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 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: 4263 Post No.: 15489

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Blog 10-Year Challenge (2010-2020) – Song No. 13
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In olden days (even today for that matter) Indians were expected to behave in a particular manner. For instance, when it came to their day to day live, most of them were “gareeb” and they were told that they had the sole right on the resources of the nation in the form of doles aka subsidies. All political parties claimed to be pro poor parties and promised to “hataao” gareebi if voted to power. After repeatedly getting voted to power on the plank of hataaoing gareebi, the same politicians now claim to be for the “gareeb”. These “gareeb” are supposed to be gullible possessing of short memory so the politicians can get away despite failing to fulfill their past promises.

Movie makers were no different. They too made movies for the same segment of society that were treated as “gareeb” by the political classes. This section of society was supposed to like movies with escapist stories that bore little resemblance to real life. Depicting real life was considered no no. Movies depicting real life were considered boring. Why would a “gareeb” audience come to the movie hall to watch movies depicting his real dull life ? This was what the movie makers believed in.

Sometimes, some movie makers would make movies with realistic movies. Ordinary movie goers and even press would describe these movies as boring. Most movies like this flopped.

Top stars acted in such movies for creative satisfaction, but the ordinary fans felt betrayed when they would go to the movie hall and find their star sans his usual mannerisms.

Rajesh Khanna is “Aavishkaar” (1973), and Amitabh Bachchan in “Man Aazaad Hoon” (1990) are two such movies that readily comes to my mind.

“Aavishkaar” (1973) was directed by Basu Bhattacharya Aarohi Film Makers Bombay. This movie had Rajesh Khanna, Sharmila Tagore, Dina Gandhi, Denis Clement, Satyen Kappu, Monika Jasnan (child artist), Devendra Khandelwal, Margaret, new discoveries Mahesh Sharma and Minna Johar etc in it.

The movie dealt with a real life “boring” tale, viz the marital life of a couple, played by Rajesh Khanna and Sharmila Tagore. Fans of superstar Rajesh Khanna, who went to the movie hass expecting a movie like “Aaraadhana”(1969) were disappointed. There was no way juvenile fans (including yours truly) of Rajesh Khanna, who were brought up on stuff like “Haathi Mere Saathi”(1971) and “Apna Desh” (1972) were going to like this movie.

This movie was only for “mature” movie goers. Just like “rich” people were looked down upon by “gareeb” people, “mature” people, with their occasional boring movies were looked down upon by people loving “mainstream” movies.

Please do not believe the review of “Aavishkaar”(1973) that is carried by wikipedia etc. These reviews are written with the benefit of hindsight by people who were not even born when this movie was released. I remember the reviews carried out in mainstream Hindi media during 1973 which bore no resemblance whatsoever with its review that we now find online.

Coming to the songs of the movie, “Aavishkaar” (1973) had five songs in it. Four of these songs are covered in the past as described hereunder:-

Song Posted On
Hansne ki chaah ne kitna mujhe 19.09.2008
Naina hain pyaase mere 20.03.2010
Mahaa shoonya ke mahaan vistaar mein 18.07.2016
Baabul mora, naihar chhuto hi jaaye 27.05.2019

From the table above, we can see that one song from the movie was covered on this day, ten years ago. So, this movie provides us an opportunity to have a blog ten year challenge. At the same time, all the songs of the movie get covered as well.

Ten years ago on this day, two songs were covered in the blog

Song Movie title-Year Remarks
Naina hain pyaase mere Aavishkaar-1973 04 of 05 songs posted
Kaali badariya maare najariya Do Roti-1957 All Songs posted on the blog

Here is the fifth and final song from “Aavishkaar”(1973) to appear in the blog. The song is sung by Manna Dey. Gyandev Agnihotri is the lyricist. Music is composed by Kanu Roy.

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

With this song, “Aavishkaar”(1973) joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Maa ko pukaar kar poochha bachche ne (Aavishkaar)(1973) Singer-Manna Dey, Lyrics-Gyandev Agnihotri, MD-Kanu Roy

Lyrics(Provided by Avinash Scrapwala)

maa ko pukaar kar poochha bachche ne
aaya kahaan se hoon maa
bolo to
padaa kahaan paaya
bolo to
sun kar sawaal ye
maa ke stanon se ufan padaa doodh
aur bah aaya aankhon se
uttar

mere laal
tum to hamesha thhe
mere man ki abhilaasha mein
tan ki paribhaasha mein
bachpan ke gudiyaaghar mein ae
kitni baar tujhe
khelte khelte
toda aa
todte todte ae
jodaa aa

paakar khoya aur
kho kar payaa aa hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere ae laal

tu
haan tu hi to hai
meri amar aasha
subah ka sapna
maa aur daadi ki
sunehri khwaahish
prem ki paramparaa aa
aag ki khwaahish
aur prem ki aasha se
bani teri kaaya hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere laal

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Devnagri Script lyrics(Provided by Avinash Scrapwala)
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माँ को पुकार कर पूछा बच्चे ने
आया कहाँ से हूँ माँ
बोलो तो
पडा कहाँ पाया
बोलो तो
सुन कर सवाल ये
माँ के स्तनों से उफन पडा दूध
और बह आया आँखों से
उत्तर

मेरे लाल
तुम तो हमेशा थे
मेरे मन की अभिलाषा में
तन की परिभाषा में
बचपन के गुड़ियाघर में ए
कितनी बार तुझे
खेलते खेलते तोड़ा आ
तोड़ते तोड़ते ए
जोड़ा आ

पाकर खोया और
खो कर पाया आ है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे ए लाल

तू
हां तू ही तो है
मेरी अमर आशा
सुबह का सपना
माँ और दादी कि
सुनहरी ख्वाईश
प्रेम की परंपरा आ
आग की ख्वाईश
और प्रेम की आशा से
बनी तेरी काया है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे लाल


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

Blog Day : 4251 Post No. : 15471

Back here on the blog after a fairly long break.
I daresay it would’ve been even longer if it were not a very special occasion today.

From today, we start the centenary celebrations of Sahir Ludhianvi’s birth.
Since he was born on 8th March 1921, today happens to be his 99th birth anniversary.

So yes, it is a very special occasion for Urdu poetry and classic HFM lovers. As a massive Sahir fan, I thought I owed it to him to write a post for the occasion. I’ve written so often about him here, on practically every birth and death anniversary, and have nothing new to say anymore – and yet it feels like a betrayal of sorts to let this day go by, without paying tribute to him.

So when Avinashji, an even bigger Sahir fan than myself, requested me to write a post for Sahir on this occasion, I could not, but agree. 🙂

But I must also admit that for the first time I told Avinashji that I don’t think I’d be in the right mental frame to be able to do this. For me, writing a post here is an investment of emotion – and right now, to be honest, I feel quite empty within. If it were not for Sahir, I don’t think I’d be able to pull myself together for this post.

To Avinashji’s credit, as always, he provided me with a list of songs and lyrics that I could choose from. And left it to me to see whether I could come up with a post. I owe this post to him too.

Ok, enough about myself and my “mental frame” – this post is about Sahir, not about me. 🙂

What can I say about Sahir that I haven’t said before?
Actually nothing.

But since it’s Sahir, whatever I’ve said before can hopefully be repeated, without sounding boring. 🙂
Just like whatever Sahir wrote as social messages, not once but repeatedly in different ways, was never boring, and only meant as a reminder to society, to show people a mirror.

For me, as for many others, Sahir was much more than just a poet or lyricist. Yes, he was a lyricist par excellence. But I’m pretty sure I wouldn’t have had this level of regard for him if he’d limited himself to just writing lyrics or poetry on mundane matters, however beautifully worded.

Sahir’s greatness, in my mind, has a lot to do with the topics he chose to express his views on. And the manner of such expression.

Sure, he could write about romance – “abhi na jao chhod kar” will always be one of my all-time favourite romantic songs.

Sure, he could write about heartbreak too – “jaane wo kaise log the jinke pyaar ko pyaar milaa”, another favourite.

Sure, he could write about love in its multitude of shades – is there a more exquisite ode to love than “ye ishq ishq hai ishq ishq”?

Sure, he could write bhajans with consummate ease – “tora mann darpan kehlaaye” and “aan milo aan milo shyam saanwre” are just two examples.

Sure, he could write light-hearted, fun songs too – the first song that comes to mind in this category is an all-time favourite “sar jo tera chakraaye”.

Sure, he could write, and wrote quite often, on a mother’s love for her child – “tu mere pyar ka phool hai”, “tere bachpan ko jawaani ki dua deti hoon” and “tu mere saath rahega munne” come to mind.

And yet, Sahir rises, no, TOWERS, above all others when it comes to writing on social issues.

No one, NO ONE, showed a mirror to society as earnestly as Sahir. It was as if he truly came into his own on these occasions.

Whether he was writing about injustice towards the oppressed, society’s shocking treatment of women, casteism, communalism, labor exploitation, or the futility of war, Sahir’s words were like cries of anguish, straight from the heart. You could feel the raw sincerity in them, even if they were often laced with cynicism, sarcasm or anger. Or, occasionally, even hope.

So many songs come to mind.

“Tu Hindu banega na musalmaan banega” – where Sahir calls out communalism in all its ugliness
“Cheen-o-arab hamara” – where Sahir sarcastically exposes India’s hypocrisy over wealth disparity
“Jinhe naaz hai Hind par wo kahaan hain” – Sahir at his cynical best, showing society a mirror of its ugly reality
“Khuda-e-bartar teri zameen par” – where Sahir busts the myth about the glory of war, pointing out that there are no winners in war, only bloodshed
“Ponchh kar ashq” – where Sahir exhorts the oppressed to rise and demand their rights from the oppressor, pointing out that colour, religion, caste, race can never be above humanity
“Aurat ne janam diya mardon ko” – Sahir’s famous lament about society’s treatment of women
“Wo subah kabhi to aayegi”– where Sahir, in one of his less frequent refrains, chooses hope over despair

and many more.

Every single time asking questions of society, pointing out its flaws, exhorting it to reform.

That each of his songs is STILL relevant more than 50 years after he wrote them, is truly sad, and a reflection of Indian society – but no one can ever fault Sahir for not doing his utmost to put his writing ability to good use. If society is still languishing in darkness, it certainly isn’t Sahir’s fault.

And it is for this particular trait of Sahir’s that he has a very special place in my heart.

Yes, he’d have had his own place in my heart anyway for lyrics like “wo afsaana jise anjaam tak laana na ho mumkin, use ek khoobsoorat mod dekar chhodna achha”.

But his attempt at social awareness, and his speaking truth to power, takes my regard for him to a different level altogether.

If I may say so, and no disrespect meant to any lyricists who have come since, but no one comes close to Sahir’s intensity in this one matter.

Or maybe times have changed too.

Now, coming to the song for today.

Avinashji gave me a few options – of the lot, I picked the title song of “Samaj Ko Badal Daalo” (1970). Lyrics have been provided by Avinashji, of course. 🙂

It’s a lament, not uncharacteristic of Sahir, where he lets loose on society itself, blaming it for its own ills. That it tolerates corruption and crime is the biggest reason society suffers these, in the first place. Reform cannot start unless society decides to step up, and adopt a zero tolerance policy towards these. Hence “samaj ko badal daalo”.

I honestly don’t think it’s a bad assessment of why we are the way we are.

Without coming across as too preachy, let me share a few thoughts quickly.

We Indians love to blame our politicians for everything. We blame them for corruption, for the poor state of our roads, education and healthcare, for dividing society along communal lines – basically everything.

And yes, since they are our leaders, and have power, it’s not unfair to place responsibility and accountability on them.

And yet, where do these politicians come from?

They don’t fall from the skies, they come from amongst US.

So if we’re complaining about corruption and bigotry in our politicians, we first need to acknowledge that we, as a society, are ourselves guilty of these very shortcomings in our character. We carry a lot of baggage historically, and don’t have a particularly high moral compass ourselves. Our politicians then just exploit our weaknesses.

For example, politicians pander to our base instincts, dividing us based on identity, or other group characteristic. And we fall for it. Every single time.

Then again, when it comes to governance, they manage to get away with promises because we don’t make a serious enough effort to hold them accountable anyway. We behave like slaves – and get treated as such. So our leaders end up with power, but no accountability.

This is OUR fault. If we didn’t allow them to exploit us like this, if we raised the bar and held them accountable to us, things would be very different.

So when Sahir writes “samaj ko badal daalo”, it does resonate a lot with me. And hopefully with others too.

End of “preaching”. 🙂

The song itself is sung by Rafisaab, at the start of the film, as credits roll. I remember seeing this film as a young boy – what I remember most about it from that time is that the hero (Parikshat Sahni, who was then still Ajay Sahni) gets stabbed midway in the film and dies. I’d never seen a film till then where the hero dies midway :-), so I couldn’t reconcile easily to this at all.

A few years ago, I watched this film again, just out of curiosity. I wouldn’t call it a bad film as such (I’ve seen worse), but the last 30 minutes or so, are very dark and depressing. After watching this film, it might linger in your mind – and you’re likely to feel sad for a while.

Considering people usually look towards cinema for escapist fare, and don’t want to be reminded of daily miseries of life, this film is definitely not one you should watch if you want a feel-good feeling from the film. Don’t get misled by the fun “tum apni saheli ko” song, picturised on Prem Chopra.

But none of this takes away from Sahir, who is the reason for this post. Rafisaab singing Sahir’s lines are always a joy for me – even if it’s a sad song.

I hope you will also listen to it – and possibly agree that what we need most is for society itself to reform, otherwise we will continue bad practice of the past, and only regress.

In my opinion, the greatest danger to a society is not economic bankruptcy (which, however hard, CAN be corrected through appropriate economic policy), but moral bankruptcy (which eats away at the very fabric of society, and is therefore far more difficult to correct).

Thank you for reading.

Audio
(audio) (lyrics noted are as per this link)
Video

Song-Samaaj ko badal daalo (Samaaj Ko Badal Daalo)(1970) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

(Ye ek katha jo laakhon logon ke ae
Jeevan ka darpan hai
Desh pita ke charnon mein
Ham sab ki ore se arpan hai)

***

Samaaj ko badal daalo o o
Samaaj ko badal daalo o o o
Samaaj ko badal daalo
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo

Kitne ghar hai jinme aaj raushni nahin
Kitne ghar hai jinme aaj raushni nahin
Kitne ae tan-badan hai jinme zindagi ee nahin
Mulq aur kaum ke mizaaj ko badal daalo o
Mulq aur kaum ke mizaaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo o

Sainkdo ki mehnaton par
Ek kyun paley
Sainkdo ki mehnaton par
Ek kyun paley ae
Oonch neech se bharaa
Nizaam kyun chale ae
Aaj hai yahi to
Aise aaj ko badal daalo o
Aaj hai yahi to
Aise aaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo

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

समाज को बदल डालो ओ ओ
समाज को बदल डालो ओ ओ ओ
समाज को बदल डालो
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो

कितने घर है जिनमे आज रौशनी नहीं
कितने घर है जिनमे आज रौशनी नहीं
कितने ए तन-बदन है जिनमे ज़िन्दगी ई नहीं
मुल्क और कौम के मिज़ाज को बदल डालो ओ
मुल्क और कौम के मिज़ाज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ

सैंकड़ो की मेहनतों पर
एक क्यूँ पले
सैंकड़ो की मेहनतों पर
एक क्यूँ पले ए
उंच नीच से भरा
निजाम क्यूँ चले ए
आज है यही तो
ऐसे आज को बदल डालो ओ
आज है यही तो
ऐसे आज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ


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 : 4240 Post No. : 15454

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Blog 10-Year Challenge (2010-2020) – Song No. 8
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I am fond of saying that this blog was quite prolific in the past and presently we are crawling as a slow rate in comparison. But that was not the case throughout. There was a phase in the blog in the past when the posts in this blog has almost dried up. That was from december 2009 till february 2010. There were as many as 34 DOT days in the blog out of 90 days during these three months. Only 112 posts were published in the blog during these three months. Thus the blog those days was not even a song a day blog. It had even become no song in a day blog on 33 % days.

The reason was that I had found myself transferred from my earlier place of posting viz Jabalpur in the month of December 2009. It was an inter zonal transfer in Railways parlance. I was transferred from WCR zone to SECR Zone, whose HQ was at BIlaspur, Chhattisgarh. I reported at Bilaspur in the first week of december 2009. I stayed there for a few days before it was decided that I would be posted at Nagpur.

It took me a while before I got a quarter allotted to me at Nagpur in February 2010. I then went to Jabalpur, vacated my quarter there and brought the luggage to Nagpur. It was first week of March 2010 before I could get settled in Nagpur.

During these three months from December 2009 to February 2010, it was difficult to find time for blogging. Still, I thried to keep the blog going. The laptop that I had was my constant companion and I had a dongle for internet connectivity, but posting on a regular basis when I was literally living out of suitcase was a tough challenge.

All these dot days means that there are not too many occasions today (ten year later) when we can find songs for ten year challenge. There are days that were DOT days, so there is no question of being able to discuss a ten year challenge song those days. On the few days when some songs were discussed, many of these songs have already been YIPPEED by now.

Take the example of blog activity on this day ten years back (viz on 26 february 2010). Three songs were posted on the blog on that day :-

Song Movie title-Year Remarks
Kitne raanjhe tujhe dekhkar bairaagi ban gaye Ahsaas-1979 04 of 06 songs posted
Aur kuchh der thahar aur kuchh der na jaa Aakhri Khat-1966 All Songs posted
Hame haal e dil tumse kahna hai Chaubees Ghante-1958 05 of 08 songs posted

“Chaubees Ghante”(1958) had made its debut on that day ten years ago. The writeup of this article was quite brief and sketchy, and contained little details about the movie. It shows that I did not have time to do research on this song. Moreover, ten years ago I was far less knowledgeable about HFM than today. I did not even have access to HFGK those days.

Now I know that this movie was directed by Dwarka Khosla for Zar Productions, Bombay. The movie had Premnath, Shakila, Maruti, Shammi, Nishi, Samson, Rajan Kapoor, K N Singh etc in it.

Ten years later, this movie had debuted in the blog when I was trying to find my feet at Nagpur, Maharashtra. Today (26 February 2010), exactly ten years later, I find myself at Gorakhpur, UP (via Bilaspur, Chattisgarh and Izatnagar, Bareilly, UP). By now five songs from the movie have been covered. Three songs were covered when I was at Nagpur. One song each was covered at Bilaspur and Izatnagar respectively.

Here is the sixth song from “Chaubees Ghante”(1958) appearing in the blog when I am based at Gorakhpur, UP. This song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Bipin Baabul.

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

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


Song-Aaj ka salaam lo kal ka waada pakka(Chaubees Ghante)(1958) Singer-Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Bipin Baabul

Lyrics 9Provided by Avinash Scrapwala)

Aaj ka salaam lo
Kal ka waada pakka
Hans ke mera naam lo
Kal ka waada pakka
Doodloo loo oo
Didlee lee ee ee
Doodloo loo oo oo oo
Aaj ka salaam lo
Kal ka waada pakka aa

Haseenon ki nighaah se
Dil rakho sambhaal ke
Haseenon ki nighaah se
Dil rakho sambhaal ke
Udaa na le tumhaara dil
Nigaah e naaz daal ke ae
Pyaar ka payaam lo
Kal ka waada pakka
Aaj ka salaam lo
Kal ka waada pakka
Doodloo loo oo oo
Didlee lee ee ee
Doodloo loo oo oo

Khushi ke ek jaam mein
Dubo de zindagi ke gham
Khushi ke ek jaam mein
Dubo de zindagi ke gham
Ke dukh bahot hai zindagi mein
Sukh magar bahot hai kam
Sabr se jo naam lo
Kal ka waada pakka
Aaj ka salaam lo
Kal ka waada pakka
Doodloo loo oo oo
Didlee lee ee ee ee
Doodloo loo oo oo

Sambhal sambhal ke chal zaraa
Kadam kadam pe jaal hai
Sambhal sambhal ke chal zaraa
Kadam kadam pe jaal hai
Samajh ke paansa phenk le
Ye zindagi ki chaal hai
Aaj ka salaam lo
Kal ka waada pakka
hans ke mera naam lo
kal ka waada pakka
kal ka waada pakka
kal ka waada pakka
Doodloo loo oo oo oo
Didlee lee ee ee ee
Doodloo loo oo oo oo

———————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————
आज का सलाम लो
कल का वादा पक्का
हंस के मेरा नाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

आज का सलाम लो
कल का वादा पक्का आ

हसीनों कि निगाह से
दिल रखो संभाल के
हसीनों कि निगाह से
दिल रखो संभाल के
उड़ा न ले तुम्हारा दिल
निगाह ए नाज़ डाल के ए
प्यार का पयाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

ख़ुशी के एक जाम में
डुबो दे ज़िन्दगी के ग़म
ख़ुशी के एक जाम में
डुबो दे ज़िन्दगी के ग़म
के दुःख बहोत है ज़िन्दगी में
सुख मगर बहोत है कम
सब्र से जो नाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ

संभल संभल के चल ज़रा
कदम कदम पे जाल है
संभल संभल के चल ज़रा
कदम कदम पे जाल है
समझ के पासा फ़ेंक ले
ये ज़िन्दगी की चाल है
दिल अभी इनाम लो
कल का वादा पक्का
आज का सलाम लो
कल का वादा पक्का
डूडलू लू ऊ ऊ ऊ
डीडली ली ई ई ई
डूडलू लू ऊ ऊ ऊ


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 : 4236 Post No. : 15447

“Baazi”(1968), not to be confused with the well known “Baazi”(1951) was directed by Moni Bhattacharya for Golden Films Production, Bombay. The movie had Dharmendra, Waheeda Rehman, Johnny Walker, Mehmood, Helen, Ansari, Nazir Hussain, Ullhas, Chans Usmani, Amar, Manmohan, Keshto Mukherjee, Pinchoo Kapoor etc in it.

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

Here are the details of the songs already covered in the blog:-

S N Song Song number in blog Date of posting
1 Aa mere galey lag jaa o jaane jaana 7860 9-Apr-2013
2 Pyaar ki ye baaten hamko na samjhaao 7949 21-Apr-2013
2 Ek anaar do beemaar badi mushqil hai 15143 29-July-2019
2 Dil tootaa roye nainaa 15440 17-Feb-2020

Here is the fifth and final song from “Baazi”(1968). This song is sung by Asha Bhonsle and Lata Mangeshkar. Shakeel Badayuni is the lyricist. Music is composed by Kalyanji Anandji.

This song is quite a remarkable song. It is picturised as a stage performance song on Helen and Waheeda Rehman. Helen plays evil queen and Waheeda Rehman her daughter. The evil queen regards herself as the prettiest female around and she would not hesitate to get prettier females killed, even if she happens to be her own daughter.

This is a very long song, more than ten minutes long. The picturisation also shows several small time actors as well.

I think that this song must be one of a kind for lyricist Shakeel Badayuni too. This must be one of the very few Helen dance songs for him.

Lata Mangeshkar had sung five female duets in the movies of 1968. Four of these duets are already covered in the blog. So, with this song, all the five female duets of Lata Mangeshkar from movies of 1968 are covered.

With this song, “Baazi”(1968) joins movies that have all their songs covered in the blog and the movie thus gets YIPPEED.

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


Song-Main haseena naazneena (Baazi)(1968) Singers-Asha Bhonsle, Lata, Lyrics-Shakeel Badayuni, MD-Kalyanji Anandji

Lyrics(Provided by Avinash Scrapwala)

ek raaja ki sauteli raani thhi
mahal ke andar
jo kahti thhi
main hoon jag mein sabse zyaada sundar

ae mere sheeshe
kaun hai jag mein sabse zyaada sundar

Raaj kumaari
raajkumaari
teri beti
isi mahal ke andar

hahahahaha
hahahahaha

hain
ladki
chim chika chim chika chim chika chim

jaane kaun hai ye ladki
chim chika chim chika chim chika chim
soorat ki bhi hai achchi
chim chika chim chika chim chika chee
na ghabra tu ae ladki
ham hain tere saathhi
is ghar mein tu khushi se jee

ae mere sheeshe
ab bata
kaun hai jug mein sabse zyaada sundar

Rajkumaari
teri beti
rahti hai jo ab door kutiyon ke andar

seb le lo
meethhe meethhe seb le lo

kirkiti kirkiti kirkiti kir
kirkiti kirkiti kirkiti kir
kirkiti kirkiti kirkiti kir
kirkiti kirkiti kirkiti kir

ab bata ae sheeshe
kaun hai sundar

teri beti rajkumari
ab hai rajkumar ke saath

main haseena nazneena
main haseena nazneena
koi mujhsa nahin een een
koi mujhsa nahin nahin naheen
main sameena mahajabeena
main sameena mahajabeena
mujhmein kya kya nahin een een
mujhmein kya kya nahin nahin ee

main qayaamat ki pehchaan hoon
ek bijli aur toofaan hoon
main mohabbat hoon
imaan hoon
ik aashiq ka armaan hoon
jo mere paas aaye
sukoon e dil paaye
phir jaaye na wo kahin
kahin een

main haseena naazneena
koi mujhsa nahin een een
koi mujhsa nahin nahin een

main hansoon to chaman bhi khiley pyaar ki zindagi bhi miley
main jaloon to patanga jaley
maut mere kahe par chaley
nigaahon se main kheloon
arre jisko bhi main dekhoon
wo jaan de de wahin
wahin een
main sameena mahajabeena
mujhmein kya kya nahin een een
mujhme kya kya nahin
nahin een een

pyaar ki main hoon ik daastaan
mere dam se hai duniya jawaan
main nahin to bahaaren kahaan
mere bas mein hai saara jahaan

main hoon shola
main hoon shabnam
main hoon naghma
main hoon sargam
aa aa aa
jhuke hain mere aage
ye chaand aur sitaare
ye aasmaan aur zameen zameen een

o main haseena
main sameena
koi mujhsa nahin een
mujhmein kya kya nahin
nahin een

o main haseena
main sameena
koi mujhsa nahin een
mujhmein kya kya nahin
nahin een


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 : 4226 Post No. : 15433

I was aware that today is the birth anniversary of Pran, but I was not aware that today is his 100th birth anniversary !

It was on this day 100 years ago that Pran (12 February 1920 – 12 July 2013) was born.

Pran was born in Lahore and he made his debut in films in Lahore in early 1940s. There, he soon graduated to lead roles. In “Khaandaan”(1942), he had acted opposite Noorjehaan. . After partition, he came to Bombay where he was a nobody and so he had to start from scratch there.

It was in Bombay that Pran began to get the roles of a villain and it waas in these roles that he made his mark. He started his stint in Bombay with “Ziddi”(1948). He played villains but no two roles of his were same. In every movie he brought something new to his acting. And his acting was so convincing that ordinary movie goers dreaded and dipised his roles. Very few people in India named their sons as Pran. That is the kind of impression he had created in the minds of movie goers. 🙂

In 1960s, his dark roles gradually started to become less dark, with doses of kindness and comedy in them and a time came when he became a character artist, beginning from “Upkaar”(1967). The distributors of “Upkaar”(1967) were very nervous, unsure how this new role of Pran would be received by the moviegoers who were so used to see him as a dreaded villain. Fortunately, the movie was a big hit and Praan’s role as Malang Chaacha was loved by moviegoers.

Pran had got to sing very few songs on screen as a villain, but he started to get songs as a character artist. And this process started with “Upkaar”(1967) itself. The song Kasme waade pyaar wafa turned out to be a much loved song, much to the relief of Kalkyanji Anandji, who were dreading that their composition would flop because it was to be picturised on Pran !

Subsequently, Pran has figured in quite a few songs in Hindi movies. And these songs became surprise hits. For instance, “Zanjeer”(1973) song Yaari hai imaan mera yaar meri zindagi became the most popular song of the year in Binaca geetmala ! “Kasauti”(1974) song, Ham bolega to bologe ki bolta hai was my favourite song durings its time. Same was the case with the song Daru ki bottle me sahab paani bharta hai from “Majboor”(1974).

On the occasion of the 100th birth anniversary of Pran, here is a song from “Zindaadil”(1975). The song is sung by Lata, Shailendra Singh and Mahendra Kapoor. Verma Malik is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a get together song. It is lip synced by Rishi Kapoor, Zaahira, Neetu singh and Pran.

Lyrics of this song were sent to me by Avinash Scrapwala. Incidentally, he too shares his birthday with Pran. So we take this opportunity to wish him a happy birthday and many happy returns of the day. Today also happens to be the wedding aniversary of our regular Nitin Shah. We wish him and his better half on this occasion.

Quite a lively and appropriate song for the occasion it is.

Video
(video)
Audio

Song-Shaam suhaani aayi khushiyaan ban ke pahli baar (Zindaa Dil)(1975) Singers-Lata, Mahendra Kapoor, Shailendra Singh, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Lata Mangeshkar+ Shailendra Singh

Lyrics (Provided by Avinash Scrapwala)

Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar
Huyee adhoori aasha poori
Tooti door ki doori
Tooti door ki doori
To lekar thumkaa naachoon
Aaj main tan ke pehli baar
Lekar thhumkaa naachoon
Aaj main tan ke pehli baar

Pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar
Huyee adhoori aasha poori
Tooti door ki doori
Tooti door ki doori
Lekar thhumkaa naachoon
Aaj main tan ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Jee chaahe main ho ke saudaayee
Lutaa doon khudaayee
Milaa hai mujhe pyaar
Milaa hai beshumaar
Jee chaahe main ho ke saudaayee
Lutaa doon khudaayee
Milaa hai mujhe pyaar
Milaa hai beshumaar
Raat aayi hai kismatwaali
Jalaao deewaali
Milaa hai qaraar
Milaa hai sansaar
Is man ki paawan dharti se
Phoot padaa hai pyaar
Phoot padaa hai pyaar

Pehli baar
Phool khile hain dekho
Mere man ke pehli baar
Phool khile hain dekho
Mere man ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Khaata jaa peetaa jaa
Bhar paimaana tu
Hey hey
Khaata jaa peetaa jaa
Bhar paimaana tu
Ho ho
Apnaa rang jamaata jaa
Ho deewaana tu
Hey hey
Masti mein lehraata jaa
Ban mastaana tu
Apnaa aaj banaataa jaa
Ye zamaana tu
Mere jeewan ke gulshan mein
Aayi nayee bahaar
Aayi nayee bahaar

Pehli baar
Ek fauji kaa beta
Chalaa hai tan ke pehli baar
Ek fauji kaa beta
Chalaa hai tan ke pehli baar

Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Dekho kaise khushi ke rang chhaaye
Dupatta udaa jaaye
Patang ban ke
Umang ban ke
Dekho kaise khushi ke rang chhaaye
Dupatta udaa jaaye
Patang ban ke
Umang ban ke
Main to ambar ki baahon mein jhooloon
Sitaaron ko chhoo loon
Kiran ban ke
Sapan ban ke
Aaj mere seene mein dhadkan
Meethhee kare pukaar
Meethhee kare pukaar
Pehli baar
Mere dil mein aajaa
Meraa ban ke pehli baar
Mere dil mein aajaa
Meraa ban ke pehli baar

Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar

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

आ आ आ आ आ
आ आ आ आ आ

शाम सुहानी आई
खुशियाँ बन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार
हुयी अधूरी आशा पूरी
टूटी दूर कि दूरी
टूटी दूर कि दूरी
तो लेकर ठुमका नाचूँ
आज मैं तन के पहली बार
तो लेकर ठुमका नाचूँ
आज मैं तन के पहली बार

पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार
हुयी अधूरी आशा पूरी
टूटी दूर कि दूरी
टूटी दूर कि दूरी
लेकर ठुमका नाचूँ
आज मैं तन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार

जी चाहे मैं हो के सौदाई
लुटा दूं खुदाई
मिला है मुझे प्यार
मिला है बेशुमार
जी चाहे मैं हो के सौदाई
लुटा दूं खुदाई
मिला है मुझे प्यार
मिला है बेशुमार
रात आयी है किस्मतवाली
जलाओ दीवाली
मिला है करार
मिला है संसार
इस मन की पावन धरती से
फूट पडा है प्यार
फूट पडा है प्यार

पहली बार
फूल खिले है देखो
मेरे मन के पहली बार
फूल खिले है देखो
मेरे मन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार

खाता जा पीता जा
भर पैमाना तू
हे हे
खाता जा पीता जा
भर पैमाना तू
हो हो
अपना रंग जमाता जा
हो दीवाना तू
हे हे
मस्ती में लहराता जा
बन मस्ताना तू
अपना आज बनाता जा
ये ज़माना तू
मेरे जीवन के गुलशन में
आयी नयी बहार
आयी नयी बहार

पहली बार
एक फौजी का बेटा
चला है तन के पहली बार
एक फौजी का बेटा
चला है तन के पहली बार

शाम सुहानी आई
खुशियाँ बन के पहली बार

देखो कैसे ख़ुशी के रंग छाये
दुपट्टा उड़ा जाए
पतंग बन के
उमंग बन के
देखो कैसे ख़ुशी के रंग छाये
दुपट्टा उड़ा जाए
पतंग बन के
उमंग बन के
मैं तो अम्बर कि बाहों में झूलूँ
सितारों को छू लूं
किरण बन के
सपन बन के
आज मेरे सीने में धड़कन
मीठी करे पुकार
मीठी करे पुकार
पहली बार
मेरे दिल में आजा
मेरा बन के पहली बार
मेरे दिल में आजा
मेरा बन के पहली बार

शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार


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 : 4225 Post No. : 15430

11th february is the remembrance day of Pt Narendra Sharma (28 February 1913 – 11 February 1989) .

Present day HFM lovers have no idea about the contributions of Pt Narendra Sharma if they just go by the wikipedia entry on him. The person writing his wikipedia entry has no clue about Pt Narendra Sharma.

Pt Narendra Sharma was a renowned poet who wrote poetry in Hindi and Urdu. Lata Mangeshkar used to read his poerty and sing them on Radio before she became a playback singer. Here is how she described her association with Pt Narendra Sharma:

“I used to call him ‘Papa’. The first time, I met Papa (Pandit Narendra Sharma) it was at Master Vinayak’s residence. He was accompanied by the eminent litterateur Amritlal Nagar. He asked me to sing for him. During those days, I didn’t need a second invitation to sing. I’d burst into a song whenever I was asked. He was a learned man. I’d spend hours listening to him. In 1968, when I recorded the Bhagavat Gita, Papa came home to congratulate me. I was anxious about my Sanskrit pronunciation. Papa assured me I had done a good job. Papa stayed in Khar. I’d visit his home. My ties with him and his family were very strong. His 3 daughters were my age. I’d carry extra clothes to his home and stay overnight. His daughters and I would do dhamaal all night. His wife though Gujarati, adopted the Uttar Pradesh culture after marriage, because Papa was from UP. I never heard him saying a bad word about anyone. I met Harivanshrai Bachchan Saab at Papa’s place. They called each other ‘Bandhu’. I don’t think I was so close to anyone outside the family. I discussed all my problems with Papa. He called me daughter but always addressed me as ‘Lataji’. I objected to that. But he persisted. When he died of a heart attack, I was heartbroken. No one could take his place.”

He was a lyricist in Hindi movies. HFM is repletre with lyrics containing Urdu words. Pt Narendra Sharma would mostly write songs conttaining Sarskritised Hindi. And he proved that one can write immortal songs in pure Hindi. Take the example of the immortal bhajan from “Bhaabhi Ki Choodiyaan”(1962).

This song, Jyoti kalash chhalke was covered in the blog within a few weeks after this blog was started. There were visitors of this blog who logged on to this blog daily just to listen to this song. There was one grandmom who one day complained that the song has been taken off and that she is no longer able to make her young grand daughter listen to this bhajan- a practice that she was following without fail every morning !

I put on this song every day for my baby grand-daughter…and today it says the video has been removed by the user….could you reinstate it please? It’e been so lovely to hear it…along with the lyrics…I learnt the song from your blogpost!

This song has so many heartwarming comments in the blog. One of these comments is from Mrs Lavanya Shah, the daughter of Pt Narendra Sharma !

How many of us know that Vividh Bharati, the musical channel of Akashwani, was started by Pt Narendra Sharma ! When Government of India decided to have a music channel, Pt Narendra Sharma was hired as Chief Producer to start this project. He conceptualised and executed this project. “Vividh Bharati” , a name that he thought of, started its broadcast on 2 october 1957 from Bombay. The very first song that was played on this brand new Radio station was “Naach Mayura Naach”. It was sung by Manna Dey, penned by Pt Narendra Sharma and composed by Anil Biswas.

Many of the programmes that we still listen to today on Vividh Bharati were stated during those early days and they were the brainchild of Pt Narendra Sharma himself ! For instance “Hawa Mahal” is being broadcast on Vividh Bharati right from its beginning.

A programme for fauzi bhais, called Jaimala was started in Vividh Bharati on evenings in 1962, in the wake of China war. On saturday evening, this programme would be presented by a celebrity. This vishesh jaimala is one of the most popular programmes on Radio.

When Asian games were held in New Delhi in 1982, it was Pt Narendra Sharma who wrote the theme song-“swaagatam suswaagatam”. This song has now become a standard song to be played during official functions, such as Republic day etc.

On the occasion of the remembrance day of this remarkable artist, we pay our tributes to him by covering a song from “Satyam Shivam Sundaram”(1978). This song is sung by Lata and chorus. Pt Narendra Sharma is the lyricist. Music is composed by Laxmikant Pyarelal.

The song, a welcome song, is lipsynced by Zeenat Aman and others.

Lyrics of this song were sent to me by Avinash Scrapwala. For a change for Pt Narendra Sharma, the lyrics of this song contains mostly Urdu words. The song sounds just as sweet as most songs penned by him.


Song-Suni jo unke aane ki aahat gareebkhaana sajaaya hamne (Satyam Shivam Sundaram)(1978) Singer-Lata, Lyrics-Pt Narendra Sharma, MD-Laxmikant Pyarelal
Chorus

Lyrics (Provided by Avinash Scrapwala)

O o o o o o
Ho o o o o o
Suni jo unke aane ki aahat
Gareebkhaanaa sajaayaa hamne
Suni jo unke aane ki aahat
Gareebkhaanaa sajaayaa hamne

Aa aa aa aa
Aa aa aa aa aa aa
Suni jo unke aane ki aahat
Gareebkhaanaa sajaayaa hamne
Qadam mubaarak hamaare dar pe
Naseeb apnaa jagaayaa hamne
Qadam mubaarak hamaare dar pe
Naseeb apanaa jagaayaa hamne

Huyee hai aamad khushaamadeedam
Huyee hai aamad khushaamadeedam
Ye kehnaa dil ko sikhaayaa hamne
Khile hain aashaa ke phool man mein
Ye raaz unse chhupaayaa hamne
Khile hain aashaa ke phool man mein
Ye raaz unse chhupaayaa hamne

Wo apne netaa ham unki janataa
Wo apne netaa ham unki janataa
Hameshaa naataa nibhaayaa hamne
Ye teri rehmat aye mere maalik
Gumaan nahin thhaa wo paayaa hamne
Ye teri rahamat aye mere maalik
Gumaan nahi thaa wo paayaa hamne

Unhe jo dekhaa jhukaa lin aankhen
Adab se ehsaan uthaayaa hamne
Unhe jo dekhaa jhukaa lin aankhen
Adab se ehsaan uthaayaa hamane

Suni jo unke aane ki aahat
Gareebkhaanaa sajaayaa hamne

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

ओ ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ ओ
सुनी जो उनके आने की आहट
ग़रीबखाना सजाया हमने
सुनी जो उनके आने की आहट
ग़रीबखाना सजाया हमने

आ आ आ आ
आ आ आ आ आ आ
सुनी जो उनके आने की आहट
ग़रीबखाना सजाया हमने
क़दम मुबारक हमारे दर पे
नसीब अपना जगाया हमने
क़दम मुबारक हमारे दर पे
नसीब अपना जगाया हमने

हुयी है आमद खुशामदिदम
हुयी है आमद खुशामदिदम
ये कहना दिल को सिखाया हमने
खिले है आशा के फूल मन में
ये राज़ उनसे छुपाया हमने
खिले है आशा के फूल मन में
ये राज़ उनसे छुपाया हमने

वो अपने नेता हम उनकी जनता
वो अपने नेता हम उनकी जनता
हमेशा नाता निभाया हमने
ये तेरी रहमत अये मेरे मालिक
गुमान नहीं था वो पाया हमने
ये तेरी रहमत अये मेरे मालिक
गुमान नहीं था वो पाया हमने

उन्हें जो देखा झुका ली आँखें
अदब से एहसान उठाया हमने
उन्हें जो देखा झुका ली आँखें
अदब से एहसान उठाया हमने

सुनी जो उनके आने की आहट
ग़रीबखाना सजाया हमने


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


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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


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15501

Number of movies covered in the blog

Movies with all their songs covered =1193
Total Number of movies covered =4270

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