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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 :

4030 Post No. : 15150

Mohammed Rafi : The Incomparable (II) – Song No. 13
———————————————————-

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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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 :

4023 Post No. : 15136

[Ed Note: With sincere apologies to the author and the readers. This write up was delivered to the editors much in advance of the blog anniversary date. It is our oversight that we missed posting it on 19th July. The lapse is regretted.]

As the blog turns 11 today, we can celebrate the first step in the double digit age milestone.  Numerilogically, 11 means 1+1=2 . Does this mean second stage of second phase ?  Or 11 simply means gyarah number ki bus.  Mumbaikar’s know that gyarah number bus means ‘to walk on two feet’.  Walking walking we have reached the 15000 plus figuratively.

So. . . its “Chalte Chalte Mere Ye Geet Yaad Rrakhna. . .  Kabhi Alvida Na Kehna. . . Kabhi Alvida Na Kehna. . .

Flashback related to this song. . .  My first day in college :

Coming from a girls only Urdu medium school, trepidation crowding the mind, how will I fit in and all that.  Admission was done, fees paid whether I wanted to study Commerce or not, it was a done deal.  Backtracking from a path already taken was a no no… in the family.   It was a good reputed college of Mumbai, my elder sister was happy that at least I got a good college bit more away from the usual Urdu medium crowd, than she had managed.  She had changed streams from Science (which she was very keen to do) to Commerce, at the last moment, just to avoid going to a college (not so good) which was very close to home and right next to the school.

Nobody in the family expected me to do well in Xth as my math was very week.  In the surprised euphoria of me doing well in SSC, the decision was taken to try for the good college, a little away from the residence, involving commute by bus. My elder sister had a big hand in convincing the parents. So no 11 number ki bus for me, rather real BEST buses.

I remember the day of my admission. Two days after the SSC results my father took my elder sister and me to the college. After the procedure was completed, while going back home, my sister had a brain wave of watching a movie, to celebrate my admission to the college and also my 15th birthday. I have said in an earlier post that my elder sister has a great sense of occasion.  My father dropped us to the theatre, waited to get the tickets and left for his office.  The movie was ‘Ab Aayega Mazaa’ (1984) with Anita Raj and Raja Bundela.

So, first day of college @ 12 noon, the class started to fill up.  Some of us girls found each other, sat in a row separate from the boys.   Actually now what is known as a column, was a row in the class room. First period happened to be of English.

The lady lecturer asked all of us to introduce ourselves and talk about interests hobbies etc.  One of the boys said he like to sing and the lecturer having found a ‘bakra’ was no going to let go. So the boy ‘marta kya na karta’ sang this song in the class:

Chalte Chalte Mere Ye Geet Yaad Rrakhna. . .  Kabhi Alvida Na Kehna. . .

The song as it is, is unforgettable, and with it this event of my first day of college is attached. Our college consisted of a motley crowd of upper, middle and lower crusts’s girls and boys.  It had an ‘Urdu society’ with a Parsi Professor heading it and having its own notice board.  Yes, the notice board was a great source of prestige during those times 🙂 .

The present song post is an almost sufiana song, a critically acclaimed song from the 2006 film ‘Kabhi Alvida Na Kehna’.  Very unusual situation for a spectacular song, composed by Shankar-Ehsaan-Loy.  There are three singers namely Shankar Mahadevan, Carlisa Monterio & Shafqat Amaanat Ali.  Javed Akhtar is one of the lyricists. There is a Wikipedia page dedicated to this song.  (I Wonder – do all songs have a page like this? )   Carlisa Monterio is the female singer who has penned the lines “Love Will Find A Way” as per the page on Wikipedia. I call this song almost sufiana, because it gives that feeling when one listens to the audio only.

It is picturized on Shah Rukh Khan and Rani Mukherjee, who are married to Priety Zinta and Abhishek Bachchan respectively. The two are also seen planning their respective wedding anniversary celebration, while meeting up from time to time at spectacular locations in Philadalphia, USA. They are both unhappy with their spouses and are still trying to continue in those marriages. Movie characters are rather fickle, not usually seen to be serious about their commitments. No doubt that divorce is sometimes the only way out of an abusive / real bad marriage.  What is real bad and little bad, sort of can be worked at, is again relative. It is commendable that some civilized societies decided to reform and allow divorce as a permitted practice during 20th century. It was hailed as a step towards better rights for women.

Marriages and divorces in films are no mirror for realities. From what I have observed of bad marriages, one partner may be a major cause of discontent, but both partners suffer. Being the chief cause in a bad marriage doesn’t in anyway alleviate the personal sufferings. Parting ways in civilized manner should be a choice, but only if there is no way of reconciliation.

Also, because marriages are made in heaven, as human beings and social animals, we have a duty to safeguard this institution.  Husband and wife’s is the primary relationship on which family is based and develops as a unit, it is the root of the family tree.

So this is a celebratory song for the 11th anniversary of the blog, and song no. 2 of the Mitwa trilogy.  Ideally this would have been the 3rd and final song of the trilogy, but since the Anniversary is here, this song is the one I choose to post.

Happy anniversary to all my fellow travelers on the blog.

Video

Audio

Song – Mitwa..aa, Kahen Dhadhkanen Tujh Se Kya (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Carlisa Monterio,  Shafqat Amaanat Ali, Lyrics – Javed Akhtar, MD – Shankar Ehsan Loy

Lyrics 

love will
find a way
jaaniye ea
heeriye ea
love will
find a way
jaaniye ea
heeriye ea

mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu. . .
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya aa
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa

love will
find a way
jaaniye ea
heeriye ea

ho ooo oo
mere man ye bataa de tu
kis oar chalaa hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa

ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
ga ma pa ni
ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
pa ma ga ni
mitwaa aaa
aaaa aaa
aaaaa aaaaa

jeewan dagar mein
dagar mein
dagar mein
prem nagar mein
nagar mein
nagar mein
jeewan dagar mein
prem nagar mein
aaya nazar mein
jab se koyi hai
tu sochta hai
tu puchhta hai
jis ki kami thhi
kya yeh wohi hai
haan ye wohi hai
haan ye wohi hai
ea ea yeee aaaeaaa eaaa
tu ek pyaasa
aur ye nadi hai
kaahe nahi iss ko tu
kkul ke bataaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa

ho ooo
teri nigaahen
pa gayee raahen
par tu ye soche
jaaun na jaaun
ye zindagi jo
hai naachti to
kyun bediyon mein
hain tere paaon
preet ki dhun par
nach le paagal …al
udtaa agar hai
udne de aanchal
kaahe koi apne
ko aise tarsaaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa
mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh raha hai tu..

love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea


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

Blog Day :

3997 Post No. : 15093

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

zindagi hai meri ik daao
tu hai ‘haathhi’ meri

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

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

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

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

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

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

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

Lyrics 

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

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

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

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

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

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

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

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

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


This article is written by 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 :

3990 Post No. : 15083

I have so many things to write about that sometimes they (those things crowding my thoughts) don’t let me sleep at night. Wish I had the habit of writing the diary. . . those “dear diary“, outpourings would have helped as a sounding board, more effectively than this blog.

Once upon a time I did start a daily diary, but that did not develop to the level of habit. Then many years ago a colleague advised in all seriousness that I should write down the daily thoughts, clearly impressed with the way I was able to warm to any topic and give a one minute lecture to an assorted audience or whoever was around me. I wasn’t really enamoured by that particular lady and I have never used her as a sounding board or even a ‘complaint register’. I tried to avoid talking about much of anything with her or say only as much as necessary, but she has a knack of introducing topics into conversation and getting people to open up.

I am not too choosy about whom I befriend, but if I develop a dislike of someone, then it gets fixed in my attitude for all times. I have tried very hard to get rid of this fallacy, and try to give second, third chances to people for redeeming themselves. I do this sort of exercise of finding excuses for people, whom I consider my friends, whenever they don’t behave as expected, on regular basis. This positivity of trying to always look at the brighter side, is good within a limit.

Till recently, I used to get very irritated with my parents same habit. So much so that I wrote in one of the posts, that my Mom looks at all things with her colour tinted glasses or ‘rangeen chashma’. This way she can see others in whichever colour she wants. Unn ko duniya bahut rangeen dikhaayi deti hai. In the sense that they live by the maxim that “hum achche to duniya achchi”.

I know the colleague who advised me to write down the thoughts etc., meant well. But I am unable to warm towards her till date, despite her being very close to a very close friend. With her natural ability and curiosity I suspect that she is able to gather all the information. Good for her, if she is happy then I don’t mind. We do meet occasionally as colleagues and also in common friend circles, but maybe I will be able to think of her also as a friend in future.

This lady also had some more well meaning advice to offer, on the topic of improving my daughter s complexion. This was many years ago. I was able to take in that advice from one ear, and throw it out of the other. Really she was simpleton, like my own mother and others. I hope that by now she has learnt differently.

Last week , Sudhir sir posted the song “Hum Kaale Hain To Kya Hua Dilwaale Hain”, in the repeat songs series. Some of the comments in the ‘Gumnaam’ song posts asked to know the meaning of those words of the mukhda. “Hum Kaale Hain To Kya Hua Dilwaale Hain” expresses an appeal against a deep rooted malice/prejudice in the society, which is blatant in the belief that only white is beautiful and black is not. Obviously the same malice is still prevalent if one goes by the no. of products available in the market for skin fairness. Nothing wrong if people want to make their skin fairer by these products, but the fact remains, this improvement or whatever, will only be skin deep. Nothing to do with core of the soul inside the skin. Food for thought.

Here is a song from the film ‘Minoo’ (1977), dealing with the same contrast of gora and kaala. The ‘Gumnaam’ song, took a funny route and this song in the voice of Antara Chaudhary is riding on a child’s innocence and a black goat named Kaali. Salil Chaudhari is the music director, and the lyrics are written by Yogesh. There was also a popular song in this film “Teri Galiyon Mein Hum Aaye”, which is already posted.

Today’s song used to play a lot on the radio when the movie was new. My younger brother was born in 1976, and my elder sister used to sing this carrying our baby brother along.

Oh. . . there are many such stories and happenings, some related and others not related to film songs. I just hope I am able to pen them down and share with all my fellow bloggers and fans of Hindi Film music.

Song – Kaali Re Kaali Re Tu To Kaali Kaali Hai (Minoo) (1977) Singer – Antara Chaudhry, Lyrics – Yogesh, MD – Salil Chaudhry

Lyrics (Provided by Prakashchandra)

kaali. . .

kaali. . .

o oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
oo kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
bhaiyya hoga pyaara pyaara
chaand sareekha 
par dekh usey chaand bhi
ho jaayega pheeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
main gaal pe kaajal ka 
lagaa doongi re teeka 
lagaa doongi re teeka 
oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
din raat usey dekha karoongi 
main sajaa ke
main khelungi bhaiyya ko 
godi mein uttha ke 
main roz sulaaungi 
usey loriyaan gaa ke
main roz sulaaungi 
usey loriyaan gaa ke
usey loriyaan gaa ke

ooo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai
ho oo
kaali re kaali re
tu to kaali kaali hai 
gora sa ek bhaiyya 
maa ab laanewali hai
laanewaali hai

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

काली॰ ॰ ॰

काली॰ ॰ ॰

ओ ओ
काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
भैया होगा प्यारा प्यारा
चाँद सरीखा
पर देख उसे चाँद भी
हो जाएगा फीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
मैं गाल पे काजल का
लगा दूँगी रे टीका
लगा दूँगी रे टीका

काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है

दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
दिन रात उसे देखा करूंगी
मैं सजा के
मैं खेलूँगी भैया को
गोदी में उठा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के
मैं रोज़ सुलाऊँगी
उसे लोरीयाँ गा के


काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली है
हो ओ काली रे काली रे
तू तो काली काली है
गोरा सा एक भैया
माँ अब लानेवाली 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 :

3989 Post No. : 15081

Mitwa – 1

sun mere bandhu re…..
sun mere mitwaa….
sun mere saathhi re…. 

The Poet i.e. Majrooh further says:

hotaa tu peepal,
main hoti amar lataa teri
hotaa tu peepal,
main hoti amar lataa teri
tere galey maalaa ban ke,
padi muskaati re
sun mere saathi re
sun mere bandhu re,
sun mere mitwaa
sun mere saathi re

The reference to peepal tree in the song is taking me to another memory of a long time ago.  The movie ‘Naseem’ seen a long time ago on TV.   I have looked up the info on this film on imdb (https://www.imdb.com/title/tt0241753/?ref_=nv_sr_1?ref_=nv_sr_1).

It’s a movie alternately named ‘The Morning Breeze’.   Kaifi Azmi played the grandfather of the central pratogoist Naseem in the film and there is a dialogue uttered by him , which goes :  “Hamaare ghar ke aangan mein ek bahut puraana peepal ka ped thha.” 

This in turn is reminds of my own paternal grandfather, who was a staunch Gandhian and a Satyagrahi.  One of the lakhs of foot soldiers whose names do not appear in the list of those who fought for the independence of India.  He was participant in the Swadeshi movement and the Quit India Movement, in the tiny village in Belgaum District.  It is said the police came to the village looking for him, but his mother hid him in the sacks of food grains and thus he escaped arrest.  His name is ‘Meeran Saheb’ in the traditional way, people were named in that by gone era.  He was an avid reader of newspapers and lived in his own world, if he could help it.  Lived an idealistic and minimalistic life in the era of idealism with resources, available only to the extent of one’s needs for survival.  Wore only white Khadi Kurta-eezar with Gandhi topi, till the day he died.   It was his daily attire, be it someone’s wedding or Eid or whatever celebration or occasion.  New  clothes a must for Eid, normally he made do with 2-3 sets of clothes.  His life’s priorities were simple, news on radio and newspapers of Urdu, Marathi and Kannada.  My ‘Dada’ was not the only one to wear khadi as an uniform, there were others, his peers mostly who wore only white Khadi .

Another thing, I am more like my grandfather than anybody else.  It has been a decade or two, since anyone has called me “Meeran Saheb”, (the whole family and relatives on my mothers side used to call me that) but the memory is more pleasant now than it felt at that time 🙂 .

We are living in the times which are also good in some ways and bad in some ways.  There has never been a utopian era.  It exists in dreams and books of the visionaries.   There may be rare examples of near perfect society with peace, justice and prosperity existing in recorded history.  So we make the best of what we have and survive with our self-respect intact, the head held high and the values of humanity held close to the heart.   And what of hope?  Hope is always there and dreams are never in short supply.  One needs to keep faith and prayer on the lips for the Providence, who provides for one and all.

Ah…… here is the concept of providence.  Providence is the source of all that the creation needs and gets.  I did say in the comments of a post “Karta Hai Ek Raavi Ye Dilsooz e Bayaan“,  that I will try and explain the concept of ‘Ni’amat’ and ‘Barakah’.

Niamat for me is the belief system of Islam, i.e. Imaan, higher level of Imaan is Taqwa.  It is the belief in Allah (SWT – Subhanahu Wa Ta-A’la meaning All Praises For Him), his Prophets (PBUT – Peace Be Upon Them), his revelations and the day of Judgement i.e. Aakhirah.  It is a niamat that we have the ability to see, to hear and to speak.  The ability to breath and live.  The elements of nature like air,  water  and food which are life’s substance.  ‘Niamat‘ is also the word of Allah – his revelations in the form of aayats of the Quraan), sent down as guidance and warning.   Also that Allah (SWT) has promised to preserve his revelations i.e. the Quraan for mankind till the end of time.

Barakah‘ or ‘Barkat’ is that Allah (SWT) keeps providing for us these life substances, provides for all the universe, even for the smallest / minutest life forms to the giant creatures.  He keeps forgiving us and accepting our prayers. Listens to them and grants our wishes whatever is best for us.  For he knows what is best for us, we do not know.  He is the one who gave us the wisdom to be ‘saabir‘ (Patient) and ‘shaakir’ (thankful).  ‘Barakah‘ is again that the Almighty has given us pious parents and spouse and granted us children, with joy and contentment in life.  It is simple that if we learn to be ‘saabir and shaakir’ we will be content with our lot and life will be full of joy.   ‘Barkah’ is also increase of health, wealth and happiness.   It’s a blessing from the Almighty that we have the ability to understand all this and life’s philosophy. It is also the ability to give and to share.  The maturity to understand and accept that whatever worldly wealth, name, fame we have is given by the Almighty Allah and it is not ours, but we are the custodians.  He gives it in our custody so that we share the bountiful of worldly goods, this includes knowledge, among fellow beings.  It’s like a distribution chain.

Charity, I believe is nothing but the justification of our being blessed with health and wealth, in fact all ‘niamat‘ and ‘barakat‘.  Some are blessed more and others are blessed less (with health, wealth etc. in material terms). For both the types of people the blessings bestowed by God Almighty are a test, no less.  How they treat these blessings, how they react, and how they relate all this to the Almighty.  How thankful and grateful they are for these blessings.

From him, Allah (swt)  we came and to him we shall return.  We take with us only our deeds.  Here we come to good deeds and bad deeds.  What is to be remembered here again our deeds are what we do, how we treat our fellow beings in the world and how we behave in the world and what we cause as a result of our conduct, speech and behavior and deeds and how charitable or otherwise, we are. Essentially how much caring and sharing, we exercise in our life amount to our deeds here.  Mostly we might see there is the system of use and abuse going on around us.  We are part of the same system and involved in the same type of deeds.  But there is a thread of light all around us which shows the path of good, right and peace and justice. If we go forward looking for good than we will find  only goodness.

It’s a ‘Niamat‘ and ‘Barakah‘ that we have a belief in the ‘Day of Judgment’ too, all things considered.  Day of Judgement is when all our good deeds and bad deeds will be considered, and Allah (SWT) will grant us ‘Heaven / Paradise’ or  “Hell Fire”.  If humanity has this belief that we are answerable for all our deeds to a superior power, than this will stop it from committing all crimes and bad deeds, from smallest of bad deeds, like hurting someone with bad words, even.

See !  He is giving us, guidance, showing us the way of a pious, clean, spiritual and just life,  promising to preserve this book for us till the end of time, promising us rewards for the good deeds that we are able to amass, because of his naimat and barakah, in the hereafter.    So , which of the blessings, gifts and favours  given by our Lord and Master, are we going to deny ?

May Allah (SWT) grant us with the Baraakah for believing in the essential goodness of human nature.

This song from “Lagaan’ is a special one.  The song’s title is ‘Mitwa’, and every time I am looking for a celebratory song, this keeps coming to memory.  It is all about hope and spirit to win and overcome the difficulties in life, with strength and aplomb.  Javed Akhtar is the lyricist and AR Rehman is composer.  It is a group song which became a speciality of AR Rehman. The singing voices are Alka Yagnik, Udit Narayan, Sukhwinder Singh and Srinivas.  This is one of my favourite songs by Udit Narayan, for the rally that he sang in the mukhdaa. There should be a category of ‘mitwaa‘ songs too, as there are many classic songs in the Golden era.  I have one more ‘mitwa‘ song in my sights for writing a post.  If I can find one more inspiring song in the category, will try to make a trilogy of posts on ‘Mitwaa”.

Meanwhile, the holy month of ‘Ramadhan’ has ended, with ‘Eid-ul-fitr’ also come and gone, I take this opportunity to wish everyone  Eid Mubarak, belatedly.  May Allah (SWT) grant your wishes and answer your prayers.

Song – O Mitwa, Sun Mitwa, Tujh Ko Kya Darr Hai Re (Lagaan) (2001) Singer – Sukhwinder Singh, Udit Narayan, AlkaYagnik, Srinivas, Lyrics – Javed Akhtar, MD – AR Rehman
Udit-Srinivas
Udit-Alka
Udit-Alka-Srinivas
All

Lyrics

har sant kahe
saadhu kahe
sach aur saahas hai jiske mann mein
ant mein jeet usee ki rahe

aa jaa re aa jaa re
aa jaa re aa jaa re
bhale kitne lambe hon raste ho
thake na tera ye tan ho
aa jaa re aa jaa re
sun le pukaare dagariya
rahe na ye raste taraste ho
tu aajaa re
iss dharti ka hai raja tu
yeh baat jaan le tu
kathinaai se takra ja tu
nahin haar maan le tu
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apnaa ambar hai re
oo mitwa
sun mitwaaaa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
tu aa jaa re ea ea

sun lo re mitwaaaaa aa aaa
jo hai tumre mann mein
wohi hamre mann mein
jo sapna hai tumra
sapna wohi hamra hai ea ea
jeewan mein
haan
chale ham liyee
aasa ke diye nainan mein
diye hamri aasaaon ke
kabhi bujh na paayen
kabhi aandhiyaan jo aa ke
in ko bujhaayen
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
dharti apni hai
apna ambar hai re
tu aa jaa re eaea

taanaa tana na
taanaanananana
taanaa tana na
taanaa nananana
taanaa tana na
taanaa nana nana
aa jaa re

taanaa tana na
taanaanananana
taanaa tana na
taanaanananana
taanaa tana na
taanaa nana nana
aa jaa re

sun lo re mitwa..aa..aa
purva bhi gaayegi
masti bhi chhaayegi
mil ke pukaaro to
phoolon wali jo rut hai..ea..ea
aayegi
haan
sukh bhare din
dukh ke bin
laayegi
hum-tum sajaayen aao
rangon ke mele
rehte ho bolo kaahe
tum yun akele..ea
e mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
tu aa jaa re..ea

har sant kahe
saadhu kahe
sach aur saahas hai jis ke mann mein
ant mein jeet usee ki rahe

oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apnaa ambar hai re

tu aa jaa re ea ea
tu aa jaa re ea ea
tu aa jaa re ea ea
tu aa jaa re ea ea

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

हर संत कहे
साधु कहे
सच और साहस है जिस के मन में
अंत में जीत उसी की रहे ।

आजा रे आजा रे
आजा रे आजा रे
भले कितने लम्बे हों रस्ते हो …
थके न तेरा ये तन हो …
आजा रे आजा रे
सुन ले पुकारे डगरिया
रहे न यह रस्ते तरसते हो
तू आ जा रे
इस धरती का है राजा तू
ये बात जान ले तू
कठिनाईसे टकरा जा तू
नहीं हार मान ले तू
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

सुन लो रे मितवाआ आ आ
जो है तुमरे मन में
वो ही हमरे मन में
जो सपना है तुमरा
सपना वही हमरा है ए ए
जीवन में
हाँ
चले हम लिए
आशा के दिये नैनन में
दिये हमरी आशाओं के
कभी बुझ न पाएँ
कभी आंधियान जो आ के
इन को बुझाएँ
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

ताना तान न
तानान न न न
ताना तान न
तानान न न न
ताना तान न
तानान न न न
आ जा रे

ताना तान न
तानान न न न
ताना तान न
तानान न न न
ताना तान न
तानान न न न
आ जा रे

सुन लो रे मितवाआ आ आ
पुरवा भी गाएगी
मस्ती भी छाएगी
मिल के पुकारो तो
फूलों वाली जो रूत है ए ए
आएगी
हाँ
सुख भरे दिन
दुख के बिन
लाएगी
हम तुम सजाएँ आओ
रंगों के मेले
रहते हो बोलो काहे
तुम यूं अकेले ए

ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

हर संत कहे
साधु कहे
सच और साहस है जिस के मन में
अंत में जीत उसी की रहे ।

ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए


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 :

3971 Post No. : 15056 Movie Count :

4132

“Dheere Dheere“ –

Dheere Dheere Machal Ae Dil-e-Beqaraar

Dheere Dheere Chal Chaand Gagan Mein

Dheere Se Jaana Bagiyan Mein O Bhanwra

Dheere Se Aa Ja Ri Ankhiyan Mein Nindiyaa Aa Ja Ri Aa Ja

Dheere Dheere Bol Koi Sun Na Le

Dheere Chal Dheere Chal O Bheegi Hawa

O More Sainya Ji Utrenge Paar Re Nadiyaa Dheere  Baho

Pal Pal O Pal Samay Tu Dheere Dheere Chal

Then there are songs have the word in different context, like;

O Gaadi Waale Gaadi Dheere Haank Re

Man Re Tu Kaahe Na Dheer Dharay

And this category of songs cannot be thought of without the superbly melodious “Dheeme Dheeme Gaaun, Dheere Dheere  Gaaun”.

All the above songs are already posted in the blog.  I had actually planned to do a series on ‘dheere dheere’ songs.  I also have plans for a few more such word based theme posts.   But for all these themes I am finding only newer songs.  So the series idea is dropped, will just be preparing random posts for which ever song appeals.

Here I am presenting a song which suits the theme to the ‘T’. Its from the movie ‘Aashiqui’ (1990) which is making its debut here. More than 29 years ago this movie came and the music created a storm. I personally am witness to the rage these songs were. In recent days I have been listening to the songs of this film and I am having to revise my choice of best song in the movie. This song ‘Dheere Dheere Se Meri Zindagi Mein Aana” used to by my favourite and I thought this was the best. But the other songs like the title song “Saanson Ki aroorat Hai Jaise”, “Jaan-e-Jigar Jaan-e-Mann”, “Main Duniya Bhulaa Doonga”,  “Nazar Ke Saamne Jigar Ke Ppaas”, “Ab Tere Bin Jee Lenge Hum”, “Tu Meri Zindagi Hai “, “Dil Ka Aalam Ab Kya Sunaaun Tumhen” etc.  Total 9 songs all are chartbusters. At the time this movie came and songs were so popular, it was a known fact that the songs were all from the Music Bank created by T-series (Gulshan Kumar). I think Mahesh Bhatt may have got to select the songs he wanted for his film. That is the only explanation for such high quality melodious songs in one film, when films used to succeed on only one or two good songs. Such was the condition of film music, despite the ghazal already having made a big comeback in Hindi film music. All songs in a film couldn’t be ghazal recitiations like in ‘Umrao Jaan’, so the film makers were making use of the urdu ghazal selectively.

There was at least one song in the above mentioned list which is a direct lift from an existing older song.

The music of the film was by Nadeem-Shrawan, and the singers were Kumar Sanu and Anuradha Paudwal. The lyrics are by Rani Malik for this song. The film had newcomers Anu Agarwal and Rahul Roy for hero and heroine, with support cast of Deepak Tijori as the friend, Reema Laagu as the mother, Tom Alter as the warden, among others.

Here is an excerpt of a review on imdb.com :

“Each and every song of this movie is timeless. Nadeem-Shravan may not be creative and experimental like A. R. Rehman, but it is true that if “melody” had a second name it would be Nadeem-Shravan. “Aashiqui”, “Dil Hai Ki Manta Nahin”,”Sadak”, “Saajan”, “Deewana”, “Dil Ka Kya Qusoor”, “Salami”, “Damini”, “Dil Waale”, “Raja Hindustani”, “Jeet”, “Pardes” are examples of this genius combination. Mahesh Bhatt is one of the finest filmmakers we had, but it is sad that his biggest commercial success is probably his weakest work as a director, or probably got overshadowed by the lovable music.”

I can’t agree more with the above para. I don’t know the songs of ‘Dil Waale’ and ‘Jeet’ of the above listed films, but can add ‘Hum Hain Raahi Pyaar Ke’ and ‘Dhadkan’ which came much later, to this list. ‘Pardes’ would be the highest point or the culmination of this phenomena called Nadeem-Shrawan.

The music of this film did make a clean sweep of the Filmfare Awards of 1991

Best Music Director : Nadeem Saifi – Shravan Rathod

Best Lyricist : Sameer (For the song “Nazar Ke Saamne”)

Best Playback Singer – Male :
Kumar Sanu  (For the song “Ab Tere Bin”)

Best Playback Singer – Female :
Anuradha Paudwal  (For the song “Nazar Ke Saamne”)

This is the tally of these artists in the blog so far,

Nadeem Shrawan 15
Anuradha Paudwal 35
Kumar Sanu 22
Sameer 30

No wonder that the songs of ‘Aashiqui’ have been rehashed multiple times and reused a couple of times for ‘Aashiqui’ – 2 & 3.  I have come across very very high praise for Nadeem-Shrawan, some go to the extent of calling them SD Burman-ish.  Output wise I am inclined to agree that they were able to maintain a particular standard, which was a difficult task, given the market and commercial requirements.   As for being SDB-ish, I have found a song or two by them to be in the SDB mode.

Anyway, the songs of this movie are on their way to becoming sort of folklore/folk songs in the next century 🙂 🙂 , at the current rate and trends.

Video

Audio

Song – Dheere Dheere Se Meri Zindagi Mein Aana (Aashiqui) (1990) Singer – Kumar Sanu, Anuradha Paudwal, Lyrics – Rani Malik, MD – Nadeem Shravan

Lyrics

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaana
tum se mil kar tum ko hai bataana

dheere dheere se
meri zindagi mein aana
dheere dheere se
dil ko churaanaa
tum se pyaar hamen hai kitna
jaane jaana
tum se mil kar tum ko hai bataana

jab se tujhe dekha
dil ko kahin aaraam nahin
mere hothon pe ek tere siwa
koi naam nahin
apna bhi haal tumhaare jaisa
hai saajan
bas yaad tujhe karte hain
aur koyi kaam nahin
ban gayaa hoon main
teraa deewaana
dheere dheere se dil ko churaana
oo dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

tu ne bhi aksar mujh ko jagaaya
raaton mein
aur neend churaai
meethi meethi baaton mein
tu ne bhi beshaq
mujh ko kitna tadpaaya
phir bhi teri har ek adaa pe
pyaar aaya
aa jaa aa jaa ab kaisa sharmaanaa
dheere dheere se dil ko churaana
oo dheered heere se meri zindagi mein aana
dheere dheere se dil ko churaanaa
tum se pyaar hamen hai kitna jaane jaanaa aa
tum se mil kar tum ko hai bataana
dheere dheere se meri zindagi mein aana
dheere dheere se dil ko churaanaa

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
ओह ….
धीरे धीरे से
मेरी ज़िंदगी में आना
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना

जब से तुझे देखा
दिल को कहीं आराम नहीं
मेरे होंठों पे एक तेरे सिवा
कोई नाम नहीं
अपना भी हाल तुम्हारे जैसा
है साजन
बस याद तुझे करते हैं
और कोई काम नहीं
बन गया हूँ मैं
तेरा दीवाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना

तू ने भी अक्सर मुझ को 
जगाया रातों में 
और नींद चुराई 
मीठी मीठी बातों में
तू ने भी बेशक
मुझ को कितना तड़पाया
फिर भी तेरी हर एक अदा पे
प्यार आया
आ जा आ जा अब कैसा
शरमाना
धीरे धीरे से
दिल को चुराना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना
तुम से प्यार हमें है
कितना जाने जानां
तुम से मिल कर
तुम को है बताना
धीरे धीरे से
मेरी ज़िंदगी में आना आ
धीरे धीरे से
दिल को चुराना


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 : 3967 Post No. : 15049

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa………..

How sweet is Kavita Krishnamurthy sounding, never has she been sweeter than she is here. This has to be the best of Kavita and the best of A. R. Rehman too. I have been listening to this song since last few days and been enamoured by it. So much so that I have looked up the 2006 survey conducted by Outlook magazine to see if this song finds a place in it.

Usually I compliment a song by calling it a gem of a song. But for this one, I will be specific and call it a ‘diamond’ of a song. There is a street called ‘Khade Bazaar’ in Belgaum and we as children would loosely translate it to ‘Standing street’. Come to think of it, it must mean ‘Diamond market’ because ‘khada’ means stone in Marathi. ‘Khade’ is a word used for diamonds too.

When A. R. Rehman first arrived in the hindi film industry with ‘Roja” (1992), his type of music was a total revelation to the industry. The listeners jaded from the trash dished out in the name of music by MD’s in the 80’s were pleasantly surprised in the early part of 90’s. Melody was making a comeback and songs began to add to the appeal of films. The duo’s like Nadeem-Shravan, Anand-Milind and Jatin-Lalit were all contributed to this revival and had a lion’s share in the popular chartbusters of the 90’s. Some of these new generation MD’s were capable of rehashing two/three older songs and creating a new melody. But they created melodious songs, just not very original. A. R. Rehman was the only one creating original compositions and experimenting with instruments. All of them, between them managed to take the hindi film songs appeal to international audiences in to the next millenia too, the malady of plagiarism, notwithstanding. Some more plagiarism from the likes of Anu Malik, Pritam, etc add a bit more creativity from the southern music director like Ilyaraja and M M Kreem(atleast they sounded original to me), indian film music was a huge business internationally.

To add to the appeal of this music and to add to the commercial success among the subcontinent diaspora in UK and North America, the inclusion of fresh voices from across the border became an acceptable norm.

Coming back to Roja and A. R. Rehman. A. R. Rehman has started composing jingles of advertisements as a youngster. The songs of Roja were all masterpieces and it looked like he won’t be able to surpass it. But surpass he did with scores for films like Lagaan, Bombay, Guru, Taal, Delhi 6 to name a few. He is one of the achiever of modern day india in the creative field with an Oscar too and unsurpassed international recognition for his music.

The song presented is from the film ‘Zubeida’ written by Khalid Mehmood and directed by Shyam Benegal. One of the trio of films he made based on stories connected with his own real life. The central protagonist Zubieda played superbly by Karishma Kapoor is the daughter of a big filmmaker, but she is denied a film career. This is a period film situated in post partition period. She ends up with a broken marriage with a Pakistani and a son. She meets a price from ‘Rajasthan’ who plays polo matches in Mumbai, and the rest is history. There are a few goods reviews of the film on imdb site.

There was a surprise in store for me as I tried to find the song links of this film. I found one song audio link, with the cover of CD , which said Farrokh Rattonsey’s “Zubieda’. Again I go into flashback to 1990-91 when I had worked in the offices of the Rattonsey’s cleaving company at Santacruz (W) for a few months. They had film production company named Yelahanka Productions, and made two films that I remember, i.e. Khuddar and Kaash. They are old money of Mumbai, had businesses varying from Diamond cleaving to horse breeding. Their horses have made a name nationally and internationally from what I had gathered while working in their office, and have seen the news in later years too. They also used to publish india’s only/first magazine about race horses and breeding, named “Indian Thorough bred”. It used to be an annual or bi-annual issue. The office of ITB was situated in the same building as the cleaving company office.

Yes … and this diamond of a song. Music score for this film is among A. R Rehman’s best, but this particular number with the trademark longish mukhda and antara’s and amazing rendition by Kavita Krishnamurthy makes in the best song of the decade. Karishma Kapoor is singing this song as ‘Zubieda’ soon after marrying her price charming Manoj Bajpai. Really Karishma is more charming of the couple, with her 50’s style understated sophistication and looking far too innocent. The camera angles are not trying to make her look beautiful and just succeeding in making her look a young, bruised and innocent deer. The deer who is impoverish for love, happy and dances elegantly like a peacock.

Zubeida’s fear and insecurities are all expressed in the song. The subtlety in expressions is the hallmark, which makes this song stand apart from other songs of this genre. Kavita Krishnamurthy’s slight variations while repeating the mukhda each time and the gradual changes in rhythm are appealing to the finer senses. It is almost five and half minute long with only two stanzas. Something special which makes us wish that it will continue forever and not end.

The lyricist is Javed Akhtar and this song is sheer poetry visually also.


Song-Dheeme dheeme gaaun (Zubeida)(2001) Singer-Kavita Krishnamoorthy, Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa

dheeme dheeme gaaun
hmmm
dheeme dheeme gaaun
dheere dheere gaaun
haule haule gaaun
tere liye piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

gulshan mehke mehke
ye man behke behke
aur tan dehke dehke
kyun hai bataa piyaa
man ki jo haalat hai ye
tan ki jo rangat hai ye
teri muhobbat hai ye
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa
piyaa piyaa aa

piyaa piyaa
o o o o
zindagi mein tu aaya to
dhoop mein milaa saaya to
jaage naseeb mere
o o o o
anhonee ko thha honaa
dhool ban gayi hai sonaa
aa ke qareeb tere
o o o o
pyaar se mujh ko
tu ne chhuaa hai
roop sunehraa tab se huaa hai
rang aur kya
mujh mein piyaa
o o o o o o o o
teri nigaahon mein hoon
teri hi baahon mein hoon
khwaabon ki raahon mein hoon
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

piyaa piyaa
o o o o
o o o o
main ne jo khushi paayee hai
jhoom ke jo rut aayi hai
badle na rut wo kabhi ee
o o o o
dil ko devtaa jo laage
sar jhukaa hai jis ke aage
toote na but wo kabhi
o o o o
kitni hai meetthhee
kitni suhaanee
tu ne sunaayee
hai jo kahaani
main jo kho gayee
nayee ho gayee
ho o o o
o o o o
aankhon mein taare chamke
raaton mein jugnu damke
mit gaye nishaan gham ke
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

——————————–
Devnagri script lyrics (Provided by nahm)
——————————–
धीमे धीमे गाऊँ
हम्म म म
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ

धीमे धीमे गाऊँ
हम्म म म
धीमे धीमे गाऊँ
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

गुलशन महके महके
ये मन बहके बहके ए
और तन दहके दहके
क्यूँ हैं बता पिया आ
मन की जो हालत है ये
तन की जो रंगत है ये
तेरी मोहब्बत है ये
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
ज़िंदगी में तू आया तो
धूप में मिला साया तो
जागे नसीब मेरे ए
ओ ओ ओ ओ ओ ओ
प्यार से मुझ को ओ ओ
तू ने छुआ है
रूप सुनहरा तब से हुआ है
रंग और क्या
मुझ में पिया
ओ ओ ओ
ओ ओ ओ ओ ओ
तेरी निगाहों में हूँ
तेरी ही बाहों में हूँ
ख्वाबों की राहों में हूँ
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
मैं ने जो खुशी पायी है
झूम के जो रूत आई है
बदले न रूत ये कभी ई
ओ ओ ओ ओ
दिल को देवता जो लागे
सार झुका है जिस के आगे
टूटे न बूत वो कभी
ओ ओ ओ ओ
कितनी है मीठी
कितनी सुहानी
तू ने सुनाई
है जो कहानी
मैं जो खो गाई
नई हो गई
ओ ओ ओ ओ ओ ओ ओ ओ
आँखों में तारे चमके
रातों में जुगनू दमके
मिट गए निशान ग़म के
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ


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 : 3963 Post No. : 15041

It is human nature that on every important occasion and event in life, we recall all the people who had ever crossed our lives and made a difference to it. I had a similar experience during the last year. I felt like I wanted to get in touch with people from way back as far as my childhood. I met people who were our neighbours when my daughter was born. I wanted to invite all those who knew her when she was very little and had showered prayers on her when she was not even aware of those blessings. Sometimes we lose touch with people as they move away or we move away. People who were neighbours and our kids used to play together. All of them had touched our lives, affected us in a good or bad way. Mostly in the essential goodness of human nature it was well intentioned.

For us working women, there is this space in the heart for those who looked after our children when we are away at work. Some such people, neighbour and acquaintances, I was able to contact and invite for the wedding. One of such who were neighbour of my parents and distantly related to my father, attended my daughter’s wedding with her extended family. Sometimes the bonds of shared memories and events in life transcend all constraints of time and distance. When that aunty came on stage to meet the bride and groom, that moment the day of my daughter’s birth flashed in my eyes.

Early in the morning that day the aunty was there to see us off when I was leaving for the hospital. Later on my daughter was born in caesarean section. That evening she came to see us in the hospital. I remembered talking to her about my daughter and the scary experience when the doctor told us that she cannot find the baby’s heartbeat which resulted in caesarean section. I started crying and she also started crying and comforting me. I also remember telling her that all I want from the Almighty now is that “mere bachche ka naseeb achha ho”.

A few weeks after the delivery I had high fever and suffered an epileptic fit. My daughter was a few weeks old, and my mother who had not seen anything like this thought I was dead. She says she kept looking at me and my daughter and wailing. Thankfully, I survived the fit with the timely help of doctors in the neighbourhood and basic first aid given by neighbours. Even during this time this aunty and her family was there on hand to lend a helping hand any which way.

Actually, the above memories had a trigger. I had a five day training schedule in the second week of April. During the training we were made to listen to all the same routine work procedure, rules and regulations, which we have been finding, using and following since day one 🙂 . Actually these procedures are all basically based on common sense and logic, I feel. Difficulty comes when something out of the ordinary crops up then we have the facility of looking up in the proper book and finding the instructions to deal with the situation in the appropriate manner.

During the training one day, a fellow participant suffered an epileptic fit, while the session was going on. A friend of her said that it happens to her from time to time. With the first aid, which thankfully some ladies knew, she was all right after a while. But all this reminded me to my experience of which I personally have no recollection. I know only what I was told afterwards. Seeing it happening to another person is actually more scaring.

The training got over on Friday just in time to enable me and my husband to leave for the trip to Rajasthan as planned on the Saturday. Since this was a first time for us, we had a lot to cover, see and enjoy in one week. It was not enough certainly with so many placed to see. We managed to see quite enough to want do the touristy thing again sometime and see the rest of the places. With so many historical places, forts, palaces and museums etc. it really is the tourists delight as Avinash ji has said in his post – “Mhaare Rajasthan Maa. . .“. I was really delighted to see the various red stone carved palaces and embellishments and some of those inlay work in ‘Sang-e-marmar’ is also visible in places. I have not seen too many such historical places so far, but I was able to detect some superimposition inside the monuments and outside the museum or palace areas. Sadly that is modernity or commercialisation for you. There is an influx of shops and touristy restaurants too, which might be commercial necessity for all I know.

You see the historical monuments are not humans and have no sense of self preservation. From what I learnt most of those places are private property and the owners are free to utilise them. The most well preserved buildings have been converted to star hotels. Good for them as they become commercially viable and will survive longer. At least the superbly carved Mehrangad Fort is a World Heritage site and deservedly.

In a palace shop in Rajasthan I saw a bottled ‘Mitti Ki Khushboo’ fragrance. ‘Mitti ki khusbhboo’ bottled and patented:) . I heard a guide saying that ‘when the first rain drops fall on the earth, this is that mehek”. Indeed…. we should get ‘Shameem’ also in the bottle one day I hope. After all hopes and aspirations are totally free of cost.

Since the day this trip was planned and looked like it will finally happen, I have been remembering the song – “Nainon Mein Badra Chhaaye“.

Without actually going to Udaipur it is possible to visualise it through these songs. I came back from the place humming this song. The panorama surrounding the lake still looks exactly the same as is seen in the song. That is something at least. Since than I have found another song from ‘Mera Saaya’ (1966) – “Nainon Waali Ne Haaye Mera Dil Loota” featuring the scenes of Lake Pichchola of Udaipur. This is no exaggeration, the lakes and surrounding Aravali range is real beautiful site.

I found a song which is like revisiting the places /forts and music and sounds of Rajasthan in the film ‘Ham Dil De Chuke Sanam’ (1999). The majestic Mehrangadh fort is visible in some frames in the song. This amalgamation of folk and classical music is composed by Ismail Darbar and lyricists is Mehboob. The singers are Ustad Sultan Khan, Shankar Mahadevan and Kavita Krishnamoorthy. Quite a ‘bhaari bharkam’ trio what with the heavy voices and names :). In the video of the extended song many members of the cast are seen, notably the late Zohra Sehgal. Vikram Gokhle, Salman Khan and Aishwarya are singing it on screen.

Last word: What I brought back from Rajasthan is the sights and sounds of the locals talent and motivated enough in preserving the originality of the folk music and songs. I want to write more about Rajasthan, but this post is quite long now, so will keep the rest of my thoughts for some other post.


Song – Albelaa Sajan Aayo Ree (Hum Dil De Chuke Sanam) (1999) Singers – Ustad Sultan Khan, Kavita Krishnamurthy, Shankar Mahadevan , Lyrics – Mehboob Kotwal, Music Director – Ismail Darbar
Ustaad Sultan Khan + Kavita Krishnamurthy
Ustaad Sultan Khan + Shankar Mahadevan
Ustaad Sultan Khan + Kavita Krishnamurthy + Shankar Mahadevan
Chorus

Lyrics

albelaa sajan aayo ri
albelaa sajan aayo ri
mora hathwar sookh paayo ri
albelaa sajan aayo ri
albelaa aa
albelaa aa
albelaa aa aaaaa
albelaa aa aaaaa
albelaa aa
albelaa aa
dhi ga ma pa pa
pa pa na dha nee dha
dhi ga ma pa pa
pa pa na dha nee dha
ma ga re sa nee ra sa
ga ma pa re sa
ma ga re sa nee ra sa
ga ma pa re sa
albelaa sajan aayo ri

albelaa sajan aayo ri
dheera nanna nanna
dheera aanna
dheera nanna nanna
dheera aanna

chokh puraao mangal gaavo
tana na tana na
nanna na nanna
chokh puraao mangal gaavo
man rang nitta paayo ri
albelaa sajan aayo ri

aa aaaa aaa
aaaaa aaaaa
aa aaaa aaa
aaaaa aaaaa
aa aaaa aaa
aaaaa aaaaa
aa aaaa aaa
aaaaa aaaaa

chokh puraao mangal gaavo
chokh puraao mangal gaavo
man rang nitta paayo ri
albelaa sajan aayo ri

tana na nana na
tana na naana na aa aao
aaaa aaaaaao
dheera nanna nanna
dheera nanna nanna
nanna aaoo
na na na na na naaooo
aa aa aa aa aa aaaaaoo

tana na nana na
tana na nana na
tana na nana na
tana na nana na

albelaa sajan aaayeeoooo
ri. . .

albelaa sajan aayo ri
albelaa sajan aayo ri
mora hathwar sookh paayo ri
albelaa sajan aayo ri
albelaa sajan aayo ri

dheera nanna nanna
dheera nanna
dheera nanna nanna
dheera nanna

albelaa sajan aayo ri
albelaa sajan aayo ri

aa aa aa aa aa aaaa

ta ta ta ni re ra tara te
ta ta ta ta ta

sa sa sa sa
sa ri ga sa sa sa
sa ri ga pa dha ni sa 

re ga ta ta sa ga re ga
re ga sa ga re ga
ta ta sa ri ga sa sa sa
albelaa sajan aayo ri
albelaa sajan aayo ri
aa aa aa aa aa aaaa
aa aa aa aa aa aaaa
albelaa
albelaa
albelaa
albelaa
albelaa
albelaa
albelaa
albelaa sajan
albelaa
albelaa
albelaa
aa aa aa aa
aa aa aa aa

——————————————-
Devnagri script Lyrics (Provided by Nahm)
——————————————-
अलबेला सजन आयो री
अलबेला सजन आयो री
मोरा हथ्वर सूख पायो री
अलबेला सजन आयो री
अलबेला आ आ
अलबेला आ आ
अलबेला आ आ……..
अलबेला आ आ……..
अलबेला आ आ
अलबेला आ आ
धी ग म प प
प प न ध नि ध
धी ग म प प
प प न ध नि ध

म ग र स नि र स
ग म प र स
म ग र स नि र स
ग म प र स

अलबेला सजन आयो री

अलबेला सजन आयो री
धीरा ननना ननना
धीरानना
धीरा ननना ननना
धीरानना

चोख पुराओ मंगल गाओ
ताना न ताना ननना
ननना ना ननना

चोख पुराओ मंगल गाओ
मन रंग नित्ता पायो री
अलबेला सजन आयो री

आ आ आ आ
आ आ आ आ
आ आ आ आ

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

चोख पुराओ मंगल गाओ
चोख पुराओ मंगल गाओ
मन रंग नित्ता पायो री

अलबेला सजन आयो री

ताना न ननना
ननना ना ननना न आ आओ
आ आ आ आ
आ आ आ आ
धीरा ननना ननना
धीरानना ननना ना

ननना न आ आओ
ना ना ना ना ना न आ आओ
आ आ आ आ आओ

ताना न ननना
ताना न ननना
ताना न ननना
ताना न ननना

अलबेला सजन आयीऊ
री. . .

अल बेला सजन आयो री
अलबेला सजन आयो री
मोरा हथ्वर सूख पायो री
अलबेला सजन आयो री
अलबेला सजन आयो री

धीरा ननना ननना
धीरानना
धीरा ननना ननना
धीरानना

अलबेला सजन आयो री
अलबेला सजन आयो री

आ आ आ आ
आ आ आ आ

त त त त त नि रे रा तारा ते
त त त त त

स स स स
स री ग 
स स

स र ग प ध नि सा

र ग त त स ग र ग
र ग स ग र ग
त त स र ग स स

अलबेला सजन आयो री
अलबेला सजन आयो री
आ आ आ आ
आ आ आ आ
अलबेला
अलबेला
अलबेला
अलबेला
अलबेला
अलबेला
अलबेला
अलबेला सजन 
अलबेला

अलबेला
अलबेला
आ आ आ आ
आ आ आ आ


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 : 3944 Post No. : 15020

Mohammed Rafi : The Incomparable (II) – Song No. 11
———————————————————-
Songs of religious fervor are an integral part of hindi films. This was more prevalent upto 80’s, than I think the trend went downhill. In recent decades this type of songs have made a return in the mainstream film with spectacular bhajans and philosophical/religious flavor.

In Mohammed Rafi Sahab total output of around 5000 songs, I can guess this genre of bhajan/religious/philosophical/naats/qawwali’s accounts for 7-8 % . This is my conservative guess work, this might well turn out to be 10%.

I began this series ‘Mohammed Rafi: The incomparable ‘ with this song . In the revival of the series Part – II so far there was no such song. ‘A – Z of Rafi Songs” series also began with a bhajan .

The holy month of ‘Ramadhan’ is beginning tomorrow. This month is a period of ‘Barakah’ where the almighty’s blessings and sawaab for the believers ibaadat is manifold. I am not mentioning the “na’ymat” that the Allah (swt) has bestowed on the mortals for the worldly needs. The material things and luxuries that we all ask for and get from Allah (swt) are all “faani” (faani – will end one day) and are finite in nature. Allah’s Rehmat and the ability to give/forgive is limitless, infinite. It is our asking ability that is finite. If this simple thing is understood by us mortals, none of us will be jealous of each other. Jealousy is something which is always there among peers or people who are close/known to each other or in the same social circle. No one is ever jealous of the celebrities or those who are far away from us. People need to look far and beyond of their immediate circle’s to realize that God Almighty has so much to give and he has spread the blessings far and beyond. Than what one has to do is ask him to bless us too, becoz his capacity to give is so much far and beyond of what our imagination’s limits will take us. We can also ask him to give us far and beyond of where our imagination is able to imagine. See there is hope here and light at the end of the tunnel.

This is great motivational pitch for counseling people who are dejected due to any reason. If and when I encounter such people, I make it a point to tell them that look towards the whole mankind, how much God Almighty has blessed the people all over the world. People do seemingly impossible things, have achieved so much. Do you think all this happened without the will of God? So, what is your problem? So keep trying and ask of the Almighty. Have faith and trust that the Almighty has blessed the others and he will bless you too.

The song no. 11 I am presenting here is from the film Aalam Ara (1956). This would be the first remake of the first talkie film of India. The lyricist is Shewan Rizvi and the composer if A. R.Qurieshi. Mohammad Rafi Sahab is in element in this religious nazm and telling the story of a youg boy’s quest for the deeds that take him closer to ‘Imaan’ and to the eternal tranquility of heaven. This quest in exemplified in the boy’s wish to keep ‘Roza’ as an obedience and prayer. This story goes on to tell how the child insists on observing the fast and how the parents try to counsel him, thinking in their affection for him that he is too young. Then on to how the child is young and frail, falls down due to dizziness His heart stops beating and he dies.

The parents are both distraught and unable to bear the blow. Just than a ‘Faqeer’ comes to the door asking for food to break the fast. The faqeer is actually a farishta (angel) who has been sent by Allah (SWT) to rescue. This is divine intervention and the farishta keeps his hand on the boys chest and recites something. The child open his eyes and thus alive again. It’s a miracle, the boy and the parents are thus rewarded by the Almighty’s barakah and no harm comes to the believers and the steadfast.

It is said that the age of miracles is long over and there are no more miracles to be found in the present era. In the present context, this story would simply mean that the child’s heart had stopped and a few seconds or minutes later he was given first aid and the heart started beating and a life was thus saved. What is relevant and of utmost importance is the timely action of the faqeer in giving the necessary first aid to the child.

Similarly, may Allah(SWT) help us all in the times of need, this is a prayer. We all have seen several instances of such divine intervention, when help comes from unexpected source and our difficulty or problem is solved. People are known to have come out of dire situations in various strata of life. Even Maradona had a goal by “Hand of God”. 

The lesson here is to believe in the ‘Rehmat’ of Allah (SWT) and always treat each other with respect and love. Because we don’t know when and who are destined to be our ‘Rehmatkafarishta’.


Song-Karta Hai Ek Raavi Ye Dilsoz Ye Bayaan (Aalam Aara)(1956) Singer-Rafi, Lyrics-Shewan Rizvi, MD-A R Qureshi

Lyrics

karta hai ek raavi ye dilsoz ye bayaan
ramzaan ke mahine ki mash-hoor daastaan

mulk-e-yemen meinn ladka thha ek aatth saal kaa aa
charcha thha shehr shehr mein
jis ke jamaal ka aa

rozaa khudaa ke naam pe rakkhne ka shauq thha
ramzaan ka jo chaand nazar uss ko aa gayaa aa
kehne lagaa ye maan se ke rozaa rakkhoongaa main
mujh ko jagaana raat ko sehri karoongaa main

bachche ki baat ka na kiya maan ne kuchh khayaal
ladkaa jo subah uttha to uss ko huaa malaal
samjhaaya maan ne aye mere dilbar na kar malaal
rozaa nahin hai farz abhi tujhpe mere laal
maasoom dil pe thes lagi maan se yoon kahaa
ammi suno ye kehtaa hai Quraan mein khudaa aa
roze ki bhookh pyaas ka jo gham utthaayegaa
uss rozaadaar ko na jahannum jalaayegaa
quraan ka nuzool issi maah mein huaa
tauba qubool kartaa hai iss maah mein khudaa aa

al-qissa raat aayi to woh jaagta rahaa aa
kehna kisi ka kuchh na suna roza rakh liya
sehri wo karke so gayaaaur so ke jab utthaa
bete ka maatha choom ke maadar ne ye kahaa aa
rozaa na rakh sakegaa tu zid apni chhod de ea
de doongi apna rozaa tujhe rozaa tod de ea
ladka ye bolaa khaana main hargiz na khaaungaa
apne khudaa-e-paak ko kya munh dikhaaungaa
dopehar dhal ke asr ka jab waqt aa gayaa
paani begair pyaas se khushk ho gayaa galaa aa
seene mein saans ruk gayi chakkar sa aa gayaa
kamsin thha nazneen thha chakra ke gir padaa
harkat jo dil ki band hui aankh jhuk gayee
nabzen idhar rukin to udhar saans ruk gayee
maa ne kahaa pukaar ke maasoom chal diyaa
aftaar ki khushi se bhi mehroom chal diyaa
maan baap laash dekhte thhe apne laal ki
maiyyat padi thhi saamne ek aatth saal ki
aakhir ko rozaa kholne ka waqt aa gayaa
donon ne gham mein bete ke khaaya na kuchh piyaa

nagaah dar pe aa ke sawaali ne di sadaa aa
saayil ki shakl mein thha farishtaa khadaa huaa
aawaaz di ke le lo faqeeron ki tum duaa
main bhi hoon rozaadaar do Allah ke naam ka
jis dam suni faqeer ki donon ne ye sadaa aa
aftaar ko jo rakkhaa thha saayil ko de diyaa aa
saayil ne bheekh le ke kahaa maajra hai kya
maatam hai ghar mein kaisaa yeh mujh ko bhi do bataa aa
saayil ko apne saath pidarghar mein le gayaa
farzand ke janaaze ko laa kar dikhaa diyaa aa
bachche ki laash dekh ke saayil ne kuchh padhaa aa
seene pe haath rakh ke ye murde ko di sadaa aa
ae nanhe rozaadar tu ab rozaa khol le
ghamgeen maan khadi hai zara maan se bol le ae
jumbish labon pe hone lagi aankh khol di ee
bachche ko zinda dekh ke maadar lipat gayeeee
saayil ye keh ke aankhon se rooposh ho gayaa
bhejaa huaa main aaya thha parwardighar ka aa
thha imtihaan ka waqt museebat ki ye ghadi
jo usspe jaan dete hain marte nahin kabhi eeee
marte nahin kabhi …..


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 : 3938 Post No. : 15013

—————————————————-
Mohammed Rafi : The Incomparable (II) – Song No. 10
—————————————————–
As story telling songs go, my personal favourite song is
this song from “Jab Jab Phool Khile”. Another such song which is readily coming to mind is this
this post written by me.

There are more such wonderful songs in this genre in Hindi films. While looking for a Mohammed Rafi song for the 15KSMC, I found this song, which is sort of storytelling and kids entertainment song. It’s a pure Solo song from the 50’s written by Rajendra Krishan and composed by C. Ramchandra for the film Insaaniyat(1955).

One more feature of this song is that it has Agha(senior) singing it for the benefit of kids watching describing the antics by a monkey. From the page containing Anniversay dates I find that the veteran character and comic actor Aghajan Baig was born on 21st March 1914 at Pune and died on 30/04/1992 also in Pune. So this year on 30/04/2019, it is Agha’s 27th death anniversary. There are many songs which Agha has been seen singing on screen. He had at least two solo Rafi songs in this film “ Insaaniyat” alone. So by this yardstick there are a few more songs picturized on him may still remain to be posted. One more song which is Agha is singing on screen is this one .
One more poignant Rafi solo highlighting the plight of the deprived and under preliviged. Another significant song on him is this this song .

Last week a younger work-mate and a friend, who is maybe born in the 80’s described a person (who looks like Agha actually) as ‘Shakaal’. I tried to explain that he is actually very similar to Agha looks-wise, but she did not know who was Agha. Even saying that he was a comic character actor from black & white movies and Jalal Agha’s father failed to ring a bell. So there came this memory from long back, of a TV ad featuring Agha. This was the advert for ‘Brittania Coconut Cookies”. Here Agha is seen wearing a sherwani walking down a garden of coconut trees swinging his walking stick. One coconut falls down, hits him on the head before hitting the ground . Agha picks up the coconut, which is broken and opens into two pieces of the shell with the biscuits inside. The catch phrase of the add was “ab brittania ne nariyal ko kurmurana sikhaya’. Of course Agha is seen eating the biscuit and enjoying it. I tried to find if the that ad clip is available on the net, but could not find it.

Anyway, this song was there with lyrics written down and a look at the Anniversary page made the writing of this post a must.

Clearly Mohammed Rafi sahab’s is enjoying singing this song. A cheerful and peppy no. I heard this only today that the thespian had said to someone ‘that “Mohammad Rafi” is the name given to him by his parents and he prefers to be called Mohammed Rafi instead of Rafi Sahab’.

Actually when I had stumbled upon this blog and thought of looking at the stats page, the first name I tried to find is Mohammed Rafi. No one can imagine my shock when the name was not there in the M list of singers. Thankfully I thought to look under R also as I was on the page and looking in the correct list of singers.

Some may say “ what is there in a name ?”, so I am certainly not in a position to insist that the blog also call him by his given full name.

So this is song No. 10 of the series, which will continue at least till 31st July.


Song-Raja beta bada ho ke jaayega school (Insaaniyat)(1955) Singer-Mohammed Rafi, Lyrics-Rajendra Krishan, MD-C Ramchandra

Lyrics

Raja beta badaa ho ke
Jaayegaa school
O Raja beta badaa ho ke
Jaayegaa school
Beta jaayegaa school
karegaa padhaayi ya likhaayi
Mein na bhool
Haan likhaayi mein na bhool

Ye baat rahe yaad
Banegaa ustaad
Waah re ustaad beta
Waah waah re ustaad

Baitthe baitthe ladkon pe
Ra’ub jamaayegaa

Hogaa jo shareer
Uss ke baint lagaayegaa
Ji baint lagaayegaa
Ji baint lagaayegaa
Phir karegaa raja shaadi
Khush hongi Amma daadi
Dulhan hogi tez mizaaj
Karegi iss par poora raaj
Chulha phunkwaayegi
Roti bhi pakwaayegi
Bachcha bhi khilwaayegi
Han haan
Sab kuchh karwaayegi
Samjhe naa

Masaala piswaayegi
Arey o lala
Ragad masaala
De ragdaa
De ragdaa
Mol liyaa thhaa
Kaahe beta
Shaadi ka ye jhagdaa

Dekho dekho
O dekho dekho
Bajaaye shehnaayi
Bajaaye shehnaayi
Hamaare lalnaa
Haan hamaare lalnaa


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(© 2008 - 2019) 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.

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 over 15200 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

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

Total visits so far

  • 12,249,815 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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