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

Archive for the ‘Lyrics by Avinash Scrapwala’ Category


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 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 : 4209 Post No. : 15404

Greetings all for the celebration today – the anniversary of declaration of our nation as a Sovereign Socialist Secular Democratic Republic.

The Constituent Assembly, consisting of 389 eminent people from across all walks of life and all population segments in the country, was established on 6th December, 1946. After a string of debates, which included public debates in different parts of the country, the Assembly agreed to adopt our constitution on 6th November, 1949. And then on 26th January of 1950, the nation of India, that is Bharat, was declared as being governed according to this document which is the supreme law of our land.

The Preamble to the constitution states the following,

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity;

and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

 

The constitution become the bedrock foundation for enunciating all the defining principles of governance and jurisprudence, which in turn form the source of all the laws that apply to our country and its citizens.

In terms of an identity, a nation is characterized and represented by a set of symbols which identify and define it. Wherever we may be in this world, whatever may be the query about what India is, the answers will always be in terms of certain symbols that are constant and do not change – our flag, our national emblem, our national anthem, our currency, and more.

As a matter of fact, symbols and symbolism form a very imperative part of our lives. All around us, in our everyday environment, we encounter a multitude of symbols that relate to every aspect of our lives. They could be fashion brands, corporate houses, currency, governments, services, road traffic – well, just any class and category of ‘things’ in and around our lives. These symbols are significant artifacts that represent, convey, and inspire a plethora of meanings and emotions relating to our everyday lives and experiences. These symbols may be local or universal. Everywhere in the world, the sign of dollar is a symbol for money. Traffic lights and signs are universal symbols, recognized across national boundaries. Emoticons we use every day now in our communications, are symbols that represents emotions, things, communication snippets. I could go on describing, and there would be no end to how symbols have become such an integral and pervasive part of our lives.

In a world we live in – a fragmented world of divisions that are represented and controlled on the basis of multiple criteria. We are a world of nation states. And the world over, the national identities are represented and underscored by a set of symbols. The flags, the emblem, colors, badges, plants/birds/animals – in fact each nation has a collection of symbols to characterize and epitomize its national identity. In our native Hindi, the word for flag is ‘निशान’ (nishan), which is a synonym for ‘symbol’.

National anniversaries are also in the nature of symbols of a nation. The celebrations of these anniversaries represent a dynamic continuity of the national identity across the pages of history. There is an evolution and transformation that happens with time, but the basic elements and definitions remain a constant. That constancy is an edifice of identity and a hallmark of stability and continuity in the matters of everyday interactions in the lives of the people of the nation. The presence of these symbols in our lives, and their everyday transactions, generates in our hearts a comfortable feeling of being – being an Indian.

For example, encountering the flag – our Tricolour, evokes in the heart, overwhelming emotions of pride, honor, affinity, affection and belonging. These symbols have become so much a part of our existence, that inside ourselves very strong emotions are now linked with these symbols. These symbols are now a cornerstone of our and our country’s existence.

The matter of honor and pride, linked with symbols and the emotions that these symbols evoke, has been a matter of very personal and a very human experience all across the history. The song being presented in this post today is a very forceful and compelling testimony on the inherent relationship between symbols and matter of national honor. Here is a brief slice of history representing a true episode from the annals of the Rajput history. As the reader will go through this song, one will find many symbols – that of patriotism, personal relations and personal sacrifices – being invoked.

The episode tells a piece of history, about Haadi Rani, who is now a folk heroine in Rajasthan. Haadi Rani was the daughter of King Haada Chauhan of the Kingdom of Boondi. She was married to Rawat Ratan Singh Chundaawat of Salumber (in Udaipur). Ratan Singh was the commander of the army of Maharana Raj Singh of Mewar, India was ruled at that time by the sixth Mughal Emperor – Aurangzeb Alamgir.

In a turn of events, the royal Mughal forces invaded Mewar. Maharana Raj Singh sent an urgent emissary to Rawat Ratan Singh, to raise the army and join the battle against Aurangzeb’s forces. As circumstances would have it, Ratan Singh had just been married one week prior. Initially, he was hesitant to leave his newlywed bride, and go to the battlefield. However, Haadi Rani reminded him of his duty towards the king and the kingdom, and prevailed upon him to join the battle. Ratan Singh left Salumber and his bride, and proceeded to join Maharana Raj Singh with his contingent. However, his mind was still engrossed with the amorous affections for Haadi Rani.

Midway from his march towards Udaipur, he sent back a messenger to his palace, with a message for his bride – that she should send him some token symbol of love – ‘प्रेम चिन्ह’, to sustain him through the times he is away from her. On reading the message, Rani sensed the state of mind of her husband, and at first, was quite bewildered as to what she should do. She apprehended that his mind being engrossed with her, he would not be an effective soldier and commander on the battlefield. But quickly she made up her mind, and decided the commit the ultimate sacrifice. She instructed the messenger quite sternly. Then she proceeded to behead herself with a sword. The messenger, very shocked and shaken, followed her instructions, and carried her bleeding head on golden tray, covered with her bridal finery, to Ratan Singh.

Ratan Singh, waiting eagerly for the ‘प्रेम चिन्ह’, received what he never expected in his wildest dreams. Uncovering the tray, he saw the head of his newlywed bride. His grief and his repentance had no bounds, for in a flash he realized what Haadi Rani had done, and why had she done it. As the folklore goes, he picked up the head and slung it around his neck with the tresses that he had once caressed with love. With this demeanor, he launched himself into the battle. It is said that fought valiantly like a man possessed, and led his army to victory against the forces of the Mughal Emperor. Once the victory was attained and the opposition army was in retreat, Ratan Singh alighted from his horse, knelt down on the ground and proceeded to behead himself.

In the intense and turbulent martial history of Rajasthan, this episode stands amongst the most powerful and most emotional, where the honor of the kingdom, and its security is perceived as a paramount commitment, even above personal engagements and requirements. Haadi Rani made the supreme sacrifice for the sake that her commander husband would not be swayed by the thoughts of his recent matrimony, and that the sight that she eventually presented to her husband would have served as a vicious impetus for him to give his utmost in the battle against the enemy.

The symbolism of honor – the trumpets announcing the onset of warfare. The symbolism of love – the ‘प्रेम चिन्ह’ that  Ratan Singh request for. And the symbolism of sacrifice – the ultimate step taken by Haadi Rani. This song converges these symbolisms into itself. A wonderfully emotional and a soul stirring presentation of one of the most chilling episodes of Rajput history.

The song is from the 1965 film ‘Nai Umar Ki Nai Fasal’. In the film, the setting of this song is as follows. A group of students, including Tanuja, Rajeev and Raj Kishore, are visiting another college in another city, for the annual festival of the latter college. As part of the program, all participant colleges are to present a stage item at the festival. This performance is presented by the protagonist group. In the film, Rajeev is the creative spirit of the team, and he completes the writing of this poem just in time for preparing the performance. On stage, the role of Haadi Rani is played by Tanuja, and that of Rawat Ratan Singh by Raj Kishore. We can see Rajeev doing the rendition of the poem on the mike placed in the wings of the stage.

The words of this poem are written by Manmohan Tiwari, the only song of this film that is not written by Neeraj. Music composition is by Roshan. The singing voice is of Manna Dey – the song has been rendered with such flourish and emotional dexterity.

A stirring reminder again today, the price of breathing in free air is defined through examples like this episode from our history. The finale of the song brings us back into convergence of the historical and the present tense – “O Bharat Maa Teri Jai Ho”.

Whatever else may be our compulsions, our personal motivations, our limitations, our interests, I am sure none of us differs about this sentiment – “O Bharat Maa Teri Jai Ho”.

[Ed Note: With this post, all songs of this film are now represented on our blog. The film ‘Nai Umar Ki Nai Fasal’ is now yippeee’d.]

Song – Thi Shubh Suhaag Ki Raat Madhur  (Nai Umar Ki Nai Fasal) (1965) Singer – Manna Dey, Lyrics – Manmohan Tiwari, MD – Roshan

Lyrics (Provided by Avinash Scrapwala)

thi shubh suhaag ki raat madhur
madhu chalak rahaa tha kan kan mein
sapne jagtey the nainon mein
armaan machaltey the mann mein
sardaar magan mann jhoom raha
pal pal har ang phadakta tha
honthon par pyaas mahakti thi
praanon mein pyaar dhadakta tha
tab hi ghunghat mein muskaati

tab hi ghunghat mein muskaati
pag paayal cham cham chamkaati
raani antahpur mein aayi
kuch sakuchaati kuch sharmaati

mehndi se haath rache donon
maathe par kumkum ka teeka
gora mukhda muskaa de to
poonam ka chaand lagey pheeka
dheere se badh choodavat ne

dheere se badh choodavat ne
raani ka ghunghat pat khola
nas nas mein kaundh gayi bijli
peepal patte sa tan dola

adharon se adhar miley jab tak
lajja ke toote chhand band
rann-bigul dwaar par goonj uthaa aa
rann-bigul dwaar par goonj uthaa
shehnaayi ka swar huaa mand
bhuj bandhan bhoola aalingan
aalingan bhool gaya chumban
chumban ko bhool gayi saansen
saanson ko bhool gayi dhadkan
taj kar suhaag ki sej saji

taj kar suhaag ki sej saji
bola aa na yuddh ko jaaunga
teri kajraari alkon mein
mann moti aaj guthaaunga

pehle to raani rahi maun
phir kaal jwaal si bhabhak utthi
bin baadal bin barkhaa maano
kya bijli koyi kadak utthi
ghayal naagan si bhaunh taan
ghunghat ukhaadkar yoon boli
talwaar mujhe de do apni
tum pehan raho choodi choli
pinjde mein koyi band sher

pinjde mein koyi band sher
sehsa sote se jaag utthe
yaa aandhi andhad saath liye
jaise pahaad se aag utthe

ho gaya khadaa tan kar ranaa
haathon mein bhaala utthaa liya
har har bam bam bam mahadev
har har bam bam bam mahadev
kah kar rann ko prasthaan kiya

dekha pati ka jab veer vesh
pehle to raani harshaayi
phir sehmi tthitthki akulaayi
aankhon mein badli ghir aayi
paagal si gayi jharokhe par

paagal si gayi jharokhe par
par-kite hansini thi adheer
ghodey par chadhaa dikhaa ranaa
jaise kamaan par chadhaa teer

donon ki aankhen huyi chaar
choodavat phir sudhbudh khoyi
sandesh pathaa kar raani ko
mangwaaya prem chinh koi

sewak ja pahunchaa mehlon mein
raani se maangi sainaani
raani jhijhki phir cheekh utthi
boli kah de mar gayi raani

le khadag haath
phir kahaa thahar
le sainaani
le sainaani
ambar bola
le sainaani
dharti boli
le sainaani

rakh kar chaandi ki thaali mein
sewak bhaaga le sainaani
ranaa adheer bola badhkar
laa
laa
laa
laa
laa sainaani

kapda jab magar hataaya to
rah gaya khada moorat ban kar
lahuluhaan raani ka sir
hansta tha rakha thaali par
sardaar dekh kar chitkaar uttha
haa raani
haa meri raani
adbhut hai teri qurbaani
tu sach much hi hai kshatraani

phir ed lagaayi ghode par
dharti boli jai ho jai ho
haadi raani teri jai ho
o bharat maa teri jai ho
o bharat maa teri jai ho o
teri jai ho
o bharat maa teri jai ho o

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

थी शुभ सुहाग कि रात मधुर
मधु छलक रहा था कण कण में
सपने जगते थे नैनों में
अरमान मचलते थे मन में
सरदार मगन मन झूम रहा
पल पल हर अंग फड़कता था
होंठों पर प्यास महकती थी
प्राणों में प्यार धड़कता था
तब ही घूँघट में मुस्काती

तब ही घूँघट में मुस्काती
पग पायल छम छम छमकाती
रानी अन्तःपुर में आयी
कुछ सकुचाती कुछ शरमाती

मेहँदी से हाथ रचे दोनों
माथे पर कुमकुम का टिका
गोरा मुखड़ा मुस्का दे तो
पूनम का चाँद लगे फीका
धीरे से बढ़ चूंडावत ने

धीरे से बढ़ चूंडावत ने
रानी का घूँघट पट खोला
नस नस में कौंध गयी बिजली
पीपल पत्ते सा तन डोला

अधरों से अधर मिले जब तक
लज्जा के टूटे छंद बन्द
रण बिगुल द्वार पर गूँज उठा आ

रण बिगुल द्वार पर गूँज उठा
शहनाई का स्वर हुआ मन्द
भुज बंधन भूला आलिंगन
आलिंगन भूल गया चुम्बन
चुम्बन को भूल गयी साँसें
साँसों को भूल गयी धड़कन
तज कर सुहाग कि सेज सजी

तज कर सुहाग कि सेज सजी
बोला॰॰आ न युद्ध को जाऊँगा
तेरी कजरारी अलकों में
मन मोती आज गुंथाऊंगा

पहले तो रानी रही मौन
फिर काल ज्वाल सी भभक उठी
बिन बादल बिन बरखा मानो
क्या बिजली कोई कड़क उठी
घायल नागन सी भौंह तान
घूँघट उखाड़कर यूं बोली
तलवार मुझे दे दो अपनी
तुम पहन रहो चूड़ी चोली
पिंजड़े में कोई बंद शेर

पिंजड़े में कोई बंद शेर
सहसा सोते से जाग उठे
या आंधी अंधड़ साथ लिए
जैसे पहाड़ से आग उठे

हो गया खडा तन कर राणा
हाथों में भाला उठा लिया
हर हर बम बम बम महादेव
हर हर बम बम बम महादेव
कह कर रण को प्रस्थान किया

देखा पति का जब वीर वेश
पहले तो रानी हर्षाई
फिर सहमी ठिठकी अकुलाई
आँखों में बदली घिर आई
पागल सी गयी झरोखे पर

पागल सी गयी झरोखे पर
पर-कटी हंसनी थी अधीर
घोडे पर चढ़ा दिखा राणा
जैसे कमान पर चढ़ा तीर

दोनों कि आँखें हुयी चार
चूंडावत फिर सुधबुध खोयी
सन्देश पठा कर रानी को
मंगवाया प्रेमचिन्ह कोई

सेवक जा पहुंचा महलों में
रानी से मांगी सैनाणी
रानी झिझकी फिर चीख उठी
बोली कह दे मर गयी रानी

ले खड्ग हाथ
फिर कहा ठहर
ले सैनाणी
ले सैनाणी
अम्बर बोला
ले सैनाणी
धरती बोली
ले सैनाणी

रख कर चांदी कि थाली में
सेवक भागा ले सैनाणी
राणा अधीर बोला बढ़कर
ला
ला
ला
ला
ला सैनाणी

कपडा जब मगर हटाया तो
रह गया खडा मूरत बन कर
लहुलुहान रानी का सर
हंसता था रक्खा थाली पर

सरदार देख कर चीत्कार उठा
हा रानी
हा मेरी रानी
अद्भुत है तेरी कुर्बानी
तू सचमुच ही है क्षत्राणी

फिर एड़ लगाई घोड़े पर
धरती बोली जय हो जय हो
हाड़ी रानी तेरी जय हो
ओ भारत माँ तेरी जय हो ओ
ओ भारत माँ तेरी जय हो
तेरी जय हो
ओ भारत माँ तेरी जय हो

 


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 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 : 4205 Post No. : 15395

Memories that are pure gold – the mention of his name brings to mind a limited set of memories. Ah but these memories are pure gold.

Remembering Vijay Anand today, on his birth anniversary. He would have been 86 today.

Without any doubts, the best and the most remarkable sense of visualization of music. Not just thinking of films with Navketan – ‘Nau Do Gyaarah’ (1957), ‘Kaala Bazaar’ (1960), ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Jewel Thief’ (1967), ‘Johnny Mera Naam’ (1970) and more, his films outside of Navketan are also as memorable for their songs. ‘Teesri Manzil’ (1966) being the most popular and loved film for its songs, and their presentation. Of course, no one counters the wholesome effect of “O Haseena Zulfon Waali”. But then, see “O Mere Sona Re Sona Re Sona Re”. The superb performances in this song by both Shammi Kapoor and Asha Parekh are the handiwork of a most capable director, who knows how to bring out the maximum impact of everything that goes into presenting a song – the ambience, the words, the music, the facial expressions, the body language, crafting the merger of actions with music, the give and take between the two protagonists – everything brought together to convey this latent feeling in the heart, bringing it to the lips, and then expressing it with an un-tethered exuberance on the part of the lady, and a coy displeasure (to start with) on part of the gentleman. The end result – as Atul ji has often pointed out – after three stanzas, all is well and the lovers are seen walking hand in hand.

Take ‘Black Mail’ (1973) and the wonderfully soft rendition of a surreal presence of the loved one – felt through the written word, the voice of lover echoing through the letters, and the presence is so real that the lady wakes up with a start having felt the reality of a kiss on her forehead. Yes, the song is “Pal Pal Dil Ke Paas, Tum Rehti Ho”. I am never tired of replaying this song, the video I mean. Just the song itself is great, but its presentation on screen has enhanced its beauty and impact many folds.

Vijay Anand has also appeared in a handful of films. In some of the films that he directed himself, and he is not in the list of actors, one can catch a glimpse of him in very brief cameo appearances. However, he has appeared in bigger roles, and also as a hero. The first film in which he made his debut in a meaty role is ‘Joru Ka Bhai’ from 1955, a comedy film in which the lead pair was Balraj Sahni and Sheela Ramani.

His next major appearance is as the hero of the 1957 film ‘Agra Road’, a cops and robbers type of story. Next we see him on screen along with his two elder brothers, Chetan and Dev, in the 1960 film ‘Kala Bazaar’ which he also directed. In this film he plays the role of the ex-boyfriend of Waheeda Rehman, who has gone for higher studies to France, and returns with his amorous loyalties shifted elsewhere.

After a gap of four years, he is seen once again in a supporting role in ‘Haqeeqat’ (1964), a film that had a large ensemble of main line stars. The next gap is much longer – 7 years. And he makes his screen appearance once again in the 1971 film ‘Tere Mere Sapne’, a film that he has directed himself. His role in this film as Dr. Jagannath Kothari, a famous gynecologist (in film), is very impressive and effective.

The next film is ‘Chhupa Rustom’ in 1973. Dev and himself, are police agents who go undercover to capture a gang of smugglers. Once again, this film is directed by him. His role, masquerading as a shady, brash, small time, two-timing con man brings out the comedian in him – in my opinion one of his best screen appearances. This film is an Indianized version of the famous novel by Alistair MacLean – ‘Fear Is The Key’.

Parallel to ‘Chhupa Rustam’ in 1973, he also appeared in the film ‘Double Cross’. In this, he appears in a double role as the hero and his twin brother who is on the wrong side of the law. He was not yet 40, but he looked quite overage for this twin brothers roles. He appears to be trying very hard to be the role, but was not convincing. The con-man role in ‘Chhupa Rustam’ was a great act, but in ‘Double Cross’ he did not quiet click. It is interesting to note that in the role of the brother on the right side of the law, Vijay is a professional photographer. That rang a bell in my mind and I checked. Very much so, the film ‘Heera Panna’ in which Dev Anand plays the role of a professional photographer also, was released in 1973 itself. As one compares the two performances, they are quite similar in mannerism, attire and body language. Now who was copying from whom? 🙂

In 1973 came another good film, produced and directed by his elder brother Chetan – ‘Hindustan Ki Kasam’. He played the role of a fighter pilot, coming from a family of soldiers and pilots. There is a brief but a great monologue by him in this film – “Saathiyo, Dosto, Hum Hi To Aaj Ke Arjun Hain. . .”. (It can be viewed at 39:40 on the timeline at the link for the film ‘Hindustan Ki Kasam‘.) He presents this monologue, takes to the skies and then does not return. A short role, albeit an impressive one.

A year later he produced the film ‘Chor Chor’ (1974), but did not direct it himself. It is a suspense thriller that did not make it good on the box office, however, it was praised by the critics and reviewers. The film had no songs, and its star cast was very interesting. Vijay had assembled many actors of yesteryears for this film – Trilok Kapoor, Jairaj, and Ranjan. The female lead opposite to Vijay himself is Leena Chandawarkar. I have not seen this film, but it seems interesting enough to merit a view.

In 1974, he appeared in another film, in a very impressive performance once again. The film ‘Kora Kaagaz’, and he is cast with Jaya Bhaduri as the leading pair. The film is about an idealistic romance that transforms into matrimony. And the matrimony cannot withstand the reality of social relations and issues of personal choices – it breaks apart. Alas, there is a happy ending as the estranged spouses meet and make up in railway waiting room. Another very impressive performance.

Then, after a gap of another 4 years, Vijay appeared in another very good role – that of a rich landlord, very well performed. The film is ‘Main Tulsi Tere Aangan Ki’. A gem of a film by Raj Khosla, Vijay is pitted against two seasoned performers – Nutan as his first and legally wedded wife and Asha Parekh as his second companion in life, whom he brings home much to the dislike of the first lady of the house.

In 1981, came the film ‘Ghungroo Ki Awaaz’ – a tale of haunting and intrigues. Once again, Vijay finds himself out of his depth. Is that a reflection of being a very good director and then come to act under the direction of another director who may not be as well capable. Don’t know whether we should draw this comparison. But then this film is not in my list of impressive performances by Vijay.

In 1984, Chetan Anand produced and directed ‘Hum Rahe Na Hum’ in which Vijay and Shabana Azmi played the lead pair. Then in 2001, he produced and directed ‘Jaana Na Dil Se Door’ in which he and brother Dev played senior roles in a film with an impressive star cast that includes Kamini Kaushal, Mohnish Behl, Moushumi Chatterji, Indrani Bannerjee, Dinesh Hingoo and Vikram Gokhale.

Vijay also appeared in a mini series on TV in 1994, titled ‘Tehkikaat’, in the role of Sam D’Silva, an investigator.

Readers would remember that Alfred Hitchcock always made it point to appear in his own films in a fleeting cameo appearance. That was his signature mark in his films, and the audiences would eagerly await to catch his appearance as they viewed his films for the first time. Vijay Anand has also a similar reputation, albeit we are not sure we have tracked down his cameos in all the films that he directed. A brief list of what I have been able to compile.

He appears in ‘Funtoosh’ (1956) as a young out-of-work writer, who meets Funtoosh (Dev Anand) after he is released from the mental hospital. Funtoosh gifts him a pen to write.

Then in ‘Tere Ghar Ke Saamne’ (1963) he appears in the stairwell of Qutab Minar, wearing spectacles, walking down the stairs with two other persons, as Dev and Nutan are busy with their amorous inclinations singing “Dil Ka Bhanwar Karey Pukaar”.

In ‘Guide’ (1965), we hear his voice, as an unknown stranger is asking about Raju guide on the railway platform. Just a very brief dialogue.

In ‘Jewel Thief’ (1967), we hear his voice on the phone, in a brief conversation with Helen.

In ‘Prem Pujari’ (1970) he appears very briefly in the role of a spy, a fleeting cameo.

Again in 1970 ‘Johnny Mera Naam’, we hear his voice very briefly as an officer of Nepal Police greets Iftekhar at the Kathmandu airport, welcoming him to Nepal.

Here is a very interesting on screen appearance trivia. Hollywood producer and director, Mike Judge of the ‘Beavis And Butthead’ fame, was a great fan of Vijay Anand. In fact, in his animated film ‘Beavis And Butthead Do America’, there is a song being played in a casino in Las Vegas. On stage, among the musicians, there is a guitar player accompanying the singer. Mike Judge had based this character on Vijay Anand. The song in that film is ‘Love Roller Coaster’, available on YouTube; just click on the link.

A brief list of shelved films of Vijay Anand.

After ‘Rajput’ (1982) and before ‘Main Tere Liye’ (1988), Vijay Anand launched ‘Dekha Jaayega’ with Anil Kapoor and Jackie Shroff. Anil backed out at last moment. After a brief gap, the film was planned again with Saif Ali in place of Anil, but was later shelved.

In 1988, he planned the film ‘Dosti Ka Taqaaza’ starring Mithun and Govinda. It was later shelved.

He appeared in the film ‘Insha Allaah’ as the hero opposite to Zarina Wahab. The film was later shelved.

He directed ‘Chura Lenge Ankhon Se Kajal’ (1992) with Akshay Kumar and Kareena Karishma Kapoor. This film was also shelved.

In 1997 he starred in and directed the NFDC (National Film Development Corporation) film ‘Nyaymurty Krishnamurty’. This film also did not see the light of the day.

In the 1990s, he also started working on another film ‘Pal Pal Dil Ke Paas’, which could not be completed, probably did not go beyond the planning stage.

OK, so today’s song. It is contributed by Avinash ji. The film is ‘Ghungroo Ki Awaaz’. The story is of a family conspiracy with shades of reminders from the film ‘Mera Saaya’. The protagonist falls in love, the lady dies in confusing circumstances, then she returns as a ghost to haunt the man. The plot finally nails down another family member, who is attempting to get rid of the protagonist, for the sake of inheritance. There are maybe some more films that are based on this scenario.

The music is by RD Burman, the words are from the pen of Vijay Anand himself and Kishore Kumar is the playback voice.

A heartfelt salute to this celluloid artist who donned many a hat in his career, and had left behind a memorable legacy.

 

Video

Audio

Song – Tere Ghungroo Ki Awaaz  (Ghungroo Ki Awaaz) (1981) Singer – Kishore Kumar, Lyrics – Vijay Anand, MD – RD Burman

Lyrics (Provided by Avinash Scrapwala)

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
hmm hmm hmm
sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
jalaa daaley
jalaa daaley
pankh naseebon ne
reh gayee hasrat e parwaaz
tere ghunghroo ki aawaaz
ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

andheron mein chhupi hai kiran
milan hai par ye kaisa milan
hmm hmm hmm
hmm hmm hmm
andheron mein chhupi hai kiran
milan hai par ye kaisa milan
adhura hai
adhura hain
geet jeewan ka
aur toota toota saaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghoonghroo ki aawaaz
tere ghoonghroo
ki aawaaz

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

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
हं हं हं
सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
जला डाले
जला डाले
पंख नसीबों ने
रह गयी हसरत ए परवाज़
तेरे घुँघरू कि आवाज़
हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
हं हं हं
हं हं हं
अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
अधूरा हैं
अधुरा हैं
गीत जीवन का
और टूटा टूटा साज़
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़
तेरे घुँघरू कि आवाज़
तेरे घुँघरू ..
कि आवाज़


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 : 4195 Post No. : 15378

“26th January”(1956) was produced and directed by Ramesh Sahgal for Sahgal Productions, Bombay. This movie had Nalini Jaiwant, Ajeet, Johny Walker, Sapru, B M Vyas, Leela Mishra, Cuckoo, Balraj Mehta, Chaman Puri, Nishi etc, with guest appearances by Gajanan Jageerdar, Jagdeesh Sethi, Randheer, Gyaani and Patanjali.

The movie had seven songs in it. One song is covered in the past.

Today (12 january 2020) is the 102nd birth anniversary of C Ramchandra. On this occasion, here is a song from “26th january” (1956). This song is sung by Manna Dey, Asha Bhonsle and chorus.

Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturization of this song.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Chhod bhi de aakaash sinhaasan (26th January)(1956) Singers-Manna Dey, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
Manna Dey + Asha Bhonsle
Chorus
Female chorus
Male chorus

Lyrics(Provided by Avinash Scrapwala)

Chhod bhi de aakash sinhaasan an n n
Chhod bhi de aakash sinhaasan
Phir dharti par aaja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Beech bhanwar hain
Dharm ki naiyya
Naiyya paar lagaa ja re
Naiyya paar lagaa ja re
Naiyya paar lagaa ja re

Kaanp rahi hain dharti
Thhar thhar
Aag ke baadal barse jhar jhar
Badhti jaaye paap ki garmi
Badhti jaaye paap ki garmi
Pighal rahaa hai patthar patthar
Andhkaar hi andhkaar hai
Aakar jyot jagaa ja re
Aakar jyot jagaa ja re
Aakar jyot jagaa ja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re
Aaja re ae aaja re

Nirdoshon ka lahu hai behta aa
Ik maa ka dil ro ro kehta
Ro ro kehta
Paapi baithe mauj manaaye
Paapi baithe mauj manaaye
Dharm ka banda zulm hai sehta
Jag mein phir se dayaa dharm ki
Aakar bel lagaa ja re

Aakar bel lagaa ja re
Aakar bel lagaa ja re

Chhod bhi de aakash sinhaasan an n
Chhod bhi de aakash sinhaasan
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re
Phir dharti par aaja re

Jab jab vipad padi jag maahi
Tu hi bana rakhwaala Saai
Paap kapat ki phail rahi hai
Paap kapat ki phail rahi hai
Is jag mein phir se parchhaayee ee
Geeta ka updesh sunaane
Roop badal kar aaja re
Roop badal kar aaja re

Roop badal kar aaja re

Chhod bhi de aakash sinhaasan
Phir dharti par aaja re

Phir dharti par aaja re

Roop badal kar aaja re

Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re
Aaja re

Yadaa yadaa hi dharmasya
Glanirbhava ti Bharat
Abhhyuthaana madharmasya
Tadaatmaanam srijaamyaham

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

छोड़ भी दे आकाश सिंहासन अन न न
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
बीच भंवर हैं
धर्म कि नैय्या
नैय्या पार लगा जा रे
नैय्या पार लगा जा रे
नैय्या पार लगा जा रे

काँप रही हैं धरती
थर थर
आग के बादल बरसे झर झर
बढती जाए पाप कि गर्मी
बढती जाए पाप कि गर्मी
पिघल रहा है पत्थर पत्थर
अन्धकार ही अन्धकार है
आकर ज्योत जगा जा रे
आकर ज्योत जगा जा रे
आकर ज्योत जगा जा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
आजा रे ए
आजा रे
निर्दोषों का लहू है बहता आ
इक माँ का दिल रो रो कहता
पापी बैठे मौज मनाएं
पापी बैठे मौज मनाएं
धर्म का बन्दा ज़ुल्म है सहता
जग में फिर से दया धर्म कि
आकर बेल लगा जा रे
आकर बेल लगा जा रे
आकर बेल लगा जा रे

छोड़ भी दे आकाश सिंहासन अन न न
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
फिर धरती पर आजा रे
जब जब विपद पड़ी जग माहि
तू ही बना रखवाला साईं
पाप कपट कि फैल रही है
पाप कपट कि फैल रही है
इस जग में फिर से परछाई ई
गीता का उपदेश सुनाने
रूप बदल कर आजा रे
रूप बदल कर आजा रे
रूप बदल कर आजा रे
छोड़ भी दे आकाश सिंहासन
फिर धरती पर आजा रे
फिर धरती पर आजा रे
रूप बदल कर आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
आजा रे
यदा यदा हि धर्मस्य
ग्लानिर्भवति भारत
अभ्युत्थान मधर्मस्य
तदात्मानं सृजाम्यहम्


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Blog Day :

4192 Post No. : 15375 Movie Count :

4238

“Aaj Ki Aawaaz”(1984) was produced by B R Chopra and directed by Ravi Chopra for B R Films, Bombay. This movie had Raj Babbar, Smita Patil, Nana Patekar, Om Shivpuri, Dheeraj Kumar, Shafi Inamdar, Vijay Arora, Arun Bakshi, Ashalata, Chandrashekhar, Ifthekhar, Alok Nath, Goofi Paintal, Dalip Tahil, Dinesh Thakur, Bashir Khan, Chaandni, Deepak Kaajir, Sonika Gill, Urmila Bhatt, Raksha Chauhan etc in it.

The movie was based on Hollywood blockbuster “Death Wish”(1974).

“Aaj Ki Aawaaz”(1984) had seven songs in it.

Today (9 january 2019) is the 86th birth anniversary of Mahendra Kapoor (9 January 1934 – 27 September 2008). On this occasion, here is the title song of the movie. This song is sung by Mahendra Kapoor. This song plays in the background as the movie begins with credits appearing on the screen.

Hasan Kamaal is the lyricist. He won Filmfare best lyrics award for this song.

Ravi is the music director.

Lyrics of this song were sent to me by Avinash Scrapwala (long long ago in 2012).

With this song ,”Aaj Ki aawaaz”(1984) makes its debut in the blog.


Song-Aaj ki aawaaz jaag ae insaan (Aaj Ki Aawaaz)(1984) Singer-Mahendra Kapoor, Lyrics-Hasan Kamaal, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Aaj ki aawaaz
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz

Zindagi kitni
Behifaazat hai
Kal bhi aayegaa
Kya jamaanat hai
Din pareshan hai raat hai hairaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz

Dar ke saaye mein
Gar jawaan hongi
Ye nayee naslen kal kahan hongi
Hosh me aa ja ab to aye nadaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz

Kya nagar hai ye
Kaisi basti hai
Ya to mitti se jaan sasti hai
Zindagi mushkil maut hai aasaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz

Dekh ghar aangan loot nahi jaayen
Pyaar ke rishtey chhut nahi jaayen
Kal bachane ka aaj hi kar dhyaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz


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Blog Day : 4190 Post No. : 15372

Today (7 january 2020) is the 63rd birthday of Reena Roy (DoB 7 january 1957). She made her debut in Hindi movies with B R Ishara who cast her in “Zaroorat”(1972) in a “bold” role. She was considered suitable for songs that are these days considered item songs. “Jaise Ko Taisa”(1973) may not be remembered today, but someone like me associate this movie with the song “able saawan mein jee dare rimjhim tan pe paani gire”. This song was picturised on Reena Roy and Jeetendra.

Reena Roy formed a hit pair with Shatrughan Sinha beginning with “Kallicharan”(1976) followed by “Vishwanath”(1978)- 16 movies in all. She also formed a hit pair with Sunil Dutt. She figured in “Naagin”(1976), “Jaani Dushman”(1979) etc with Sunil Dutt.

Reena Roy’s pairing with Jeetendra in typical Madrasi family dramas led to some memorable tear jerkers viz. Apnapan(1977), Badalte Rishtey(1978), Asha(1980), Pyaasa Saawan(1982), Arpan(1983) etc (22 movies in all). She won Filmfare award for best supporting actress for her role in “Apnapan”(1977).

Reena Roy also got to work with Rajesh Khanna, after he was no longer a superstar. They worked together in four movies. One such movie was “Dhanwan”(1983). Here Reena Roy plays the widow of Rakesh Roshan- another of her “strong” roles that she was known for in 1980s.

On this occasion, here is a song from “Dhanwaan”(1981). This song is sung by Lata. Sahir Ludhianvi is the lyricist. Music is composed by Hridaynath Mangeshkar.

The song is picturised as a stage dance song where Rajesh Khanna has bought the entire show and he is the only one in the hall watching the performance. The same situation would later arise with Jaya Prada and Amitabh Bachchan is another movie, viz “Sharaabi”(1984). 🙂

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio (containing wrong poster)

Song-Kuchh log mohabbat ko vyopaar samajhte hain (Dhanwaan)(1981) Singer-Lata, Lyrics-Sahir Ludhianvi, Md-Hridaynath Mangeshkar

Lyrics(Provided by Avinash Scrapwala)

Mohabbat ka aa taalluk
Shaan o shaukat se nahin hota
Ye saudaa
Aisa aa saudaa hain
Jo daulat se nahin ee ee ee hota

Kuchh log mohabbat ko
Kuchh log mohabbat ko
Byopaar samajhte hain ae ae
Duniya ko khilaunon ka
Baazar samajhte hain ae ae ae
Kuchh log mohabbat ko
Byopaar samajhte hain ae ae
Kuchh log mohabbat ko

Daulat ka nashaa inn ko
Kuchh itna jyaada hai
Daulat ka nashaa inn ko
Kuchh itna jyaada hai
Duniya ki har ik shay ko
Aa aa aa aa aa
Duniya ki har ik shay ko
Paane ka iraada hain
Apne ko do aalam ka aa
Apne ko do aalam ka
Mukhtaar samajhte hain ae
Kuchh log mohabbat ko o

Dil kya hain wafaa kya hain
Ye log na samajhenge
Dil kya hain wafaa kya hain
Ye log na samajhenge
Mitne ki adaa kya hain
Aa aa aa aa aa
Mitne ki adaa kya hain
Ye log na samajhenge
Har shahks ko bikne par
Har shakhs ko bikne par
Taiyyar samajhte hain ae ae
Kuchh log mohabbat ko o

Kahiye bhi to inn jaise
Dildaaron ko kya kahiye
Kahiye bhi to inn jaise
Dildaaron ko kya kahiye ae ae
Mazboor hain aadat se
Aa aa aa aa aa
Mazboor hain aadat se
Bechaaron ko kya kahiye
Ham aise dimaagon ko
Ham aise dimaagon ko
Ham aise dimaagon ko
O o o
Ham aise dimaagon ko
Beemaar samajhte hain ae ae
Kuchh log mohabbat ko
Byopaar samajhte hain ae ae
Kuchh log mohabbat ko

——————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————
मोहब्बत का आ ताल्लुक
शान ओ शौकत से नहीं होता
ये सौदा
ऐसा आ सौदा हैं
जो दौलत से नहीं ई ई ई होता

कुछ लोग मोहब्बत को
कुछ लोग मोहब्बत को
ब्योपार समझते हैं ए ए
दुनिया को खिलौनों का
बाज़ार समझते हैं ए ए ए
कुछ लोग मोहब्बत को
ब्योपार समझते हैं ए ए
कुछ लोग मोहब्बत को

दौलत का नशा इन को
कुछ इतना ज्यादा है
दौलत का नशा इन को
कुछ इतना ज्यादा है
दुनिया कि हर इक शय को
आ आ आ आ आ
दुनिया कि हर इक शय को
पाने का इरादा है
अपने को दो आलम का आ
अपने को दो आलम का
मुख्तार समझते हैं ए
कुछ लोग मोहब्बत को ओ

दिल क्या हैं वफ़ा क्या हैं
ये लोग न समझेंगे
दिल क्या हैं वफ़ा क्या हैं
ये लोग न समझेंगे
मिटने कि अदा क्या है
आ आ आ आ आ
मिटने कि अदा क्या है
ये लोग न समझेंगे
हर शख्स को बिकने पर
हर शख्स को बिकने पर
तैयार समझते हैं ए ए
कुछ लोग मोहब्बत को ओ

कहिये भी तो इन जैसे
दिलदारों को क्या कहिये
कहिये भी तो इन जैसे
दिलदारों को क्या कहिये ए ए
आ आ आ आ आ
मजबूर हैं आदत से
बेचारों को क्या कहिये
हम ऐसे दिमागों को
हम ऐसे दिमागों को
हम ऐसे दिमागों को
ओ ओ ओ
हम ऐसे दिमागों को
बीमार समझते हैं ए ए
कुछ लोग मोहब्बत को
ब्योपार समझते हैं ए ए
कुछ लोग मोहब्बत को


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

Blog Day : 4116 Post No. : 15269

Here is that date again.

The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.

Sahir Ludhianvi.

I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.

There have been more famous figures in the industry.

And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.

And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.

They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.

A lyricist goes a step further than even a singer.

While a singer can put his heart and soul into a song, he does not create it. He only renders it.

The text comes from the lyricist.

And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.

And I feel no one did this better than Sahir.

With Sahir, what you saw was what you got.

Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.

He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.

Imagine if this had not happened. Imagine what might have been lost to us.

Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂

And Sahir never looked back.

From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.

I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.

With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.

That was when it hit me.

Oh, “aage bhi jaane na tu” was Sahir’s?

And “ye raat ye chaandni phir kahaan”?

Oh, and “udey jab jab zulfen teri” also?

And “abhi na jao chhod kar”?

And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”

And “tu Hindu banega na Musalmaan banega”?

Oh, and “jeevan ke safar mein raahi” also?

And “tadbeer se bigdi hui taqdeer bana le”?

There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.

At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.

It was only at that moment I realized what a legend Sahir had been. And what the world had lost.

After that, I paid a lot more attention to the lyricist, while listening to songs.

And often it was Sahir.

Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.

It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.

And that is when I realized that Sahir’s lyrics were different.

They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.

If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.

Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.

Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.

You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.

At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.

Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.

Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.

I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.

Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.

This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.

Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.

So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.

But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.

Clearly Sahir was a rebel, a non-conformist.

And his poetry often reflected this, since he wrote straight from the heart.

But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.

Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.

Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.

It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.

If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.

That’s a sobering thought.

Now, let’s move on to the song for today.

It’s from the 1969 film, Paisa Ya Pyaar.

As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.

I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.

I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂

But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.

Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.

The song is sung by Hemant Kumar, music composed by Ravi.

Please do listen.

I’d like to end by saying that Sahir was wrong in one respect.

He wrote

“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”

Sahir saab, I can only say you grossly underestimated our love and respect for you.

jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin

Thank you SO MUCH for what you’ve given us, Sahir saab.

And, very importantly, for just being you.

Video

Audio

Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi

Lyrics (based on audio link) (Provided by Avinash Scrapwala)

Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa

Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला

मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला


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

Blog Day :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

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

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


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 :

4089 Post No. : 15230

Today (28 september 2019) is the 90th birthday of Lata Mangeshkar (DoB 28 september 1929).

She started her playback career in 1940s and she went on to sing till early 2000s, viz for seven decades ! Mindboggling indeed.

She sang just under 5700 songs in Hindi movies according to our estimate. The blog has 3475 of her songs and so we are one of the rare places on internet where so many of her songs can be accessed at one place.

Another 2000 odd of her songs remain uncovered. it is a matter of time before her remaining songs (that are available) will also find representation in the blog.

On this occasion, here is a song from “Dard”(1981). “Dard”(1981) was produced by Shyam Sundar Shivdasani and directed by Ambreesh Sangal fo Murghan Enterprises, Bombay. This “social” movie had Rajesh Khanna, Hema Malini, Poonam Dhillon, Om Shivpuri, Krishn Dhawan, Pinchoo Kapoor, Shashi Kiran, Madhup Sharma, Kamaldeep, Harjeet, Poornima Jairam, Mazhar Khan (2), Master Raju etc wih special appearance by Ranjeeta.

The movie had seven songs in it. Four songs have already been covered in the past.

Here is the fifth song from “Dard”(1981) to appear in the song. This song is sung by Lata. Naqsh Llayalpuri is the lyricist. Music is composed by Khayyam.

The song is picturised as an expression of love song on Hema Malini and Rajesh Khanna. The song is not lip synced by Hema Malini rather it gets plays in the background.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Na jaane kya hua jo toone chhoo liya(Dard)(1981) Singer-Lata, Lyrics-Naqsh Llayalpuri, MD-Khayyam

Lyrics(Provided by Avinash Scrapwala)

Na jaane kyaa huaa
Jo toone chhoo liyaa
Naa jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Nikhar nikhar gayee
Sanwar sanwar gayee
Nikhar nikhar gayee
Sanwar sanwar gayee
Banaa ke aainaa tujhe ae jaaneman
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Bikhraa hai kaajal fizaa mein
Bheegi bheegi hai shaamein
Boondon ki rimjhim se jaagi
Aag thhandi hawaa mein
Aajaa sanam
ye haseen aag ham
Len dil mein basaa
Naa jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Aanchal kahaan
main kahaan hoon
Ye mujhe hosh kyaa hai
Ye bekhudi toone di hai
Pyaar kaa ye nashaa hai
Sun le zaraa
saaz e dil gaa rahaa
Hai naghmaa teraa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Na jaane kyaa huaa
Jo toone chhoo liyaa aa

Kaliyon ki ye sej mehke
Raat jaage milan ki
Kho jaayein dhadkan mein teri
Dhadkanen mere mann ki
Aa paas aa
teri har saans mein
Main jaaun samaa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Khilaa gulaab ki tarah
Meraa badan
Nikhar nikhar gayee
Sanwar sanwar gayee
Banaa ke aainaa tujhe ae jaaneman
Na jaane kyaa huaa
Jo toone chhoo liyaa
Na jaane kyaa huaa
Jo toone chhoo liyaa
Na jaane kyaa huaa
Jo toone chhoo liyaa

——————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
——————————
न जाने क्या हुआ
जो तूने छू लिया
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
निखर निखर गयी
संवर संवर गयी
निखर निखर गयी
संवर संवर गयी
बनाके आइना तुझे अय जानेमन
न जाने क्या हुआ
जो तूने छू लिया आ

बिखरा है काजल फिजा में
भीगी भीगी है शामें
बूंदों की रिमझिम से जागी
आग ठंडी हवा में
आजा सनम
ये हसीं आग हम
ले दिल में बसा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
न जाने क्या हुआ
जो तूने छू लिया आ

आँचल कहाँ
मैं कहाँ हूँ
ये मुझे होश क्या है
ये बेखुदी तूने दी है
प्यार का ये नशा है
सुन ले ज़रा
साज़ ए दिल गा रहा
है नगमा तेरा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
न जाने क्या हुआ
जो तूने छू लिया आ

कलियों की ये सेज महके
रात जागे मिलन की
खो जाएँ धड़कन में तेरी
धडकने मेरे मन की
आ पास आ
तेरी हर सांस में
मैं जाऊं समा
न जाने क्या हुआ
जो तूने छू लिया
खिला गुलाब की तरह
मेरा बदन
निखर निखर गयी
संवर संवर गयी
बना के आइना तुझे अय जानेमन
न जाने क्या हुआ
जो तूने छू लिया आ
न जाने क्या हुआ
जो तूने छू लिया आ
न जाने क्या हुआ
जो तूने छू लिया आ


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 :

4087 Post No. : 15228

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 47
——————————————————————————————

When one discussed a movie of 1940s, one often assums by default that it must be a “boring” movie, one which may not hold the interest of later generation movie goers. And when one finds that this movie has Ashok Kumar and Leela Chitnis in lead roles, people who have seen them in character roles may consider dropping the idea of watching the movie.

But what if I tell you that this movie from 1941 is a laugh riot ? And that this movie was the original inspiration of “Padosan”(1968) ? I am sure that people will suddenly get interested in knowing more about this movie.

“Jhoola”(1941) was directed by Gyan Mukherji for Bombay Talkies, Bombay. This movie, a “social” movie had Leela Chitnis, Ahok Kumar, Shah Nawaz, V H Desai, Mumtaz Ali, Karuna Devi, Shahzadi, Rajkumari Shukla, Meenu Cooper, M A Aziz, Kaazi, Master Laxman, Leeladhar Sharma, Iqbal Bai, B M Dixit, Jyoti, Dulaari, Nana Palsikar etc in it.

The movie had eleven songs in it. Five of these songs have been covered in the past. This movie has a song that goes Ek chatur naar karkar singaar . Yes, I mentioned that this movie is the original source for “Padosan”(1968) and this song is the inspiration of that famous “Padosan”(1968) Kishore Kumar Manna dey laugh riot.

If “Padosan”(1968) had Mehmood then “Jhoola”(1941) had his father Mumtaz Ali lip syncing the wonderful stage dance song Main to Dilli se dulhan laayaa re.

“Jhoola”(1941) had made its debut in the blog on 26 september 2009, viz exactly ten years ago, with the evergreen song Chali re chali re meri naao chali re .

This day that year ten years ago, the blog was at its usual prolific best. Six songs from six different movies were covered in the blog on that day. Five out of six of those movies have already been covered in the blog. “Jhoola”(1941) remains the only un YIPPEED movie from that day.

Here are the details of the songs that were discussed on 26 september 2009:

Song Movie title-Year Remarks
Tera mujhse hai pahle ka naata koi Aa Gale Lag Jaa-1973 All Songs covered in the blog
Har aas ashqbaar hai Kinaare Kinaare-1963 All Songs covered in the blog
Dekha naa jaaye socha naa jaaye Mr India-1961 All Songs covered in the blog
Kahaan chhod ke chalaa hai tu Anjaan-1956 All Songs covered in the blog
De bhi chuke ham dil nazraana dil kaa Jaal-1952 All Songs covered in the blog
Chali re chali meri naao chali re Jhoola-1941 05 of 11 songs covered

According to HFGK, the movie had 12 songs. I find that the song Ek chatur naar karkar singaar does not find mention if HFGK. To compensate for that, the song under discussion today gets mentionc twice (as song number 6 and 11). So the count of songs in the movie remains accurate, viz 12.

Today, as part of Blog ten year challenge, here is another song from “Jhoola”(1941). Like the song that was covered ten years ago, this song too is a duet sung by Ashok Kumar and Leela Chitnis. In the song ten years ago, the leading duo were riding a boat, here they ride a ghodagaadi, and while doing so, Ashok Kumar makes gentle 1940s style passes on Leela Chitnis, asking the love letter back. Leela Chitnis teases him back 1940s style responds 1940s style viz.

Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

and subsequently

Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan

The lyrics by Kavi Pradeep are quite cute and romantic. The romantic song, in which both make paasses at each other must have been quite a rage in those pre independence days.

Music is composed by Saraswati Devi.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek baat bataao hamen gori (Jhoola)(1941) Singers-Ashok Kumar, Leela Chitnis, Lyrics – Kavi Pradeep, Music – Saraswati Devi
Both

Lyrics (Based on video link) (Provided by Avinash Scrapwala)

chaliye …

Ek baat bataao hamen gori
Kaho kisne sikhaayi tumhen chori
o gori
kisne sikhaayi tumhen chori
Ek chor se mera naata
wo meri gali mein aata aa
Haan usne sikhaayi hamen chori ee
Haan haan usne sikhaayi hamen chori

Hhahahahaha

Dekhiye meri chhitthhiyaan
De dijiye
Laayiye

Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Tumne chori chori bheji
Hamen patiyaan
Tumne chori chori bheji
Hamen patiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Chori pe seenazori
Ham se karo naa gori ee
Chori pe seenazori
Ham se karo naa gori
De do hamaari ham ko patiyaan
Dekho kah doongi
De do hamaari ham ko patiyaan
Dekho kah doongi
Tumhaare man ki batiyaan

Baatein banaana chhodo
Chori chhipaana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne

Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne

Badi raseeli hain tumhaari
Ankhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Chhodo ye baatein gori
Aao aao kishori
Tumne ki hamse chori
Hamne ki tumse chori
Tumne ki hamse chori
Hamne ki tumse chori

Aao basaa len dil ki duniya
Dekho kah doongi
Aao basaa le dil ki duniya
Dekho kah doongi
Tumhaare man ki batiyaan
Dekho kah doongi
Tumhaare man ki batiyaan

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
चलिए…

एक बात बताओ हमें गोरी
कहो किसने सिखाई तुम्हे चोरी
ओ गोरी
किसने सिखाई तुम्हे चोरी
एक चोर से मेरा नाता
ओ मेरी गली में आता आ
हाँ उसने सिखाई हमें चोरी ई
हाँ हाँ उसने सिखाई हमें चोरी

हा हा हा हा हा

देखिये मेरी चिट्ठियाँ
दे दिजिये
लाईये
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
तुमने चोरी चोरी भेजी
हमें पतियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

चोरी पे सीनाजोरी
हम से करो ना गोरी ई
चोरी पे सीनाजोरी
हम से करो ना गोरी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ

बातें बनाना छोडो
चोरी छिपाना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
वरना हँसेगी हमारी सखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने

मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने

बड़ी रसीली है तुम्हारी
अँखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

छोडो ये बातें गोरी
आओ आओ कीशोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी

आओ बसा ले दिल की दुनिया
देखो कह दूँगी
आओ बसा ले दिल की दुनिया
देखो कह दूँगी
तुम्हारे मन की बतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ


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

Blog Day :

4084 Post No. : 15224

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 46
——————————————————————————————

Today I present a song from the 1974 movie ‘Aarop’. (Yes! the year of this movie needs to be corrected as ‘1974’. It was passed by Censor Board on 16.01.1974).

“Aarop-1974” is one of the two movies which are falling under ‘Blog Ten Year Challenge’ today on 23.09.2019. The other movie is ‘Fashion-1957’.

As many as six movies were represented on the blog with their songs ten years back on the blog viz on 23.09.2009. Their details as well as the present status of the movies that these songs were from are as under :

Jhinchak jhinchakAarop-197304 of 07 songs coveredBahaaron se poochho…laakh sambhaalaFashion-195706 of 08 songs coveredKuchh bhi na bolengeWaaris-1954All Songs covered in the blogMera naram karejwa dol gayaAarzoo-1950All Songs covered in the blogRaat hai taaron bhariPardes-1950All Songs covered in the blogNaina deewaane ek nahin maaneAfsar-1950All Songs covered in the blog

Song Movie title-Year Remarks

“Aarop-1974” was directed by Atmaram for ‘Gurudutt Films Combine, Bombay’. Atmaram (Guru Dutt’s brother) also wrote the story and screenplay of this movie.

It had Saira Banu, Vinod Khanna, Vinod Mehra, Rehman, Bindu, Bharat Bhushan, Keshto Mukherji, Paintal, Gulshan Arora, Kundan, Savita, Manik, Murad, Krishnakant, Jankidas, Rajan Haksar, Maruti, Viju Khote, Pardesi, Bhagwan, Sabina, Chandu, Mohan Choti and Johny Walker.
Lily Chakravarti, Rajesh Behl, Raj Mehra makes a ‘guest appearance’ in this movie.

Y.G. Chavhan was the editor for this movie. Dialogues of this movie were written by Vrajendra Gaud. Govind Singh was the Chief Assistant Director and Ram Govind was the assistant in screenplay.

For me I was familiar with only one song ‘nainon mein darpan hai, darpan mein koyi’ . Later on, when I started collecting cassettes, I was looking for this song and then I got to know the name of the movie this song was from. But I think this song was not easily available then.

After many years I came to know about the music composer of this movie and it was Bhupen Hazarika. Earlier I thought that it was composed by the duo Laxmikant-Pyarelal.

This movie had as many as eight songs in it. Though HFGK mentioned it as having seven songs- including one two-part song.
But, during the preparation for this article I watched this movie which is available online and I think out of the three Manna Dey solo songs two may have been excluded from the movie, or either they have been edited from the version of the movie available online.
(I think correction is also required in HFGK movie page of this movie ‘Aarop-1974’ as the sequence of the songs is not as per their appearance in the movie).

Lyrics for all the songs in this movie were written by Maya Govind. As mentioned above music of this movie was composed by Bhupen Hazarika.
The titles of the movie mentioned that the Bhajans in this movie are based on the tunes of the devotional songs of Saint Kavi Shankar Dev from Assam.

One can experience that essence (or in my words ‘mere desh ki mitti ki khushboo’) in the song being presented today.

Asha Bhonsle (two solo songs), Kishore Kumar and Lata Mangeshkar (one duet song only and they most popular from this movie), Laxmi Shankar (one solo), Bhupen Hazarika and K.N. Sharma (one song together) and Manna Dey (three solo songs) gave their voices to the songs in this movie.

Out of the eight songs from this movie four songs have already been posted on the blog. From the remaining songs I had option of two Manna Da songs (they are available combined in one link online), one song by Asha Bhonsle (which again is picturized on Bindu, this time a mujra song and ten years back already a cabaret song picturized on Bindu was posted on the same day), and one song sung by Bhupen Hazarika and K.N.Sharma.

When I saw that there is a song having Bhupen Hazarika’s voice and still to be posted I selected this for they presentation today. The video for this song was already available and I came to know that this is not a full video of the song, but partial video only, when I tried to locate the audio/video of other pending songs from this movie. I find that the full audio song was available.
I think today’s song must be the first song in Hindi movies which was sung by Bhupen Hazarika.

On screen it is lip synced by Bharat Bhushan while the ‘shlokas’ from Bhagwat Geeta are played in the background. Saira Banu is also present during this song which is picturized in a temple where Bharat Bhushan is the priest.

As mentioned above I had not watched this movie earlier and I watched it during the preparation of this article. I must say that the movie is an interesting movie to watch and all the characters shown and the artists performing them seems perfectly fit into it.
(I am avoiding to mention about the story line of the movie to keep intact the interest of those who may want to watch it).
The overall presentation is a balanced one and the movie keeps us engaged till the end.

Its songs are also good, but I think only the song ‘nainon mein darpan hai, darpan mein koyi’ was popular and that song was frequently played at that time on radio. I must have heard it earlier and but watching it now and listening to it again and again was enjoying.

Dialogues of the movie are also very nice and go well with the storyline of the movie and the fight between ‘virtuous’ and the ‘evil’.
I am not aware how this movie fared at the box-office then.

Let us now enjoy today’s song, which grows on us if we listen to it a few times.

Video (Partial)

Audio (Full)

Song-Hey jai Yashodanandan (Aarop)(1974) Singers-Bhupen Hazarika, K N Sharma, Lyrics-Maya Govind, M D – Bhupen Hazarika

Lyrics

hey jai Yashodanadan
hey Mohan Shyaam
hey jai Yashodanadan
hey Mohan Shyaam
jai Yashodanadan
meri laaj raakho prabhu
main to teri sharan
hey Yashodanadan
mujhe aaj laage jeewan jaise maran
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

yadaa yadaa hi dharmasya
glanirbhava ti Bharat
abhyuthaana madharmaysya
tadaatmaanam srijaamyaham

jab jab dharm dooba
tum daude aaye
hey Yashodanandan
saagar mein naiyaa meri
lo doobi jaaye
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

karmanye vaadhikaaraste
ma phaleshu kadaachana
ma karmaphalheturbhurma
tey sangostavaakarmani

hai karma apne vash mein
jeewan pareeksha
hey Yashodanandan
ab to jo ho tu jaane
sab teri ichchhaa
hey Yashodanadan
hey Mohan Shyaam
jai Yashodanadan

hey jai Yashodanadan
hey Mohan Shyaam
jai Yashodanadan
hey jai Yashodanadan
hey Mohan Shyaam
hey jai Yashodanadan
hey Mohan Shyaam

———————————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
——————————————————–
हे जय यशोदानंदन
हे मोहन श्याम
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन
मेरी लाज राखो प्रभु
मैं तो तेरी शरण
हे यशोदानंदन
मुझे आज लागे जीवन जैसे मरण
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

यदा यदा हि धर्मस्य
ग्लानिर्भवति भारत
अभ्युत्थान मधर्मस्य
तदात्मानं सृजाम्यहम्

जब जब धर्म डूबा
तुम दौड़े आये
हे यशोदानंदन
सागर में नैय्या मेरी
लो डूबी जाए
हे जय यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

कर्मण्येवाधिकारस्ते
मा फलेषु कदाचन
मा कर्मफलहेतुर्भुर्मा
ते संगोऽस्त्वकर्मणि

है कर्म अपने वश में
जीवन परीक्षा
हे यशोदानंदन
अब तो जो हो तू जाने
सब तेरी इच्छा
हे यशोदानंदन
हे मोहन श्याम
जय यशोदानंदन

हे जय यशोदानंदन
हे मोहन श्याम
हे जय यशोदानंदन
हे मोहन श्याम


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