Archive for the ‘Inspirational song’ Category
Ham hain baalak kal ke maalik
Posted on: September 17, 2020
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.
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Blog Day : |
4444 | Post No. : | 15892 |
“Naag Mohini”(1963) was directed by Shantilal Soni for Dimple Films Bombay. This “pauraaanik” movie had Vijaya Chadhary, Mahipal, Sundar, Rajan Haksar, Bablu, Uma Dutt, Indira Bansal, Rajrani, Sood, Khursheed etc in it.
The movie had six songs in it. Four of these songs have been covered in the past.
Here is the fifth song from “Naag Mohini”(1963) to appear in the blog. the song is sung by Suman Kalyanpur. Bharat Vyas is the lyricist. Music is composed by Sardar Malik.
The song is picturised as an “inspirational” song, which to me sounds more like a “putting up a brave face” genre of song on a kid who could be Bablu going by the star cast. I request our knowledgeable readers to throw light on the identity of the kid.
Song-Hum hain baalak kal ke maalik (Naag Mohini)(1963) Singer-Suman Kalyanpur, Lyrics-Bharat Vyas, MD-Sardar Malik
Lyrics
hum hain baalak
kal ke maalik
hum hain baalak
kal ke maalik
samjho mat naadaan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hain baalak
kal ke maalik
jungle ho ujaad ho
saamne pahaad ho
sheron ki dahaad ho
koi na sake re humen thhaamne
din ho ya raat ho
aandhi barsaat ho
koi bhi na saath ho
badhte hi jaayen hum saamne
hum hain bachche
dhun ke sachche
sheron ki santaa aan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hai baalak
kal ke maalik
dikhne mein kamzor hum
shakti mein ghanghor hum
aandhiyon ka zor hum
pade na kisi ko hum se vaasta
chaahe jalti aag ho
bhaazlu cheeta baagh ho
fan uthaaye naag ho
koi na roke humaara raasta
hum hain ladke
hum jo bhadken
ban jaaye toofaa aan
aa jaayen gar hathh pe apni
jhukta hai bhagwaan
ho o
hum hain baalak
kal ke maalik
hum hain baalak
kal ke maalik
samjho na naadaan
aa jaayen gar hathh pe apni
jhukta hai bhagwan
ho o
hum hain baalak
kal ke maalik
Darr Lagey To Gaana Gaa
Posted on: September 12, 2020
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4439 | Post No. : | 15882 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 102 # In Remembrance – Jaikishan #
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Today 12th Sep 2020 is forty-ninth remembrance day of the genius music director Jaikishan of Shankar-Jaikishan duo.
Jaikishan was born on 04th November 1929 at Vansda (in Navsari district, Gujarat) and passed away on 12th September 1971 at Bombay (now Mumbai, Maharashtra). He was only 41 when he passed away and his death shook the entire film industry then.
As a tribute to him here is a song from the 1971 movie – ‘Yaar Mera’. One song from this movie – “Dil Ki Kitaab Kori Hai, Kori Hi Rehne Do” – has already been presented on the blog by Sudhir ji on 13th Sep’2013 with a heartfelt tribute to Jaikishan remembering him on his 42nd remembrance anniversary. Today we will listen another song from the same movie.
‘Yaar Mera’ was released after Jaikishan’s death and the movie was dedicated to his memory. The movie begins with this ‘couplet’. I am unable to identify the voice uttering these words, which plays in the background of the dedication title.
jo shaam savere miltaa thha
phoolon ki tarah se khiltaa thha,
aye maut, tujhe maut aa jaaye
kyon yaar ko mere chheen liyaa
Shankar Jaikishan ruled the music charts in 1971 with their “Zindagi Ek Safar Hai Suhaana” ranking top of the annual ‘Binaca Geetmala’ list. In 1971 from the total 115 released movies, Shankar Jaikishan had composed music for as many as seventeen movies plus the un-released movie ‘Bombay Talkie’ making it to total eighteen movies. Here is the list of movies where Shankar-Jaikishan composed the music and that were released (or passed by Censor Board) in 1971,
| S No | Movie | Passed by Censor Board on | Lyricist/s |
| 01 | Albelaa | 14.10.1971 | Hasrat Jaipuri |
| 02 | Andaaz | 23.04.1971 | Hasrat Jaipuri |
| 03 | Balidaan | 27.12.1971 | Verma Malik |
| 04 | Duniyaa Kya Jaane | 23.08.1971 | Rajinder Krishan |
| 05 | Ek Naari Ek Brahmachaari | — | Hasrat Jaipuri, Neeraj, Anjaan, Kiran Kalyani |
| 06 | Elaan | 30.04.1971 | Hasrat Jaipuri, Farooq Kaiser, Verma Malik, Indeewar |
| 07 | Jaane Anjaane | 17.05.1971 | Hasrat Jaipuri, SH Bihari, Gulshan Bawra |
| 08 | Jawaan Mohabbat | 15.05.1971 | Hasrat Jaipuri, Shailendra, Rajinder Krishan |
| 09 | Kal Aaj Aur Kal | 11.11.1971 | Hasrat Jaipuri, Neeraj, Shaily Shailendra |
| 10 | Laal Patthar | 31.12.1971 | Hasrat Jaipuri, Neeraj, Dev Kohli |
| 11 | Main Sundar Hoon | 18.03.1971 | Anand Bakshi |
| 12 | Naadaan | 20.08.1971 | Hasrat Jaipuri |
| 13 | Parde Ke Peechhey | 16.03.1971 | Rajinder Krishan |
| 14 | Patangaa | 20.08.1971 | Hasrat Jaipuri, Neeraj, Indeewar |
| 15 | Preetam | 26.07.1971 | Rajinder Krishan, Hasrat Jaipuri |
| 16 | Seema | — | Verma Malik, Gulzar, Indeewar |
| 17 | Yaar Mera | 29.11.1971 | Hasrat Jaipuri, Neeraj, SH Bihari |
| 18 | Bombay Talkie (UR) | 19.02.1971 | Hasrat Jaipuri, Usha Iyyer |
Other than songs of ‘Andaaz’ (two songs), the songs of ‘Main Sundar Hoon’ (also two songs) made it to the list of annual Binaca Geetmala of 1971 from the above list of movies. And that can explain how tough the competition was that year.
The song “Dil Ki Kitaab Kori Hai. . .“was the only popular song from the today’s movie and it was frequently heard on radio during that time. As mentioned above this song has already been posted on the blog.
The film was directed by Atmaram for RS Productions, Bombay. Raja Ram and Satish Wagle were the producers of this movie and Jayendra Pandya was the Associate Producer of this movie. Story of this movie was written by Anand Dutta. Dialogues and screenplay of this movie were written by Abrar Alvi. Editing for this movie was done by YG Chowhan, and he was assisted by EG Shinde and DB Rana. CR Panchal was the controller of production of this movie.
The star cast of the film includes Jeetendra, Rakhee, Nazima, Helen, Paintal, Achala Sachdev, Jayant, Sajjan, Randhir, Murad, Sulochana Sr., Nana Palsikar, Radheshyam, Narbada Shankar, Krishan Dhawan, Manmohan, Raj, Darshan, MS Mehta, Fordil, A Kumar, Ram Sindhi, Mona, and Ashok Bhalla.
This movie has five songs written by Hasrat Jaipuri (two songs), Neeraj (two songs) and SH Bihari (one song). Music is composed by Shankar-Jaikishan. Mohammed Rafi, Asha Bhonsle, Suman Kalyanpur and Manna Dey are the playback singers for this movie.
Coming to today’s song, although a lesser heard song, I think it was also played intermittently on radio during those times and later on. This song is sung by Mohd Rafi and lyrics are by Neeraj. An entertaining remembrance which was lying noted since more than seven years now.
Let us now enjoy the today’s song. On screen Jeetendra is performing the song. Also seen in the picturization of the song is Manmohan and Paintal and many others…
Darr Lagey To Gaana Gaa. . .
Video
Audio
Song – Darr Lagey To Gaana Gaa (Yaar Mera) (1971) Singer – Mohammed Rafi, Lyrics – Neeraj, MD – Shankar Jaikishan
Lyrics
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aa aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa
aayeein
darr lagey to gaanaa gaa
jo bhi yahaan cheez hai ae
tera hi maal hai ae
jo bhi yahaan cheez hai ae
tera hi maal hai ae
tera haath thaam le ae
kis ki majaal hai
pakad bhi jaaye yaar kabhi tu
bas mein rail mein
thaane mein jail mein
bheed mein mele mein
sone mein
akele mein ae
sirf gaanaa gaa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
duniya ko bhool ja aa
jaam zaraa thhaam le ae
haan
duniya ko bhool ja aa
jaam zaraa thhaam le ae
mauj zaraa maar le ae
ho masti se kaam le ae
chot kahin aa jaaye tujhko
ro nahin dho nahin
cheekh nahin chillaa nahin
chup nahin bhaag nahin
so nahin
jaag nahin ee
sirf gaanaa gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aayee ee
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa
darr nahin maut se ae
khatron ko jhel tu oo
darr nahin maut se ae
khatron ko jhel tu oo
zindagi ye khel hai ae
zindagi se khel tu
phir bhi tujhko darr lage to
aate hue jaate hue
peete hue khaate hue
uthhtey hue girtey hue
jeetey hue
martey hue ae ae ae
sirf gaana gaa aa aa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
aise bhi ee
haan aan aa aa aa
waise bhi
mmm mmm mmm mmm
darr lagey to gaanaa gaa aa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa
darr lagey to gaanaa gaa aa
————————————————–
Devnagri Script lyrics (Provided by Sudhir)
————————————————-
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम
डर लगे तो गाना गा
अईं
डर लगे तो गाना गा
जो भी यहाँ चीज़ है
तेरा ही माल है
जो भी यहाँ चीज़ है
तेरा ही माल है
तेरा हाथ थाम ले
किस की मजाल है
पकड़ भी जाये यार कभी तू
बस में रेल में
ठाणे मे जेल में
भीड़ में मेले में
सोने में
अकेले में
सिर्फ गाना गा आ आ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
दुनिया को भूल जा
जाम ज़रा थाम ले
हाँ
दुनिया को भूल जा
जाम ज़रा थाम ले
मौज ज़रा मार ले
हो मस्ती से काम ले
चोट कहीं आ जाये तुझको
रो नहीं धो नहीं
चीख नहीं चिल्ला नहीं
चुप नहीं भाग नहीं
सो नहीं
जाग नहीं ईं
सिर्फ गाना गा आ आ
डर लगे तो गाना गा
डर लगे तो गाना गा
अई इ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर नहीं मौत से
खतरों से खेल तू
डर नहीं मौत से
खतरों से खेल तू
ज़िंदगी ये खेल है
ज़िंदगी से खेल तू
फिर भी तुझको डर लगे तो
आते हुए जाते हुए
पीते हुए खाते हुए
उठते हुए गिरते हुए
जीते हुए
मरते हुए ए ए ए
सिर्फ गाना गा आ आ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा
ऐसे भी
हाँ आं आं आं
वैसे भी
म्मम म्मम म्मम म्मम
डर लगे तो गाना गा आ
डर लगे तो गाना गा
डर लगे तो गाना गा
डर लगे तो गाना गा आ
This article is written by Arunkumar Deshmukh, a fellow enthusaist 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.
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Blog Day : |
4404 | Post No. : | 15791 | Movie Count : |
4350 |
Today’s song is from the film Taramati-45. This is an obscure film. None of its songs are available on YouTube or with Saregama. I was lucky to get hold of this rare song from one of my friends. Taramati-45 was produced by Ramniklal Shah, under his banner Ramnik Films. Yes, he is the same Ramniklal Shah, who married actress Indurani. Ramnik productions were known to make action/stunt films or C grade adventure films. Sometimes they would go for Mythological films. Actually, this was their first Mythological film.
Right from the silent era, the studio system was quite strong. Every notable studio had its own group of actors, directors and composers, along with technical staff. Most were on monthly pay rolls. They were tied up to the studio by a written contract. After the entry of Talkie films, studios became more alert in keeping or holding their people with them. This actually became a limitation for the actors and directors, who wanted to fly high and earn more. The second world war added to the woes of studios. Increasing costs, shortages of raw film and demanding artistes virtually broke the studios.
In or around the early 40’s, the studio system started giving away. When the studios broke up, they gave way to new establishments. Sagar gave way to National and Mehboob studios, Bombay Talkies fragmented into Filmistan, N R Acharya films and later filmalaya, New Theatre directors started their own companies like Bimal Roy, Barua, Nitin Bose etc., Prabhat made way for Rajkamal, Nene production, Alhad Chitra of Dharmadhikari etc.
Film Das baje -42 was a film made at the time when Prabhat’s disintegration had started. Shantaram had already walked out to start Rajkamal. After the film Das Baje-42, during 1943, another batch of Raja Nene, Shantaram Atavale, Datta Dharmadhikari and Keshavrao Bhole left Prabhat, while film Ramshastri was in the making. K.Bhole however, completed the music composition of film Ramshastri before leaving Prabhat and the balance film was directed by Gajanan Jahagirdar.
All this team joined Mohan studios. Some of the actors too joined them to make the film Taramati-45. The young director Raja nene, with a lot of experience in acting and of being the assistant director in Prabhat with the stalwarts like Shantaram, Damle and Fattelal was appointed Director of this Mythological film. He also had the experience of independently directing a successful film Dus Baje-42. Pt.Mukhram Sharma wrote the dialogues and songs. The story was developed by G P Pawar and Shantaram Athavale The music was looked after by Keshavrao Bhole and Ramchandra Pal. The cast included, Shobhana Samarth, Vasant Thengdi, Baby Shakuntala, Ananth Marathe and others. The film was released on 8-9-1945 at the Roxy Cinema in Bombay.
Raja Nene was born in a small village in Konkan, on 18-12-1912. His real name was Gajanan Hari Nene. His early education was done in his hometown and he graduated from a college in Ratnagiri. He was the nephew of Vishnupant Damle, a partner in Prabhat Films. After his graduation, Damle employed him in Prabhat as an assistant Director.
Raja assisted Shantaram in the film Vasantsena-35 and Amar Jyoti-36. During the making of the film Sant Tukaram, he was shifted to Damle-Fattelal duo as their assistant Director and he became a key figure in making that film. Subsequently, he continued with Damle – Fattelal duo in their other ventures like Gopal Krishna-38 and Sant Dnyaneshwar-40. For film Sant Sakhu-41, his name was included as one of the directors, along with Damle-Fattelal. In between, he also acted in the film Duniya na maane-37.
In 1942, he directed his first independent film ” Dus Baje” a Marathi-Hindi bilingual. Meanwhile, V Shantaram, a mentor for all junior aspirants and his proteges, left Prabhat to start his own studio-Rajkamal Kalamandir. Same time, a new film of Prabhat-“Ramshastri” was given to Nene for direction. However, a group of Shantaram loyalists – Athavale, Dharmadhikari, Mukhram Sharma, Raja nene and Keshavrao Bhole – decided to leave Prabhat. The incomplete film Ramshastri-44 was completed by Gajanan Jagirdar, in addition to doing the lead role in the film. Keshavrao Bhole also completed his work before leaving Prabhat.
The entire group joined Mohan studios. After the film Taramati-45, Nene started his own company – Raja Nene Productions and made the film ” Shadi se Pehle”-1947. Nene not only acted in the film, but also directed it along with Debutant director Datta Dharmadhikari. After Rajkamal, Nene Productions was the next big production house to emerge from Prabhat Films. It was followed by Alhad Chitra of Datta Dharmadhikari.
After directing film Lalat-47 ( debut film of actress Ushakiran), Nene turned to Marathi films, acting and directing hit films like, Patthe Baburao and Ketakichya Banaat, Sant Ramdas etc. He returned to Hindi films and directed Shri Vishnu Bhagwan-51, Bhai ka pyar-51, Rajrani Damayanti-52, Lanka Dahan-52, Indrasen-52, Radha krishna-54, Pehli Tarikh-54, Hanuman Janma-57 and Gauri Shankar-58.
In between and after 1958, Nene directed only Marathi films, but acted in few Hindi films. His film Pehli Tarikh-54 was a hit film and the famous Kishore song, ” Khush hai zamana aaj pehli tarikh hai” was filmed on him only. Film Pehli Tarikh was remade in Kannada and Tamil by P. Neelkantham as Modaltedi-55. Raja Nene expired on 21-2-1975 at Bombay. He directed 16 Hindi films and acted in 14 Hindi films from 1937 to 1975. ( Ack: based on information from ” Marathi Cinema in Retrospect” by Sanjit Narwekar and Encyclopedia of Indian Cinema, Film India-Nov.45 with thanks.)
There is one unusual name in the cast of the film – Vasant Thengdi. Vasant Thengadi was born on 11-1-1910 at Nagpur. He was the son of Congress leader Dhaniram Thengadi. Vasant had his education in Poona. He could not join the Army, because of his father’s political connections. He had to leave his Engineering college after his father’s death. Being very handsome,tall and with good physique, he started working in Marathi dramas and films. He started his Hindi work with film Dhuwandhar-35. ( This was also the Debut film for Leela Chitnis and Meera Alexander). He started doing Villain roles and became popular and famous. Besides Marathi films, his Hindi films were Taramati-45, Phir bhi apna hai-46, Mera Ladka-38, Din Raat-45, Ten o clock-42 etc. Later he also worked as assistant director to Raja Nene.
Today’s film, as the name suggests, is a well known story of Harishchandra-Taramati. This is a story which appears in Aitareya Bramhanya, Mahabharat, Markendeya puran and Devi Bhagwat. This story has been quite popular with our filmmakers from the earliest era. As we all know, the first Silent feature film was Raja Harishchandra-1913, made by Dadasaheb Phalke. In the silent era there were 3 films called Raja Harischandra-in 1913, 1917 and 1927. There were two films called Harishchandra in 1928 and 1929. There were two Talkie films, Raja Harishchandra in 1952 and 1979, There was also a Satyavadi Harishchandra in 1931 itself. The story was so well known, that no wonder, film Taramati-45 did not do well at all at the box office.
Today’s song is sung by Baby Shakuntala. When I requested our Sadanand Kamath ji to upload this song for me, after listening to the song, this is what he said, ” This is one of the rarest songs which, to my mind, even SAREGAMA does not have mp3 clips of any song from the film.
Also, this is one of those marching songs which has been composed with a subdued orchestra giving more emphasis on the lyrics to inspire the listeners. The voice of Baby Shakuntala is neither ‘baby’ nor ‘adult’ but has the correct resonance for the marching song.” Very true.
Song-Veer abhimaan se badhta hua shaan se (Taramati)(1945) Singer – Baby Shakuntala, Lyricist – Pt. Mukhram Sharma, MD – Not known (Keshavrao Bhole or Ramchandra Pal)
Lyrics
Veer abhimaan se
badhata hua shaan se
Veer abhimaan se
badhta hua shaan se
thhakta nahin
thhakta nahin
veer kabhi thhakta nahin
veer kabhi thhakta nahin
aapas ki maar se
chinta ke bhaar se
aapas ki maar se
chinta ke bhaar se
jhukta nahin
jhukta nahin
veer kabhi jhukta nahin
veer kabhi jhukta nahin
shok ke pahaad se
dukhhon ki baadh se
rukta nahin
rukta nahin
veer kabhi rukta nahin
veer kabhi rukta nahin
khelta hai jaan par
khelta hai jaan par
mit’ta hai aan par
mit’ta hai aan par
hat’ta nahin
hat’ta nahin
veer kabhi hat’ta nahin
veer kabhi hat’ta nahin
kartavya ke maidaan se
veer kabhi hat’ta nahin
veer kabhi hat’ta nahin
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4387 | Post No. : | 15747 |
There are Hindi films in which almost all the songs have become popular. But those films are often identified with a single song in the sense that the name of the film brings back the memory of the most popular song of that film which has been stuck in the minds of the listeners for long. I give below a sample list of five films which are often identified with one of its popular songs:
Aaraam (1951): ae jaan-e-jigar dil mein samaane aajaa
Yahudi (1958): ye mera deewaanapan hai
Bambai Ka Babu (1960): chal ri sajni ab kya soche
Soorat Aur Seerat (1962): bahut diya dene waale ne tuhjko
Bandini (1963): o jaane waale ho sake to laut ke aana
The significance of these five films with songs mentioned thereagainst is that all these five songs have been sung by Mukesh and that too the only song he has rendered in these films. That is the power of Mukesh’s melonchalic voice laced with sadness. Mukesh had said in one of his interviews that if he has a choice of 10 songs to sing, out of which one is a sad song, he would reject remaining nine songs.
Today, July 22, 2020 is the 97th birth anniversary of Mukesh Chand Mathur (22/07/1923 – 27/08/1976). Mukesh, like many of his compatriot popular playback singers needs no introduction on the blog. Moreover, there are a number of detailed posts on Mukesh in the blog. So, I will limit the coverage in this article to the stages of his zigzag filmy career which ended with a high note.
Motilal, a distant relative of Mukesh was already impressed by his singing. When Mukesh came to Mumbai, sometime 1940, Motilal placed him under the tutelage of Pandit Jagannath Prasad, a Hindustani classical vocalist, for training in singing. During the training, Mukesh became acquainted with Raj Kapoor who would occasionally come for training as a substitute for his mother who was practicing classical singing with Pandit Jagannath Prasad whenever she was free from her household work. One of those days when Mukesh was practising a particular Raag, Raj Kapoor loved his voice and felt that his own voice paled compared to Mukesh’s voice. At that time, Mukesh said to Raj Kapoor that he could take his voice. At that time, both were in their teens and I do not think that Mukesh had ever thought that one day he would become the voice of Raj Kapoor on the screen.
While his musical training was going on, Mukesh got an opportunity to work with Nalini Jaywant in a film (I guess, it was National Studio’s ‘Radhika’ 1941). However, his father did not permit him to act in the film. When the same production house was planning to make a new film for which they were looking for a young new comer as a hero opposite Nalini Jaywant, they again approached Mukesh. This time, his father permitted him to join the film. ‘Nirdosh’ (1941) became his first film in which he was an actor-singer. The film flopped.
It is well known that KL Saigal was Mukesh’s idol and had adopted his singing style. From his eagerness to become an actor, Mukesh seems to have been also obsessed with becoming a great actor-singer like KL Saigal. Even after the failure of his first film, Mukesh tried as a side actor in ‘Dukh Sukh’ (1942), ‘Addab Arz’ (1943) and ‘Uss Paar’ (1944) but could not get success as an actor-singer. He had almost made up his mind to return to Delhi when Motilal came to his rescue and manage to get Mukesh sing for him in ‘Pehli Nazar’ (1945).
How Mukesh got to sing his first song, “Dil Jalta Hai To Jalne De” as a playback singer in ‘Pehli Nazar’ (1945) is well documented in the write-up covering the song on the blog itself. So, I will not go into it. But Mukesh was not yet out of wood then. When the film was completed and was being previewed before its release, producer-director Mazhar Khan decided to delete this song as he felt that the sad song did not suit Motilal’s personality who has been known as a flamboyant actor by his fans.
When Mukesh came to know about it, he met Mazhar Khan and requested to retain his song. Mazhar Khan said that this song was boring and it was dragging the smooth movement of the story in the film. After a lot of pleading by Mukesh, Mazhar Khan agreed to retain the song for one week after the release of the film. If the public liked the song, it would be retained in the film. Otherwise, the song would be deleted from the film. Mukesh also got some breather as due to communal riots, the release of the film was delayed. As we know now, this song became the most popular amongst the songs of the film. This song also became a turning point in the career of Mukesh as he turned to playback singing as a career rather than the actor-singer. [Source: Last Interview of Mukesh by BBC Hindi Services].
During 1945 to 1953, Mukesh concentrated on his career as a playback singer and rendered nearly 200 songs. During this time, he had become the main playback singer to actors like Dilip Kumar, Raj Kapoor, Premnath, Motilal, Prem Adib etc.
When his career as a playback singer was firmly in saddle, again the bug of becoming an actor-singer seems to have bitten him. In 1951, Mukesh had already turned producer with ‘Malhaar’ (1951). In 1953, he once again tried his luck as actor-singer in ‘Mashooqa’ (1953) opposite Suraiya. The film miserably failed at the box office. Not to be discouraged by the failure, he once again tried his luck by producing ‘Anuraag’ (1956) with himself in the lead role opposite Usha Kiran. This film also failed at the box office.
In his quest for becoming an actor-singer, Mukesh lost out both as an actor and a playback singer. But more than the failure of the films, Mukesh’s career as a playback singer was majorly affected as, due to his non-availability, music directors like Naushad shifted his preference for Mohammed Rafi and Talat Mehmood. During this period, Rafi had emerged as number one playback singer. Other music directors like SD Burman, C Ramchandra, Madan Mohan, Roshan etc had also switched over mainly to Rafi as their lead male playback singer. Even Shankar-Jaikishan had to rely on Manna Dey for Raj Kapoor in films like ‘Shri 420’ (1955) and ‘Chori Chori’ (1956) for some songs. During 1953-56, Mukesh’s output as a playback singer (other than his own films as actor-singer) was dismally low at less than 20 songs.
In Hindi film industry, it is extremely difficult to regain the lost ground as there is constant competitions to take over the ground from those who have lost it. Mukesh had to face a lot of hardship in terms of his financial position as he had heavily lost money in his film making ventures. Added to his woes was that his mentor, Anil Biswas had almost retired as music director towards the end of 1950s. Motilal, another mentor who would demand Mukesh as his voice (he done that in ‘Jaagte Raho, 1956 when it was originally recorded in Manna Dey’s voice) was no longer doing the role of the lead actor in the films.
It was Raj Kapoor, the trusted friend of Mukesh from the days of making ‘Aag’ (1948), who had a major role in rehabilitating Mukesh as playback singer post 1956 years. Mukesh continued to sing for Raj Kapoor in most of his films. Later on, he also became the voice for Manoj Kumar in most of his films. The popularity of the songs of films like ‘Phir Subah Hogi’ (1958), ‘Madhumati’ (1958), ‘Anari’ (1959), ‘Chhalia’ (1960), ‘Hariyali Aur Raasta’ (1962), ‘Himalay Ki Godi Mein’ (1965) re-established as one of the foremost playback singers. Starting with the voice of the superstars of 1940s and 50s like Motilal. Dilip Kumar and Raj Kapoor, Mukesh sang for the superstars of 1970s like Rajesh Khanna and Amitabh Bachchan. He continued to maintain his status as one of the leading playback singers of 1970s till his unfortunate death on August 27, 1976. Even during the emergence of Kishore Kumar as playback singer post-1970, Mukesh clocked a little over 200 songs during 1971-76 (including few songs spilling over post-1976), mainly because no other playback singers could replicate the pathos in his singing.
On the occasion of the 97th birth anniversary of Mukesh, I have selected an inspirational song, “Hai Ye Zameen Hamaari Wo Aaasmaan Hamaara” sung by him for the film ‘Saara Jahaan Hamaara’ (1961). The song is written by Anjum Jaipuri and is set to music by Baabul. I could not locate the video clip of the song on-line, but I have watched a very small video clip of the song which shows that it is a stage song picturised on Premnath.
Song – Hai Ye Zameen Hamaari Wo Aasmaan Hamaara (Saara Jahaan Hamaara) (1961) Singer – Mukesh, Lyrics – Anjum Jaipuri, MD – Baabul
Lyrics
hai ye zameen hamaari
wo aasmaan hamaara
lo aaj waqt badla
saara jahaan hamaara
hai ye zameen hamaari
hum jis taraf chale hain
duniya badal gayi hai
tufaan hat gaya hai
aandhi sambhal gayi hai
karta hai naaz khud par
har ek jawaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
kashti ko le chale hain
maujon pe hum khushi ki
kashti ko le chale hain
maujon pe hum khushi ki
aawaaz aa rahi hai
kaanon mein zindagi ki
roke nahi rukega
ab kaarwaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
ye chimaniyaan milon ki
ye taaj ke minaare
ye chimaniyaan milon ki
ye taaj ke minaare
ganga ki behti maujen
jamna ke tej dhaare
dharti ka zarra zarra
hai raazdaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
paighaam de rahen hain
hum sabko dosti ka
paighaam de rahen hain
hum sabko dosti ka
danka baja rahe hain
duniya mein shaanti ka
insaaniyat ka jhanda
hai ab nishaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
है ये ज़मीं हमारी
वो आसमां हमारा’
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
हम जिस तरफ चले हैं
दुनिया बादल गई है
तूफान हट गया है
आँधी संभाल गई है
करता है नाज़ खुद पर
हर एक जवां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
कश्ती को ले चले हैं
मौजों पे हम खुशी की
कश्ती को ले चले हैं
मौजों पे हम खुशी की
आवाज़ आ रही है
कानों में ज़िंदगी की
रोके नहीं रुकेगा
अब कारवां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
ये चिमनियाँ मिलों की
ये ताज के मीनारे
ये चिमनियाँ मिलों की
ये ताज के मीनारे
गंगा की बहती मौजें
जमना के तेज़ धारे
धरती का ज़र्रा ज़र्रा
है राज़दां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
पैग़ाम दे रहें हैं
हम सबको दोस्ती का
पैग़ाम दे रहें हैं
हम सबको दोस्ती का
डंका बजा रहे हैं
दुनिया में शांति का
इंसानियत का झण्डा
है अब निशां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
Ek Aas Liye Vishwaas Liye
Posted on: July 20, 2020
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Hemlata songs | Inspirational song | Jaspal Singh songs | Lyrics contributed by readers | philosophical song | Post by Peevesie's mom | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1980 | Songs picturised on real life couples | Suresh Wadkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4385 | Post No. : | 15742 |
Hullo atuldom
Many times I find a celebrity’s birthday and then look for a song featuring him/ her. Then, there are times when I see or hear a song and look for the birth-dates or anniversaries of those related with that song. In both the scenarios the post is nearly ready due to readily available songs. There is a third scenario where when I visit the birth-dates/ anniversary page of our blog and I see a birthday of an artiste, whose work I like, coming up, I rush to look for possible songs and find it difficult to zero in on anyone because there are too may options. So to make selection easy, I make things more complicated by trying to find debut songs of the person, adding a condition that the person should be seen lip-syncing and if he/she is dancing in the song or at-least shaking a leg that would be a BONUS.
So today we are celebrating the 70th birthday of an actor who made un-credited appearances in ‘Aman’ (1967) and ‘Aan Baan’ (1972). Shyam Benegal was the one who first cast him as Vishwam in ‘Nishant’ in 1975 and there began his journey in the parallel cinema of the Indian Film industry. His foray into commercial cinema came about when he played one of the Pandavs in ‘Hum Paanch’ (1980) which was not a mythological movie but a movie with a social message. From then on, he has straddled cinema of various genres and been successful enough to last till today. He has given memorable performances and has been a recipient of the National Award and Filmfare award for the best actor three times. Additionally he has been awarded the Padma Shri and Padma Bhushan.
Initially we saw him as a costar to Shabana Azmi and Smita Patil. Then with ‘Katha’ (1982) Deepti Naval became his heroine and his movies could be said to have become commercially viable when we saw him with Rekha in two movies – ‘Umrao Jaan’ (1981) and ‘Ijaazat’ (1987). I think he did one more movie with Rekha I can’t recollect. Here I am not talking of Rekha movies where this actor played negative characters meaning played a villain (being the right term). Oh yes, this actor has played villain and hero in traditionally masala films. Just goes to show how versatile he is.
I am sure the readers have guessed that I am talking of Naseeruddin Shah. I loved what Sudhirji wrote in his post for the song “Kisi Na Kisi Se Kabhi Na Kabhi (Medley)” last year on the same occasion. I think we should revisit it.
For today let us see him sing and dance with Mithun Chakravarty and Yogita Bali. So “Oye oye. . . Tirchi Topiwaale” was not the first time he tried to dance. Here he has played Mithun’s friend and Yogeeta’s brother. The song is from the romantic thriller ‘Khwaab’ (1980) which was directed by Shakti Samanta. It had songs written and composed by Ravindra Jain. Today’s song is sung by Jaspal Singh, Suresh Wadkar and Hemlata. The story of the movie is present in the only song of the movie that has been posted in the monsoon of 2015 – “Tu Hi Wo Haseen Hai“.
Happy Birthday to Naseeruddin Shah – stay healthy and may we have more from you.
Song – Ek Aas Liye Vishwaas Liye (Khwaab) (1980) Singer – Suresh Wadkar, Jaspal Singh, Hemlata, Lyrics – Ravindra Jain, MD – Ravindra Jain
Suresh Wadkar + Jaspal Singh + Hemlata
Lyrics
ooo hohohoooooho
ooo hoho hoooo ho
aaa aaaaa
(ooo hoho hoooo ho)
aaa aaaaa
(ooo hoho hoooo ho)
ek aas liye
vishwas liye
mera mann manzil ke nishaan dhoondhe
ek aas liye
vishwas liye
mera mann manzil ke nishaan dhoondhe
jisey aas na ho
jisey aas na ho
vishwas na ho
wo kya dhoondhe kahaan dhoondhe
ek aas liye
vishwas liye
mera mann manzil ke nishaan dhoondhe
ahaa ahaa haa lalala laa
ohohoho oooo
ahaa ahaa haa lalala laa
ohohoho oooo
dharti se aasman tak
manzilon ke silsile
wo kya karey jisey manzil
mil ke bhi na miley
yun bhi hota hai jeewan mein
rehta chhupa mann mein
mere saathi
mil jaata hai wo bina dhoondhe
ek aas liye
vishwas liye
mera mann manzil ke nishaan dhoondhe
sapna ho jin mein koi
soti nahin hain woh aankhen
saathi adhure sapne
meri bhi aankhon mein jhaanken
har sukh se juda dukh hai
dukh ka apna sukh hai
mere saathi
sab kuch na miley yahaan dhoondhe
ek aas liye
vishwas liye
mera mann manzil ke nishaan dhoondhe
ahaa ahaa haa lalala laa
ohohoho oooo
nit bhor ki ye laali
deti sandesha zindagi ka
jis ne andhere kaate
hoga savera bhi usi ka
koi meet sahara de to
jeene ka ishaara de to
mere sathi
wahin manzil tu jahaan dhoondhe
ek aas liye
vishwas liye
mera man manzil ke nishaan dhoondhe
mera man manzil ke nishaan dhoondhe
mera man manzil ke nishaan dhoondhe
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ हो हो होsssss हो
ओ हो हो होsssहो
आss आssss
(ओ हो हो होsssहो)
आss आssss
(ओ हो हो होsssहो)
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
जिसे आस ना हो
जिसे आस ना हो
विश्वास ना हो
वो क्या ढूँढे कहाँ ढूँढे
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
आहा आहा हा लाल्लाल्ला ला
ओहो हो हो ओsss
आहा आहा हा लाल्लाल्ला ला
ओहो हो हो ओsss
धरती से आसमान तक
मंज़िलों के सिलसिले
वो की करे जिसे मंज़िल
मिल के भी ना मिले
यूं भी होता है जीवन में
रहता है छुपा मन में
मेरे साथी
मिल जाता है वो बिना ढूँढे
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
सपना हो जिन में कोई
सोती नहीं वो आँखें
साथी अधूरे सपने
मेरी भी आँखों में झाँकें
हर सुख से जुड़ा दुख है
दुख का अपना सुख है
मेरे साथी
सब कुछ ना मिले यहाँ ढूँढे
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
आहा आहा हा लाल्लाल्ला ला
ओहो हो हो ओsss
नित भोर की ये लाली
देती सँदेसा ज़िंदगी का
जिसने अंधेरे काटे
होगा सवेरा भी उसी का
कोई मीत सहारा दे तो
जीने का इशारा दे तो
मेरे साथी
वहीं मंज़िल तू जहां ढूँढे
इक आस लिए
विश्वास लिए
मेरा मन मंज़िल के निशां ढूँढे
मेरा मन मंज़िल के निशां ढूँढे
मेरा मन मंज़िल के निशां ढूँढे
Har galli mein Dhoni hai
Posted on: July 7, 2020
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.
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Blog Day : |
4372 | Post No. : | 15710 |
The date today is 7 july 2020. From the HFM point of view, birth anniversaries of Anil Biswas (born 1914) and Saraswati Kumar Deepak (born 1918) falls today. We have already honoured the two artists in two articles earlier today.
Some other important non HFM related things also happened on this day. It was on this day in 1928 that sliced bread was forst sold by Chillicothe Baking Company of Chillicothe, Missouri, USA. Their product, “Kleen Maid Sliced Bread was advertised as “the greatest forward step in the baking industry since bread was wrapped. This gave rise to the popular idiom “greatest thing since sliced bread”. 🙂
It was on this day in 1985 that Boris Becker became the youngest male player in history to win a major tennis singles title. He was 17 years, 7 months and 15 days old when he lifted the Wimbledon singles title. This record was later broken by Michael Chang (does anyone remember him today ?) in 1989 French Open. I had watched this match on TV in the hostel with likeminded sports lovers where Boris Becker defeated South Africa’s Kevin Curren (not to be confused with Zimbabwe cricketer Kevin Curran).
Back home, this date is important for Indian cricket lovers. It was on this day in 1981 that Mahendra Singh Dhoni was born !
I need not remind our fellow Indian cricket lover what Dhoni has done for Indian cricket. In my opinion, India had a few cricketers (five in number) who to my mind enabled Indian cricket to shift to higher gears. These higher gears did not exist before the advent of these cricketers. The first of them was MAK Pataudi, who gave Indian cricketers the first dose of self belief in their abilities. Then the next was Sunil Gavaskar, who with his rock solid batting against the best pace attacks of the world gave Indians the belief that they too could hold their own and occasionally win too. Then came Kapildev. Before him, it was believed that Indians could not bowl fast. He could not only bowl fast, he could be said to have changed the fortunes of Indian cricket and also world cricket, with his exploits in 1983 World Cup. This title win was a fluke, but this fluke win could not have been achieved without the additional gear that Kapildev had brought to Indian cricket. This win brought an enormous change in balance of cricketing powers. Indian, from being an also ran, began to become title contenders in future world cups. In addition, BCCI, the Indian cricket board, began to have an increasing say in running world cricket.
The next influential cricketer was Saurabh Ganguly. Under his captaincy, India cricket team grew a spine and killer instinct which was lacking in Indian cricket prior to him.
And that brings us to our fifth and final Indian cricket influencer extraordinaire, viz M S Dhoni.
MSD Made his debut into the Indian team during Indian team’s Bangladesh tour of 2004. And it was quite a forgettable start. He was run out for zero in his first batting innings. In the second ODI, India were 131/5 in 33. 2 overs. needing a further 99 runs at an asking rate of 5.8 runs. Dhoni joined Kaif in the centre. Those who had watched his exploits at India A level had high hopes on him. Dhoni was only able to score 12 off 11 deliveries and he was the sixth wicket to fall at 155 at 37.2 overs. Wickets kept falling at regular intervals and India had the ignominy of losing to Bangladesh by 15 runs.
Badly stung, India approached the third and final ODI in a murderous mood. Everyone scored runs and India piled on 348. Dhoni got to bat for two deliveries where he scored seven in two deliveries, including a six, the first six of his ODI career.
Though Dhoni did not do much of note in his debut series, he was retained in home series against Pakistan. Coming to bat in the slog overs with India well placed, he once again failed to capitalise and made a disappointing 3 for 7 deliveries.
After four disappointing matches, Dhoni’s fate was hanging by a thin thread. The second ODI at Vishakhapatnam was a make or break match for Dhoni. Luckily for Dhoni and for world cricket, Ganguly, the captain, decided to give Dhoni another chance. Not just that, Dhoni was sent at one down ! And the rest, as they say, is history. Dhoni announced his arrival at world cricket stage with 148 runs. This knock cemented his place in ODI and opened the doors to test selection as well.
By 2007, Dhoni was still a unior player in the team. shock exit of Indian team from 2007 World cup saw many heads roll in Indian cricket. A new form of cricket ,namely T20 cricket was thrust on the rest of thecricketing world by England. England had started ODI world cup back in 1975. They had failed to win any of these world cups. Introducing another world cup of a different format where England had the most experience was clearly an attempt by ECB to finally lift a world cup.
BCCI was unwilling and reluctant to participate in this T20 world cup. But ICC arm twisted BCCI into participating in it. BCCI, in protest, excluded all the seniors from the team and chose a team of younger players, who were expected to be no hopers in the tournament. And Dhoni , who had never captained even in school cricket, was made the captain of the team.
When the world cup ended, India emerged the surprise winner of the tournament. The reluctent BCCI, which wanted to have nothing to do with T20 suddenly saw so much potential in this format that they created IPL. It is something that revolutionised world cricket and brought far more money into cricket than what was the case before. So Indian surprise title win in T20 changed the game of cricket like how it had happened back in 1983.
This T20 win meant that Dhoni was identified as a leader of the team in all formats. And what results he produced ! India, under his captaincy won two more ICC titles , namely ODI world cup in 2011 at home and 2013 Champions Trophy in England. Dhoni became the only captain in history to have won all the three ICC tournaments. No other captain of no other country had come anywhere close.
Under Dhoni’s captaincy, Indian also rose up to become the number one test team. His cricket records are known to all. I will not repeat them here.
The influence that Dhoni had on Indain cricket is comparable to the influence of Kapildev. Both of them came from smaller unfashionable places. Prior to them, international cricket in India was considered the privilege of big city players. When India played their first ODI world cup in 1975, all but one players in the team were from metropolitan cities (Bombay, Delhi, Madras, Bangalore, Hyderabad, Baroda, one from Rajasthan). When Dhoni captained Indian in 2007 T20 tournament, there were players from unfashionable places like Ranchi (Jharkhand), Jullundhar (Punjab), Aligarh (UP), Rohtak (Haryana), Rae Bareli (UP), Kothamangalam (Kerala) etc. And these players did not just make up numbers, they were in the playing XI and added their weight to the team performance.
Dhoni gave plenty of self confidence to players comng from small places with no cricketing history. The fact that such excellent world class players, with such strong temperament can come from small places was a revelation to all. Their inclusion brought fresh ideas and fresh energy into the team composition. These palyers were not infected by the virus of complacency, lack of killer instinct and choking- that most players coming from big established places seemed afflicted from.
Dhoni’s appeal is India wide and for that matter global. In India, Chennai has adopted him as their favourite son in IPL, where he has served as the skipper right from the first IPL.
A biopic was made on Dhoni which was released in 2016. I found this movie quite rivetting and interesting. I have covered all the songs that appear in the movie with detailed writeups. It turns out that the movie also has a song that was ot picturised. And this song is the title song of the movie. This song was released only online in Youtube and was not part of the movie.
This song is a goosebump inducing song if you are an Indian cricket fan like me. This movie was released not just in Hindi, but in some other languages viz Marathi, Tamil, Telugu etc as well. I have listened to this song in all the languages and I love all the versions.
On the occasion of Dhoni’s 39th birthday today, here is this wonderful themw song cum title song from “M S Dhoni-the untold story”(2016). The Hindi version of the son is sung by Rochak Kohli who is also the music director of this song. One can also watch the Marathi, Tamil , and Telugu versions.
The video version is just two minutes long and makes you long for more. You can then listen to the audio version which is over 4 minutes long.
With this song, all the songs of “M S Dhoni-the untold story”(2016) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Audio (Hindi)
Video
Song-Har Gali mein Dhoni hai (M S Dhoni-the untold story)(2016) Singer-Rochak Kohli, MD-Rochak Kohli
Chorus
Lyrics
o o o o o
o o o o o
o o o o o
chalen chalen to kya chale hum
uden agar to baat hai
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
chalen chalen to kya chale hum
o o o o
uden agar to baat hai
jiye jiye to kya jiye hum
o o o o o
laden agar to baat hai
jaage hai chauraahe
kadmo ki ye thapkiyon se jaage hain
maidaanon khul jaao
aa rahe hain hum jo
khalbali to honi hai
har gali mein Dhoni hai
o o o o o
o o o o o
har gali mein Dhoni hai
o o o o
o o o o
har gali mein Dhoni hai ae ae ae ae ae
har gali mein Dhoni hai
ho o
ujaalon ki gar talaash hai
sooraj ka sahar paas hai ae
ujaalon ki gar talaash hai ae ae
sooraj ka sahar paas hai
aa chal ke hum juta len apne hisse ke ujaale
doobe ek sooraj to dusra uga len
kaafi hai apni khaatir yeh mutthi bhar iraade
chalne ke balboote pe hum duniya hila den aen aen aen
awaazo mil jaao
aa rahe hain hum jo
khalbali to honi hai ae
har gali me Dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai ae ae ae ae
har gali me dhoni hai
Ek andhera laakh sitaare
Posted on: July 2, 2020
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Inspirational song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Mohammad Aziz solo song | Mohammad Aziz song | philosophical song | Radio Song | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1980s (1981 to 1990) | Songs of 1985 | Yearwise breakup of songs
- 2 Comments
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Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).
I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.
On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.
The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Audio
Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan
Lyrics
hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae
duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae
beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae
—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए
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