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

Blog Day : 4017 Post No. : 15124

The years roll by – time stops for no one.

And, just like that, it is now 7 years since that day in 2012.

I still remember that day very well – I first got the news on Facebook.

One of my friends had posted “vaada tera vaada”, saying “RIP Rajesh Khanna”.

It shook me – I immediately checked Twitter for validation. (Now Twitter is known to post fake death news from time to time. Not so long ago, they had posted news of Mumtaz’s death – thankfully, fake.) But I wanted a second source.

Sadly, and I realized this very soon with a sinking feeling, the news on 18th July 2012 was not fake. Rajesh Khanna (or Kaka, as he was more affectionately known) HAD passed away. For the past year, he had been suffering from cancer – and the cancer had finally won.

I felt miserable that day. Not that I didn’t know he was suffering from cancer, but I never expected him to go when he did.

That day my Facebook status was
Kya samjhega ye aalam koi
Badaa bhaari hai dil ye mera
Ki le gaye ho saath safar pe tumhaare
Tukda jo kabhi tha dil ye mera

Rubbish poetry, I know – but hey, it did reflect my mood.

Those were the times when I’d seek refuge in my blog. I’d just dump my thoughts onto my blog, for my own sake. It was my way of releasing my feelings, not suppressing them within.

That day too I went to my blog, and wrote a piece for Rajesh Khanna. A personal piece – well, about as personal a piece that one can write about someone he has never met, someone whose many character flaws one acknowledges, and yet someone who was a big part of one’s childhood.

I’ve written about Kaka several times here, and I don’t want to bore readers by repeating stuff.

I’ll just say a few things, and then move on to the song.

Firstly, most times when I discuss Kaka with others (I don’t do much of this anymore), I get the following reactions.
Firstly, a criticism of his acting – mostly his set mannerisms, and his hamming.
Secondly, criticism about him as a person.

I’ve noticed that people who dislike Kaka, tend to dislike him rather intensely. 🙂 On one, or both, of the above counts.

And, I must admit, they would not be wrong.

The first point first.

Without doubt, Kaka’s acting lost its freshness after a few years – and was a big reason for his decline. His superstar success lasted only a few years. During this period, he acted in a whole lot of films. Both he, and his producers, wanted to cash in on his name. Just his name used to be enough to sell a film. Sure, the films were all successful – Kaka holds the record for maximum number of consecutive hits.

But over-exposure comes with its risks. Especially when you’re boxed into a method of acting, expected to conform to set mannerisms, and a set dialogue delivery style. Yes, they made you successful, but style wears out after a while. Kaka’s mannerisms did become an issue. That the storylines also were beginning to get thin, did not help.

Much later in his career, we got to see a different Rajesh Khanna. Not THE superstar anymore, he could afford to act differently, in different roles. Let’s not forget he got his break in films by winning an acting contest, so he couldn’t have been that bad an actor. 🙂

Now, to the second point.

Again, I have to agree. It’s no secret that Kaka allowed success to get to his head. His unprofessional, and possibly even mean, behaviour with colleagues and others, left a lot of people bitter. No doubt many would have been happy to see him go down. A point made even more stark when compared with the upcoming star, Amitabh Bachchan, who was the model professional actor, punctual and polite.

I will not defend Kaka on this front at all. Much later in life, he did realize this himself.

All I will say is, every one of us has failings. Maybe if Kaka’s success had been more gradual, he’d have been a different person. Failure teaches us much more than success – Amitabh had a string of failures before becoming a superstar.

One person’s life is often a lesson for another. Just as people can tell aspiring youngsters “Look at Amitabh – how he struggled early in his career, but his perseverance and professionalism made him a superstar”, they can also say “Look at Rajesh Khanna – how he let success get to his head at a young age, and destroyed his career and relationships”.

One can learn from both.

To me, while I accept these criticisms, I will always remember, and thank, Rajesh Khanna for giving me many wonderful memories in my childhood.

That tilt of the head, that smile, that kurta, that dialogue delivery – today people might mock all of this, but in those days, these are what millions swooned over. That “Pushpa, I hate tears” line is still one of the best-known lines in Hindi cinema.

His films of that era made me feel good when I saw them in the early 70s. Later, when I saw them again, I’d still smile at “rona kabhi nahin rona”, “yahaan wahaan saare”, “nainon mein nindiya hai”, “ye shaam mastaani” and a whole lot of other songs. They’d bring back memories of my childhood.

Like one of my best friends (in class I) would always sing “pyaar deewana hota hai” from Kati Patang. It was his favourite song. I liked it a lot too, but I’d counter him with “ye shaam mastaani”. I know it sounds silly, but these are not just songs for me – they have memories attached to them. Like the incident attached to “o mere dil ke chain” – I’ve discussed the incident here earlier.

And that’s the thing. Each person’s memories are different, and therefore connect with someone is different. And while I acknowledge all Kaka’s failings, I also want to give him back a little bit of that love that I got from watching his films during my childhood.

That’s also the reason for this post. I haven’t written for a while now, but Avinashji requested me to write a post for this occasion. I was hesitant, since I sincerely believe I’ve lost my writing ability. I even told Avinashji “I can’t write anything longer than a tweet now” :-). But he was kind enough to share with me a whole lot of Kaka songs not posted yet, so I could easily pick one.

Now to the song.

Initially I thought of posting a sad song, considering it is on Kaka’s death anniversary. But then I thought again.

What I’d like to remember most of Kaka is the joy I got from watching his films, from before his decline. I think, from up there, he’d also probably like most people to remember him for those films.

So today’s song is from one of his early films – Bandhan (1969). I remember seeing this film long ago, though I don’t remember the story now.

By the way, it is exactly 50 years since this film was released. 1969 was a milestone year for Kaka – this was the year he became a superstar with Aradhana. And Do Raaste was a huge hit too.

The song “jaana hai to jao” shows early glimpses of the superstar-to-be. One can see some of those mannerisms that would become his hallmark in the coming years. And it is always fun to see Kaka and Mumtaz together, even if this was a less-known film than their more famous films to come.

The song is in the voices of Mahendra Kapoor and Asha Bhosle. Not surprising that Mahendra Kapoor was used, considering music is by Kalyanji-Anandji. The MK-KA combo had a huge hit with Upkar (1967), so KA were happy to use MK again. And at that time, Rajesh Khanna was “just another hero”. Kishore Kumar had not yet become his voice. In fact, in this film, even Mukesh sings a happy song for Rajesh Khanna. 🙂

I hope you like the song.

Thanks for the memories, Kaka.

Whatever the world might say about you, remember, when it comes to romance in film,

“tere hi to sar pe mohabbat ka taaj hai”.


Song-Arrey jaana hai to jaao manaayenge nahin (Bandhan)(1969) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics(Provided by Avinash Scrapwala)

Arrey jaana hai to jaao
arrey jaana hai to jaao manaayenge nahin
jaana hai to jaao
manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin

eh
aana hai to aao
bulaayenge nahin
aana hai to aao
bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
hmph
aana hai to aao

dekhi hai dekhi hai dekhi
arrey dekhi hai dekhi hai
tere jaisi kitni chhoriyaan
marti hain marti hain mujhper
saare gaaon ki goriyaan

arrey budhhu hai budhhu hai bilkul
tu kya dulhan laayega
Lagta hai tu kunwaara mar jaayega
Lagta hai tu kunwaara mar jaayega
hum kahen aur kya
tera bhaiyya khada
tujhe
nazron mein uski giraayenge nahin
ha ha ha
nazron me uski giraayenge nahin

arre samjhe
jaana hai to jaao manaayenge nahin
jaana hai to jaao manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin
jaana hai to jaao

jab raaja mahaaraaja
koi mujhe byaahne aayega
jab raaja mahaaraaja
koi mujhe byaahne aayega
seene pe seene pe tere
saanp sa lahra jaayega

arrey tu hai bandariya
hmphh
chal chal
arrey tu hai bandariya
koi madaari hi tujhko le jaayega
kas ke maarega dande
nachaayega
kas ke maarega dande
nachaayega
haa haa
akl moti teri
O naak chhoti teri
mendhki ko to munh hum lagaayenge nahin
chhi chhi
mendhki ko munh hum lagaayenge nahin
eh
jaana hai to jaao
jaana hai to jaao bulaayenge nahin
jaana hai to jaao bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
jaa
jaana hai to jaao

———————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————
अरे जाना है तो जाओ
अरे जाना है तो जाओ
मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
ये
आना है तो आओ
बुलायेंगे नहीं
आना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
हं
आना है तो आओ

देखी है देखी है देखी
अरे
देखी है देखी है
तेरे जैसी कितनी छोरियां
मरती है मरती है मुझपे
सारे गाँव की गोरियाँ
अरे बुद्धू है बुद्धू है बिलकुल
तू क्या दुल्हन लाएगा
लगता है तू कुंवारा मर जाएगा
लगता है तू कुंवारा मर जाएगा
हम कहे और क्या
तेरा भैय्या खडा
तुझे
नज़रों में उसकी गिराएंगे नहीं
हं हं हं
नज़रों में उसकी गिराएंगे नहीं

अरे समझे
जाना है तो जाओ मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
जाना है तो जाओ

जब राजा महाराजा कोई
मुझे ब्याहने आएगा
जब राजा महाराजा कोई
मुझे ब्याहने आएगा
सीने पे सीने पे तेरे
सांप सा लहरा जाएगा

अरे तू है बंदरिया
चल चल
अरे तू है बंदरिया
कोई मदारी ही तुझको ले जाएगा
कसके मारेगा डंडे
नचाएगा
कसके मारेगा डंडे
नचाएगा
हां हां
अक्ल मोटी तेरी
ओ नाक छोटी तेरी
मेढकी को तो मुंह हम लगायेंगे नहीं
छी छी
मेढकी को मुंह हम लगायेंगे नहीं
ये
जाना है तो आओ
जाना है तो आओ
बुलायेंगे नहीं
जाना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
जा
जाना है तो जाओ

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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 : 3968 Post No. : 15052

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 33
——————————————————————————————

30th May – ten years ago. The steady pace of six songs per day is quite natural, and consistent. The six movies that were represented that day are

  • Chaandni Chowk             1954
  • Aas Ka Panchhi               1961
  • Aadhi Raat Ke Baad         1965
  • Zanjeer                          1973
  • Hamshakal                      1974
  • Bhola Bhaalaa                 1978

The first four films on this list above are already fully represented on our blog. The reprisal song for today is from the 1978 film ‘Bhola Bhaala’. This film is directed by Satpal, under the banner of Venkteshewara Pictures, Bombay. The cast of actors is listed as Rajesh Khanna, Rekha, Maushumi Chatterjee, Joginder, Satyen Kappu, Sulochana, Pinchoo Kapoor, V Gopal, Sudhir Thakkar, Jankidas, Rajkumar, Devraj, Master Chiku, Shakti, Ashu, Deven Verma, Jagdeep, Sudhir, Ratnamala, Raj Mehra, and Aruna Irani.

The six songs in this film are all penned by Anand Bakshi. Music direction is by RD Burman. This is the third song of this film to appear on our blog.

On screen, this song is lip synced by Rajesh Khanna, disguised as a sanyaasi. Rekha also appears in this song, as the main dancer attraction. She is also wearing saffron clothes, but she is not lip syncing. Apparently, a certain rich man is making an offering of a costly chhatr (‘छत्र’), as he has been blessed with a son after a very long wait.

This song seems to be a song of deception, to steal that costly offering. I have not seen this film, and so I request other knowledgeable readers to please add more information about this film and this song situation.

Video

Audio

Song – Dheere Dheere Naach Ri Jogan (Bhola Bhaala) (1978) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman
Chorus

Lyrics (Provided by Avinash Scrapwala)

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye
prabhu darshan ke samay
kisi ki 
palak jhapak nahin jaaye

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

sab jaage hain
sab soye hain
sab jaage hain
sab soye hain
maaya ke jaal mein khoye hain
kaun hain saadhu oo
kaun hain daaku oo
kaun hain saadhu
kaun hain daaku
kisi pe shaq nahin jaa..aaye
teri paayal thhak nahin jaaye
prabhu darshan ke samay
kisi ki 
palak jhapak nahin jaa..aaye
prabhu darshan ke samay
kisi ki
palak jhapak nahin jaaye

teri paayal ki..ee
jhankaar kahe
teri paayal ki
jhankaar kahe
har ek bhagat taiyyaar rahe
aise samay mein..ae
dil koyi..ee
aise samay mein dil koyi
naadan dhadak nahin jaa..aaye
teri paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

[Dialogue: maharaj chhatra aa rahaa hain
pooja ki saamagri taiyyaar rakhiye!]

[shankar ji ki krupa se
baarah saal ke baad sethji ke ghar
ladka paida hua hai!]

[tabhi to chhatra chadhaa rahe hain
do laakh ka!]
[aayiye aayiye aayiye
aayiye aayiye!]

ab darshan honay waala hain
kuchh arpan honay waala hain
hoshiyaa..aar
ek ki baat kisi duje ke
kaanon tak nahin jaa..aaye
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki 
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए

धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए

सब जागे हैं
सब सोये हैं
सब जागे हैं
सब सोये हैं
माया के जाल में खोये हैं
कौन हैं साधू॰॰ऊ
कौन हैं डाकू॰॰ऊ
कौन हैं साधू
कौन हैं डाकू
किसी पे शक नहीं जा॰॰॰ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जाए

तेरी पायल की॰॰ई
झंकार कहे ए
तेरी पायल की
झंकार कहे
हर एक भगत तैयार रहे
ऐसे समय में
दिल कोई ई
ऐसे समय में
दिल कोई
नादान धड़क नहीं जा॰॰॰ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जाए

[संवाद-
महाराज छत्र आ रहा हैं
पूजा की सामग्री तैयार रखिये,]

[शंकर जी की कृपा से
बारह साल के बाद सेठजी के घर
लड़का पैदा हुआ हैं,
तभी तो छत्र चढ़ा रहे हैं
दो लाख का !!]
[आईये आईये आईये
आईये आईये …!!! ]

अब दर्शन होने वाला हैं
कुछ अर्पण होने वाला हैं
होशियार
एक की बात किसी दूजे के
कानों तक नहीं जा॰॰॰ए ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी कि
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी कि
पलक झपक नहीं जाए

धीरे धीरे नाच री जोगन
पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए



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 : 3921 Post No. : 14986

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 28
————————————————

Looking at 13th April of ten years ago, the post score card was six songs.

Ghar Aaya Mera Pardesi Aawaara 1951
Teri Duniya Me Jeene Se To Behtar Hai Ke Mar Jaayen House No 44 1955
Tu Kahan Ye Bataa Is Nasheeli Raat Mein Tere Ghar Ke Saamne 1963
Iktara Bole Yaadgaar 1970
O Neele Parbaton Ki Dhaara Aadmi Aur Insaan 1969
Prem Kahaani Me Ik Ladka Hota Hai Prem Kahaani 1975

Two of the six films represented that day had made their debut – ‘House No. 44’ (1955) and ‘Yaadgaar’ (1970). Of the six films, five are already yippeee’d over the past 10 years. The one film that still awaits all its songs to be posted is ‘Yaadgaar’. Today, we bring to fore the fourth third song of this film, from a total of six songs listed.

Manoj Kumar, having started his career in 1958 with films like ‘Panchaayat’ and ‘Sahaara’, turned a writer and a producer less than a decade later. His first venture was ‘Shaheed’ in released 1965. The film was directed by S Ram Sharma under the banner of KPK Movies, Bombay. Then in 1967, under the new banner of Vishal International, he produced and directed ‘Upkar’. Coming close on the heels of the 1965 conflict with Pakistan, and the sudden demise of Lal Bahadur Shastri in Jan 1966, this film rode a wave of popularity on the sentiments of nationalism and social integration, and became one of the major blockbusters of the 1960s. The film also established the image and tag name of Mr. Bharat for him.

In 1970, he followed it up with ‘Purab Aur Paschim’, again from his own banner of Vishal International, another film that is on the same theme of nationalism and Indian culture, further strengthening that image. The fact that the title role he played in these two films has the name ‘Bharat’ helped a lot, of course.

In 1970 came another film that followed in the footsteps of his earlier creations, with the similar socially relevant theme of nationalism and Indian culture. Although not from the banner of Vishal International (the production house was Kunal Chitra, Bombay), the film was directed by S Ram Sharma, an old friend who had also directed ‘Shaheed’ of 1965. As with ‘Shaheed’, the story and screenplay is written by Manoj Kumar himself.

The cast of actors for this film is listed as Nutan, Manoj Kumar, Pran, Prem Chopra, Kamini Kaushal, Mehmood (Junior), Madan Puri, Tiwari, Mohan Choti, Lalita Chatterjee, Asit Sen, Lakshmichaya, Shammi, Manmohan, Paulson, Jayshree, Kuljeet, Renu, Raj Kishore, Harbans Pape, Kirti Behal, Manohar, Naidu, Beerbal, Hansraj, Shrinath, Mohan Jerry, Dubey, Sabeena, Manohar Gosvai, Kesho Rana, Brahm Bhardwaj, Sobati, Aleeja, Genius, Darshan M, Ravikant, Chandra, Mohan Chhotu, Narbada Shankar, and Ramlal etc. One cannot help but notice a set of names that had had become regular in the cast of actors in his films – Kamini Kaushal, Pran, Madan Puri, Prem Chopra, Asit Sen, Tiwari, Mohan Choti, Manmohan, Shammi etc.

The theme song of this film is “Iktaara Bole, Sun Sun Kya Kahe Ye Tumse”. The song was a major hit in its time, as the film tried to address the malaise of degradation of social values in the Indian society. The song touches upon a series of topics like population, corruption in routine life, fashion, cold war and deteriorating relations between nations, political leaders, religious dogmas etc. The theme runs in parallel to the romantic love interest between Manoj Kumar and Nutan, touching also upon the class/caste conflict in the society.

This song carries forward this message of class/caste conflict and the desire for social equality. The scenario relates to the class conflict in religion. A number of people are waiting outside a temple, to enter and to worship theie God. But the pujari (priest) at the temple, temporarily halts the entry of devotees into the temple, as the chief patron of the temple is expected shortly. Rana Shamsher Singh (role played by Tiwari) is the rich man who has provided the funding for the temple, and so the temple is known by his name – Rana Mandir. As other devotees wait to enter the temple, a war of words breaks out between Bhanu (name of the role played by Manoj Kumar, thankfully not Bharat, as in ‘Upkar’ and ‘Purab Aur Paschim’) and Rana, which turns into this song that tells about God and his relationship to His devotees. The words tell that God is not necessarily housed in the temple, and that He also manifests Himself in many other locations and endeavors that also involve the poor and the downtrodden of the society.

The words of this song are from the pen of Indeewar, who also wrote the iconic “Kasme Waade Pyaar Wafa Sab. . .” for Manoj Kumar’s ‘Upkar’. The music is by Kalyanji Anandji. This music director duo was the regular MDs for Manoj Kumar’s films – ‘Upkar’, ‘Purab Aur Paschim’ and ‘Yaadgar’. But come 1972, Manoj Kumar switched to Laxmikant Pyaarelal with his next venture ‘Shor’.

The singing voice is of Mahendra Kapoor, the playback singer that Manoj Kumar preferred for himself. Listen to this typical ‘Bharat’ message that helped further strengthen the image of Mr Bharat.

Song – Wo Khet Mein Milega, Khalihaan Mein Milega  (Yaadgaar) (1970) Singer – Mahendra Kapoor, Lyrics – Indeewar, MD – Kalyanji Anandji
Chorus
Tiwari

Lyrics (Provided by Avinash Scrapvaala)

aaye jahaan bhagwaan se pehle
kisi dhanwaan ka naam
us mandir ke dwaar khade khud
royen krishna aur raam

dhanwaan ko pehle miley
bhagwaan ke darshan
darshan ko tarastaa rahey
jo bhakt ho nirdhan
ye dakshina ki reet
ye pandon ke chhalaawe
dukaan mein biktey huye
mandir ke chadhaawe
aise hi agar
aise hi agar dharm ka vyaapar
chalega
bhagwaan ka duniya mein
koi naam na legaa
aisi jageh pe jaa ke tu kuchh bhi na paayega
bhagwaan aisa mandir khud chhod jaayegaa
chhod jaayega
chhod jaayega

bhagwaan raana mandir mein nahin
to aur kahaan milegaa

wo khet mein milega
khalihaan mein milegaa
wo khet mein ae milegaa
khalihaan mein milegaa
bhagwaan to ae bande..ae
bhagwaan to ae bande
insaan mein ae milegaa
wo khet mein milega
khalihaan mein milegaa

dhanwaan jo hai jhoothha..aa
ho ho o o 
shaitaan ke baraabar
aa aa aa aa
nirdhan agar hai sachchaa
bhagwaan ke baraabar
wo dhong mein nahin hai
imaan mein milegaa..aa
wo khet mein milegaa

ganga se bhi hai paawan
ho ho o o 
mazdoor ka paseena
aa aa aa aa
paani na koi samjhe
anmol ye nagina
aise hi paseenon ke nirmaan mein milegaa
wo khet mein milegaa

geeta sunaa rahaa hai..ae
aawaaz mein kalon ki..ee
taqdeer likh rahaa hai
nokon se wo halon ki..ee
mazdoor mein milegaa aa
wo kisaan mein ae milegaa aa
wo khet mein ae milegaa
khalihaan mein milegaa
bhagwaan to ae bande
insaan mein ae milega..aa
wo khet mein milega
khalihaan mein milega
wo khet mein milega
khalihaan mein milega
wo khet mein milega
khalihaan mein milega

bhagwaan to ae bande
insaan mein ae milega

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-

आये जहां भगवान से पहले
किसी धनवान का नाम
उस मंदिर के द्वार खड़े खुद
रोयें कृष्ण और राम

धनवान को पहले मिले
भगवान् के दर्शन
दर्शन को तरसता रहे
जो भक्त हो निर्धन
ये दक्षिणा कि रीत
ये पंडों के छलावे
दूकान में बिकते हुए
मंदिर के चढ़ावे
ऐसे ही अगर॰॰र
ऐसे ही अगर धर्म का व्यापार चलेगा
भगवान् का दुनिया में
कोई नाम ना लेगा
ऐसी जगह पे जाके तू कुछ भी न पायेगा
भगवान् ऐसा मंदिर खुद छोड़ जाएगा
छोड़ जाएगा
छोड़ जाएगा

(भगवान् राणा मंदिर में नहीं
तो और कहाँ मिलेगा)

वो खेत में मिलेगा
खलिहान में मिलेगा
वो खेत में ए मिलेगा
खलिहान में मिलेगा
भगवान् तो ए बन्दे॰॰ए
भगवान् तो ए बन्दे
इंसान में ए मिलेगा
वो खेत में मिलेगा
खलिहान में मिलेगा

धनवान जो है झूठा॰॰आ
हो हो ओ ओ
शैतान के बराबर
आ आ आ आ
निर्धन अगर है सच्चा
भगवान् के बराबर
वो ढोंग में नहीं है
ईमान में मिलेगा॰॰आ॰॰आ
वो खेत में मिलेगा

गंगा से भी है पावन
हो हो ओ ओ
मजदूर का पसीना
आ आ आ आ
पानी न कोई समझे
अनमोल ये नगीना
ऐसे ही पसीनों के निर्माण में मिलेगा
वो खेत में मिलेगा

गीता सुना रहा है॰॰ए
आवाज़ में कलों कि॰॰ई
तकदीर लिख रहा है
नोकों से वो हलों की॰॰ई
मजदूर में मिलेगा॰॰आ
वो किसान में ए मिलेगा॰॰आ
वो खेत में मिलेगा
खलिहान में मिलेगा

भगवान् तो ए बन्दे
इंसान में ए मिलेगा॰॰आ     
वो खेत में मिलेगा
खलिहान में मिलेगा
वो खेत में मिलेगा
खलिहान में मिलेगा
वो खेत में मिलेगा
खलिहान में मिलेगा


भगवान् तो ए बन्दे
इंसान में ए मिलेगा

 


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 : 3908 Post No. : 14966

—————————————————-
Blog Ten Year Challenge (2009-2019)-Song number 24
—————————————————-
Nowadays, we generally believe that the golden era of HFM lasted from 1949 till 1980 and after that the general standards of HFM fell down several notches, never to recover again.

When I was growing up in 1970s, I felt that this deterioration of HFM had started in 1970s itself. Some of the songs that later were considered classics were regarded by mediocre by me during those days. For instance, the songs of “Do Chor”(1972) were mediocre for me. Song like Yaari ho gayi yaar se lak tunoo tunoo was jarring to my ears. “Sanyaasi” (1974) songs were downright mediocre as far as I was concerned.

Many Laxmikant Pyarelal compositions of 1970s were chaalu to my ears and I did not like them much. I did not like the songs of “Suhaag”(1979) much but today these songs are considered near classics.

“Aas Paas”(1980) songs were very much mediocre songs to my ears and minds. No wonder that I did not watch this movie. The most chaalu and popular song of the movie was Tum jo chale gaye to hogi badi kharaabi. This movie made its debut in the blog with this song. That was on 31 march 2009, viz exactly ten years ago.

The movie had six songs in it, but only one more song from the movie has since been covered. This second song is Hamko bhi gham ne maara which was posted on 6 december 2013. After that, there has been no more covereage of songs from this movie for more than five years.

Now, thanks to the “blog ten year challenge” series, this movie “Aas Paas”(1980) came to the notice of Avinash Scrapwala and he sent the lyrics of another song from “Aas Paas”(1980).

This song, the third from the movie to appear in the blog, is sung by Rafi and Lata. Anand Bakshi is the lyricist. Music is omposed by Laxmikant Pyarelal.

The song is picturised as a typical Punjabi style dance song. It is picturised on Dharmendra, Hema Malini and many other male and female dancers in bright colorful attires. harmendra with his two left feet style dancing makes for a sharp contrast from Hema Malini, a dancing exponent.

As mentioned earlier, I had not watched this movie during its time and I was not even aware of this song till now. So this song comes in the blog exactly ten years after another song appeared in the blog. And at the same time, this song comes to my notice some four decades after it was created. So I suppose this can also form some kind of a challenge series, viz – Songs coming to notice forty year after its creation. 🙂

For now, here is this latest presentation under the “Blog Ten Year Challenge (2009-2019)” series.

Video (Partial)

Audio (Full)

Song-Shahar mein charcha hai (Aas Paas)(1980) Singers-Rafi, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics(Provided by Avinash Scrapwala)

tere laung da peya lashkaara
te haaliyan ne hal dak lay
ho jatt kudiyaan to darr da maara
te mode utthe daang rakhdaa
oye

shahar mein charchaa hai
aa haa
shahar mein charchaa hai
ye duniya kehti hai ae
shahar mein charchaa hai
ye duniya kehti hai ae
gali mein meri ik ladki kanwaari rehti hai
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
haan haan bol

shahar mein charchaa hai
aa haa
shahar mein charchaa hai
zamaana kehta hai ae
shahar mein charchaa hai
zamaana kehta hai
gali mein meri ik mera
deewaana rehta hai
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
bol

sun ri kamla
ik jat yamla
moonchh naa daadhi
ghoda gaadi ee
leke aaya
ho aaya
dil ghabraayaa aa
leke aaya
ho aaya
dil ghabraaya
main sharmaayi ee
raam duhaayi ee..ee
meri nindiya tooti
jo dekha ye sapna
chhupaata hai kyun soorat
saaf dikha chehra apna
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
bol

dekh o bante
ye khat padh ke
kisne likha hai
is mein likha hai
teri deewaani
deewaani
main dil jaani ee
teri deewaani
deewaani
main dil jaani
band te baaja aa
leke aaja aa
dikhaa doon ye tujhko
ise pehchaane to
mujhe shaq hota hai tujhpe
buraa naa maane to
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
hoye hoye bol naa..aa

sajaa hai mandap saamne tere
aa chal le len ham bhi phere
ho o mud ja jattaa
ho jattaa
chhod dupatta aa aa
mud ja jattaa
ho jattaa
chhod dupatta
aur jo ho par
ye nahin hoga aa aa
yahi ho jaaye na
ye hote dekha hai
mere haathon mein ye jiske
lagan ki rekha hai
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
ho o bol

shahar mein charchaa hai
zamaana kehta hai
gali mein meri ik mera
deewaana rehta hai
kahin tu wohi to nahin
kahin tu wohi to nahin
kahin tu wohi to nahin
wohi to nahin
wohi to nahin. . .
haan haan bol

——————————————-
Devnagri Script lyrics (provided by Avinash Scrapwala)
——————————————–

तेरे लौंग दा पया लश्कारा
ते हालियां ने हल डाक लय
हो जट्ट कुडियां तो डर दा मारा
ते मोड उत्थे डांग रखदा
ओये

शहर में चर्चा है
आ हां
शहर में चर्चा है
ये दुनिया कहती है
शहर में चर्चा है
ये दुनिया कहती है
गली में मेरी इक लड़की कंवारी रहती है
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
हाँ हाँ बोल

शहर में चर्चा है
आ हां
शहर में चर्चा है
ज़माना कहता है
शहर में चर्चा है
ज़माना कहता है
गली में मेरी इक मेरा
दीवाना रहता है
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
बोल

सुन री कमला
इक जट यमला
मूछ ना दाढ़ी
घोड़ा गाडी ई
लेके आया
हो आया
दिल घबराया आ
लेके आया
हो आया दिल घबराया
मैं शरमाई ई
राम दुहाई॰॰ई
मेरी निंदिया टूटी
जो देखा ये सपना
छुपाता है क्यूँ सूरत
साफ़ दिखा चेहरा अपना
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
बोल

देख ओ बंते
ये ख़त पढ़ के
किसने लिखा है
इसमें लिखा है
तेरी दीवानी
दीवानी
मैं दिलजानी
तेरी दीवानी
दीवानी
मैं दिलजानी
बैंड ते बाजा आ
लेके आजा आ
दिखा दूं ये तुझको
इसे पहचाने तो
मुझे शक होता है तुझपे
बुरा ना माने तो
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
होए होए बोल ना॰॰आ

सजा है मंडप सामने तेरे
आ चल ले ले हम भी फेरे ए
हो ओ मुड जा जट्टा
हो जट्टा
छोड़ दुपट्टा॰॰आ
मुड जा जट्टा
हो जट्टा
छोड़ दुपट्टा
और जो हो पर
ये नहीं होगा॰॰आ
यही हो जाए ना
ये होते देखा है
मेरे हाथों में ये जिसके
लगन की रेखा है
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
हो ओ बोल

शहर में चर्चा है
ज़माना कहता है
गली में मेरी इक मेरा
दीवाना रहता है
कहीं तू वही तो नहीं
कहीं तू वही तो नहीं
कहीं तू वही तो नहीं
वही तो नहीं
वही तो नहीं॰ ॰ ॰
हाँ हाँ बो॰॰ल


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 : 3900 Post No. : 14950

When I was in school, we had some “boring” subjects like, History, Geography, Social Science etc. These were “arts” subjects and were considered low scoring as well.

When I think about it now, I realise that History text book basically used to be like a collections of a few chapters and each chapter was like a story of a particular era. For instance, first chapter was Ramayana. second Chapter was Mahabharata. Third chapter was Mauryavansh (Chandragupta Maurya , Samrat Ashok etc. A few chapters later, we were into Mughal era (Akbar, Shahjahaan etc, and then British Era.

In British era, we had discussion on freedom struggle. In freedom struggle, we basically read that non violent movement by Mahatma Gandhi earned India their freedom. There was passing mention of Bhagat Singh, Chandrashekhar Azad, Subhash Chandra Bose etc as well.

Then we were told that British were defeated by the non violent movement of Gandhi and they gave India independence, but at the last moment, they played a dirty trick and divided the country into two.

Many decades on, when we can gain information from sources other than test books published by the government or gooverment approved publishers, we can have a more holistic picture of things as they unfolded. We now have access to other sources as well as so we can form our own opinion on what was happening those days.

It could be seen that the country, like now, had people with different ideologies and people followed their own ideologies. There were followers of Mahatma Gandhi, but then there were followers of other leaders as well. We have seen that Subhash Chandra Bose had a tremendous following. And his philosophy of gaining independence for India was different from that of Mahatma Gandhi. Since history is written by “victors” and somehow Mahatma Gandhi’s non violent movie has been credited as the reason for India gaining independence so Indian freedom struggle has been penned accordingly.

When one thinks about it dispassionately, one realises that British were no saints who would somehow be shamed by “non violent” movements and would grant independence to India out of shame. There were many factors that made it increasingly difficult for them to continue to rule India. It was a combination of all these factors that finally broke the back of camel and Britain finally granted independence to India and left at the earliest opportunity.

The major cause why Britain left was that two world wars had taken place and it had taken a heavy toll on Britain financially. Britain was the sole superpower of the world before the first world war. After the end of the second wold war Britain was economically on the verge of collapse. They had to take loan from USA the new superpower of the world to keep their economy afloat.

India had contributed a good number of armymen to fight the world wars for Britain. It was the understanding that Britain would grant Indian independence after the world war.

Moreover, with Media (radio, newspapers etc) becoming influential, world opinion was turning in favour of freedom of India and it was becoming difficult for Britain to hang on to its colonies.

When we look at history, we find India was becoming ungovernable from early 1900s, because there were many cases of armed resistance from all over the country.

Not all freedom fighters were moderates. There were radicals as well. In fact , there was a trio of radicals popularly called Lal, Bal, Pal- viz Lala Lajpat Rai, Bal Gangadhar Tilak, and Bipin Chandra Pal. They incidentally, belonged to three major regions of the country and helped spread their message of armed struggle in their regions. Taken together, that was almost entire India. They advocated civil agitation and direct revolution to overthrow the British Empire.

British Government divided Bangal province and that caused widespread resentment among people. The protest against it was violent and quite a few protests died, some in police custody (viz Brahmabhandav Upadhyay) while some were hanged (Khudiram Bose, Bagha Jatin).

Then Draconian Rowlatt act was passed in 1919. Protest against this act led to the Jallianwala Massacre on 13 april 1919. The main perpetrator Dyer was forced to retire but he was hailed as a hero in Britain. Whatever goodwill Indians had for British government evaporated totally.

During 1920s, several armed resistances happened all over the country. One of the more prominent of them was Kakori Case (1925) in UP. Government treasury was looted while it was being carried in a train. In this case, three revolutionaries, namely Ramprasad Bismil, Rajendra Lahiri, Raushan Singh and Ashfaqullh.

It is noticeable that such activities were happening all over India, and in all these cases some people were prompmtly being found guilty and were being sentenced to death, no less. So many people were sentenced to death those days that the claim of Indian freedom fight being mostly non violent does not sound too convincing.

On March 23, 1931, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru were hanged to death for the killing 21-year-old British police officer John Saunders. They mistook Saunders for Superintendent James Scott, who was responsible for leading a lathi charge against Lala Lajpat Rai, who along with his followers was protesting against the Simon Commission.

Lala Lajpatrai was mortally injured in a Lathi charge on him by police led by Superintendent James Scott, when Lala Lajpatrai was leading a protest march against Simon Commision. Death of Lala Lajpat Rai stung Indians. Bhagat Singh, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru decided to avenge it by killing James Scott, but instead they killed 21-year-old British police officer John Saunders.

The case was heard on the court of Lahore Case Tribunal from 5th may 1930 and death penalty was pronounced on 27 october 1930.

Bhagat Singh along with Sukhdev Thapar and Shivaram Rajguru were hanged to death this day 88 years ago (23 march 1931).

Several movies have been made on Bhagat Singh. In all these movies, the song “Mera rang de basanti chola” gets played prominently. In these movies the three revolutionaries are seen marching to the gallows while singing this song (or while this song plays in the backgound).

Here is this song from “The Legend of Bhagat Singh”(2002). This song is sung by Sonu Nigam and Manmohan Waris. Sameer is credited as the lyricist, though this lyrics could well be a traditional song. Music is composed by A R Rahman.

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

Video

Song-Mera rang de basanti chola (the Legend of Bhagat Singh)(2002) Singers-Sonu Nigam, Manmohan Waris, Lyrics-Sameer,MD-A R Rahman
Both
Chorus

Lyrics(Provided by Avinash Scrapwala)

Mera rang de ae ae ae ae ae ae ae ae
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola
maaye rang de

ho o o o o o°°°°°
o o o o o
o o o o o o o o o o

nikley hai veer jiyaale
yoon apnaa seena taane
hans hans ke jaan lutaane
aazaad saweraa laane ae
mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane

mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane

aazaadi ka shola banke
khoon ragon mein dolaa aa

Mera rang de ae ae ae ae ae ae ae ae°°°°°
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola aa maaye rang de

din aaj ka badaa suhaana
Mausam bhi badaa sunehra
Ham sar pe baaandh ke aaye ae
Balidaanon ka ye sehra
Betaab hamaare dil mein
ik masti si chhayai hai
Ae desh alvidaa tujhko
Kehne ki ghadi aayi hai
Mehkenge teri fizaan mein
Ham banke hawaa ka jhonkaa

Kismat waalon ko miltaa aa
Aise marne ka mauka

Nikli ee hai baaraat
sajaa hai
Inquilaab ka dolaa aa

Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de basanti chola rang de
rang de ae ae

rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de

rang de ae ae
rang de
basanti chola maaye rang de ae ae ae

___________________________________________________________
Devnagri Script lyrics (Provided by Avinash Scrapwala)
__________________________________________________________

मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे

हो ओ ओ ओ ओ ओ°°°°°
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ ओ ओ

निकले है वीर जियाले
यूं अपना सीना ताने
हंस हंस के जान लूटाने
आज़ाद सवेरा लाने ए
मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने

मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने

आज़ादी का शोला आ बनके खून
रगों में डोला आ

मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे
रंग दे ए
रंग दे
बसंती चोला आ माये रंग दे

दिन आज का बड़ा सुहाना
मौसम भी बड़ा सुनेहरा
हम सर पे बाँध के आये ए
बलिदानों का ये सेहरा
बेताब हमारे दिल में
इक मस्ती सी छायी है
अय देश अलविदा तुझको
कहने की घडी आयी है
महकेंगे तेरी फिजा में
हम बनके हवा का झोंका

किस्मत वालों को मिलता आ
ऐसे मरने का मौका

निकली ई है बरात सजा है
इन्किलाब का डोला आ

मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला रंग दे
रंग दे ए

रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे

रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे ए ए ए


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 : 3887 Post No. : 14918

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 14
————————————————

‘Bobby’ created almost a storm in 1973. This drama of puppy love, completely fresh faces (almost, Rishi Kapoor had already made his mark in the ‘child RK’ role in ‘Mera Naam Joker’ (1970)), and a love story aimed at an age bracket lower than college going young people – the lovers in this film are just transitioning from high school to college. In the early 1970s, the influence of the hippie movement and free love ideas from the west into the Indian society was still a compelling influence. And the provocative presentation, as is the wont of RK style, ensured that young people of all ages went to see this film multiple times in the theaters.

The story of RK – from ‘Mera Naam Joker’ (1970) to ‘Bobby’ (1973) is quite well known. ‘Mera Naam Joker’ was designed and produced by RK as his magum opus. He put his everything into that film, both the creativity and the finances – and lost out on the gamble at the box office. Many reasons can be analyzed as to why that happened. ‘Mera Naam Joker’ is a remarkable film, but then maybe RK went overboard in certain aspects. With the huge success of ‘Sangam’ (1964) behind him he gambled that the length of the film won’t be a deterrent to the audience. He called the wrong numbers on the dice. The film was a financial disaster for RK, in its first run. It broke him.

But his resilience to bounce back played out well. After a gap of three years, he came up with ‘Bobby’, and he had the audiences lapping it up, again and again. Some journalist even wrote that RK has extracted his revenge on the system, as well as the audiences, and got compensated many times over for the disaster of ‘Mera Naam Joker’.

‘Bobby’ was also a significant departure for RK banner in another way. The Shankar-Jaikishan duo of music directors had been rendered solo, by the untimely departure of Jaikishan in 1970. RK took a glaring decision to switch music directors, bringing to close an association that had lasted for more than two decades. Many industry observers commented that this was expected. Many others in the industry were shocked by this move. A move that essentially signaled the downturn of Shankar as an MD. He doggedly tried to keep the SJ banner alive but the zest and the verve was gone, forever. The numbers speak for themselves – in 1971, seventeen films were released with music by SJ. Of course, presumably, a fair share of the work on this set of seventeen would have been done while Jaikishan was still alive. The rest of the decade of 1970s tells a grim story. 1972 – 8 films; 1973 – 7 films; 1974 – 4 films; 1975 – 5 films; 1976 – none; 1977 – 2; 1978 – 1; 1979 – 2; 1980 -1. The magic sun of SJ was slowly fading away.

RK switched to Laxmi-Pyaare. From RK’s perspective, this was a correct strategic move. And the results are for everyone to see. Of course, no one can discount the uncanny ability of RK to inspire creation of absolutely wonderful music for his films. And yes, Laxmi-Pyaare delivered to his expectations. The songs of ‘Bobby’ were super hits in their time, and they continue to be in popular demand even now after almost four decades. I am sure I do not need to present the song list to make this point. 🙂

With ‘Bobby’, RK and Laxmi-Pyaare introduced a new and a very different sound to the world of Hindi film music. The name – Narendra Chanchal. A singer with a very expressive, a very deep baritone – a voice with a phenomenal range that rivaled even Mahendra Kapoor in rendering the higher octaves. It is quoted that RK had heard him sing at some religious function. He followed up with some more research, and then decided to bring in this voice for a Sufi-like song in the film.

I remember that the promotion and the publicity presentations for this film was quite low key. The film was introduced without much fanfare. Yes, the choice of moving from SJ to LP did become talk of the town, but nothing much more than that. And this new singer – Chanchal, got introduced to the public, just as is. Working with the expected fare of Lata, Shailendra Singh, Asha and Manna Da, the audiences would be taken by surprise as Chancal would appear in person on the screen, to present this song.

And the song was an immediate hit. Over the years, it has gained almost a cult status. In reasonable memory, this probably was the first Sufi-type song presented in such traditional Sufi garb, in a Hindi film. No, I am not trying to discount all the bhajans and songs of religious expression that came before this. But surely, this song introduced a completely new sound in the Hindi film music space. The genre – picking on the original writings of Bulle Shah, the famous Sufi poet from Punjab. And the voice – no, not choosing Rafi or Manna Dey to render this. Chanchal – a new voice, a new full throated sound, that you had to slightly reduce the volume on the radio or gramophone, as his singing came on.

RK’s uncanny ability to present a song on the screen in a manner that the emotions of the players on screen will grab the emotions in the audience’s mind and heart, and pull the strings, almost viciously. The two young lovers are at a precipice of near break-up. Just recently into their romance, a jarring note of an unexplained misunderstanding tears them apart, oh so cruelly. The young man follows the lady, as she joins a school trip to get away from him. He tries to approach her; she is cold and nonchalant, and the ever chivalrous bystanders give a good beating to the young man. The lady is still silent. And so is the young man, just looking at her imploringly, asking for a chance to explain. The conversation is not entertained. The hearts are pining and wreathing with tears. But the stand-off remains. Explanations are not allowed. The silent gazes of pain, the eyes telling beseeching stories of pleadings. But no, the words are not permitted.

And then, this deep throated sound from a singer sitting in a group of porters, rises to block out and mask all the other sounds in the camp. A voice that delivers the message, the words that the young man is trying to articulate, but is not able to. Those words are compellingly brought out in this loud rustic voice of a folk singer, singing by the campfire, playing on a daff (‘डफ’) in his hand. The memories go back to ‘Jis Desh Mein Ganga Behti Hai’ (1960). There also, the protagonist plays the daff, when an important message, and the right words are to be delivered.

Over the years, Chanchal did sing, maybe a dozen, or maybe a score more songs in Hindi films. And then he quietly exited and went back to his forte – the world of popular religious bhajans. His success in that field is simply phenomenal, and for everyone to see. Just that he could not jell well with the systems of the tinsel town Mayanagri.
[Author’s Note: After little more research on the internet, we find that the total number of songs sung by Narendra Chancal in Hindi films is about 35.  Nahm ji has pointed out in comments another wonderful solo – “Kabhi Gham Se Dil Lagaaya” from film ‘Daaku’ (1975). Other superb solos by him are:
“Meri Zindagi Tumhare Pyaar Pe Kurbaan” – from ‘Jeevan Sangram’ (1974)
“Loot Liya Sansaar” – from ‘Fauji’ (1976)
“Yaar Di Chaukhat Kaaba Kaashi” – from ‘Ram Bharose’ (1977)
“Do Ghut Pila De Saaqiya” – from ‘Kaala Suraj’ (1986)
“Tut Gayi Je Yaari” – from ‘Ramkali’ (1986)
The other songs are duets, group songs, and of course religious bhajans.]

Ten years back, this day, the output on the blog was nothing short of phenomenal. On 10th March, 2009, a total of 12 songs were posted. Atul ji was quite in the pink, and on the roll, during those initial weeks and months of this blog. 12 songs mean that 12 films got represented that day. And ‘Bobby’ made its debut on that day, with the song – “Main Shaayar To Nahin”.

Over the past decade, nine of those films have been yippeee’d, and three remain. As I checked the list, I was somberly surprised that a film like ‘Bobby’, with one superlative song after another, had not yet been yippeee’d here. And mind you, the songs pending are not lightweights. Each one of them is a popular super hit, all by itself.

Quick round up review of credits – the words of this song are adapted and redrafted by Rajkavi Inderjeet Singh Tulsi, based on an original song by Bulle Shah. The music – Laxmi-Pyaare. Singing voice – Narendra Chanchal. On screen, the singer himself is performing the song, carrying the messages between the two young lovers, Rishi Kapoor and Dimple Kapadia, who are not communicating, except through the eyes. And the words of this song so powerfully express the unsaid emotions between them.

If you have ever been in love, this song is for you. And yes, if you have ever been in love, this film is for you.

 

Song – Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta (Bobby) (1973) Singer – Narendra Chanchal, Lyrics – Inderjit Singh Tulsi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Avinash Scrapwala)

beshaq mandir masjid dhaa de
bulle shah..aa ye kehta..aa

beshaq mandir masjid todo
bulle shah..aa ye kehta..aa
par pyaar bharaa dil
kabhi na todo..o..o
is dil mein..ae dilbar rehta

jis palde mein tuley mohabbat. . .
jis palde mein tuley mohabbat
us mein chaandi nahin tolnaa..aa
taubaa meri
naa dholna
main nahin bolna..aa
ho nahin bolna jaa
main nahin bolna jaa
o main nahin bolnaa jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

aag te ishq baraabar dono..o
par paani aa..aag bujhaaye
aag te ishq baraabar dono
par paani aag bujhaaye
aashiq ke jab aansoo nikley..ae..ae
aur agan lag jaaye
tere saamne baithh ke rolaan..aa..aa..aa..aa..aa
ho tere saamne baithh ke rolaan
dil ka dukhdaa nahin pholna..aa..aa
dholnaa..aa
main nahin bolna..aa
ho nahin bolnaa jaa
main nahin bolnaa jaa..aa
ve main nahin bolna jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

ve main nahin bolna..aa
o ve main nahin bolna..aa
ve main nahin bolna..aa..aa..aa..aa
ve main nahin bolna..aa
ve main nahin bolna..aa
dholna..aa
main nahin bolna
nahin bolna
ve main nahin bolna
nahin bolna aa
ve main nahin bolna aa
nahin bolna
ve main nahin bolna..aa..aa

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

बेशक मंदिर मस्जिद ढा दे
बुल्ले शाह॰॰आ ये कहता॰॰आ

बेशक मंदिर मस्जिद तोड़ो
बुल्ले शाह॰॰आ ये कहता॰॰आ
पर प्यार भरा दिल
कभी ना तोड़ो॰॰ओ॰॰ओ
इस दिल में॰॰ए दिलबर रहता
जिस पलड़े में तुले मोहब्बत॰ ॰ ॰
जिस पलड़े में तुले मोहब्बत
उसमे चांदी नहीं तोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा
ओ मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

आग ते इश्क बराबर दोनों॰॰ओ
पर पानी आ॰॰आग बुझाए
आग ते इश्क बराबर दोनों
पर पानी आग बुझाए
आशिक के जब आंसू निकले॰॰ए॰॰ए
और अगन लग जाए
तेरे सामने बैठ के रोलां॰॰आ॰॰आ॰॰आ॰॰आ॰॰आ
हो तेरे सामने बैठ के रोलां
दिल का दुखड़ा नहीं फोलना॰॰आ॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा॰॰आ
वे मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

वे मैं नहीं बोलना॰॰आ
ओ वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ॰॰आ॰॰आ॰॰आ
वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना
नहीं बोलना
वे मैं नहीं बोलना
नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
नहीं बोलना
वे मैं नहीं बोलना॰॰आ॰॰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 : 3876 Post No. : 14898

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

Today is 27 february 2019. The day is almost over and the first post of the day is just about coming up. Things were much different on this day ten years ago. On that day (27 february 2009), as many as seven songs were covered. Those were the days when I would discuss six or seven sog a day with ease, and a century of songs would come up in sixteen days or so.

Even I am surprised at the level of energy motivation and passion that I used to possess those days. 🙂

Coming to this day ten years ago, as many as seven songs were covered. Six of these movies have been YIPPEED by now. The only unyippeed movie from that day is “Kaajal”(1965).

“Kaajal”(1965) was directed by Ram Maheshwari for Kalpanalok, Bombay. The movie had Meena Kumari, Raj Kumar, Dharmendra, Padmini, Sailesh Kumar, Helen, Durga Khoy=te, Jageerdar, Tiwari, Mahendra, Gopal Sahgal, Tuntun, Keshav Rana, Madhu Apte, Abhimanyu Sharma, Polson, Rajan Kapoor, Mumtaz, Mehmood etc in it.

The movie had eleven songs in it. Eight songs from the movie have been covered in the past. The movie made its debut in the blog on this day ten years ago with the song Tora man darpan kahlaaye.

I had not watched any movies in movie halls from 1972 to 1977. Only after I reached College and got “freedom” that I began to watch movies with a vengeance, as if to make up for lost time. It was during this movie watching spree that I watched “Kaajal” (1965) in 1978 or 1979 in a movie hall called Ratan Talkies in Ranchi. So that was nearly forty years ago. I think that this cinema hall no longer exists. If we have any Ranchi based readers then I request the to help confirm or refute this fact.

When I watched the movie, I kept getting surprised repeatedly by the feeling-“arre, ye gaana is film ka hai”. The movie was full of well known timeless classic songs. Base somewhere in a neighbouring state, Raja too independently felt the same way when he watched this movie.

Coming to today’s song, it is a “shringaar” ras song which is sung by Mahendra Kapoor. Sahir Ludhianvi is the lyricist. Music is composed by Ravi, whom I had begun to regard as a creator of conic songs, thanks to a plethora of sungs composed by him that had ended up becoming timeless classics.

This song is picturised on Dharmendra and Padmini. Incidentally, This movie was the first occasion for me to watch Dharmendra, Padmini and many others.

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


Song-Muddat ki tamannaaon ka sila (Kaajal)(1965) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
jis tarah mili hai do roohen
us tarah se lab mil jaane do
muddat ki tamannaaon ka sila

seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
shaane se jhatak do zulfon ko
jaati huyi rangeen ghadiyon ko
rukne ka sabab mil jaane do
muddat ki tamannaaon ka sila

in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
aati hai magar har raat nahin
is raat mein sab kho jaane do
is raat mein sab mil jaane do
muddat ki tamannaaon ka sila

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Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
जिस तरह मिली है दो रूहें
उस तरह से लब मिल जाने दो
मुद्दत की तमन्नाओं का सिला

सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को
सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को ओ
शाने से झटक दो जुल्फों को
जाती हुयी हंगीन घड़ियों को
रुकने का सबब मिल जाने दो
मुद्दत की तमन्नाओं का सिला

इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं
इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं ई
आती है मगर हर रात नहीं
इस रात में सब खो जाने दो
इस रात में सब मिल जाने दो
मुद्दत की तमन्नाओं का सिला


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Blog Day : 3841 Post No. : 14853

Today (23 january 2019) is the birth anniversary of Subhash Chandra Bose, one of the most admired freedom fighters of India.

One year ago, I had written a detailed writeup about his escape from his house arrest. That writeup was accompanied by the song Jodi tor daak..tanha raahi apni raah chalta jaayegaa.

Writing that article was quite a emotional roller coaster ride for me, because I tried to imagine all the meticulous planning of that escape, including the successful execution of the plan.

In the process, I watched snippets of the movie “Bose The forgotten Hero”(2004) which contains this song.

Lyrics of that song were sent to me by Avinash Scrapwala. One year later, he sent the lyrics of another song from the movie to be posted on this occasion with a request of a writeup by me because I have seen the movie. No, I have not seen the movie. I have only seen parts of it, because I cannot bear to see the full movie even though I know that it is a movie and the scenes depicted in the movie happened over seven decades ago.

So, my writeup is not based on my watching the movie, rather it is based on my impressions on Subhash Chandra Bose.

It seems to me, and many people would agree that his contributions towards the independence movement has been vastly underrated and attempts have been made to consign his contribution to just a few lines. We have been fed the history that non violent agitations led by Mahatma Gandhi won us our freedom.

When I try to think about it now, it does not seem to add up. If non violent agitations gave us freedom, then what explains the violence that took place during the partition ? Why the proponents of these non violence agitations agreed to the participation of Indian armymen in the second world war and also the first world war before that ? If people in India really followed non violence, then what explains the Indo Pak wars that took place and the terror attacks that are taking place from across the border.

When one tries to look at the reasons for the independence of India, it appears that the reason why India got independence was not Non violent agitations but it was mainly due to the precarious economical situation of Britain.

Britain which used to be the strongest economy in the world till the 18th century found itself being overtaken by USA and Germany by the turn of 19th century. USA was able to cash in because it pioneered new indstries, viz automobiles, motorbikes and aircrafts and became the leading manufacturer of these new technology items. The first world war and later the second world war devastated British economy. After the second world war ended Britain had lost much of its absolute wealth. Its trade reduced to just one third vis a vis its pre war trade. Dollar had become the preferred currency and Britain had shortage of dollars to pay off its wartime debts. As an emergency measure, Britain began to hive off its overseas assets. USA extracted a heavy price from Britain for getting involved in the second world war. Britain had to take a loan of $ 4.33 billions from USA. Winter of 1946-47 broke the back of British economy, with cutrailed economic production and shortage of coal. The situation reeached its worst in August 1947 !

Is it a coincidence that India got its independence in August 1947 ! With the benefit of all the information contained in the above para, it appears that Britain were in no position to be able to hold on to India any longer. Even if there were no agitations, violent or otherwise, Britain woould have left India sooner or later.

It appears to me that holding on to the Indian empire was becoming more and more prohibitively expensive for Britain. It would seem to me that “Non violent” agitations were not the only thing Britain had to worry. They also had to worry about the real possibility of disenchantment in the natives who manned Indian Army. The contribution of Subhash Chandra Bose’s Azad Hind Fauz, which actually participated in world war II cannot be underestimated.

The end of the war saw a large number of the troops of Azad Hind Fauz repatriated to India where some faced trials for treason at Red Fort in Delhi. Instead of acting as a deterrent,as hoped by the British, these trials became a galvanising point in the Indian Independence movement. The Bombay mutiny in the Royal Indian Navy and other mutinies in 1946 are thought to have been caused by the nationalist feelings that were caused by the INA trials. Many historians believe that these events played a crucial role in hastening the end of British rule in India.

After independence, Gandhian freedom fighters were given the status of freedom fighters but Azad Hind Fauz members were denied this privilege. Nevertheless, the Azad Hind Fauz remains a popular and passionate topic in Indian culture and politics.

India became politically independent on 15 august 1947. It wold take decades and decades of slog with lots of troubles enroute, before Indian fortunes would begin to look up and they would shrug off the tag of a begging bowl nation and subsequently a nation considered the fastest growing major nation in the world. I would cover this vast topic in another writeup on the occasion of Republic day, which falls three day later.

For now, let us listen to this song of hope. The hopes of securing independence. The hopes of living happily ever after. The song is a chorus song. Jawed Akhtar is the lyricist. Music is composed by A R Rahman.

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

Video
(video)
Audio

Song-Ham Dilli Dilli jaayenge (Bose-The Forgotten Hero)(2004) Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics(Provided by Avinash Scrapwala)

Ham Dilli Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge
Fauji ban ke rehna hai
Dukh dard museebat sahna hai
Ab fauji ban ke rehna hai
Dukh dard museebat sahna hai

Subhash kaa ye kehna kehna hai
Chalo Dilli chal ke rehna hai
Ham Dilii Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge

Ham goli kha ke jhoomenge
Maut ko badhh ke chumenge
Matawaale ban aazaadi ke
Hum dariya jungle ghoomenge
Goli kha ke jhoomenge
Maut ko badhh ke choomenge
Matawaale ban aazaadi ke
Ham dariya jungle ghumenge
Subhash hamaara haawi hai
Ghulaami ke taalon ki chaabhi hai
Phir kaisa khatraa baaki hai
Khuda bhi hamaara saathi hai
Ham Dilii Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge

Fauji ban ke jaayenge
Aur Dilii ko sajaayenge
Fauji ban ke jaayenge
Dilii ko sajaayenge
Zaalim firangi qaum kaa
Ham naam-o-nishaan mitaayenge
Ham Dilli Dilli jaayenge
Ham apna Hind banaayenge
Dilli Dilli jaayenge
Ham apna Hind banaayenge
Fauji ban ke rehna hai
Dukh dard museebat sahna hai
Ab fauji ban ke rehna hai
Dukh dard museebat sahna hai
Subhash kaa ye kehna kehna hai
Chalo Dilli chal ke rehna hai

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

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है
अब फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है

सुभाष का ये कहना कहना है
चलो दिल्ली चल के रहना है
हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे

हम गोली खा के झूमेंगे
मौत को बढ़ के चूमेंगे
मतवाले बन आज़ादी के
हम दरिया जंगल घूमेंगे
गोली खा के झूमेंगे
मौत को बढ़ के चूमेंगे
मतवाले बन आज़ादी के
हम दरिया जंगल घूमेंगे
सुभाष हमारा हावी है
ग़ुलामी के तालों कि चाभी है
फिर कैसा ख़तरा बाकी है
खुदा भी हमारा साथी है

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे

फौजी बन के जायेंगे
और दिल्ली को सजायेंगे
फौजी बन के जायेंगे
दिल्ली को सजायेंगे
ज़ालिम फिरंगी कौम का
हम नाम-ओ-निशान मिटायेंगे

हम दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
दिल्ली दिल्ली जायेंगे
हम अपना हिन्द बनायेंगे
फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है
अब फौजी बन के रहना है
दुःख दर्द मुसीबत सहना है

सुभाष का ये कहना कहना है
चलो दिल्ली चल के रहना है


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Blog Day : 3802 Post No. : 14794

“Kaala Patthar”(1979) was directed by Yash Chopra for Yashraj Films Bombay.

This movie was a multi starrer movie and it had Shashi Kapoor, Rakhi, Amitabh Bachchan, Shatrughan Sinha, Neetu Singh, Parveen Babi, Prem Chopra, Parikshat Sahni, Romesh Sharma, (special apopearance), Poonam Dhillon (special appearance), Manmohan Krishan, Madan Puri, Ifthikar, Satyen Kappu, Yunus Parwez, Geeta Sidharth, Gautam Sareen, Sharat Saxena, MacMohan, Mahaan, Sudhir Dalwai, Sudha Chopra, Harish, Mohan Sherry, Vikas Anand, Jagdeesh Raj, Suresh Oberoi, Prem Sagar, Pardesi, Nazir Kashmiri, Ashok Rajdan etc in it.

The movie was released with great fanfare and it was expected to be a blockbuster. But the movie received lukewarm response from the movie goers, much to the surprise of experts. Subsequently it was concluded that Indian audience do not patronise movies that depict disasters. They are into escapist stuff rather than into tales based on real life disaster. “Kaala Patthar”(1979) was inspired from the Chasnala mine disaster that had taken place on 27 december 1975.

Chasnala mine was located adjacent to an abandoned mine (separated by a wall of coal) that tended to get filled with rain water. A panel of experts had recommended that water accumulation in that abandoned mine was required to be avoided and secondly the barrier of coal separating this abandoned mine from adjacent locations was to be left untouched.

The recommendations were disregarded. Permission was sought and obtained to mine coal from the barrier.

As coal from this barrier was being mined, the coal wall separating this mine from the abandoned water filled mine caved in and water flooded the Chasnala mine, killing 372 miners who were working inside the mine.

This incident was the biggest industrial tragedy of India till that time and subsequently it was overtaken by Bhopal gas tragedy on 2 and 3 december 1984.

Coming to the movie, the movie had six songs in it. Five songs have been covered in the past. Here are their details:-

Song Title

Post No.

Post Date

Ik raastaa hai zindagi 2970 15-Sep-10
Ishq aur mushq kade na chhupde 5273 9-Jan-12
Baahon mein teri masti ke ghere 6005 24-May-12
Mujhe pyaar ka tohfa de ke 14337 12-May-18
Dhoom mache dhoom 14761 24-Nov-18

The sixth and final song from the movie is sung by Lata and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The song is picturised as a wedding ritual song where Neetu Singh lip syncs the song. The picturisation shows Poonam Dhillon playing the bride and Romesh Sharma the groom while almost the entire starcast seems to be attending the wedding function.

This song has gone on to become one of several must sung songs in Indian weddings.

Lyrics of this song were sent to me by Avinash Scrapwala long long ago in 2013.

With this song, all the songs of “Kaala Patthar”(1979)have been covered and the movie joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Meri dooron se aayi baaraat (Kaala Patthar)(1979) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
chorus

Lyrics(Provided by Avinash Scrapwala)

meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

balma chhail chhabeela
mann ko mohe
joda rang rangeela
tan pe sohe
balma chhail chhabeela
mann ko mohe
main to waari jaaun
balihaari jaaun
pada paaon yeh kiska aangan mein
phool khile phool se mere tan mann mein
chhoota mayke ki galiyon kaa saath
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

le gaye dil ko loot ke tere bol raseele ae
ghaayal kar gaye haay
ghaayal kar gaye jaan ko tere nain kateele ae
le gaye dil ko loot ke tere bol raseele
main toh waari jaaun
balihaari jaaun
jab mukhda dekhoon darpan mein
teri soorat ubhre nainan mein
bhali laage naa naihar ki baat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

waar diya maine tujh par
dil waar diya
haar diya maine sab kuchh
are haar diya
maar diya toone julmi
haay maar diya
main to waari jaaun balihaari jaaun
teraa naam base meri dhadkan mein
teraa roop hanse mere sapnan mein
liya saajan ne haathon mein haath
maiya main to ho paauni
meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni


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 : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है


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

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 over 15100 song posts by now.

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