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

Archive for the ‘Multiple version song’ Category


This article is written by Avinash Scrapwala, 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 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 : 3624 Post No. : 14445

Greetings to dear Atul ji, and best wishes for many many happy returns of today.

The 1977 film ‘Chhaila Baabu’ is joining the ‘Yippeee Club’ of movies or ‘movies having all their songs covered’ on the blog. Indeed, a long wait for me and particularly for this song which was the first that I shared when I was still only a ‘year-old’ contributor on the blog. Other songs of this movie which I shared later were lucky and got posted before the today’s song. This song is the one which I cannot forget since my childhood, may be because this being a ‘mother-son’ song. I must be 9-10 years old when I had watched this movie with my parents in my childhood.

The part-I of this song and even the part-II is on screen performed by Achala Sachdev whom we mainly remember for playing a mother or thereafter grandmother in Yash Raj films. When I glance through the list of the films she acted in I realized that I have watched many of them but cannot recollect now.

Also I found that not much information is available about her on the domain (except there is page on wiki about her) and mainly other articles which were posted after she passed away on 30.12.2012 , and about how she was ignored by the film personalities in her last days. May be our seniors can do a detailed post on her with one of the songs performed by her on screen. Or maybe it is there and I am not aware, if so, please forgive me.

As I am not aware of her initial films and whether she got a lead role or second lead and if at all there are any songs which she performed on screen, except the another one, that I know, is from the 1970 film ‘Heer Ranjha’, where all the Bhabhi’s dance on their devar’s (Rajkumar’s) marriage preparations – ‘Naache Ang Ve . . .’ a beautiful composition by Madan Mohan ji.

Achala Sachdev was born in Peshawar (now in Pakistan) on 3rd May 1920. She acted in over 130 films (as per info on wiki). She began her filmi career with ‘Fashionable Wife’ in 1938 and ‘Na Tum Jaano na Ham’ (2002) was her last film. She died on April 30, 2012 at Pune. She was 91 then.

The move ‘Chhaila Babu’ was Produced by Shomu Mukherjee and Directed by Joy Mukherjee. It was a ‘suspense thriller’. It had Rajesh Khanna in title role of ‘Chhaila Babu’, accompanied by Zeenat Aman, Asrani, Ranjeet, Padma Khanna, Achala Sachdev, Macmohan, P Jairaj, Ravindra Kapoor and Om Shivpuri. Since in my earlier write ups about the songs of this movie I have already mentioned about the details of this movie and my nostalgia associated with its’ songs, and so I will not repeat it here.

But something that I would like to mention here is about Joy Mukherjee as a ‘director’ of this movie. Earlier I had read about his directing the movie ‘Humsaaya’ (1968), but I had forgotten about it. Though I must mention here that I had watched many of Joy Mukherjee’s movie in my teen years when I was studying in 11th -12th. And I liked all his movies very much and have watched them repeatedly; especially ‘Shagird’ (1967), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Door Ki Aawaaz’ (1964), and ‘Love In Tokyo’ (1966). In those days i.e. 1983-85, old movie were still being screened in theatres sometime in four shows or noon shows only and they used to run packed houses. Specially in the city of Akola (Maharashtra) (CP & Berar circuit for movies) many old movies used to run packed houses and I watched many old movies during those years there. ‘Ziddi’ (1964) I think I watched on Doordarshan.

I got the VCD of ‘Ek Baar Muskuraa Do’ (1972) just four-five years back from an ‘online’ store. Then I had also watched ‘Love in Shimla’ (1960) during my school days during the weekly screening of movie in our ‘colony recreation club’. And its song Alif Zabar Aa Alif Zer Ae Alif Pesh O ’ has been in my memory since then. I do not remember correctly now if I had watched his ‘Ek Musaafir Ek Haseena’ (1962), but since I have the cassette of this movie, as I like the songs of this movie very much, and maybe I had watched some of its songs on TV, it also remains one of my favorites.

Coming to the songs of his movies – which was another main factor for me to watch his movies repeatedly. Our in house Encyclopedia Shri Arun ji had already done a detailed post on Joy Mukherjee here , while presenting a song from his movie ‘Love In Bombay’ (2013(1971)). This was Joy’s third directorial venture after ‘Humsaaya’ & ‘Chhaila Babu’.

HFGK Vol V mentions that today’s song in three parts and it noted down the first part as a ‘happy version’, whereas from the song one can guess and take it as a ‘sad song’ or ‘missing the beloved song. The first part in its picturization shows the mother (Achala Sachdev) remembering the ‘happy memories’ while singing this song searching for her lost son (Rajesh Khanna). And the in the second part while only the ‘mukhda’ of the first version is repeated only, the third part is in the voice of Kishore Kumar and starts with different lines. However, since HFGK mention this song in three version it was required to watch this movie again and clear the confusion.
[Ed Note: In this presentation, the parts 2 and 3, as mentioned in HFGK, are together presented as part II, as per the video clips.]

When Atul ji was in a ‘Yippeeee’ mode again during the first four months of this year I had sent him reminder for this song and also with a request to throw light on this song if possible. Finally, a week before I watched this movie online (most uncomfortable way to watch a movie for me, but then … we have to 😊).

The 1st part of the song is where the mother, Achala Sachdev is searching for her son, who ‘bachpan mein bichhad gaya’. It includes flashback of the mother-child playing – ‘happy memories’ included 😊. Now when this child grows up as Rajesh Khanna, he remembers this song and use to sing it on the ‘mouth organ’ gifted to him by his mother on his birthday. The second part of Lata for this song is only a repeat of first few lines of the earlier part 1 of this song. And the third part is the Kishore Kumar version of this song, in which the mother-son get re-united.

The earlier songs from the movie are posted on our blog, as per the details given below;

Song Title Post Date
 Yaar dildaar tujhe kaisa chaahiye  08.12.2008
 Kal raat sadak par ik ladki  29.12.2014
 Hamko nikaaloge ghar se sajan pachhtaaoge  04.02.2015
 Main Baaboo Chhailaa  29.12.2017

Let us now listen and enjoy the today’s song. . . “Chhaila Mera Chhaila”.

 

Part I (Lata Solo)

Part II (Lata – Kishore Duet)

Song – Chhaila Mera Chhaila (Chhaila Babu) (1977) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part I

chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam

chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila

shaam savere mere naina
dhoondhte rahe
kahaan hai kahaan hai
kahaan hai kahaan hai
sabse poochhte rahe
kahaan hai kahaan hai
sabse poochhte rahe
aa ke peechhe
aankhen meeche
aanchal kheenche mera ghanshyam
chhaila mera chhaila
chhaila mera chhaila

deewaani huyi main aisa laage
laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
bichhda hai jo
mil jaaye to
vyaakul mann ko aa jaaye aaraam
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila

Part II

chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
mera chhaila
mera chhaila
chhaila
chhaila
chhaila

naa ro maa naa ro
sun li hain maine
teri pukaar
teri pukaar
aaj mila hai
waapas maa bete ko
khoya pyaar
khoya pyaar
duniya saari
tujhse haari
maa tu jeeti ye jeewan sangraam
chhaila tera chhaila
chhaila tera chhaila

chhaila tera chhaila
chhaila tera chhaila

jee chaahe main
tere charnon mein
sar rakh ke roun
sar rakh ke roun
aa jaaye waapas
bachpan main teri
god mein soun
god mein soun
phir na kabhi main tujhko sataaun
tujhe manaaun
maa tujhko parnaam

chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila

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

भाग १

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

शाम सवेरे मेरे नैना
ढूढ़ते रहे
कहाँ है कहाँ है
कहाँ है कहाँ है
सबसे पूछते रहे
कहाँ है कहाँ है
सबसे पूछते रहे
आ के पीछे
आँखें मिचे
आँचल खींचे
मेरा घनश्याम
छैला मेरा छैला
छैला मेरा छैला

दीवानी हुई मैं ऐसा लागे
लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
बिछड़ा है जो
मिल जाए तो
व्याकुल मन को आ जाए आराम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला

भाग २

छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
मेरा छैला
मेरा छैला
छैला
छैला
छैला

ना रो माँ ना रो
सुन ली हैं मैंने तेरी पुकार
तेरी पुकार
आज मिला है
वापस माँ बेटे को
खोया प्यार
खोया प्यार
दुनिया सारी
तुझसे हारी
माँ तू जीती ये जीवन संग्राम
छैला तेरा छैला
छैला तेरा छैला

छैला तेरा छैला
छैला तेरा छैला

जी चाहे मैं
तेरे चरणों में
सर रख के रोऊँ
सर रख के रोऊँ
आ जाए वापस
बचपन मैं तेरी
गोद में सोऊं
गोद में सोऊं
फिर न कभी मैं तुझको सताऊं
तुझे मनाऊं
माँ तुझको प्रणाम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3622 Post No. : 14436

Missing Films of 1960s – 76
– – – – – – – – – – – – – – –

Hindi cinema encompasses quite a few genres and categories. It is a sad statement that the industry has almost always been controlled and driven more by the financial expectations. The earliest model of large studios as centers of film production activities, was somewhat immune to the craziness of financial pressures. The studio system had its own cons, but it provided a larger stability and sustainability to the production effort and to the team belonging to the studio.

It was all too soon that people with all kinds of mental inclinations realized both the power of this medium, and the possibility of landing a jackpot with a hit film. This awareness brought in all kinds of unscrupulous elements, as well as businessmen with an urge to invest unaccounted money in a gamble to make more money. If I recall correctly, the 1949 film ‘Kalpana’ touched upon this aspect, displaying a cruel brazen-ness with which the financiers and the touts dealt with the artists. The grossly dismal record the industry has in terms of its own record keeping and archiving, is an outcome of this ‘jackpot’ mentality – the actual owners of film actually cared a zilch for the film itself. With every venture, the financier would launch a new production banner. One can well imagine the ill effects of this lack of continuity and ownership for the artistic product itself.

But I digress – this discussion on film financing models, another time. I started with the genres and categories, with the purpose to highlight how some genres and categories have fallen by the wayside, over the decades. One of the casualties of the projected “lack of public interest” and the “lack of return on investment” has been the genre of religious pictures. Till the end of 1970s, or maybe even 1980s, there used to be quite a number of offerings of religious films produced every year. In one of his articles, our dear Arun ji has presented an analysis of this aspect – the number of religious films produced on average per year, and the progressive decline of this number over the decades. These days, one rarely hears about a religious offering coming from the mainline cinema. TV, yes, we do hear more about serials on religious themes. Or maybe the investment by the end user, in terms of time and money, is getting channelized much more towards TV productions and the live kathas (discourses) – there literally has been an explosion in the number of kathas being organized and being attended by the people.

The reason for this preamble, of course, is that today’s debut film from 1960s is a religious film of certain importance, from 1967. The film is ‘Badrinath Yatra’. Produced under the banner of Mewar Films, Bombay and is directed by Dhirubhai Desai. The star cast of this film is listed as Nirupa Roy, Abhi Bhattacharya, Sulochana, Indira, Jeevan, Sundar, Niranjan Sharma, Indira Bansal, Fazlu, Nandini Desai, and Kukku Desai amongst others.

There is a huge importance attached to pilgrimage, in our religion. Our land has been blessed from the very beginning of time itself, with famous and important temples which are the abodes of the Gods in our pantheon of worship. The origins and foundation histories of many of these temples and places is lost in the antiquity of time. For many of these temples and places of pilgrimage, there are references in our historical records – and by historical I mean our books of scriptures, which contain details of many such places of pilgrimage being established by protagonists of these histories like Sri Ram, Sri Krishna, the Pandvas, and our Rishis etc. Our histories abound with such tales in detail.

In the 8th century AD, there appeared a champion who measured the breadth and length of this sub-continent – Adi Shankaracharya. He travelled across the land with the mission to reestablish the importance of the Vedantic Dharma, and to re-ignite the lamp of worship in the temples. He established four matha (मठ) in the four regions, which became the four primary centers of learning and research into the Vedic knowledge. These four centers were placed in proximity to the four main destinations of pilgrimage of primary importance for the followers of the Dharma. These pilgrimage places are Badrinath in the north, Puri in the east, Rameshwaram in the south and Dwarka in the west. Each of these four pilgrimage places are historically important with a detailed history about their establishment and their antiquity being described in our scriptures.

Over the ages, these four have been collectively referred to as ‘Chaar Dhaam’ – literally ‘Four Destinations’. It is ordained in our teachings that a person must pay their homage and worship at each one of these pilgrimages, at least once in their life time. A significant importance is attached to completing this journey. Further, the same teachings also exhort the children to comfortably facilitate such a journey for their parents, and enable them to pay homage and complete their worship at these four centers of pilgrimage.

Since the early decades of Hindi cinema, a number of films have been produced as travelogues or “यात्रा” (yatra), covering one or more holy centers of pilgrimage. This film also covers the journey to the ‘chaar dhaam’ or the four holy destinations. This particular song appears more than once in the film, and I am including three different video clips from three different points in the storyline sequence. In the clips, we can see Abhi Bhattacharya, as the obedient son, who is taking his parents (roles played by Sulochana and Niranjan Sharma) for their journey to the ‘chaar dhaam’. The storyline belongs to a certain unspecified era in history, as we can see that Abhi Bhattacharya is even carrying his parents in a yoke shoulder carrier – a long pole with large baskets hanging at two ends, large enough for a human person to sit in. In north India, this shoulder carrier is called “वेहंगी” (wehngi). Folks familiar with the stories from the scriptures will recall the story of Shravan Kumar, the young boy who carried his old and blind parents in a wehngi for pilgrimage.

The song is written by Madan, and is composed by Pt Shivram. The singing voice is that of Mahendra Kapoor. Listening to this song evokes strong emotions in my heart. Not that I have not heard this song before, but now, as I listened to it again repeatedly for lyrics etc., the words and the tune is simply at home with me in my heart. Listen to this beautiful evocation that covers so many philosophies of life. And think.

 

 

Part 1

Part 2

Part 3

Song – Chal Chal Re Pathik Chal Re  (Badrinath Yatra) (1967) Singer – Mahendra Kapoor, Lyrics – Madan, MD – Pt Shivram

Lyrics

Part 1

chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

aaj nahin to kal jag se hai jaana
duniya musaafirkhaana re bhai
duniya musaafirkhaana hai
dhan ke liye dharam kyon beche
ik din to mar jaana hai
tyaag kapat chhal prabhu ke dhaam chal
wahin tere daag mitenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

bachpan khoya khel mein tu ne
khoyi jawaani bhog mein
bhool ke tu bhagwan ko praani
phas gaya jagat ke moh mein
aaya budhaapa ab to ram bhaj
tere dukh wahi harenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

amrit taj ke vish kyon peeta
ram naam ras pee le
kaam krodh mad moh lobh taj
hari charnon mein jee le
hari charnon mein janam maran ke
bandhan tere katenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 2

prabhu darshan ko badhe ja rahe
baalak vriddh jawaan
oonch neech sadhu sanyasi
nirdhan kya dhanwaan
ganga yamuna ki dhaara mein
jin ki mahim hai avichal
pralay ke toofaanon mein bhi jo
hain sadiyon se achal atal
yug yug se bharat bhoomi
gaaye jin ka gun gaan
woh hain naath anaathon ke
shri badrinath bahgwan
shri badrinath bahgwan
ab jeevan ki har mushkil ko
wahi aasaan karenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 3

chhaale pade chaahe paaon mein tere
suraj tapey aasmaan mein
haar na himmat badhta hi chal re
tapte registaan mein
tapte registaan mein
prabal hai bhakti ki shakti
tujhe koi kya rok sakenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १

चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

आज नहीं तो कल जग से है जाना
दुनिया मुसाफिरखाना रे भाई
दुनिया मुसाफिरखाना है
धन के लिए धरम क्यों बेचे
इक दिन तो मर जाना है
त्याग कपट छल प्रभु के धाम चल
वहीं तेरे दाग मिटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

बचपन खोया खेल में तू ने
खोई जवानी भोग में
भूल के तू भगवान को प्राणी
फंस गया जगत के मोह में
आया बुढ़ापा अब तो राम भज
तेरे दुख वही हरेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

अमृत तज के विष क्यों पीता
राम नाम रस पी ले
काम क्रोध मद मोह लोभ तज
हरी चरणों में जी ले
हरी चरणों में जनम मरण के
बंधन तेरे काटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग २

प्रभु दर्शन को बढ़े जा रहे
बालक वृद्ध जवान
ऊंच नीच साधू सन्यासी
निर्धन क्या धनवान
गंगा यमुना की धारा में
जिन की महिमा है अविचल
प्रलय के तूफानों में भी जो
हैं सदियों से अचल अटल
युग युग से भारत भूमि
गाये जिन का गुण गाँ
वो हैं नाथ अनाथों के
श्री बद्रीनाथ भगवान
श्री बद्रीनाथ भगवान
अब जीवन की हर मुश्किल को
वही आसान करेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग ३

छाले पड़ें चाहे पाँव में तेरे
सूरज तपे आसमान में
हार ना हिम्मत बढ़ता ही चल रे
तपते रेगिस्तान में
तपते रेगिस्तान में
प्रबल है भक्ति की शक्ति
तुझे कोई क्या रोक सकेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे


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

Blog Day : 3530 Post No. : 14178

First of all, let me wish all of you a Happy Ugadi and Happy Gudi Padwa today (18 march 2018). I hope those celebrating the occasion are enjoying themselves.

Today also happens to be the birthday of Shashi Kapoor (18 march 1938-4 december 2017), one of our best-known and most loved actors.

The thought is inescapable – and burdened with more than a tinge of sorrow. The thought that, had I written this post on just his previous birthday, I would have been talking of Shashi Kapoor in the present tense. I’d have been saying “is”, instead of “was”.

But that’s life – and death. And we have to accept it.

Ah, Shashi Kapoor!

Where do I start?

Let me start as usual with “my generation”, the 70s.

For me, and I am sure for many Hindi film lovers born in the early 60s, Shashi Kapoor would have been an integral part of their childhood film-watching experience. He was a very familiar face throughout the 70s – whether in solo roles or in multi-starrer films.

Those were the times when Rajesh Khanna (for the first half of the decade) and Amitabh Bachchan (for the second half) ruled. The 70s also saw a whole lot of new actors emerge. There were also some from the earlier decade who continued to enjoy success – Dharmendra, Manoj Kumar, Sanjeev Kumar, Jeetendra to name a few.

And there was Shashi Kapoor.

One thing most people will agree about Shashi Kapoor – he was very handsome. He had this boyishly cute face, bright eyes, and a smile that got accentuated by crooked teeth and a deep dimple. No wonder you often heard of the term “chocolatey good looks” when people talked of Shashi. 🙂

I think girls found Shashi particularly handsome – he was easily my sisters’ favourite. I was very young then in the late 60s, but I still remember that when the one weekly film in our club happened to be a Shashi film, they’d be thrilled. 🙂 Thus I have fond memories of watching at a very young age, in that club, Shashi films like Haseena Maan Jaayegi, Aamne Saamne, Suhana Safar, Ek Shriman Ek Shrimati, Pyar Ka Mausam, Raja Saab, Rootha Na Karo, Jahaan Pyaar Mile and many more. Whether the film was good or not, was secondary. Shashi was a good enough reason to enjoy it. I remember for days after seeing Pyar Ka Mausam, they’d be singing “ni sultana re”. 🙂 And they loved Aamne Saamne’s “nain milaakar chain churaana kiska hai ye kaam”.

Even when we went on holiday to Bombay for the first time in the early 70s, and we decided to watch a movie, the unanimous choice was Sharmeelee, playing at that time. I think my sisters were even hoping to catch sight of Shashi Kapoor somewhere on the streets of Bombay. 🙂 Not even one in a million chance – but one lives on hope. I remember, for days after watching Sharmeelee, the song “khilte hain gul yahaan” was on their lips. 🙂

Back in our village, when we had to travel 25 km to see a film in a cinema hall, they managed to persuade my dad to take them for Jaanwar Aur Insaan (1972). My dad wasn’t into films at all – it’s possible they told him it was a film about animals (jaanwar). Whereas it’s more likely they were interested in the insaan (Shashi). 🙂

Ah, these childhood memories. 🙂

I was fond of Shashi too – from those late 60s films, while my sisters would sing Shashi’s “tum bin jaoon kahaan” in Antakshari, I’d sing “aaye baithe khaaye piye khiske”. A little more matter-of-fact. 🙂

Today, as I am writing this post, with all these memories coming to the fore, it strikes me that even in an era with Rajesh Khanna as superstar (and Amitabh Bachchan later), Shashi had his own following. Like my sisters. 🙂

Sharmeelee (1971) with superhit songs, Jaanwar Aur Insaan (1972), Aa Gale Lag Ja (1973) with superhit songs, Chor Machaye Shor (1974) with the famous “le jaayenge, le jaayenge, dilwaale dulhaniya le jaayenge”, Chori Mera Kaam and Salaakhen (1975), Fakira (1976) with hit songs.

All solo films for Shashi, all successful. Am not counting the multi-starrers, Roti Kapda Aur Makaan (1974), Deewaar (1975) and Kabhie Kabhie (1976).

As the decade progressed, and multi-starrers became more common, Shashi Kapoor was very much part of them, often to be seen opposite reigning superstar Amitabh Bachchan in films like Trishul (1977) and Suhaag (1979).

Yet, he could carry his own in a solo – as was to be seen in Satyam Shivam Sundaram (1978), a film made by his brother, Raj Kapoor.

So Shashi Kapoor was largely a “safe” actor in the 70s – both for viewers and producers. Of course not every film worked (there are many aspect to a film’s success), but, by and large, audiences liked watching him on screen.

Towards the end of the decade, Shashi got into film production too. He produced some well-known films – Junoon (1979), Kalyug (1981), 36 Chowringhee Lane (1981), Vijeta (1982), Utsav (1984).

But in 1984, disaster struck – his dear wife Jennifer passed away, due to cancer. I think after that Shashi was not the same again.

I’ve talked a lot about his films of the 70s, mainly because that’s the decade I have most memories of. Of course his career started much earlier. As a child artiste (a young Raj Kapoor in Aag and Awara), with his first film as an adult being BR Chopra’s controversial Dharamputra (1961). In that film, he had a negative role.

Although he came from the Kapoor khandaan, it was made clear to Shashi that he had to come up on merit. He had his share of struggles early on – and though he managed the odd hit (like in the multi-starrer Waqt), he really had his first mega solo hit only with Jab Jab Phool Khile (1965).

His co-star in that film was, as usual, Nanda. I say “as usual”, because Nanda was his co-star in many films during the 60s. She was a much bigger star than he was – but was happy to be paired opposite him. Shashi later said he was hugely grateful to Nanda for this. Nanda herself said that Shashi was her favourite co-star.

One thing that struck me in obituaries about Shashi Kapoor last December was that almost everyone spoke a lot about Prithvi Theatre. And rightly so.

While there’s no doubt that Shashi Kapoor gained a lot of popularity from cinema, I think in his heart his love was Prithvi Theatre. After all, he had met his wife Jennifer also through theatre in the 1950s. So one of the most satisfying moments for him and for Jennifer must have been to set up Prithvi Theatre in 1978 and fulfil his father Prithviraj Kapoor’s dream of having a permanent location for his Prithvi Theatres (it had been a travelling troupe during Prithviraj’s time).

Many of the obits talked about how dedicated Shashi Kapoor (and Jennifer, when she was alive) was to Prithvi Theatre. Even when he was in very poor health in his final years, he would want to visit and even watch performances.

So no mention of Shashi Kapoor is complete without a mention of Prithvi Theatre.

I’ve not talked about his acting in English-language films or his partnership with Merchant-Ivory. I’ve myself just watched only one of these films – Bombay Talkie (1970), directed by James Ivory. It also starred Jennifer.

I’ve also not mentioned that Shashi Kapoor was considered to be a true gentleman actor. Many of his co-stars, from Sharmila Tagore to Hema Malini to Zeenat Aman, have said this. He was also supposed to have had a good sense of humour, always keeping the set lively.

All in all, Shashi Kapoor was a much-loved person during his lifetime. And for good reason. And you cannot really ask for more than that.

Now for the song for today.

It is from the film “Suhaana Safar” (1970). A film that I remember seeing as a very young boy, but sadly have only very faint memories of. I seem to vaguely remember a bus in which Shashi and Sharmila travel. That’s all I can remember now. 🙂 A good excuse to watch it again. 🙂

The song is the title song. Aha aha aa ye suhaana safar hai, sung by Rafisaab. The lyrics of this song are by Anand Bakshi, music by Laxmikant Pyarelal.

The picturisation is of Shashi Kapoor in a jeep, generally giving out positive vibes, talking about travel, hawa, manzil etc. He finds himself behind a bus, and this infectious positive mood catches on with the travelers in the bus too. They join him in the song. Towards the end of the song, Sharmila Tagore (one of the travelers) looks out of the bus, Shashi waves to her – and it looks like he loses control of his jeep. (Am pretty sure it’s nothing serious :-)).

While watching the video and listening to the lyrics, I could not help thinking that this could be a metaphor for the suhaana safar of Shashi Kapoor’s life itself. And the suhaana safar that we have had following his films for decades. Indeed, it has been a wonderful journey – and we are thankful to him for letting us be part of it.

Interestingly, while I was having these thoughts, I got a message from Avinashji. As usual, when I thought of writing a post for Shashi Kapoor today, he had promptly messaged me, and offered to help me with providing the lyrics. Now, while sending me the lyrics, he echoed the exact same thoughts I had! About the suhana safar of Shashi Kapoor and what we have had with Shashi Kapoor. Serendipity. 🙂

I’ll now leave you with this positive song – and with remembering our suhaana safar with Shashi Kapoor.

There are two versions of this song – one by Rafisaab, the other by Suman Kalyanpur.

Rafi version (Audio)

Rafi version (Video)

Suman Kalyanpur Version (Audio)

Song-Aha aha aa ye suhaana safar (Suhaana Safar)(1970) Singer-Rafi/ Suman Kalyanpur, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female chorus
All chorus

——————————————————-
Lyrics(Provided by Avinash Scrapwala)
——————————————————-
O o
o o o
Aa aa aa aa
Aa aa aa aa

Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar

Ho o o o
Hawaayein jhoom rahi hain
Gulon ko choom rahi hain
Hoye
Hawaayein jhoom rahi hain
Rokoon dil ko main kaise
Aise udaa jaaye jaise
maang liye ho kisi panchhi se parr
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar

O o o
Musaafir chaltaa hi jaaye
Kabhi bhi manzil naa aaye
Musaafir chaltaa hi jaaye
Dheere dheere haule haule
Mujhse ye dil boley
Kat jaaye raste mein
Saari umar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar

Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya
Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya
Patli kamar mori
Naazuk bainyya
Chhup chhup chhainyya
Chhainyya
Chhup chhup chhainyya

Ho o o
Mujhe ye raah naa bhulaa de
Kahin ye aur naa pahunchaa de
Mujhe ye raah naa bhulaa de
Kaisi hain ye matwaali
Lambi lambi kaali kaali
Zulf kisi ki hai
Ya ye dagar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Hoye
Aha aha
aa ye suhaana safar

Aha aha aa ye suhaana safar
Aha aha aa ye suhaana safar
Aha aha aa ye suhaana safar

—————————————-
(Female version)
—————————————–
Hmm hmm
O o o
o o
o o o

Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar
Ho o o

Ho o o
Nigaahein jhoom rahi hain
Kisi ko dhoondh rahi hain
Ho
Nigaahein jhoom rahi hain
Koyee mulaakaatee miley
Aisa koyee saathi miley
Jo ban jaaye mera hamsafar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar

Ho o o
Abhi to door hai manzil
Dhadakne lagaa abhi se dil
Abhi to door hai manzil
Taubaa taubaa
Haaye haaye
Dil pe kyaa guzar jaaye
Saamne wo aa jaaye agar
Aha aha
aa ye suhaana safar
Ho o
Aha aha
aa ye suhaana safar

Ho o o o
Mere dil bhool na jaana
Ki hain ye rastaa anjaana
Mere dil bhool na jaana
Aise naa machal jaana
Aagey naa nikal jaana
Chhod ke peechhe sanam ka ghar
Aha aha
aa ye suhaana safar
Ho o
Aha aha
aa ye suhaana safar
Rukti nahin hai nazaaron pe nazar
Aha aha
aa ye suhaana safar
Ho
Aha aha
aa ye suhaana safar

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


ओ ओ ओ
आ आ आ आ
आ आ आ आ

आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र

हो ओ ओ ओ
हवाएं झूम रही हैं
गुलों को चूम रही हैं
होए
हवाएं झूम रही हैं
रोकूँ दिल को मैं कैसे
ऐसे उड़ा जाए जैसे
बाँध लिए हो किसी पंछी से पर
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र

ओ ओ ओ
मुसाफिर चलता ही जाए
कभी भी मंजिल ना आये
मुसाफिर चलता ही जाए
धीरे धीरे हौले हौले
मुझसे ये दिल बोले
कट जाए रस्ते में
सारी उम्र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र

छुप छुप छैंया
छैंया
छुप छुप छैंया
पतली कमर मोरी
नाज़ुक बैंया
छुप छुप छैंया
छैंया
छुप छुप छैंया

हो ओ ओ
मुझे ये राह ना भुला दे
कहीं ये और ना पहुंचा दे
मुझे ये राह ना भुला दे
कैसी हैं ये मतवाली
लम्बी लम्बी काली काली
ज़ुल्फ़ किसी की हैं
या ये डगर
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
होए
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र
आहा आहा
आ ये सुहाना सफ़र

————————————
Female version
————————————
हम्म
हम्म
ओ ओ ओ ओ ओ
ओ ओ

आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र
हो

हो ओ ओ
निगाहें झूम रही हैं
किसीको ढूंढ रही हैं
हो
निगाहें झूम रही हैं
कोई मुलाकाती मिले
ऐसा कोई साथी मिले
जो बन जाए मेरा हमसफ़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र

हो ओ ओ
अभी तो दूर है मंजिल
धड़कने लगा अभी से दिल
अभी तो दूर है मंजिल
तौबा तौबा
हाए हाए
दिल पे क्या गुज़र जाए
सामने वो आ जाये अगर
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र

हो ओ ओ ओ
मेरे दिल भूल न जाना
कि है ये रास्ता अनजाना
मेरे दिल भूल न जाना
ऐसे न मचल जाना
आगे ना निकल जाना
छोड़ के पीछे सनम का घर
आहा आहा
आ ये सुहाना सफ़र
हो ओ
आहा आहा
आ ये सुहाना सफ़र
रूकती नहीं है नजारों पे नज़र
आहा आहा
आ ये सुहाना सफ़र
हो
आहा आहा
आ ये सुहाना सफ़र


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 : 3515 Post No. : 14119

Regulars know that we in this blog are pursuing two new year resolutions with missionary zeal- one is posting a “debutant” movie song and another is posting a “YIPPEE” movie song.

We are into the first week of march 2018, and we have so far stuck to these new year resolutions. This is a proof that we in the blog are far more serious about our new year resulutions that majority of people. 🙂

Posting a “debutant” movie song is a relatively rather straight forward matter. I need to look for movies that are not yet represented. We still have a couple to thousands movies (at least) that are yet to make their debuts in the blog so finding one “debutant” movie song daily is not much of a challenge.

Posting a “YIPPEE” movie song daily is increasingly becoming challenging through. Unlike “debutant” movie song mission, “”YIPPEE” mission requires that all but one song of the movie to be YIPPEED must have been covered. Moreover, we need to have a list of such YIPPIable” movie available with us. Thirdly, that missing song should be available.

Let us leave aise the unavailable final song movies. The movies where the final songs are available also cannot be discussed just like that. Many of these songs turn out to be special songs requiring special treatment on special occasions. For example, I had a few songs waiting to be YIPPEED because their final song was a Holi festival song. Yesterday, on the occasion of Holi, I used up one song song to finally ensure that “Ek Gaaon Ki Kahaani”(1957) got YIPPEED yesterday (on 2 march 2018).

It is very essential for us to keep posting songs to make sure that more and more movies become YIPPIable. For the last few days, I have been unable to devote much time on the blog and I was content covering the “debutant” and “YIPPEE” movie songs and I did not bother making more movies YIPPIable.

So today (3 march 2018), I found myself paying the price. 🙂 I was struggling to pick songs that I could use today. I picked one song, but that song was so special that I decided that it had to be used on a special occasion. then I looked at another song. I listened to it and realised that this song was no less special and it also deserved its special writeup. Then I looked at another YIPPIable movie, but i found the lyrics of the final song almost undecipherable and so that song and movie too had to be discarded from consideration. There were other songs too but they could not have been touched for some special reasons or the other.

It was evening and 7 AM and I began to despair. I resolved that I would not let that situation come if I somehow managed to find a suitable YIPPIABLE for for today.

It was after 7 PM in the evening that a song came to my rescue. This song was sent to me by Avinash Scrapwala in the past and he had reminded me a few days back that this song was the final song from the movie. My record showed that this movie had two songs left to be covered. This song turned out to be a multiple version song ! So this song indeed fitted the bill.

That is not all. Listening to the song made me realise that there are some divine forces at work as far as this blog is concerned. This song is a “song with a message” and it is a message that I was in need of being reminded of. This song tells us that when we feel helpless then we should pray to the Almighty and he will show the way. Now in Hindi movies, we have so many songs where people are seen “remonstrating with the Almighty” where people are seen trying to shame/ abuse the Almighty. We have lots of such songs in Hindi movies as well as in this blog. Personally I regard these songs are songs of people living in denial which is quite common in our parts of the world. We do no work hard enough/ smart enough/ long enough and then we tend to find a scapegoat to blame for our inadequacy. The Almighty is that scapegoat in a large number of such situations.

It is my firm belief that if you work hard enough/ smart enough/ long enough, then, with a little bit of luck in your favour, you will get what you desrve. I like and subscribe to the comparison of our destiny being like a bank locker. This locker has two keys and both keys must be applied simulutaneously for our destiny to get unlocked. The key with us is work, the key with the bank manager (Almighty) is luck. When we remonsrtate the Almighty for our failures, then it is mostly a case where the Almighty is used his key but the remonstrator had not bothered to use his/her key (working hard enough/ smart enough/ long enough). If someone belives that Almighty is responsible for his/ her miseries then I have little sympathy for such people.

Coming to the song under discussion, I find the song quite a nice and soothing song. It is a philosophical song and a song with a message. And it is a song that will give strenght to people who may be feeling low in life at the moment.

In a somewhat lighter vein, I must say that I was feeling low because I was not able to find a YIPPIable song for the day and this song came to my rescue. It was like the Almghty coming to our rescue with just the perfect song ! We are using our key and the almighty used his key just in the nick of time. our thanks goes to the Almighty who hepled us. It proves that the almighty too likes to help people who are silently going about their tasks. 🙂

The song has two versions. One version is sung by Mahendra Kapoor and chorus. This song is lip synced by Om Shivpuri playing a Swami in front of his disciples. Only the audio of the other version is available. it is sung by Mahendra Kapoor, Asha Bhonsle and chorus.

Bharat Vyas is the lyricist. Music is composed by R D Burman.

Lyrics (including the devnagri lyrics) of this song were sent to me by Avinash Scrapwala. The movie, in case I failed to mention it earlier, is “Karm”(1977). This movie was produced and directed by B R Chopra for B R Productins, Bombay. The movie had Rajesh Khanna, Vidya Sinha, Shabana Azmi, Ifthikhar, Asrani, Om Shivpuri, Achla Sachdev, Manmohan Krishn, Pinchoo Kapoor, Nana Palsikar, S N Bannerji, Jagdis Raj, Keshav Rana, Nazeer Kashmiri, Master Bittu, Bobby Grewal, Jankidas, Madhu Chauhan, Sudha Shivpuri, Seema, R S Chopra, Sahgal, Sunil Dhawan, Abhimanyu Sharma, Prem Sagar etc, with guest appearances by Prema Narayan, Roopesh Kumar, Dines Thakur and Naaz.

The movie had seven songs in it. Five songs were covered in the past. Here are the details of the songs covered earlier:-

Song Title

Post No.

Post Date

Samay tu dheere dheere chal Multi part song 5221 29-Dec-11
Karm kaho kismat kaho Multi part song 11222 27-Jun-15
Maine dekha tujhe 13376 27-Jun-17

With this song, “Karm”(1977) joins the list of movies that have all their songs covered in the blog.

Part I (Video)

Part II

Song-Jab dukh se man ghabra jaaye (Karm)(1977) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Bharat Vyas, MD-R D Burman
All chorus
Male chorus
Female chorus
Mahendra Kapoor/Asha Bhonsle + Chorus

Lyrics(Provided by Avinash Scrapwala)

Jab dukh se man ghabraa jaaye
Har oar niraashaa chhaa jaaye
Jab dukh se man ghabraa jaaye
Har oar niraashaa chha jaaye
Jab ek kiran bhi aasha ki
aati ho nahin nazar
Praarthna kar
Praarthna kar
Jagat ke paalan haare se
Praarthna kar
Praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

Tu jaan boojh koi paap na kar
Ho jaaye to pashchaataap na kar
Aa aa aa aa
Aa aa aa aa aa
Tu jaan boojh koi paap na kar
Ho jaaye to pashchaataap na kar
Ye sab leelaa us ishwar ki
Tu dhyaan usi ka dhar
Praarthna kar
praarthna kar
Jagat ke paalan haare se
Praarthna kar
praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

Jisko na kisi ne dekha hai
Wo ek karam ki rekha hai
Jisko na kisi ne dekha hai
Wo ek karam ki rekha hai
Wo sab ka bhaagya vidhaata hai
Sabki hai usey khabar
Praarthna kar
Praarthna kar
Jagat ke paalan haare se
Praarthna kar
Praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

————————————–
PART – II
————————————–
Hari Om
Hari Om
Hari Om

Jab chaaron taraf andhera ho
Jeewan ko mrityu ne ghera ho
Jab chaaron taraf andhera ho
Jeewan ko mrityu ne ghera ho
Tab man mein rakh vishwaas
Shwaas mein aas nayi ek bhar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se
Praarthana kar
Praarthana kar

Hari Om
Hari Om
Hari Om
Hari Om

Karam dharm na jaanoon
na Mujhe paap punya ka bhaan
Aa aa aa aa aa
Aa aa aa aa aa
Karam dharm na jaanoon
na Mujhe paap punya ka bhaan
Kaise karun praarthanaa teri
Iska bhi nahin gyaan
Main bebas dukhiyaari hoon
Bas aayi tere dar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se

Praarthana kar
Praarthana kar
Hari Om

Hari Om
Hari Om
Hari Om

Hari Om
Hari Om

Aa aa aa aa
Aa aa aa aa

Mera jeewan saathi mil ke mujhse
Ho jaaye na door
Kahin chita ki raakh na ban jaaye
Meri maang ka ye sindoor
Man mein shehnaayi goonj rahi
Ankhiyaan ansuan se tar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se

Praarthna kar
Praarthana kar
Hari Om

Hari Om
Hari Om

Hari Om
Hari Om

Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

——————————————-
Devnagri Script lyrics
——————————————-
PART- I
——————————————-
जब दुःख से मन घबरा जाए
हर ओर निराशा छा जाए

जब दुःख से मन घबरा जाए
हर ओर निराशा छा जाए
जब एक कीरण भी आशा की आती हो नहीं नज़र
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

तू जान बुझ कोई पाप न कर
हो जाए तो पश्चाताप न कर
आ आ आ आ
आ आ आ आ आ
तू जान बुझ कोई पाप न कर
हो जाए तो पश्चाताप न कर
ये सब लिला उस इश्वर की
तू ध्यान उसी का धार
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

जिसको न किसी ने देखा है
वो एक करम की रेखा है
जिसको न किसी ने देखा है
वो एक करम की रेखा है
वो सब का भाग्य विधाता है
सब की है उसे खबर
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

————————-
PART- II
————————-
हरि ओम
हरि ओम
हरि ओम

जब चारों तरफ अँधेरा हो
जीवन कों मृत्यु ने घेरा हो
जब चारों तरफ अँधेरा हो
जीवन कों मृत्यु ने घेरा हो
तब मन में रख विश्वास
श्वास में आस नयी एक भर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से
प्रार्थना कर
प्रार्थन कर

हरि ओम
हरि ओम
हरि ओम
हरि ओम

कर्म धर्म न जानू
न मुझे पाप पुण्य का भान
आ आ आ आ आ
आ आ आ आ आ
कर्म धर्म न जानू
न मुझे पाप पुण्य का भान
कैसे करूँ प्रार्थना तेरी
इसका भी नहीं ज्ञान
मैं बेबस दुखियारी हूँ
बस आयी तेरे दर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से

प्रार्थना कर
प्रार्थना कर
हरि ओम

हरि ओम
हरि ओम

हरि ओम
हरि ओम
हरि ओम

आ आ आ आ आ
आ आ आ आ आ

मेरा जीवन साथ मिल के मुझसे
हो जाए न दूर
कहीं चिता की राख न बन जाए
मेरी मांग का ये सिन्दूर
मन में शहनाई गूँज रही
अँखियाँ अंसुअन से तर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से

प्रार्थना कर
प्रार्थना कर
हरि ओम

हरि ओम
हरि ओम
हरि ओम

हरि ओम
हरि ओम

हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम


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 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 : 3493 Post No. : 14034

The box office successes of ‘Chaudhvin Ka Chaand’ (1960) and ‘Taj Mahal’ (1963) were mainly attributed to musical bonanzas they offered to the cinegoers in general. In that process, the captain of the ships, i.e., the director of the films who had an important role in making the films the box office success was largely ignored. In those days, like many, I identified the first film with Guru Dutt and the music director Ravi. In case of ‘Taj Mahal’ (1963), I identified the film with the musical and lyrical feasts of Roshan and Sahir Ludhianvi. I was not aware at that time that these two successful films were directed by M Sadiq.

After few years when I did come to know of M Sadiq, I thought of him as a new upcoming director who specialised in directing Muslim social and historical films. This was borne out of the facts that his subsequent two films were ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). How wrong I was!

Last year, while doing a research on producer-director  AR Kardar, I became aware of the fact that M Sadiq (10/03/1910 – 03/10/1971) started his filmy career as early as 1932 as screen-play writer for Punjabi film, ‘Heer Ranjha’ (1932) which was a debut film for AR Kardar as the director of a talkie film.

After 1932, there appears to be a big gap in his filmy career if I go by his filmography. However, browsing through many pages of various ‘Filmindia’ issues gives me an indication that M Sadiq assisted AR Kardar all through 1932 to 1942 in his various directorial ventures, in various capacity – story/screen-play/dialogue writer, editor in addition to being one of his regular Assistant Directors.

By 1942, M Sadiq had become one of the two key assistants to AR Kardar along with SU Sunny. (SU Sunny later directed films like ‘Udan Khatola’ (1955), ‘Kohinoor’ (1960) and ‘Paalki’ (1966)). Baburao Patel, Editor of ‘Filmindia’ magazine had described them as ‘the left hand and the right hand of AR Kardar’ without identifying as to who was left hand and who was the right hand. He had also nicknamed them as ‘little Kardars’.

When AR Kardar set up his film production company, Kardar Productions in 1942 with his maiden film ‘Sharda’ (1942) as a producer-director, he gave an additional responsibility to M Sadiq as the film editor. In his next film, ’Namaste’ (1943),  AR Kardar entrusted  M Sadiq and SU Sunny to jointly direct the film. Kardar’s ‘Jeewan’ (1944) appears to be the first film which M Sadiq directed independently. However, this film did not do well on the box office. In the same year, Jaimini Dewan Productions gave him the opportunity to direct ‘Rattan’ (1944). The film became a box office bonanza for its producer. However, the credit for the success of the film was mainly given to the musical scores by Naushad.

From 1946 through 1950, M Sadiq directed 8 films which included ‘Shaam Savera’ (1946), ‘Daak Bangla’ (1947), ‘Kaajal’ (1948), ‘Chaar Din’ (1949) and ‘Sabak’ (1950), the last mentioned film was his first home production under the name of Sadiq Productions. In the 1950s, he directed 11 films, mostly his home productions like ‘Saiyaan’ (1951), ‘Shabaab’ (1954), ‘Musafirkhana’ (1955), “Chhoo Mantar’ (1956), ‘Mai Baap’ (1957), ‘Duniya Rang Rangeeli’ (1957) and ‘Khota Paisa’ (1958).

However, many of his home production films did not fare well on the box office. When Guru Dutt started ‘Chaudhvin Ka Chaand’ (1960), being a Muslim social film, he wanted the film to be directed by a Muslim director who was well versed in Lucknowi etiquette. Those days, M Sadiq had a lot of financial difficulties and Guru Dutt wanted to help him (as mentioned in Nasreen Munni Kabir’s documentary ‘In Search of Guru Dutt’).

‘Chaudhvin Ka Chaand’ (1960) was a box office hit film. However, the credit for the success of the film went mainly to the musical scores of Ravi with the lyrics of Shakeel Badayuni. In Hindi film industry, a director working for a producer who also happens to be an ace director would remain in his shadow. For, the people will always have a doubt whether the ace director was a ‘shadow director’ of his own film. The song sequences in the film as Abrar Alvi puts it “. . .bear the stamp of Guru Dutt. . .” (Source: ‘Ten Years with Guru Dutt’). This kind of aspersions were also made in the case of  Radhu Karmakar who directed RK Films’ ‘Jis Desh Mein Ganga Behti Hai’ (1960) and of Abrar Alvi himself who directed Guru Dutt’s ‘Sahib Bibi Aur Ghulam’ (1962).

In spite of the success of ‘Chaudhavin Ka Chaand’ (1960), M Sadiq did not get offers for directing the films until ‘Taj Mahal’ (1963). Once again the success of this film did not help him in his career as in this case also, the credit for the success of the film was mainly shared by its super hit songs composed by  Roshan on the lyrics of Sahir Ludhianvi.

I feel that  it was unfortunate that the film industry did not recognise the contribution of M Sadiq in the success of  films like ‘Rattan’ (1944), ‘Shabaab’ (1954), ‘Chadhavin Kaa Chaand’ (1960) and ‘Taj Mahal’ (1963). I have seen all these films and I feel that M Sadiq had done a wonderful job as a director. Guru Dutt was indeed a master craftsman in picurisation of songs. He may have done the song picturisation himself in ‘Chaudhavin Ka Chaand’ (1960).

In my view, M Sadiq was not a novice in picturisation of song sequence in the films. Having experience of directing films for 20 years at the time when he directed ‘Taj Mahal’ (1963), I do not think that he would not have done justice to the song sequences of ‘Chaudhvin Kaa Chaand’ (1960). Just note how beautiful was his picturisation of the song Paaon Chhoo Lene Do Phoolon Ko Inaayat Hogi. It is a difficult situational song where Pradeep Kumar’s open romantic proposal has to be  met with a restrained modesty of the heroine Bina Rai. In this song, the director has also to make the sequence of picturisation interesting with an added handicap of the expressionless Pradeep Kumar. Nonetheless, the director had succeeded at least for me as it is one of those songs where I like to watch and listen on the video clip rather than listening on the mp3 clip.

Again, after the success of ‘Taj Mahal’ (1963), M Sadiq had to wait for another 4 years to get the directorial assignments of ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). Unfortunately, both these films, despite good musical scores, did not fare well at the box office. Sometime in 1970, M Sadiq migrated to Pakistan and directed the film ‘Baharon Phool Barsaao’ (1972) under his own banner, Sadiq Productions. In a couple of Pakistani articles on the migration of film artists, it has been mentioned that M Sadiq came to Pakistan on an assignment to make ‘Bahaaron Phool Barsaao’ (1972). However, when the film was more than half way through, he left for the heavenly abode on 03/10/1971 in Lahore.

Today, I am presenting a multiple version song, “Meri Mitti Ki Duniya Niraali. . . Jahaan Bhagwaan Basen’ from the film ‘Shaam Savera’ (1946) which makes a debut on our blog today. The film was directed by M Sadiq. The star cast included Swarnalata, Wasti, Sulochana Chatterjee, Rafiq Ghaznavi, Badri Prasad, Pratima Devi  etc.

I became aware of this song only a few days back when I heard it in the voice of SD Batish. I immediately fell in love with the song for its rendition and the lyrics. In fact, its first verse led me to minutely grasp the subsequent part of the lyrics. As I was planning to present the song for the blog, somewhere I got confused with the film ‘Subah Shaam’ (1944) which has already made a debut on the blog. Since this film is not in the verge of attaining the status of a ‘yippied’ film, I felt that there was no urgency in presenting the song.

Yesterday, I heard this song once again. But this time, it was in the voice of Rafiq Ghaznavi. After checking on the website, it transpired that it was a multiple version song. It was at this stage I realised that the song in reference was from ‘Shaam Savera’ (1946) which is yet to make a debut on the Blog.

In my 3 decades of trekking in the Himalayas for soaking in the nature, I had always felt that there is Godliness in the nature – “jahaan bhagwan base”.


Song – Meri Mitti Ki Duniya Niraali (Shaam Savera) (1946) Singer – Rafiq Ghazanvi, Lyrics – [Unattributed] , MD – Pt Amarnath
SD Batish

Lyrics

meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
phoolon se rang churaayaa aa
kaanton se dard main laayaa
komalta pankhadiyon se
belon mein pyaar basaayaa
main hoon sundar ban kaa maali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
hirnon ne aankhen de deen
moron ne naach sikhaayaa aa
hirnon ne aankhen de deen
moron ne naach sikhaayaa
mad bhari koyal ki koo koo
pi pi papihaa ne gayaa
ban ke panchhi phiroon daali daali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
guru’on kaa saath jahaan hai
pariyon kaa naach jahaan hai
sundar taanon kaa raseelaa
prem kaa geet jahaan hai
main ne jaadoo ki nagri basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

SD Batish Version 
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
ho jahaan chaandni raaten
pyaar-o-muhabbat ki ghaaten
sundar sunehraa jeewan ho
kyun na ho pyaar ki baaten
tu ne ganga ki nadiyaa bahaa li
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
khilaa kamal hai suhaanaa
swarg banaa ghar teraa
tu ne preet nagariyaa basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

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

स्वर: रफ़ीक़ ग़ज़न्वी

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

फूलों से रंग चुराया
काँटों से दर्द मैं लाया
कोमलता पंखड़ियों से
बेलों में प्यार बसाया
मैं हूँ सुंदर बन का माली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हिरणों ने आंखें दे दीं
मोरों ने नाच सिखाया
मद भरी कोयल की कू कू
पी पी पपीहा ने गाया
बन के पंछी फिरूँ डाली डाली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

गुरुओं का साथ जहां है
परियों का नाच जहां है
सुंदर तानों का रसीला
प्रेम का गीत जहां है
मैंने जादू की नगरी बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
====================

स्वर: शिव दयाल बातिश 

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हों जहां चाँदनी रातें
प्यार ओ मोहब्बत की घातें
सुंदर सुनहरा जीवन हो
क्यों ना हों प्यार की बातें
तूने गंगा की नदिया बहा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

जीवन में था जो अंधेरा
किरणों ने किया सवेरा
जीवन में था जो अंधेरा
किरणों ने किया सवेरा
खिला कमाल है सुहाना
स्वर्ग बना घर तेरा
तू ने प्रीत नगरिया बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें


This article is written by Avinash Scrapwala, 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 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 : 3462 Post No. : 13894

Today is the eighty fourth birth anniversary (9 Jan 1934 – 27 Sep 2008) of singer Mahendra Kapoor. On this occasion today, I present this lovely and haunting song from the 1966 film ‘Naag Mandir’ here on our blog. This song has two versions one sung by Mahendra Kapoor and another sung by Lata Mangeshkar.

‘Naag Mandir’ was directed by Shantilal Soni for Mayurkala Pictures, Bombay. The star cast was led by Mahipal, Vijaya Choudhry and included Indira and BM Vyas.

This movie has six songs, including one multiple version song. Songs for this movie are written by three songwriters – Shiv Kumar ‘Saroj’, Bharat Vyas and Asad Bhopali. This song is written by Bharat Vyas. Music for this movie is composed by Laxmikant-Pyarelal. Lata Mangeshkar, Mahendra Kapoor and Mohd Rafi have given their voices to the songs in this movie. So far three songs from this movie have been posted on the blog.

Not much other information about this movie is either mentioned in HFGK Vol IV or available on other sources.

I became aware of this song around end-eighties, when I started collecting cassettes and also getting compilations of various singers recorded on blank (TDK/Sony) cassettes. In this endeavor I got recorded the Mahendra Kapoor songs on 14.10.1991 and since then this song is there in my collection. I like this song very much and sometimes it automatically come to my lips and I broke into humming it.

When I checked on the blog, I was surprised to note that this was still to be posted. Also, it was only few weeks back that I discovered that this song also has a female version and that too sung by Lata Mangeshkar. There is some difference in the lyrics. Both versions have one common stanza and one different stanza.

Coming back to the songs of Mahendra Kapoor I would like to mention that I like many of his songs very very much. And as and when I have got the opportunity to share his songs I have tried to get them posted on this blog. I am not going into the biographical details of Mahendra Kapoor and the list of his songs in this post today. I will just stop here and leave you with this song to enjoy today remembering him, and his contribution to Hindi Film Music.

Audio (Male Version – Mahendra Kapoor)

Audio (Female Version – Lata Mangeshkar)

Song – Mere Sanam, Sun Mera Gham (Naag Mandir) (1966) Singer – Mahendra Kapoor/ Lata Mangeshkar, Lyrics – Bharat Vyas, MD – Laxmikant Pyaarelal

Lyrics

Male Version
– – – – – – – – – – –
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

zindagi ke dukh bharey
ye din kahaan bitaaun
jo na koi gham kare
wo dil kahaan se laaun
sab kuchh hai phir bhi jaise
kuchh nahin
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

jal rahaa hai dil mera
main chup rahoon to kaise
ghut rahaa hai dam mera
main kuchh kahoon to kaise
gham se haden khushi ki jaa mili
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

Female Version
– – – – – – – – – – – – –
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

jal rahaa hai dil mera
main chup rahoon to kaise
ghut rahaa hai dam mera
main kuchh kahoon to kaise
gham se haden khushi ki jaa mili
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

kitne din guzar gaye
kismet ko sote sote
kitni umr kat gayi
din raat rote rote
phir bhi to badnaseebi kam nahin
uljhanen
zindagi ban gayi ee
tu kahin, main kahin

mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam
mere sanam
mere sanam

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
पुरुष स्वर
– – – – – – – –
मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

ज़िन्दगी के दुःख भरे
ये दिन कहाँ बिताऊं
जो न कोई ग़म करे
वो दिल कहाँ से लाऊं
सब कुछ है फिर भी जैसे
कुछ नहीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

जल रहा है दिल मेरा
मैं चुप रहूँ तो कैसे
घुट रहा है दम मेरा
मैं कुछ कहूं तो कैसे
ग़म से हदें ख़ुशी कि जा मिलीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

महिला स्वर
– – – – – – – –
मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

जल रहा है दिल मेरा
मैं चुप रहूँ तो कैसे
घुट रहा है दम मेरा
मैं कुछ कहूं तो कैसे
ग़म से हदें ख़ुशी कि जा मिलीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

कितने दिन गुज़र गए
किस्मत को सोते सोते
कितनी उम्र कट गयी
दिन रात रोते रोते
फिर भी तो बदनसीबी कम नहीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं

मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम
मेरे सनम
मेरे सनम


This article is written by Avinash Scrapwala, 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 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.

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 58 # Remembering Singer-Poet – Kavi Pradeep #
———————————————–—————————————————-

Today (11th December, 2017 is the nineteenth ‘Remembrance anniversary’ (06.02.1915 – 11.12.1998) of Ramchandra Narayanji Dwivedi whom we fondly remember and whose name has been engraved in the history of Indian Cinema and Poetry as Kavi Pradeep.

On this occasion here is a song from “Jai Santoshi Maa-1975” which is penned by Kavi Pradeep (he has written all the six songs for this movie) and also lent his voice to the background version of this (today’s) song in the movie.

“Jai Santoshi Maa” was produced by Satram Rohra for ‘Bhagyalakshmi Chitra Mandir, Bombay’ and directed by Vijay Sharma.
It had Ashish Kumar, Kanan Kaushal, Rajnibala, Bela Bose, Asha Potdar, Leela Mishra, Manhar Desai, B.M. Vyas, Rajan Haksar, Kundan, Neelam, Padmarani, Lata Arora, Johny Whisky, Surendra Mishra, Dilip Dutt, Uma Dutt, Tiwari, Dubey Trilok Kapoor, Anand Marathe, Shri Bhagwan, Mahipal, and Anita Guha as ‘Santoshi Maa’.

Bharat Bhushan makes an ‘guest appearance’ in this movie.

The seventies was a very special decade for Hindi movies. It saw the emergence of the first superstar of the industry and later on the rise of an angry young man on screen. Action films, formula films, multi starrer movies came to the fore in this decade. Story presentation and action underwent changes from the earlier decades. Towards the end of the decade, we found disco music entering in Hindi film music in a big way.

This decade also saw one of the greatest mythological hit of all times viz. ‘Jai Santoshi Maa’ in 1975.

Released in the same year as Sholay, this was a low budget movie but later on created records for collection. I have blurred memories about tales that many women started ‘santoshi maata vrat’ after watching this movie.

All the songs of this movie were very popular. Today’s song in particular holds a special nostalgic value for me.

I was just above 7 years old at that time. I remember that we watched both Sholay and Jai Santoshi Maa on the same day at Akola. I remember the name of the theatres. ‘Shalini’ talkies, which had that typical theatre like built inside and ‘Manek’ talkies – one of the old in the city and still maintained well and spacious.

Today when I checked the release dates of both these movies, I find that “Jai Santoshi Maa” was passed by Censor Board on 28.05.1975 and “Sholay” was passed by Censor Board on 12.08.1975).

The song being presented today has two versions. One version is sung by Kavi Pradeep and the other by Mahendra Kapoor with chorus in both of them. music is given by C. Arjun and lyrics are by Kavi Pradeep ji.

This song, oozing with devotion and spirituality has a calming effect on me and it puts me at peace. No wonder that this is a song that I like to listen to again and again.

(Note: – In HFGK Vol-V this song is mentioned as appearing at number two and six, which normally should be in the order of appearing of the songs in the movie. However, I would like to mention here that this needs to be corrected in HFGK as in the movie this song appears at number one and two respectively in the voices of Mahendra Kapoor and Kavi Pradeep.

HFGK mentions the song ‘main to aarti utaaroon re’ at number one while in the movie it comes at number number five. And, at number six is the last song of the movie ‘madad karo he… madad karo santoshi maata’).

Let us now listen to this wonderful song …

Version I
Audio

Version II II (Video)

Song-Yahaan wahaan jahaan tahaan mat poochho kahaan kahaan (Jai Santoshi Maa)(1975) Singer-Kavi Pradeep/ Mahendra Kapoor, Lyrics-Kavi Pradeep, MD-C Arjun

Lyrics

Version I
——————–
Jai Santoshi maa aa aa
Jai Santoshi ee maa aa aa
Jai Santoshi maa aa aa

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Badi man bhaawan
Nirmal paawan
Prem ki ye pratimaa
Apni Santoshi Maa
Apni santoshi maa

Is devi ki dayaa ka hamne ae ae
Adbhut phal dekha aa
Ho o o adbhut phal dekha
Ho o o
Pal mein palat de ye bhakton ki ee
Bigdi bhaagya rekha aa
Bigdi bhaagya rekha
Badi balshaali
Hmm hmm
Mamtaa waali
Hmm hmm
Badi balshaali
Mamtaa waali
Jyoti punj ye maa
Apni Santoshi Maa
Apni santoshi maa

Ye maiyya to bhaav ki bhookhi ee
Bhakti se bhaave
Ho o o bhakti se bhaave
Ho o o prem poorwak jo koyi pooje
Man waanchhit paave ae
Man waanchhit paave
Mangal karni
Hmm hmm
Chintaa harni
Hmm hmm
Mangal karni
Chinta harni
Dukh bhanjan ye maa
Apni Santoshi Maa
Apni santoshi maa

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

——————————-
Version II (Mahendra Kapoor & Chorus)
———————————

Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Jal mein bhi
Thal mein bhi
Chal mein
Achal mein bhi
Atal vital mein bhi maa
Apni Santoshi Maa
Apni Santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Badi anokhi chamatkaarini
Ye apni Maai
Ye apni maai
Ye apni maai

Raayee ko parbat kar sakti
Parbat ko raayee
Parbat ko raayee
Parbat ko raayee

Dwaar khulaa
Darbaar khula hai ae ae
Aao behan bhaai
Iske dar par
Kabhi daya ki kami nahin aayi
Daya ki kami nahin aayi
Pal mein Nihaal kare
Dukh ka nikaal kare
Pal mein nihaal kare
Dukh ka nikaal kare
Turant kamaal kare maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Is Amba mein Jagdamba mein
Ghazab ki hai shakti
Ghazab ki hai shakti
Ghazab ki hai shakti

Chinta mein doobey huye logon
Kar lo iski bhakti
Kar lo iski bhakti
Kar lo iski bhakti

Apna Jeevan saunp do isko o
Paa lo re mukti
Sukh sampati ki daataa
Ye maa kya nahin kar sakti
Maa ye kya nahin kar sakti
Bigdi banaane waali
Dukhde mitaane waali
Bigdi banaane waali
Dukhde mitaane waali
Kasht hataane waali maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa

Gaurisut Ganpati ki beti
Ye hai badi bholi
Ye hai badi bholi
Ye hai badi bholi

Dekh dekh kar iska mukhda
Har ik dishaa doli
Har ik dishaa doli
Har ik dishaa doli

Aao re bhakton ye maataa hai ae
Sab ki hamjoli
Jo maangoge tumhen milega
Bhar lo re jholi
Suno re bhaai
Bhar lo re jholi

Ujjwal Ujjwal
Ho nirmal nirmal
Ujjwal Ujjwal
Nirmal nirmal
Sundar sundar Maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Apni Santoshi Maa
Apni santoshi maa

————————————

———————————————————-
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
———————————————————-
Version I (Kavi Pradeep)
———————————————————-

जय संतोषी माँ आ आ
जय संतोषी ई माँ आ आ
जय संतोषी माँ आ आ

यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

बड़ी मन भावन
निर्मल पावन
प्रेम की ये प्रतिमा
अपनी संतोषी माँ
अपनी संतोषी माँ

इस देवी की दया का हमने ए ए
अद्भूत फल देखा आ
हो ओ ओ अद्भूत फल देखा
हो ओ ओ
पल में पलट दे ये भक्तों की ई
बिगड़ी भाग्य रेखा आ
बिगड़ी भाग्य रेखा
बड़ी बलशाली
हम्म हम्म
ममता वाली
हम्म हम्म
बड़ी बलशाली
ममता वाली
ज्योति पुंज ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

ये मैय्या तो भाव की भूखी ई
भक्ति से भावे
हो ओ ओ भक्ति से भावे
हो ओ ओ प्रेम पूर्वक जो कोई पूजे
मन वांछित पावे ए
मन वांछित पावे
मंगल करणी
हम्म हम्म
चिंता हरनी
हम्म हम्म
मंगल करणी
चिंता हरनी
दुःख भंजन ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

————————————–
Version II ( Mahendra Kapoor)
—————————————
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
जल में भी
थल में भी
चल में
अचल में भी
अतल वितल में भी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

बड़ी अनोखी चमत्कारिणी
ये अपनी माई
ये अपनी माई
ये अपनी माई

राई को परबत कर सकती
परबत को राई
परबत को राई
परबत को राई

द्वार खुला
दरबार खुला है
आओ बहन भाई
इसके दर पर
कभी दया की कमी नहीं आयी
दया की कमी नहीं आयी
पल में निहाल करे
दुःख का निकाल करे
पल में निहाल करे
दुःख का निकाल करे
तुरंत कमाल करे माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

इस अम्बा में जगदम्बा में
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति

चिंता में डूबे हुए लोगो
कर लो इसकी भक्ति
कर लो इसकी भक्ति
कर लो इसकी भक्ति

अपना जीवन सौंप दो इसको
पा लो रे मुक्ति
सुख सम्पति की दाता
ये माँ क्या नहीं कर सकती
माँ ये क्या नहीं कर सकती
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
कष्ट हटाने वाली माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ

गौरीसूत गणपति की बेटी
ये है बड़ी भोली
ये है बड़ी भोली
ये है बड़ी भोली

देख देख कर इसका मुखड़ा
हर इक दिशा डोली
हर इक दिशा डोली
हर इक दिशा डोली

आओ रे भक्तो हए माता है ए
सब की हमजोली
जो मांगोगे तुम्हे मिलेगा
भर लो रे झोली
सुनो रे भाई
भर लो रे झोली

उज्जवल उज्जवल
निर्मल निर्मल
सुन्दर सुन्दर माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ


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 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.

Hullo Atuldom

“Banarsi Babu” is a 1973 movie which was produced and directed by Shankar Mukherjee. The movie had Dev Anand- Rakhee- Yogita Bali in the lead with Jeevan, I.S. Johar, Manorama, Veena, Bhagwan Dada, Maruti etc in supporting cast.

It was a very simple story of twins getting separated in childhood- one is adopted by a wealthy lady (Raj Rani) and the other remains with the biological mother (Veena) in Banaras. The child with the foster mother grows up to be a wealthy businessman (Sohan) and the other a pickpocket (Mohan) who has Gulabi (Yogita Bali) as an accomplice.

On a trip to Kashmir Sohan meets the beautiful Neela (Rakhee) falls in love and marries her. He has a scheming manager Saxena (Jeevan) who sends him away on some other trip to London and replaces him with his look-a-like from Banaras in Neela’s life so that they can con her of her inheritance. Matters take a twist when Gulabi comes looking for her Mohan and bumps into Sohan.

Another twist is when escaping the clutches of Saxena’s henchmen he walks into his mother Veena’s hospital room and she calls him Mohan. Then when he returns home he finds Neela cold towards him as she has begun suspecting that he is after her wealth. All this leads to a climax where first the two brothers find each other and then they fight Saxena. Finally, two and half hours are up during which time we are also treated to some entertaining songs penned by Rajender Krishan and composed by Kalyanji- Anandji. Kishore Kumar (who else) was the voice for Dev Anand and Lata Mangeshkar and Asha Bhonsle were the voices for the ladies.

On the sixth anniversary of the stylish actor producer and director Dev Anand let us remember him with a lively song from this movie. The song has Rakhee and Dev Anand as Sohan romping about on the snow-clad mountains and teasing each other. After the song it is revealed that they are in love and on a honeymoon.

A small trivia: 1973 saw Dev Anand in five movies- “Shareef Badmaash” with Hema Malini & Rakhee (already yyiippeed); “Joshila” again Rakhee and Hema Malini (not yet yyiippeed); “Heera Panna” with Rakhee and Zeenat Aman (only 2 songs posted); “Chhupa Rustam” with Hema Malini (not yet yyiippeeeed); and “Banarasi Babu” with Rakhee and Yogita Bali (only 1 song as yet that too posted in 2009). So, we se that Hema and Rakhee were his preferred heroines that year. Just a little food for thought.

Editor’s note-Though Lata and Asha Bhonsle are described as the female playback singers in the movie, the female version of this song does not sound like Lata’s (Lata is mentioned as the singer in HFGK). Perhaps she had sung the record version and the movie version had another voice ? The voice sounds more like Usha Khanna, it hardly sounds like Lata.

Male version

Female version

Song-Mere peechhe ek ladki (Banarasi Babu)(1973) Singer-Kishore Kumar / Lata (?), Lyrics-Rajinder Krishan, MD-Kalyanji Anandji

Lyrics

mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki

hey ae ae ae ae
haaye dil ki dushman jaan ki dushman
dil ki dushman jaan ki dushman
yeh bhi na samjhaaye
kyun saaye ki tarah yeh mere peechhe peechhe aaye
main ladka seedha saadha
main ladka seedha saadha
kya jaanoon iska iraada
munh se toh yeh kuchh na boley
aankhon se boley zyaada
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki

haaye deewaani se pyaar karen toh
arre deewaani se pyaar karen toh
deewaane kehlaayen
baahon mein aa jaaye toh
hum shaayad maan bhi jaayen
hai mausam mast gulaabi
tara ru ru ru ru
hai mausam mast gulaabi
dil kaise ho na sharaabi
pyaar zaraa sa kar len toh hai
iss mein kaun kharaabi

mere peeche ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peechhe ek ladki
ek ladki pagli si
awaara titli si
ghoom rahi hai
jhoom rahi hai
dil de doon isko kaise
mere peeche ek ladki

——————————–
Female version (this happens when Rakhee tries to remind her husband of the good times they had experienced in Kashmir unaware that the one with her is Mohan not Sohan)
——————————–

Deewaane se pyaar karoon toh
Deewaane se pyaar karoon toh
Deewaani kehlaaoon
Baahon mein aa jaaye toh
Main shaayad maan bhi jaaoon
Hai mausam mast gulaabi
La la la la la la
Hai Mausam mast gulaabi
Dil kaise ho na sharaabi
pyaar zaraa sa karloon toh hain
issme kaun kharaabi
mere peeche ek ladka
ek ladka pagla sa
awaara baadal sa
ghoom raha hain
jhoom raha hain
dil de doon isko kaise
mere peeche ek ladka
ek ladka pagla sa
awaara baadal sa
ghoom raha hai
jhoom raha hai
dil de doon isko kaise


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

The 25th of October is an important date for Hindi film music lovers. In fact, not just for them but for lovers of Urdu poetry too. For it is the anniversary of passing away of one of the industry’s foremost lyricists, Sahir Ludhianvi, who was highly regarded not just for lyrics but also for his poetry. In fact it was his poetry that brought him recognition early on – he just extended it to the film industry.
Read more on this topic…


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 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.

hullo to all in Atuldom

Today 13th of October is a rather sad date for fans of Bollywood music. It was on this date in 1987 that we lost a gem of the industry to “KAAL”. Its 30 years already and we are yet to find an entertainer like him. We still don’t have a singer, actor (brilliant in comedy), composer, song-writer, and finally a producer-director like him. Our own Kishore Kumar.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14500 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

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