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

Archive for the ‘Post by Raja’ Category


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3928 Post No. : 14998 Movie Count :

4105

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Atul Song-A-Day 15K Song Milestone Celebrations – 8
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Not all journeys have a pre-determined destination.

Sometimes a traveler sets off on a journey, purely with the intention of travel. For how long, which specific places he will travel to, where he will stop, who and what he will encounter…these are all unknown.

All he knows is that he has the desire to travel – and will travel for as long as he has such desire, and the ability to travel.

And it is just as well that he travels without a set destination or time-frame. That would take away from the enjoyment of the journey itself. It is not that the travel is meaningless – it certainly has a purpose. Just that the purpose is to enjoy the journey, not to keep a destination or time-frame in focus.

I’d like to think this blog is one such journey – and Atul is this traveler.

Atul has himself said many times, when he posted his first song on this blog on the 19th of July 2008, he had no idea what it would go on to become. As a music lover, all he wanted was to have a blog of his own. A place where he could post songs of his choice and share his taste with other music lovers. Pretty simple, isn’t it?

At that time, he would’ve been happy if he could have got to a 1000 songs on the blog. That would have been huge.
2000? Amazing!
5000? Are you CRAZY?
10000? Ab bas bhi karo yaar, kuchh zyaada hi ho gaya

But this traveler never stopped travelling. One step at a time, he kept walking. The milestones kept passing by. He acknowledged them – but never stopped. Sort of like “nadiya chale chale re dhaara, chanda chale chale re taara, tumko chalna hoga, tumko chalna hoga”.

Along the way, he met fellow-travellers and became friends with them. They joined him on his journey, so he had company. But he never stopped.

Yes, he might have occasionally slowed down, but the most important thing is – he never stopped.

And that is the only reason we can today celebrate this mega-milestone.

The biggest to date.

15000.

Yes, that’s a thousand songs, fifteen times over.

Mind-boggling.

But, to me, that’s not the whole story.

If you take a flight from Moscow to Vladivostok, it takes about 8 ½ hours.
The Trans Siberian Express train takes about a week.

If I had the time, I know how I’d like to travel.
I’d like to breathe in every moment of the travel – not rush it.

This blog has not rushed through these 15000 songs mindlessly, just for the purpose of statistics. If it had done so, it could’ve reached this milestone much earlier.

No, that was not the idea of this blog at all. Ever.

As I said earlier, Atul’s idea was to share songs with other music-lovers. To have these songs introduced on the blog, discussed in detail with appropriate credits to artistes, with a video/audio and full lyrics.

That was – and continues to be – the format for every single song from day one.

And when you have a format of this type, you want every song to have its own space and time. If you post 20 songs on one day, are you doing justice to each individual song? Won’t it just get lost in the crowd?

So the pace of this blog recognizes this important aspect of music appreciation – don’t overload.

So the bigger story (for me at least) is HOW we have got to 15000.

One song at a time, ranging from 1 to about 7 songs a day (7 itself is a high number), we have come this far over TEN years and NINE months. Yes, we are in our 129th month now. And the posting has not been sporadic – it has been EVERY SINGLE DAY (except for very few days when there’s been no posting).

THAT, for me, is truly astounding.

For ONE person to have THIS level of dedication, commitment and discipline, despite all sorts of constraints along the way – THAT to me is mind-boggling.

Yes, we guest posters have joined on the journey, and posted from time to time. (I’m saying this a bit hesitatingly given my own limited contribution in the last year). But, as Sudhirji pointed out in a recent post, Atul’s posts are 3 times more than all our guest posts put together. That shows the sheer weight-lifting he does.

And mind you, this is just the number of posts. There’s so much more on the blog- the various statistics, by movie, by year, by artiste and so on. And anniversary dates. Atul has truly built a repository for the ages.

That brings me to my next point.

The repository.

It is not that songs aren’t available on the net. Of course they are. There are songs all over the place.

But this blog is different. It doesn’t treat a song as just a song. There’s a narrative about it, a background wherever possible. About the film, the artistes involved. And Atul is a stickler for accuracy, so he does his level best to get the facts and lyrics 100% accurate. It’s not easy with some old songs where the audio itself isn’t clear – but he makes a genuine effort. And that is because of the type of person he is – no shortcuts, no compromises.

All of this means that the reader gets as accurate a source as possible.

Then consider the songs themselves.

Some of these songs are rare songs, which were not even available earlier on the net. Some others were available, but with limited detail. When these songs were made available here, the blog tried to give the song, and its artistes, full respect.

This is what makes this blog a treasure house, a repository for generations.

While on this point, I think I must mention fellow travelers (we call them Atulites) who have contributed greatly to enriching this blog.

Atul will be the first person to admit that his own knowledge of songs and artistes would never have been enough to make the blog what it is today. This is nothing to be ashamed of. All of us know more about some songs and eras, and less about others.

But we thankfully have some “maharathis” (they know who they are, so I won’t name them 🙂 ) who, between them are an ocean of knowledge, and like walking encyclopedias. Their contribution, whether through posts or through comments, is truly outstanding. They have enriched this blog so much, taking it to a different level altogether.

So when we talk of team effort, this is a perfect example of it.

This brings me to my next point of awe.

If this blog had been a commercial venture, I can understand a business posting songs every day, to maximize its views, and earn revenue as a result, through advertising or other means.

But Atul has been doing this as a labour of love. It started as that, in 2008 – and continues to this day with the same intent.

So a labour of love, posting songs every single day, for 129 months at a stretch, to the level of detail and accuracy that this blog has – just pause for a moment to let that sink in.

Pause.

So while we celebrate the 15000 milestone, I request everyone to try to appreciate the true significance of it.

It’s not just the number – it’s the weight of the love and effort that has gone into it. It’s like 15000 kg of love and effort.

Along the way, this blog has done something else too. Possibly unintended initially, but as “Blog Ke Side-Effects” 🙂 , it has brought us Atulites together. Many of us have met each other, we now have a whatsapp group, all thanks to the blog, and Atul.

For me, personally, it has been a very enriching journey. I’ve been fortunate to have been involved right from day one – and along the way I’ve got to know some wonderful people with an amazing level of knowledge about HFM. I’ve got to know SO many songs only through this blog.

I really can’t thank Atul enough for all this.

So even if my participation has been very limited of late, this blog, and everyone associated with it, will always have a very special place in my heart.

And on this occasion, I can only wish that the journey goes on and on as we head towards the next target of 15921. 🙂

A line that comes to mind is “apni pyaar ki gaadi chalti rahe, apni pyaar ki gaadi chalti rahe”. 🙂

Now onto the song for today.

I must admit it wasn’t easy for me to decide on a song for this occasion.

For one, not only has the blog already got 15000 songs, but even the songs still to be posted are mostly relatively new songs ( which I barely know), or lesser-known songs of a much earlier era than mine.

This makes my task somewhat difficult.

A song I had in mind got cancelled out because it had already been posted, so I had to renew my efforts.

But one thing. I did have an idea of the type of song I wanted to post.

I wanted a fun, lively song. After all it is a celebratory occasion, so why not a fun song?

The lyrics didn’t really matter too much, as long as it was a jhakkaas song. 🙂

While looking for random songs, I tend to think of the 1970s as my first choice of decade. The main reason for this is, it is the decade I grew up in – and there’s always a chance I’ll come across a song that I heard in my childhood, and that still happens to not be posted. This has happened on a few occasions with me.

I’ll be the first to admit that the 1970s songs signaled the end of what is popularly known as the golden era of music. By the time the 1970s came along, audience tastes had changed. Not just in India, but around the world. The hippie culture had come in, there was a sense of wanting to break away from the established order of things.

It was only natural that India too would be affected by this trend. Films are a good reflection of society – and films of the 1970s are markedly different from those of an earlier era.

Music, as a very important component of Indian films, also reflected this.

And no one exemplified this better than RD Burman.

RD (or Pancham as he was popularly known) was a trend-setter. Hugely gifted, he experimented a lot, with instruments, tunes and sounds. The audience, already ripe for change, embraced RD’s style wholeheartedly and made him a huge success.

It was not that RD could not compose traditional tunes – he could, and he did. But he also made a deliberate effort to invent his own style, to distinguish himself from his legendary father’s style.

I personally think music, like everything else, evolves. We need to recognize that times keep changing – and music needs an audience too. So if the audience is changing, why wouldn’t music change too?

So, as Tennyson said, “the old order changeth, yielding place to new”.

The song I have picked today is from my schoolboy days. I had heard it a few times then – we used to sing it in school. But somehow I never heard it after that, and had even forgotten all about it.

Recently I came across it again – and was surprised to find it hadn’t been posted yet.

Initially I was thinking of keeping it for an RD occasion, seeing as it has such an RD stamp about it – but then I guess this occasion is as good as any.

If we are celebrating 15000 songs on this blog, and Atul is the architect of it AND is also a 1970s schoolboy, why not a song that he might have heard in those days too?

Dil to maane na….meri jaan, meri jaan aa aa aa aa

Vintage RD & Asha Bhosle.

Ever since this song has come back into my life, I’ve enjoyed listening to it.

I hope you enjoy it too. Jhakkaas enough for you? 🙂

Congratulations to all of us, travelers on this journey, for the 15000-milestone.

And a special thanks to Atul for bringing us all together.

Looking forward to milestone 15921. 🙂


Song-Dil to maane na (Shaitaan) (1974) Singers-Asha Bhonsle, RD Burman, Lyrics-Majrooh Sultanpuri, Music-RD Burman
Chorus

Lyrics

turu turu haa
turu turu haa
turu turu haa
turu turu haa

Dil to maane na
Haa
Dil to maane na
Haa

Haa
Dil to maane na
Meri jaan
meri jaan haa haa ha ha
Dil to maane na ha ha ha ha ha
Meri jaan
Meri jaan haa ha ha ha
Dil to maane na ha
Dil ko milna to hai
Phir kisi se miley
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kiske
tu hi bata de na re
dil to maane na
Haa

Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na
haa
Dil ko milna to hai
Haa
Phir kisi se miley
Haa
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kiske
tu hi bata de na re
la la la la lalalala

Meri jaan
Meri jaan haa ha ha ha
Dil to maane na

Dweera tara taa taa tara taa
Haa
Dweera tara taa taa tara taa

Jaane dilbar jaane jahaan
Para para para para ha
Tum bin ab chain mujhko kahaan
Kya jaanoon main raaton ki neend
Haa
Hoy
Haa
Hu

Main to mar gayi ho kar jawaan
Rang ras ki bhari
Hai jawaani meri
Behki behki phiroon
Haaye re main baawri
Mujhe to baahon mein
Tu hi uthhaa le na re
dil to maane na
Ha

Meri jaan
Ho Meri jaan haa ha ha ha ha
Dil to maane na
Dil ko milna to hai
Phir kisi se miley
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kis ke
tu hi bata de na re
la la la la lalalala

Meri jaan
Meri jaan haa ha ha ha
Dil to maane na ha

Dugdugdugdugdugdug
Dugdugdugdugdugdug
Haa
Hoy
Haa
ho
Dugdugdugdugdugdug
Dugdugdugdugdugdug
Haa
hu
Hoy
Haa

Naina tujh se jab jab lagey
Tan mein jaise sui chubhey
Pairon se na phir tan rukey
Hui
Haa
Hui
Haa
Hui

Haathon se na dhadkan dabey
Thhandi aahen bharoon
Na kisi se daroon
Main deewaani sahi
Tu bataa kya karoon
Arre lagi dil ki
Tu hi mitaa de na re
dil to maane na
haa

Meri jaan
O Meri jaan haa ha ha ha ha
Dil to maane na
Dil ko milna to hai
Phir kisi se miley
Haa
Hey
Kya bura hai agar
Ye tujhi se miley
Gale lagoon kis ke
tu hi bata de na re
dil to maane na ha ha ha

Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na
hahahahaha
Meri jaan
Meri jaan haa ha ha ha ha
Dil to maane na ha
Haaa

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This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3820 Post No. : 14819

Hullo to all of Atuldom

Let me start by wishing all you readers a very Happy New Year. I hope you and your loved ones have a wonderful 2019, with a lot of happiness, good health and success in whatever you wish to achieve.

Today is the 2nd of January and our Anniversary Page tells me it is the birth anniversary of Sadashiv Amrapurkar, and the death anniversary of David.

But neither of these is the subject of my post today.

Absolutely no disrespect to them, but today’s post is about a couple of other persons who also happen to have their birthday today.

A few days ago, Avinashji contacted me and reminded me that the birthday of two Atulites was coming up. He had a song in mind, and asked me if I could do a post for the occasion.

Now every year around this time (end-Dec/early Jan) I get a bit busier than usual. I have family visiting me from overseas, as it is Christmas vacation in most places around the world. Besides, this year I have some family events also around New Year’s time, requiring me to plan and travel.

So I wasn’t absolutely sure I’d be able to write this post – so I told Avinashji I’d try.

So here I am.

I will not keep you in suspense any longer about the identity of the two Atulites involved.

First, Pradeepji. (I am taking them up one by one so that you don’t stop reading right here. And no, you’re not allowed to skip to the next part of the post. 🙂 )

If some more recent readers of this blog are not particularly familiar with Pradeepji, I can understand. In recent times, he has not been very active on the blog – but he has a long history with it. And when there is a mega occasion, like when the blog completed 10 years a few months ago, we can always expect him to write a post for the occasion.

I’ve known Pradeepji from the early days when he used to comment on the blog. Then we finally got to meet in October 2014, when we had our first Atulites’ gangout in Bangalore. Pradeepji came all the way from Chennai for the event.

It was just wonderful to meet him, as also all the other Atulites who I finally got to meet face-to-face. We had a fantastic time, discussing music (of course!) but also other stuff.

Pradeepji is multi-faceted, in that not only is he a keen lover of music in a passive sense, he also tries to use his tech-oriented mind to look for ways to propagate music. It was Pradeepji who first tried to get our blog onto mobile devices in a manner that could enhance its richness, using features of software like itunes.

Pradeepji was keen to exploit the richness of our blog beyond its existing framework. So, after discussion with Atul and others, he started a project where, when all songs of a film were covered on the blog, he would load that film’s songs onto another platform. This process would involve enriching the data by adding more tags, thus allowing for even more filtering possibilities. To provide an even more nostalgic experience, he would add a poster of the film wherever possible.

I will not discuss this project in more detail because I don’t want to expose my ignorance on it. 🙂 But some of us were happy to join in and help out. I was also involved for a brief period, but there were others who were involved for much longer.

Now, for a film to be eligible to be picked up by Pradeepji for his project, all its songs had to be posted on the blog. There’s no point in doing multiple iterations for the same film. So Pradeepji would wait for a film to be “complete”. And whenever that would happen, he would respond in the comments with a “Yippeeee”. 🙂

And that’s how the project got its name, that’s how the name stuck.

So much so, that when Atul would post the final song of a film here, he’d himself mention that the film is ready to be “Yippeeed”. In other words, ready to be taken over by Pradeepji and his team. 🙂

As a result, for many of us, if we had to represent Pradeepji with one word, it would be “Yippeeee”! 🙂

After that first Bangalore gangout, we had a couple of others too, but Pradeepji couldn’t attend. However I did get to meet him earlier this year on a visit to Chennai. Although it was only for a few minutes, not more than half an hour, it felt really good. We caught up with developments. Pradeepji, multi-faceted person that he is, is busy on multiple projects, developing websites for e-commerce. Mostly out of passion for trying out different things.

From my interactions with Pradeepji, whether face-to-face or otherwise (during the Yippeeee project), I noticed that he is not just a warm person and extremely down-to-earth, he also has a lot of energy and enthusiasm for things. I believe the term for this sort of enthusiastic persion is “zinda dil”?

Anyway, today, on his birthday, I wish him a very happy birthday on behalf of all Atulites.

Now, to our second Atulite birthday today.

If you’ve been sharp enough, you might have picked up a hint already from the way I started this post. It’s not my usual style.

There’s one Atulite who starts posts in this manner – “Hullo to all in Atuldom”.

And that is Peevisie’s Mom.

It’s her birthday also today, and it gives me great pleasure to be able to write this post to wish her on the occasion.

Now Peevisie’s Mom (PM) and I have met a few times more than Pradeepji and I. We live in the same city, so it’s easier to meet up for an occasion. We first met on that first Bangalore Gangout day in October 2014 (the same one that Pradeepji also attended). Thereafter, we met at the next one too, and also on other occasions like when Arunji and Avinashji visited Bangalore, or when Lalitha visited Bangalore (when I first got to meet Peevisie’s Dad too). Besides, we speak on the phone every now and then – usually discussing a post, or she reminds me of an anniversary coming up. 🙂

I talked about Pradeepji’s enthusiasm and his being “zinda dil” – that applies equally to PM too. She too is a very enthusiastic and cheerful person – so much so, that it even tends to rub off on an otherwise gloomy me. Everytime after a conversation with her, usually on the phone for a few minutes, I feel better. And I can’t say that for a lot of people. 🙂

She’s also one of the most active persons on our Atulite whatsapp group, participating in every discussion. But that’s the energy she brings with her – whether on the group, or in conversation or in a post. She’s a wonderfully friendly and warm person – and that warmth is infectious. Which also explains why I feel better after a conversation with her. 🙂

She’s also hugely passionate about HFM and movies – which is what brought us all together to this blog in the first place. But unlike me, her knowledge isn’t limited to any specific eras or genres. For example, I barely know 5 songs of this millennium, she would know almost every film released and its music. No wonder many of the post-2000 songs posted here are from her (and Peevisie herself, of course). And yet she also knows old songs – maybe partly because she also listens to radio or watches song programmes on TV. So her knowledge is definitely wide.

She’s very fond of this blog – we can see that she tries to post on as many anniversary occasions as possible. I remember there was a time when I had more posts here than she did. In fact at that time, I had even a few posts more than Avinashji. But clearly, they were both going to overtake me, because I was hardly posting at that time. She called me up and when this topic came up, she said “bade bhai se aage nikalne ka permission chaahiye”. 🙂 We had a good laugh about it. 🙂

All in all, she’s a wonderful friend to have – and I’m fortunate to have her as a friend.

I wish her too a very happy birthday on behalf of all Atulites.

Now, for the song for today.

It’s a song picked by Avinashji – a fitting birthday song for the occasion. I want to mention here that this post wouldn’t have happened if not for Avinashji’s initiative, so it must be seen as a joint effort by both of us.

The song is “Pam para rum pum” from Trishna (1978), a GP Sippy Productions film. It is sung by Kishore Kumar and the chorus (in which a very young Sadhana Sargam got a chance to sing).

I’ve seen this movie but I don’t recall too much of the story now. It had to do with relationships, a “murder”, suspicion etc, from what I vaguely remember. I need to watch the film again.

In any case, let’s enjoy the song, as we wish both Pradeepji and Peevisie’s Mom a very happy birthday.
Editor’s note-Today is the birthday of Sheela Ji, Avinash ji’s better half’s birthday as well. So happy birthday and many happy returns of the day to her as well.


Song-Pam para rum pum (Trishna)(1978) Singer-Kishore Kumar, Lyrics-Indeewar, MD-Kalyanji Anandji
Chorus

Lyrics

aa aa
Very good!
aa aa
Shaabaash!

Hey Pam para rum pum
Pum pum pum
Pum para rum pum
Pum pum pum
Bole bole
Jeevan ki sargam
Hey
Pam para rum pum
Pum pum pum
Pum para rum pum
Pum pum pum
Bole bole
Jeevan ki sargam

Har rang mein
Har roop mein
Har rang mein
Har roop mein
Tum hanste raho har dum
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Shaabaash!
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Tum pyaare pyaare phoolon ko dekho
Dekho
Dekho
Hai na?
Haan
Tum pyaare pyaare phoolon ko dekho
Todey jaane se bhi hanste hain
Todey jaane se bhi hanste hain
Hanste hain jo bhi aisi adaa se
Sabke dil mein wohi baste hain
Sabke dil mein wohi baste hain
Kaisebhi haan haalaat apne bas mein ye baat
Kaise bhi haan haalaat apne bas mein ye baat
Dhoondhh sakte hain gham mein bhi khushi hum
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

shaabaash
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

La la la
La la la la la
La la la
La la la la la

Kal jo aaya nahin uska gham kya
Kal jo aaya nahin uska gham kya
Kal jo beeta hai kya uska rona
Kal jo beeta hai kya uska rona
Aaj mein hi chhupa saara jeevan
Aaj ke din ko yunh hi na khona
Aaj ke din ko yunh hi na khona
Saare jeevan ka mol
Bas pyaar ke do bol
Saare jeevan ka mol
Bas pyaar ke do bol
Muskura do badal jaaye mausam
Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Har rang mein
Har roop mein
Har rang mein
Har roop mein
Tum hanste raho har dum

Bolo
Pam para rum pum
Pum pum pum
Pum para rum pum

Pum pum pum
Bole bole
Jeevan ki sargam

Phir se ek baar bolo
Pam para rum pum
shaabaash
Pum pum pum
Pum para rum pum
Pum pum pum

ye baat hai
Bole bole
Jeevan ki sargam

La la la
La la la la la
La la la
La la la la la

Aaiye aaiye
Aaiye
Gaaiye na
Oho come on please
La la la
La la la la la
La la la
La la la la la

———————————–
Devnagri script Lyrics (Provided by Avinash Scrapwala )
———————————–
व्हेरी गुड
शाबाश

हे तम तारा रम पम
पम पम पम
पम पारा पम पम
पम पम पम
बोले बोले जीवन की सरगम

हे तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

हर रंग में
हर रूप में
हर रंग में
हर रूप में
तुम हँसते रहो हरदम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
शाबाश
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

तुम प्यारे प्यारे फूलों को देखो
देखो
देखो
हैं ना
हाँ
तुम प्यारे प्यारे फूलों को देखो
तोड़े जाने पे भी हँसते हैं
तोड़े जाने पे भी हँसते हैं
हँसते है जो भी ऐसी अदा से ए
सब के दिल में वही बसते है
सब के दिल में वही बसते है
कैसे भी हों हालात
अपने बस में ये बात
कैसे भी हों हालात
अपने बस में ये बात
ढूंढ सकते है
ग़म में ख़ुशी हम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
शाबाश
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

कल जो आया नहीं उसका ग़म क्या
कल जो आया नहीं उसका ग़म क्या
कल जो बीता है क्या उसका रोना
कल जो बीता है क्या उसका रोना
आज में ही छुपा सारा जीवन
आज के दिन को यूँही न खोना
आज के दिन को यूँही न खोना
सारे जीवन का मोल
बस प्यारे के दो बोल
सारे जीवन का मोल
बस प्यारे के दो बोल
मुस्कुरा दो
बदल जाए मौसम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम

हर रंग में
हर रूप में
हर रंग में
हर रूप में
तुम हँसते रहो हरदम
बोलो
तम तारा रम पम
पम पम पम
पम पारा पम पम

पम पम पम
बोले बोले जीवन की सरगम
फिर से एक बार बोलो

तम तारा रम पम
पम पम पम

शाबाश
पम पारा पम पम
पम पम पम

ये बात है
बोले बोले जीवन की सरगम
ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला

आईये आईये
आईये
गाईये न
ओह ओ
कामे ऑन प्लीज …
हे ला ल ला
ल ल ला ल ला
ला ल ला
ल ल ला ल ला


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3811 Post No. : 14807

After yet another hiatus of a few months, I am back on the blog today (24 december 2018).

And I’m sure most people who know me here, will know why. 🙂

Yes, it is that big day for Hindi film music lovers all around the world today – it is the birth anniversary of Mohammad Rafi, or, as he is affectionately and reverentially referred to by many, Rafisaab.

And while I might miss out on writing on any other anniversary on this blog, this is one date I try my best to never miss. As I’ve said many times before, this is my very small, entirely insignificant, way of saying “thank you” to the person who has given me countless hours of happiness in my life.

Different people derive happiness from different things. For me, music has always been a core part of my existence for as long as I can remember. I often have a song on my lips – often sub-consciously. This has occasionally led to embarrassing situations but thankfully it has never affected my love or passion for music. And I think I’m in very good company on this one – there are so many people out there for whom music is an integral part of their daily lives.

This is also one big reason we are all here together on this blog. HFM lovers, from all parts of the world, in all age-groups, sharing their love for HFM.

And when we talk of HFM, especially during its golden age, it’s hard not to talk of Rafisaab.

This is why I write tributes to him at least twice a year. On his death anniversary, and on his birth anniversary. I do write about him on other occasions too, but if I miss out on either of these occasions, I feel I’m letting him down. For all that he has given me, can’t I even write a few words on these specific occasions to pay tribute to him?

So here I am today.

Now, what should I write?

I’ve written many posts here on Rafisaab and discussed my feelings about him. About his songs, his personality, how he managed to break in and find a special place in my heart and my life, at a time when Kishore Kumar was absolutely king. There’s nothing more I can write that will not be a repetition.

Yet, the sheer joy of writing about Rafisaab is so exhilarating that, at the risk of boring readers, I will share a few thoughts.

After all, when I watch videos of Jeetendra narrating his now-famous Deedar-e-Yaar experience with Rafisaab, or Shammi Kapoor narrating his “aasmaan se aaya farishta” story about Rafisaab, or SP Balasubramaniam talking about “deewana hua baadal”, I enjoy listening to these stories every single time. I know the stories inside out by now, but the passion and love with which these stories are narrated, is itself special for me.

It would surprise no one if I said that, as an early-1970s boy, the one male singer who was my universe at that time was Kishore Kumar. In those days I’d often listen to “current songs” – and naturally that meant his songs were playing everywhere, on every single radio programme, every single day.

Other singers like Mukesh and Manna Dey (and even Rafisaab) would also figure but almost like an exception. Kishore’s was easily THE most dominant male voice of the time.

I was very fond of Kishore Kumar – in my classroom in school, my friends would all invariably sing the latest Kishore songs.

Then one day, I think it was the afternoon 1.00-1.30 programme (I don’t remember its name), I happened to listen to an old song.

At that time I had only vaguely heard of that song. So I knew a few lines but I’d never heard its rendition before.

What was this song! What was this voice! Who was this singer!

I stood transfixed. Rongte khade ho gaye.

I knew it wasn’t Kishore. And when the announcer said “abhi aapne Mohammad Rafi ko film Baiju Baawra mein sunaa”, I realized that in my universe, the one where Kishore Kumar had until then occupied almost complete mindspace, I’d have to made room for another voice.

It wasn’t as if I hadn’t heard Rafisaab songs till then. Of course I had. But my mind had been so full of Kishore, that every other voice had been drowned out in the process. Hey, I was still a young boy then, so not particularly discerning.

That song was “o duniya ke rakhwaale”.

How I wanted to hold on to that song! To listen to it again. And again.

From the initial “bhagwaan” to the “rakhwaale, rakhwaale”, I didn’t know what hit me. The highs and lows, the peaking and the ebbing, the modulations, the way he sings “bhagwan” three times at the start – and each one is a different cry to God – there was no way this song was not going to make an impact on me.

Of course those were pre-internet days. I couldn’t just search for the song and play it again. ? And where I lived, I didn’t even have access to a music store – nor would I have been able to buy a cassette even if I’d wanted to.

At that time I could only hope that I’d get to listen to the song again. In fact, that was how things were in those days. You’d listen to a song, love it – and then hope it would come in a farmaish again. 🙂

From that moment onwards, I became a keen Rafisaab listener. I am sure the same songs that I might not have paid attention to earlier, suddenly began speaking to me. I distinctly remember songs like “suhaani raat dhal chuki” (a Vividh Bharati favourite 🙂 ) , “parbaton ke pedon par”, “ek dil ke tukde hazaar hue”, “ye teri saadgi”, amongst others.

Every single song I listened to, I fell in love with.

When I listened to “kar chale hum fida”, I had tears in my eyes. Many years later I saw the film but Kaifi Azmi’s lyrics, Madan Mohan’s music and Rafisaab’s voice – how can you remain impassive to that song?

When I listened to “jaane kya dhoondhti rehti hain”, it transported me to a different world. Again Kaifi Azmi’s lyrics are magical, and Rafisaab’s rendition elevates them to a different level altogether.

Another song I got to listen to, and was extremely fond of at that time (I still am!), was “karwaan guzar gaya”. I’ve always had a soft corner for good lyrics – and Neeraj’s lyrics, even by his high standards, are just amazing in this one.

I can reel off many more songs that I listened to – each one only further confirming to me that while Rafisaab might have had a decline in the early 70s, to even suggest that he was in any manner a lesser singer than Kishore Kumar was sheer lack of understanding of music.

My paternal grandmother, who didn’t know a word of Hindi, and didn’t know who Kishore Kumar or Rafisaab were, clearly had a discerning ear. We had a cassette of Abhimaan at home – it would play a lot. It would start with “meet na mila”, and while every song in the film is a gem in its own right, she’d always tell me to play THAT song. Yes, “teri bindiya re” – which is one of my favourite songs of the 1970s.

So this is how Rafisaab managed to break into my Kishore Kumar-dominated young mind. 🙂

And since then he has a permanent and very special place in my mind and heart. In my younger days I didn’t have access to much music other than via radio – now of course it has all changed. I spend hours listening to music, many of these hours listening to Rafisaab. No particular song or playlist – just randomly listening to his songs, one after another. One moment it could be “mere mehboob tujhe”, the next “tumhaari zulf ke saaye mein shaam”, the next “aye gulbadan”. Just listening to his voice gives me so much joy – just the way he joins in in “awaaz deke hamen tum bulao” is special for me. And the way he joins in the middle of “deewana mastaana hua dil” – it’s just so awesome!

So there’s the singer Rafisaab for me.

But my post would be incomplete if I limited it to just Rafisaab’s singing.

What makes him so much more special for me is the person he was. Obviously I never got to meet him, so this is secondhand, but there isn’t a single person who knew Rafisaab, who does not vouch for what a great human being he was. It wasn’t just his soft-spoken nature, he was kindness and generosity personified. He could easily have put on airs, he could have demanded a ransom price, such was his stature and such was the demand for his voice. Yet he was made of a different stock – “kuchh aur mitti ke hi baney the”. There wasn’t a single trace of arrogance or greed in him.

Rafisaab did not hesitate to work with upcoming composers, giving them hits in the process. He knew their financial position and would even refuse to take more than just a token from them. Throughout his career, he believed that whatever he had achieved was due to the grace of God – he would often point upwards when someone praised his singing.

No wonder then that Rafisaab is remembered today not just for his voice but also for the person he was. How often do you come across a person like this?

No wonder that on his death, crowds thronged the streets of Bombay to pay respect to him. This, despite pouring rain.

Is it any wonder that I am such a big fan of Rafisaab? And I can safely say there are many who are much bigger fans of him – main to kuchh bhi nahin.

Now onto the song for today.

It is a special occasion – so I’ve picked a song that I heard for the first time today.

I wanted to pick a song from Rafisaab’s supposedly “lean” period. For some reason, this period fascinates me. I’ve always supported the underdog – so if someone tells me that a particular singer had a bad patch in a particular phase of his career, there’s a good chance I’ll listen to songs of that singer in that particular phase. 🙂 It’s just the way my mind works.

I fell in love with this song the first time I heard it today.

It has trademark Rafisaab elements in it – and is a pleasant song to listen to. I didn’t want a sad song for the occasion, after all it’s his birth anniversary.

It’s from a film, Gunaah Aur Kanoon (1970). I have no clue about the film but going by the name, it sounds a bit like Crime and Punishment. 🙂

The song itself is definitely worth a listen. Music is by Sapan Jagmohan, who might not have been in the top rung of composers, but have created quite a few memorable tunes of their own.

I hope you enjoy this song as much as I did while listening to it the first time. I have already listened to it a few times now. 🙂


Song-Aisa to kabhi mumkin hi nahin(Gunaah Aur Kanoon) (1970) Singer-Mohammad Rafi, Lyrics-Anwar Farrukhabadi, MD-Sapan Jagmohan

Lyrics

Aisa to kabhi mumkin hi nahin
Aisa to kabhi mumkin hi nahin
Mil jaaye nazar aur pyaar na ho
Mil jaaye nazar aur pyaar na ho
Jo baat janam le le dil mein
Jo baat janam le le dil mein
Us baat ka kyun izhaar na ho
Us baat ka kyun izhaar na ho
Aisa to kabhi mumkin hi nahin

Maana ke jawaani hai aayi
tauba
Ye nasheeli angdaayi ee ee
Maana ke jawaani hai aayi
Tauba ye nasheeli angdaayi
Thham thham ke baras ae shokh ghata
Thham thham ke baras ae shokh ghata
Jazbaat ki hadd se paar na ho
Jazbaat ki hadd se paar na ho
Aisa to kabhi mumkin hi nahin

Ye shaam ki surkhi gaalon par
Haaye
Ye raat ka aanchal baalon par r
Ye shaam ki surkhi gaalon par
Ye raat ka aanchal baalon par
Pad jaaye nazar tujh par jiski
Haaye pad jaaye nazar tujh par jiski
Kaise wo tera beemaar na ho
Kaise wo tera beemaar na ho
Aisa to kabhi mumkin hi nahin
Aisa to kabhi mumkin hi nahin
Mil jaaye nazar aur pyaar na ho
Mil jaaye nazar aur pyaar na ho
Aisa to kabhi mumkin hi nahin


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3721 Post No. : 14656

By now it seems to have become a routine for me to make only cameos on this blog, triggered either by a memorable event (such as the blog’s tenth anniversary) or a “nudge” from another Atulite. 🙂

I will not seek to correct this impression – for the facts speak for themselves. I will also not make any excuse of “being busy” – that would only be an insult to people like Atul and Sudhir ji who manage to give so much time to the blog, despite so many demands on their time.

So no excuse – mea culpa. Today’s post is also a result of a nudge – this time from Peevisie’s Mom.

It happens to be the birthday of Feroz Khan today – and she called me up to remind me of it. A while ago, she and I had discussed that the popular song “Hamaare Siwa. . .” (‘Apradh’ – 1972) had not yet been posted on the blog – so she called up to remind me that there was an occasion coming up to remedy the situation. 🙂 So here is the post for this song – and to remember Feroz Khan.

I remember writing about Feroz Khan earlier – I think it was a couple of years ago. I haven’t checked that post – and am writing purely from my thoughts of the moment – so kindly excuse me if much of what I say is repetitive.

Feroz Khan, for me, has his own place in Hindi cinema. There are many who had a more successful career than Feroz. Certainly as an actor, he wasn’t rated all too highly, if I’m to be brutally honest. He had his moments, but one would have to be disingenuous about his acting achievements, to put him in the same league as at least a dozen other actors/stars.

And though he was very successful as a producer/director, there have been more successful producers / directors. And yet, for me, Feroz holds his own in Hindi cinema. As a personality, he seemed to me to have something about him that made him different from others. I think it was the way he carried himself.

Much of my exposure to Feroz was, of course, in the 1970s. By that time he had turned producer – so I got to see him both as actor and producer – in films like ‘Apradh’ (1972), ‘Dharmatma’ (1975) and ‘Qurbani’ (1980). All these films have one thing in common – they are all made on a grand scale, with no expenses spared, no corners cut in producing an extravagant spectacle for the audience. Naturally this became the image of Feroz Khan in my mind – and I think, for most people. His films are glamorous, with foreign locales, expensive cars and the like. Feroz seemed to revel in this flamboyant image – and continued it through the 1980s and 90s in films like ‘Janbaaz’ (1986), ‘Dayavan’ (1988) and ‘Yalgaar’ (1992).

If the films made by him are to be taken as representative of his life, one would not be mistaken in saying that Feroz lived life king-size. I enjoyed each one of these films – they were thoroughly entertaining, with a decent story line (which is very important for me!) and good songs too. Most of the songs of films made by Feroz became super-hits, suggesting he had a good ear for music.

And yet, for me, the story doesn’t end here. It is the first half of his career, so very different from the second half, that makes his story fascinating for me. Like I’ve said before, my clearest memories of Feroz are from his films of the 1970s. But he acted in many films in the 1960s too – and any reference to his work that does not mention this would be incomplete.

One of my friends once jokingly said “Feroz Khan probably got into producing his own films because he got fed up of never getting the heroine.” 🙂

Yes, said in jest, but it is true that in many of his films till he began making his own, Feroz missed out. In some early films, he was the villain – so then it’s understandable. But in many other films too, even as the good / semi-good guy, he would end up not getting the heroine. In ‘Oonche Log’ (1964), the heroine dies – in ‘Mela’ (1970), his character dies as he “sacrifices” for his brother. And in films like ‘Aarzoo’ (1965), ‘Aadmi Aur Insaan’ (1969), ‘Pyaasi Shaam’ (1969), ‘Safar’ (1970), ‘Upaasna’ (1971), the heroine loves the other guy. Small consolation maybe that in ‘Darinda’ (1977) he manages to turn the tables on Sunil Dutt for ‘Pyaasi Shaam’ (1969). 🙂

Of course, that was how the script was written – but it always made me feel bad to see Feroz lose out. 🙂 , even though he’d occasionally get to sing lovely songs like “Darpan Ko Dekha. . .”  and “Jo Tumko Ho Pasand. . .” in the process. 🙂

Then there were those black-and-white films of the 60s. Many not well-known, probably then categorized as “B’’ films. Many with Mumtaz, herself then not in the A league. Having both gone through similar careers in the 60s, Feroz and Mumtaz were very good friends – and it’s hardly surprising that Mumtaz was his lead when he produced Apradh (1972).

One song from a Feroz “B” film I fondly remember is “Anjaan hai koi” (‘Anjaan Hai Koi’ – 1969). I think this song was quite popular in its time – at least I remember it from my childhood. Other less-known Feroz films I remember are ‘Ek Paheli’ (1971) with Tanuja (“Main Ek Paheli Hoon”) and ‘Anjaan Raahen’ (1974) with Asha Parekh (“Mujhe Nahin Poochhni Tumse Beeti Baatein”).

And of course, ‘Kashmakash’ (1973) and films like ‘Khote Sikke’ (1974) and ‘Kaala Sona’ (1975). The last-two were typical films that could have been made for Feroz – I remember enjoying both of them. 🙂

In general, I liked watching his films, especially of the 70s and later – they were never boring. Feroz himself, while never having pretensions to being a great actor, was fun to watch. And one of my favourite Rafisaab songs is picturised on him – “Jaag Dil-e-Deewaana”. 🙂 (‘Oonche Log’ – 1965).

So today, on his birthday, I have fond memories of Feroz Khan – and want to thank him for making entertaining films, with lovely songs. Today’s song is from ‘Apradh’ (1972) – the once very popular “Hamaare Siwa”. I remember listening to it a lot on radio at the time.

I saw the movie ages ago – sometime in the 70s. Have not seen it since, so I don’t remember anything of the story. I think it was something to do with smuggling, and had a lot of foreign locales, but sorry, I can’t remember any more than this. It’s surprising that in more than 10 years on this blog, the song hasn’t been posted yet. But better late than never, I guess.

So today, on Feroz Khan’s birthday, let’s all enjoy this song from his own film – the first film he produced/directed.

 

Song – Hamaare Siwa Tumhaare Aur Kitne Deewaane Hain (Apradh) (1972) Singer – Kishore Kumar, Lata Mangeshkar, Lyrics – Indeevar, MD – Kalyanji Anandji

Lyrics

hamaare siwa
tumhaare aur kitne deewaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
hamaare?
haan tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
achha?
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

khoobsoorati aur wafaa
dekhi na donon ek jagah
haan haan dekhi na donon ek jagah
hote hain mard bade shakki
baat hai ye bilkul pakki
bholi si
aati ho nazar
haan haan bholi si
aati ho nazar
ho chanchal chaalaak magar
aurat ka dil jaane nahin
aap hamen pehchaane nahin
chhodo chhodo hum bhi sayaane hain
hamaare siwa
tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain

tum ho pareshaan kis gham se
raaz-e-dil keh do hum se
haan haan raaz-e-dil keh do hum se
apni kaho chhodo meri
karte ho kyon hera pheri
yaaron pe tohmat lagaate nahin
yaaron pe tohmat lagaate nahin
sab ko nishaana banaate nahin
khud harjaayee bhanwre ho tum
ek jagah kab thehre ho tum
chhodo chhodo hum to parwaane hain

hamaare siwa
haan tumhaare aur kitne deewaane hain
tumhaare aur kitne thikaane hain
kasam se kisi ko nahin main jaanti
hmm
aur kisi ko nahin pehchaanti
arrey chhodo chhodo ye to bahaane hain
hamaare siwa
tumhaare aur kitne deewaane hain

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

हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
हमारे?
हाँ तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
अच्छा?
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

खूबसूरती और वफा
देखी न दोनों एक जगह
हाँ हाँ देखी न दोनों एक जगह
होते हैं मर्द बड़े शक्की
बात है ये बिलकुल पक्की
भोली सी आती हो नज़र
हो चंचल चालाक मगर
औरत का दिल जाने नहीं
आप हमें पहचाने नहीं
छोड़ो छोड़ो हम भी सयाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं

तुम हो परेशान किस ग़म से
राज़ ए दिल कह दो हमसे
हाँ हाँ राज़ ए दिल कह दो हमसे
अपनी कहो छोड़ो मेरी
करते हो क्यों हेरा फेरी
यारों पे तोहमत लगाते नहीं
यारों पे तोहमत लगाते नहीं
सबको निशाना बनाते नहीं
खुद हरजाई भँवरे हो तुम
एक जगह कब ठहरे हो तुम
छोड़ो छोड़ो हम तो परवाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं
तुम्हारे और कितने ठिकाने हैं
कसम से किसी को नहीं मैं जानती
हम्म॰॰॰
और किसी को नहीं पहचानती
अरे छोड़ो छोड़ो ये तो बहाने हैं
हमारे सिवा
तुम्हारे और कितने दीवाने हैं


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3680 Post No. : 14574

The 15th of August, is a special date in the calendar for India.

Every year, there are events across the country celebrating the day. There is flag-hoisting in schools, offices and public places. There are patriotic songs played on radio. There’s a lot more to mark the date and occasion.

All of this is understandable. After all, it was on the 15th of August that many years ago, India became an independent nation, free from British rule.

Today is the 72nd Independence Day for India. I still remember the Silver Jubilee celebrations in 1972 – I was part of my school March Past event. How time flies!

But there is more to this date than just celebration. It is an occasion that at least some of us use to reflect. On India’s journey as an independent nation so far. We take stock of where we are, and where we’d like to see us go from here.

I am sure there must be many articles written on this subject in various media publications this week. On our part, our Avinashji has sent me the lyrics for today’s song and requested me to share my thoughts on this occasion. I am therefore taking the liberty of doing so.

Whenever I think of 15th August, the first thing that comes to my mind is our Freedom Struggle and our Founding Fathers. Today we take our freedom for granted – it is hard to even imagine that we were once a colony of the British Empire.

But if it were not for the struggles and sacrifices of millions of Indians, from every corner of the country, would we have got independence when we did? We are familiar with some of the more prominent names who were part of this struggle. But there were so many more who made sacrifices, who gave up their lives for the cause – and died unsung.

I always think of them on 15th August.

Then the Founding Fathers themselves. Once India became an independent country, Britain left it to fend for itself. Can you imagine the challenges a new-born India would have faced at that time?

India was then a country reeling from the horrors of partition. Although there had been talk of partition for a while, the actual execution of the whole process was done very hastily, without enough attention to detail. Political lines were drawn to create India and Pakistan, but these were still being “negotiated”. Even on independence, many villages did not even know whether they belonged to India or Pakistan. And there were the tricky issues of princely states like Junagadh and Hyderabad. And there was Kashmir.

So things were very fluid on 15th August 1947, though technically India and Pakistan had both become independent nations.
The mass migration of millions across borders, with all the violence and pain that ensued – how can one ever forget that! People lost everything, their families, their possessions. Their entire life got uprooted as they became refugees in their new world.

Then, post independence, the massive task of bringing more than 565 princely states into the fold of one nation. How challenging was that! Some agreed to be part of India. Different tactics were needed to bring the others into the fold.

All this while communal harmony, already severely tested in the tense times leading upto the partition, was just about hanging by a thread. The partition exposed fault lines much more nakedly – there was resentment amongst Hindus in India for Muslims who had not migrated. And the other way round in Pakistan.

As we know, many Muslim artistes in the Hindi film industry even changed their names to Hindu-sounding names to avoid becoming targets of hatred, and to appeal to the largely Hindu audiences.

Such was the fragility of Indian communal harmony in the immediate aftermath of independence.

Talking of fragility, it was not only communal harmony that was fragile. Independent India had inherited unprecedented levels of poverty, exacerbated by partition woes. Its economy was in very bad shape. Poor living conditions meant disease was not uncommon. Added to this was a very high level of illiteracy and social backwardness in general.

Kashmir was still a burning issue, Gandhiji got assassinated.

The overall situation looked so bleak at one time that Life Magazine, in the late 1940s, even ran a story along the lines of “Will India survive?” Clearly the world was skeptical.

Thankfully, our Founding Fathers were not.

Even in the midst of all these seemingly insurmountable challenges, they stayed steadfast on course, buoyed by the exuberance of having a new baby to nurture and nourish. Yes, there were challenges – but, to them, these were teething troubles.

Despite differences amongst themselves (yes, they did have differences!), they were united on one thing – all of them had a dream of a strong, resilient, and free India. Their views on how to get there might have been different – Nehru might have had a socialist mindset, Rajaji a more capitalist mindset – but they shared this common dream.

This dream involved providing, for every Indian, a fair opportunity at life. A life of dignity. India would be a country where justice would be available to one and all. A country which had hitherto been suppressed, but whose peoples would now be able to breathe freely, not be enslaved to any thought. They would be free to pursue a religion of their choice. India would be a country whose people would feel a sense of fraternity towards each other, not be divided by regionalism, casteism, religion and other such divisive elements.

This dream got enshrined in the form of a Constitution for India. When India became a Republic on 26th January 1950, it further underlined the vision of the Founding Fathers – that there would be no monarchy in India, that there would be elected representatives, elected by the people. There’s a lot more in the Constitution – it lays down the terms of reference between organs of the State, separation of powers between the Executive, Legislature and Judiciary, it talks about fundamental rights and duties of citizens.

While there is always scope for improvement, and any document should be a living document kept in tune with the times, the Constitution of India does provide a great framework for the country. Without it, there would be utter chaos.

And for this Constitution too, we need to thank our Founding Fathers and their vision.

I know none of this is new to anyone – and I am rambling – but I do think that at least on Independence Day (if not on other days) we need to remind ourselves of how much struggle, sacrifice and effort went into first making India an independent nation, and then ensuring it survived against the greatest of odds.

Unless and until we appreciate the magnitude of the challenges that were faced and overcome at that time, we will not be able to value the freedom we have today.

So I hope you will excuse my rather long history lesson. 🙂 If there are any inaccuracies here, please do let me know. I’m happy to be corrected.

The song “hum laaye hain toofaan se kashti nikaal ke” comes to mind in this regard.

Now to today’s India. Let’s take stock of where we are.

We’ve come a long way from those early fragile years. Sure, we’re still not where we’d like to be, but we’re definitely not looking at an existential crisis.

Economically too we are far better off today. Although we still have millions below the poverty line, and many above it still struggling to make both ends meet, we are better off than the “independence” generation. Many of us will admit that our own fathers and forefathers had a much tougher life than we are having now.

Education levels have also significantly improved. I have doubts about the quality of education as I see many “highly-qualified” Indians unable to comprehend basics, completely lacking in logical or analytical thinking, lacking in life-skills, but that’s for another debate. Let’s just say, we have many millions more “educated” Indians today.

In many other areas, like tackling disease, or improving sanitation or road infrastructure, India is progressing. It’s a 71-year young nation now, one would expect nothing less.

So on the material front, I think India is on the right track. Still a long way to go, still a lot of poverty to eradicate, but I have hope.

My bigger concern is to do with freedom and independence. Not of India, but of Indians.

I happen to think India became free and independent on 15th August 1947 – but only in a political sense.

Indians are FAR from being free or independent, even today, 71 years later.

When Indians attained freedom from colonial rule, they expected to be able to lead their lives as free citizens. No more being slaves to anyone, no more being treated like third-class citizens.

The reality though is that we are still slaves. Not to British masters anymore, but to Indian ones.

The difference is, we didn’t elect those British masters, we now elect our Indian masters. The specific individuals change, but the underlying master-slave relationship doesn’t.

In theory, in a democracy, we, the people, have power. We elect representatives on our behalf to run the affairs of the country. These representatives are therefore “public servants”, supposed to serve the interests of the people. They are supposed to be accountable to the people for the tasks assigned to them. They are also accountable to the people for funds utilized by them because these funds are collected from, and on behalf of, the people. They are supposed to be transparent about their work, so that the public can evaluate progress (or lack of it).

This is the theory.

We all know how things work in practice.

But why don’t they work?

Simply because there is a huge power imbalance between the people and their representatives. These representatives, so-called “public servants”, have steadily increased their power quotient at the cost of the people they are supposed to serve. As it is, they have the power to make laws – so they make or modify laws to strengthen their power position, to legitimize their power grab, thus further skewing the imbalance in their favour. Sel-aggrandizement is the mantra.

This isn’t just the story of one political party – this is with practically every political party.

Which is why the solution isn’t to just replace one party with another.

The solution is to structurally redress this power imbalance.

Make the public more powerful.

How?

There is very little power in the hands of one individual. I can scream from my rooftop but my single voice means nothing.

But there is a lot of power in a large group. The larger, the better.

When a large group chooses to raise its voice, these representatives have no choice but to listen. Otherwise they know they will be on the wrong side of the numbers game.

And in a democracy, it is all about a numbers game.

But for a large group to raise its voice against the powers-that-be, it has to, first of all, be free. It must NOT have a slave mentality.

And that’s a big problem in India.

Maybe due to historical baggage of being ruled by maharajas, many Indians are still subservient to authority. They are still happy to be “ruled”. Feudalism, although less today, still plays its role in perpetuating this master-slave relationship.

This is also why SO many Indians still have this “mai-baap” attitude towards government and other powers-that-be. They fall at the feet of politicians, seeking favours, sometimes even begging for something that is their right, but has been denied to them.

And of course, the politicians then act high-and-mighty, dishing out largesse as if they are royalty. They act generous – it’s easy to be generous with other people’s money. A sizeable share of the public’s hard-earned money is distributed as an act of generosity by the politicians. And they get praise for this. Not to mention votes.

It is THIS mentality that is my biggest issue with Indians. This slave mentality.

Which is why I say India became a free country on 15th August 1947 – but Indians are still slaves.

Just to clarify, I wouldn’t blame the poor or destitute for this. They are barely struggling to survive on a daily basis – they hardly have any choice or agency. But those who DO have a choice, who don’t HAVE to grovel before the powers-that-be but still do so, they are the ones who are undermining the effort to redress the power imbalance. They are often the ones to first stand up in defence for the powers-that-be, against their own fellow citizens.

So on this Independence Day, my request to all Indians is to abolish this slave mindset – and be free. If you don’t want to be treated like a third-class citizen, you first need to stop behaving like one.

Freedom is too precious to let it be taken away from you by anyone. Like Sahir said “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai…apna haq sangdil zamaane se, chheen pao, to koi baat baney”.

And please stand up for those who try to break these chains of slavery. As I said earlier, this battle cannot be fought by one individual. So when someone is trying to fight against oppression, against slavery, please support his or her effort, instead of undermining it by being loyal to the master.

Even during our Freedom Struggle, there were Indians who undermined the effort of fellow Indians by taking the side of the British. This only made the freedom struggle harder.

I hope we have learnt from that lesson.

There are a lot more thoughts in my head on this Independence Day – there are a lot more improvements I’d like to see in India. Especially with regard to society.

The thing is, if we harbour aspirations to be a truly developed nation, we need to also have progressive thought in society. Mere material progress isn’t enough.

It saddens me to see that even in 2018, some of our thinking is regressive.

Patriarchy is still rampant in Indian society – with all its negative consequences for women, and even men. It is one of the biggest reasons for rapes and other forms of violence against women.

Then, our casteism. Even today, Dalits are discriminated against – let’s not pretend they aren’t.

Indian society is full of prejudices – just look at matrimonial columns to get an idea.

There’s a lot more that bothers me – I could go on and on.

But this post has already become too long – and each of these topics deserves proper discussion and treatment of its own.

So I will stop here on these topics.

Just to clarify, I’m not saying we haven’t come a long way. We have. But we still have a very long way to go – in terms of poverty alleviation/elimination and society upgradation.

The responsibility lies largely with those of us who are relatively privileged and educated. Even the Freedom Struggle counted amongst its leaders many well-educated Indians, of whom many had had the opportunity to study or live abroad and get a different perspective on life and their country.

So those of us who are in a position to make a difference need to do so. But for that, we first need to CARE for our less-privileged fellow citizens. Instead of looking down on them, we need to think of how we can make their lives better. We need to help make them free and independent citizens. Remember, WE are the fortunate ones, to even be able to read this online. I don’t mean this in the slightest patronizing sense – the fact is that we are all privileged. Millions are not.

Also remember, those well-off Indians from the Freedom Struggle could very easily have just enjoyed their privilege instead of throwing themselves into the Struggle. They chose to make sacrifices because the cause they were fighting for, was bigger than their individual selves.

We need a similar cause that we can all rally around today. If that is the prosperity of India, it must mean the prosperity of all Indians, not just a select few. But prosperity, without peace and harmony, is useless. So the cause must encompass all these components.

India is nothing without Indians. It would be just a piece of land. So talking about “making INDIA a great nation” is all just empty rhetoric if we are not working towards making the future of INDIANS great. And again here I mean ALL Indians, not a select few.

For me it is all about the individual first. She or he is the unit-level of existence. If the individual isn’t empowered, if she or he isn’t free, what’s to celebrate about the nation being free? The nation is just a bunch of individuals, right?

You might not agree with my thoughts (and that’s perfectly fine!) – I’m just sharing them here on request of Avinashji. 

A lot more running in my head too – but this post has already become way too long now, so let me get to the song for the occasion.

It is a non-film song. A patriotic song composed by Khayyam, sung by Rafisaab, to Sahir’s lyrics.

I heard this song for the first time only a few days ago – I quite liked it. I hope you like it too.

Happy Independence Day. And thanks for your patience in tolerating this long post. 🙂


Song-Watan ki aabroo khatre mein hai (Rafi NFS)(1962) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Khayyam
chorus
Rafi+Chorus

Lyrics

Watan ki aabroo khatre mein hai
Aa aa aa aa aa
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Hamaare imtihaan ka waqt hai
Taiyyaar ho jaao
Taiyyaar ho jaao
Taiyyaar ho jaao o

Hamaari sarhadon par khoon behta hai
Jawaanon ka
Aa aa
Huaa jaata hai dil chhalni
Himaalaa ki chattaanon ka
Aa aa
Uthho rukh pher do dushman ki
Topon ke dahaanon ka aa
Aa aa
Watan ki sarhadon par aahni
Deewaar ho jaao
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Wo jinko saadgi mein hamne
Aankhon par bithhaaya thha
Aa aa
Wo jinko bhai kehkar
Hamne seene se lagaaya thha
Aa aa
Wo jinki gardanon mein haar
Baahon ka pehnaaya thha
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Na ham is waqt Hindu hain
Na Muslim hain
Na Isaayi
Hmm hmm hmm
Agar kuchh hain to hain
Is desh is dharti ke shaidaai
Hmm hmm hmm
Isi ko zindagi denge
Ae ae ae
Isi ko zindagi denge
Isi se zindagi paayi
Lahu ke rang se likhaa huaa
Ikraar ho jaao
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Watan ki aabroo khatre mein hai

Khabar rakhna koi gaddaar
Saazish kar nahin paaye ae
Aa aa
Nazar rakhna koi zaalim
Tijori bhar nahin paaye ae
Aa aa
Hamaari kaum par ar ar ar
Hamaari kaum par
Taareekh tohmat dhar nahin paaye ae
Aa aa aa
Kafan dushman
Darindon ke liye
Lalkaar ho jaao
Lalkaar ho jaao
Lalkaar ho jaao o
Lalkaar ho jaao o
Lalkaar ho jaao o o

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————–
वतन की आबरू खतरे में है
आ आ आ आ आ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

हमारे इम्तिहान का वक़्त है
तैयार हो जाओ
तैयार हो जाओ
तैयार हो जाओ ओ

हमारी सरहदों पर खून बहता है
जवानों का
आ आ
हुआ जाता है दिल छलनी
हिमाला की चट्टानों का
आ आ
उठो रुख फेर दो दुश्मन कि
तोपों के दहानों का आ
आ आ
वतन की सरहदों पर आहनी
दीवार हो जाओ
होशियार हो जाओ
वतन की आबरू खतरे में है

वो जिनको सादगी में हमने
आँखों पर बिठाया था
आ आ
वो जिनको भाई कहकर
हमने सीने से लगाया था
आ आ
वो जिनकी गर्दनों में हार
बाहों का पहनाया था
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
होशियार हो जाओ
वतन की आबरू खतरे में है

ना हम इस वक़्त हिन्दू है
ना मुस्लिम है
न इसाई
हम्म हम्म हम्म
अगर कुछ हैं तो है
इस देश इस धरती के शैदाई
हम्म हम्म हम्म
इसी को ज़िन्दगी देंगे
ए ए ए
इसी को ज़िन्दगी देंगे
इसी से ज़िन्दगी पायी
लहू के रंग से लिखा हुआ
इकरार हो जाओ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

वतन की आबरू खतरे में है

खबर रखना कोई गद्दार
साज़िश कर नहीं पाए ए
आ आ
नज़र रखना कोई ज़ालिम
तिजोरी भर नहीं पाए ए
आ आ
हमारी कौम पर र र र
हमारी कौम पर
तारीख तोहमत धर नहीं पाए ए
आ आ आ
कफ़न दुश्मन
दरिंदों के लिए
ललकार हो जाओ
ललकार हो जाओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ ओ

Dahaan – दहान -دہان
mouth; orifice

Shaidaa. ii – शैदाई – شیدائی
lover, enamored

Tohmat – तोहमत – تہمت
Allegation, Accuse
false accusation, suspicion of guilt


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3672 Post No. : 14554

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

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

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

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

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

That got me thinking.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Which brings me to my song for today.

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

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

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

But the highlight for me was the songs.

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

ru ru ru
ru ru ru
ru ru ru

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


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3669 Post No. : 14546

Less than a week ago, we remembered our beloved Rafisaab on his death anniversary.
Today happens to the birth anniversary of another of our beloved legends, Kishore Kumar (popularly referred to as Kishoreda). So we very fondly remember him today and pay tribute to him.

Both Rafisaab and Kishoreda died when just in their 50s – both of them could have easily gone for many more years. But life and death matters are not in our hands – we can only thank them for what they have given us, the legacy they have left behind for generations to relish.

As with Rafisaab, I have written a lot about Kishoreda already on this blog. I am extremely fond of him – as I have said many times, it is never a competition for me between artistes. This isn’t an Olympics event where if one has to get gold, the other can at best aspire for silver.

I remember a poll in the late 70s, where people had to vote on who was the better singer, Kishoreda or Rafisaab. I don’t remember who came up with the poll but those were times when Kishoreda was the reigning star. He himself felt so embarrassed by this poll that he conveyed his unhappiness at it and it ended.

Professional rivalry apart, Kishoreda and Rafisaab had great respect for each other and were actually very good friends. Amit Kumar, Kishoreda’s son, has narrated stories about their friendship. So all this petty thinking is in the minds of people and not those who are the topic of discussion.

Personally, I have always stayed away from discussions trying to pull down one artiste to make the other look better. Thankfully, the world of music is like an ocean – it has room for everyone to contribute to, and partake of, its treasures.

Amongst the artistes, sure, there might be competition to be better than the other – and that’s not necessarily a bad thing. It only makes one strive to be better.

I remember Laxmikant-Pyarelal saying that if RD Burman came out with a hit album, L-P wanted to do better with their next. And RD had the same competitive spirit. But it was never malicious, or to run down the other.

As music lovers, we benefit from this – we get the best of all worlds.

Now let me talk a little bit more about Kishoreda since this post is a tribute to him.

Where do I start?

With his singing of course.

I am fond of Kishore Kumar the actor too. I’ve seen many of his comedy films of the 50s and 60s.

I am also much-impressed by Kishore Kumar, the producer/director. Contrary to his image of being more of a prankster and comedian, his films Door Gagan Ki Chhaon Mein (1964) and Door Ka Raahi (1971) are thought-provoking, sensitive, films with depth. I would recommend them to anyone who wants to see a different side of Kishore Kumar.

I am also impressed by Kishore Kumar the composer. He composed almost entirely only for his own films – and did a wonderful job at it.

Considering he was also the writer for his own films, it gives us an idea of what a brilliant all-rounder he was. It is hard enough to do one job, but to do so many so effortlessly requires genius.

And Kishoreda definitely qualifies for this. Much like Sir Gary Sobers, former West Indian cricketer, who, as an all-rounder, could do practically anything on a cricket field.

And yet, despite all this, what Kishoreda will be best-remembered for, and what he absolutely excelled in, was as a singer.

Which is why I would like to discuss more about his singing now.

I’ve said this many times before – I grew up with Kishoreda all around me. Those were the early 70s – and Kishoreda was everywhere. You had to live in that time to realize how much he dominated that period. Or, if you want evidence, just check Binaca Geet Mala lists and you will know.

I don’t need any such evidence – I know that every single day Kishoreda dominated song programmes on radio that were based on the latest Hindi film songs. The female voice might have been largely split between Lata Mangeshkar and Asha Bhosle, but the male voice was Kishore, Kishore and Kishore.

It was often for Rajesh Khanna, but even when it wasn’t, it was Kishore. It could be Kishore for Shashi Kapoor (Sharmilee) or for Dharmendra (Blackmail) or for Jeetendra (Parichay) or Dev Anand (Gambler) but it was Kishore all the way.

Occasionally there’d be a male voice of a “new” song that was not Kishore. That song often stood out as an exception. It could be Rafisaab or Mukesh or Manna Dey. But it was always the exception, not the norm.

So THIS was the environment in which I grew up. My school classmates used to sing a lot of songs – they were invariably Kishore songs. In particular, I remember songs like “o mere dil ke chain” (which was my favourite at one time), “chalte chalte”, “o maajhi re” and “zindagi ke safar mein guzar jaate hain”.

But of course there were many more.

My own favourite would keep changing. I had this concept of a favourite song which I’d sing non-stop (driving others crazy) till another favourite took over.

I remember it was at one time “ye shaam mastaani”, then “sama hai suhaana suhaana”, then “jaane ja dhoondhta phir raha” took over, to be displaced by “o mere dil ke chain” (this was favourite for a very long time) and then “tere bina zindagi se koi” took over. There might have been others too, I can’t remember now. In between, there were umpteen songs that I’d sing while taking a break from my favourite. 🙂 Obviously, all to myself only – which is why I am still alive. 🙂

This post is already getting a bit long but I’ll mention one anecdote from school days. I was in 8th Standard. In those days, we’d often ask our teachers for a “free period” – sometimes a teacher would be nice enough to oblige. Boys would then go up to the front of the class and sing songs.

Once our English teacher gave us a “free period”. The best singer in the class, by name Prasad, went up to sing. Suddenly he announced “I’ll sing this song because it is Raja’s favourite”. Now I was quite a favourite of my teacher, maybe because I was reasonably good in English. She immediately looked at me – I am pretty sure she expected an “English” song. Maybe Carpenters or Rolling Stones, or Beatles, or some such group. She probably had that idea about me.

Prasad started singing “o mere dil ke chain”.

I could see the look on my teacher’s face. It was like she had been hit by a brick. A Hindi song? That too a film song? That too, a romantic song? Bhajan hota to phir bhi chal jaata. I turned red, and immediately averted my eyes, looking down throughout, hoping the earth would just open up and swallow me. I was sitting in the front row, right in front of her, so there was no place to hide. Prasad must have sung very well – he always did – but I couldn’t listen to one word. I was too busy lost in my own “misery” to pay attention to anything else.

Somehow I managed to survive – though I think my teacher never quite saw me the same way again. 🙂 Prasad has a lot to answer for. 🙂

Today, this anecdote suddenly came to mind as I was writing this post. Wonderful memories – of Kishore Kumar songs, enjoyed with my classmates in school.

The point is to emphasise how much of an influence Kishore Kumar had on me at that time. Rafisaab came into my life much later.

By the time the 1980s came along I could not keep track of the latest songs. Partly because I got busy, partly because I didn’t like where music was headed. (“Angrezi mein kehte hain” and “shaayad meri shaadi ka khayaal”, you know I’m looking at you :-)).
Anyway, it wasn’t Kishore’s fault. His voice was always a delight to listen to.

Now onto the song for today.

This is a song I’d never heard before till Avinashji brought it to my attention a few weeks ago. I’d never even heard of the film.

The original idea was to possibly post it as Kishoreda’s 1100th song on this blog, but since another song took that place, we are posting this as his birthday song. The lyrics are, as usual, by Avinashji.

The song is “geeton mein mere” from Geet Ganga (1982). The film itself makes its debut on this blog today.

It is a pleasant song which grows on me the more I listen to it. I have already listened to it quite a few times.

The lyrics, referring to songs flowing like the Ganga, have a nice feel to them. Anjaan, the lyricist, being a native of Varanasi, had his own style of lyrics, often bringing a Bhojpuri feel to them. And this song referring to the Ganga is in the tradition of other songs written by him which also refer to it – “Ganga kinaare waala”, “maano to main Ganga maa hoon”, “Ganga mein dooba” for example.

The song is picturised on Arun Govil, and as he “sings”, the words resonate with me.

jhoom ke aise ae
geet sunaaun
nafrat mein bhi preet jagaaun
dushman ko bhi meet banaaun
jo dil chhu le ae
geet wo gaaun
swarg utaaraa
saat suron mein bahe re jag saara

Lovely lines – and it is wonderful to listen to Kishore Kumar singing them. Indeed “jo dil chhu le, geet wo gaaun” suits him – he sang many songs that touched our heart.

I hope you like the song too.

On this note, I will end this post as it has already become somewhat long.

All I will say is, Kishore Kumar will always remain in our hearts as a very special person – one of a kind.

Thank you for everything, Kishoreda.

Patt I

Part II

Song-Geeton mein mere Ganga ki dhaara(Geet Ganga)(1982) Singer-Kishore Kumar, Lyrics-Anjaan, Md-Sapan Jagmohan
Kishore Kumar + Chorus

Lyrics
——————————–
Part I
——————————-

Geeton mein mere ae
ho o o o o o o
Geeton mein mere
Gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

bol bol mein ae ae ae
bol bol mein
Gangaa boley
Chhand chhand mein dhun
Kal kal ki
Prem bhare geeton mein mere
Paawantaa hai Gangaa jal ki
Dukh ki lehar mein aen
Ho o o o o o o o
Dukh ki lehar mein
Sukh ka kinaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

jhoom ke aise ae
ho o o o
jhoom ke aise
geet sunaaun
nafrat mein bhi preet jagaaun
dushman ko bhi meet banaaun
jo dil chhoo le
geet wo gaaun
geeton mein maine ae ae
ho o o o
geeton mein maine
swarg utaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

har pal Gangaa aa
ho o o o o o o
har pal Gangaa ke gun gaaun
nagar dagar mein
alakh jagaaun
paap hare lehren Gangaa ki
main dil ke dukh dard bhulaaun
Gangaa tat ka aa
Ho o o o o o
Gangaa tat ka
Main banjaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

——————————————-
Part II
——————————————-
Geeton mein mere ae
ho o o o o o o
Geeton mein mere
Gangaa ki dhaaraa aa
saat suron mein bahe re jag saara aa
saat suron mein bahe re jag saara aa

geeton mein mere
gangaa ki dhaaraa aa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

Jab Gangaa ka naam pukaaraa
doob ke tar gayaa ye jag saaraa
saans saans Shankar ki pooja
har swar mein hari om ka naaraa
mujh ko to mere ae
ho o o o o o o o
mujh ko to mere
geeton ne taaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

har pal Gangaa aa
ho o o ho o o o
har pal Gangaa ke gun gaaun
nagar dagar mein
alakh jagaaun
paap hare lehren Gangaa ki
main dil ke dukh dard bhulaaun
Gangaa tat ka aa
Ho o o o o o o o
Gangaa tat ka
Main banjaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara
geeton mein mere
gangaa ki dhaaraa
saat suron mein bahe re jag saara
saat suron mein bahe re jag saara

—————————————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
——————————————————

गीतों में मेरे ए
हो ओ ओ ओ ओ ओ ओ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा आ
सात सुरों में बहे रे जग सारा आ

गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

बोल बोल में ए ए ए
बोल बोल में ए
गंगा बोले ए
छंद छंद में धून कल कल कि
प्रेम भरे गीतों में मेरे
पावनता है गंगा जल कि
दुःख कि लहर में
हो ओ ओ ओ ओ ओ ओ ओ
दुःख कि लहर में
सुख का किनारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

झूम के ऐसे ए
हो ओ ओ ओ ओ ओ ओ
झूम के ऐसे ए
गीत सुनाऊं
नफरत में भी प्रीत जगाऊं
दुश्मन को भी मीत बनाऊं
जो दिल छू ले ए
गीत वो गाऊं
गीतों में मैंने ए
हो ओ ओ ओ ओ ओ ओ ओ
गीतों में मैंने ए
स्वर्ग उतारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

हर पल गंगा आ
हो ओ ओ ओ ओ ओ
हर पल गंगा के गुण गाऊं
नगर नगर में
अलख जगाऊं
पाप हरे लहरें गंगा कि
मैं दिल के दुःख दर्द भूलाऊं
गंगा तट का
हो ओ ओ ओ ओ ओ ओ ओ
गंगा तट का
मैं बंजारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा
गीतों में मेरे

गीतों में मेरे ए
हो ओ ओ ओ ओ ओ ओ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा आ
सात सुरों में बहे रे जग सारा आ
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

जब गंगा का नाम पुकारा
डूब के टार गया ये जग सारा
सांस सांस शंकर कि पूजा
हर स्वर में हरी ॐ का नारा आ
मुझको को तो मेरे ए
हो ओ ओ ओ ओ ओ ओ ओ
मुझ को तो मेरे
गीतों ने तारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा

हर पल गंगा आ
हो ओ ओ ओ ओ ओ
हर पल गंगा के गुण गाऊं
नगर नगर में
अलख जगाऊं
पाप हरे लहरें गंगा कि
मैं दिल के दुःख दर्द भूलाऊं
गंगा तट का
हो ओ ओ ओ ओ ओ ओ ओ
गंगा तट का
मैं बंजारा
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा
गीतों में मेरे
गंगा कि धारा आ
सात सुरों में बहे रे जग सारा
सात सुरों में बहे रे जग सारा


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3665 Post No. : 14535

Here is that day again.

Yes, it is the 31st of July (2018) today – which for HFM lovers, wherever they are in the world, signifies just one thing.

The death anniversary of Mohammad Rafi – respectfully referred to as Rafisaab, by one and all.

I am sure there will be events around the country to solemnly mark the occasion. Why just in the country, probably even across the world, considering how distributed India’s diaspora around the world is.

Millions of people will be remembering today as Rafisaab’s Remembrance Day – a term we also often use on this blog.

Truth is, at least for me (and I’m sure it’s true for many), every single day of the year is Rafisaab’s Remembrance Day. For there isn’t a single day in the year that I do not remember Rafisaab in some way or the other. It is usually in the form of a song I’m listening to – or sometimes singing (thankfully only to myself). 🙂

Of course, the 31st of July adds a huge extra layer of remembrance because it brings with it a sense of loss. Although it is 38 years now, this sense of loss remains. And for me, it will remain all my life.

As I sit to write this post, I’m not sure what I should write about Rafisaab that I haven’t already written here.

The thing is, I’ve written a lot about Rafisaab here. My posts here might be relatively infrequent now but I make it a point to always write a post on Rafisaab’s birth and death anniversaries. These are two dates I never miss. It is just my very small way of paying tribute to Rafisaab, and thanking him for enriching my life in a way, and to an extent, that I just cannot describe.

And I’d like to think, he is up there, smiling as always, reading these tributes.

There isn’t much I can think of writing now that I haven’t already written before. And although I don’t mind repeating myself, I don’t want to bore the readers. Having said that, I never tire of repeatedly watching the same tributes to Rafisaab on youtube. I’ve listened to Jeetendra’s story of Deedaar-e-Yaar multiple times, SP Balasubramaniam’s story about “deewaana hua baadal” multiple times. 🙂 And each time, it feels good to listen to it.

But that’s different from my repeating stories, that too in text, not video. Besides, they speak about their personal experiences involving interaction with Rafisaab – mine are just my personal thoughts.

So I will refrain from repeating myself.

One thing I will say – I’ve often felt lucky that Rafisaab’s era was before mine. Imagine somebody living in the 1920s/30s and passing away before 1947. He or she would never have had the opportunity of listening to Rafisaab. Of course there were greats even then – like Saigal saab and Pankaj Mallick, but we now have the good fortune of being able to listen to them AND to Rafisaab, Talat Mahmood, Lataji and others.

Future generations will have even more music available to them, in addition to what is available today.

That’s the greatness of a legacy. Every individual has to die sometime – nobody can do anything about that. Yes, one can delay the inevitable – but it is still inevitable. No one has yet invented the elixir of immortality – and that might not be such a bad thing.

Coming to Rafisaab, I’ve spent hours and hours listening to him. I’ve spent all night listening to his songs. It starts with one song, then I think “ok, one more”, then “one more” and so it goes on. On youtube, you keep getting prompted anyway – so it’s just one click after another. You start with “chaudvin ka chand ho”, then, as if on cue, you’re prompted “abhi na jao chhod kar”, which then takes you to “deewana hua baadal”, which takes you to “pukaarta chala hoon main” and so on. You know the drill – you’re hooked. This has happened to me many times.

Not that I’m complaining. It has always been a thoroughly enjoyable experience. I often don’t even watch the video – I just close my eyes and let Rafisaab’s voice take over. And suddenly everything seems to either fall in place, or become inconsequential. For that period at least. When SPB says that at the end of a long day in the recording studios he would come home and listen to Rafisaab to relax, I think I can understand where he’s coming from. Rafisaab’s voice can be extremely relaxing, if you listen to the right songs. I don’t know how often I’ve listened to “ab kya misaal doon” (Aarti-1962) or “maine shaayad tumhe pehle bhi kahin dekha hai” (Barsaat Ki Raat – 1960). And think of songs like “husnwaale tera jawaab nahin” (Gharana–1961) or “ek haseen shaam ko” (Dulhan Ek Raat Ki – 1967) or “mujhe dekh kar aapka muskuraana” (Ek Musafir Ek Haseena – 1962). And if you’re looking for duets, how about “theheriye hosh mein aa loon” with Suman Kalyanpur (Mohabbat Isko Kehte Hain – 1965) or “dil pukaare” with Lata (Jewel Thief – 1967) or “phir miloge kabhi is baat ka vaada kar lo” with Asha (Ye Raat Phir Na Aayegi – 1966). And of course, one of my all-time favourites – which is why I keep coming back to it – “abhi na jao chhod kar” with Asha (Hum Dono – 1961). 🙂

And so many more. I just realized that all the songs I’ve mentioned above, which came randomly to my mind, are all 1960s songs – but this is purely a coincidence. One can find a treasure of songs from the 1950s or even 1970s. Yes, even the 1970s, when Rafisaab was supposed to be going through a lean patch for the first half of the decade. The half in which he still gave us songs like “tum jo mil gaye ho” (Hanste Zakhm – 1973) and “aaj mausam bada beimaan hai” (Loafer – 1973). And my favourite Rafisaab duet song of the 1970s – “teri bindiya re” (Abhimaan – 1973) with Lata, which I have listened to a zillion times, and can never have enough of.

Rafisaab sang practically every genre, from qawwali and devotional songs to rock-n-roll and romantic songs, adjusting his singing style and voice for every actor, depending on the needs of the situation. He was always conscious that he was the playback voice – and that the actor on screen was bringing that song to the audience in “his” (the actor’s) voice. This elevated not just the song, but often even the film, for the viewers, because very often the songs of the film carried the film. 🙂

And, to add to all this, as if his divine voice wasn’t enough, he was also one of the most gentle souls the industry has ever seen. In an industry where ego clashes and tempers were not uncommon, he was ever-smiling, ever accommodating of others, never throwing his weight around – which he could very easily have done. He had a very big heart, ever generous and helpful to those in need. And he did a lot of it without publicity. It was only after he died, that a number of his charitable actions came to light.

So SUCH is the person Rafisaab was. Will we ever see another like him in the industry? Hard enough to imagine another singer like him – add to that his nature, and I think it’s safe to rule out the chance of another Rafisaab. No, Rafisaab was one of a very special kind – like SPB says, we were just very lucky he came in our midst before he was called back.

Indeed, he was 100% right when he sang “mujh ko mere baad zamaana dhoondhega”.

I will now move on to today’s song.

As it is the 31st of July, I have selected a song, sung by Rafisaab of course, about the inevitability of passing away. It is a very short song from the film Amardeep (1979) – but it suits the occasion perfectly. Lyrics have been provided to me, as usual, by Avinashji.

The song’s lyrics, written by Anand Bakshi, talk about how death is inevitable. And yet how sudden and shocking an unexpected death can be. “Tum aise gaye, aise bhi jaata nahin koi”. Everyone knows how sudden Rafisaab’s death was. That was just no way to go. Everyone was in shock – and he was just 55.

The song also refers to having a smile on one’s face even while dead. “Kyon mar ke bhi honthon pe hansi khel rahi hai”- this could also be said of Rafisaab. He was ever-smiling, reportedly even in death.

This song brought a lump to my throat.

Also, listening to his voice only further made me realize how wonderful his voice was even just a year before he passed away. It left me with a loss of what might have been. I felt he had so much more singing in him.

Anyway, one cannot control these things. One can only be thankful for what one has got. And we have got a LOT from Rafisaab. A price can never be put on his legacy – it is just priceless. He will be in our hearts for ever, and remembered for ever.

Rafisaab is truly “amar” in this sense – and lighting amardeep in all our hearts.

Thank you, Rafisaab.

Thank you for everything.

bahut shukriya, badi meherbaani,
hum sab ki zindagi mein huzoor aap aaye

Audio

Video


Song-Duniya mein sada rehne ko aata nahin koi (Amardeep)(1979) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Duniya mein sadaa rehne ko
Aata nahin koyi
Tum jaise gaye aise bhi
Jaata nahin koyi

Kyun mar ke bhi honthhon pe hansi
Khel rahi hai ae
Sab jaante hain aur
Bataata nahin koyi ee

Dil pehle hi dartaa thaa
Ke jal jaayega daaman
Daaman se amardeep
Bujhaataa nahin koyi
Bujhaataa nahin koyi ee
Bujhaataa nahin koyi

—————————————–
(Devnagri Script lyrics) Provided by Avinash Scrapwala)
—————————————–
दुनिया में सदा रहने को
आता नहीं कोई
तुम जैसे गए ऐसे भी
जाता आ नहीं कोई

क्यूँ मर के भी होंठों पे हंसी
खेल रही है ए
सब जानते हैं और
बताता नहीं कोई ई

दिल पहले ही डरता था
के जल जाएगा दामन
दामन से अमरदीप
बुझाता नहीं कोई
बुझाता नहीं कोई ई
बुझाता नहीं कोई


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3653 Post No. : 14509

ASAD 10th Anniversary Celebrations – 15
———————————————————————

It has been a while since my last post here – and I have no excuses for this. I will not cite “been busy” as an excuse, because, if I’m honest, I could certainly have found time for a post. If anything, the only reason for not posting is my sheer laziness. And laziness is never, and should never be, an acceptable excuse. So, no excuses. Mea culpa.

One thing though. While I might not be posting frequently, this blog is never far from my heart. It might not be apparent from my recent (non-existent) interactions but this is fact. Whether I post here or not, this blog is very special to me. After all, I have been involved with it from day one. So I request everyone to please excuse my prolonged absence. (Some might consider it not such a bad thing. 🙂 )

Anyway, let me get to the point now. I am not the story here – something else is. Something much bigger than me and my mundane blabbering. Yes, this post is part of a series that marks a very special occasion for this blog. An occasion that speaks to an achievement so momentous, so mind-boggling that it calls for a “lifetime achievement award” for the creator of the blog.

This blog, our beloved blog, completes TEN years today – the first post here appeared on 19th July 2008.

I know I will never be able to do justice to the emotions I am experiencing right now. Words just cannot fully express these feelings. But I’ll try to share some of my thoughts on this occasion. They will be rambling, as usual – but I hope that’s ok.

TEN years. In the history of civilizations, TEN years is nothing. Even in inter-stellar references, depending on context, TEN years is nothing.

But in the world of blogging, TEN years of continuous blogging is HUGE. Mind-blowingly awe-inspiringly HUGE. Or, to use a very common American term, AWESOME. The operative word here is “continuous”. Most blogs out here (and there are countless numbers) are started with great enthusiasm. It doesn’t matter what the blog is about – but, much like exercise, the enthusiasm sees a dramatic drop over time. This could be days, weeks, or, for the more dogged, months. The blog marathoners might just push it into a few years, but there is usually a visible decline in tempo – much like a vehicle that has run its mileage, but is being started everyday just so it doesn’t come to a complete halt. Thus you see a post surface on the blog after months – as if to signal the blog (and the writer) is still alive.

I am not exaggerating. Yours truly also has a potpourri-like blog  – started many years ago with considerable enthusiasm. The live update on the situation is that I can’t even remember when I last posted anything on the blog. Must be a few months at least, if not more. And I am in pretty good company. Thousands of blogs suffer this fate.

That is where this Atul-song-a-day blog, so beloved to us, stands out. Separate from all the other blogs out there. It is one thing to clock ten years. There must be plenty of blogs created before 19th July 2008 and still active. But I wonder how many of those have posts almost EVERY SINGLE DAY day since then. And if they do, I am almost sure they must be commercial blogs, run for profit. By probably an army of people dedicated to the job. In comparison, here it is very different.

We have Atul – who started this blog purely as a labour of love. To this day, even ten years later, it remains that. Yes, he’s helped by Sudhir ji now (and that’s a huge help!) but it’s still one hell of an ask to keep posting every single day. But they do it – Atul and Sudhir ji. The rest of us, Atulites, enjoy the blog, discuss songs, write posts at times (cough, cough!) – but it is basically run by Atul and Sudhir ji.

The most amazing thing about this is that they are both very busy people otherwise – so they have plenty to do, even apart from taking care of this blog. And like I’ve said many times before, every post involves a certain degree of effort. There’s no compromise on quality, so it’s not just a hurried hashed job for the sake of posting something. No compromise on accuracy, whether in the lyrics or in the post itself. If it means needing to listen to a song umpteen times (and Atul has done that), so be it! And apart from the post, there are the other features – the analysis, statistics. All of this demands time too. And besides what we see, they are always working on something in the background.

And oh, I forgot to mention, there’s always the risk of infrastructure failing – whether a power failure, or internet connectivity issue. Over these ten years Atul has been posted in multiple towns – each with its infrastructure challenges. When I consider all this, I can only say that it takes a very special level of love and dedication to HFM to be able to achieve so much, with all constraints and demands on their time.

I would also like to compliment and congratulate not just Atul and Sudhir ji, but everyone who has been part of this wonderful journey, in any capacity. There have been many – some stalwarts too (I shall not take names, we all know who they are 🙂 ) – who have contributed to this blog immensely.

Thanks to this blog, we have all come together, from all over the world, from diverse backgrounds – but with music as our common love and bonding factor. Without this blog, that would not have happened.

Of course, on such an occasion, it is normal to also reflect on the journey. My mind goes back to that first song , posted on 19th July 2008. “Miley Na Phool To Kaanton Se Dosti Kar Li” – Rafi Saab’s divine voice, meaningful lyrics by Kaifi Azmi, composition by Roshan. This song started the journey.

My comment appears on 21st July – so two days later. That is because I got to know about the blog only then. Atul and I were part of this cricket forum – both of us share this interest too, apart from music. Although the forum was primarily meant for cricket discussion, we would discuss a lot of other stuff too – mostly fun stuff. Given our interest, we naturally discussed songs too.

Atul and I (and a few others) would post songs on the forum every now and then. Atul had a thread ‘train songs’, I had a thread ‘songs that inspire me’ and so on.

Around this time Atul started a blog to discuss some of his experiences – I remember him blogging about Binaca Geet Mala, and the famous Jaimala programme of Vividh Bharati. Then one fine day, Atul announced on the cricket forum that he had started a new blog for songs. This announcement was on 21st July 2008 – I promptly visited the blog. Read the post, listened to the song – and left a comment. Shalini, another friend on the forum, also was one of the earliest visitors and commenters on the blog.

At that time, the intention was only one song a day. Which explains the blog name.

But of course, with one song a day, you would not get very far even in ten years. And our thirst wouldn’t get quenched. 🙂

In those early days, I used to give Atul a lot of farmaishes. He was obviously posting songs of his liking – I liked them too, but I had so many other songs that I wanted to see on the blog. So I used to send him requests – lists of 10 songs at a time. Not necessarily very famous songs – I remember even giving a farmaish for “Paape Na Sharma” (film ‘Sagaai’, 1966) – a song I distinctly remember from my childhood.

Around that time, Lalitha also joined in. She was a regular commenter – and would give her farmaishes too. For a while, I felt less guilty – I wasn’t the only one making demands on Atul. Poor Atul! He had started with the intention of posting one song of his choice every day. And here he was, trying to cater to long lists of farmaishes – many probably not even songs of his choice. Yet, he didn’t complain (“Aah Bhi Nikle To Ye Pyaar Ki Rusvaai Hai” ?). He tried gamely to post them all – and possibly realized that at one song a day, it wasn’t going to be feasible.

After a while (I don’t know when – Atul would know the exact dates), he switched to multiple songs a day. That was a big boost for thirsty people like me. 🙂  He kept making improvements to the blog. One feature after another. Statistics. Anniversary page. At that time it was totally a one-man show. He somehow managed to keep posting everyday. The write-up was entirely his at the time.

Then, one day, he asked me if I would do a write-up. I was a bit nervous – but said ok. That was the start for me – this is my 201st post. In these 200 posts, I’ve had the opportunity to pay tribute to several artistes on their birth/death anniversaries or blog landmark occasions – all thanks to Atul.

The blog itself now covers 14500+ songs – I would say it is the richest, most composite, repository of HFM on the internet, especially if you consider that it includes many obscure songs, and is a package of lyrics, video/audio AND a write-up for every single song posted. In any case, we are not in competition with anyone – like I’ve said before, this is a labour of love. We keep building the repository – and the process itself is an enjoyable one. For me personally, this blog has enriched my knowledge of HFM SO much I cannot begin to explain in words. I have discovered SO many gems only through this blog.

And oh, the knowledge of Atulites here! I feel SO humbled. I know nothing, and am happy to learn more from our inhouse encyclopaedia, Arunji. Or Sadanandji, whose knowledge is also immense. And others too. The important thing I realize is that I will not get this information anywhere else on the internet – it is in their heads, often coming from a book or an interview or article ages ago. The internet is not as complete (or even as accurate) a source as many think. We need to keep adding new (accurate) content to it.

And this blog is doing a great job in this respect. Even the comments section are a treasure house of trivia and rare information. For example, when Arunji discusses a song from a film, he doesn’t talk only about the film. He talks about the circumstances in which the film was made, the times, the background of the artistes, director, producer and so on. That gives a very different, and much-enriched, perspective of the film. And this, I feel, is something very special on this blog. It is not merely a song video/audio/lyrics effort. There’s a story behind it that brings the song and film seemingly to life.

And I just love those stories. 🙂

Apart from the blog itself, there is the ecosystem that has got created around it. All the people who came together because of the blog but are now good friends, part of whatsapp group and so on. Some of us have met each other too. Music bonds anyway – and this blog has taken the bonding to a different level. And being part of this journey from day one has been an absolute privilege for me. I have enjoyed it thoroughly and cherish every moment.

Talking of the journey brings me to the song for this post. This is from Jawaab (1970). The lyrics have been provided to me by Avinash ji. When I told him I was planning to do a write-up on this song, he immediately offered to provide me with the lyrics – in English and Devanagari. He is so passionate about this blog, and so helpful – thank you SO much, Avinash ji.

I have picked this song for two main reasons. First, I wanted a fun song to reflect a fun occasion. Secondly, and probably more importantly, some of the lyrics completely resonate with me.

zindagi wo kya
na pyaar jis mein ho
saath agar ho saathi dil ka
mazaa safar mein hai

How absolutely true! What is life without love in it? And indeed, the journey of life is made enjoyable, thanks to the presence of friends on this journey. Otherwise it would be a lonely journey.

The same is totally true of this blog. The journey, now of ten years, has been made thoroughly enjoyable, certainly for me, thanks to the presence of friends on this journey.

And

baant na lein kyon aapas mein
jo dard jigar mein hai

Also true. We share good and bad times, as we go through this journey. So I felt this song suits this occasion very well.

As for the picturisation, I quite like the zany dancing of, then Jumping Jack, Jeetendra. Even by his crazy standards, some of the moves here are of a different level. Leena Chandavarkar too, probably trying not to be outdone, comes up with some moves of her own. All in all, a totally fun song which I am sure most people will enjoy.

Thanks for reading this post – and once again, congratulations to everyone who has been a part of this journey.

mazaa safar mein hai

Yes, indeed. 🙂

Song – Zindagi Wo Kya Na Pyaar Jis Mein Ho (Jawaab) (1970) Singer – Mohammed Rafi, Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – Laxmikant Pyaarelal
Mohammed Rafi + Lata Mangeshkar

Lyrics (Provided by Avinash Scrapwala)

zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai

zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai

zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele ham hai
saath agar ho saathi dil ka
mazaa safar mein hai

ho jaa ho jaa aye dil
kisika ho jaa aa
kisika ho jaa aa
jahaan bhi dekhen aankh ki masti
kho jaa aa
naadaan kho jaa aa
hai pyaar ki fursat kitni
bas raat jawaan hai jitni
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
baant na le kyun aapas mein
jo dard jigar mein hai
zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai

sehmi sehmi kyun hai dhadkan dil ki
main naa jaanoon
pad na gayi ho aankh kisi qaatil ki
main naa jaanoon
jab chal jaata hai jadoo
phir dil par kaisaa kaaboo
o ho ho ho o o o
akele tum ho
akele tum ho
akele ham hai
akele ham hai
hothon par bhi le aao
jo baat nazar mein hai

zindagi wo kyaa
na pyaar jismen ho
saath agar ho saathi dil ka
mazaa safar mein hai
akele tum ho
akele tum ho
akele ham hai
akele ham hai
akele ham hai
akele tum ho
akele ham hai

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

ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं

ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले हम है
अकेले तुम हो
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं

ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो 
अकेले हम है
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं

हो जा हो जा अय दिल
किसी का हो जा आ
किसी का हो जा आ
जहां भी देखें आँख कि मस्ती
खो जा आ
नादान खो जा आ
है प्यार कि फुर्सत कितनी
बस रात जवान है जितनी
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
बाँट न ले क्यूँ आपस में
जो दर्द जिगर में है
ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं

सहमी सहमी क्यूँ है धड़कन दिल कि
मैं ना जानूं
पड़ न गयी हो आँख किसी कातिल कि
मैं ना जानूं
जब चल जाता है जादू
फिर दिल पर कैसा काबू
हो हो हो हो ओ ओ ओ
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
होठों पर भी ले आओ
जो बात नज़र में है

ज़िंदगी वो क्या
न प्यार जिसमें हो
साथ अगर हो साथी दिल का
मज़ा सफ़र में हैं
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है
अकेले तुम हो
अकेले तुम हो
अकेले हम है
अकेले हम है


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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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15041

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4124

Total visits so far

  • 11,705,745 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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