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

Archive for the ‘Mukesh songs’ Category


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 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 :

5176 Post No. : 17149

Today’s song is from the film Bhagwan Parshuram-1970. It was a Mythological film made by Mewad films, Bombay. Directed by Babubhai Mistry – The king of trick scenes and a highly respected cinematographer since the 30’s decade. The 6 songs of the film were written by Madan Bharati and the music was by Jaikumar Parte, for whom this was a Debut film as a Music Director. The cast included Abhi Bhattacharya, Jayashree Gadkar, Niranjan Sharma, Sulochana, Saproo, Jeevan, Trilok Kapoor and many others.

I immensely like Mythological and religious films for many reasons. First of all, I have been seeing such films since my childhood. I was the officially nominated ‘Chaperone’ in my family to accompany the group of elders going to see these Dharmik films. I liked the film’s costumes, big palaces, trick scenes and the final ‘triumph of the good over the evil’ stories.

When the Talkie films’ era came to India, the early filmmakers tended to make films on folk tales and Mythological stories in the first decade, i.e. 1931 to 1940. In the second decade of 1940 to 1950 many religious films were made-some of them like Ram Rajya-1943 being All India blockbuster- and the third decade from 1951 to 1960 achieved the peak for Mythological films made, worth calling it ‘ The Golden period of Religious films’. As many as 124 such films were made in this decade. From 1961 to 1970 1nd 1971 to 1980 were ok, but 1980 onwards there was a decline in such films and Mythological films became scarce except some dubbed films from the South, where such films are made even today regularly. The Television became a competition to this as many Dharmik serials were shown on TV.

The reason is not that such films do not bring profit, but where was the audience to see them ? The interest, respect and knowledge of our heritage, the glorious past and our culture has diminished to a depth. Due to lack of reading habits, children have no knowledge of our religion or interest in Mythological stories. Today if you ask the following simple questions to Boys and Girls of the age group of 15 to 25 years, you will be shocked with their guess work , ignorance or blank faces….
1.Can you name the 4 Yugas ?
2. Which are the 4 Vedas ?
3. Can you name the 10 Avatars of Vishnu ?
4. Who were the wives of Laxman, Bharat and Shatrughna ?
5. For how many years the Pandava went to Vanvas and why ?

The reason for this apathy is not just modern life or modern gadgets. The causes are deep, like lack of reading habit, Text Books not having religious stories, no ” Sanskars” from parents, treating such knowledge as ‘ backward ‘ etc etc.

Anyway, all this apart, the film Bhagwan Parshuram-1970 was based on Vishnu’s avatar of Parshuram. It was a very good Dharmik picture. As we know, there were 10 Avatars Vishnu had taken.Parshuram was also one of them.(Matsya, Kurma, Varah, Narsinh, Waman,Parshuram,Shri Ram, Shri Krishna, Buddha and Kalki- which is yet to take place.)

Parshuram is known in Puranas, as one who made the Prithvi-Nikhshatriya. That is, he killed all the kshatriyas on this Prithvi, 21 times . The reason was, the Kshatriyas had gone out of control. With their weapons and power, they looted and ruled very cruelly. To control their “atyachar”, Vishnu came down as Parshuram.

Parshuram was born to Jamdagni Rishi and his wife Renuka. They had Surabhi-daughter of Kamdhenu-a cow which gave what one wished. Rakhshas Sahasrabahu,who was granted a boon of strength of thousand arms(by God Dattatreya),had become very cruel. He wanted Surabhi, but when he could not get her, he abducted Renuka. Renuka escaped and returned, but Jamdagni gave her a curse of Leprosy. Narada advises her to go on pilgrimage. Meanwhile, Parshuram helps a damsel in distress and she happens to be Princess Gayatri, daughter of Sahastrabahu. When Sahasrabahu comes to know this, he kills own daughter. Parshuram kills him and makes Gayatri alive again.

The entire film is full of major Gods like Bramha ,Vishnu, Mahesh and Indra,in addition to many lesser gods. The credits have shown a loooong list of 18 puranas etc to claim authenticity of this story. It was very interesting to see the trick scenes and revise our knowledge about Puran kathas.

In this film Jeevan had done his pet role of Narad, perhaps for the last time. He did this role many times in his career. The number of his Narad roles varies from 49 to 84 films in different sources.

This was the first film of Music Director Jay Kumar Parte in Hindi. He is yet another case of a talented person without Luck. I my last post I had written about Shridhar Parsekar, today we will have details about Jay Kumar, MD. His name was Jai Kumar Parte. He was also known as Bal Parte. He was born on 14-10-1932 at Kolhapur. His father was a doctor. His mother and father played Sitar which made the family atmosphere musical. He learnt Harmonium from Gopalrao Gokakkar. Once when Prithviraj Kapur came to Kolhapur, he got introduced to his father and they became thick friends.

Prithviraj took his father’s family to Bombay and he became the official medical officer of Prithvi theatres. Jai worked in the dance troupe of dancer Hema Kasargod and travelled all over India. When Shankar- Jaikishen became independent composers, their vacancy in Prithvi Theatres was filled up by Jai Kumar as a Harmonium player. Dattaram was his friend and Jai assisted him in almost all of his films. For many years he worked as assistant to kalyanji-Anand ji. Though Laxmikant-pyarelal were their arrangers, K-A kept Jai kumar as their assistant. He prepared the background music of many films of K-A.

Lata Mangeshkar also stayed in the same building (Shankarshet mansion) where jai Kumar lived in Bombay. Due to her encouragement he learned western instruments from V.Balsaraand became an expert in Chords. Kalyanji called him ” The king of Chords “. jai Kumar worked as assistant to Usha Khanna and as an arranger with Sardar Malik, Avinash Vyas, Iqbal Qureshi, Hridaynath Mangeshkar, Yeshawant Deo, Mahesh-Naresh and Shridhar Phadke. Playing Chords with Chromatic scales and in Whampine systems, he was an acclaimed expert.

He was keen on becoming a Music director. Finally, he gave music to Bhagwan Parshuram-1970 for the first time. Then came Putlibai-1972, Jaan Hajir hai-1975 and finally gawah-1979. He gave music to just 1 Marathi film-Mangalsutra-1968. Jaikumar Parte was more or less like an introvert in his temperament. He never asked anybody for work. He used to feel insulted frequently due to perhaps his complex as he was not a successful music Director.

He started sitting at home without canvassing for work and work never came to him. He went the usual way and finally breathed his last on 9-4-1981 at the age of just 48. His son Tushar works as a lead Guitarist and an arranger in Hindi films. (adapted from Marathi Sangeetkar Kosh and Rahe na Rahe hum, with thanks.)

In this film actor Niranjan Sharma played the role of Sahasrabahu. he was an actor, director, story writer, a dialogue writer and even a lyricist. He started his career with film pandav kaurav-1933 as a story writer and film Sach hai-1939 as a dialogue writer. His first film as an actor was Sawaal-1943-a film which he directed also. in all he acted in 129 films, most of which were mythologicals and B grade films. Before film Bhagwan Parshuram was released he died due to heart attack. He is credited in this film as (Late) Niranjan Sharma. 2 more films were released after his death, in which he played roles.

His daughter Gayatri’s role was played by Jayashree Gadkar- a well known and famous Marathi actress. Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s. Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.

She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heroines in the history of the Marathi film industry.

Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema. Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.

Her film Saangtye Aika (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan). Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.

Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.

Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.

In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.

Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes)

Today’s song is sung by Mukesh. This is the second song from this film to feature here. This second song from the movie appears in the blog 11 years (3948 days)after the first song appeared in the blog on 28 november 2011.


Song- Koi roye koi gaaye kaisa tera sansaar maalik (Bhagwan Parshuram)(1970) Singer-Mukesh, Lyrics-Madan Bharti, MD-Jai Kumar Parte

Lyrics

Koi roye koi gaaye ae ae ae
kaisa tera sansaar maalik
kaisa tera sansaar
o o o o o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

ujad jaaye jab rain basera
panchchi sir dhun roye
ujad jaaye jab rain basera
panchchi sir dhun roye
koi na jaane dard kisi ka
sab matlab mein khoyen
ambar neer bahaaye ae ae ae ae
dharti kare pukaar
maalik
kaisa tera sansaar

din ke sang toone raat banaai
phoolon ke sang kaante
din ke sang toone raat banaai
phoolon ke sang kaante
jaane kahaan kis jagah baithh kar
tu ye sukh dukh baante
patjhad jahaan muskaaye ae ae ae ae
roye wahin bahaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar

koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe tujhe Badrinath mein
koi dhoondhhe Haridwaar
koi dhoondhhe Kaashi mein tujhko
koi Rameshwar dwaar
sab teerath se paawan n n n n
teerath ganga dhaar
maalik
kaisa tera sansaar
koi roye koi gaaye ae ae ae ae
kaisa tera sansaar
maalik
kaisa tera sansaar
o o o
o o o o
o o o
koi samajh nahin paaye ae ae ae ae
tera kaarobaar
maalik
kaisa tera sansaar


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.

Today (5 July 2022) is the 5100th day for the blog.

Blog Day :

5100 Post No. : 17034

Regulars may have noticed lack of activity in the blog on my part for the last ten odd days. From June 25 till June 28, 7 posts were published and all these articles were posted by Sudhir jee. I had specifically requested him on 24 June 2022 that “it will be difficult for me to find time for publishing new posts from 24 june till 27 June. So I request you to uphold the blog flag for these four days.”

Sudhir jee had promised to do the needful, viz ensuring that we had at least one post on each of these days. He ended up publishing four posts on 27 June 2022, prompted by an over-enthusiastic Avinash Scrapwala, who sent many RD Burman write ups on that day for publication. 🙂

I was extremely busy from the evening of 23 June till noon of 28 June. I was journeying throughout these days, crisscrossing various places, never staying in one place for more than one day. I was in mission mode to achieve mission critical tasks where Icould not afford to fail.

What exactly were there mission critical tasks ?

Convocation ceremony of 2016 batch of MBBS students of LTMMC was to take place on 24 June. As proud parents of our daughter who was among the one hundred plus MBBS students successfully completing their course and internship from LTMMC (Lokmanya Tilak Municipal Medical college), I and my wife obviously had to be present in Mumbai on this occasion. I took an evening flight from Gorakhpur to Mumbai on 23 june and arrived Mumbai at around 9 PM. My wife, who was at Bhopal, took an evening train (Punjab Mail) at Rani Kamlapati and arrived Mumbai on the morning of 24 June.

The convocation ceremony took place at the iconic Shanmukhananda auditorium of Mumbai, which is located close to LTMMC in Sion, Mumbai. I had read about this famous auditorium many times. Many well known cultural programs have taken place in this auditorium. Portraits of some legendary artists hang on the walls of the auditorium.

The convocation ceremony, which was supposed to start at 10 AM, started late, after 12 noon. The 2700 plus seat capacity auditorium was full of relatives of the students. While there were many from Mumbai and other parts of Maharashtra, several sets of parents and relatives had come from all over India, and some from abroad as well.

The 14 dignitaries (including six ladies) who were welcomed and seated on the dais were the “who is who” of medical fraternity in Mumbai.

The function was not a boring affair. These convocations held at Mumbai are very much like the film city functions, full of songs and dances. The students entered the hall dancing to some new popular Hindi movie songs, which I was obviously oblivious of. 🙂 They then took their seats in the front rows of the auditorium.

All the 14 dignitaries gave their speeches. That was followed by the function where individual students were called by name and handed over their certificates, medals etc. It was quite filmy ishtyle program. The name of the student and his/her details would be announced. Then a filmy song would play and the student would make a grand entry on the stage, dancing to that tune. Most of these tunes were new (unfamiliar to me), but I was happy to note that some of the students danced to the tunes of 1970s and 1980s Hindi movie songs as well. 🙂

The medals and certificate distribution went on till after 2 PM. then it was lunch break. After lunch break, four videos, prepared and shot by the students themselves, that showed their stay during these years in the college, were played. My daughter was co producer, director, (and actor too) in one of these videos. 🙂

It was evening when the gala function finally came to a close. The hectic and satisfying day had passed, but another hectic day awaited the two of us the next day. I and my wife had to catch an early morning flight to Gorakhpur the next day (25 June 2022).

We checked in to a hotel near the airport on the night of 24 June. We woke up at 4 AM in the morning and left for the airport. The flight was at 6 AM. We arrived Gorkhpur before time at 8 AM on 25 June which was a Saturday. After arriving at home, I (rather my wife), got busy in the task that was upon us. 90 % of the household items, including the car had already been sent to Bhopal in February 2022. The remaining items were now required to be packed and loaded on a truck to be dispatched to Bhopal. This work is normally done by professional packers, but my wife does it herself.

The truck was dispatched in the afternoon. Then we went to the gas agency and surrendered the gas connection.

The most important ‘item’ that we needed to shift was not luggage, but the two pets, namely Bhole and Izza. The cat had been shifted to Bhopal in February and that was less challenging because the cat went in our car along with wife and daughter. Taking the dogs by car for 1000 km was out of question because the car was no longer there in Gorakhpur. Moreover, the junior dog, Izza, is a very poor road traveller and she gets sick at the prospect of a road travel.

Fortuitously, there was one direct train from Gorakhpur towards Bhopal the very next morning (26 June 2022). It is the only train from Gorakhpur towards Bhopal that has an AC first coach in it. According to Railway rules, dogs can be taken either in dog box kept in Guard van (an unrealistic rule) or in AC first coach, if fellow passengers do not object. The best way to eliminate fellow passengers’ objection is to ensure that we book a two berth coupe (there are two such coupes in AC first coach). I had asked my staff to sound out the person who allots berths in the train including AC first that we should be allotted a two berth coupe.

But that is not all. Dogs are needed to be booked on the train. You need to have health certificate for them issued by a vet who certifies that they are fit to travel by train. That certificate is produced at the parcel office along with owners’ ticket and ID proof. Then a ticket is issued for the dogs allowing then to travel by train. Mostly, this booking of pets takes place one hour before the train has to start and the pets must be presented at the booking office. But that was a very challenging scenario. Gorakhpur Railway station is a very vast Railway station. The parcel booking office is in platform number one, whereas the train leaves from platform number nine. The two platforms are like two terminals of Mumbai Airport. So I sent my staff to convince the parcel officials to issue the pets documents earlier, if possible.

Next morning, my staff, who had reached the station at 5 AM, phoned me informing me that the tickets for the pets had been booked. Booked without taking the pets to the parcel office ! That was a big relief. So we directly reached at platform nine. There is a road running parallel to the platform. So we reached close to our coach and boarded the train along with the pets and luggage.The staff who had got the pets ticket booked handed me the document. I profusely thanked the staff, but failed to notice that the ticket price was Rs 400/-. However, I paid the money to the staff later.

After some initial discomfiture, both dogs, including Izza made themselves comfortable. Bhole, as is his wont being a down to earth dog, preferred to sit down on the floor. I made Izza sit on the lower berth and she soon made herself comfortable there, much to our relief.

Though we had sent most of our luggage earlier, but subsequently my wife discovered some more items that needed to be carried with us. So our luggage had become considerable. In Gorakhpur, the staff took care of carrying the luggage. I needed similar help at Bhopal. So I phoned the mechanical officer at Bhopal and requested for the help of his staff in carrying my luggage. The train arrived Bhopal before time at 8:40 PM (scheduled arrival time was 8:55 PM). The luggage and pets were deboarded.

Our daughter, after her convocation on 24 June had taken a morning flight to Bhopal on 25 June. She was to receive us at Bhopal. All the luggage and the two pets were somehow accommodated in the car. Izza, whom I was holding in the front passenger seat was putting up a stiff fight. Somehow I managed to restrain her while we arrived at the home. So our pets were successfully transported from Gorakhpur to Bhopal.

Next morning (27 June), the daughter had to go back to Mumbai. She drove the car herself to the airport. In the return direction, I drove the car back to the home. By the time we arrived home and had our breakfast etc, the daughter had already reached Mumbai. 🙂

I had my train back towards Gorakhpur in the afternoon. The train got delayed by about three hours. I boarded the train in the evening instead of afternoon, and arrived Gorakhpur at noon of 28 June, instead of morning.

If I was busy till morning on 28 June, the other engagements for the next three days were even more important. It is just that I did not have to travel on these days.

The residence items had all been sent. So I needed some other accommodation at Gorakhpur. I had already booked a transit accommodation room in a Railway Officers rest house. I went there. After getting ready, I went to office and sent the quarter vacation memo to the concerned officials. I asked my staff to find out all the clearances that are required to be taken and to take them promptly. It turned out that clearances from five different departments (electricity, telephone etc.) is needed. My staff got busy arranging for these clearances, while I got busy doing things that needed my presence.

Though we had submitted the gas cylinders and regulator two days earlier, but papers were not given on that day because the dealer was unavailable. I went to the gas agency and waited for an hour before the concerned person arrived and I could take the relevant document with me.

In the evening, there was one get together in the Railway Museum in my honor. Looking at my hectic schedule, the organizers of the function were wondering whether I would be able to attend this function. I managed to attend it. When I was asked to give a speech on the occasion, I gave a long speech, all extempore of course.

The next day, viz 29 June 2022 was rather sedate by comparison as there were no pressing engagements on that day. There was one function in the evening where my staff working directly under me honored me. There too I gave one extempore speech. My contents in this speech were different from my speech of 28 June 2022. 🙂

The next date, viz 30 June 2022 was the all important day. More than the day, I was interested in the next day, the pehli taareekh,viz 1 July 2022, when I had an early morning train to Bhopal. It was the same train in which we had transported our pets from Gorakhpur to Bhopal on 26 June 2022.

I spent the morning of 30 June 2022 packing my stuff. I was under strict instructions from my wife not to leave anything behind, not to misplace anything, and complete my packing well in advance etc. I was trying to do all that but as always, I had to leave my packing till last moment, even though my train was early morning on 1 July 2022.

In the office, I tried to clean up my stuff from almirahs, computers etc. In the computer I had logged in to my accounts of WordPress, Gmail, Office365 etc. I tried to log off from most of them but I ran out of time.

There was a function in the afternoon in HQ meeting hall headed by AGM (Additional General Manager). It was followed by a function in our own mechanical department.

Final program of the day was organised in Railway Officers club at night. Officers and their spouses were present in good number on the occasion. It was organised to honor four people including me. After cultural programs, it was time for speeches. When it was time for my speech, I gave another extempore speech. It was a lighthearted speech containing fun facts that was well received by the audience. I also mentioned the song blog towards the end of my speech. I mentioned that I had a Hindi movie songs related site called Atul Song A Day, ASAD in short. Till today, it was ASAD Gorakhpuri, from tomorrow it will be ASAD Bhopali. 🙂

The speeches were followed by dinner. Some of the guests complimented me for my witty speech, which I had thought up at the spur of the moment.

The club day was over at 10:30 PM. I went back to rest house, tried to complete the packing, but I could see that some packing could only be done at the last moment. I set alarm for 4 AM in my mobile and tried to go to sleep.

It was the alarm that woke me up. Then I realized that I had to get ready for the early morning train. I took bath, packed the remaining stuff, and checked to see that nothing was left behind. The car driver was supposed to arrive at 5 :30 AM. My luggage was all packed. All dues of all people (milkman, newsman, the person who booked my pets) were paid. My mobile which gets discharge very fast was plugged in for charging.

The car arrived. I got the stuff loaded in the car, handed over the key to the reception, and left for the station. Halfway towards the station, I pressed my left pant pocket and realized that my mobile was not there. I had forgotten the mobile back in the room. I asked the driver to turn back, the key was again taken from reception. The mobile, plugged in the power socket, was taken along with the charger. Heaving a big sigh of relief, I restarted for the station.

The train, unlike on 26 June 2022, started late. This train kept getting delayed because it went from a much longer diverted route and that took seven hours longer to reach Bhopal. The train, that was supposed to arrive Bhopal at 8:55 PM on 1 July arrived Bhopal at 4:20 AM on 2 July 2022. My luggage had become sizable and I needed to help of Railway staff this time too. The staff arrived to carry my luggage after I had already unloaded them from the train. Just as I was thinking that I may have to wait, I found my wife entering the platform. So, she had arrived to receive me, along with her sister this time. All the luggage was easily accommodated in her sister’s MUV and we left for the Bhopal home. We arrived there when it was early morning.

Why all these hectic activities ? “Blame” my birthday for this which took place on 20 June. That birthday, unlike the previous birthdays meant that it was finally time to say goodbye to Railway service. In other words, I was to retire on 30 June 2022. All the hectic engagements and functions were being held for that reason.

I am very happy and relieved that I managed to overcome all the logistical challenges successfully without any failure anywhere. It was quite a logistical challenge and it took some meticulous planning and co operation of many that led to successful executions of all the plans that were laid out.

To cut a long story short, with effect from 1 July 2022, I am a retired person settled in Bhopal. So this blog is now officially ASAD Bhopali. 😀

Today (5 July 2022) happens to be the 5100th day for the blog. It is an appropriate occasion for me to break this news to the readers of the blog. 🙂

On this occasion, I have chosen a song from ‘Sher e Watan’ (1971). It was directed by Harbans for New Sunrise Productions, Bombay. The movie had Prithviraj Kapoor, Dara Singh, Nishi, Rajan Haksar, Nadira, Bela Bose, Aruna Irani, Bhagwan, Roopali, Pal Sharma, Dhanraj, Saudagar Singh, Prakash, Trilok Singh, Uma Khosla, Bramhachari etc in it.

The movie had four songs in it. One song has already been covered in the blog. This song is sung by Mukesh and Asha Bhonsle. The song is picturised on two females where one plays the role of a male by attaching a thin mustache under her nose.

Usha Khanna is the music director. The main reason why I chose this song is that it is penned by Asad Bhopali. 😀

I request our knowledgeable readers to throw light on the picturisation of the song.

This rarely heard song is a song that grows on you as you get exposed to this song.

It is a nice feeling to be able to join the club of our seniors. Hopefully I will be able to have an active and fruitful second innings like them. 🙂


Song-Zara hamse milo hamse milo hamse milo jaan(Sher e Watan)(1971) Singers-Mukesh, Asha Bhonsle, Lyrics-Asad Bhopali, MD-Usha Khanna
Mukesh + Asha Bhonsle

Lyrics

zara humse milo
zara humse milo
humse milo humse milo jaan
zara humse milo
humse milo humse milo jaan
dekho to dil mein hain kya kya armaan
zara humse milo
zara humse milo
humse milo
humse milo jaan
zara humse milo
humse milo
humse milo jaan
dekhen to dil mein hain kya kya armaan
zara humse milo
humse milo
humse milo jaan

malika e husn
bahaaron ki haseen shehzaadi
chaand ka noor
sitaaron ki haseen shehzaadi
aao in champai honthon ko gulaabi kar den
aao in nargisi aankhon ko sharaabi kar den
in jhuki jhuki nazron pe dil kurbaan
ho jhuki jhuki nazron pe dil kurbaan
humse milo
humse milo
humse milo
humse milo jaan

honth kuchch aur bhi kaanpenge gulaabi hoke
aankh kuchch aur bhi behkengi sharaabi hoke
zulf ki chhaanv mein
is raat ko dhal jaane do
pyaar ki aag mein
do jismon ko jal jaane do
aaj nahin khwaabon mein dil e naadaan
aaj nahin khwaabon mein dil e naadaan
zara humse milo
hey zara humse milo
humse milo humse milo jaan

aag kuchch aur bhi bhadkegi
galey mil mil ke
ik mulaakaat mein niklenge na armaan dil ke
zindagi ab inhin baahon mein basar karna hai
pyaar hi pyaar hamen
shaam o sahar karna hai
tum bhi yahi waada karo
mere meharbaan
tum bhi yahi waada karo
mere meharbaan
zara humse milo
hey zara humse milo
humse milo
humse milo jaan
dekhen to dil mein hain kya kya armaan
zara humse milo

zara humse milo
humse milo
humse milo jaan
dekho to dil mein hain kya kya armaan
zara humse milo
humse milo
humse milo jaan


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

Blog Day :

4944 Post No. : 16803 Movie Count :

4574

In Memory of Mahatma Gandhi – the father of the nation.
——————————————————————-

Eknath Easwaran writes in the preface of a book:

“In India, Mahatma Gandhi is officially Father of the Nation. Under his leadership India attained freedom from the British Empire through a 30-year campaign based on complete non-violence that ended with both sides allied in respect and friendship. That alone will secure his place in the history books, but not necessarily his place in a series of the world’s spiritual classics.”

He says further:
“One of the first lessons Gandhi learned in South Africa was to begin by bringing people together onto higher ground. India was exploitable because it exploited our own people. We were weak because we were divided into innumerable factions, each seeking its own gain, making it simple to play us against each other – an old Roman empire tactic practiced by the East India Company and made official imperial policy after the mutiny (1857). His analysis made perfect sense, once grasped, but it wasn’t a matter of politics to Gandhi. It was the obvious corollary of the unity of life, in which the welfare of all of us together was bound up with those whom the poet Rabindranath Tagore called “the lowest, the lowliest, and the lost.”

Those ideas sound conventional enough today, but to put them into proactive is always a shock. In India they caused an earthquake. By linking independence with the way, we treated one another, Gandhi shook the country from top to bottom. Gandhi made a cornerstone of his campaign for national freedom the freedom of those whom the rest of India called “untouchable”. He campaigned for them from the Himalayas to India’s southernmost tip.

Everywhere he told us that all of us were one and that we would never have the unity to throw off foreign rule, or even be worthy of self-government, until we ceased exploiting our own people……..It was an impossible appeal because it attacked ways of thinking ground deep into unconscious conditioning for countless generations. Yet people all over India responded……..The man had to walk! And with equal joy and amazement India rose too.

These are some of the quotes of Mahatma Gandhi’s various writings and editorials:
“For me patriotism is the same as humanity. I am patriot because I am human and humane. It is not exclusive. I will not hurt England or Germany to serve India……The law of the patriot is not different from the law of the patriarch. And a patriot is so much a patriot, if he is a lukewarm humanitarian. There is no conflict between private and political law. A non-cooperator, for instance, would act exactly in the same manner towards his father or brother as he is today acting towards the (British) Government.” – Young India, March 16, 1921.

“Our ability to reach unity in diversity will be the beauty and the test of our civilization.” – Young India, January 8, 1925.

“A man is but a product of his thoughts; what he thinks, he becomes.” – Ethical religion.

This song I am presenting is from an unreleased movie titled “Bapu ka Sapna”. The song is not really talking about Mahatma Gandhi, but pays tribute to his philosophy in the beginning, with these lines:

Eeshwar Allah tero naam
Sab ko sanmati de bhagwaan

This is the only song recorded for this film, as per the list on myswar.com. There is an interesting story about how found this song. Today 30th January is also the 93rd birthday of an actor of repute in hindi and Marathi films, theatre and TV, Ramesh Deo. When I saw his name in the anniversary page, I remembered a video the a Rafi song filmed on Ramesh Deo in a black in a white film. I had seen it a few days ago and thought I had saved the details somewhere. I started looking for it but could not find it. I searched for the song on youtube, but found another song in colour, a duet of Rafi sahab and Usha Mangeshkar. Then I looked for the imdb page on him for his filmography (https://www.imdb.com/name/nm0219946/) , where I found this film “Bapu ka sapna”.
January 30 is also 74th anniversary of the assassination of Mahatma Gandhi, I decided to post this song from the film, that was starred Ramesh Deo, but never released. For Ramesh Deo, this birthday post had appeared in 2018.

(Kaun sachcha hai kaun jhoothha hai).
Ramesh Deo was commonly seen in movies of 70’s and 80’s with his wife Seema Deo, in character roles. Notable film I remember is ‘Anand’.

I found these posts which are posted in the blog on the occasion of his death anniversary:

Kahaa raam hey raam
Mohandas Karanchand Gandhi para pujaari ahinsa ke
Jai bolo Mahatma Gandhi ki
Suno suno ae duniyaawaalon

There are many more posts celebrating October 2nd as Gandhi ji’s birth anniversary, but I find that the death anniversary posts have ceased after 2015. No matter, this can soon be rectified.
Dr. Martin Luther King, Jr. says, “Gandhi was inevitable. If humanity is to progress. Gandhi is inescapable…….we may ignore him at our own risk.”
Mahatma Gandhi returned to India in 1915, after having spent 20 years in South Africa, spearheading civil right movements there. Having gone to Britain to study law as a young man, returned to India to practice law and shifted to South Africa to practice law, but turned into a civil activist, fighting for the human rights of native Indians there, the experience and exposure to varied issues of humans was instrumental in shaping the man and his intellectual abilities.
What use is the higher education, or the study in the world’s best universities, if one is not able to make use of the advantages it gives, the broadening of mental horizons it entails, to have a true arial view of the issues at hand. Arial view, as in watching a scene, as not a part of the scene, but from the outside.
People of my generation can only imagine, those times, when Gandhi ji was assassinated, so soon after the independence and partition of the cohesive entity that the United State of India, was becoming. From all accounts Gandhi ji was opposed to the partition of the country, and surprisingly, he was not assassinated before 15th August 1947. He is said to have eventually agreed to the partition but his disillusionment with the other leaders is well known. And it is not surprising that he opposed the partition, as it is the very antithesis of his philosophy of unity of ‘highest with the lowest’. The have’s and the have not’s, in other words. I also think, that the visionary in him, is bound have expected this to happen. That a colonial power, having seen the dare-devilry and bravery of all those who opposed their colonisation, and made them struggle for 2 long years, in attaining control of the various kingdoms and states, the cultural and spiritual power of an ancient civilization, with rich natural and human resources, the intellectual power (that the visionaries of united India, could see as a future super power, not just a soft power), were never going to leave the sub-continent intact. They had vast experiences in destroying the united forces, and they toiled for full 5 years, to dismantle ‘the ottoman empire’ brick by brick, brick by brick. The writings were on the wall, and Gandhi could do nothing to stop it. But eventually, paid the price for his high ideals with his life.
And today, the same world powers are hunting for a new ‘theatre of war’, to sell their arms and ammunitions which can revive their fledging economies. Big economies, liberalised one’s are relatively safe, as they can’t be put to flames in a war. So, our visionary economists have done well to liberalise the Indian economy in the 90’s.
It is never the time to not remember and remind ourselves of the gandhian principles of non-violence and non-violent solutions. I had heard some predictions that 3rd world war is going to be for ‘water’ and 4th one will be fought for parking. This joke apart, the wars are still over power, money, money power and power money.
Mahatma Gandhi’s legacy and his preaching of non-violence methods of struggle, have gone on to be emulated in various freedom and civil rights movements the world over. I have seen Richard Attenborough’s ‘Gandhi’(1982), where Ben Kingsley played the role of Mahatma Gandhi and won an Oscar for his efforts. I agree with those people, who thought that future generations, will be seeing Ben Kingsley’s movie stills and think that this is the real Gandhi.
In just over 30 years, of Mahatma Gandhi’s involvement in the freedom struggle, he has to his credit, many successful movements. Non-cooperation movement, the swadeshi movement, dandi march, the jail bharo movement are notable in this struggle. Sustaining such a movement for this long in a country full of poor people, is no small task. It required great leadership and mobilization of collective imagination. They imagined ‘swaraj’ and freedom, so they believed in it and achieved it. It is the full truth that every movement and revolutions start in the mind. That is exactly the reason he is hailed as among the greatest of leaders in human history.
I consider it prudent to repeat what Dr. Martin Luther King, Jr. said about Gandhi:
“Gandhi was inevitable. If humanity is to progress. Gandhi is inescapable…….we may ignore him at our own risk.”

Okay, I have said enough. So, we move on to the rare song from ‘Bapu ka Sapna’. The singers are Mukesh, Hemlata accompanied by chorus. Lyrics are by Taajdar Taj and Ratandeep-Hemraj are the composers.

Audio:

Song-Ham ne dekha thha ek sapna (Bapu Ka Sapna)(1970)(UR) Singers-Mukesh, Hemlata, Lyrics-Taajdar Taj, Music director-Ratandeep-Hemraj
both together,
male chorus,
female chorus

Lyrics

(Shankh…..)
(church bells)
Allah o akbar
Allah o akbar
Allah o akbar
Allah o akbar

Aaa aaaaaaaa
Aaaa aaaaaaa
Aaaaaaaaaa

Vande maataram
Aaaaa aaaaaa
Vande maataram
Aaaaa aaaaaa
Eeshwar Allah tero naam
Vande maataram
Sab ko sanmati de bhagwaan
Vande maataram
Aaaaa aaaaaaaa
Aaaaaaaaaaaa
Aaaaaaaaaaa
Ham ne dekha thha ek sapnaa
Ham ne dekha thha ek sapnaa
Raat andheri pal do pal ki
Apni hongi khushiyaan kal ki
Aane waali nayi pehar ka
Suraj hai apnaa aaa
Ham ne dekha thha ek sapnaa
Ham ne dekha thha ek sapnaa
Aaa aaaaaa
Aaaaaa aaaaaaa
Aaaaaa aaaaaaa
Aaaaa aaaaaaa

Toot gayi zanjeer e ghulaami
Jaage sab ke bhaag yehaan
Waqt ne lekin chhod diye thhe
Jung ke kaale naag yehaan
Jung ki baazi jeetne waalon
Aur bhi hai ek aag yehaan
Aag mein jis ki jal jaate hain
Jeewan ke sab raag yehaan
Jeewan ke sab raag yehaan
Jeewan ke sab raag yehaan
Aaa aaaaaa
Aaaaaa aaaaaaa
Aaaaaa aaaaaaa
Aaaaa aaaaaaa

Ham ne dekha thha ek sapnaa

Ooo oooooo oooo
Oooooo
Kheton ki yeh paawan mitti
Mehki aur gulzar hui

Oye Mehki aur gulzar hui
Jaal milon ka aisa phaila
Kapde ki bharmaar hui

Oye Kapde ki bharmaar hui

Aaaaa aaaaaaa
Aaaaa aaaaaa
Aaaaa aaaaaa

Log hain phir bhi bhooke nanage
Mehnat sab bekaar hui
Kuchh to socho
Desh ki janta aa aaa
Kuchh to socho
Desh ki janta aa
Itni kyun laachaar hui

Itni kyun laachaar hui
Itni kyun laachaar hui


This article is written by Mahesh Mamadapur, 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 :

4929 Post No. : 16770 Movie Count :

4565

Mukesh and his Co-Singers – 8
——————————————–

Today, we take up Mukesh’s association with playback singer Jagjit Kaur wherein there is a solitary duet and that too in an unreleased film called ‘Hum Ek Hain’.

There are 3 released movies named ‘Hum Ek Hain’ and one unreleased. Mukesh has sung one solo in one of the released movies under Usha Khanna and one solo and a duet in the unreleased movie under Khaiyyam. Confused? Well, me too and hence the table below.

Films titled ‘HUM EK HAIN’
Year of release Composer Mukesh songs
1946 Hunslal Bhagatram Nil
1969 Usha Khanna One solo
Unreleased Khayyam A solo and a duet with Jagjit Kaur
1982 N/A N/A

Further, I came across a rather familiar song which is again represented by the name “Hum Ek Hain” – “Awaaz Do Hum Ek Hain.  And seeing that popular actors have been featured in the video version of the song, one is left to imagine which of the above films, the said song belongs to.

Fortunately, I did not have to struggle much to trace the details as it was amply clear that it was a stand-alone NFS (1962) patriotic song produced by Govt of India’s Films Division and sung with much gusto by Rafi Saab. Details of the said song are represented on our blog in this link here. Of all the composers Khayyam Saab scored music for the album thereby creating additional curiosity as well as confusion for me.

Now, an original film booklet sheet of 1969 film in which Mukesh has a solo is easily available on the net and is reproduced below.

For some strange reason, Mukesh’s name is missing in the list of playback singers. I am not sure if the song was dropped from the film soundtrack, but the solo does exist in audio form.

I have covered one post on Mukesh’s complete association with Usha Khanna – “Tera Mera Pyaar Koi, Aaj Kal Ki To Baat Nahin“, and two separate posts on his filmi (“Sab Tthaath Pada Reh Jaayega“) and NFS songs (“Na Hui Gar Mere Marne Se Tasalli Na Sahi“) under composer Khaiyyam. Many songs in the said three posts are still available for grabs for covering in the blog.

Coming to Mukesh’s combo with Jagjit Kaur, I have said in the beginning of the post that there is a solitary duet. It’s a surprise that the two artists did not collaborate more in spite of Mukesh seemingly to be close to Khayyam Saab family. However, we should remember that Khayyam Saab himself engaged Jagit Kaur sparingly for playback songs and relied more on the two Mangeshkar sisters.

As we are well aware, both Khayyam Saab and his wife Jagjit Kaur left for their heavenly abode in the very recent past.

Khayyam Saab:           18 February 1927 – 19 August 2019
Jagjit Kaur:                1930 – 15 August 2021

I pay tributes to both the artists and bring forth this duet of Jagjit Kaur and Mukesh from an unreleased film titled ‘Hum Ek Hain’ and composed by Khayyam Saab. Jagjit Kaur sings in unison with Mukesh and her voice is not heard separately. Such is the rarity of this only duet of the combo.

Song – Ram Kaho Ya Rahim Kaho Tum Krishn Kaho Ya Kareem Kaho  (Hum Ek Hain) (UR) (1960s) Singer – Mukesh, Jagjit Kaur (only in chorus with Mukesh), Lyrics – Jaan Nisar Akhtar, MD – Khayyaam
Mukesh + Jagjit Kaur
Mukesh + Jagjit Kaur + Chorus
Chorus

Lyrics (Provided by Sudhir)

wo hai allah
wo hai ishwar
wo hai mukti dhaam
ek nahin sau roop hain us ke
ek nahin sau naam

ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho
awaaz tumhari pahunchegi
maalik tak jo bhi naam bhajo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho

mandir masjid ek hain dono us ke aage
uski leela dekh naa paayen mahal abhaage
duniya rasta bhool gayi hai aisa laage
mann mein koi khot rahe na mann tab jaage
aapas mein matbhed na barto
itna mat abhimaan karo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho
awaaz tumhari pahunchegi
maalik tak jo bhi naam bhajo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho

zaaten paaten varg niyam sab jhootthe naare
rasmen hon yaa reet ke bandhan dhong hain saare
nadaanon ne aap kiye hain ye batwaare
wo hai sab ka aaj bhi us ko sab hain pyaare
deen yahi hai dharm yahi hai
maanavta ka maan karo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho
awaaz tumhari pahunchegi
maalik tak jo bhi naam bhajo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho

kaun ye mandir dwaar khada hai sheesh jhukaaye
(aaa aaa aaa aaa)

tarse par bhagwan ke darshan kar na paaye
(aaa aaa aaa aaa)

sab par mandir dwaar khulen kab wo din aaye
(hmm hmm hmm hmm)

kab tak ye andher kahaan tak ye anyaay..ae..ae
kab tak ye andher kahaan tak ye anyaay..ae..ae
jis ne sabko ek banaaya
uska mat apmaan karo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho
awaaz tumhari pahunchegi
maalik tak jo bhi naam bhajo
ram kaho ya rahim kaho
tum krishn kaho ya kareem kaho
ram kaho ya rahim kaho

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

वो है अल्लाह
वो है ईश्वर
वो है मुक्ति धाम
एक नहीं सौ रूप हैं उसके
एक नहीं सौ नाम

राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो
आवाज़ तुम्हारी पहुंचेगी
मालिक तक जो भी नाम भजो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो

मंदिर मस्जिद एक हैं दोनों उसके आगे
उसकी लीला देख ना पाएँ महल अभागे
दुनिया रस्ता भूल गई है ऐसा लागे
मन में कोइ खोट रहे ना मन तब जागे
आपस में मतभेद ना बरतो
इतना मत अभिमान करो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो
आवाज़ तुम्हारी पहुंचेगी
मालिक तक जो भी नाम भजो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो

ज़ातें पातें वर्ग नियम सब झूठे सारे
रस्में हों या रीत के बंधन ढोंग हैं सारे
नादानों ने आप किए हैं ये बटवारे
वो है सबका आज भी उसको सब हैं प्यारे
दीन यही है धर्म यही है
मानवता का मान करो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो
आवाज़ तुम्हारी पहुंचेगी
मालिक तक जो भी नाम भजो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो

कौन ये मंदिर द्वार खड़ा है शीश झुकाये
(आ आ आ आ)
तरसे पर भगवान के दर्शन कर ना पाये
(आ आ आ आ)
सब पर मंदिर द्वार खुलें कब वो दिन आए
(हम्म हम्म हम्म हम्म)
कब तक ये अंधेर कहाँ तक ये अन्याय॰॰ए॰॰ए
कब तक ये अंधेर कहाँ तक ये अन्याय॰॰ए॰॰ए
जिसने सबको एक बनाया
उसका मत अपमान करो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो
आवाज़ तुम्हारी पहुंचेगी
मालिक तक जो भी नाम भजो
राम कहो या रहीम कहो
तुम कृष्ण कहो या करीम कहो
राम कहो या रहीम कहो


This article is written by Peevesie’s mom, 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 :

4838 Post No. : 16624

Hullo Atuldom

My family and some members of this world of Atulsongaday, which I like to refer to as Atuldom, know my love for a few actors from the Hindi Film World. Specially the actors who graced the silver screen in the 70s, 80s and early 90s. Many of the actors of that period are in the 60 to 75/80+ age group. Actors Amitabh Bachchan, Jeetendra, Rekha, Hema Malini, Zeenat Aman, Jaya Bhaduri, Dharmendra, some actors played character roles in that period etc. when they make an appearance on reality television I make it a point to see those episodes and on repeat if possible.

Kaun Banega Crorepati had one such episode on 15th October 2021. It was advertised as ‘Sholay Reunion Special’ (if I got the title right). It was like a reunion of school friends. Hema Malini and Ramesh Sippy were the guests who played the game for some charity. It was cute to see Hemaji and AB Sr. mouthing lines of all the characters – Gabbar Singh, Angrezon ke zamaane ka jailor, Veeru, Jai – whose pictures were flashed on the big screen. Hema Malini did the Jailor’s typical laugh and also “basanti inn kutton ke saamne matt nachna” and I was all eyes and ears. Imagine how soothing it must have been to see a sooper pretty lady, with her typical manner of speech, giving answers to the questions. Here I would like to mention that the questions were ‘made to order’ to enable Ramesh Sippy and Hemaji earn 25l to fund their charities. There were two highlights in the show; one was when Veeru joined the show over video call.
The other and more appropriate (IMO) part of the show was when they brought Reshma Pathan on the show. This is the lady who has played a body double for all the stunts that heroines were shown to be carrying out in the movies of the 70s and 80s. Hemaji and Rameshji showered their praises on this lady for helping out with the stunts in Sholay. They specially mentioned the action scene, after the Holi song, where a child is shown crying near the ‘merry-go-round’ and a lady comes running to rescue the child.

Towards the final section of the program they wished (in advance) The Beautiful Hema Malini for her birthday. I had also thought up a few possible songs to go with this post. Then I happened to see a comment on the blog, by Manohar Lal Dave, who had reminded that 15th October was the birth anniversary of Shankar of the Shankar-Jaikishan duo.

We will enjoy this song from “Sanyasi” (1975) of which the blog has five songs. This is the sixth written by Varma Malik and tuned S-J and it is sung by Mukesh and Lata Mangeshkar.

Wishing the Ever-so- gorgeous, beautiful, elegant DreamGirl on her birthday with this song.

Audio

Video

Song-Sun baal brahmchaari main hoon kanya kunwaari (Sanyaasi)(1975) Singers-Lata, Mukesh, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

om nama shivay
haay
om nama shivay
hmm
om nama shivay
hahahah
om nama shivay
hahahah
om nama shivay

sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwari

aake khadi hoon dwaare tere
kyun baithha hai aankhen phere
aake khadi hoon dwaare tere
kyun baitha hai aankhen phere
in aankhon ki madira pee le
in aankhon ki madira pee le
chhodne waala hans kar jee le
ari sun roopwati
main hoon sant jati sati (?)
kisi aur pe dore daalo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari

bol Siyapati Ramchandra ki jai

ban thhan ke main aise nikli
jaise saawan mein chamke bijli
ban thhan ke main aise nikli
jaise saawan mein chamke bijli
aisi meri bharpoor jawaani
aisi meri bharpoor jawaani
aag se jaise lipta paani
hey Raamji duhaai
ye Saroopnakha aayi
apne Lakshman ko sambhaalo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari

bana jawaani mein tu jogi
teri saadhana poori na hogi
bana jawaani mein tu jogi
teri saadhna poori na hogi
poori na hogi
roop mein mere itni shakti
karne lagega meri bhakti
aaye nikat nikat
hai samaysya vikat
koi iska ticket kata lo
meri maa mujhe bacha lo

sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man me preet ka rang bhar du
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari


This article is written by Mahesh Mamadapur, 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 :

4788 Post No. : 16545

Mukesh and his Composers – 22
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We pay tributes to legendary singer Mukesh on his Remembrance Day today (22 July 1923 – 27 August 1976). His voice, songs, and the rich legacy left behind continues to be remembered and cherished by fans across the globe.

February 12, 1982, Music Director’s Association had organized a programme at Mumbai’s Shanmukhananda Auditorium to celebrate 50 years of sound in Indian Cinema. Off course, the mega event is now also fondly remembered for Noor Jahan’s only travel from across the border after partition and her active participation in it.

In the programme, anchor Shabana Azmi, while introducing the life and singing career of Mukesh says that for having such pathos and honestly in the voice, it is necessary that apart from being a good singer, the person himself has to be a noble soul. I liked her description of Mukesh immensely and hence including it in his special post for the day. This nobility of Mukesh and his good deeds for society and his co-workers, has been mentioned in quite a few of my previous posts.
For adherent Mukesh fans, it very easy to pick a sample of their most favorite songs for the simple reason that there exists no sample and his entire body of thousand odd songs can be counted as best loved.

Continuing the series on Mukesh and his composers, I take up his association with composer Dattaram.
We all know that Dattaram was one of the main pillars on which the empire of Shanker Jaikishen stood and flourished. He worked for SJ camp almost all of his career but also had several opportunities to compose on his own name in many of the films. It is now an established fact that he could not come out of the shadows of SJ completely in spite of being immensely talented and hard working.

The curious cases of Dattaram and another favourite of mine Ghulam Mohammed intrigues me to no end. They had everything in them to create name and fame for themselves, but it appears they were too reluctant to venture out on their own to a far extent.

There are many videos, interviews, articles and blogs available on the web for the works of Datttaram and I am skipping referring the same.
Below is the table of collaboration of works of Mukesh with the composer.

An interesting fact on initial glance reveals that two prominent names of SJ camp are missing. Lyricist Shailendra and singer Lata. Off course, both have worked for Dattaram but when we filter Mukesh songs, we find them missing.

Again, what should I write about the songs enlisted below. Its signature Mukesh all the way starting with the immortal “aansoo bhari hain”. This song will forever remain an indisputable proof of the wonders the voice could create in lower tones of pathos songs with or without instruments. It was 1958 and Mukesh had just come out the clutches of his failed experiments and he grasped the year with all his might and went on to become Mighty Mukesh.

A cursory glance through the second column in the table below brings to the mind several memories of humming these songs. And, for obvious reasons, I again skip describing each of the songs.

Needless to say, I have again relied on the highly reliable Mukesh Geetkosh by Shri Harish Raghuvanshi ji and thank him for the same.

S.No Name of the song Movie (Year of release) Co-singer if any Lyricist
1 Aansoo bhari hain Parwarish (1958) Hasrat Jaipuri
2 Dil ne usey maan liya (Happy and Sad version) Santaan (1959) Hasrat Jaipuri
3 Dil dhoondhtaa hai Kaala Aadmi (1960) Hasrat Jaipuri
4 Ae dil dekhe hain humne Shreemaan Satyawaadi (1960) Hasrat Jaipuri
5 Ik baat kahoon wallaah Shreemaan Satyawaadi (1960) Mahendra Kapoor, Suman Kalyanpur Gulzar
6 Haal e dil hamaara Shreemaan Satyawaadi (1960) Hasrat Jaipuri
7 Rut albeli mast samaan Shreemaan Satyawaadi (1960) Gulzar
8 Maano ya na maano First Love (1961) Suman Kalyanpur Gulshan Baawra
9 Mere pyaar mein ya wafa First Love (1961) Gulshan Baawra
10 Mujhe mil gayi hai First Love (1961) Gulshan Baawra
11 Kabhi kisi ki khushiyaan Zindagi aur Khwaab (1961) Kavi Pradeep
12 Ae meri jaane wafaa Neeli Aankhen (1962) Gulshan Baawra
13 More Mann Mitwa Suna Morey Man Mitwaa (1965) Suman Kalyanpur Harishchandra Priyadarshi
14 Dekhi teri duniyaa arre Farishta (1968) Asad Bhopali

The duo worked together for 14 songs of which 13 are already represented on the blog and is yet another proof regarding their popularity. One duet with Suman Kalyanpur remains to be covered and is the song under consideration for the post. This duet is from a 1965 movie, Morey Man Mitwa, a Magadhi language film. The producer and director of the film are R. D. Bansal and Girish Ranjan respectively.

A chirpy and hummable love song, I am sure readers will like it on first listening.


Song-Morey man mitwa (Morey man mitwa)(Magadhi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-Harishchandra Priyadarshi, MD-Dattaram

Lyrics

morey man mitwa
suna de o geetwa
suna de o geetwa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa

sun goriya kaise sunaiha o geetwaa
sun gori kaise sunaiha o geetwaa
sajaniya hey
sajaniya hey
geetwa jagawai tor man maa
sajaniya hey
geetwa jagawai tor man maa

man ma ??
milan ma ke galema
milan ma ke galma
nainwa ke korwa sajaawaa na sapan maa
sajaawaa na sapan maa

man ma ??
milan ma ke galma
milan ma ke galma
lalki ?? kiraniya aitai
hamre anganma
hamre singaar toohi
hamre sajanma
hamre sajanma
balam ho
balam ho
chhun chhun boley kanganwa
balam ho
chhun chhun boley kanganwa

ban ke baawariya
rachaawa na laganma
rachaawa na laganma

torey bin chain naahin
paawe more man maa
na paawe more manwaa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
dilwa se door karde
man ke bharam ma
na ham singaar tohre
na hi sajanma
ho na hi sajanma
sajaniya hey
sajaniya hey
jud le judaito na paranma
sajaniya hey
jud le judaito na paranma

more man mitwa
suna de o geetwaa
suna de o geetwaa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa


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 :

4752 Post No. : 16491

I am poor in remembering important dates, as I have stressed many a times. And ith passage of time, I am actually becoming more absent minded. We already have our anniversary page, hich is consulted by many music lovers, but I have not consulted it myself for quite some time. So, I come to know about important music related dates from others, who themselves may have come to know about these dates from our anniversary page ! 🙂

Today morning, I came to know that it is Mukesh’s birth anniversary. And I also noticed that as many as two Mukesh songs were covered yesterday (21 july 2021) and that took the tally of Mukesh songs in the blog to 799 !

So fate had ordained that Mukesh would complete his 800th song in the blog on his birth anniversary !

With so many Mukesh songs already covered in the blog, just a few Mukesh songs are left to be covered. One would expect that most well known Mukesh songs are already covered in the blog. And they are right. Still, there are some Mukesh songs that are so far still at large. There is one such song that readily came to my mind. I myself was surprised to note that such a well known Mukesh song was still not there in the blog.

This song is from “Dharmatma”(1975). The movie had five songs in it, including one multiple version song. The five songs were sung by five singers, namely Lata Mangeshkar, Kishore Kumar, Mahendra Kapoor, Mukesh and Kanchan. While the first three singers sang one solo song each, Mukesh and Kanchan sang two duets in the movie. Both duets were extremely popular songs of those days. The first duet, Kya khoob lagti ho badi sundar dikhti ho(Dharmatma), is already there in the blog.

Here is the second Mukesh Kanchan duet from “Dharmatma”(1975). It is picturised on Rekha and Feroz Khan. Rekha is with him, and Feroz Khan is dreaming about Hema Malini. This way, this song is similar in picturisation to the “Gora Aur Kaala”(1972) song covered in the blog yesterday. 🙂

Indeewar in the lyricist. Music is composed by Kalyanji Anandji.

As discussed above, This song is the 800th Mukesh song in the blog. Quite an appropriate song to mark the birth anniversary of legendary singer Mukesh.

With this song, all the songs of “Dharmatma”(1975) are now covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.

Audio

Video

Song-Tum ne kisi se kabhi pyaar kiya hai (Dharmatma)(1975) Singer-Kanchan, Mukesh, Lyrics-Indeewar, MD-Kalyanji Anandji
Chorus

Lyrics

ru ru ru ru
ru ru ru ru
ru ru ru rur
ru ru ru ru

tum ne kisi se kabhi pyaar kiya hai
bolo na
tum ne kisi se kabhi pyaar kiya hai
pyaar bhara dil kisi ko diya hai
pyaar kahaan apni kismat mein
pyaar kahaan apni kismat mein
pyaar ka bas deedaar kiya hai

tum ne kisi se kabhi pyaar kiya hai
pyar bhara dil kisi ko diya hai

aa aa aa
aa aa aa aa aa
aa aa aaa aa aa
aa aa aa aa aa
aa aa aa aa

tum ho itne haseen ke tum par laakhon marti hongi
haan haan
laakhon marti hongi
tum ho itne jawaan, hazaaron aahen bharti hongi
haan haan
aahen bharti hongi
kis ko kaha tumne apna aa
ban ke rahe kis ka sapna aa
sapne to sapne hain aakhir
sapne to sapne hain aakhir
kis ne inhen saakaar kiya hai

tum ne kisi se kabhi pyar kiya hai
pyaar bhara dil kisi ko diya hai

aaa aa aa
aa aa aa aa
aa aa aaa aa
aa aa aa aa

maine dekha haal dilon ka
dekhe do dilwaale
maine dekhe do dilwaale
ek dooje ke pyaar pe donon jaan lutaane waale ae
donon jaan lutaane waale
pyaar ka saara jahaan dushman
dekh saka na unka milan

auron ki chhodo, apni sunaao
auron ki chhodo, apni sunaao
tum ne kahaan dil haar diya hai
tum ne kisi se kabhi pyaar kiya hai
pyaar bhara dil kisi ko diya hai


This article is written by Mahesh Mamadapur, 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 : 4751 Post No. : 16490

Mukesh and his Composers -21
————————————————

Did Mukesh act in ‘Uss Paar’ (1944)?

The correct and factual answer along with credible proof to the above question is of historical importance as it refers to the first ever payback rendered by Mukesh.

If Mukesh has not acted in the film, then apparently it will be his first playback.

If he has acted in some capacity, then there are again two possibilities.

  1. He was a side actor and the duet with Kusum was featured on him only.
  2. He had a role in the film, but said duet was picturized on someone else.

One song from ‘Uss Paar’ (1944) has been covered on the blog and it is in fact, the elephant in the room.

Sudhir ji in his extraordinary series ‘The voice of Mukesh’ has covered this duet with Kusum Mantri and has considered it to be the first playback of Mukesh.

All indications are that Mukesh did not act in the movie, but undeniable proof is yet to surface.

Coming to the next post in this series, we take up the career of Mukesh with composer-singer Bulo C Rani today.

Yes, I agree that Bulo C Rani had nothing to do with ‘Uss Paar’ (1944) as it was composed by Feroz Nizami.

But then while searching for some information on Bulo C. Rani, I happened to refer to the book Hindi Film Song by Ashok Da. Ranade. In his description of the works of Bulo C. Rani, Ashok ji in his book on p. 226 says about the film ‘Moorti’ (1945).

In it “badariya baras gai” – which was Mukesh’s first song as the composer often claimed with pride – won popularity.

There we go again. Was Bulo C Rani implying ‘Uss Paar’ duet of Mukesh was not his first playback. Since Bulo C. Rani was very much part of HFM during 1944 -1945, he must have known about Mukesh’s actor-singer songs to take the credit of composing the first song (playback) of Mukesh.

Matters get more complicated with Mukesh with many firsts such as first song, first playback, first popular song etc. And before all these we have his six NFS which he recorded in 1939 at Delhi before coming to Bombay.

When the question referred in the very first line of this post is addressed satisfactorily with proof, I intend to write a separate post on the many firsts of Mukesh with a detailed table.

Coming to the discussions on today’s collaboration, I am happy to bring forth the many memorable and sweet songs that Mukesh sang under the baton of Bulo C Rani.

Before I go into the details of the songs, here is a brief and bullet point summary on the life of Bulo C Rani much of it from the book referred above.

  • He was born on 6 May 1920 in Hyderabad Sindh and his originally name was Bulo Chandiramani Ramchandani.
  • He came to Bombay in 1942 with DN Madhok and joined Ranjit Films to assist Kemchand Prakash.
  • In his initial part of film career, he sang a few songs under different composers.
  • He is credited for composing for the first Sindhi film Abana (1958)

Apart from the above, I request interested readers to apprise themselves of the life and career of the composer with the following three links in which the respective authors have done enough and valuable research.

 

S.No Name of song Movie (Year of release) Co-singer if any Lyricist
1 Badariya baras gayi uss paar Moorti (1945) Khursheed and Hamida Bano Pt Indra Chandra
2 Haseeno se haseeno ko Moorti (1945) Pt Indra Chandra
3 Maana ke tum haseen ho Moorti (1945) Pt Indra Chandra
4 Pardesi dhola Prabhu Ka Ghar (1945) Mohantara Pt Indra Chandra
5 Jaa parwaane jaa Rajputaani (1946) Hamida Bano Pt Indra Chandra
6 Kiye jaa pyaar Rajputaani (1946) Pt Indra Chandra
7 Kaise bataaun unse Anjuman (1948) Shamshad Begam Majrooh Sultanpuri
8 Woh teer kaleje par Anjuman (1948) Majrooh Sultanpuri
9 Unki gali mein aaye hum Nazaare (1949) Rajinder Krishan
10 Armaan bhara dil toot gaya Wafa (1950) Lata Hasrat Jaipuri
11 Aansoo bhaavo tum udhar Pyaar Ki Baaten (1951) Geeta Roy Majrooh Sultanpuri
12 Mast chaandni jhoom rahi Pyaar Ki Baaten (1951) Geeta Roy M L Khanna
13 Ae Momino Suno Ye Kahani Abdullah (1960) Shewan Rizvi
14 Ham bhi kho gaye hain Madam Zorro (1962) Kamal Barot Shewan Rizvi
15 Main hoon deewaanaa Haqdaar (1964) Prem Warbartani

The above table provides the complete table of songs composed by Bulo C Rani and sung by Mukesh. It appears, Mukesh was the favorite singer of the composer especially in the late forties and early fifties. Why the composer used Mukesh sparingly in the sixties is not clearly known.

Some beautiful ghazals and delightful duets were the hallmark of the combo. The melodious songs are well known to avid music lovers and I am avoiding describing them again.

As usual, Shri Harish ji has confirmed, correctness of the above table and added useful information that Mukesh sang for the composer, two more duets with Asha Hargunani for a Sindhi film Naqli Shaan (1972) with lyrics by Krishna Rahi.

  1. Ankh Phadke Dil Dhadke
  2. Haseen Raat Aa Mast Aa Fizaa

Out of the 15 songs enlisted above only one from the film ‘Abdullah’ (1960) remains to be covered on the blog and is presented in this post.

 

Song – Ae Momino Suno Ye Kahaani Namaaz Ki  (Abdullah) (1960) Singer – Mukesh, Lyrics – Shewan Rizwi, MD – Bulo C Rani

Lyrics (Provided by Sudhir)

ae momino suno ye kahani namaz ki
hai hum pe farz bandagi banda nawaaz ki
ae momino suno ye kahani namaz ki

mulk e arab me ek haseena thi nek naam
karti thi apne rabb ki ibadadat wo subh o sham
usko namaaz padne ka bachpan se shauk tha
ik waqt ki namaaz bhi karti na thi kaza
nanha sa ek laal tha us paak baaz ka
gurbat me shukr karti thi wo beniyaaz ka
masoom bachcha bhookh se rota jo beqarar
pani pila pila ke thapakti thi bar bar
guzre isi tarah jo museebat me teen saal
shauhar ke dil me uspe safar ka hua khayal
shauhar ki bat sun ke wo majboor ho gayi
do dil ki ye judaai thi manjur ho gayi

biwi ko rota chhod ke jab ghar se wo chala
masoom bachcha baap se apne lipat gaya
samjha ke maa ne god me bachche ko le liya
wo chup rahi to ashqon ne haafiz khuda kaha
nikla ghareeb ghar se ghareeb ul watan hua
jungle ki tez dhoop me aur bhookh me chala
nagaah ek daku ki us par padi nazar
zalim ne mara zulm se ek teer taak kar
lagte hi teer dil pe wo chakra ke gir pada
waake mein teen waqt the duniya se chal basa
daaku karib aaya use dekhne laga
bhai ko murda dekh ke wo tharthara gaya
roya lipat lipat ke biraadar ki lash se
sar phodta tha apni hi bhai ko mar ke

kehta tha ro ke haaye ye kya maine kar diya
bhai ka khoon apne hi daman me bhar diya
munh peet’ta hua wo sehar ki taraf chala
bhabhi ko apne kehne ko pur dard maajra
ae momino suno ye kahani namaz ki

masroof har namaaz mein wo ek zaat thi
go din ki bhookh mein bhi thi mashgool e bandagi
daaku ne raah zal mein yaa shauhar ke bhai ne
tab aa ke tod daale ummeedon ke aaine
kehne laga suhaag tera maine le liya
apne hi haathon qatl biraadar ko kar diya
daaku gunehgaar ko rehban ko dekh le
khoon se bhara hua mere daaman ko dekh le
ye sun ke cheekhi aur wo behosh ho gayi
duniya se bekhabar wo gaflat mein so gayi
roi tadap ke khwaab mein shauhar ko dekh kar
dil tukde tukde ho gaya dilbar ko dekh kar
nanhe ka baazu thaam liya dil ko thaam kar
kehne lagi ke le chalo shauhar ki laash par
al qissa roti peet’ti pahunchi wo laash par
kadmon pe sar ko rakh diya shauhar ko dekh kar
fariyaad rabb se karne lagi ho ke beqaraar
utri falak beewi koi sun ke ye pukaar
haathon mein ek jaam tha munh par naqaab thi
rehmat baras rahi thi charaafa hijaab ki
wo beewi boli is pe chhidak de ye jaam tu
aur padh ke is se pooch le allah ka naam tu
paani chhidak ke naam e khuda us pe dam diya
kudrat khuda ki dekhiye wo murda jee utha. . .

ye dekh kar lipat gayi shauhar se wo ghareeb
kehne lagi ke mil gaya mujh ko mera habeeb
daaman pakad ke beewi ka phir poochhne lagi
tum kaun ho khudaara bata do ye raaz bhi
wo beewi boli main hi khuda ki namaaz hoon
maalik ki bandgi hoon barkat ka raaz hoon
apne namaazion ki main bigdi banaati hoon
apne namaazion pe main rehmat lutaati hoon
gaayab hua ye keh ke farishta namaaz ka
padh kar namaaz dekho karishma namaaz ka

padh kar namaaz dekho karishma namaaz ka. . .


This article is written by Nahm, 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 :

4751 Post No. : 16489

Eid ul Azha mubarak ho, to all friends and readers.

It is generally believed that faith and logic are two different things.  What is faith?  Basic premise of faith would be the belief in God.  The conviction that there is a Supreme Power who holds the strings of all things in the universe.  After all the world is a stage and we all are actors.  Shakespeare said it, but it is nothing but the truth.  All of us are here for a set number of days, playing our designated roles, doing things we are destined to do, amassing good deeds and bad deeds.  As we complete the life circle and leave this mortal world, the soul does go somewhere, where else it will go but to the creator?  Logic has no option but to agree that the creator is in best position to answer the question, what is the purpose of creation?  If there was no creator, nothing makes sense in the whole existence. Science can give answers till a certain point and that is that. Logic starts where science gives up.   And sound logic points to God, the Creator, the Sustainer, the one who says “be” and it is.

I quote here some of the verses from the Glorious Quran.

“O Mankind, indeed we have created you male and female, and made you peoples and tribes that you may know one another. Indeed, the most noble of you, in the sight of Allah is the most righteous of you. Indeed, ALLAH is (all) knowing and (well) acquainted.” –  49:13

“And (O Muhommad) say: My Lord forgive and have mercy, for you are the best of all who show mercy.” –  23:118

“O mankind, there has come to you, a convincing proof (Prophet Muhammad) from your Lord and we send down to you a manifest light (this Quran).” – 4:174

“And whoever is guided is only guided for [the benefit of] himself.” – 27:92

“And for those who fear Allah, He will make their path easy.” – 65:4

“Allah never changes the condition of people until they change what is in themselves.” – 13:11

“And put thy trust in Allah. And enough is Allah as a Disposer of affairs.” – 33:3

“Take care of your souls.” – 5:105

“Do not ridicule others, perhaps they may be better than you.” – 49:11

“If you are thankful, I will increase my blessings upon you.” – 14:7

“So remember me, I will remember you.” – 2:152

“He knows what is in every heart.” – 67:13

“Verily, with every hardship comes ease.” –  94:5

“Allah does not burden a soul beyond that it can bear.” – 2:286

“Do not lose hope, nor be sad, for you will overcome them, if you are among the believers.” – 3:139

“We will test you in fear, hunger, loss of wealth life & fruit, but give glad tiding to the patient (steadfast).” – 2:155

“Call upon me, I will respond to you.” – 40:60

“Indeed, Allah is with those who abide him and those who are doers of good.” -16:128

“Allah will provide for him from a quarter from where he had no expectation. And whosoever puts all his trust in Allah, He will be enough for him. Allah is in command and he has set a measure for all things.” –  65:3

“And worship your Lord until there comes into you the certainty/inevitable (death)” – 15:99

“You prefer the life of this world. Although the hereafter is better & more lasting.” 87:16-17

“And we have certainly beautified the nearest heaven with stars.” – 67:5

“The Pharoah’s wife said (Pray) My lord, build for me near you a house in paradise.” –  66:11

These ‘Aayaat’ are part of different Surah (Chapters) in the Quran, revealed at different times to the Prophet Mohammad (PBUH) (570-632 CE), during his Prophethood years (610-632 CE).  Mohammed (PBUH) was unlettered with no formal education, and had rarely traveled outside of Makkah, before his migration (Hijraah) to Madinah.   All ‘Aayaat’ of the Holy Quran were revealed to him, via the Angel Jibraeel (AS) at different times and in context of different situations. They were delivered as signs and guidance. These ‘Aayaat’ were then related by the Prophet (PBUH) to his companions (Sahaba), who recorded them in writing.  All of these ‘Aayaat’ were recorded in the Prophet’s life time. It was collated/arranged in a meticulous way, in the form of different Surah’s of the Quran during the reign of Hazrat Abu-Bakr (RA) (573-634 CE), the first Khalifa, in the present compilation. Hazrat Umar (RA) had a great contribution in this process.  There is great detail available about how the procedure was done, with verification of at least 2 witnesses that the Aayat is indeed written down in the presence of the Prophet.  Different Surah’s are also classified as ‘Makkih’ and ‘Madnih’, those revealed before migration to Madinah and after.

How simple and easy, is the faith and the true path, can be discerned in these quotes. How wise is the counsel, for all situations? It answers some of the basic questions bothering the mankind, with intellectuals, philosophers, thinkers having scratched their heads for all these millennia.  I have tried to collate them in an order, so it is in the order of creation, faith, trust, thankfulness, the true way of living, easy way of functioning as a creation, hope, the hereafter, the quest for heaven, how it is near and then the last one speaks of the wife of one (Pharoah-who denied the existence of Allah and declared himself as God) can ask (pray) for the highest level in Jannah (Paradise). It means, its available for everyone, one only has to seek it and ask for it, whatever and whoever you are.  This may not be the best way of saying it, and if I have erred, may Allah (SWT) forgive me.

A brief definition of Jannah with a prayer:

Jannah, where there will be no sickness, no pain, no difficulty, no separation, no loss.

Jannah, its beauty such that no mind could even ever comprehend.

Jannah, where those you love are waiting for you.

Jannah, where your Allah is waiting for you.

Jannah, which is never ever going to end.

Remind yourself that this is the decree of Allah and in his decisions is hidden kindness. Remind yourself that it is not just going to be okay, but it is going to be worth it.

Dear heart, please just remind yourself that your Allah is with you. Please don’t ever forget that.

Your Allah is with you. Your Allah will never leave you.

He knows of your condition. He is aware of your struggle.

And not a single moment of this going by unrewarded.

Allah knows that you are scared, and it is okay to be scared.

Keep trusting your Allah. Don’t lose hope in His mercy.  He is right here with you.

Feel it and treasure it.

———————————————————————————————————

On a different note, this is what Allama Iqbal has to say:

Sajdon ke ee’waz firdaus mile ye baat mujhe manzoor nahi
Be-laus i’baadat karta hoon banda hoon tera mazdoor nahi

 Ee’waz or I’waz means in return of, and ‘Firdaus’ is Jannat/heaven/paradise in persian.

What Iqbal means is :

I am not doing salutations / ibaadat (supplication) and itaa’at (obedience / submission to the will of Almighty), so that you grant me heaven in return. My prayers are pure, as I am your slave and not a paid servant.

This is, but the highest point of devotion, that the pious seek.

One of those pious, righteous, seekers of the divine favour, was Umar Farooq (RA) (584-644 CE). Umar bin Khattab was the second Khalifa of the Khulfa-e-Rashideen. The status of Umar Farooq, as a Sahaba, companions of the Prophet (PBUH), as among the beloved and respected Khalifa, can be ascertained from the fact of his being one of the “Ashra Mubashra”.  “Ashra Mubashra” are the 10 exalted ones among the Sahaba, who were given the ‘Good News’ or ‘Glad Tidings’.  What would be the ‘Good News’ who have the clear idea of the purpose of creation, life and death?  It is the achievement of securing a place in ‘Jannah’.  So, by divine declaration, those 10 were given the Good News, that a place is secured in Jannah for them. The magnificent ten include all four Khulfa-e-Rashideen.  Umar Farooq (RA)’s significance as a Khalifa and his role in the spread of Islamic empire much beyond the Arabian Peninsula is indisputable and incomparable.  One more significant and important contribution of Umar Farooq (RA), is the introduction of Islamic calendar i.e. the Hijri calendar.  There is a great deal to learn from his story, for he was one of the major detractors of the Prophet for a long time.  But once he accepted that Mohammed is indeed the Messenger of Allah, and came into the fold of Islam, blessed by the Allah (SWT) and rose to great heights that he did.

 I have read up a lot in recent days, so that I could give some accurate and concise information in this post.  But if I go on, this post will never finish.

So, I will move to the song, which is a non-film song sung by Mukesh. The song is composed by Iqbal and lyricist is Shadaab Minai.  Shadaab Minai is probably making a debut here with this song.  The song is talking in detail of an incident i.e. a qissa during the reign of Umar Farooq (RA), the second Khalifa.

Tally of music director, lyricist and singer in the blog so far as follows:

 

Iqbal

23

Shaadaab

2

Mukesh

797

932

Unless the Shadaab in the stats page is the same as Shadaab Minai, otherwise this is the first song written by Shadaab Minai in the blog.

This is a rare song, which I think few people may have heard before.  I was not aware it until a few months ago, when it was shared by someone on WhatsApp.

 

Song – Hai Bahut Mashoor Ye Qissa Umar Farooq Ka (Mukesh – NFS) (1970), Singer – Mukesh, Lyrics – Shadaab Minai, MD – Iqbal

Lyrics

hai bahot mash-hoor ye qissa
Umar Farooq ka
aaj bhi duniyaa mein hai
charcha Umar Farooq ka

jab khilaafat ka sharf
haasil hua Farooq ko
momino ki fikr rehti thhi sadaa Farooq ko
kaam aate thhe har ek
majboor ke Hazrat Umar
shauq se karte thhe khud
har ek ki khidmat Umar

phirte phirte ek din
pahunche Umar ek ghar ke paas
dekhte kya hain
wahan baithhi hai ek aurat udaas
degchi chulhe pe thhi aur
ro rahe thhe us ke laal
jab kiya Hazrat Umar ne ja ke
aurat se sawaal
ro rahe hain kis liye bachche
yeh kya hai maajra
bhook se rote hain ye bachche
ye aurat ne kaha
bole Hazrat degchi mein
pak raha hai kya kaho
kis liye ghamgheen ho
jo kuchh bhi hai dukhda kaho

boli wo aurat ke paani se bhari hai degchi
kyun ke main bachchon ko behlaati hoon
is soorat se hi
uff taraste hain ye bachhche daane daane ke liye
kuchh nahi hai mere paas in ko khilaane ke liye
teesre din ka hai faqaa
mere bachchon par huzoor
mera koyi bhi yahaan wali nahin
nazdeek-o-dur
roye uss ko dekh kar iss haal mein
Hazrat Umar
aa gaye fauran hi bait-ul-maal mein Hazrat Umar
aata kapda ghee chhuaare aur raqam le kar Umar
ghamzada aurat ke ghar ki simt daude jaldtar
peetth par dekha Umar ke bojh to bola ghulaam
bojh uttha kar mujh ko chalne deejiye aye nek naam
ye Umar bole agar ye bojh main de doon tujhe ea
hashr ke din kya sazaa dega na jaane rab mujhe
de diya dukhiya ko sab saamaan la kar aap ne
aur khilaaya sab ko khaana pakaa kar aap ne

khaa liya bachchon ne aurat ne khaana jis ghadi
ho gaye Hazrat Umar khush dekh kar un ki khushi
aap ko de kar duaaen phir ye aurat ne kaha
kaash mil jaata koyi ham ko khalifa aap sa
ham gariboon ki Umar koyi khabar rakhte nahin
a’iysh mein hain mast dukhiyon par nazar rakhte nahin
le ke dukhiya ki baaton ka asar Hazrat Umar
khaamoshi se laut aaye apne ghar Hazrat Umar

subah us aurat ko Faarooq ne bulwa liya
aur wazifa us ka bait-ul-maal se jaari kiyaa
ho ke sharminda phir Umar ne aurat se kaha
dukh bahot pahunchaa hai tum ko
meri ghaflat se sada
tum mujhe kar do mu’aaf
itni hai meri iltejaa aa
tum jo mujh ko bakhsh do
bakhsh de mujh ko khudaa aa

saari duniyaa mein hai charcha
har kahin Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka


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Blog Day :

4578 Post No. : 16187

“Mummy Daddy”(1963) was directed by Narendra Dave for Golden Movies, Bombay. This “social” movie had Ameeta, Sudesh Kumar, Lalita Paar, Tiwari, Maruti, Manorama, Niranjan Sharma, Jagdeesh Kanal, Rajendra Singh, Jamal, Satish, Shamlal, Rajnath, R P Sharma, Nadir, Mansaram, Amrit, Baby Chaand, Ravikant, Nazeer Kashmiri, Narbada Shankar, Rata Gaurang, Madhumati, Meera Parel, Rajni, Burhan, Bihari, R P Kapoor, Hari Sharma, Chanda etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Mummy Daddy”(1963) to appear in the blog. The song is sung by Mukesh and Lata. Prem Dhaan is the lyricist. Music is composed by Chitragupta.

Only the audio of the song is available. My guess is that the song was picturised on the lead pair of Sudesh Kumar and Ameeta. Nevertheless, I request our knowledgeable readers to thro light on the movie as well as on the picturisation of this song.


Song-Aisa nahin hoon aji main main aisa nahin hoon(Mummy Daddy)(1963) Singers-Mukesh, Lata, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

aisa nahin hoon aji main aisa nahin hoon
aisa nahin hoon aji main aisa nahin hoon
tujhe keh doon main apna phir haath tera chhod doon
aisi nahin hoon aji main aisi nahin hoon
aisi nahin hoon aji main aisi nahin hoon
teri hoke main sajna jo saath tera chhod doon
aisi nahin hoon aji main aisi nahin hoon

pyaar mera kaise duniya mitaayegi
yaad teri dil se mere jaane na paayegi
pyaar mera kaise duniya mitaayegi
yaad teri dil se mere jaane na paayegi
tujhse karoon waada
tujhse karoon waada
phir aap usey tod doon
aisa nahin hoon aji main aisa nahin hoon
aisa nahin hoon aji main aisa nahin hoon

dekhiye zamaana humko sataayega
aap mere saath hain to kya wo jalaayega
dekhiye zamaana humko sataayega
aap mere saath hain to kya wo jalaayega
darr ke zamaane se
darr ke zamaane se
jo pyaar tera chhod doon
aisi nahin hoon aji main aisi nahin hoon
aisi nahin hoon aji main aisi nahin hoon

aap agar bolen haazir ye jaan hai
pyaar mein jo aisa kahe wo to naadaan hai
aap agar bolen haazir ye jaan hai
pyaar mein jo aisa kahe wo to naadaan hai
tod ke ye naata
tod ke ye naata
jo aur se main jod doon
aisa nahin hoon aji main aisa nahin hoon
aisa nahin hoon aji main aisa nahin hoon
teri hoke main sajna jo saath tera chhod doon
aisi nahin hoon aji main aisi nahin hoon


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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