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

Archive for the ‘Mahendra Kapoor songs’ Category


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

Blog Day : 3921 Post No. : 14986

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

 

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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 :

3897 Post No. : 14941 Movie Count :

4081

Missing Films of 1960s – 97
– – – – – – – – – – – – – – –

Goodness, what a lovely duet this one is. The film is ‘Sampooran Teerath Yatra’ from 1970. I have heard of this film earlier, but never did get an opportunity to listen to its songs. As I planned to bring this film on board in this series, I was checking out the songs of this film. And when I played this duet, I am verily bowled over by the sweetness of this composition.

The film is produced by Roopesh Pictures, Bombay. Now this is a very interesting co-incidence that I notice. The previous song in this series, “Ae Aasmaan Waale Is Waqt Tu Kahaan Hai”, is from the film ‘Ziarat Gahe Hind’. As discussed in that write up, that film is a story of pilgrimage to the Muslim places of worship. Today’s film is a story of pilgrimage to the Hindu places of worship. And guess what, both are produced by the same company – Roopesh Pictures, Bombay. And both released in the same year – 1970. Very, very interesting. 🙂

The film ‘Sampooran Teerath Yatra’ is directed by Dhirubhai Desai. The cast of actors includes Sushma, Ashish Kumar, Jeevan, Niranjan Sharma, Anand Tiwari, SK Shukla, Sahu Modak, Lata Arora, Zeba, Radha, Rajshri, Pal Sharma, Vishnu Pandey, Hari Ram, Dalpat, Master Kukku, Vidya, Ramlal, Deenanath, and Dalda.

Geet Kosh lists 5 songs for this film. All the songs are written by Madan. The music is composed by Pt Shivram. The singing voices are of Mahendra Kapoor and Hemlata. On screen, the song is performed by Ashish Kumar and Sushma.

It appears to be a wedding night song. The couple is meeting for the first time in their private chambers. And they sing this duet of promises of love that go across the cycles of birth and death, and even transcends the aeons. It is such a beautifully constructed song, and has been equally charmingly rendered by Mahendra Kapoor and Hemlata. Mahendra ji is at his softest best – yes, actually in some places, the voice of Hemlata overshadows his voice.

A lovely song, a must listen.

Song – Hum Hain Tumhaare Tum Hamaare  (Sampooran Teerath Yatra) (1970) Singer – Mahendra Kapoor, Hemlata, Lyrics – Madan, MD – Shivram
Mahendra Kapoor + Hemlata

Lyrics

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

akaash pe chalta chaand
dhara pe chalti meri
prem kahaani re sainyyaan
ho oo oo morey sainyyaan
is yug se kya yug yug se hamaari
preet puraani
ho sajni
preet puraani
ho oo oo mori sajni
milan ki madhur ghadi phir se aai hai
aao ye waada kar len hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

chaahe laakh uthe toofaan magar
mera saath naa chhoote
ho sainyyaan
saath naa chhoote
ho oo oo morey sainyyaan
ye jag roothe to roothe magar
mera pyaar na roothe
dekho ji
pyaar na roothe
ho oo oo mori sajni
sajan is dukh sukh ki duniya mein reh kar
jeeyenge jab tak tum aur hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

oo oo oo oooo oo
oo oo oo oooo oo

mmm mmmm mmmmm mm
mmm mmmm mmmmm mm

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

आs आs आsssss आss
आs आs आsssss आss

आs आs आsssss आss
आs आs आsssss आss

हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

आकाश पे चलता चाँद
धरा पे चलती मेरी
प्रेम कहानी रे सैंया
हो ओ ओ मोरे सैंया
इस युग से क्या युग युग से हमारी
प्रीत पुरानी
हो सजनी
प्रीत पुरानी
हो ओ ओ मोरी सजनी
मिलन की मधुर घड़ी फिर से आई है
आओ ये वादा कर लें हम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

चाहे लाख उठे तूफान मगर
मेरा साथ ना छूटे
हो सैंया
साथ ना छूटे
हो ओ ओ मोरे सैंया
ये जग रूठे तो रूठे मगर
मेरा प्यार ना रूठे
देखो जी
प्यार ना रूठे
हो ओ ओ मोरी सजनी
सजन इस दुख सुख की दुनिया में रह कर
जिएंगे जब तक हम और तुम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

ओs ओs ओsssss ओss
ओs ओs ओsssss ओss

म्मम म्ममम म्मममम म्म
म्मम म्ममम म्मममम म्म


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

Blog Day : 3885 Post No. : 14913

Today 8th March (2019) is the ninety-eighth ‘birth anniversary’ (08.03.1921 – 25.10.1980) of Sahir Ludhianvi. Imagine, in another two years it will be his birth centenary celebrations and we can say that ‘sau saal pehle is sarzameen par ‘Sahir’ ka janam huaa tha’…

Regulars on this blog are well aware that already much has been written about Sahir Ludhianvi on this blog and other sources, and as mentioned by me in one of my earlier posts people are still exploring ‘Sahir’ in their own way. Many researches have been done and still continuing about Sahir and his poems.

I have mentioned in one of my earlier posts that we know Sahir Ludhianvi as a poet of the highest quality, a romantic at heart, and a rebel.
But for me, he was much more than this.

For me he was a truly secular individual, a humanitarian, and a motivational philosopher. There were many aspects to Sahir’s poetry and writing.

He has in his poems talked about Women’s issues and raised his concerns over their ‘plight’ in the Society and how women are still subjected to insult, exploitation, torture which is still prevailing around us. The issues Sahir wrote about and had concerns about are still relevant since years and years and on …

While Sahir has given us many memorable ‘romantic songs’ he has also given us many memorable or ‘immortal’, bhajans which lead us to the world of the sublime, to introspect within ourselves. His many motivational songs can inspire people and have been a source of motivation to many like me in this journey of life. They will continue to be so if someone listen to them with interest and also studies life and times of Sahir in right earnest.

In today’s post I have a lovely song penned by Sahir touching the ‘romantic’ side of his poetry and presenting one of those many many lovable and beautiful songs which Sahir Ludhianvi has written.

Today’s song is from the ‘1980’ movie ‘Insaaf Ka Taraazu’.

‘Insaaf Ka Taraazu-1980’ was produced and directed by B.R. Chopra for his home production ‘B.R. Films, Bombay’.

Ravi Chopra was the Associate Producer for this movie.

It had Zeenat Aman, Raj Babbar (new discovery), Deepak Parashar (new discovery), Padmini Kolhapure, Shreeram Lagoo, Simi Garewal, Iftekhar, Jagdish Raj, Vijay Sharma, Prem Sagar and Sunil Dhawan.

Om Shivpuri, Sujit Kumar, Yunus Parvez, Sudha Shivpuri, and Hiralal make a ‘guest appearance’ in this movie.

Dharmendra makes a ‘special appearance’ in this movie.

This movie had four songs written by Sahir Ludhianvi and composed by Ravindra Jain. Asha Bhonsle, Hemlata and Mahendra Kapoor gave their voices to the songs in this movie.

Story, Screenplay and Dialogues for this movie were written by Shabd Kumar. S.B. Mane was the Chief Editor for this movie, while R.P. Bapat was the Associate Editor.

Two songs from this movie have been posted earlier on this blog as given below;

Song Title Post Date
Insaaf ka taraazu 27.09.2013
Log aurat ko faqat jism samajh lete hain 08.03.2017

Today we are going to enjoy the third song of this movie sung by Asha Bhonsle and Mahendra Kapoor.

Lyrics are by Sahir Ludhianvi and music composed by Ravindra Jain as mentioned above.

Incidentally, and this I noted today only while drafting this post and going through the HFGK Vol-V, this movie was passed by Censor Board (or the certificate was issued on) on 25.10.1980.
Sahir Ludhianvi passed on the same day 25.10.1980. I am not aware if the movie was also released in theatres on the same day.

Let us now listen to this song of eternal – everlasting love …

Video

Song-Hazaar khwaab haqeeqat ka roop le lenge (Insaaf Ka Taraazu)(1980) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Ravindra Jain
Both

Lyrics

Hazaar khwaab
Haqeeqat ka roop le lenge
Hazaar khwaab
Haqeeqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o o
Muhabbaton mein hai donon ka
Ek hi matlab
Muhabbaton mein hai donon ka
Ek hi matlab
Adaa se na kaho ya
Muskuraa ke haan keh do o o

Hazaar khwaab
Haqeeqat ka roop le ae lenge

Hazaar khwaab
Bahaaron ke aur sitaaron ke
Tumhaare saath meri zindagi mein
Aaye hain
Tumhaari baahon ke jhoole mein
Jhoolne ke liye
Machal machal ke mere ang
Gun gunaaye hain

Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o o
Hazaar khwaab
Haqeeqat ka roop le lenge

Bharegi maang tumhaari
Wo din bhi kya hoga
Sajegi sej hawaaon ki
Saans mehkegi
Tum apne haath se sarkaaoge
Mera aanchal
Ajeeb aag mere
Tan badan mein dehkegi

Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o
Hazaar khwaab
Haqeeqat ka roop le lenge

Ho o o o o
Aa aa aa aa
Aa aa aa aa aa aa aahaa
Aa aa aa aa aa aa aa aa

Main apni zulfon ke saaye
Bichhaaungi tum par

Main tumpe apni jawaan
Dhadkanen lutaaunga
Main subah tum ko jagaaungi
Lab pe lab rakh kar

Main tumko bheench ke kuchh aur
Paas laaunga
Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le ae lenge

Magar ye shart hai tum
Muskuraa ke haan keh do o o
Muhabbaton mein hai donon ka
Ek hi matlab
Adaa se na kaho

Ya aa
Muskuraa aa ke haan keh do
Hazaar khwaab
Haqeeqat ka roop le lenge ae

(Meaning of Sadāqat – True or sincere friendship; love, affection; friendliness; sincerity, candour; loyalty, fidelity; truth)

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

हज़ार ख्वाब
हकीकत का रूप ले लेंगे
हज़ार ख्वाब
हकीकत का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो
मुहब्बतों में है दोनों का
एक ही मतलब
मुहब्बतों में है दोनों का
एक ही मतलब
अदा से ना कहो या
मुस्कुरा के हाँ कह दो ओ ओ

हज़ार ख्वाब
हकीकत का रूप ले ए लेंगे

हज़ार ख्वाब
बहारों के और सितारों के
तुम्हारे साथ मेरी ज़िन्दगी में
आये हैं
तुम्हारी बाहों के झूले में
झूलने के लिए
मचल मचल के मेरे अंग
गुन गुनाए हैं

हो ओ ओ ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़
सदाक़त का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे

भरेगी मांग तुम्हारी
वो दिन भी क्या होगा
सजेगी सेज हवाओं की
सांस महकेगी
तुम अपने हाथ से सरकार्ओगे
मेरा आँचल
अजीब आग मेरे
तन बदन में देह्केगी

हो ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़ सदाक़त का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे

हो ओ ओ ओ ओ
आ आ आ आ
आ आ आ आ आ आ आहा
आ आ आ आ आ आ आ

मैं अपनी जुल्फों के साए
बिछाउंगी तुम पर

मैं तुमपे अपनी जवाँ
धड़कने लुटाऊंगा
मैं सुबह तुमको जगाऊंगी
लब पे लब रख कर

मैं तुमको भींच के कुछ पास लाऊंगा
हो ओ ओ ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़ सदाक़त का रूप ले लेंगे

मगर ये शर्त हा तुम
मुस्कुरा के हाँ कह दो ओ ओ
मुहब्बतों में है दोनों का
एक ही मतलब
अदा से ना कहो

या आ
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे ए


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

Blog Day : 3876 Post No. : 14898

———————————————–
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

—————————————
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


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 : 3863 Post No. : 14880

“Akalmand”(1966) was directed by Roop K Shorey for Mukul Pictures, Bombay. This “social” movie had Kishore Kumar, I S Johar, Sonia Sahni, Praveen Chaudhary, Kamal Kapoor, Raj Kishore, V Gopal, Majnoon, Jeewankala, Madhu Malti, Wazeer Mohammad Khan, Kumar, Tuntun, Hari Shivdasani, Pratima Devi, Khursheed, Kaajal, Rajinder Singh, S K Khosla, Ram Kamlani, etc in it.

The movie had nine songs in it. Seven of these songs have been covered in the past.

Here is the eighth song from “Akalmand”(1966) to appear in the blog. This song is sung by Bhupinder Singh and Mahendra Kapoor. Aziz Kashmiri is the lyricist. Music is composed by O P Nayyar. HFGK mentions the name of G M Durrani as well in this song, but I am unable to notice the voice of G M Durrani in the song.

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

The ninth and final song from the movie viz “jab mile pata” , appears to be a laapata song as no details of this song are available. It appears that this song was only in the movie and its records were not made. I request our knowledgeable readers to tell us about this missing song. This movie will remain one song short of YIPPEEhood unless we are able to locate this missing ninth song from the movie.


Song-O bekhabar tujhe kya pata(Akalmand)(1966) Singers-Bhupinder Singh, Mahendra Kapoor,Lyrics-Aziz Kashmiri, MD-O P Nayyar
Chorus

Lyrics

o bekhabar tujhe kya pata
mile dil jise wo hai baadshaah
o bekhabar tujhe kya pata
mile dil jise wo hai baadshaah
wo jo dard duniya ka baant le
wo vasher nahin een een
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata

tode jo kisi ka dil koi
kehte hain falak hil jaata hai
ik parda nasheen ki baat hai kya
dhoondhe se khuda mil jaata hai
ye bhed ki baat kahen kaise
dil waalon ne kya kya dekh liya
mansoor chadha jab sooli par
duniya ne thamasha dekh liya

hai khuda ka bhi yahi faisla
haa aa aa aa aa aa aa
hai khuda ka bhi yahi faisla
mile dil jise wo hai baadshaah
wo jo dard duniya ka baant le
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata

kehte hain ki duniya se pehle
dil waalon ki tasweer bani

phir husn bana
phir ishq bana
phir aashiq ki taqdeer bani

deewaane hamen gaafil na samajh
hum aashiq hain anjaan nahin
har baat ko khoob samajhte hain
hain akalmand
naadaan nahin

jo kisi ke gham se ho aashnaa
haan aan aan aan

jo kisi ke gham se ho aashnaa
wo vasher nahin
wo to hai khuda
o bekhabar tujhe kya pata


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

Blog Day :

3827 Post No. : 14832 Movie Count :

4056

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—
# Bhoole-Bisre Geet # 78 # Singer – Mahendra Kapoor #
—————————————————————————-

Today 9th January is the birth anniversary of Singer Mahendra Kapoor (9 January 1934 – 27 September 2008). Had he been alive today he would have been eighty-five years old.

On today’s occasion here is a song from the 1972 movie ‘Maalik’ sung by Mahendra Kapoor and composed by Kalyanji -Anandji. Lyrics are by Rajinder Krishan.

I have vague memories of watching this film on ‘Doordarshan’ and do not remember it now. In my childhood I had been hearing this song ‘Kanhaiyya Kanhaiyya Tujhe Aana Padega’ on loud speakers during the ‘Janmashtami’ festival. This song was very popular in those years. And after watching this movie ‘Maalik’ on ‘Doordarshan’ around 1983-1985, I came to know it was from this movie. However today on the occasion of birth anniversary of Singer Mahendra Kapoor, I am presenting herewith another Krishna song from the same film.

‘Maalik’ was directed by A Bhim Singh for Bharat Movies, Madras. It was produced by Vasu Menon. It had Sharmila Tagore, Rajesh Khanna, Deven Verma, Sonia Sahni, Bipin Gupta, Shivraj, Umesh Sharma, NS Bedi, Prem Kumar, Kabir Kumar, Baby Pinki and Ashok Kumar (in a special appearance). Story for this movie was written by Balamurugan. Dialogues of this movie were written by Rajinder Krishan (who also wrote the lyrics for all songs in this movie). Editing of this movie was done by A Paul Doraisingam. NS Bedi was also the dialogue director of this movie. This movie was passed by the Censor Board on 26.10.1972.

Rajesh Khanna played a different role in this movie from what was expected from him then and that too when he was on the peak of his career. May be because of that the movie didn’t fare well at the box-office, and may be because people might not have like to watch Rajesh Khanna in this type of role.

Our group of friends then who were the fans of Rajesh Khanna, did not like this movie much when we watched it on ‘Doordarshan’ then in 1983-85. And I remember next day we had discussed this movie and Kaka’s role in it at length. (But that is the matter for another article on Rajesh Khanna series. 🙂

The brief about this movie ‘Maalik-1972’ as given on IMDB is as below;

Rajesh and Savitri are in love, and soon they get married. They soon realize that they have a number of differences, the main one being that while Rajesh is a devout Hindu and worships Lord Krishna, Savitri does not believe in God. This leads to a number of arguments, yet both continue on with their married life. Soon a child is born to them. Unfortunately, the child is born without hands and legs. Both are anguished by this, and decide to placate God by visiting various places of worship all over India, little knowing that the truth lies elsewhere.

This movie has total thirteen songs as listed in HFGK Vol-V (1971-1980). Out of these thirteen songs, the singer’s name has not been mentioned for one song. Out of the remaining twelve songs we have one solo sung by Kishore Kumar, one solo by Lata Mangeshkar, three solo songs sung by Mahendra Kapoor and seven duets of Mahendra Kapoor with Lata Mangeshkar. That way, including the multiple version songs we have Mahendra Kapoor’s voice in as many as ten songs in this movie.

There was one movie made with the same title as ‘Maalik’ in ‘1958’. Five songs from this 1958 movie are already posted on our blog.

Today ‘Maalik’ of 1972 makes its debut on the blog. Here is this first song from this movie appearing here which is sung by Mahendra Kapoor and chorus.

Let us now listen to the today’s song in the voice of Mahendra Kapoor and chorus.

Radhe Krishna bol mukh se
tero kya laage re mol

Song – Radhe Krishna Bol Mukh Se (Maalik) (1972) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishna, MD – Kalyanji Anandji

Lyrics

aaaa aa aa aa
radhe krishna bol mukh se ae
radhe krishna
bol mukh se
radhe krishna bol
tero 
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol
ho ho o o o
radhe krishna bol mukh se
radhe krishna bol tero
kya laage re mol
tero
kya laage re mol

(western dance music)

pee le shyam naam ka pyaala
aa aa aa aa
pee le shyam naam ka pyaala
aur ho ja saancha matwaala
aur ho ja saancha matwaala
girdhar ke rang mein rang ja
re rang ja
tero
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol

(western dance music)

natwar se preet lagaa le
ae ae ae ae
natwar se preet lagaa le
chhavi sundar man mein basaa le ae
chhavi sundar man mein basaa le
bansi ki dhun mein kho ja re kho ja        
tero
kya laage re mol
tero
kya laage re mol
ho ho o o
radhe krishna bol mukh se
radhe krishna bol mukh se
radhe krishna bol
mukh se re
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol

(western dance music)

radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol

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

आ आ आ आ
राधे कृष्ण बोल मुख से ए
राधे कृष्ण
बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो ओ ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल

(पाश्चात्य संगीत)

पी ले श्याम नाम का प्याला
आ आ आ आ
पी ले श्याम नाम का प्याला
और हो जा सांचा मतवाला
और हो जा सांचा मतवाला
गिरधर के रंग में रंग जा
रे रंग जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
 
(पाश्चात्य संगीत)

नटवर से प्रीत लगा ले
ए ए ए ए
नटवर से प्रीत लगा ले
छवि सुन्दर मन में बसा ले ए
छवि सुन्दर मन में बसा ले
बंसी कि धुन में खो जा रे खो जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो हो ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
मुख से रे
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल

(पाश्चात्य संगीत)

राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल


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 : 3781 Post No. : 14761

I in this blog often talk about “natural” landmarks and “artificial” landmarks for the blog. “Natutral” landmaks for the blog are those that are intuitive, viz. century of songs in the blog, and later century of songs in the blog for an artist, a contributor etc.

Later, when we began to keep track of blog related statistics, we became aware when a duo of singers completed their century of duet songs, or the blog itself completed a century (or its multiple) of days.

Many of these “artificial” (more accurately “derived” or “secondary”) landmarks went unnoticed in the early days of the blog. For instance, we completed several hundred days and also thousand days in the blog but we remain blissfully unaware. In fact, the level of blissful unawareness was such that we did not even noticed it when the blog completed one year of its existence on 19 july 2009. 🙂

We have come a long way since.

While many of these landmarks events have to be created by effort, there are some landmarks that happen on their own. Time related landmarks, viz hundreds of days or thousands of days get achieved with time.

Likewise, number of visitors in the blog also happen with time, though that is dependent on factors like ability of the blog to attract visitors.

This blog had a humble beginning on 19 july 2008. During its early days, it attracted less than 100 visitors daily. There were only 406 visitors for the blog during july 2008, the month when this blog started.

I regarded it as a “landmark” occasion when the blog clocked more than one hundred visits for the first time. It was on 16 august 2008, the day of Rakhi festival, when I covered the iconic Rakhi song Bhaiyya mere raakhi ke bandhan ko nibhaana .

The blog averaged 31 visitors a day in july 2008 and 72 visitors a day in august 2008 before breaking into the three figure region with 276 visitors per day during september 2008. 23 january 2009 was the first day when this blog received more than one thousand visitors in a day. 1145 visitors arrived on the blog on that day. The blog reached four figure a day mark for the first time during february 2009 with 1069 visitors daily. It was in june 2011 that the 2000 mark was breached for the first time. An average of 2226 visitors visited daily during this month. It took only two more months to reach the 3000 visitors a day mark. August 2011 saw 3109 visitors daily in the blog. The next peak arrived in october 2011. It was not 4000 mark or 5000 mark or even 6000 mark, rather an average of 7224 visiors per day that was achieved in this month ! On one particular day, viz 19 october 2011, as many as 10630 visitors arrived at the site !

It was too good to last though. By now we have settled at an average of over 3000 visitors daily.

In the process, the blog recorded its first one million visits on 25 october 2010, after 829 days. The subsequent million visits have come rather more quickly, as can be expected. The third millionth mark was reached the fastest- in just 152 days. Now a days, it is taking around 300 odd days (nearly ten months ) to reach one million visitos mark.

The blog clocked 10 million visits on 14 january 2018 at around 22:30 IST. The 11th million visitor was clocked on 22 november 2018 at around the same time.

Here is the summary of the eleven million visitors in the blog so far:-

Number of Visitors Date when achieved Blog day days taken for the million visits
1 million 25-Oct-10 829 days 829
2 millions 07-Nov-11 1207 days 378
3 millions 30-Apr-12 1359 days 152
4 millions 10-Dec-12 1606 days 247
5 millions 29-Oct-13 1929 days 323
6 millions 12-Oct-14 2277 days 348
7 millions 04-Jul-15 2542 days 265
8 millions 20-Apr-16 2833 days 291
9 millions 24-Feb-17 3144 days 311
10 millions 14-Jan-18 3466 days 332
11 millions 22-Nov-18 3779 days 313

I was wondering what song to discuss on the occasion. Finally I zeroed in on a joyous song from “Kaala Pathhar”(1979). This song is sung by Rafi, Lata, S K Mahan, Mahendra Kapoor and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The picturisation shows almost the entire star cast (this was a multi starrer movie !) – viz Amitabh Bachchan, Shashi Kapoor, Shatrughan Sinha, Neetu Singh, Parveen Babi etc.

The video version of this song from “Kaala Patthar”(1979) is nearly six minutes long. But the audio version is even longer (nearly eight minutes long). I have provided both version of the some here.

I take this opportunity to thank one and all for their continued support and encouragement. It goes without saying that it was the support and encouragement of music lovers that helped the blog achieve this impressive number of visits from music lovers. Here is hoping that this musical bandwagon will continue on its merry ways with many more landmarks to achieve enroute.

Video

Full audio


Song-Dhoom mache dhoom (Kaala Patthar)(1979) Singers-Rafi, Lata, S K Mahaan, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
Male chorus
Female chorus
All chorus
Rafi + Lata

chaahe koi roke re saathee
chaahe koyee toke re saathi
nav yug aayega
nav yug aayega

tanee huyi baahon kaa rela badhta hee jaayega
khoon maatee ke bhaav bik naheen paayega
khoon maatee ke bhaav bik naheen paayega

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
ho o o
subah tak ham kahen ek kahaani
jhoomati dhadkanon ki zubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak
aa aa aa
jaage jawaani
aa aa aa
dhoom mache dhoom

jab talak raat chale
pyaar kee baat chale
teri meri meri teri palken naa jhapken
rang lehraate rahen
ang tharraate rahen
tape tape chehron se shole see lapken

ho o toka tohari hi kasam
tod mat aur julam
hamka dai de angoothhi nisaani
tori hogi badi meharbaani
ae kya samajhta hai hamko re praani
hamra kaata to maange naa paani
dhoom mache dhoom
aaj ki raina
bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

masti kuchh aur badhe
nasa kuchh aur chadhe
dukh waala dhyaan koi aaj hamen aaye na
dukh jo aaye toh kya
gham sataaye to kya
aadmi ko chaahiye ke kabhi ghabraaye naa

ho o o
tootne waala hai dam
khaaye jaata hai yeh gham
bane dulhan meri bitiya raani

umr ghar mein pade naa bitaani
hai har museebat hai aani te jaani
hai yeh apne guruji di baani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

pale naa sog jahaan
sukhi hon log jahaan
hamko hai saath aisee duniya basaani
seenon mein aag liye
honthon pe raag liye
hamko andheron mein hai shamme jalaanee
ho o o
kaale patthar kee kasam
jab talak dam mein hai dam
ham yeh dekhenge rasmen puraani
kar naa paaye yahaan hukmraani
hey ae
aaj se hamne hai dil mein thhaani
laayenge ek nayi rut suhaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

ho o o
subah tak ham kahen ek kahaani
jhoomti dhadkanon ki jubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom
aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa


This article is written by Arunkumar Deshmukh, 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 : 3756 Post No. : 14722

Today’s song is from a film called ‘Diwali Ki Raat’ (1956). This is a film in which singer Talat Mahmood acted as a hero opposite heroine Roopmala. Talat Mahmood (24-2-1924 to 9-5-1998) acted in 12 films from 1945 to 1958 and he also did a cameo role, singing a song-“Shukriya Ae Pyaar Tera Shukriya“, of  three and half minutes in film Aaram-1951. In his early career starting in Calcutta, he fell in love with a Bangla actress Latika Mullick. They got married on 20-2-1951. She was converted to Islam and was renamed Nasreen, who bore two children to Talat. As per a book by Manek Premchand, ‘Talat Mahmood – The Velvet Touch’, he sang 777 songs which included Hindi film songs, NFS and unreleased films etc. As per another source he sang 451 Hindi film songs from 259 Hindi films.

Two very good singers – and my favourites – spoiled their singing careers at the cost of fulfilling their misplaced hype of making it as a singing hero, when such times had died down after Saigal. Mukesh ( 22-7-1923 to 27-8-1976 ) acted in 8 films from 1941 to 1956 and sang 928 songs from 538 films, as per one source. I personally feel, the film bug did more damage to Talat than Mukesh. Of course a money-smart Talat made it up with innumerable foreign tours for concerts and singing jaunts with a party made up of musicians, singers and mimicry artistes.

Recently, I received a copy of Talat’s handwritten inland letter, sent to one of my friends in Gujarat, who wanted to arrange his show. As per what Talat wrote on 26-12-1977, his fees was Rs. 12,000/-, plus hotel accommodation for him and others. The troupe, he said, consisted of singers, dancers, musicians and mimicry artistes. One may feel that Rs. 12,000 was too low, but remember, this was 41 years ago, when petrol was less than two rupees per litre. In late 70s, I had rented a two bedroom, 1,000 sq ft flat in prime locality like Andheri in Bombay, for just Rs. 800 pm. Today the same size flat will command a rent of Rs. 40,000 + pm.

Like the values of money and values of life changed in all these years, almost everything has changed nowadays. These changes have not come overnight, but like slow poisoning, the changes took almost 50 to 60 years to show their effect. The second world war and the independence era were the beginning when quantity started overpowering quality. The film industry was also not an exception. How good the acting or the music was, became secondary and how many films, became the testing apparatus to judge the actor or the composer. Thus the simple but the talented artistes fell behind and those who pushed hard or had the right connections (and the luck) went much ahead.

In the field of Music Direction, at least two names come to the mind, who were talented but too simple to last in the neck to neck competition of the film line. One of them was Snehal Bhatkar (the other being, Bharat Bhai’s favourite- Jaidev). He was the MD for the film ‘Diwali Ki Raat’.

White full shirt, ironed white pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi – he could easily be mistaken for a ‘Pandharpur Warkari’ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented, yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar, as we all know him.

In Hindi film music field there were some talented composers like Ghulam Mohd, Mohd. Shafi, Iqbal Qureshi, Daan singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamal Sen, Dattaram, Ganesh, etc. who could never reach the peaks of their careers. They really deserved success and fame, but luck did not favour them. Big banners never approached them and eventually the losers were the music lovers in India. These composers did not know, perhaps, how to sell their art. May be they never wanted to enslave music to gain name and fame, instead they preferred to settle for genuine service to music!

Snehal Bhatkar was one such composer. The maxim of simple living and high thinking never worked in this Mayanagari, but he had no regrets. Till the very end he was contented with whatever God gave him, and whatever name and success he achieved.

He was born into and grew up in a family that was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

Vasudev G. Bhatkar was born on 17-7-1919. He knew at least 100 bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well-known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job with HMV in Bombay. Here he used to give accompaniment on harmonium to big classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV. Some of them are popular in Maharashtra even today.

All this while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke who also served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. In 1946, they got a film of Baburao Painter – ‘Rukmini Swayamvar’ – for music direction. The problem was that due to his service in HMV, he could not openly work outside. Hence he only gave his name as Vasudev. After this film, the pair separated and Phadke went to give music to films like ‘Gokul’ (1946), ‘Aagey Badho’ (1947), etc. Due to financial constraints Bhatkar was unable to leave his job with HMV.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta to establish himself in Bombay. He had a knack of identifying talents. He first gave a chance to Bhatkar to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as an independent composer in his film ‘Neelkamal’ (1947), where Kidar Sharma launched Raj Kapoor and Madhubala in adult roles as the leading pair. Here Bhatkar used the name B Vasudev. In the subsequent years Bhatkar used different names for different films like VG Bhatkar in ‘Sant Tukram’ (1948), ‘Sati Ahalya’ (1949) and ‘Pagle’ (1950), and Snehal in ‘Suhaag Raat’ (1948) and ‘Thes’ (1949). After doing ‘The’s and ‘Sati Ahalya’, Bhatkar resigned from HMV.

Snehal Bhatkar and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. Meanwhile, Kidar Sharma met Roshan Lal Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with ‘Neki aur Badi’. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar. In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name SNEHAL BHATKAR  from this film. Snehal was the short form of Snehalata, his daughter.

Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 28 films in Hindi (including one unreleased film in the 1950s) and 12 films in Marathi. Out of 27 released Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was ‘Kabhi Tanhayion Mein, Hamari Yaad Aayegi’ from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Mohabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. But Kidar Sharma, already upset over Lata’s refusal, opted for Mubarak Begum and the rest, as they say, is history. She imbued a unique character to this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came in long intervals. Even Kidar Sharma left him after ‘Fariyaad’ (1964) only to return in ‘Pehla Qadam’ (1981). Finally Bhatkar did his last Hindi film ‘Sahme Hue Sitare’ (1994), which featured his son Ramesh Bhatkar, who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar. After retirement Bhatkar devoted his time for children’s welfare and his original love – Bhajan Mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Although Talat has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Babul More Kaahe Ko Deenha Bides Re” sung soulfully by Mukesh in ‘Suhaag Raat’ (1948); “Ro-oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tujhko Laaj Na Aayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal-e-Dil Unko Sunana Tha“- Fariyaad (1964), no other big banner producer opted for Snehal Bhatkar, except Kidar Sharma . May be his compositions were not so simple for common man to hum or sing, although they were quality songs.

Despite several melodious songs Bhatkar was never counted among the first line composers. Kidar Sharma returned to him in 1980, but by that time Snehal Bhatkarwas already on a descending track.

SNEHAL BHATKAR, a talented but sadly not much applauded composer, died peacefully on 29-5-2007 at his Dadar home.

Today’s song is sung by Mahendra Kapoor. As far as I know, this is my first song of Mahendra Kapoor. Today’s song was his first solo song of his career. Mahendra Kapoor was among the premier playback singers of the Golden Age of Hindi musical cinema, with hits like “Chalo Ek Baar ” and “Neele Gagan Ke Taley” vaulting him to a level of celebrity rivaling the on-screen actors miming to his vocals. Born January 9, 1934, in Amritsar,  Kapoor spent the majority of his childhood in Mumbai, where he claimed top honors in the All-India Murphy-Metro Singing competition in 1957. His victory captured the attention of filmmaker Raja Nawathe, who used him in 1958’s ‘Sohni Mahiwal’. This also caused a controversy, because the contest was for new comers and Mahendra Kapoor had already sung  songs in several films like ‘Madmast’ (1953), ‘Madhur Milan’ (1955) ‘Lalkar’ (1956) and ‘Heer’ (1956) and also his first solo song in film ‘Diwali Ki Raat (1956). Later on he gave some lame excuse that he had not got any payment for that song etc. (beetehuedin.com has all the relevant details on this controversy and the court case etc, in MK’s interview article).

A year later, Kapoor launched into the top ranks of Bollywood singers when composer and musical director Ramchandra Chitalkar tapped him to perform the show stopping “Aadha Hai Chandrama Raat Aadhi” in the film ‘Navrang’ (1959). Kapoor quickly proved himself a versatile talent even by Bollywood standards, performing in a number of regional Indian languages beyond his native Hindi. Within the sub genre of Marathi language productions, he was renowned as the playback singer of choice for superstar Dada Kondke — and over time his repertoire expanded, becoming virtually synonymous with patriotic anthems when he delivered “Mere Desh Ki Dharthi. . .” in Manoj Kumar’s 1967 film ‘Upkaar’, a rendition that also earned him the Best Male Playback Singer honors from India’s National Film Awards voters.

Kapoor remained a respected and popular figure across his five-decade cinema career, notching additional hits via “Iktara Bole. . .” (from ‘Yaadgaar’, 1970), “Fakira Chal Chala Chal” (from ‘Fakira’, 1976) and “Ab Ke Baras” (from ‘Kranti’, 1981). While his filmography embraces dozens of directors, he enjoyed his most fruitful collaboration with filmmaker BR Chopra, a partnership that extends across productions like 1959’s ‘Dhool Ka Phool’, 1963’s ‘Gumrah’, 1965’s ‘Waqt’, 1969’s ‘Aadmi Aur Insaan’ and 1973’s ‘Dhund’. From 1980 onward Kapoor appeared largely in small, regional films in the Punjabi and Bhojpuri tongues, and with son Rohan he mounted a series of live tours spanning across India and overseas. His contributions to the Bollywood industry were later recognized via the Indian government’s Padmashri Award as well as the Madhya Pradesh government’s Lata Mangeshkar Award. Poor health plagued Kapoor during the final years of his life, and he suffered a fatal heart attack in his sleep on September 27, 2008.

Today’s song is the 7th song from this film, to be discussed here. There are 10 songs in the film as per HFGK, but one Talat song was removed from the film. For this film, Kersi Mistry and Prabhakar Naren were the assistants for Bhatkar. Mistry later claimed that the above song was composed by him.


Song – Tere Dar Ki Bhikmangi Hai Daata Duniya Saari (Diwaali Ki Raat) (1956) Singers – Mahendra Kapoor, Lyrics – Madhukar Rajasthani, Music – Snehal Bhatkar

Lyrics (Provided by Sudhir)

tere dar ki
bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi maange mahal do-mehle
koi kutiya chhoti
koi maange sona chaandi
koi sookhi roti
re roti
koi maange laal salona
koi maange laal salona
koi sundar naari
maange koi sundar naari
waah re duniya rachne waale
shaan hai teri nyaari
shaan hai teri nyaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi tujh par phool chadha kar
maalik tujh rijhaaye
koi tujh par phool chadha kar
maalik tujh rijhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
donon hi mohtaaj hain tere
donon hi mohtaaj hain tere
donon tere pujaari
donon tere pujaari
khel rahe ho khel anokhe
kya samjhe sansaari
kya samjhe sansaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

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

तेरे दर की
भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई मांगे महल दो-महले
कोई कुटिया छोटी
कोई मांगे सोना चाँदी
कोई सूखी रोटी
रे रोटी
कोई मांगे लाल सलोना
कोई मांगे लाल सलोना
कोई सुंदर नारी
मांगे कोई सुंदर नारी
वाह रे दुनिया रचने वाले
शान है तेरी न्यारी
शान है तेरी न्यारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
दोनों ही मोहताज हैं तेरे
दोनों ही मोहताज हैं तेरे
दोनों तेरे पुजारी
दोनों तेरे पुजारी
खेल रहे हो खेल अनोखे
क्या समझे संसारी
क्या समझे संसारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी


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


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

Blog Day : 3739 Post No. : 14693

A real life funtoosh, if ever there was one. So many anecdotes from his real life are told – and they read like a story writer creating script for comic scenes.

Like the fact that he had a sign that said ‘Beware of Kishore’ on the door of his Warden Road flat – once HS Rawail came to visit him, and offered his hand for a handshake, and Kishore took his hand and bit it; when Rawail asked him why he did that, Kishore pointed to the sign on the door saying – “Didn’t you read this. . .”.

Or the time he appeared on the sets with make up on half of his face – he had not yet been paid in full by the producer.

Or the time when filming a scene in which he was driving a car, he continued driving and reached Khandala, because the director did not say ‘cut’ to end the scene.

His frolic and cheekiness is so well evident in his roles and antics onscreen, and his actions off screen. But there is a also a serious side to his personality, that gets expressed so well in his renderings of “Dukhi Mann Mere. . .” (‘Funtoosh’, 1956), “Beqaraar Dil Tu Gaaye Ja. . .” (‘Door Ka Raahi’, 1971), “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam. . .” (‘Aap Ki Kasam’, 1974), “Jin Raaton Ki Bhor Nahin Hai. . .” (‘Door Gagan Ki Chhaon Mein’, 1964), and so many more such poignant songs that only could be done by him. Listen to “Koi Hamdam Na Rahaa. . .” (‘Jeevan Naiya’, 1936) rendered by Ashok Kumar, and then its reprisal sung by Kishore in 1961 “Jhumroo”. The two renditions are dimensions apart – the depth and emotion in the 1961 rendering has no measure, in comparison to the 1936 version.

His reverence for KL Saigal is legendary. It is recounted by Ashok Kumar himself in an interview. In his teen years, Kishore would sit outside the recording studio when Saigal Sb’s recordings were in progress. Sometimes Saigal Sb would ask him to sing. And when the young Kishore finished, he was given 4 annas (25 paise) as reward. It would make the young man immeasurably happy.

Continuing, Ashok Kumar narrates that in his home, Kishore had a temple room set aside with a photo portrait of Saigal Sb, where he lighted a diya every day, and paid respects to his idol. The floor of this temple room was a platform made of wood that was raised 6 inches above the actual flooring. No one, including Kishore Kumar himself, was allowed to enter this room with any kind of footwear. Once, Ashok Kumar was passing by and he had something important about which he wanted to talk urgently with Kishore. He came in. Kishore was in the temple room, lighting the diya for his daily prayers to Saigal Sb. In the hurry of his urgency, and that the matter was just a two minutes conversation, Ashok Kumar forgot to remove his shoes and stepped into the room. As he started to speak, Kishore turned around, and saw Ashok Kumar standing there with his shoes on. He immediately threw the lighted diya itself, that was in his hands, at the legs of Ashok Kumar, and asked him to immediately exit the temple room.

Coming to today’s song. The peculiarity of Kishore Da’s career runs into multiple dimensions. His prolific engagements with films – playback singer, actor, producer, director, lyricist, music director; I would dare say that no other film persona has touched upon such a gamut of the various ways he connected with and contributed to cinema. His film ‘Badhti Ka Naam Daadhi’ (1974) is about Kishore Kumar, playing himself on screen, producing a film titled ‘Badhti Ka Naam Daadhi’ – what more to say. 🙂 🙂

His comic roles vs his serious roles – quite a handle on the entire spectrum of emotions. Going from haywire films like ‘Half Ticket’ (1962) to poignantly moving essays like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971).

There is one more peculiarity, which of course has been discussed and mentioned often on this blog. I bring forth the topic of Kishore Kumar lip syncing the playback voice of other singers, for himself on screen. Now, this is a very interesting phenomena. An accomplished singer, who is also an actor, and who almost always sings playback for himself when performing on screen, has surprisingly enough, also performed on the playback voice of other mainline singers. I present below the complete list of 18 such songs from Hindi films, in which another prominent singer is providing the playback to Kishore Da on screen. I am sure this is a record that may never be equalled by any other singer-actor. These are,

 

S.No.

Song Title Film Year MD

Playback Voice

1

Chori Chori Aana Na Khidki Taley Tum Miss Mala 1954 Chitragupt Mohammed Rafi

2

Jaane Bhi De Chhod Ye Bahaanaa Baap Re Baap 1955 OP Nayyar Asha Bhosle

3

Hamen Koi Gham Hai Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

4

Aankhon Ko Milaa Yaar Se Peene Ka Mazaa Le Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi, SD Batish

5

Chale Ho Kahaan Karke Jee Beqaraar Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

6

Din Albele Pyaar Ka Mausam Begunaah 1957 Shankar Jaikishan Manna Dey

7

Man Mora Baawra Raagini 1958 OP Nayyar Mohammed Rafi
8 Ajab Hai Dastaan Teri Ae Zindagi Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

9

Tu Mera Copyright Main Teri Copyright Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

10

Pahle Murgi Huyi Thi Ke Andaa Krorepati 1961 Shankar Jaikishan Manna Dey

11

Ho Gayee Shaam Dil Badnaam Naughty Boy 1962 SD Burman Manna Dey

12

Mohabbat Karna Hai Asaaan Daal Mein Kaala 1964 C Ramchandra Manna Dey

13

Baalma Saajna, Duniya Bhula Tere Pyaar Ne Akalmand 1966 OP Nayyar Asha Bhosle

14

Ki Jo Main Hota Hawaa Ka Jhonka Duniya Naachegi 1967 Lakshmikant Pyaarelal Manna Dey

15

Hum Ne To Dil Bichha Diya Albela Mastaana 1967 N Datta Mahendra Kapoor

16

O Mere Dilbar Jaaneman Jaaneman Haaye Mera Dil 1968 Usha Khanna Manna Dey

17

Alakh Niranjan, Bam Bam Bholenath Haaye Mera Dil 1968 Usha Khanna Manna Dey

18

Apni Aadat Hai Sabko Salaam Karnaa Pyaar Deewaana 1972 Lala-Asar-Sattaar Mohammed Rafi

As you can see, most of the honours are done by Mohammed Rafi and Manna Dey, one song in the voice of SD Batish, and then one song in the voice of Asha Bhosle (yes. . . 🙂 ). This list of 18 songs is taken from the book ‘Gaata Rahe Mera Dil. . ‘, a definitive compilation of Kishore Kumar songs by Kamal Dhiman. As you can see, of these 18, thirteen songs are already covered on our blog. Today, I bring on one more of this special category songs. And this one is a special song in itself – we have Mahendra Kapoor giving playback to Kishore Kumar. I am sure this will come as a surprise. 🙂

Of this list of 18 songs, thirteen are already showcased on our blog. The fourteenth comes on board today, leaving four more from this category to be posted.

Today’s song is from the film ‘Albela Mastaana’ from 1967. The song is a duet sung by Mahendra Kapoor and Usha Mangeshkar. On screen, the song is performed by Kishore Kumar and Asha Nadkarni. Songs of this film are written by Prem Dhawan and the music is by N Datta. And without further ado, I would suggest you listen to this song, and get this rare flavor of the one and only instance of Mahendra Kapoor giving playback to Kishore Kumar.


Song – Hum Ne To Dil Bichha Diya Tumhaari Raah Mein (Albela Mastaana) (1967) Singer – Mahendra Kapoor, Usha Mangeshkar, Lyrics – Anand Bakshi, MD – N Datta
Mahendra Kapoor + Usha Mangeshkar

Lyrics

hum ne to dil bichhaa diya
tumhaari raah mein
oo oo oo
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne utha ke rakh liya
hum ne utha ke rakh liya
is ko nigaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

baahon pe meri jhoom ke
gesu bikher do
baahon pe meri jhoom ke
gesu bikher do
dheere se koi pyaar ka
naghma chhed do
dil ko hamaare baandh lo
dil ko hamaare baandh lo
zulf e siaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

meri har ik nazar mein hai
teri hi justju
meri har ik nazar mein hai
teri hi justju
har ek saans mein basi
teri hi aarzoo
tera hi dard hai chhupa
tera hi dard hai chhupa
har ek aah mein
hum ne to dil bichhaa diya
tumhaari raah mein

jo tum miley
to zindagi haseen ban gayi
jo tum miley
to zindagi haseen ban gayi
duniya hamaare pyaar ki
rangeen ban gayi
donon jahaan bhula diye
donon jahaan bhula diye
tumhaari chaah mein
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne to dil bichhaa diya
tumhaari raah mein

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

हमने तो दिल बिछा दिया
तुम्हारी राह में
ओ ओ ओ
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने उठा के रख लिया
हमने उठा के रख लिया
इसको निगाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

बाहों पे मेरी झूम के
गेसू बिखेर दो
बाहों पे मेरी झूम के
गेसू बिखेर दो
धीरे से कोई प्यार का
नग़मा छेड़ दो
दिल को हमारे बांध लो
दिल को हमारे बांध लो
जुल्फ ए सियाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

मेरी हर इक नज़र में
तेरी ही जुस्तजू
मेरी हर इक नज़र में
तेरी ही जुस्तजू
हर एक सांस में बसी
तेरी ही आरज़ू
तेरा ही दर्द है छुपा
तेरा ही दर्द है छुपा
हर एक आह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

जो तुम मिले
तो ज़िंदगी हसीन बन गई
जो तुम मिले
तो ज़िंदगी हसीन बन गई
दुनिया हमारे प्यार की
रंगीन बन गई
दोनों जहान् भुला दिये
दोनों जहान् भुला दिये
तुम्हारी चाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने तो दिल बिछा दिया
तुम्हारी राह में


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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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15003

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Movies with all their songs covered =1167
Total Number of movies covered =4106

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