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

Archive for the ‘Kumar Sanu Solo Song’ Category


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.

Blog Day :

5705 Post No. : 18223 Movie Count :

4892

‘Chaahat’ (1996) was produced by Robin Bhatt and Viral Lakhia under the banner of Bhatt Productions and was directed by Mahesh Bhatt. The cast included Shah Rukh Khan, Pooja Bhatt, Ramya Krishnan, Naseeruddin Shah, Anupam Kher, Avtar Gill, Mushtaq Khan, Tiku Talsania, Pankaj Berry, Anant Jog, Razak Khan, Shrivallabh Vyas, Rajni Bala, Amrit Patel, Alia Bhatt (as a child artist) etc.

The story of the film is mainly built around three extreme characters in terms of love and obsession. Naseeruddin Shah’s love for his sister Ramya can take him to any extent to make her happy. Ramya’s obsessive love for Shah Rukh Khan can trigger her to attempt suicide if she fails to get Shah Rukh Khan for herself. Pooja’s love for Shah Rukh Khan can make her the biggest sacrifice of her life. The confrontations between these extreme characters make the film a romantic thriller in which Shah Rukh Khan is sandwiched between these characters.

Interestingly, for Shah Rukh Khan, it was his first film under the direction of Mahesh Bhatt. The second film under his direction was ‘Duplicate’ (1998). Unfortunately, both these films flopped at the box office. Thereafter, so far, they had no occasion to work together.
The story of the film is as under:

Shambhunath Rathore (Anupam Kher), a widower and his son Roop (Shah Rukh Khan) are Rajasthani folk singers who earn for a living by singing for the visiting tourists at a 5-star hotel in Jaipur. Shambhunath is suffering from a persistent cough which is diagnosed as throat cancer. Roop decides that he must take his father to Mumbai for better medical treatment.

In Mumbai, Roop gets his father, Shambhunath admitted in a hospital for which he requires a lot of money for hospitalisation and sustaining himself in a big city. Luckily, through his village friend who works in a 5-star hotel, Roop gets to meet Ajay Narang (Naseeruddin Shah), a hotelier during which Roop sings for a birthday party in the hotel. Ajay’s sister, Reshma (Ramya Krishna) becomes infatuated with Roop with his singing. Roop gets a job in the hotel as a singer. Over a period of time, Reshma gets obsessed with Roop to the extent that she becomes possessive of him.

Meanwhile, both Shambu and Roop meet Pooja (Pooja Bhatt), a young nurse in the hospital. Shambhunath feels that she could be a good match for his son. Roop has also the same feeling for Pooja. They fall in love. But Reshma has become so obsessed with Roop that she wants him exclusively for herself. She uses her loving brother, Ajay’s money and muscle power. Roop leaves the singing job at Ajay’s hotel and joins a hotel owned by Ajay’s rival, Patel (Shrivallabh Vyas) as a singer. For the sake of Reshma, Ajay gets Patel beaten and forces him to sack Roop from his hotel. Roop is forced to sacrifice his love for Pooja and join Reshma for the sake of father’s operations for which he needs Ajay’s money.

Shambhunath’s operation is successful. Both father and son along with Pooja plan to leave Mumbai for Rajasthan. However, their plan is put on hold as Reshma tries to commit suicide. Eventually, Roop and Pooja get married. This frustrates Reshma to such an extent that she makes Roop and Pooja’s life miserable through Ajay. There are fights between Ajay and Roop during which Shambhunath is accidentally killed by Ajay. This follows the fierce fights between Ajay and Roop. Reshma gets hold of Pooja and orders Roop to stop the fight failing which she would push Pooja out of the terrace. Roop stops fight with Ajay. Taking advantage of this, Ajay fires at Roop and Pooja to kill them but the bullets hit Reshma who dies.

The film ends with Roop and Pooja walking out of the hotel. Looking up at the sky, Roop addresses his deceased father that his wish has been fulfilled and his son is united with Pooja.

The good work in the film gets faltered in the last about 30 minutes during which there are violent fights between Ajay (Naseeruddin Shah) and Roop (Shah Rukh Khan) at his hotel roof top. The scenes during their fights defy logic and sometime appear ridiculous. Reshma (Ramya) is shown in the film as being obsessively in love with Roop. But when Ajay constantly hit him to the extent that he is grievously hurt, Reshma just watches them fight without any reaction. There are hundreds of Ajay’s guests on the roof top of the hotel but none of them even tries to stop the fight. It appears like all the guests are watching a ‘free style boxing’ fights between Ajay and Roop. Lastly, despite grievously hurt, Roop has the strength of a wrestler to beat Ajay to such an extent that he is unable to fight. A bit of realism was missing during the fight scenes.

‘Chaahat’ (1996) has 7 songs written by Nida Fazli (4), Neeraj (1), Dev Kohli (1) and Maya Govind (1) which were set to music by Anu Malik. I am presenting the first song from the film, ‘dil ki tanhaaee ko aawaaz banaa lete hain’ to appear on the Blog. The song is rendered by Kumar Sanu on the words of Nida Fazli. The song is preceded by a she’r rendered by a male voice which, I feel, is that of Anu Malik. A she’r is again rendered by a male voice in one of the interludes which again I feel is that of Anu Malik.

The background to the song is that Ajay (Naseeruddin Shah), the hotelier has hosted a birthday party of his sister, Reshma (Ramya) when she hears a singing voice from the roadside. She calls him in the party to sing. She is impressed by his singing and from this point, Reshma becomes obsessed with Roop (Shah Rukh Khan). She recommends him to Ajay to be employed in his hotel as a singer. The highlight of the song sequence is the excellent performance of Ramya as a voluptuous lady as Shah Rukh Khan sings and Naseeruddin Shah as a host watches him.

Video Clip:

Audio Clip:

Song-Dil ki tanhaayee ko aawaaz bana lete hain (Chaahat)(1996) Singer-Kumar Sanu. Lyrics-Nida Fazli, MD-Anu Malik
Unknown male voice
Anu Malik

Lyrics (Based on the audio clip):

aaaaaaaaaaaa aa
aaaaaaaaaaaa aa
aaaaaaaaaaaa aa
aaa aaa aaa aaa aaa

taaron mein chamak phoolon mein rangat naa rahegi
arre kuchh bhi naa rahega agar mohabbat naa rahegi

ho o
dil ki tanhaaee ko…..o o
dil ki tanhaaee ko aawaaz banaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
dil ki tanhaaee ko aawaaz banaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm hmm
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm
aaaaaaaaaaaa aa
aaaaaaaaaaaa aa
aa aaa

aapke shaher mein ham le ke wafaa aayen hain
mufilisee mein bhi ameeree ki adaa laaye hain
mufilisee mein bhi ameeree ki adaa laaye hain
ho o o
jo bhi bhaata hai…..o o
jo bhi bhaata hai
usse apnaa banaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm hmm
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm hmm

aaaaaaaaaaaa aa
aaaaaaaaaaaa aa
aa aaa

hey hey ae ae
la la la la laa
hmm hmm
aa aa aa aaa

haaye
hamen youn dekhnaa
aisaa naa ho badnaam ho jaaye
ye mumkin hai isi kaa kal
mohabbat naam ho jaaye

husn waalon mein ye mashhoor hai aadat apni
har kisi se kahaan milti hai tabeeyat apni
har kisi se kahaan milti hai tabeeyat apni
ho…. o
pyaar miltaa hai ae ae o
pyaar miltaa hai jahaan
sar ko jhukaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm hmm
haan gaa lete hain
hmm hmm hmm hmm
hmm hmm hmm
dil ki tanhaayee ko aawaaz banaa lete hain
dard jab hadd se guzartaa hai to gaa lete hain
aaaaaaaaaaa aa
aaaaaaaaaaaa aa
aaaaaaaaaaaa
aaaaaaaaaaaa


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.

Blog Day :

5604 Post No. : 18079 Movie Count :

4852

Producer-director-writer, Basu Chatterjee is one of the earliest filmmakers who brought up middle-class related issues on the big screen with films like ‘Saara Aakaash’ (1969), ‘Piya Ka Ghar’ (1971), ‘Rajnigandha’ (1974), ‘Chhoti Si Baat’ (1975), ‘Chitchor’ (1976), ‘Baaton Baaton Mein’ (1979) and many more. He has also made film with other genres of which ‘Kamla Ki Maut’ (1989) was critically acclaimed. But the film failed at the box office. He went back to his favourite genre of middle class family drama with light comedy, and made for Doordarshan a telefilm, ‘Hamaari Shaadi’ (1990). About 3 months back, Doordarshan uploaded the film in digital format on one of the video sharing platforms, with improved audio-visual quality.

To make the film within the shoestring budget, Basu Chatterjee took the actors who had mostly acted in TV serials or the new comers, for the main characters in the film. The cast included Ajit Pal and Indrani Haldar (debut film) in the lead roles supported by Akhil Mishra, Ravi Baswani, Prem Bedi, Anjan Shrivastav, Manohar Singh, Meenaxi Thakur, Suman Dharmadhikari, Pushpa Verma, Suresh Bhagwat, Javed Khan, etc. The film’s story was written by Umesh Kalbag based on a real-life story of a couple in Mumbai. The film was shot on location in Mumbai. To cut the cost, he barely used film sets and instead Instead he made use of the real houses and office premises.

The film is about a young lover-couple in Mumbai who want to get married against the wishes of girl’s parents. They try the options of court marriage and the temple marriage, but the lawyer and the temple priest create complications for them. Finally, they decide to get married in the house of boy’s boss who will do ‘kanyadaan’ ceremony. Before that, the boy must find a shelter to stay in Mumbai after the marriage. He cannot afford to buy even a small flat or pay high rent. An old lady who has lost his only son, agrees to give the lover-couple a room in her house to stay after the marriage. On the day of the marriage, the girl insists with her husband-in-waiting that her parents be informed of the marriage. The climax is whether girl’s parents bless the couple.

The story of the film in detail is as under:

Pradeep (Ajit Pal) stays in a flat as a paying guest in Mumbai. He has no parents. He has recently got a job as a clerk in a company. In a neighbouring building, Jaya (Indrani Haldar) stays in a flat with her parents and is in her final year of post-graduation. Jaya’s father, Diwan Mahendra Singh (Manohar Singh), a former Diwan with a princely state, is a strict disciplinarian in his house. He is looking for a suitable bridegroom for Jaya in commensurate with his status so that after her post-graduation, she can be married off. So far, he has failed to get a suitable boy for her. Jaya does not like her father’s dictatorial tendencies in the house as well as his choosing a bridegroom without her consent.

Pradeep gets acquainted with Jaya, and they become friends. They frequently meet after office/college hours without the knowledge of Jaya’s parents. They love each other but Pradeep is afraid to propose to her due to his fear of Jaya’s father. It is only when her father is trying to fix another boy from Jaipur as her prospective bridegroom, Jaya reveals to Pradeep the problem at her end and suggests that they should get married quickly by eloping. Pradeep happily agrees to her suggestion.

Pareira (Ravi Baswani), Pradeep’s Man Friday in the office, suggests a court marriage which is quick and cost efficient. However, a court marriage lawyer (Anjan Shrivastav) tries to blackmail Pradeep by telling that Jaya’s father will create problems if he informs him about their impending court marriage. Pradeep drops the idea of the court marriage as Jaya opposes succumbing to lawyer’s blackmail. Pareira again comes to Pradeep’s rescue and suggests the temple marriage. However, the temple priest (again Anjan Shrivastav), knowing the background of the marriage, tries to extract money from Pradeep which Jaya refuses to agree. The lover-couple are back to square one.

Pareira once again find a solution for Pradeep in the office itself. He suggests him to consult their Boss, Sharma ji (Prem Bedi) who had got married in a similar circumstances. Sharma ji who was always aware of Pradeep’s love affairs but behaved as if he was not aware, suggests Pradeep to get married in his house with the offer that he and his wife (Pushpa Verma) will do the ‘kanyadaan’ ceremony. But before that Sharma ji advises him to have a house to stay in after the marriage.

Pradeep goes on searching for a flat but the cost of a flat for him is too high and he does not have that kind of money to buy. He also cannot afford the high rent. Pereira once again comes to his help and guides him to meet Mrs. Maria (Suman Dharmadhikari) who is a widow and stays alone in her bungalow in Bandra. He meets her and she offers him her empty garage with old furniture to stay. However, when Pradeep comes with Jaya for inspection, Maria has a change of heart because she sees in Pradeep, her deceased son. She offers her deceased son’s bedroom in her bungalow for staying after the marriage. She also provides Jaya with bride’s dresses. Pareira has paid for Pradeep’s wedding dress. The marriage date is fixed, and Sharma ji has arranged priest to perform the marriage ceremony in his house.

On the marriage day, Jaya leaves her house in the attire suitable for a bride with jewellery given by her mother to attend her college friend’s wedding in the morning. The plan is that Jaya, after attending her friend’s wedding would leave with the same attire to Sharma ji’s house for her own marriage with Pradeep scheduled in the evening. Pradeep reaches Sharma ji’s house and finds Jaya standing there with a sad face. She tells Pradeep that she had seen how her friend’s parents and other close relatives were happy in performing their daughter’s marriage. She says the she will not marry without involving her parents because the marriage is also a happy occasion for her parents and the close relatives, and their participation is essential.

Disgusted with the sudden change in Jaya’s behaviour, Pradeep rushes to Jaya’s house and meets her father, Diwan Mahendra Singh. He reveals in detail their plan of marriage. After some time, Jaya also joins Pradeep. After hearing this, there is tense moments for everyone in the house as to how Diwan Mahendra Singh would respond. Surprisingly. Jaya’s father gives his blessing for the marriage by saying that he has been searching a suitable boy for Jaya for the last two years but not a single proposal clicked. He was worried as to how he would get her married. The marriage is performed in the presence of Jaya’s parents and the newly married couple shift to Maria’s house. The film ends with Maria giving a traditional welcome to the married couple in her house.

After watching the full film in one sitting, I wondered how Basu Chatterjee could manage to make a full-length feature film of about 1 hour and 45 minutes of duration with a story that can be written in 10 lines. This is made possible mainly due to an excellent screenplay and subtle humour-filled dialogues written by Basu Chatterjee. There is not a single dull moment in the film. The performances of Ajit Pal and Indrani Haldar are excellent. Ravi Baswani’s performance adds to the light comical situations in the film.

‘Hamaari Shaadi’ (1990) had two songs written by Yogesh and set to music by the father-son duo of Salil Chowdhury-Sanjoy Chowdhury. No audio recording of the songs were released. I am presenting the first song, a title song, ‘aisa bhi hota hai do premi kabhi’ to appear on the Blog. The song is rendered by Kumar Shanu and it is picturised as a background song when two lovers, Ajit Pal and Indrani Haldar decide to meet after office hours. Both of them reach their meeting destination (which I presume is opposite Churchgate railway station). Thereafter, both of them walk, towards Marine Drive keeping the distance so that they appear like strangers to their acquaintances if they see them.

Video Clip


Song-Aisa bhi hota hai do premi kabhi (Hamaari Shaadi)(1990) Singer-Kumar Sanu, Lyrics-Yogesh, MD-Salil Chaudhari

Lyrics

aisa bhi hota hai do premi kabhi
milte hain jaise milen do ajnabi
anjaan se raahon pe chalte hain ye
aisa bhi hota hai do premi kabhi
milte hain jaise milen do ajnabi
anjaan se raahon pe chalte hain ye
chhupke duniya se
pyaar karte hain
koi dekh na le
haan dil mein darte hain
aisa bhi hota hai do premi kabhi
milte hain jaise milen do ajnabi
anjaan se raahon pe chalte hain ye

pyaar ke rang mein
mann ye jab doob jaaye ae
phir ye bandhan kabhi
koi na tod paaye
ye lagan hai jo
ye agan hai jo
jo bujhe na bujhaaye
ye lagan hai jo
ye agan hai jo
jo bujhe na bujhaaye
chhupke duniya se
pyaar karte hain
koi dekh na le
haan dil mein darte hain
aisa bhi hota hai do premi kabhi
milte hain jaise milen do ajnabi
anjaan se raahon pe chalte hain ye ae

jab milan ki ghadi
paas aane lagi hai ae
madhbari saans ye
geet gaane lagi hai
zindagi kitne
pyaar ke sapne
phir sajaane lagi hai
zindagi kitne
pyaar ke sapne
phir sajaane lagi hai
chhupke duniya se
pyaar karte hain
koi dekh na le
haan dil mein darte hain
aisa bhi hota hai do premi kabhi
milte hain jaise milen do ajnabi
anjaan se raahon pe chalte hain ye ae
chhupke duniya se
pyaar karte hain
koi dekh na le
dil mein darte hain


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

Blog Day :

5523 Post No. : 17972

‘Maaya Memsaab’ (1993) was jointly produced by NFDC, Channel 4 Films, Ketan Mehta and others and was directed by Ketan Mehta. The cast included Deepa Sahi, Farooq Sheikh, Raj Babbar, Shah Rukh Khan, Shreeram Lagoo, Sudha Shivpuri, Paresh Rawal, Raghuvir Yadav, Satyadev Dube, Om Puri, Shrivallabh Vyas etc. The film’s story was based on a classic English novel, ‘Madame Bovary’ (1856) by Gustav Flaubert.

It was Shah Rukh Khan’s first Hindi film which he signed sometime in 1990. But before the completion of the film, Shah Rukh Khan’s other 5 films were already released, and he had already attained the status of a star actor. ‘Maya Memsaab’ was released on July 2, 1993. As of now, the film is available for viewing only on OTT platform where I watched the film. I was not able to fully understand as to what the director intended to convey with film’s unusual ending.

The story is about a young girl who is obsessed with romantic fantasies in relationships enjoying the luxuries of life. In her quest, she gets caught between the illusion (maaya) and the realities of life. In fact, she is incapable of distinguishing between her romantic ideals and the harsh realities of life which eventually leads her downfall. This film can fit into a genre of ‘Romantic Fantasies’. The gist of the film’s story is as under:

Maaya (Deepa Sahi) stays with her father (Shreeram Lagoo) in a palatial house with all luxuries. One day she meets Dr. Charan Das in her house who has come to treat her father following his accidental fall in the house. With his periodical visit to her house, Dr. Charan Das (Farooq Sheikh) and Maya fall in love and eventually get married.

With Dr Das socially committed to his vocation with a middle-class mindset, Maya finds herself alone in the house and soon the boredom creeps in her mind. The marriage does not meet her expectation of romantic fantasies.  This leads her to extra-marital affairs – first with Rudra Pratap Singh (Raj Babbar) and later with a young Lalit (Shah Rukh Khan). Her affairs with Rudra Pratap Singh is short-lived.

At first, both Maaya and Lalit have platonic liking for each other which, over a period of time, turns into a passionate love affair between them. She also indulges in buying expensive jewellery, branded clothes and going on luxurious vacations putting her into heavy debt. The creditors are threatening to auction her house for the recovery of money. She has to face the consequences of her actions alone. The discovery of her infidelity by her husband, Dr Das deprives her of the support from him.

At the end, she realises that neither marriage nor the adultery have resulted in the attainment of her fantasy of romance. She also now becomes aware that materialism does not bring the inner happiness. In her desperation for attaining happiness, she drinks a liquid from a bottle which is supposed to bring her happiness as per a road-side quack. The film ends with Maaya missing and police investigating her disappearance.

In the novel, the protagonist drinks poison and dies at end. However, Ketan Mehta seems to have left the disappearance of Maaya at the end of the film, to the audience for their own interpretations. Maya’s wandering through the barren landscape before she goes missing is a metaphor of her barren life. my understanding is that Ketan Mehta may be hinting through this film the philosophical side of the story. Maaya’s actions do indicate her independent viewpoints for the fulfillment of her romantic fantasies (her idealistic romance) which will make her happy. But at the end, she finds all these are illusions (maaya) as materialism and infidelity have failed to give her happiness.

‘Maaya Memsaab’ (1993) has six songs of which one song has three versions. All the songs have been written by Gulzar which have been set to music by Hridaynath Mangeshkar. One song has already been covered in the Blog. All the songs of the film are very melodious. It was, therefore, difficult for me to choose one song for this article. Finally, I have zeroed on a multiple version song, “Ek Haseen Nigaah Ka Dil Pe Saaya Hai”.  I have selected this song for its visually impressive cinematic presentation. The song’s melody and orchestration match with the mood and atmosphere of Maaya’s journey of romantic fantasies.

The song has three versions. Version-I song rendered by Kumar Shanu has only two stanzas which is picturised on Farooque Shaikh and Deepa Sahi as a background song. Version-II is picturised on Shah Rukh Khan and Deepa Sahi. Both Versions-I and II songs depict the romantic fantasies of Maaya (Deepa Sahi) in her imaginations. Version-III song is Lata Mangeshkar’s solo which I did not find in the film.

One may observe in Version-II of the song that there is a change in tune in  the first two lines of second antara of the song which is different from the tune of the first antara. However, afterwards, the tune of first antara is retained. This is called ‘sanchaari’ in musical parlance. Rabindranath Tagore is said to have used ‘sanchaari’ in some of his compositions. Most of the music directors from Bengal are fond of using ‘sanchaari’. Salil Chowdhury has used ‘sanchaari’ in some of his Hindi film songs like in second antara of  O Sajnaa Barkha Bahaar Aayi from ‘Parakh’ (1960).

Kumar Sanu – Version I (Video)

Kumar Sanu – Version II (Video)

Kumar Sanu – Version II (Audio)

Lata Version (Audio)

Song – Ek Haseen Nigaah Ka Dil Pe Saaya Hai (Maya Memsaab) (1993) Singer – Kumar Sanu, Lata Mangeshkar, Lyrics – Gulzar, MD – Hridaynath Mangeshkar

Lyrics (from Kumar Sanu Version II Audio)

ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai

paaon ke taley kabhi..ee
dil pada miley agar
choom kar uthaaiye
khoob dekh bhaal kar…
khoob dekh bhaal kar
jo koi poochh le to kya
raah se uthaaya hai
ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai
ay hey
aa ha ha
aha ha

chali gayi jo manchali
pukaarunga gali gali
wo le ke meri zindagi
chali chali
udhar chali
wo roothi roothi rehti hai
bahut bahut manaaya hai
wo roothi roothi rehti hai
bahut bahut manaaya hai
ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai…
hey hey
hey hey hey
aa aa aaa
ho ho ho

teri neeli aankhon pe
bhanwar bade haseen hain
doob jaane do mujhe
ye khwaabon ki zameen hai
ye khwaabon ki zameen hai
utha do apni palkon ko
ye parda kyun giraaya hai
ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai….
ay hey
aa ha ha
aha ha

Lata Version

ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai
ek haseen nigaah ka dil pe saaya hai
jaadu hai junoon hai kaisi maaya hai
ye maaya hai

paaon ke taley kabhi
dil padaa miley agar
choom kar uthaaiye
khoob dekh bhaal kar
khoob dekh bhaal kar
jo koi poochh le to kya
raah se uthaaya hai
ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jadoo hai junoon hai kaisi maaya hai
ye maaya hai
ay hey
aa ha ha
aha ha

teri neeli aankhon ke
bhanwar bade haseen hai
doob jaane do mujhe
ye khwaabon ki zameen hai
ye khwaabon ki zameen hai..ai
utha do apni palkon ko
ye parda kyon giraaya hai
ek haseen nigaah ka dil pe saaya hai
ek haseen nigaah ka dil pe saaya hai
jadoo hai junoon hai kaisi maaya hai
ye maaya hai
ay hey
aa ha ha
aha ha

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

(कुमार सानु वर्शन II – audio पर आधारित)

एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है

पाँव के तले कभी
दिल पड़ा मिले अगर
चूम कर उठाइये
खूब देख भाल कर
खूब देख भाल कर
जो कोई पूछ ले तो क्या
राह से उठाया है
एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
ए हे
आ हा हा
आहा हा

चली गई वो मनचली
पुकारूँगा गली गली
वो ले के मेरी ज़िंदगी
चली चली
उधर चली
वो रूठी रूठी रहती है
बहुत बहुत मनाया है
वो रूठी रूठी रहती है
बहुत बहुत मनाया है
एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
हे हे
हे हे हे
आ आ आ
हो हो हो

तेरी नीली आँखों के
भँवर बड़े हसीन हैं
डूब जाने दो मुझे
ये ख्वाबों की ज़मीन है
ये ख्वाबों की ज़मीन है
उठा दो अपनी पलकों को
ये पर्दा क्यों गिराया है
एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
ए हे
आ हा हा
आहा हा

लता वर्शन’

एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है

पाँव के तले कभी
दिल पड़ा मिले अगर
चूम कर उठाइये
खूब देख भाल कर
खूब देख भाल कर
जो कोई पूछ ले तो क्या
राह से उठाया है
एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
ए हे
आ हा हा
आहा हा

तेरी नीली आँखों के
भँवर बड़े हसीन हैं
डूब जाने दो मुझे
ये ख्वाबों की ज़मीन है
ये ख्वाबों की ज़मीन है
उठा दो अपनी पलकों को
ये पर्दा क्यों गिराया है
एक हसीं निगाह का दिल पे साया है
एक हसीं निगाह का दिल पे साया है
जादू है जुनून है कैसी माया है
ये माया है
ए हे
आ हा हा
आहा हा

 


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4681 Post No. : 16361

We all are witnessing a once in a century pandemic that is taking a heavy toll of precious human lives. There is information overload on this topic. Much of the “information” that we are being bombarded with is not useful, and may even be harmful.

I have been observing all this. I have tried to figure out what is going on. I have tried to piece together useful information about this virus. Here I would present my take on this pandemic and how I think we should deal with the situation.

It seems that very few people actually have an idea how covid infection takes place and how it spreads. Awareness about how to protect oneself against this virus also seems low among people. The outcome of low awareness about this virus has led to disastrous consequences as we all have seen.

In a situation where most people are pressing the panic button and losing their heads, we need to take a calm look at things so that we know how to deal with this situation. I will try to keep it as simple and easy to understand as is possible.

covid 19 virus can be likened to a well trained terrorist group. It is trained and armed and indoctinated outside our borders. Then they are sent across the border to create terrorist acts within our border. Here terrorists are equivalent to covid 19 virus, whereas our country is like our body.

How do these terrorists cross the border ? If they find no security across the border, then they just sneak in unchallenged. If security is tight then they try to sneak in while their army resort to shelling across the border to divert the attention of our security forces. These terrorists then try to sneak in.

These terrorists, if they sneak in, try to create terror attacks wherever they can. If security is tight, then their attempts are foiled most of the time. If security is slack or the terrorists get local support then they are able to create serious damage.

If the terrorists are able to fan out inside the whole country then they can create terror attacks all over the country. All this happened in India with regularity not too far back. This is the most severe kind of terror attacks that India has seen.

With this background, that all Indians can readily identify with, I will try to explain how covid 19 virus acts in a similar way.

Covid 19 virus tries to gain entry into human body. It is a respiratory virus, so it can only enter our body through the external respiratory parts, viz nose and mouth, and also through eyes. So if our body is a country then nose and mouth and eyes are our border posts through which this virus tries to gain entry. When this virus was unknown, it had a free passage into the human body through nose and mouth of unsuspecting victims. When its existence became known then people began wearing masks. It is as if earlier the borders were unmanned but now they need tight security. Face masks are the border security force that that guard our entrances (nose and mouth).

If nose and mouth are guarded then still the virus may lurk in, seeking to enter when the guard is down, viz when the face mark is removed. People do remove face masks when they feel that there is no virus around. Virus lurks in the air, on the person, on clothes, exposed part of the body etc. If a person touches something (on his person or any object containing virus) and then touches his nose or mouth, this is the opening that the virus needed. It then enters the respiratory tract of the body. Now you know why there is so much stress on sanitising objects, hands etc. This also shows us what is the importance of six feet distance. If people stand far off, then the chances of virus getting transmitted from one person to another reduces considerably.

If despite all precautions, some virus enters the respiratory system, its quantity (viral load) will be low. If we are outright careless (no mask, no social distancing) then our respiratory system may receive a heavy viral load.

What happens when the virus manages to enter the respiratory system dodging the mask? It depends on the preparedness near the border.

Masks at the nose are like BSF who guard the border. If the terrorists cross the border, then they have to face the army, who are stationed near the border. In case of covid infection, the army that confronts the virus is known as body’ immunity system. It is basically white blood cells of blood. These WBC are the army soldiers to deal with the infiltrators. These WBCs are trained to tackle known viruses that they have tackled in the past. As soon as they come across a previously known virus, they are immediately able to mobilise anti bodies to tackle that virus. The antibodies can be readily and rapidly deployed. On the other hand, when a new virus, viz covid 19 virus enters about which the WBCs have no previous information, then WBCs take some time to get prepared. As WBCs gather more information about the new virus, they begin to create anti bodies to tackle the virus. But for a new virus, especially if a heavy viral load had entered the respiratory system, the WBCs response may turn out to be slow and inadequate. In the meanwhile the virus is able to do considerable damage to the respiratory system. By the time the WBCs begin to create antibodies, it may be too late.

So, If the viral load is less, then the virus is stopped there itself. If viral load is heavy and the person is not vaccinated then the virus may overwhelm the immunity system and enter further into the body, namely the lungs. Lungs are like the different states of the country. The terrorists have now spread throughout the country, and now they can wreak severe damage. The security in the interior of the country is in the hands of police, which is far too ill equipped to deal with such security threats than the army. Same is the case with the immunity system of the body, which is helpless if the virus gains access to the lungs.

Let us say that the person was already vaccinated. In that case, the immunity system was familiar with this virus. So as soon as the virus entered the respiratory system, the WBCs, being already aware about the nature of the virus, will be able to deploy antibodies immediately. So a vaccinated body is like a country with a strong well trained and well prepared army near the border. In that case most of the infiltrating virus would get neutralised there itself.

If the immunity is weak and person is not vaccinated, then the virus overwhelms the resistance at the entrance and invades the lungs. In that situation, the virus starts rapidly infecting the lungs that are unprotected and are now at their mercy. The virus damages the alveoli (tiny air sacs). The function of the alveolus is to transfer oxygen to the blood vessels. These blood vessels or capillaries carry the oxygen to the RBCs (Red blood cells). It is the RBCs that finally deliver the oxygen to all the internal organs in the body.

The virus works by damaging the wall and the lining of the alveolus and capillaries. The debris from the damage(exudate) , which is plasma protein accumulates on the alveolus wall and thickens the lining. As the walls’ thicken, the transfer of oxygen to the red blood cells is impaired. The thicker the wall gets, the more difficult it gets to transfer oxygen to the red blood cells, which causes difficulty in breathing as the body is running short of oxygen. And the lack of oxygen to the internal organs results in a deficit in the body and impairs the functioning of the organs. At this juncture, the body fights to increase oxygen intake.

And the first response of the body is to destroy the virus and prevent its replication, but if the individual has weaker immunity then the body is unable to stop the virus, and this aggravates the crisis.

As the air sacs are damaged, there is an influx of liquid which is mostly inflamed cells and protein and this fluid build-up leads to pneumonia. This further impairs the oxygen intake by the lungs and hinders the oxygen exchange. Due to the novelty of the Covid 19 strain, there is no immediate treatment to directly cure pneumonia in Covid 19 patients and they are mostly given supportive care.

There are some key indicators that the doctors use to judge the onset and severity of this severe condition called Acute Respiratory Distress Syndrome (ARDS) in infected individuals:

(1)Hypoxia – Low oxygen levels in the blood, due to damage to the alveolus

(2)Breathing difficulties and shortness of breath

(3)Chest x-rays of the lungs exhibit an opaque and glassy look against the black background

(4)Worsening symptoms over the course of time, from the day of detection of the virus

Is there no hope if the virus reach the lungs ? There is ! And it is this fact which is the most important thing to understand about this virus. The ammunition of the virus gets exhausted in nine days and so the virus gets ineffective nine days after it enters the body. If the damage to the body can be kept as low as possible though medication and other means then after nine days the recovery process begins. So the patient must be kept alive for nine days. If it can be achieved then he or she will survive. Forget low damage, even patients who suffered over 80% damage to their lungs have survived !

Virus may have become ineffective but it may have taken a heavy toll on the lungs by that time. The patient must lie prone on his/ her tummy and try to clear the contents of the lungs by coughing them out. Coughed up exudate (phlegm) would be variously coloured when the infection is severe. After a few days the colour would keep changing, from catechu colour (most severe) to black color (less severe)and finally as the infection reduces, the phlegm would become white. Finally phlegm would stop.

As the phlegm comes out, space is created in the lung and that makes breathing easier. Patients who are hospitalised and they have oxygen fitted on them mistakenly believe that they only have to keep lying down passively without doing anything. Not taking any proactive action to clear up the phlegm in their lungs is a mistake because in that case the situation will keep getting worse because the oxygen being pumped into their lungs will have no place to go in the lungs. If oxygen cannot reach the lungs then naturally they cannot be sent to RBC and from there to various parts of the body, and that would lead to serious complications.

It is seen that not just patients, even medical practitioners are often not very helpful (mainly because of their lack of experience). For instance, when a patient goes for chest x ray or HRCT, the report just states the facts, without any expert and helpful comments. A typical (and actual) HRCT report stated- “CT severity score of -36/40”

What will a normal patient do on reading the above ! He/ she will most probably die of shock if not covid because it indicates that the damage to the lung is over 80 %. Fortunately, the above patient happened to be the sister of my wife. My wife told her sister that she did not have to worry. The virus had done all it could and now the lung condition was only going to improve. To make space in the lungs, she advised her sister to do exercises that would expel the phlegm (technical term for this substance is exudate) stuck in her lungs. My wife’s sister followed the advice scrupulously. There was noticeable improvement in her condition. After a couple of weeks, her scan showed perfectly clear lung condition !

It was not the first case where my wife helped save a life. Last year, her brother too had suffered from covid and he too had delayed getting himself checked and treated, leading to a lung condition that was even worse. Even there, correct and timely advice by my wife helped save the life of her brother.

In my wife’s opinion, Rohit Sardana, the news anchor faced a similar situation as faced by her brother and sister and he could have been saved if he had received correct medical advice of the kind that she gave to her brother and sister. In Rohit Sardana’s case, he was in home isolation and he was making good recovery and was feeling better. It was on the advice of some well meaning colleague that he got his HRCT done. The HRCT showed similar severity as in case of my sister in law. But Rohit Sardana did not have the advantage of a good doctor’s advice who would tell him that the worst was over for him. Looking at the severity of his lung report, he went into shock and got himself admitted to a hospital, where he died soon thereafter.

So, to summarise all the above discussion, it can be said that the best protection against covid 19 is a properly worn mask. Do all in your ability to ensure that the virus cannot enter your respiratory system. The virus can enter your respiratory system only through nose and mouth (and in exceptional cases through eyes). Protect these entrances to your respiratory system with your life. If in rare cases virus does get in, only a light load of virus gets in if you have taken precautions, so that your present immunity system can deal with it. Do not be foolhardy to offer a free passage to the virus by going around without mask. Allowing a huge viral load to enter your respiratory system believing that you have a great immunity system is nothing but suicide. Such people will be mercilessly shown their mortality by the virus. Once the virus attacks your lung, then you will be forced to run around from pillar to post, but all these efforts will largely be fruitless. A mask costing a few rupees, and a disciplined lifestyle is more effective in preventing covid than all that desperate scramble clamouring for hospital beds, oxygen, remdesivir etc, and all that at black market prices.

And please get yourself vaccinated at the first opportunity available. India is one of the few countries that can produce its own vaccines and so India is not dependent on foreign supplies (which are difficult to come by). Most people are getting it for free in government facilities. but if some private hospitals are offering it against payment, then pay for it, avoid long waiting lists of government hospitals and get yourself vaccinated. Paying a few hundreds, or even a couple of thousands of rupees for the doses of this vaccine is fully worth it as will protect you from this deadly virus.

While discussing this deadly respiratory disease, I had decided that this article should be accompanied by a song dealing with “Saans”. The first “saans” song that I was reminded of was this song of “Aashiqui”(1990) but I thought that this song was already covered. On checking up, I heaved a sigh of relief (pun unintended) because this song was not yet covered in the blog.

Produced by Gulshan Kumar and Mukesh Bhatt and directed by Mahesh Bhatt, “Aashiqui”(1990) had Rahul Roy, Anu Agarwal, Reema Lagoo, Deepak Tijori, Avtar Gill, Tom Alter, Mushtaq Khan, Javed Khan, Sunil Rege, Homi Wadia, Anang Desai etc in it. Two songs from the movie have been covered in the past.

This movie turned out to be a musical blockbuster. The story of the movie was quite run of the mill and no great shakes, but the music made the movie a super duper hit.

The song under discussion has two versions. THe movie begins with the male version sung by Kumar Sanu. This song is picturised as a hotel/ club song. Rahul Roy lip syncs the song. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The female version song is sung by Anuradha Paudwal. Its video does not seem to be available. I had watched this movie in New Delhi and I vaguely recall having seen the female version also. But its video does not seem to be available now. In any case, it was the male version which was the more popular.

The song likens the need for a “sanam” to the need for “saans”. We take “saans” for granted, but not any longer, seeing the clamour of medical oxygen in these times. One never imagined that a time may come when one would be willing to pay money to be able to breath oxygen artificially. God has given us the ability to breathe this air for free. Let us hope that we will continue to be able to avail of this gift of being able to breathe naturally.

Today (12 May 2021) is also International Nurses’ day. On this occasion, let us all hail and appreciate the great service that they and other medical personnel are rendering in combating this pandemic.

Audio – Male version

Video – Male version

Audio – Female

Song-Saanson ki zaroorat hai jaise zindagi ke liye(Aashiqui)(1990) Kumar Sanu/ Anuradha Paudwal, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

—————————
Male version
—————————

ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise
zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
jaam ki zaroorat hai jaise
jaam ki zaroorat hai jaise
bekhudi ke liye
haan ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye

waqt ke haathhon mein sabki taqdeeren hain
waqt ke haathhon mein sabki taqdeeren hain
aaina jhoothha hai
sachchi tasveeren hain
jahaan dard hai wahin geet hai
jahaan pyaas hai wahin meet hai
koi na jaane magar r
jeene ki yahi reet hai
saaz ki zaroorat hai jaise
saaz ki zaroorat hai jaise mausiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye ae
haan ek sanam chaahiye ae ae aashiqui ke liye

Dialogues
————————————-
ladies and gentlemen
aaj hamaare beech mister and mrs Peston jee
apni shaadi ki pachcheesvin saalgirah mana rahe hain
let us give them a big hand

—————————————
ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

manzilen haasilen hain
phir bhi ek doori hai
manzilen haasilen hain
phir bhi ik doori hai
bina humraahi ke
zindagi adhhoori hai
milegi kahin koi rehguzar
tanha katega
kaise ye safar
mere sapne ho jahaaan aan
dhhoondhhoon main aisi nazar
chaand ki zaroorat hai jaise
chaand ki zaroorat hai jaise chaandni ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye

——————————-
Female version
——————————–
hmm hmm hmm hmm
hmm hmm hmm
aa aa aa aa
aa aa aa

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
shama ki zaroorat hai jaise
shama ki zaroorat hai jaise raushni ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

baaghbaan ke dil mein har kali khilti hai
baaghbaan ke dil mein har kali khilti hai
har lahar saahil se ik din milti hai
jahaan chain hai wahin bebasi
jahaan ashq hai wahin hai hansi
gham ke kaanton se chune ae usiko milti khushi
honthon ki zaroorat hai jaise
honthon ki zaroorat hai jaise baansuri ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

hmm hmm hmm hmm
hmm hmm hmm
laa laa laa laa
laa laa laa

har haseen dhadkan mein pyaar ki baaten hain
har haseen dhadkan mein pyaar ki baaten hain
har jawaan mehfil mein yaar ki baaten hain
jahaan nazm hai wahin hai ghazal
jahaan dhoop hai wahin hai kanwal
seene se lipte rahe ae kisi ke yaadon ke pal
dost ki zaroorat hai jaise
dost ki zaroorat hai jaise dosti ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye


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.

Blog Day :

4490 Post No. : 16015 Movie Count :

4383

Hullo Atuldom

“Duplicate” (release date 8/5/1998) was a movie that we went to see as a family because it had Shahrukh Khan in the lead. Those were times when we used to pick-and-choose movies which had decent or fun songs and some actor of our liking and we could take the children along. Thus we ended up seeing this ‘not-so-great’ story-wise film which was produced by Yash Johar and directed by Mahesh Bhatt. It had music by Anu Malik and lyrics were by Javed Akhtar. Alka Yagnik, Kavita Krishnamurthy, Kumar Sanu, Abhijeet Bhattacharya, Udit Narayan and Shankar Mahadevan were the singers used. This was one of the cassette tapes that I had purchased as the kids loved its songs. Personally speaking, I enjoyed the movie as it was inane, illogical and simply masaledaar Bollywood stuff. The kind which helps us to forget ourselves during the duration of its screening.

This was Shahrukh’s first double role movie (1996 had seen him play a triple role in “English Babu Desi Mem”, but the characters he played didn’t share screen space) where he played a bumbling youngman out to get a job as a top chef in a big 5-star hotel. The other SRK was a gangster on the run. The movie opens with Manu, the gangster, trying to hoodwink the cops with the help of his girlfriend Lily (Sonali Bendre). Juhi Chawla plays Sonia Kapoor, a hotel HR Manager, who bumps into Babloo (chef SRK) when they get into the same Taxi (from different sides of course) and end up bickering about who had hailed the cab etc. The cab driver mediates and suggests that they share the fare as the destination is same- the hotel where Babloo has an interview to attend. The ride to the hotel is peppered with Babloo rehearsing for the interview and Sonia and the driver enjoying themselves. The highlight of the scene is when Babloo declares his goals in life which includes “feeding his girlfriend VADAPAV that he will make in the 5-star kitchen”. (I hope I am exact at this, Peevesie).

We had Farida Jalal playing Babloo’s mother who is disappointed with his career choice as her aim was to make him a wrestler like his father. The movie also has a sprinkling of supporting actors – Tiku Talsania whose aim is to nab Manu, Gulshan Grover playing the badman character, Sharat Saxena, Kunal Vijaykar etc. There is a guest appearance by Kajol (though I don’t recall much about that).

The songs were all fun to watch but there was one really lyrical song in the album which had Javed Akhtar at his romantic best (for this movie).This is the song with which the movie is making its debut on the blog today.

I would love it if the birthday boy would care to explain a few words of this song. I am hinting at our Dilldaar Dilliwala -Sudhirji. Last year I had wished that he didn’t run out of ‘ideas for posts and series’ and he came up with a “this week that year” series that is essentially analyzing the blog for that week 10 years ago. We are missing it for the last month and half Sirji!!! 🙂 We want more of it -‘Yeh dil maange more’.

It also happens to be Shahrukh Khan’s birthday today as also Anu Malik’s. One has ruled the hearts of his fans with his acting and the other has given songs that make the fans dance. One was born into the industry but worked his way up the ranks. The other had no filmy connection but still has had a good to very good career graph. The melodies that this team has dished out are mostly successful.

Cannot forget “kiska hai yeh tumko intezaar main hoon na” (Main Hoon Na); “ae mere humsafar ae meri jaan-e-jaan” and “yeh kaali kaali aankhen” (Baazigar); “apun bola tu meri laila” (Josh); “iss pyaar se meri taraf na dekho pyaar ho jaayega” (Chamatkar); oh there are numerous songs of this jodi that will feature in my playlist.

Anu Malik made his debut in 1977 and SRK made his debut first on Doordarshan in 1988 before Hema Malini signed him on for “Dil Aashna Hain” but his first release was “Deewana”. Both the movies had Divya Bharati as his heroine. then we had a deluge where we saw him in “Chamatkar” (first with Anu Malik as music director), “Raju Ban Gaya Gentleman” (first of many with Juhi Chawla), “Baazigar” (again Anu Malik and first with Kajol),etc. etc. He was given the Filmfare award for best actor for his anti-hero role in “Baazigar”. He has won awards as many as 14 Filmfare awards of which 8 are as best actor. He was awarded the Padma Shri in 2005.

Talking of Anu Malik, his father was the music director of the ’50s and ’60s. Recently I have subscribed to a channel which show evergreen classics along with programs like Sunheri Yaadein, Sitaaron Ka Caravan etc. One such treasure house program is Anmol Yaadein where in the host was interviewing Anu Malik. I saw Anu mention therein, that Sardar Malik was married to the sister of Hasrat Jaipuri. So as a child Anu, who was a fan of Shankar Jaikishan, used to pester his mama to take him along to the recordings where SJ were at work. Anu managed to meet his favourite composers through his mama (uncle Hasrat Jaipuri) and also play some music to them. Anu goes on to say that the legendary duo were impressed with Anu’s comfort when playing the Harmonium and he took it as their blessing for his future. He has worked with almost all lead singers of Bollywood starting with Manna Dey to many of the current day singers. He has been a judge on many Television shows.

Today’s song is in the voice of Kumar Sanu. It is filmed in the picturesque locales of Switzerland. In fact the church shown in this song is a famous attraction for Indian tourists and I recollect our tour operator making special mention of it as “the church where SRK has romanced a few heroines” mainly Kajol in DDLJ. This movie was not popular I suppose, or even this would have been mentioned.

Another thing which I would like to point out is the prominent use of the Tabla – Anu Malik’s favoured percussion instrument. It is used very nicely in the antara.

BTW I would love to know what is the meaning of “Katthai aankhon wali” as far as I understand the language ‘Kattha ‘ goes with ‘choona and supari’ in Paan (betel leaf).
Editors note:- (Katthai is the colour of katthai, viz bronish, so “katthai aankhon waali” means “browned eyed”.

Here is wishing our fellow Atulite a Very Very happy Birthday Sudhirji. In addition wishing the Bollywood jodi of Anu Malik and Shahrukh Khan on their birthday.

Video

Audio

Song-Katthai aankhon waali ek ladki(Duplicate)(1998) Singer-Kumar Sanu, Lyrics-Javed Akhtar, MD-Anu Malik

Lyrics

hmm hmm hmm hmm
hey hey hey hey
la la la la la aaa
hmmm hmmm hmmm hmm hmm

katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai ae
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai ae
tum mujhe kyun nahin miley pehle ae ae
roz yeh keh kar mujhse lad’ti hai ae
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pehle ae ae
roz yeh keh kar mujhse lad’ti hai
katthai aankhon waali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm

ru ru ru ru ru
ru ru ru ru ru
ru ru ru ru ru

gusse ki woh tez hai lekin
dil ki behad achchi hai
woh kaliyon se bhi naazuk hai
aur shehad se meethhi hai
chehre par hai narm ujaale
baalon mein kaali raatein
chehre par hai narm ujaale
baalon mein kaali raatein
hans de woh toh moti barse
phoolon jaisi hain baatein
hmm hmm hmm hmm
katthai aankhon wali ek ladki
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pahle ae
roz yeh keh kar mujhse lad’ti hai
katthai aankhon wali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm

mujhko tumse pyaar nahin hai
roothh ke mujhse kehti hai
lekin har kaagaz par mera
naam woh likhti rahti hai
main bhi uska deewaana hoon
kaise usko samjhaaun
main bhi uska deewaana hoon
kaise usko samjhaaun
mujhse milna chhod de woh toh
main ek din mein mar jaaun
hmmm hmm hmm hmm hmm hmm
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pehle ae
roz yeh keh kar mujhse lad’ti hai ae
katthai aankhon waali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmmm
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm
laa laa la la
laa laa la la


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.

Blog Day :

4447 Post No. : 15898

Hullo Atuldom

“Ham Hain Raahi Pyaar Ke” (1993) had six songs, four of which are already on the blog as under,

Bambai Se Gayi Poona, Poona Se Gayi Dilli” – a wonderful post describing life at the various “pur”s and one “Nagar” and had 31 comments

Yoon Hi Kat Jaayega Safar Saath Chalne Se” – 3000th day of blog, post by Rajaji

Ghoonghat Ki Aad Se Dilbar Ka” – has a synopsis of the movie

and “Mujhse Muhabbat Ka Izhaar Karta“.

Here is the next one.

It is inside a garment Factory. Aamir Khan (Rahul) is trying to get his sister’s or jija’s factory running so that he can look after his niece and nephew/s who are not in a mood to accept him as their  guardian. To add to Rahul’s troubles the ladies working in the factory are in a mood to ‘rag’ their new boss. The songs were written by Sameer and tuned by Nadeem Shravan. It is sung by Kedarnath Bhattacharya popular as Kumar Sanu.

We are revisiting this movie to remember Tahir Hussain on his birth anniversary (19th September 1938- 10th february 2010) who was the producer of HHRPK (acronym of the movie). Incidentally Aamir Khan (hero of HHRPK) is his son and he was the main lead in two movies of TV Films, Tahir Hussain’s production house. Tahir Hussain, who was the brother of Nasir Hussain (maker of some classics of the 60s, 70s, 80s etc.) has classics like ‘Caravan’ (1971), ‘Anamika’ (1973), ‘Zakhmee’ (1975) etc. to his name as producer. He was the director of ‘Tum Mere Ho’ starring Aamir Khan in 1990.

20th September also happens to be the birth-date of the director of HHRPK -Mahesh Bhatt. He turns 72. He is known for movies that focused on relationships for example ‘Arth’, ‘Saransh’, even his initial ‘Lahu Ke Do Rang’ showed the relation between half-brothers played by Vinod Khanna and Danny almost like ‘Naam’ starring Kumar Gaurav and Sanjay Dutt. Mahesh Bhatt movies also had other regular Bollywood masala in it – action, emotion, drama and great music/ songs.

Video

Audio

Song – Chikni Surat Tu Kahaan Tha Ab Talak Ye Bata  (Hum Hain Raahi Pyaar Ke) (1993) Singer – Kumar Sanu, Lyrics – Sameer, MD – Nadeem Shravan
Chorus

Lyrics (Based on Audio Version)

now listen girls, please understand,
first things first,
I only want a shirt.

chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

yu naa subah se shaam karo ji 
fectory na badnaam karo ji
chalo baith ke kaam karo ji 
aise na aaraam karo ji
waqt abhi jo dhal jayega 
phir na dobara kal aayega
sun lo meri baataan 
kaise kaise sapne leke
main yahaan pe aaya 
aaya  
dekh ke in aafat ki pudiyo ko
main to ghabraaya 
haan main to ghabraaya
chikni soorat 
tu kahaan tha 
ab talak ye bata
chikni soorat 
tu kahaan tha 
ab talak ye bata

hum huye barbaad ab to
hum huye barbaad
haan haan
hum huye barbaad ab to
hum huye barbaad
tum raho aabaad jao 
tum raho aabaad
haa haa haa haa haa

congratulations 
why 
and jubilation 
what for
aaye ho tum yahaan pe pehli pehli baar 
I see
tum hamko jaano 
why not 
hamko pehchaano
oh sure
itni si baat ka bura na maano yaar
no no no no no
everybody
congratulation
and jubilation
aaye ho tum yahaan pe pehli pehli baar
tum hamko jaano 
hamko pehchaano
itni si baat ka bura na maano yaar

hey listen you beauties
you must do your duties
and don’t you trouble me like this any more
coz if I get angry
I promise you one thing
I’ll surely be throwing you out of the door
haa haa haa haa haa

help me help me help me o god
help me help me help me o god
yeh mujhko tu 
kahaan laya hai 
kya socha tha 
kya paya hai
in haseeno se mujhko bachha
in haseeno se mujhko bachha

chikni soorat 
tu kahaan tha 
ab talak ye bata
ae chikni soorat 
tu kahaan tha 
ab talak ye bata
la la la laa laa
la la la laa laa 
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa (hae hae hae)
la la la laa laa (hae hae hae)
la la la laa la la laa
la la la laa laa
la la la laa laa 
la la la laa la la laa

 


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

Blog Day :

4431 Post No. : 15862

Remembering Rishi Kapoor on his 68th Birth Anniversary :

A journey started on 4th September, 1952. Rishi Kapoor’s life journey through his histrionics in tinsel town, starting with his father’s epic “Mera naam joker”, to the chocolate boy in ‘Bobby’ to the authentic Majnoo in “Laila Majnu” to the slick tycoon in “ Yeh Wada raha”, via the semi-villain in ‘Hum kisi se kam nahi”, with a heart of gold, no less. The hapless husband of ‘‘Damini” , the sacrificing lover boy of ‘Chaandni”, mark the fulfilling journey and career of a shining star with the a extra twinkle in the eyes. The nick name Chintu Kapoor suited him. And great things do come in small packages, or so I have heard.

Rishi Kapoor has more than justified the Kapoor khandaan’s legacy, with a kaleidoscope of films which people want to see again and again , just for his expressions and acting. I have just now seen the song .

This is one song I keep forgetting to mention while talking about RDB’s songs. In the song, though Rishi Kapoor is sitting in the restaurant and watching the song, it is clear who is emoting the best effect of the feel of the song. Clearly he was among the best actors of 70’s and 80’s heroes. May be Rajesh Khanna and Sanjeev Kumar were better than him, not counting Amitabh bachchan here.

Rishi Kapoor lost the battle to cancer on 30th April 2020, while the entire world was reeling under the ‘pandamic’. I could not pay a proper tribute to him at that time, so I am trying to do it now.

The pandemic’s lasting after affects are emerging like the rippling of the volcano. We all need to deal with these in a calm and collected manner, and keep faith that the things will improve in near and distant future.

Here is a small ghazal, for motivation:

– Kabhi maayoos mat honaa –

Main maantaa hoon waba’a ke din hain
Magar yeh din bhi khudaa ke din hain

Dilon se maayoosiyaan nikaalo
Zara sa aage shifa’a ke din hain

Guzar gayi umr ghaflaton mein
Yahi to rab se wafaa ke din hain

———-

Waba’a – widespread illness
Shifa’a – recovery from illness
Ghaflat – carelessness

Coming to the song, it is from the film “Deewaana”(1992). Singer is Kumar Sanu of this lengthy, long mukhdaa and long stanza’s song. Sameer is the lyricist and Nadeem-Shrawan are the music directors.

The following two songs from this film were posted way back in March 2009:
Paayaliyaa ho ho ho ho
Aisi deewaanagi

Someone made this comment in 2020 to this 28 year old song, on youtube :

कल के मधुर संगीत ,
आज के भंगार संगीत
जमीन आसमान का फर्क

Can’t disagree here, as the song is really “madhur”. This was also a personal favourite in 1992, though I might have seen this film on cable TV. The late Divya Bharti is the heroine with Rishi Kapoor, with Shah Rukh khan playing a third in a negative role, this character is not with a heart of gold 🙂 .

Rishi Kapoor is singing this song on stage with a bevy of dancers(One too many), my memory did not recall the extra dancers on stage. At least they are not in garish colour, so everyone is in heavenly sparkling white.

And may the departed souls rest in heavenly peace.

Sochenge tumhe pyar karen ke nahin – Deewana(1992)

Audio

Video

Song-Sochenge tumhen pyaar karen ke nahin (Deewaana)(1992) Singer-Kumar Sanu, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

Hey hey
Hey hey
hmmm mmmm
hmmmmm
hmmm mmmm
hmmmmm
ooo oooo
aa haa haaa

sochenge tumhen pyaa aa aar
karen ke nahin
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko o o
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko
miloge hamen tum jaanam
kahin na kahin ee ee en
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin

tum ho khiltaa mehkaa sa kanwal
tum ho khiltaa mehkaa sa kanwal
ham jo gaayen
tum ho wo ghazal
kamsin bholaa sa mukhdaa
lagti ho chaand ka ik tudkaa
ham kitni taareef karen
dekh ke tum ko aahen bharen
tum sa nahin hai koyi
pyaaraa sanam mm
pyaaraa sanam mmmm
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin

hey hey
hey hey hey
la la la la la la
la la la la laa aa
hey hey hey hey hey

jis din tum ko
dekhegi nazar
jis din tum ko
dekhegi nazar
jaane dil pe
hogaa kya asar
rakhhenge tum ko nigaahon mein
bhar lenge tumhen baahon mein
zulfon ko ham suljhaayenge
ishq mein duniyaa bhulaayenge
ye beqaraari ab to o o
hogi na kam m
hogi na kam mmmm
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko o o
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko
miloge hamen tum jaanam
kahin na kahin ee een en
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
hey hey
la la la la laa aaa
la la la la la laa laa
hey hey hey hey hey


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

Blog Day :

3926 Post No. : 14995 Movie Count :

4104

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 5
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

It is so heartening to see our beloved blog reaching yet another big milestone of 15000 songs being posted! Over a decade plus of hard work by all involved has made this possible but above all it has been Atul ji’s steadfast disciplined hard work which has led to it. I first of all congratulate him for this achievement. Your dedication, hard work and encouragement is always inspiring us. I have run out of hats to raise for all the wonderful work you have been doing here on this blog. May God always bless you and give you strength to achieve all your goals in your personal and official life.

I also wish to thank all the other contributors who have all become my friends during the journey of this blog. It has been a pleasure knowing you and Its always enjoyable meeting all of you. I think we should celebrate soon with a celebratory party Hangout (online or offline) with all of us meeting in spite of the time zone differences which separate us but love for music at the end of the day never fails to join us. Keep smiling always and be ever happy all of you!

For today’s song post I have chosen a song I was in love with when the movie released. This movie had some lovely songs under the baton of ace composers Jatin-Lalit and it makes its debut on the blog with this song. The movie was directed by a favourite director of mine, Kundan Shah whose film ‘Jaane Bhi Do Yaaro’ (1983) is a delightful watch for all avid movie lovers even today years after its release (I shudder to hear talks of it being remade. Classics should be best left untouched. ‘Albert Pinto Ko Gussa Kyun Aata Hai’ (1980) was touched just last week and all critics unanimously agree it was best left untouched). The movie’s name of course is ‘Kabhi Haan Kabhi Naa’ which was a 1994 release. Many big names and soon to be big names participated in this delightful movie whose main details are as given below:-

Movie: Kabhi Haan Kabhi Naa (1994)
Director: Kundan Shah
Starcast: Shahrukh Khan, Suchitra Krishnamoorthi, Deepak Tijori, Rita Bhaduri, Satish Shah, Anjan Srivastav, Goga Kapoor, Tiku Talsania, Ravi Baswani, Naseeruddin Shah, Juhi Chawla
Producer: Vikram Mehrohtra
Banner: Shemaroo Video Pvt Ltd
Release Date: February 25th 1994

This is how Wikipedia describes the movie:-

‘Kabhi Haan Kabhi Naa’ (lit. Sometimes yes, Sometimes no) is a  1994 Indian Hindi romantic coming-of-age comedy film directed by Kundan Shah and starring Shah Rukh Khan, Suchitra Krishnamurthy, Deepak Tijori and Naseeruddin Shah. This is one of the rare mainstream Hindi movies in which the hero plays the role of a loser. It is widely considered to be one of Shah Rukh Khan’s best performances, and he has said that it is his favourite film. He received the Filmfare Critics Award for Best Performance for his role. Produced on a budget of ₹1.4 crore, the film grossed ₹5.5 crore, equivalent to ₹84 crore (US$12 million) adjusted for inflation. At the 39th Filmfare Awards, it won the Critics Award for Best Film and the Critics Award for Best Actor for Shah Rukh Khan, who also won the Best Actor award for ‘Baazigar’ (1993) at the same ceremony.

I still remember seeing this slice of life movie in a theatre. I was now old enough to go to a theatre by myself and I made the most of the period watching many of the good movies of the period. In spite of the movie being released during exam times, my parents permitted me to watch it and I enjoyed watching it. All the actors in the movie had done really good roles. Suchitra Krishnamurthy had made her acting debut with the movie. Many critics didn’t like her acting but I felt she tried her best giving a genuineness to the performance. She didn’t appear in much movies due to her personal life decisions but I have liked the few and far between movies she did. During the pop boom, she had done a handful of albums too whose cassettes I have enjoyed in those days. ‘Dole Dole’ was a particular favourite with me. Deepak Tijori who was the other lead also did a wonderful role. He was a competent actor and I feel its sad that we have not been able to see much of him for many years. He’s been more active in the field of direction though. As it is I love movies set in Goa and have thoroughly enjoyed movies set there.

Not many may be knowing that this movie was also remade in Telugu by the name Swapnalokam (1999) starring Jagapathi Babu.

Here is the plot of the movie:-

Sunil (Shah Rukh Khan) is woken up from his dream of marrying the girl he loves, Anna (Suchitra Krishnamurthy), by Sunil’s sister (Sadiya Siddiqui). Sunil is a happy-go-lucky scamp who loves music and is not interested in studies, which bothers his father, Vinayak (Anjan Srivastav). Sunil, Anna, and Chris (Deepak Tijori) are 3 members of a 6-person music band, who are looking to make it big. Anna rejoins the group after being away for a while, which makes Chris happy too, as he too loves Anna. After Anna reenters his life, Sunil begins to try and change his ways in order to get Anna to fall in love with him.

During a performance at a friend’s wedding, Sunil realizes that Anna and Chris have some chemistry between them. Sunil is devastated, so he decides to create a rift between Anna and Chris. Sunil eventually gets caught in his own web of lies. Anna, furious with Sunil for such a betrayal, slaps him and decides to never talk to Sunil ever after. Sunil is thrown out of the band for being a miscreant. However, as luck were to have it, fortune favours Sunil who saves the band from being heckled at a local club performance by putting on a stellar show, so the entire band forgives and forgets.

Meanwhile, Anna’s father has been giving thought to getting her settled in life and decides that Chris is worthy of the honour. He makes his intentions known to approach Chris’ parents with a proposal. However, Chris’ parents have other ideas and decide Chris’ marriage to their friend’s daughter. Anna and her family are dejected.

Sunil consoles Anna during this time and the tide slowly turns in his favour. Anna’s father, having realized that Sunil will love and take care of Anna, convinces Anna to marry Sunil. Sunil is overjoyed until he realizes Anna still loves Chris. Sunil decides to reunite the two and get them married. On the wedding day, as Chris and Anna are about to exchange rings, Chris’ ring slips out of his hand and rolls out of sight. Everybody starts searching for it. Sunil spots the ring but feigns ignorance, even as his younger sister gazes at him with a heavy heart. Eventually, Chris locates the ring and the couple gets married.

Just after the wedding, Sunil is shown sitting on the sidewalk, dejected and heartbroken. By happenstance, a random girl (Juhi Chawla in a guest appearance), who is lost and is seeking directions, approaches Sunil. Sometime later, Sunil and the girl are seen walking in the moonlight and talking merrily.

Anthony and Vasco, two criminals who are a part of the story, see Sunil with the new girl and break the fourth wall, saying that Sunil will be alright. The criminals hear the police siren and immediately scamper away as the credits roll.

If you’ve not watched the movie yet, do catch this feel good movie. It had some of the best performances and the late Renu Saluja had also edited it well. I heard sometime back that Shah Rukh Khan has bought the rights of the movie. Don’t know if he’s planning to remake it but its definitely one of his best and sincere performances. The movie was a sleeper hit and made more than double (nearly 5.5 crores) on the box office in those days.

The song’s lyrics have been very thoughtfully written by Majrooh Sultanpuri sahib and sung lovingly by the flavour of those days, Kumar Sanu. The combination of Majrooh Sahib with Jatin-Lalit was one of the top combinations for me in the 1990s. Just like the song, I pray that we never wake up from the suroor of good music we all live in all the time and keep singing songs of our love for music as well as each other.

Audio

Video

Song – Ae Kaash Ke Ab Hosh Mein Hum Aane Na Paayen (Kabhi Haan Kabhi Naa) (1994) Singer – Kumar Sanu, Lyrics – Majrooh Sultanpuri, MD – Jatin Lalit

Lyrics

ae kaash ke hum hosh mein
ab aane na paayen
ae kaash ke hum hosh mein
ab aane na paayen
bas naghme tere pyaar ke
gaate hi jaayen
ae kaash ke hum hosh mein
ab aane naa paayen
ae kaash ke hum hosh mein
ab aane naa paayen

khilti mehakti
yeh zulfon ki shaam
hanste khanakte
yeh hothhon ke jaam
khilti mehakti
yeh zulfon ki shaam
hanste khanakte
yeh hothon ke jaam
aa jhoom ke saaz uthhayen
bas naghme tere pyaar ke
gaate hi jaayen
ae kaash ke hum hosh mein
ab aane na paayen
bas naghme tere pyaar ke
gaate hi jaayen
ae kaash ke hum hosh mein
ab aane na paayen

laa laa laall laa
laalla laa laa laa
laa laa laa laa la laall laa

ho bas agar tum hamaare sanam
hum to sitaaron pe rakh den kadam
ho bas agar tum hamaare sanam
hum to sitaaron pe rakh den kadam
saaraa jahaan bhool jaayen
bas naghme tere pyaar ke
gaate hi jaayen
ae kaash ke hum
hosh mein ab aane na paayen
ae kaash ke hum
hosh mein ab aane na paayen
bas naghme tere pyaar ke
gaate hi jaayen
ae kaash ke hum
hosh mein ab aane na paayen
ae kaash ke hum
hosh mein ab aane na paayen

———————————————————-
Hindi script lyrics (Provided by Gajendra Khanna)
———————————————————-

ए काश के हम होश में
अब आने ना पायें
ए काश के हम होश में
अब आने ना पायें
बस नग़मे तेरे प्यार के
गाते ही जायें
ए काश के हम होश में
अब आने ना पायें
ए काश के हम होश में
अब आने ना पायें

खिलती महकती
ये ज़ुल्फों की शाम
हँसते खनकते
ये होंठों के जाम
खिलती महकती
ये ज़ुल्फों की शाम
हँसते खनकते
ये होंठों के जाम
आ झूम के साज़ उठायें
बस नग़मे तेरे प्यार के
गाते ही जायें
ए काश के हम होश में
अब आने ना पायें
बस नग़मे तेरे प्यार के
गाते ही जायें
ए काश के हम होश में
अब आने ना पायें

ला ला लाल्ला ला
लाल्ला ला ला ला
ला ला ला ला ल लाल्ल ला

हो बस अगर तुम हमारे सनम
हम तो सितारों पे रख दें कदम
हो बस अगर तुम हमारे सनम
हम तो सितारों पे रख दें कदम
सारा जहाँ भूल जायें
बस नग़मे तेरे प्यार के
गाते ही जायें
ए काश के हम होश में
अब आने ना पायें
ए काश के हम होश में
अब आने ना पायें
बस नग़मे तेरे प्यार के
गाते ही जायें
ए काश के हम होश में
अब आने ना पायें
ए काश के हम होश में
अब आने ना पायें


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 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 : 3464 Post No. : 13905

Hullo Atuldom

The song with this post is from ‘Kaho Na…Pyar Hai’, a movie that was released on 14th January 2000. It is produced and directed by Rakesh Roshan. This film was planned as the launch vehicle for Hrithik Roshan in Bollywood with Ameesha Patel playing the female lead. This movie had the new comer Hrithik play a double role which he handled well and the movie was liked by the critics and masses. The songs were a rage and the movie a huge hit.

It was a simple love story where a rich girl (Sonia- Ameesha Patel) and poor boy (Rohit- Hrithik) meet and fall in love much against the girl’s father’s liking. But the twist comes when the boy gets killed in a road accident and a sad heroine discovers his look-alike (Raj) in New Zealand where she goes to recover from the shock of her love’s death. As an added bonus the fellow in New Zealand also falls in love with her; only this boy is decently wealthy. So logically her father should have no objection but again there is a twist- on landing in India the police inspectors who caused Rohit’s accident mistake that Raj is Rohit and start a man-hunt for him. In between all this twist and turns it is revealed that all of this was with Sonia’s father’s instructions. Now please don’t scratch your brains in confusion, the movie ends with Raj and Sonia getting together, and her father and his aides being arrested- very simple story.

We have been visiting this movie every time for Hrithik’s birthday, the last time being 2015. So now everyone has got a clue why this song today.😊! Ah yes, a day late, of course. Hrithik turned 44 yesterday. The song is quite appropriate for the occasion – there is a party and cake and lots of friends and song and dance. Lovely song and such innocence on the faces of the lead actors.

This song is my personal favourite specially the point where Hrithik shows the action of blowing the candles. Oooh! The character he plays in the song is of Rohit. He is being helped by his friend Vrajesh Hirjee in getting the attention of Rajesh Tandon (the fair guy next to Ameesha at the beginning of the song), his boss’s son, who owns a restaurant and is looking for a singer and a live band for the hotel. And all these rich boys and gals are so accommodating that they not only allow the gate-crasher to sing but also enjoy themselves along with him. Hrithik bagged the best male-debut actor of that year along with the best male actor award for this movie – a first in the industry.

The choreographer of this song – Farah Khan – also celebrated her 53rd birthday day before yesterday. She is the niece of former child stars Daisy and Honey Irani, daughter of their sister Maneka Irani and stuntman-turned-filmmaker Kamran Khan. She is a fan of Michael Jackson and is a self-trained dancer. She landed an assignment in Mansoor Khan’s ‘Jo Jeeta Wohi Sikandar’ (1992) when Saroj Khan left the project. She has won the Filmfare award of best choreographer six times one of it being for a song from ‘Kaho Na Pyar Hai’ – “Ek Pal Ka Jeena“.

Wishing both Hrithik Roshan and Farah Khan a belated Happy Birthday.

Song – Chaand Sitaare Phool Aur Khushboo (Kaho Na Pyaar Hai) (2000) Singer – Kumar Sanu, Alka Yagnik, Lyrics – Saawan Kumar Tak, MD – Rajesh Roshan
Kumar Sanu + Alka Yagnik

Lyrics

hey he
lala lala laa laa
lala lala laa laa
hmmmm mmmm mmmmm
lala lala laa laa
ho ho ho ho ho oo

chaand sitaare phool aur khushboo
chaand sitaare phool aur khushboo
ye to saare puraane hain
taaza taaza kali khili hai
hum us ke deewaane hain
hmmmm hmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmmmmm
arre kaali ghataaye barkha saawan ho oo
kaali ghataaye barkha saavan
ye to sab afasaane hain
taaza taaza kali khili hai
hum us ke deewaane hain
hmmmm hmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmmmmm

andaaz hain us ke naye naye,
hai nayaa nayaa deewaanapan
ho oo
andaaz hain us ke naye naye,
hai nayaa nayaa deewaanapan
pehna ke taaj jawaani ka
hanske laut gaya bachpan
geet ghazal sab kal ki baatein
ho oo
geet ghazal sab kal ki baatein
us ke naye taraane hain
taaza taaza kali khili hai
hum usske deewane hain
hmmmm hmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmm hmmmm
hmmmm hmmm hmmmmmmm

mmm mmm mmm mmmmmmm
hai roop mein itna saadapan
to kitna sundar hoga mann
ho oo
hai roop me itna saadapan
to kitna sundar hoga mann
bin gehne aur singaar bina
wo to lagti hai dulhan
kaajal bindiya kangan jhoomke
ho oo
kaajal bindiya kangan jhoomke
yeh to guzre zamaane hain
taaza taaza kali khili hai
ham us ke deewaane hain
hmmmm hmmm
ho ooooo
hmmmm hmmmm
hoo oooo
hmmmm hmmm
hmmmm hmmm
lala lara lala la
lalalara lala la
hmmmm hmmmm
hooo ooo
hmmmm hmmm
hoooo ooo
hmmmm hmmmm
hooooo oooo
lalalara lala la

chaand sitaare phool aur khushboo
ye to saare puraane hain
taaza taaza kali khili hai
ham us ke deewaane hain
hmmmm hmmm
ho ooooo
hmmmm hmmmm
hoo oooo
hmmmm hmmm
hmmmm hmmm
lala lala lala la
lalalara lala la
hmmmm hmmm
ho ooooo
hmmmm hmmmm
hoo oooo
hmmmm hmmm
hmmmm hmmm
lala lara lala la
lalalara lala la


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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