Archive for the ‘Jagjit Singh songs’ Category
Khumaari chadh ke utar gayi
Posted on: March 9, 2023
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 : |
5347 | Post No. : | 17535 |
Today (9 march 2023) early morning, the first WhatsApp message I read in my family group was about producer-director-writer-actor Satish Kaushik who breath his last on the way to a hospital in Delhi early morning following a heart attack. His funeral is likely to take place in Mumbai later in the day. Next month, he would have completed 67 years, an age when many actors have rediscovered themselves in film industries. I felt very sorry that one of the few genial faces of the Hindi film industry and an actor who regaled us through his unique style of acting and dialogue delivery was no more with us. For now, only his films will keep his memory live.
Satish Kaushik (13/04/1956 – 09/03/2023) belonged to Haryana and was trained at the National School of Drama (NSD), Delhi. He followed it with the Film and Television Institute of India (FTII). I have observed through photographs that Satish Kaushik was very close to his alumni from NSD like Anupam Kher, Pankaj Kapoor, Sudhir Mishra, Neena Gupta etc.
Off hand, I think I had watched him for the first time on the screen in ‘Jaane Bhi Do Yaaron’ (1983). Later, I watched him in ‘Maasoom’ (1983), ‘Mr India’ (1987) and some more films. I have also seen some films of him with Govinda which I have enjoyed in their joint performances due to his great timing of dialogues. Probably, I watched him for the last time on OTT platform in ‘Tehzeeb’ (2003). Besides the films, I have watched him in some episodes of TV serials like ‘Ye Jo Hai Zindagi’, and ‘Katha Sagar’. He must have acted in more than 100 films in his lifetime. Whether films or TV serials, he made his presence felt to the audience.
Satish Kaushik also directed about 15 Hindi film beginning with ‘Roop Ki Rani Choron Ka Raja’ (1993) and produced about 6 films. He was also active in Hindi theatre.
As a tribute to the departed soul, I am presenting a song from his film, Umar’ (2006) which is picturised on him as a background song. The song is ‘Khumari chadh ke utar gayi’ which is rendered by Jagjit Singh. The song is written by Shaily Shailendra and is set to music by Shamir Tandon.
Audio Clip:
Video Clip:
Song-Khumaari chadh ke utar gayi (Umar)(2006) Singer-Jagjit Singh, Lyrics-Shaily Shailendra, MD-Shamir Tandon
Lyrics (based on Audio Clip)
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe youn hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumari chadh ke utar gayi
zindagi yoon hi guzar gayi
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
kehne ko apne thhe saathhi kayi
saathh kisi ne nibhaaya nahin
koi bhi hamsafar nahin
koi bhi hamsafar nahin
kho gayi har dagar kahin
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
logon ko aksar dekha hai
ghar ke liye rote huye
logon ko aksar dekha hai
ghar ke liye rote huye
ham to magar beghar hi rahe
gharwaalon ke hote huye
gharwaalon ke hote huye
aaya apna nazar nahin
aaya apna nazar nahin
apni jahaan tak nazar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi youn hi guzar gayi
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
ab to hamko lagti hai
bheed mein bhi tanhaaiyaan
jeene ki hasrat kidhar gayi
jeene ki hasrat kidhar gayi
dil ki kali bikhar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni toh saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
Chitthi Na Koi Sandes
Posted on: September 20, 2021
- In: "Chitthi" song | Background song | Jagjit Singh songs | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Multiple version song | Series of articles | Songs of 1990s (1991 to 2000) | Songs of 1998 | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 5 Comments
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 : |
4812 | Post No. : | 16581 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part LII: Year 1998
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In this episode, the 52nd episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1998.
In 1998, 87 Hindi movies containing 539 songs were released. Lata Mangeshkar got to sing in 4 of these movies and she sang 11 songs in these movies. So Lata Mangeshkar’s voice was heard in 3.5 % of the movies released in 1998. Her voice was heard in 2 % of the songs appearing in the movies of 1998.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1998 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Dil Se | A R Rahman | 1 | 1 | 1 | 0 | 0 | 0 | Gulzar |
| 2 | Dushman | Uttam Singh | 1 | 5 | 1 | 4 | 0 | 0 | Anand Bakshi |
| 3 | Jab Pyaar Kisi Se Hota Hai | Jatin Lalit | 0 | 4 | 0 | 3 | 0 | 1 | Anand Bakshi |
| 4 | Satya | Vishal Bhardwaj | 0 | 1 | 1 | 0 | 0 | 0 | Gulzar |
| Total | 4 movies | 4 MDs | 2 | 11 | 3 | 7 | 0 | 1 | 2 lyricists |
Lata Mangeshkar worked with 4 music directors and 2 lyricists in these 4 movies released in 1998. Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 1998. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3733 songs out of 5186 songs that Lata Mangeshkar had sung in Hindi movies till end of 1998. Anand Bakshi with 718 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (406), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3238 songs sung by Lata Mangeshkar till that time.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1998 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 17 movies | 51 | 57 | 42 | 8 | 4 | 3 | |
| 1949 | 40 movies | 140 | 160 | 105 | 35 | 13 | 7 | |
| 1950 | 36 movies | 115 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 150 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 142 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 172 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 174 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 132 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 104 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 189 | 211 | 131 | 68 | 12 | 1 | |
| 1960 | 48 movies | 142 | 166 | 102 | 50 | 9 | 5 | |
| 1961 | 44 movies | 128 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 119 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 105 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 123 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 84 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 105 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 94 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 84 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 78 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 91 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 107 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 99 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 93 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 71 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 61 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 58 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 50 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 59 | 90 | 48 | 34 | 3 | 5 | |
| 1979 | 42 movies | 38 | 66 | 37 | 25 | 2 | 3 | |
| 1980 | 43 movies | 28 | 71 | 43 | 21 | 3 | 4 | |
| 1981 | 46 movies | 40 | 88 | 48 | 34 | 2 | 4 | |
| 1982 | 45 movies | 28 | 82 | 41 | 37 | 1 | 3 | |
| 1983 | 33 movies | 29 | 73 | 36 | 37 | 0 | 0 | |
| 1984 | 39 movies | 11 | 70 | 32 | 33 | 4 | 1 | |
| 1985 | 40 movies | 21 | 72 | 39 | 31 | 0 | 2 | |
| 1986 | 27 movies | 3 | 41 | 22 | 17 | 0 | 2 | |
| 1987 | 12 movies | 4 | 21 | 13 | 8 | 0 | 0 | |
| 1988 | 21 movies | 9 | 43 | 24 | 17 | 1 | 1 | |
| 1989 | 19 movies | 10 | 38 | 20 | 16 | 1 | 1 | |
| 1990 | 9 movies | 4 | 12 | 3 | 9 | 0 | 0 | |
| 1991 | 16 movies | 6 | 57 | 35 | 20 | 1 | 1 | |
| 1992 | 12 movies | 3 | 25 | 12 | 13 | 0 | 0 | |
| 1993 | 14 movies | 3 | 49 | 22 | 23 | 2 | 2 | |
| 1994 | 12 movies | 5 | 39 | 9 | 28 | 0 | 2 | |
| 1995 | 4 movies | 2 | 8 | 3 | 4 | 0 | 1 | |
| 1996 | 5 movies | 2 | 14 | 7 | 7 | 0 | 0 | |
| 1997 | 5 movies | 1 | 21 | 2 | 14 | 4 | 1 | |
| 1998 | 4 movies | 2 | 11 | 3 | 7 | 0 | 1 | |
| Total upto 1997 | 1857 movies | 3737 | 5186 | 3365 | 1489 | 213 | 119 |
It can be seen from the table of 1998 that Lata Mangeshkar sang 11 songs in 4 movies released in 1998.
Two songs sung by Lata Mangeshkar in movies of 1998 have been covered in the blog. All songs from one movie “Dil Se”(1998)- a grand total of one Lata Mangeshkar solo song, has been covered in the blog. So 9 songs from 3 movies of 1998 sung by Lata Mangeshkar are yet to be covered in the blog.
Alphabetically “Dushman”(1998) is the first movie of 1998 that offers us a Lata Mangeshkar song to be covered in the blog.
“Dushman”(1998) was inspired from Hollywood movie “Eye for an eye”(1996). It was produced by Pooja Bhatt and directed by Tanuja Chandra for Pooja Bhatt Productions, Bombay. The movie had Kajol(in dual/double role), Sanjay Dutt, Ashutosh Rana, Tanvi Azmi, Jas Arora,Pramod Moutho, Kunal Khemu, Pratima Kazmi, Anupam Shyam,Vani Tripathi, Amardeep Jha, Rahul Singh, Vishesh, Sanjeev Vatsa,Robin Bhatt, Pinky Singh, Omkar Singh, Baby Varsha, Naresh suri,Master Vishal,Dinesh Chaturvedi,Krishna Bhatt, Savita Karle, Varsha Lalwani, Javed Rizvi, Narendra Sachar etc in it.
The movie had 9 songs in it. Five of these songs had the voice of Lata Mangeshkar in it.
One song (a Lata Mangeshkar duet song) has been covered in the past.
Here is another song from the movie. It is a multiple version song. Female version is sung by Lata Mangeshkar and male version by Jagjit Singh. Male version also has humming by Lata Mangeshkar, so it can even be considered a duet. In case we consider a duet then it would become the first ever Lata-Jagjit Singh duet in Hindi movies. Here I have considered it as a duet.
Lata Mangeshkar version is a background song which is picturised on Tanvi Azmi, Kajol, Baby Varsha, Jas Arora etc.
Only audio of the Jagjit Singh (with Lata Mangeshkar humming) is available.
Lyrics and other details were sent to me by Prakashchandra.
Lata Mangeshkar solo version (Video)
Lata Mangeshkar solo version (Audio)
Jagjit Singh-Lata Mangeshkar duet version (Audio)
Song-Chitthi na koi sandes (Dushman)(1998) Singer-Lata/ Jagjit Singh, Lyrics-Anand Bakshi, MD-Uttam Singh
Lyrics(Provided by Prakashchandra)
———————–
Lata solo Version
———————–
chitthi na koyi sandes
ho o ho o ho
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley ae gaye ae
chitthi na koyee sandes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
jahaan aan tum chaley gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
ek aah bharee hogee
hamne naa sunee hogee ee
jaate jaatey tumne aey ae
aa..aawaaz to dee hogi
har waqt yehee hai gham
us waqt kahaan thhe hum
kahaan tum chaley ae gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
jahaan aan tum chaley gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley ae gaye ae
har cheez pe ashqon se ae
likhaa hai tumhaaraa naam
ye rashey ghar galiyaan aan
tumhein kar naa sakey salaam
haayye dil mein reh gayee baat
jaldi se chhudaakar haath
kahaan tum chaley ae gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley aey ae gaye
jahaan aan tum chaley aey ae gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
ab yaadon ke kaante aen
is dil mein chubhte hain aen
na dard thehertaa hai
naa aansoon ruktey hain
tumhein dhoondh rahaa hai pyaar
hum kaisey karey iqraar
ke hhaan tum chaley ae gaye
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley aey ae gaye
jahaan aan tum chaley aey ae gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley aey ae gaye
o o o o kahaan tum chaley gaye ae
o o o o kahaan tum chaley gaye ae
oo ooo o o o o kahaan tum chaley ae ae gaye aey ae ae
———————————————-
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Jagjit Singh-Lata Mangeshkar version
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chitthi na koyi sandes
ho o o o ho o ho o o o
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
jahaan aan aan tum chaley gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley gaye ae
ik aah bharee hogee
hamne naa sunee hogee ee
jaate jaatey tumne aey ae
aa..aawaaz to dee hogee
har waqt yehi hai gham
us waqt kahaan thhe hum
kahaan tum chaley gaye ae ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley ae gaye
jahaan aan tum chaley gaye ae
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley gaye ae
har cheez pe ashqon se ae
likhaa hai tumhaaraa naam
ye rastey ghar galiyaan
tumhein kar naa sakey salaam
haayye dil mein reh gayee baat
jaldi se chhudaakar haath
kahaan tum chaley gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley aey ae ae gaye
jahaan aan aan tum chaley ae gaye
is dil pe lagaake thhes
jaaney woh kaun saa des
jahaan tum chaley ae gaye ae
aaa aaa aaa aaa
ab yaadon ke kaantein aen (roo roo rooo roo)
is dil mein chubhthey hain aen (roo roo rooo roo)
na dard thehrthaa hai (roo roo rooo roo)
naa aansoon rukthey hain (roo roo rooo roo)
tumhein dhoondh rahaa hai pyaar
hum kaisey karey iqraar
ke hhaan tum chaley gaye ae
chitthi na koyi sandes
jaaney woh kaun saa des
jahaan tum chaley aey ae gaye
jahaan aan aan tum chaley ae gaye
is dil pe lagaake tthes
jaane woh kaun saa des
jahaan tum chaley gaye ae
aa aa aa aa aa
o o o kahaan tum chaley gaye ae
o o o kahaan tum chaley gaye ae
o o o oo kahaan tum chaley gaye aey ae ae
Kiska chehraa ab main dekhoon
Posted on: February 8, 2021
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 : |
4588 | Post No. : | 16210 | Movie Count : |
4411 |
Today, February 8th is the 5th Remembrance Day of the poet and lyricist, Nida Fazli (12/10/1938 – 08/02/2016) who left for the heavenly abode on this date 5 years back. 80 years ago, Ghazal singer, Jagjit Singh (08/02/1841 – 10/10/2011) was born on this date. More than a co-incidental connection between the two, they had a special connection through their collaborations. Nida Fazli was the master of expressing the romance, realities and the philosophy of life by way of ghazals and nazms while Jagjit Singh added soul to Nida Fazli’s words through his emotive voice.
There was another co-incidence about Nida Fazli and Jagjit Singh. Both came to Mumbai around the same time, 1964 and 1965 respectively, for pursuing their career. It was Jagjit Singh’s first LP album with his wife, Chitra Singh titled ‘Unforgettable’ (1976) which made him popular as a ghazal singer. Almost at the same point of time, Nida Fazli had also become one of the most sought-after poets in mushairas all over India.
Both Jagjit Singh and Nida Fazli used very simplistic approach in making their ghazals popular among the masses. Jagjit Singh rendered ghazals in his emotive voice with simple music using only 3-4 musical instruments. He mostly avoided the use of semi-classical genre such as thumri and dadra as was the convention at that time. Nida Fazli, by and large, avoided the use of Persianised Urdu words in his ghazal. He used the mix of simple words from Hindi and Urdu to make them understandable to the masses. He moved away from the convention of ghazal writing as an expression of the unrequited love and the piognant mood associated with such love. Instead, he expressed through his poems the human relationships, socio-economic and political situations as also on realities of life. His poem depicted the humanist approach.
I have selected a few of couplets from his ghazals, some of which have been sung by Jagjit Singh, as examples of his non-conventional way of putting his thoughts in simple words with deep meanings:
uss ke dushman hain bahut aadmī achchha hoga
wo bhi meri hi tarah shahar mein tanha hoga
safar mein dhoop to hogi jo chal sako to chalo
sabhi hain bheed mein tum bhi nikal sako to chalo
[Note: This entire ghazal was recited by Prime Minister, Narendra Modi during a Rajya Sabha debate on March 8, 2016 in the context of Government’s difficulties for the smooth passage of bills in Rajya Sabha]
dhoop mein niklo ghataaon mein nahaa kar dekho
zindagi kyaa hai kitaabon ko hataa kar dekho
duniya jise kahte hain jaadoo kaa khilauna hai
mil jaaye to mittī hai kho jaaye to sona hai
hukoomaton ko badalne to kuchh muhaal nahin
hukoomaten jo badalta hai wo samaaj bhī ho
Muhaal= difficult
kabhi kabhi youn bhi ham ne apne jee ko bahlaaya hai
jin baaton ko ḳhud nahin samjhe auron ko samjhaaya hai
ghar se masjid hai bahut dur chalo youn kar le
kisi rote huye bachche ko hansaaya jaaye
hoshwaalon ko khabar kya bekhudi kya cheez hai
ishq keejiye phir samjhiye zindagi kya cheez hai
Both Nida Fazli and Jagjit Singh got associated with Hindi film industry almost at the same time. Nida Fazli wrote his first lyrics for ‘Satranj Ke Mohre’ (1974). Jagjit Singh rendered his first full-pledge song as a playback singer in Hindi film, ‘Aavishkaar’ (1973) with his wife Chitra Singh.
Despite both Nida Fazli and Jagjit Singh being in Mumbai since 1965 and both having the inter-related careers, it took almost 25 years for both of them to collaborate for the first time when Nida Fazli wrote the lyrics for the film ‘Billoo Baadshah’ (1989) for which Jagjit Singh was the music director and also the playback singer for one song. It took another four years when their first non-film album, ‘Insight’ was released in 1993. for which all the songs were written by Nida Fazli. Thereafter their collaborations continued until Jagjit Singh’s death kept them apart.
Nida Fazli entered the Hindi film industry as a lyricist at a time when the quality of song writing had the initial sign of deterioration. In the post-1980’s scenarios, his filmy songs stand apart from most of the songs written during that period. And when he joined with Jagjit Singh, their collaborative as well as individual efforts took us back to the golden period of Hindi film music for few moments.
On the occasion of the 5th Rememberance Day of Nida Fazli and 80th birth anniversary of Jagjit Singh, I have selected one of those Hindi film songs where Jagjit Singh has sung the song written by Nida Fazli. The song is ‘meri aankhon ne chuna hai tujhko duniya dekh kar’ from ‘Tarkieb’ (2000) with Alka Yagnik joining Jagjit Singh in rendition. The song was set to music by Aadesh Srivastav.
‘Tarkieb’ (2000) failed miserably at the box office and faded into oblivion. But the song under discussion has ensured that the name of the film is not forgotten. Such is the power of Jagjit Singh-Nida Fazli combination.
Video Clip:
Audio Clip:
Song-Kiska chehraa ab main dekhoon(Tarkieb)(2000) Singers-Jagjit Singh, Alka Yagnik, Lyrics-Nida Fazli, MD-Aadesh Srivastav
Both
Chorus
Lyrics
chaand bhi dekha
phool bhi dekha
baadal bijli titli jugnu
koi nahin hai aisa
tera husn hai jaisa
tera husn hai jaisa
meri nigaah ne ye kaisa khwaab dekha hai
zameen pe chalta huwa mahtaab dekha hai
meri aankhon ne chuna hai tujhko duniya dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
kiska chehara
kiska chehara
ab main dekhoo….n
tera chehara dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
hu hu hu hu
ta ta ra ta ra ra ta ra
neend bhi dekhi
khwaab bhi dekha
neend bhi dekhi ee
khwaab bhi dekha aa
choodi bindiya darpan khushboo
koi nahin hai aisa
tera pyaar hai jaisa
haan tera pyaar hai jaisa aa
meri aankhon ne chuna hai tujhko duniya dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
kiska chehra
kiska chehra..aa
ab main dekhoo…n oon oon
tera chehra dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
ru ru ru
rang bhi dekhaa aa
roop bhi dekhaa aa aa
rang bhi dekhaa aa
roop bhi dekhaa aa
rasta manzil saahil mehfil
koi nahin hai aisa
tera saath hai jaisa
ho tera saath hai jaisa aa
meri aankhon ne chuna hai tujhko duniya dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
kiska chehra..aa
kiska chehra abb main dekhoo..n oon
tera chehra dekh kar
meri aankhon ne chuna hai tujhko duniya dekh kar
bahut khubsoorat hai aankhen tumhaari
(aaaaaa aaaaaaaa)
bana dijiye inko kismat hamaari
(aaaaaa aaaaaa )
usse aur kya chaahiye zindagi mein
(hmm hmm hmm hmm hmm)
jise mil gayi mohabbat tumhaari
(hmm hmm hmm hmm hmm)
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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‘Vadh’ (2002) seems to have become an obscure film by now. Even though the film belongs to 21st century when the marketing through mass media has been the order of the day to promote the film, I do not recall having seen any such marketing blitzes for this film.
On-line searches revealed that it was a low budget film belonging to the genre of ‘suspense murder mystery’. A box office report suggests that the film was a ‘disaster’ as it earned about 50 per cent of the cost of production of the film. I guess, the absence of a well-conceived marketing of the film may have resulted in the prospective film audience not well-informed about the film. Otherwise, why should a film with Nana Patekar should get such a lukewarm reception at the box office? Probably, the low budget did not allow the makers of the film to indulge in high marketing blitzes.
‘Vadh’ (2002) was a maiden venture of Dilip Dhanwani who was in the film distribution business based in Mumbai. The star cast consisted of Nana Patekar, Anupama Verma, Puru Rajkumar, Meghna Kothari, Nakul Vaid, Sambhawana Seth, Arun Bakshi, Raju Mewani, Sweta Menon etc. The film was directed by N.S.R – the abbreviation for Nana Patekar, Rajesh Singh and Raj Bharath, respectively. Raj Bharath was entrusted with directing the film. However, due to alleged interferences by Nana Patekar, he left the film after which the Rajesh Singh was entrusted with the film’s direction. He also left the film on the same ground. Probably, producer thought it better to entrust the direction to Nana Patekar if he wants his film to be completed without any further delay.
The credit title of the film mentions that ‘it is a film by Nana Patekar for Dilip Dhanwani’. This shows as to how much Nana Patekar was involved in making of this film. This alone made me interested in watching the film, the DVD of which was available on one of the video sharing platforms. I watched this film in a single sitting as I found the film engrossing. The build-up of suspense till the last was superb. I could not guess as to who could be the murderer of three victims in the film which was attributed to a serial psychopath killer.
The gist of the story of the film is as under:
Dr, Arjun Singh (Nana Patekar) is a Psychiatrist who is attached to a mental hospital. He has a late marriage with Jyoti Singh (Anupama Verma) who is much younger than him. Dr. Arjun is very protective about his pregnant wife and loves her. His younger brother Vijay (Nakul Vaid) is a police inspector attached to Crime Branch who is in love with Meghna Kothari, the daughter of the Police Commissioner (Arun Bakshi).
In the mental hospital, there is a serial psychopath killer who has been kept in solitary confinement due to his violent behaviour. One day, the serial killer runs away from the hospital by breaking open the grilled door of his room. In this process, he kills three guards of the mental hospital by slicing the throats with ‘X’ slicing marks on the faces of the victims. This is his trade-mark killings. The police forces are looking out for the serial killer as this has created a panic among the residence.
Aryan (Puru Rajkumar) is a childhood friend of Dr. Arjun who is rich and a charming playboy. He spends much of his time in revelry and visits bars and clubs. He prefers casual relations with his girl-friends including the married ones and has no intention of marrying any of them. Dr. Arjun’s wife, Jyoti is also involved with extra marital relation with Aryan.
Soon after the running away of serial killer, one of the girl friends of Aryan is found murdered in her house. While the Crime Branch and Dr. Arjun think that the murder is a handywork of the serial killer with his trade-mark style of killing, Inspector Vijay has a doubt on Aryan as his visiting card is found in his murdered girl-friend’s house. After few days, another girl-friend of Aryan is found murdered in the same style which come to the light when Aryan visits her house. The presence of Aryan in the house makes Vijay confident that it is Aryan who has killed his girl friends in the same style as that of the serial killer so as to wood-wink the police in thinking that it is the work of the serial killer. Inspector Vijay arrests Aryan but due to lack of evidence against him, Aryan gets bail.
In the meanwhile, both Dr Arjun and his wife Jyoti are under threat from the serial killer. as they find ‘X’ mark in blood has been put on faces in their photo-frame. As a precautionary measure, Police Commissioner shifts them to a more secured place with a Commando attached to their new residence. Inspector Vijay ensures that he is present in the house when his brother, Dr. Arjun is on hospital duties.
Despite the security, one day, Jyoti finds that their personal Commando has been murdered in the same fashion as those killed by the serial killer. She gets the panic attack thinking that she and her husband would be the next target of the serial killers. A police team headed by the Police Commissioner visit to scene of the crime. To his horror, Inspector Vijay finds that his brother, Dr Arjun’s dead body is floating in a swimming pool with Jyoti murdered in her room with the same trade mark killing style as that of the serial killer.
The film ends with Police Commissioner taking a vow that he would not leave that mad serial killer and he would find him.
At the outset, the end of the film appears tame. This is because, I have not revealed the suspense part of the film just in case those who had not watched the film and are interested in doing so. The murder mystery has been solved as far as the film’s audience is concerned but for the police in the film, the case of the serial murders is yet to be solved.
The USP of the film is that the director has been successful in keeping the suspense in the film till the last. In fact, he has build-up the suspense as the film story progresses. However, this USP was not sufficient to make the film successful at the box office.
This film belongs to Nana Patekar from start to finish. There is no long and high-pitched dialogues for him as we are used to see him doing so in most of his films. He has a normal dialogue delivery and a restrained performance. Anupama Verma has done a conventional role of a house-wife which she has performed better than what she has been performing in her pop song videos. The suspense effects of the film have been well supported by the background music of Sanjay Chaudhary.
The weakness of the film is that it is too long for a suspense thriller. The film could have been easily condensed within the duration of say, 1 hour 45 minutes instead of 2 hours and 10 minutes to make it sleek for viewers. For example, there was not need to have two club songs of about 5 minutes durations just to support the playboy image of Puru Rajkumar. Such type of songs become distraction in a film which is trying to build-up the suspense. Probably, these two songs were included as a part of box office attractions. But the way these songs were conceived and presented, it would not have been a surprise if even front-benchers had taken a break by walking out of the theatre hall when these two songs were shown on the screen.
I also felt that there was no need for a romantic sub-plot of Inspector Vijay (Nakul Vaid) and his fiancée, Meghana Kothari. In fact, the role of Meghna Kothari is redundant in the film. On top of it, the pair have one song of about 5 minutes duration which appears to be forced upon the film.
And lastly, I missed the presence of N A Ansari type of a character in the film which would have added some aura around him, enhancing the suspense to the murder mystery.
‘Vadh’ (2002) has 6 songs, a high number for a suspense thriller. Except one, none of the song has pleased my ears. I am presenting the only song out of six which I liked and the song is ‘bahut khubsoorat hai aankhen tumhaari’ rendered by Jagjit Singh. The song is written by Nida Fazli which is set to music by Vishal-Shekhar. The song is picturised on Nana Patekar and Anupama Verma.
With this song, ‘Vadh’ (2002) makes its debut in the Blog.
Video Clip:
Audio Clip:
Song-Bahut khoobsoorat hain aankhen tumhaari (Vadh)(2002) Singer-Jagjit Singh, Lyrics-Nida Faazli, MD-Vishal Shekhar
Nana Patekar
Lyrics
hmm hmm hmm hmm
hmm hmm hmm hmm
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
tum in aankhon se duniya ko dekhti ho
aur main zindagi ko
jo sab se juda hai
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
jo sab se juda hai ae
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
tumhaari nazaakat a a
bani jab se chaahat
sukoon ban gayi hai
har ek bekaraari
bahut khubsoorat hain
aankhen tumhaari
na thhe jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
na the jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
tumhaari ijaajat
tumhaari hukoomat
ye saara gagan hai ae
ye dharti hai saari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye ae inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
Kehta hai baabul o meri bitiya
Posted on: October 11, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.
Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.
October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.
What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.
He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂
Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.
This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.
Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.
Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.
So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.
Video (Amitabh Bachchan voice)
Audio
Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava
Lyrics
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata
tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri
waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
Baabul Mora, Naihar Chhuto Hi Jaaye
Posted on: May 27, 2019
- In: "Baabul" song | Background song | Chitra Singh Songs | Classical composition | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Jagjit Singh - Chitra Singh Duet | Jagjit Singh songs | Love song | Lyrics contributed by readers | Poignant Song | Post by Sudhir | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Song used in more than one film | Songs of 1973 | Yearwise breakup of songs
- 3 Comments
This article is written by Sudhir, 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 : | 3965 | Post No. : | 15047 |
Songs Repeated in Hindi Films – 2
– – – – – – – – – – – – – – – – – –
One of the most iconic songs of Saigal Sb. A song that is a definitive representation of Hindi film music of the 1930s. That incomparable rendition by Saigal Sb under the music direction of RC Boral was recorded live for the film ‘Street Singer’ (1938). Recorded more than eight decades ago, this remains a signature piece for time immemorial. The vision of Saigal Sb, leaving his home, just carrying his harmonium with him, walking with a slow measured pace, and singing this thumri – it is one of the lasting images of Hindi cinema. That version of the thumri from the ‘Street Singer’ can be viewed here – “Baabul Mora, Naihar Chhuto Hi Jaaye“.
Anecdotes around that live recording and shooting tell of a microphone hidden in the harmonium, of the slow pace of walking so as to complete the singing and the visual shot keeping within the range of the camera. Playback singing had already been invented (1935) and was in progressive use in the industry. And yet, this song was recorded live. The performance can only be called – unprecedented, incomparable and peerless. Nothing more fascinates the diehard fans of Saigal Sb, than this one song by him. Many singers have sung this, but the Saigal version remains untouched, unsurpassed.
In the film, this song spans an extended sequence of scenes. And small parts of this song are also rendered by Kanan Devi. There is a sequence where Kanan Devi attempts to sing this song in the theatre. Later, Bhola (KLS) departs from their shared home, upset that Manju (Kanan Devi) is enamored by Amar Babu (Jagdish Sethi), and wants to move in with him. But after just one day away from Bhola, Manju returns home searching for him. And finds that he has left. She makes a phone call to Amar Babu, requesting him to bring his car. They start to drive towards the road that leads to Bhola and Manju’s home village. In the meantime, the scene shifts between Manju searching for Bhola, and Bhola walking away with the harmonium. The song is reprised here three or four times, sometimes just the mukhda, sometimes just the antaraa.
Amar Babu is driving the car with dismay in his heart. A windstorm arrives. There is lot of dust in the air, and visibility is not good. Manju alights from the car, and starts following the path on foot – the path that Bhola would have taken returning to his village. Tired and overcome by storm, Bhola falls down by the roadside. Manju sees someone lying on the road and rushes to him. The tryst happens again. Amar Babu watches them from a distance. And then with a wry smile on his face, he returns to his car, to start the lonely journey back to his home. Bhola and Manju start their foot journey back to their village. Once again the song is heard in the voice of Kanan Devi, as the visual shows the two mates, in a silhouette against a darkening sky. The hearts have met, they are returning home, and the lady’s voice is telling – “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.
Thirty five years later, in 1973, this classical thumri is now included in the film ‘Aavishkaar’, starring Sharmila Tagore and Rajesh Khanna. This time, the music composition is by Kanu Roy, who transformed it into a duet, with the participating voices of Jagjit Singh and Chitra Singh. This time, in the picturization, this is presented as a background song, as the visual action on screen is mostly silent – and yet very expressive.
‘Aavishkaar’ presents a scenario of a brief hiatus in the lives of two people very much in love. In love they are, and they get married, and they start to live together. Maybe, just love is never enough. What love is – it needs to be examined, re examined and re invented often. And then it becomes love, more love and more meaningful. Else, just the drudgery of the consistent proximity, which used to be like heaven to start with, turns into stagnant boredom. Expectations still riding high, the lull now breeds contempt – a contempt that is actually screaming for and seeking a rejuvenated level of understanding and sharing. That is what ‘Aavishkaar’ is about.
The film starts on a day when it is the wedding anniversary of the protagonist couple. Amar (Rajesh Khanna) is aware, but still, broodingly ignores. He works late in office, he goes to see a film with a female co-worker, giving the audience the impression that he is seeking extra marital happiness. On his way back at night, he finally musters enough thought and courage, and buys a bouquet of Rajnigandha flowers. Arriving home, a certain scene transpires before he enters the house, and on an impulse, he places the bouquet in a flower pot next to the door, and enters the house, pretending that he does not remember the anniversary. A long night passes. There are flashbacks, there are arguments, there is even physical violence – highlighting the drift that has occurred in the relationship. Basu Bhattacharya has handled the conflict and the interactions very deftly. In my mind, this is the best handling of the situation of a very loving relationship gone sour. Many other films come to mind – ‘Arth’, ‘Dooriyaan’, ‘Anubhav’, ‘Aandhi’, ‘Grih Pravesh’, ‘Aap Ki Kasam’, the comical ‘Pati, Patni Aur Who’, ‘Abhimaan’ . . . and more. In ‘Aavishkaar’, the director portrays the conflict, the pain, and the reconciliation, at a very psychological level.
So, after a distraught and a tension filled hostile night, mostly sleepless and lot of exchanges and memories, the new day dawns. The rigmarole of the daily routine beckons. Mansi (Sharmila Tagore) gets up early and opens the front door to pick up the milk delivery. And then she sees. . . the bouquet standing in the flower pot. She picks it up. And the voice of Jagjit Singh drifts in from the background. She finds Amar standing behind her. . . and there is an embrace. A lot changed and a lot settled in that night of strife.
The two stanzas play out slowly. The first one as the couple are embracing and then they move back into the home. The second stanza is an external shot, mixing flashback again possibly, as we see the couple on the beach, in a mood of frolic, as the singer croons yet once again to say. . . “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.
The two instances that we are so familiar with, of the use of this song in Hindi films, both seem to have happy conclusion. But that was not the original thought when Wajid Ali Shah wrote and composed this thumri, way back in 1856. The British had played a game of deception with the Nawab of Awadh. In a bloodless coup, Wajid Ali Shah was dethroned and sent to Calcutta, and the British annexed Lucknow and the kingdom of Awadh. The Nawab was completely heartbroken, on leaving his beloved city, and his cultural roots. That is the time when this timeless poem was conceived.
Yes, the interpretations works both ways. There is this indication of a newlywed bride, going to her new matrimonial home. There is sadness on leaving the parent’s home, but there is also an eagerness and joyful elation of being with the one, with whom a new bond of love will be explored. And, there is the gloomy and poignant interpretation. Looking at the sad dilemma that was faced by Wajid Ali Shah – he was sentenced to leave behind his beloved city, his happy pastimes, and the people who made up his life that far. The discussions in literature talk about the passing passage of life into afterlife. That too, is a leaving behind of the home that one thinks to be their own, and then embark on a journey to meet the Maker. This jusxtaposition is captured so beautifully and so splendidly in this brief two verse thumri – “Main Chali Piya Ke Des. . .”.
In the context of this series, I bring on this song today to highlight another dimension of reuse that we see so often in Hindi films – the reuse of traditional poetry and folk music. This particular thumri is so simply a dear favorite of singers, that gathering the number of different renditions by different artists would be a big exercise in itself. Just to give you an idea, this thumri has been sung by the following singers – the list goes all the way from Bade Ghulam Ali Khan to Alisha Chinoy. The names, in no particular order are – Ustad Faiyaz Khan, Gauhar Jaan, Ustad Bade Ghulam Ali Khan, Siddheswari Devi, Begum Akhtar, Rasoolan Bai, Naina Devi, Kesarbai Kerkar, Ustad Mushtaq Hussain Khan, Malka Jaan, KL Saigal, Jagmohan Sursagar, Kannan Devi, Ustad Khadim Husain Khan, Girija Devi, Shobha Gurtu, Pandit Bhimsen Joshi, Pandit Jitendra Abhisheki, Kishori Amonkar, Jagjit Singh and Chitra Singh, Jagjit Singh (solo), Rajan-Sajan Mishra, Alisha Chinoy, Mahendra Chopra. . . and I am sure, many more artists of repute.
If I talk about Hindi films, then besides the two instances already covered in the write up above, this thumri appears in two more films. In 1954, Manna Dey has sung this for the film ‘Mahatama Kabir’ – a really wonderful rendition. Then later in 1964, Lata Mangeshkar has sung this for the Bhojpuri film ‘Naihar Chhutal Jaaye’.
[Ed Note: Dear Arun ji adds two more instances of this song being used in Hindi films, both from early 1930s. This song has been rendered by Durga Khote in the 1931 film ‘Trapped’ aka ‘Farebi Jaal’. Then again in 1934, this thumri appears in the list of songs for the film ‘Naachwaali’ – no information available regarding singer or music director.]
Such reuse that involves traditional poetry and folk songs, is really very simple, because this material is beyond the intellectual property disputes. For that matter, we have seen many such other creations being used in films across the decades. On the devotional side, the poems of Meerabai, Kabir Das, and Soordas are very popular and are used quite freely by the producers. Then we have the adabi poets, once again a traditional treasure that does not have any copyright issues attached. Ghazals of Ghalib are quite popular and have been used in many films across the decades. As I scanned the songs in HFGK I find that the ghazal “Dil e Nadaan Tujhe Hua Kya Hai” appears in 9 films from 1931 to 1980. The ghazal “Nuktacheen Hai Gham e Dil” appears in four films, “Ye Na Thee Hamaari Qismat” appears three times, “Phir Mujhe Deeda e Tar Yaad Aaya” also appears in three films, and so on.
Checking for Meerabai’s bhajans, one finds the popular ones like “Mere To Girdhar Gopal”, “Main To Gidhar Ke Ghar Jaaun”, “Tum Jo Todo Piya” etc., being used in many films. Not a precise search, but my estimate is that Meerabai’s bhajans appear in Hindi films more than 100 times. The search cannot be precise because there are many instances where the traditional bhajans or ghazals have been used without giving credit to the original poet. Additional note – Amir Khusro’s poetry appears in Hindi films no less than 10 times, of which at least 4 are occurrences of “Kaahe Ko Byaahi Bides. . .”.
The more difficult proposition would be to trace the folk songs reuse across Hindi films. With so much variations, and without acknowledgement to the original folk source, it is difficult to make an estimate of folk music reuse in films. But I will surely add that this segment would be more voluminous than the bhajans and ghazals. The song, or variations thereof, of “Jhumka Gira Re. . .” has been used in no less than four films.
Coming to the film ‘Aavishkaar’. The film is produced under the banner of Aarohi Film Makers and is directed by Basu Bhattacharya. The songs of this film are written by Gyandev Agnihotri and Kapil Kumar. And yes, this traditional thumri originally created by Wajid Ali Shah. The cast of actors is listed as Rajesh Khanna, Sharmila Tagore, Deena Gandhi, Denis Klement, Satyendra Kappu, Monika Jasnani, Devendra Khandelwal, Margaret, Mahesh Sharma, and Minna Johar etc.
Interesting side note – this film is the 2nd in the now famous trilogy by Basu Bhattacharya, on the topic of marital discord, the first one being ‘Anubahv’ (1971) and the 3rd being ‘Grih Pravesh’ (1977).
More interesting side notes. As we talk about reuse, I must mention the other interesting reuse in this film. Probably this is the only film where we can hear Sharmila Tagore singing. At one place in the film, the iconic Manna Dey song “Hansne Ki Chaah Ne. . .” is being sung by Sharmila. Then, at another place in the film, the song from ‘Teesri Kasam’ (1966) – “Duniya Banaane Waale, Kya Tere Mann Mein Samaai” is playing on the radio, and we can also hear Sharmila singing along with it.
So much for today. In the next episode, we shall explore another very interesting aspect of re-use of songs.
Audio
Video
Song – Baabul Mora, Naihar Chhuto Hi Jaaye (Aavishkaar) (1973) Singers – Jagjit Singh, Chitra Singh, Lyrics – Traditional, MD – Kanu Roy
Jagjit Singh + Chitra Singh
Lyrics
baabul mora. . .
naihar chhuto hi jaaye
baabul mora. . .
baabul mora. . .
naihar chhuto hi jaaye
chaar kahaar mil mori
doliyaan sajaaye re
mora apna begaana
chhuto jaaye. . .
naihar chhuto hi jaaye
[dialogue – Rajesh Khanna, Sharmila]
angnaa to parbat bhaya
deori bhai bides
le babul ghar aapno
main chali piya ke des
main chali piya ke des
main chali piya ke des
baabul mora. . .
naihar chhuto hi jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये
बाबुल मोरा॰ ॰ ॰
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये
चार कहार मिल मोरी
डोलियाँ सजाये रे
मोरा अपना बेगाना
छूटो जाये॰ ॰ ॰
नईहर छूटो ही जाये
[संवाद – राजेश खन्ना, शर्मिला टागोर]
अंगना तो परबत भया॰ ॰ ॰
डेयोड़ी भई बिदेस
ले बाबुल घर आपनो
मैं चली पिया के देस
मैं चली पिया के देस
मैं चली पिया के देस
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये
- In: Century post by Guest poster | Century songs for the blog | Ghazal | Guest poster century song | Guest posts | Jagjit Singh NFS | Jagjit Singh solo | Jagjit Singh songs | NFS | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1995 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
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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 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. This is his 400th writeup in the blog
apni marzi se kahaan apne safar ke hum hain
rukh hawaaon kaa jidhar kaa hai udhar ke hum hain
-Nida Fazli
[There is no choice for us as to where we embark on the journey.
Where the direction of the wind is the place to which we belong].
Read more on this topic…
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 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.
He was a freedom fighter, a revolutionary, a journalist, a parliamentarian and a poet. He was associated with Indian National Congress, Communist Party of India and later Indian Muslim League. Bal Gangadhar Tilak was his mentor. He was the man behind coining the slogan ‘Inquilab Zindabad’. He was a member of Constituent Assembly for drafting the constitution of independent India. He was a devoutly muslim who made his annual pilgrimage to Mecca. But he also made it a point to visit Mathura on Krishna Janmashtmi day. He described himself as:
darwesh o inquilab maslak hai mera
Sufi Momin hoon and ishtiraaki muslim
(I have chosen a path of asceticism and revolution. I am a Sufi Momin and a socialist Muslim).
He was Maulana Hasrat Mohani.
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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 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.
Last year, I had presented a pair of hamradeef ghazals of Jigar Moradabadi and Mirza Ghalib wo jo rootheen to manaana chaahiye sung by Mukesh and Talat Mehmood, respectively as a duet making them into one combined ghazal. The main features of hamradeef ghazals are that they have the same ‘qaafiya’ (rhythmic patterns), the same ‘baher’ (meter) and the same radeef (the last word in the second line of each she’r).
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This article is written by Ava Suri, 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.
The Unforgettable was the first album of ghazals and nazms launched by Jagjit-Chitra. It was released in 1977.
These days television and FM radio stations bombard the viewers/listeners with new film songs. A song becomes popular at once, or not at all. In a month or two, another song takes its place at the top of the Pop charts and it’s gone forever.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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