 16024

06/11/2020 – 35th Remembrance day of Sanjeev Kumar

The song I am presenting today as a tribute to Sanjeev Kumar, the versatile actor, comic, romantic, angry young man, character actor and sometime villainous, actor and above all the Thakur of ‘Sholay’, is from the film ‘Love and God’ (1986). Sanjeev Kumar was born on 9th July, 1938 as Harihar Jethalal Jariwala , at Surat. His filmography lists 171 films from 1960 to 1994. He was just 48 years old when he died in 1985, though he had been doing the roles of old man since 70’s. In ‘Aandhi’ he is the patient hotelier husband of Suchitra Sen, caught between the ambitious father Rehman and his dutiful daughter. I have seen that film 4 decades ago, it is time to refresh the memory.

Who can forget the doctor in “Mausam”, singing “chhadi re chhadikaise gale meinpadi”. He was also one of the dedicated “Shatraj ke Khiladi”. The inspector in this, the lawyer in that plus the doctor in ‘Silsila’. Wah, come to think of it he was also one of the actors who had a profession. Be it a ‘darzi’ or a ‘domestic servant, nothing was too lowly for him. Who can forget the novelist in “Anamika”. It will be interesting to know if he played the role of a cook, or a librarian(possible), a professor, or a watchman, waiter etc.

Before I forget, he has the distinction of doing the role of Jaya Bahaduri (Bachchan)’s, husband, hero, friend, father, father-in-law etc.

The film “Love and God” was based on the story of Laila Majnu and Sanjeev Kumar eventually played the role of “Qais”(did Qais have a profession?) here, after the film was shelved and revived several times. Guru Dutt was originally cast in the role of ‘Qais’. The much delayed film by K. Asif was finally released in 1986 after even Sanjeev Kumar had died.

The song presented here is again a prayer (Du’aa) song, written by Khumar Barabankwi, composed by Naushad. Singers are the ever divine Mohammed Rafi Sahab and Lata Mangeshkar with Chorus. This du’aais very carefully following the protocol of prayer, in the sense, it starts with the devotion and how the Allah’s greatness is visible everywhere. Then first stanza talks how I am aggrieved and I have come to you, believing in you, with the hope in the heart. Second stanza has the appeal that all is in your hands and you will do as deemed best, you are the all merciful and save me from humiliation. Last stanza is the lament that I can’t bear this desolation, give the whole universe of others if you wish but grant me my one wish, i.e. my mohabbat.

Full audio :

Video:

Song-Gulshan gulshan sehra sehra barsen jalwe tere (Love and God)(1986) Singers-Rafi, Lata, Lyrics-Khumar Barabankwi, MD-Naushad
Chorus

Lyrics

Allah……
Allah…..
Allah…..
Allah…..
Allah…..
Allah…..

phoolon mein tu
zarron mein tu
dil mein tu hi
mere ae
Allah
Allah
gulshan gulshan
sehra sehra
barsen jalwe tere
Allah
Allah
phoolon mein tu
zarron mein tu
dil mein tu hi
mere Allah
Allah
gulshan gulshan
sehra sehra
barsen jalwe tere
Allah
Allah

jalte huye dil ke zakhmon ko
seene mein sajaa kar laaya hoon
jo daagh diye hain duniyaa ne
wo tujhko dikhaane aaya hoon
pyaar ki shama’en liye huye ae
dil mein charaaghan kiye huye ae
aa hi gaye deewaane tere ae
jaam-e-muhobbat piye huye
manzil manzil
mehfil mehfil
sunkar charche tere ae
Allah
Allah
gulshan gulshan
sehra sehra
barsen jalwe tere
Allah
Allah

jalne de isse ya bujhne de
ab kaam to ye bas teraa hai
raushan hai jo shama’a haathhon mein
ye jaltaa huaa dil meraa hai
ishq ki duniyaa mitey nahinee
ye shama’e tamanna bujhe nahineen
ek dar-e-jaanan ke siwaaaa
aur kahin sar jhuke nahin
rehmat waale
izzat rakh le
jaaun sadqe tere ae
Allah
Allah
Allah

Allah
gulshan gulshan
sehra sehra
barsen jalwe tere
Allah

Allah

insaan hoon main patthar to nahin
dil rakhhta hoon main bhi seene mein
kehne ke liye zindaa hoon magar
kuchh baat nahin hai jeene mein
aaj mujhe bhi khushi mile ae
bichhdi hui zindagi mile ae
auron ko de de donon jahaanan
mujhko muhobbat meri mile ae
rote aayen
hanste jaayen
bande dar se tere ae
Allah
Allah

gulshan gulshan
sehra sehra
barsen jalwe tere
Allah
Allah
Allah
AllahAllahAllahAllah
AllahAllahAllahAllah
AllahAllahAllahAllah
AllahAllahAllahAllah

Lailalailalailaaa
lailaaa
Lailalailalailaaa
lailaaa
Lailalailalailaaa
lailaaa


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 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 :

4491 Post No. : 16017

I have actively looked songs on ‘dheere dheere’ theme and have found a few good songs from 50’s decade. In this process, I found many songs which suit this theme and are already posted, apart from some famous songs which I had listed in an earlier post of this series.

Here is the list :

Song Movie
Ho dheere dheere chadh gaya nadi mein paani Aagosh
Dheere dheere bol Actress
Dheere dheere aare baadal Kismat
Dheere dheere dhal ri chanda Angulimaal
Saawan ki ghataaon dheere dheere aana Aage Badho
Mora dheere se ghoonghat hataaye piya Bharthari
Dheere dheere mohabbat jawaan ho gayi Bhai Bahan

I have searched for songs with the words ‘dheere dheere’ in the first line of the mukhda. If I found especially appealing songs with the words ‘aahista aahista’ or ‘dheeme dheeme’ or ‘haule haule’ I have included them in the series, as these terms also mean the same in spirit at least, if not the dialect. Then there are some songs with the words ‘halka halka’ also, but I have considered them so far as the words ‘halka halka’ imply ‘mildness’, diverse from ‘dheere dheere’ or ‘aahista aahistaa’.

Present post in the series is for this female solo song from Piya Milan(1958). P Ramesh Naidu, is the music director of this film and Lyricist is Harsh. Myswar is not giving singers name for this song, whereas the singer’s names are given for all other songs. Lata Mangeshkar, Usha Mangeshkar and P. Susheela are credited with the other songs.

Three songs from ‘Piya Milan’1958 are posted :

Song Date of posting
O saathi re tu aa bhi jaa 18 June 2013
Kya kya kahoon re Kaanha 3 February 2016
Yaad aa ke hardam sataaye 24 May 2018

Here is blog tally for both P. Ramesh Naidu and Harsh :

Artist Songs in the blog
P Ramesh Naidu 5
Harsh 6

The name of the singer is not available, only thing I can say for sure is it is not Lata Mangeshkar’s voice, having heard it umpteen times for getting the lyrics right. At times it sounds a bit like Usha Mangeshkar, but it can also be P. Susheela, whose voice I don’t recognize.

The song is quite catchy, with a nice tune, though the sound quality is poor. May be Prakashchandra ji will find some audio link with better sound.


Song-Pawan chali dheere dheere phool khile re (Piya Milan) (1958) Singer-Usha Mangeshkar, Lyrics-Harsh, MD-P Ramesh Naidu

Lyrics

Pawan chali
dheere dheere
phool khile re
haan haan
phool khile re
kaise phool khile re
bhanwar uss ko dekh
naachh uthhaa
gale mila re
lo ji
gale mila re
dil se nikle ??
Pawan chali
dheere dheere
phool khile re

man ka mera hai tu raajaa aa
man ka mera hai tu raajaa aa
hai mujhe tu pasand
kar loon aankhon mein band

man ka mera hai tu raajaa
hai mujhe tu pasand
kar loon aankhon mein band
aaj mujhe
prem milan ki hai bekhudi
aa aaa
aaj mujhe se
man man kyun hai bekhudi
dil mein rehna sanam
dil mein rehna sanam
o ji o
de qasam
? ?
Pawan chali
dheere dheere
phool khile re


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 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:

4488 Post No. : 16011

31/10/2020 – Remembrance day of S D Burman
————————————————————————

Sab kahan kuchh laala-o-gul mein numaayan ho gayin
Khaak mein kya sooratien hongi jo pinhaan ho gayin

Yesterday I was at the farewell function for officers retiring in my office. Many people were there, and the officers were felicitated with customary shawl and coconut, bouquet and token gifts etc. All attendees were wearing masks and photos were clicked. While all this was going on, there flashed the second line of the above sha’ir by Ghalib. With a change of one word, the sha’ir perfectly suits the situation, as is:

Sab kahan kuchh laala-o-gul mein numaayan ho gayin
“Mask” mein kya sooratien hongi jo pinhaan ho gayin

————————————————————–

We commemorated 114th birth anniversary of the Dada Burman or Burman Da, as he was affectionately called by colleagues and friends, senior and juniors alike, a month ago. Now it is his 45th death anniversary today. He formed an immortal dynasty with son R. D. Burman, which is unparalleled. As a father, he is bound to have a bigger hand in forming RDB, the musical phenomena than vice versa.

I have been a die-hard fan of S. D. Burman’s songs, whether they are by Mohammed Rafi, Kishore Kumar, Mukesh, Talat Mehmood, Lata Mangeshkar or Asha Bhosle. I want to list my favourite by each of these singers, here it is:

Singer Song
Kishore Kumar Dil aaj shaayar hai
Mukesh Chal ri sani ab kya soche
Talat Mehmood Jalte hain jiske liye
Lata Mangeshkar Ab to hai tum se
Asha Bhonsle O panchhi pyaare saanh sakhaare
Geeta Dutt Waqt ne kiya kya haseen sitam
Hemant Kumar Jaane wo kaise log the inke

(Not including the favourite Rafi songs and duets, saving it for another post)

A few trivia found on the net about the song of “Pyaasa” listed above:

• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – The tune of the line “Humne to jab kaliyan maangi” in this song may have been S.D. Burman’s adaptation of the line “Punjab Sindh Gujarat Maratha” from the Indian national anthem composed by Rabindranath Tagore.
• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – This was the only song in the film in which the voice of a male singer other than Mohammed Rafi was used. S.D. Burman’s decision to use Hemant Kumar for this song may have been to fulfill a promise he had made to the singer to give him at least one song a year – a promise Hemant Kumar himself reminded the composer of. Additionally, the fact that the song was influenced by Rabindra Sangeet may have swung the decision in favour of Hemant Kumar, a seasoned practitioner of this form of music.

I cannot talk about S. D.Burman and not rewind immortal songs of Abhiman, Guide, Tere ghar Ke saamne, Sujata, Bandini, Bambai ka babu, Pyasa, Kaaghaz ke Phool, Sharmilee, Paying guest, kaala bazaar, Kaala Pani, Jewel thief, Prem Pujari, Gambler, Talaash, Sharmilee etc.

The total songs composed by S. D. Burman are 666 in 87 movies. Out of these 666 songs which must include non-film songs too, 637 are already posted in the blog. This tally must exclude the songs composed for Bengali/Assamese and Oriya films. 23 songs sung by S. D.Burman are posted in the blog, so they may include some Bengali songs too. With less than 30 songs to complete the tally, it was bound to be a tough task to find a song to post. Still I did find a 50’s song, a solo by Shamshad Begum from the film “Chaalis Baba ek chor”. Lyricist is Pyarelal Santoshi. Eight songs from this film are posted out of 12 songs. I have only the audio of the song, which appears with to be in two parts and it is mentioned as two separate songs elsewhere. So there may not be 12 songs in this film.

The song itself appears like a kid is singing this song, with family members. Trying to make light of the financial problems, the singers all are enjoying making fun of their own situation. This is a feat, not easy to achieve, however worse or bad are the times.

Myswar is mentioning 4 solos by Shamshad Begum. One of those songs is titled “doodhwala bhaiyya aaya maange rupaiyya”, this seems to go with the theme of this current song which refers to sethani(land lord), dhobi, darzi etc. so dhoodwala coming and asking for his money is in same vein. Some links on youtube are giving name “darji hai kapda chor”. But I couldn’t find the “doodhwala bhaiyya” song, and it is not part of the links that I heard of the current song.

Shamshad Begum, is one of the most prolific playback singers of her generation. As per the stats page, she has sung 1273 songs in her career, 695 of which are posted in the blog.


Song-Moorakh baithha aaj ki soche (Chaalis Baba ek Chor)(1954) Singer-Shamshad Begam, Lyrics-P L Santoshi, MD-S D Burman
Chorus
Unknown male voice

Lyrics

Ae ji moorakh baithhaa aa
aaj ki soche
aur kal ki soche siyaa..aanaa
kaal ke pankh pasaare dekho
udtaa aa aaa
jaaye zamaana aa

ae ji hafton se
ae ji maheenon se
ae ji barson se
apni ye gaadi rahi chal
aaj nahin kal baba
aaj nahin kal
baba aaj nahin kal
baba aaj nahi kal

shor machaati wo aayi sethhaani
naam hai baby
baby ee
haan haan baby raani
bigdi deewaani
budhiya naani
kehne lagi ee
kehne lagi ee
de do kiraaya yaa
jaao nikal
ham ne kahaa
aaj nahin kal baby
aaj nahin kal
uss ne kahaa aaj
nahin kal
aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal

ae ae ae
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda chor
dil ka chhotaa
neeyat ka khotaa
kapda diya thha knicker banaane
laaya banaa ke langotaa
ultaa machaave shor
machaave shor
o kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor

dhobiye ne dhobi dhobi
dho dho dho
dho dho dho

dhote to ho betaaj (?)
ae ji dhobi ke jhoote thaathh
ghar mein
tooti taati khaat
tooti taati
tooti taati

tooti taati khaat
bichha kar
soye puraana taat
gadhe par
baitthaa jaave ghaat
gadhe par
gadhe par
gadhe par

dhobi ke dekho thhaath
kisi ki pant
kisi ka coat
pehan kar bana
governer laat


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 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:

4488 Post No. : 16010

Tanvir Naqvi – 48th Death Anniversary on 01/11/2020
——————————————————————

Geet
————
Kahaan tak sunoge kahan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Huzoor aap par ek jahaan ki nazar hai
Nigaah-e-karam se bhi mujh ko ye dar hai
Jahaan ki nazar mein kahin aa na jaaun
Kahaan tak sunoge kahaan tak sunaaun

Zamaana huaa hai muhe muskuraaye
Muhobbat mein kya kya hain sadme utthaaye
Kise yaad rakkhoon kise bhool jaaun
Kahaan tak sunoge kahaan tak sunaaun

Duaa hai yahi kuchh zabaan tak na aaye
Muhobbat ka shikwa bayaan tak na aaye
Jalen zakhm dil ke magar muskuraaun
Kahaan tak sunoge kahaan tak sunaaun
Kahaan tak sunoge kahaan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Tanvir Naqvi
Courtesy: rekhta.org

This is the profile reproduced from Rekhta.org :

Tanveer Naqvi’s lineage traces back to a family of poets who originally came from Iran. With a family immersed in poetry, literature and arts, Naqvi came to be influenced by the poetry of dissent against the British Empire.

Naqvi started as a lyricist in the Hindi film industry in the 1940s, starting his career with Swami (1941). He wrote the lyrics for close to 200 films before moving to Pakistan. He was married to renowned singer and actress Noor Jahan’s sister, Eidan Bai. The big hits of his career include Mehboob Khan’s musical hit Anmol Ghadi (1946) and Jugnu (1947) which were each the highest grossing Indian films of the respective years. Anmol Ghadi (1946) has some of the most memorable melodies in Hindi Cinema. Few people know that Mohammad Rafi was introduced to the Hindi film industry by Naqvi. He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricists of Urdu and Punjabi films. His patriotic number sung by Noor Jahan during the 1965 war “Rang Laayega Shaheedon ka Lahoo” became extremely popular.
A collection of his poetry has been published under the title ‘Sunahre Sapne.’
He died on November 1, 1972 in Lahore.

If Tanvir Naqvi wrote songs for 200 films in India before migrating to Pakistan , at a guess his songs tally should be around 400, again guessing at an average of 2 songs per film. 85 songs are so far posted in the blog. So here is one more person who we need to thank for introducing Mohammad Rafi to the hindi film industry.

Shri. Shalin Bhatt Sir has commented on the youtube link of this song that there are 3 singers in this song, Khan Mastana, G. M. Durrani and Mohammed Rafi with Chorus. I agree with this, because I thought there are two different voices singing the second and third portion of the song. Rafi sahab has only two lines to sing independently and in another line in mukhda, he is accompanied by G. M. Durrani(?).

At the time of writing this post in 2018, I was hard at work trying to confirm the details of credits. That when I remembered that one of my cousin who has been in UAE for 3 decades now, once mentioned that Tanvir Naqvi’s son was his colleague, once upon a time, but it has been years since he shifted back to Pakistan. I asked my cousin at the time, if he could get in touch with the son, perhaps to confirm about the song. But it seems, the contact is lost, with no common friends/colleagues links.

This is the third song from Laila Majnu (1945) to be posted in the blog. All songs of this film are written by Tanvir Naqvi and music composer in Govind Ram. So this is one more of the many songs from 1940’s by Rafi sahab which are yet to be posted, as a tribute post for Tanvir Naqvi on his remembrance day.


Song-Sakhi ki khair maayi babaa ki khair teraa Allah nigehbaan ho (Laila Majnu)(1945) Singers-Mohammed Rafi, Khan Mastana, G. M. Durrani, Lyrics-Tanveer Naqvi, Music Director- Pt Govind Ram

Lyrics

Sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan
ho o o
Allah nigehban ho
sakhi teraa maula nigehbaan ho
ho oo
Allah nigehban ho
sakhi teraa maula nigehbaan ho
Allah nigehban ho
sakhi teraa maula nigehbaan ho
sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho oo

chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
samajh samajh kar chalna bande
duniya musaafirkhaana hai
ye duniyaa musaafirkhaana hai
ye duniyaa musaafirkhaana hai
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo

haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
de de maula naam (? ?)
teraa Allah nigehbaan ho oo

dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
bhar de pyaala apne karam se
meri duaa lenaa aa aa
bhar de pyaala apne karam se
meri duaa lenaa
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho


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 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:

4487 Post No. : 16009

Here is the 13th and final song from LailaMajnu (1953). Out of the 14 songs listed at myswar.com and also with the posted songs list in the blog, 12 are posted. As mentioned in the penultimate post here , the extra song added in the list was ultimately used in the another Shammi Kapoor film ‘Chor Bazar (1954)’, with Sardar Malik’s music is posted here .

This is a prayer in a madrasa picturised on Master Jagdeep.

Madrasa or “Madrasah” is the oldest form of organized education institutions. One gathers all sort of general knowledge or information as one flits from interesting topics and not very interesting or boring issues. We keep growing, with the informal knowledge and gaining of wisdom, throughout our lives. And this is the way it should be, or the human intelligence would stagnate and die out. Nowadays, we are in danger of information overload, as there are too many sources, from which we can gather information on any topic or issue. I had a vague notion that “Madrasa” is one of the oldest form of organized system of imparting education, I read or heard somewhere. Then I looked up in Google to find out if my notion is correct. And I searched for “Maktab”, and as it happened, Google did confirm it to me in a very roundabout way, from maktab to kuttab to finally madrasah. I am beginning to dread finding answers on google, as the obvious answer it gives is misleading. One has to dig deeper in the results to come at a truthful conclusion.

I also found a pdf file of a research paper titled “Maktabs and Madrasas in India: A Look at Statistics based on 8th All India School Education Survey” at researchgate.net. The following para giving brief history is reproduced below:

“The first educational institution in the Muslim world was the mosque built at Medina early in the seventh century by the Prophet Muhammad and his Companions. From then on, mosques were used for teaching purposes, especially for the teaching of law and theology, but as society developed, study circles were held not only in the mosques but also in the palaces, in the streets and even in the market-places. The study circles also grew in number and quality during this period, forming the nuclei of what were to become the madrasas, colleges intended for adults who had already received their primary education in private schools or mosques. In the tenth century the madrasas emerged as an independent institution distinct from the mosque, although madrasas – at least in the early days – were set up either for a single jurist or to teach the tenets of a particular legal school. Thus was born a new kind of educational institution, destined in future to become a center of religious and secular learning in the Islamic world and a place where the representatives of the official class were educated in the spirit of Muslim orthodoxy.

The history of Madrasa education in India starts since the arrival of Muslims in India and it began in the 10th century with the establishment of Maktabs and Madrasas in the towns of Sind, Dabel, Mansura, Multan by the Arab traders and settlers (Haque, 2013).”

Considering, that education and knowledge is power, the imparting of power to the people, and starting young in observing, absorbing and gaining this power is a tradition in Islam, is a sobering thought. The very first “Wahee”(Divine revelation) that was revealed to the Prophet Mohammed (PBUH) began with the word “Iqraa”, meaning “read”, as in read, repeat, study and gain knowledge.

And to think that we all have arrived in this era of faster traffic of information, programming and coding and moving to artificial intelligence, through the foundation laid by the Prophet and his companions, of an education system, 1400 years ago. A lot has gone by and happened, and lessons have been learnt in these 1400 years.

May Allah Almighty give us and our future generations, the taufeeq, the discipline, talent and the spirit to gain, impart and constantly improve the education and knowledge, as these words in the prayer:

yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
rakkhen tere farmaan ko
seene se lagaa kar

Wikipedia say this in one of the pages:

Literacy
In medieval times, the Caliphate experienced a growth in literacy, having the highest literacy rate of the Middle Ages, comparable to classical Athens’ literacy in antiquity.[7] The emergence of the Maktab and Madrasah institutions played a fundamental role in the relatively high literacy rates of the medieval Islamic world.[8]

I am yet to look up the antiquity age in classical Athens, to see if it is a concurrent period, later or earlier period, of what is given above as medieval times. 🙂

This is what it means dissemination of information available on the internet.

Let us move on to the song being posted and Jagdeep, who is in the middle of it all. We see a very young Jagdeep, singing this prayer with other students, as the ustad is looking on. Shamshad Begum is the singer of this prayer written by Shakeel Badayuni and composed by Ghulam Mohammed. Jagdeep was born 29th March, 1939, so he was 14 years old in 1953. He expired a few months ago on 20th July, 2020, another casualty possibly of these pandemic times. As per the filmography, he has worked in 391 films as an actor, starting as a child artist in 1950, up to 2017. This could be a record as a 67 year long career. Those who started before him in the industry have long since hung up their boots. Innumerable memorable characters played by him are part of the histology of hindi films and also the some sweet and some funny and some romantic songs filmed on Jagdeep are already posted in the blog. Some songs may be remaining to be posted, the current one being one of them.

Here is a memorable stanza of this famous background song pictured on Jagdeep in the film Bhaabhi(1957) :

khatam hue din us daali ke
jis par teraa baseraa thaa
aaj yahaan aur kal ho wahaan
ye jogi waalaa phera thaa
ye teri jaageer nahin thi
chaar ghadi ka dera tha
sadaa raha hai is duniyaa mein
kiskaa aab-o-daanaa
chal ud jaa re panchhi
ke ab ye des hua begaanaa


Song-Ye jaan ye imaan bas Allah ke liye hai (Laila Majnu)(1953) Singer-Shamshad Begam, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus

Lyrics

Yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah keliye hai

Allah ke liye hai
mere maula ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai

maalik tu hi
khaaliq tu hi
ma’abood khudaaya
maalik tu hi
khaaliq tu hi
ma’abood khudaaya

mitti ko sharaf de ke hamen
tu ne banaaya
hamen tu ne banaaya
oonchaa hai farishton se bhi
insaan ka paayaa
oonchaa hai farishton se bhi
insaan ka paayaa

insaan ki hasti
teri duniyaa ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah keliyehai
yeh jaan ye imaan
bas Allah ke liye hai

yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar
yaa rabb hamen ta’aleem ki
taufeeq ‘ataa kar

rakkhen tere farmaan ko
seene se lagaa kar
seene se lagaa kar
bandon ko na tu
daaman-e-rehmat se judaakar
bandon ko na tu
daaman-e-rehmat se judaa kar

jo saans hai bas teri
tamanna ke liye hai
Allah ke liye hai
mere maula ke liye hai
yeh jaan ye imaan
bas Allah ke liye hai
yeh jaan ye imaan
bas Allah ke liye 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 :

4481 Post No. : 15991

Mohammed Rafi: The incomparable (II) – Song No. 20
—————————————————————

25/10/2020 – Remembrance Day of Sahir Ludhianvi 

Koyi shaayar ta’aaruf ka mohtaaj ho saktaa hai lekin uss ki shaayari kisi ta’aaruf ki mohtaaj nahi honi chaahiye, chaahe wo shaayari doosri zubaan mein tarjuma shudaa hi kyun na ho”.

So began the article published in the Urdu magazine ‘Fann Aur Shakhsiyat’ (Sahir number), dated 22nd July 1958, written by Khwaaja Ahmed Abbas.

Sahir. . . ba-zubaan e khud
(Answering a question asked by Nida Fazli)

I am the youngest among my contemporaries except Kaifi considering my age. Faiz, Sardar, Niyaaz all are senior.  When Majaz’s ‘Aahang’ was published I was a student in Matric (Xth std) and at the time of publication of Faiz’s collection I was studying in BA. There are really effects of Faiz in some of my poems. Majaaz is more classical, which I like. Maybe it is more impressive in ‘Chaklay’. Every poet is impressed by his senior poets. But there is a difference in vinegar and its affects. Many of my poems tackle different topics like, Taj Mahal, chakla, avoidance (garez), and beautiful turn (khoobsurat mod) etc. No one’s 100% and perfect. In Faiz’s work there are more of comparisons (Anthropomorphization). The adjectives in my poems create an atmosphere. The personality of the poet also has an impact on his art and expression. There is an inner circle, the subject and vivid representation takes shape accordingly. By nature I belong to the middle class. Maybe I have still not managed to de-class myself. Years ago my poems were heard silently among the labourers.  But Kaifi would generate more claps. Some people have an opinion that Sahir is more liked the college going boys and girl, this is poetry of an immature brain. But I do doubt the maturity of brains of the people who think like this. I am product of this very circumstances and it is natural to be affected by it. But the poetry’s subjects and their treatment is also bound to change with the age of the poet, as in our times Hafeez and A’dam were very popular among elderly poets. We used to take part is these Mushaa’ire, recited our poems which were well liked by all. Firaaq says this even today that “Mushaa’iron ke ticket to Sahir ke naam par hi bikte hain”.

I know there are very few people who understand Urdu and fewer are interested in it in India. But the revived interest in Urdu poetry, contemporary as well as some poets belonging to the earlier generations, and other literary works, which is raising its head frequently, is heartening. Urdu poetry in itself is a strong statement. It is very important and significant in the 21st century and new millennia also, as it was in 19th and 20th centuries.

And Sahir is a big part of this strong statement. For his content and creative flexibility. There may be a way of looking at his poetry apart from his roots in leftist ideology.  I don’t think he died with, as strong sense of his ideology as he began his active poetic life.

I am fascinated by the impact of Allama Iqbal on his poetry.  He wrote this in early 40’s :

ye kooche ye neelaam ghar dilkashi ke
ye lut’te huye caaravan zindagi ke
kahaan hain, kahan hain, muhafiz khudi ke
sana-khwaan-e-taqdees-e-mashriq kahan hain

Very few poets have used the word ‘khudi’ after Iqbal so immediately after him.  In fact the philosophy of ‘khudi’ is the inherent identity of Iqbal’s literary and poetic work.  Here if Sahir is speaking of ‘khudi’ it must be a reference to glorification and paeans of the civilizational progress of the ‘mashriq’ sung by Iqbal.   The question by Sahir is still valid, as it was 80 years ago.  The question is much bigger than ever, exactly when and how much more, the personal integrity, conscience of each one of us singing praises of cultural, civilizational and religious values are going to go and face this shameful reality.

Allama Iqbal left this world in 1939.  For the impressionable youth, a rebellious one like Sahir, the impressive content and complete logical values in Iqbal’s considerable poetic output, could have felt like the shackles.  So he hits out, at the reality of society, more in self-defence to stop his own slide into the spirituality.  He wants to stay in the realm of the material and spirituality seems like a cave to him, with no way out.

But it is a fact that he ventured into the cave, with a parody too :

cheen-o-arab hamaara, hindostaan hamaara
muslim hain ham watan hai saara jahan hamaara

Bringing it down to the basic issues of survival with:

Cheen-o-arab hamaara, hindostan hamaara
Rehne ko ghar nahin hai, saara jahan hamaara

He takes this She’r of Iqbal ;

Na tu zameen ke liye hai na aasmaan ke liye
Jahaan hai tere liye tu nahin jahaan ke liye

And makes it;

Na tu zameen ke liye hai na aasmaan ke liye
Tera wajood hai ab sirf daastaan ke liye

He does satire, demoralise and ridicule the concept of humans being the supreme creation, and degenerates it.  Not that he has any answers or solutions to the angst expressed in “jinhen naaz hai hind par. . .”.   How the ideology he wore on his sleeve, must have been time and again, weighed against the religiosity and convictions of Iqbal.  He challenges Iqbal’s concepts and thrives on it.

tere ishq ki intehaa chaahta hoon
meri saadgi dekh kya chaahta hoon

He takes the above ghazal of Iqbal and writes this as college bait-baazi song “Tere Pyaar Ka Aasra Chaahta Hoon“.

In relation to the saga called ‘chaklay’, I am reproducing a portion of the article ‘Sahir aur Us ki Sha’iri’, by Kaifi Azmi, originally published in 1948, in ‘Naye Adab Ke Ma’emaar’ (‘Ma’emaar’ – builders or constructors, derived from ta’ameer or ‘imaarat’):

The hapless and hungry nation in reverence towards which glorious paeans are sung with closed eyes, houses brothels at every step. Hence brothels are entrenched in Indian literature too.

The rank intensity, hatred and sincerity with which saahir has shaken up the ‘sanakhwan-e-tasdeeq-e-mashriq’ are simply incomparable.

In ‘chaklay’ (brothels), Sahir’s dignity, his soul and the restlessness of his conscience can be seen at the acme of eminence; I get goose bumps when I read this poem.  The feelings that might have stimulated him to write it are so intense that here his characteristic melancholy transforms into an overwhelming deluge.

[Source – ‘Yeh Un Dinon Ki Baat Hai’, selected and translated by Yasir Abbasi].

One wonders if Sahir ever gave a thought to Rafi sahab’s rendition of the songs of ‘Pyasa’, as he got into a controversy over credit and remuneration. It is 40 years since both of them left the temporary abode called life. We are into 100th year of Sahir and no closer to finding the reply to his call. . .

sana-khwaan-e-taqdees-e-mashriq ko laao
sana-khwaan-e-taqdees-e-mashriq kahan hain

I wonder if any literary work of this world, or any research paper is there, that offers solutions, shows the way out, of this socio-economic problem.  But it is a sad state of affairs that this civilization has ceased to view this as a degenerating parasite of a problem in society.  It exists only in Sahir’s poetry as an issue.

I am presenting a Rafi song on this occasion. This is a solo song written by Sahir Ludhianvi for the film ‘Naach Ghar’ (1959).  N Datta is the composer for this film. The song is a prayer, banjaara song, and overlay of a mujra.  As if the mujra is going on and the viewer is singing the song.  I can only guess at it as the video is not available.  The rendition by Rafi Sahab is again out of this world, especially the starting one minute, before the mujra part begins.  I am at a loss, ke sahir ki baat karun ya Rafi ki.

The movie ‘Naach Ghar’ has 10 songs with Rafi being the only male singer, singing four duets with Lata Mangeshkar, one with Asha Bhosle and one with Geeta Dutt.  The only solo song by Rafi in this film the present post.  I had never heard this song before March 2020, when I decided to post this as the birthday post for Sahir’s birth anniversary.  But since it could not be posted, I have revised the post for the death anniversary.

This is the 20th song in the series of ‘Mohammed Rafi – The Incomparable (II)’.   The first two differing portions of the song are too brief; one wants them to go on and on.  But the song moves on to beyond the dance music to chhed-chhaad mode, romantic and pardesi.  3:15 duration is too short to pack so much, and it ends too soon.  Only the audio is available of the song which is picturized on Gopi Krishna.  This could be a stage song or road-side tamasha song.

Song – Teri Ada Pe Qurbaan, O Jaane Waale (Naach Ghar) (1959) Singer – Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta

Lyrics (Provided by Avinash Scrapwala)

main banjaara
door ka aa
ghoomun dagar dagar
base rahen is nagar ke baasi
basaa rahe ye nagar
ho ho oo ooooooo

allah ke naam pe
maula ke naam pe 
allah ke naam pe
maula ke naam pe 
de de o jaanewaale
allah ke naam pe
allah ke naam pe
maula ke naam pe 

teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

ho jaayenge
hum deewaane
ho jaayenge
hum deewaane
lut jaayenge
khwaab suhaane
lut jaayenge
khwaab suhaane
o zaalim tarsaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

pardesi ke dil ki duaa le
pardesi ke dil ki duaa le
khud ruk jaa yaa
hum ko bula le
khud ruk jaa yaa
hum ko bulaa le
ghaayal chhod ke jaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
yeri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

————————————————————
Hindi Script Lyrics
(Provided by Sudhir)
————————————————————

मैं बंजारा
दूर का
घूमूँ डगर डगर
बसे रहें इस नगर के बासी
बसा रहे ये नगर
हो हो ओ ओssssss

अल्लाह के नाम पे
मौला के नाम पे
अल्लाह के नाम पे
मौला के नाम पे
दे दे ओ जाने वाले
अल्लाह के नाम पे
अल्लाह के नाम पे
मौला के नाम पे

तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

हो जाएँगे
हम दीवाने
हो जाएँगे
हम दीवाने
लुट जाएँगे
ख्वाब सुहाने
लुट जाएँगे
ख्वाब सुहाने
ओ ज़ालिम तरसाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

परदेसी के दिल की दुआ ले
परदेसी के दिल की दुआ ले
खुद रुक जा या
हमको बुला ले
खुद रुक जा या
हमको बुला ले
घायल छोड़ के जाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान


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 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 :

4479 Post No. : 15987

The series of “Dheere dheere songs” has been in the making since May 2019 starting with this post. But nothing to worry about, as I am keeping track of these posts and will give a recap in the final post of the series.

Next song in this series is this multiple version song from the film Phool aur Kaante- 1991. The music director are the duo Nadeem Sharavan, with their trusted team member Sameer being lyricist. Sameer holds the records for having written highest number of film song. The singers are Kumar Sanu and Alka Yagnik.

Myswar.com has listed three versions of the song, a duet and Alka Yagnik solo of “Dheere dheere pyar ko badhaana hai” and a sad duet version with slight change in words of mukhda “dheere dheere hausla badhaana hai”. I was not able to find the Alka Yagnik solo, so the lyrics and links are given for the happy and sad duet versions.

Two songs of this film are posted 10 years apart in the blog 2009 & 2019:

Song Date posted
Tumse milne ko dil kartaa hai 11 June 2009
Maine pyaar tumhi se kiya hai 11 June 2019

Actually this song already posted in the series is inspired by Joyce Sims’ “Come into my life” (1987). On first hearing, the similar things between the songs are the similar words of “meri zindagi mei naana” and “come into my life”, plus the same guitar interlude at the beginning of both songs. But some work on the part of lyricist and music director is definitely involved in creating a lovely Indian sounding song. Aashiqui was in 1990, and this movie “Phool aur Kaante” was in 1991. Come to think of it, this “dheere dheere” is having a similar tune to the Aashiqui song.

Dheere dheere se meri zindagi mein aana
Dheere dheere se dil ko churaana

Dheere dheere pyaar ko badhaana hai
Hadd se guzar jaana hai

“Phool aur Kaante” was Ajay Devgan’s debut film and Madhoo was the heroine. The song’s both versions are picturised on them. I know that I have seen this movie at Bandra’s “Gaiety” cinema. But to recollect the actual happenings in the story is another thing. I visited the imdb page to get snippets of story etc. so can’t say it was a memorable film. And no, they haven’t translated the name of this movie to “Flower and Thorns” 🙂 🙂 .

Happy version- Video

Sad version-Video

Sad version (Full audio)

Song-Dheere dheere pyaar ko badhaana hai (Phool aur Kaante)(1991) Singers-Kumar Sanu, Alka Yagnik, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

———————
Happy version
——————–

dheere dheere pyaar ko badhaana hai
hadd se guzar jaana hai
dheere dheere pyaar ko badhaana hai
hadd se guzar jaana hai
mujhe bas tujhse dil lagana hai
hadd se guzar jaana hai

dheere dheere pyaar ko badhaana hai
hadd se guzar jaana hai

aisi zindagi hogi
har taraf khushi hogi
itna pyaar doonga tujhe
ae mere sanam
ab na koi gham hoga
na ye pyaar kam hoga
saathi mere mujhko tere sar ki hai kasam

ek dooje ko aazmaana hai
hadd se guzar jaana hai
dheere dheere pyar ko badhaana hai
hadd se guzar jaana hai

main akela kya karta
aise hi aahen bharta
tere pyaar ke liye tadapta umr bhar
jaane kya main kar jaati
yoon tadap ke mar jaati
bin tere bhala kaise kat’ta ye safar

tere liye mar ke bhi dikhaana hai
had se guzar jaana hai
dheere dheere pyaar ko badhana hai
hadd se guzar jaana hai

tera chaand sa mukhda
tu jigar ka hai tukda
tu humaare sapnon ki jheel ka kanwal

jaan se tu hai pyaara aankhon ka tu hai taara
bin tere jiyenge ab hum na ek pal
sab kuch tujhpe hi lutaana hai
hadd se guzar jaana hai

dheere dheere pyaar ko badhana hai
had se guzar jaana hai
mujhe bas tujhse dil lagaana hai
hadd se guzar jaana hai

ho o
hadd se guzar jaana hai
haan
hadd se guzar jaana hai

——————–
Sad version
———————
aansu na bahaayenge
hansi dhoondh laayenge
miljul ke baant lenge
zindagi ke gham

aansu na bahaayenge
hansi dhoondh laayenge
miljul ke baant lenge
zindagi ke gham

bachh ke kahaan jaayegi
khushiyaan laut aayengi
haarenge na waqt ki in
aandhiyon se ham
dheere dheere hausla badhaana hai
hadd se guzar jaana hai
dheere dheere pyaar ko badhaana hai
hadd se guzar jaana 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 over TWELVE years. This blog has over 16000 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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