Archive for the ‘Mukesh solo’ Category
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 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.
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Blog Day : |
5336 | Post No. : | 17502 |
Mukesh and his Composers – 23
This post is dedicated to Shri Harish Raghuwanshi ji of Surat for his pioneering work in collating songs and providing invaluable information on films and artists.
Mukesh’s collaboration with composer Lachhiram hardly rings any bell and rightly so as “they never worked in any film”.
With some surfing on the net, one comes across two devotional NFS that Mukesh sang for him. With more rigorous search one can find references of some rare and untraceable couplet that Mukesh sang in Lachhiram’s last film Main Suhangan Hoon released in 1964.
Arguably, this was the last as well as the most famous film that he scored music for. All available compilations of this film’s songs on the net and elsewhere rightly contain 7 songs. In fact, this film is also yipped on this blog with all the 7 songs duly represented.
And this is where the work of Harish ji comes into picture. In his latest version of Mukesh Geetkosh, there is no reference to this film in the index. However, under 1964 songs, there is a special mention that Mukesh rendered a short 33 second couplet in this film.
Thus, with all eagerness, I started to “watch” the film on youtube where it is fortunately uploaded. Apparently, the credit titles do not reflect Mukesh’s name under playback singers. But then a little over half an hour into the movie, there is unmistakable voice of Mukesh for the said couplet.
The first thought that came to my mind on hearing the 33 second rendering was to thank Harish ji for all the painstaking efforts that he has taken to compile almost everything that Mukesh ever sang.
Music lovers and especially Mukesh fans will always remain indebted to Harish ji.
A short table of the two NFS and this couplet under consideration are presented in the table below as far as the work of Lachhiram and Mukesh is concerned. Needless to say, even the two NFS are yet to be covered on the blog.
| S. No | Name of the song | Movie (Year of release) | Lyricist |
|---|---|---|---|
| 1 | Chhod jhamela jhoote jag ka | Devotional NFS | Madhukar Rajasthani |
| 2 | Ram kare so hoy re manvaa | Devotional NFS | Madhukar Rajasthani |
| 3 | Bigadi main koi | Main Suhagan Hoon (1964) | Unknown |
One can only guess as to why the composer who never used Mukesh for his work, thought of including his voice for such short snippet in the film. One could be that during the recording of these two NFS, the composer must have felt that a short song be introduced at this juncture of the film to depict the suffering and state of mind of the actor. And he must have felt that the voice of Mukesh could do justice to the scenes.
Anyway, these are just presumptions, and the real reasons may never be known.
I have requested multiple tasks to our Sudhir ji, including attributing the lyrics, cutting of the snippet from the film and uploading, lyrics etc. I thank him in advance for all his help in completing this post.
I have not dwelled much into the life and works of Lachhiram. However, plenty of information on Lachchiram can be found on AK ji’s blog.
song-Bigdi mein koi (Main Suhaagan Hoon)(1964) Singer-Mukesh, Lyrics-Unknown, MD-Pt Lachchiram
Lyrics
Bigdi mein koi
poochhne waala nahin hotaaa
aa aa aa aa
sau deep jalaao o to o o
ujaalaa nahin hota
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.
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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
Ae Momino Suno Ye Kahaani Namaaz Ki
Posted on: July 21, 2021
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
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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.
- He was a side actor and the duet with Kusum was featured on him only.
- 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.
- https://atulsongaday.me/2017/05/24/ye-chaandni-ye-hawa-ye-samaa-bahaaron-ka/
- https://www.songsofyore.com/best-songs-of-bulo-c-rani/
- https://mehfilmeinmeri.wordpress.com/2021/05/24/remembering-bulo-c-rani/
| 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.
- Ankh Phadke Dil Dhadke
- 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.
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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.
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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
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 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.
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Blog Day : |
4441 | Post No. : | 15885 |
Non Film Songs of Mukesh – 02
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These days, new-borns, barely a few hours old are made to wear full pants. It was not the case three and a half decades back at least in my case.
I got my full pant stitched only when I entered High School from primary grade. And, that too since it was mandatory for boys to start wearing full pants from VIII standard. Else, who knows, I would have had to wait for another 3 years for this luxury when I would step into college life. Jeans and readymade pants were an ultra-luxury which would have to wait for some more time.
What “aspect” of the body of a 12-year-old boy gets covered by wearing full pants is something which I have never been able to contemplate till today. Now at 46, I prepare wearing shorts even when going to the market. 🙂 How times change.
With full pants, the amount of pocket money received from parents also started improving. Especially, during and after matriculation, along with the coins, times arrived wherein I started possessing currency notes of 1, 2, 5 and on rare occasions even 10 and 20.
Family visits to restaurants did happen frequently. However, unlike the popular Punjabi la carte option these days, it was more of a combination of 2-3 snacks even for dinner. After matriculation, I developed the audacity of visiting restaurants on my own and ordering food items of my choice. This was basically after returning from college classes which were not so stringent as that of school. Then there was the option of bunking classes too.
Onion uttappa with a cup of tea or limca were my preferred choices. Sitting alone in restaurants and savouring these dishes is an experience I will never forget. At Belgaum, the place from which I hail, there were a few restaurants known for their special dishes. A hotel named “New Grand” established in 1948, had a popular and unique taste of upma which continues to be the talk of the city even today. Recently, the hotel has been demolished and moved away to a nearby location. But the ambience and the taste of food items no longer exits.
There is also a restaurant called “Ajantha” famous for its missal. It continues to be served to this day, but then again, the aroma and the taste of the bygone era is lost forever. Soft and fluffy idlis with unique taste of coconut chutney and sambar continue to be much preferred dish in this hotel to this day.
Quite adjacent to “New Grand” hotel was a theatre named Rex, which has also been now modified into a mini-mall/coffee shop etc. It was in this theatre that I saw my first and only “old Hindi movie” on a big screen.
The movie name was Neel Kamal released in 1968 which I saw in 1991/1992. I basically went to see it for the Rafi saab number Tujhko pukaare meraa pyaar. The storyline was quite annoying for me. Waheeda Rehman must have had a good walking exercise while the film was being made. 🙂
However, apart from the Rafi numbers, I came out of the theatre appreciating Asha Bhosale’s rendition of He rom rom mein basnewaale Ram. Listening and watching these songs which I had heard on radio/tape recorder on the big screen was quite a thrilling experience for me.
Born in 74, by the time I was 18, it was early nineties. Readers of the blog may well acknowledge that I write and present songs mainly from 40’s to 60’s. I sometimes venture into 70’s in case the need arises. So, basically, I discuss songs from an era before I was born. 🙂
Coming to watching old Hindi movies, I must admit that I score very badly on this front. I am yet to watch even classics such as Barsaat (49), Anmol Ghadi (1946), Deedar(1951), Andaz (1949) and a host of such movies. I did buy CD/DVD of many such movies but never cared to watch them.
Coming back to pocket money and my newfound freedom to spend on my own, I got myself involved into buying stamps, coins, books, novels, audio cassettes etc.
During one such venture in a cassettes shop, I came across a two-cassette pack of non-film ghazals of Mukesh. While I was quite familiar with filmi songs, it was on very odd occasions that I heard the NFS of Mukesh on Radio Ceylon. My joy knew no bounds when I caught sight of this pack. However, the joy seemed to be short lived. Let me explain.
The two-cassette pack was priced 55 and I must have hardly had 30 rupees. I was adamant on buying whatever 30 rupees could buy. The shop keeper explained that since it is a pack of two, individual cassettes cannot be sold. And for me to collect another 25 rupees would have taken months. I spent quite a while with him imploring and pleading to sell one of them. After much cajoling he did agree to sell Cassette No 01 priced 27.5 rupees.
The episode did not end with my purchase of one cassette. My next demand (off course free of cost) was the cover of the pack with a debonair looking Mukesh in excellent print staring straight into the eyes of the beholder. With special permission from the bosses, I am reproducing the picture of the cassette cover. I have always been awestruck with the gaze in the eyes of Mukesh in this picture.
The same snap of Mukesh was on the main cover. Now tell me, which Mukesh fan would walk away without possessing this poster.
Digressing, “poster” reminds me of my other craving and madness of collecting model Deepti Bhatnagar’s posters, calendars, advertisements or whatever my eyes would set upon featuring the beauty. This will require a separate and detailed article altogether and thankfully this series gives me ample scope and opportunity of indulging in such revelations. As the film trailers would shout “Coming soon at a theatre near you “, I have revealed the model’s name to keep the post awaited. 🙂
Coming back to the cassette story, the shopkeeper was in no position to yield stating that he himself is not sure if the other cassette would be sold as I had just bought only one. He even threatened to take back what he had just sold and return my money. Counting my blessings, I ran away with this single cassette. The date on which I had bought it was 30 January 1992. The cassette was released by HMV 4 years earlier in February 1988. I know these details since the cassette cover is still in my possession and I had this good habit of writing the date on which I bought such things.
At the shop, it did not cross my mind that I should have tried taking a photostat copy of the back of the pack or even noting the details of the songs that were printed. As for me, mobile phones in 1992 were only in the books of George Orwell, Arthur Clarke etc. 🙂
Well, after a couple of months, I did go back to the shop to purchase the second cassette. Yes, along with the pack cover ofcourse. 🙂
Unfortunately, the shop was selling some other commodities and the cassette guy had vanished. On enquiry, I was told that the earlier guy had closed shop for whatever reasons. I only prayed to God that the reason should not have been the sale of a single cassette for what should have been sold in a pack of two.
For many years, I always wondered what songs Cassette number 2 contained. Now with the advent of internet and the ease with which anything under the sun can be searched, I have got the full details of the cassettes. Interested readers may visit this site for the same.
Readers may be aware that I have posted two articles on the association of Mukesh with Khaiyyam saab in my other series. One article with the filmi songs of the combo and the other featured all the NFS.
Here is the post which covered the all NFS of Mukesh with Khaiyyam saab..
Coming to today’s NFS, I have chosen a Ghalib ghazal composed by Khaiyyam saab. Needless to mention, this ghazal is one of the ten songs in cassette number 01.
This ghazal was first released on records in 1963, as can be seen from the record label above.
Song-Ham rashq ko apne bhi gawaara nahin karte (Mukesh NFS)(1963) Singer-Mukesh, Lyrics-Ghalib, MD-Khayyam
Lyrics
ham rashq ko apne bhi gawaaraa nahin karte
ham rashq ko apne bhi gawaaraa nahin karte
marte hain vale un ki tamannaa nahin karte
marte hain vale un ki tamannaa nahin karte
dar pardaa unhen ghair se hai rabt-e-nihaani ee ee ee
dar pardaa unhen ghair se hai rabt-e-nihaani ee
zaahir kaa ye pardaa hai ki pardaa nahin karte
zaahir kaa ye pardaa hai ki pardaa nahin karte
marte hain vale un ki tamannaa nahin karte
ye baais-e-naumeedi-e-arbaab-e-hawas hai ae ae ae ae
ye baais-e-naumeedi-e-arbaab-e-hawas hai ae
Ghalib ko buraa kahte ho
Ghalib ko buraa kahte ho achchhaa nahin karte ae
Ghalib ko buraa kahte ho achchhaa nahin karte ae
Ghalib ko buraa kahte ho achchhaa nahin karte ae
ham rashq ko apne bhi gawaaraa nahin karte ae ae ae
Aaj gagan se chandaa utraa
Posted on: August 27, 2020
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 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.
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Blog Day : |
4422 | Post No. : | 15837 |
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Non Film Songs of Mukesh – 01
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“But, I dont remember singing this song.”- Legendary singer Kundan Lal Saigal is said to have said these words on hearing Mukesh’s iconic solo song from Peheli Nazar (1945).
Of all the awards, love, affection and recognition that Mukesh continues to draw the world over, I feel the above words by the legend was the single most and greatest achievement of Mukesh.
Remembering Mukesh on his remembrance day, I humbly start with this new series on his non-film songs.
Mukesh is one of the few singers whose filmi and non-filmi songs continue to be popular among the masses.
Before I proceed further, we must again thank one of the pioneers of compilation of film songs and the untiring efforts of Shri Harish Raghuwanshi, the compiler of Mukesh Geet Kosh. It was because of his widely acclaimed work that a fair and correct number of songs sung by Mukesh came to the fore. He has been most helpful to me in all my previous posts on Mukesh. The conviction with which I conclude and present posts is the assurance given by him that a particular table of song contents is correct. I will always remain hugely indebted to all the help he has rendered.
As we have seen in the past few years, quite a few rare and seldom heard released and unreleased film songs of Mukesh continue to be unearthed from the archives of HFM history.
Same is the case with NF songs. Though there are several lists available on the net, as a matter of fact not all are in the public domain as of now.
As such it is difficult to pin-point the exact number of NF songs sung by Mukesh in this post but we shall proceed with the series and see where we eventually land up. And since this series will generally be devoid of tables etc, I am contemplating writing on my personal experience topics in the forthcoming posts.
However, this post is on Mukesh and his voice. A phenomenal voice which cannot be explained in plain words and continues to enthrall music lovers the world over.
For Mukesh it was never about number of songs. Nor was it about remuneration. There are many recollections by artists who have said that Mukesh upon rendering the songs used to walk away without collecting his fees if the filmmakers were into any financial trouble.
In spite of having huge financial problems in the mid-fifties, Mukesh was never lured by financial gains. And, that is also the reason why he opted to sing many NFS.
It was always about quality of songs that he sang. No wonder it is an indisputable fact that he had the highest hit ratio among all his contemporaries.
Sadness in the voice was his virtue, a trademark that will remain etched in the annals of music for times to come.
For today’s inaugural post of the series, I take up this popular song written by Madhukar Rajasthani and composed by J. P. Kaushik.
Song-Aaj gagan se chanda utra (Mukesh NFS) (1963) Singer-Mukesh, Lyrics-Madhukar Rajasthani, MD-J P Kaushik
Lyrics
aaj gagan se chanda utraa
aa gaya meri baahon mein
apalak dekhoon
keha na sakoon kuchh
hoyi raat nigaahon mein
aaj gagan se chanda utraa
cham cham chamke pathh taaron ka
chham chham karta kaun chala
cham cham chamke pathh taaron ka
chham chham karta kaun chala
sapnon ki tasveer si khinch gayi
door gagan ki raahon mein aen
aaj gagan se chanda utraa
aa gaya meri baahon mein
aaj gagan se chanda utraa
jaane kis dhun mein deewaana
madhushaala ke dwaar pe aaya
jaane kis dhun mein deewaana
madhushaala ke dwaar pe aaya
pyaala chhoota haath se uske
bikhra husn ke paanwon mein aen
aaj gagan se chanda utraa
aa gaya meri baahon mein
aaj gagan se chanda utraa
Aanand mangal karoon aarti
Posted on: August 26, 2020
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.
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Blog Day : |
4421 | Post No. : | 15832 |
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Blog 10-Year Challenge (2010-2020) – Song No.59
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As was the wont those days ten years ago, six songs were discussed in the blog, in chronological order of their release. The first song, from 1951 was covered first and gradually the other songs were covered in chronological order. The first song was posted at 9 :12 AM and the sixth at 9:58. So by the then prevailing standards of the blog, I may have woken up late. 🙂
Here are the details of the six songs discussed on 26 August 2010:-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Huye ham jinke liye barbaad | Deedaar-1951 | All songs covered |
| Laagi chhoote naa ab to sanam | Kaali Topi Laal Roomaal-1959 | All songs covered |
| Agar main poochhoon jawaab doge | Shikaari-1963 | All songs covered |
| Dilrubaa dil pe tu | Rajkumar-1964 | All songs covered |
| Saanchi kaho mose baalmaa | Jawaani Mastaani-1972 | 03 songs posted |
| Deepak hai tu piyaa main teri jyoti | Gaayatri Mahimaa-1977 | Movie made its debut. 01 song posted so far |
One can see that the first four movies have already been YIPPEED in the blog. So, that leaves us with just two movies that are eligible for the “Blog Ten Year Challenge” today.
“Gaayatri Mahimaa”(1977) made its debut in the blog ten years ago, and that remains the only song from the movie discussed in the blog, unlike songs of four other movies that got YIPPEED iduring the interim period. So, this slow progressing movie is a fit movie to be taken up for the “Blog Ten Year Challenge”. So here is the second song from the movie. This song is sung by Mukesh and chorus. Bharat Vyas is the lyricist. Music is composed by Chitragupta.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this nice hummable devotional song.
Lyrics of this song were sent to me by Avinash Scrapwala.
Song-Aanand mangal karoon aarti (Gaayatri Mahima)(1977) Singer-Mukesh, Lyrics-Bharat Vyas, MD-Chitragupta
Chorus
Mukesh + Chorus
Lyrics(Provided by Avinash Scrapwala)
Om
Aa aa
Om
Aa aa
Om
Aa aa
Aanand mangal karoon aarti
Jai gaayatri maataa
Aanand mangal karoon aarti
Jai gaayatri maataa
Chaaron vedon ki janani tu
Mahaamantra ki daataa
Chaaron vedon ki janani tu
Mahaamantra ki daataa
Aanand mangal karoon aarti
Jai gaayatri maataa
Aa aa aa
Aa aa aa aa
aa aa aa a aa
Teri mahimaa hai niraali
Tu sabki kare rakhwaali
Teri mahimaa hai niraali
Tu sabki kare rakhwaali
Bhoole bhatke logon ko tu
Sanmaarg dikhaane waali
Gyaan ki devi tu hai maataa aa aa aa
Gyaan ki devi tu hai maataa
Sabki bhaagya vidhaataa
Aanand mangal karoon aarti
Jai gaayatri maataa
Aanand mangal karoon aarti
Jai gaayatri maataa
Aa aa aa
Aa aa aa aa
Hai teri anupam maayaa
Jiskaa koi paar na paaya
Hai teri anupam maayaa
Jiskaa koi paar na paaya
Hai koti koti sooryon kaa
Tujhme adbhoot tej samaayaa
Tere tej ki ek kiran se ae ae ae
Tere tej ki ek kiran se
Mann ujjwal ho jaataa
Aanand mangal karoon aarti
Jai gaayatri maataa
——————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————
ॐ
आ आ
ॐ
आ आ आ
ॐ
आ आ
आनंद मंगल करूँ आरती
जय गायत्री माता
आनंद मंगल करूँ आरती
जय गायत्री माता
चारों वेदों की जननी तू
महामंत्र की दाता
चारों वेदों की जननी तू
महामंत्र की दाता
आनंद मंगल करूँ आरती
जय गायत्री माता
आ आ आ
आ आ आ आ
तेरी महिमा है निराली
तू सबकी करे रखवाली
तेरी महिमा है निराली
तू सबकी करे रखवाली
भूले भटके लोगों को तू
सन्मार्ग दिखाने वाली
ज्ञान की देवी तू है माता आ आ आ
ज्ञान की देवी तू है माता
सब की भाग्य विधाता
आनंद मंगल करूँ आरती
जय गायत्री माता
आनंद मंगल करूँ आरती
जय गायत्री माता
आ आ आ
आ आ आ आ
है तेरी अनुपम माया
जिसका कोई पार न पाया
है तेरी अनुपम माया
जिसका कोई पार न पाया
है कोटि कोटि सूर्यों का
तुझमे अद्भूत तेज समाया
तेरे तेज की एक किरण से ए ए ए
तेरे तेज की एक किरण से
मन उज्जवल हो जाता
आनंद मंगल करूँ आरती
जय गायत्री माता
This article is written by Sadanand Kamath, 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.
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4387 | Post No. : | 15747 |
There are Hindi films in which almost all the songs have become popular. But those films are often identified with a single song in the sense that the name of the film brings back the memory of the most popular song of that film which has been stuck in the minds of the listeners for long. I give below a sample list of five films which are often identified with one of its popular songs:
Aaraam (1951): ae jaan-e-jigar dil mein samaane aajaa
Yahudi (1958): ye mera deewaanapan hai
Bambai Ka Babu (1960): chal ri sajni ab kya soche
Soorat Aur Seerat (1962): bahut diya dene waale ne tuhjko
Bandini (1963): o jaane waale ho sake to laut ke aana
The significance of these five films with songs mentioned thereagainst is that all these five songs have been sung by Mukesh and that too the only song he has rendered in these films. That is the power of Mukesh’s melonchalic voice laced with sadness. Mukesh had said in one of his interviews that if he has a choice of 10 songs to sing, out of which one is a sad song, he would reject remaining nine songs.
Today, July 22, 2020 is the 97th birth anniversary of Mukesh Chand Mathur (22/07/1923 – 27/08/1976). Mukesh, like many of his compatriot popular playback singers needs no introduction on the blog. Moreover, there are a number of detailed posts on Mukesh in the blog. So, I will limit the coverage in this article to the stages of his zigzag filmy career which ended with a high note.
Motilal, a distant relative of Mukesh was already impressed by his singing. When Mukesh came to Mumbai, sometime 1940, Motilal placed him under the tutelage of Pandit Jagannath Prasad, a Hindustani classical vocalist, for training in singing. During the training, Mukesh became acquainted with Raj Kapoor who would occasionally come for training as a substitute for his mother who was practicing classical singing with Pandit Jagannath Prasad whenever she was free from her household work. One of those days when Mukesh was practising a particular Raag, Raj Kapoor loved his voice and felt that his own voice paled compared to Mukesh’s voice. At that time, Mukesh said to Raj Kapoor that he could take his voice. At that time, both were in their teens and I do not think that Mukesh had ever thought that one day he would become the voice of Raj Kapoor on the screen.
While his musical training was going on, Mukesh got an opportunity to work with Nalini Jaywant in a film (I guess, it was National Studio’s ‘Radhika’ 1941). However, his father did not permit him to act in the film. When the same production house was planning to make a new film for which they were looking for a young new comer as a hero opposite Nalini Jaywant, they again approached Mukesh. This time, his father permitted him to join the film. ‘Nirdosh’ (1941) became his first film in which he was an actor-singer. The film flopped.
It is well known that KL Saigal was Mukesh’s idol and had adopted his singing style. From his eagerness to become an actor, Mukesh seems to have been also obsessed with becoming a great actor-singer like KL Saigal. Even after the failure of his first film, Mukesh tried as a side actor in ‘Dukh Sukh’ (1942), ‘Addab Arz’ (1943) and ‘Uss Paar’ (1944) but could not get success as an actor-singer. He had almost made up his mind to return to Delhi when Motilal came to his rescue and manage to get Mukesh sing for him in ‘Pehli Nazar’ (1945).
How Mukesh got to sing his first song, “Dil Jalta Hai To Jalne De” as a playback singer in ‘Pehli Nazar’ (1945) is well documented in the write-up covering the song on the blog itself. So, I will not go into it. But Mukesh was not yet out of wood then. When the film was completed and was being previewed before its release, producer-director Mazhar Khan decided to delete this song as he felt that the sad song did not suit Motilal’s personality who has been known as a flamboyant actor by his fans.
When Mukesh came to know about it, he met Mazhar Khan and requested to retain his song. Mazhar Khan said that this song was boring and it was dragging the smooth movement of the story in the film. After a lot of pleading by Mukesh, Mazhar Khan agreed to retain the song for one week after the release of the film. If the public liked the song, it would be retained in the film. Otherwise, the song would be deleted from the film. Mukesh also got some breather as due to communal riots, the release of the film was delayed. As we know now, this song became the most popular amongst the songs of the film. This song also became a turning point in the career of Mukesh as he turned to playback singing as a career rather than the actor-singer. [Source: Last Interview of Mukesh by BBC Hindi Services].
During 1945 to 1953, Mukesh concentrated on his career as a playback singer and rendered nearly 200 songs. During this time, he had become the main playback singer to actors like Dilip Kumar, Raj Kapoor, Premnath, Motilal, Prem Adib etc.
When his career as a playback singer was firmly in saddle, again the bug of becoming an actor-singer seems to have bitten him. In 1951, Mukesh had already turned producer with ‘Malhaar’ (1951). In 1953, he once again tried his luck as actor-singer in ‘Mashooqa’ (1953) opposite Suraiya. The film miserably failed at the box office. Not to be discouraged by the failure, he once again tried his luck by producing ‘Anuraag’ (1956) with himself in the lead role opposite Usha Kiran. This film also failed at the box office.
In his quest for becoming an actor-singer, Mukesh lost out both as an actor and a playback singer. But more than the failure of the films, Mukesh’s career as a playback singer was majorly affected as, due to his non-availability, music directors like Naushad shifted his preference for Mohammed Rafi and Talat Mehmood. During this period, Rafi had emerged as number one playback singer. Other music directors like SD Burman, C Ramchandra, Madan Mohan, Roshan etc had also switched over mainly to Rafi as their lead male playback singer. Even Shankar-Jaikishan had to rely on Manna Dey for Raj Kapoor in films like ‘Shri 420’ (1955) and ‘Chori Chori’ (1956) for some songs. During 1953-56, Mukesh’s output as a playback singer (other than his own films as actor-singer) was dismally low at less than 20 songs.
In Hindi film industry, it is extremely difficult to regain the lost ground as there is constant competitions to take over the ground from those who have lost it. Mukesh had to face a lot of hardship in terms of his financial position as he had heavily lost money in his film making ventures. Added to his woes was that his mentor, Anil Biswas had almost retired as music director towards the end of 1950s. Motilal, another mentor who would demand Mukesh as his voice (he done that in ‘Jaagte Raho, 1956 when it was originally recorded in Manna Dey’s voice) was no longer doing the role of the lead actor in the films.
It was Raj Kapoor, the trusted friend of Mukesh from the days of making ‘Aag’ (1948), who had a major role in rehabilitating Mukesh as playback singer post 1956 years. Mukesh continued to sing for Raj Kapoor in most of his films. Later on, he also became the voice for Manoj Kumar in most of his films. The popularity of the songs of films like ‘Phir Subah Hogi’ (1958), ‘Madhumati’ (1958), ‘Anari’ (1959), ‘Chhalia’ (1960), ‘Hariyali Aur Raasta’ (1962), ‘Himalay Ki Godi Mein’ (1965) re-established as one of the foremost playback singers. Starting with the voice of the superstars of 1940s and 50s like Motilal. Dilip Kumar and Raj Kapoor, Mukesh sang for the superstars of 1970s like Rajesh Khanna and Amitabh Bachchan. He continued to maintain his status as one of the leading playback singers of 1970s till his unfortunate death on August 27, 1976. Even during the emergence of Kishore Kumar as playback singer post-1970, Mukesh clocked a little over 200 songs during 1971-76 (including few songs spilling over post-1976), mainly because no other playback singers could replicate the pathos in his singing.
On the occasion of the 97th birth anniversary of Mukesh, I have selected an inspirational song, “Hai Ye Zameen Hamaari Wo Aaasmaan Hamaara” sung by him for the film ‘Saara Jahaan Hamaara’ (1961). The song is written by Anjum Jaipuri and is set to music by Baabul. I could not locate the video clip of the song on-line, but I have watched a very small video clip of the song which shows that it is a stage song picturised on Premnath.
Song – Hai Ye Zameen Hamaari Wo Aasmaan Hamaara (Saara Jahaan Hamaara) (1961) Singer – Mukesh, Lyrics – Anjum Jaipuri, MD – Baabul
Lyrics
hai ye zameen hamaari
wo aasmaan hamaara
lo aaj waqt badla
saara jahaan hamaara
hai ye zameen hamaari
hum jis taraf chale hain
duniya badal gayi hai
tufaan hat gaya hai
aandhi sambhal gayi hai
karta hai naaz khud par
har ek jawaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
kashti ko le chale hain
maujon pe hum khushi ki
kashti ko le chale hain
maujon pe hum khushi ki
aawaaz aa rahi hai
kaanon mein zindagi ki
roke nahi rukega
ab kaarwaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
ye chimaniyaan milon ki
ye taaj ke minaare
ye chimaniyaan milon ki
ye taaj ke minaare
ganga ki behti maujen
jamna ke tej dhaare
dharti ka zarra zarra
hai raazdaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
paighaam de rahen hain
hum sabko dosti ka
paighaam de rahen hain
hum sabko dosti ka
danka baja rahe hain
duniya mein shaanti ka
insaaniyat ka jhanda
hai ab nishaan hamaara
lo aaj waqt badala
saara jahaan hamaara
hai ye zameen hamaari
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
है ये ज़मीं हमारी
वो आसमां हमारा’
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
हम जिस तरफ चले हैं
दुनिया बादल गई है
तूफान हट गया है
आँधी संभाल गई है
करता है नाज़ खुद पर
हर एक जवां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
कश्ती को ले चले हैं
मौजों पे हम खुशी की
कश्ती को ले चले हैं
मौजों पे हम खुशी की
आवाज़ आ रही है
कानों में ज़िंदगी की
रोके नहीं रुकेगा
अब कारवां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
ये चिमनियाँ मिलों की
ये ताज के मीनारे
ये चिमनियाँ मिलों की
ये ताज के मीनारे
गंगा की बहती मौजें
जमना के तेज़ धारे
धरती का ज़र्रा ज़र्रा
है राज़दां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
पैग़ाम दे रहें हैं
हम सबको दोस्ती का
पैग़ाम दे रहें हैं
हम सबको दोस्ती का
डंका बजा रहे हैं
दुनिया में शांति का
इंसानियत का झण्डा
है अब निशां हमारा
लो आज वक़्त बदला
सारा जहां हमारा
है ये ज़मीं हमारी
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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