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

Archive for the ‘NFS’ Category


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

Blog Day :

4209 Post No. : 15405

 

Preamble of the Indian Constitution

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity;

and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

 

Components of Preamble
1. It is indicated by the Preamble that the source of authority of the Constitution lies with the people of India.
2. Preamble declares India to be a sovereign, socialist, secular and democratic republic.
3. The objectives stated by the Preamble are to secure justice, liberty, equality to all citizens and promote fraternity to maintain unity and integrity of the nation.
4. The date is mentioned in the preamble when it was adopted i.e. November 26, 1949.

Key Words In The Preamble

1. Sovereign

The term ‘Sovereign’ which is proclaimed by the Preamble means that India has its own independent authority and it is not a dominion of any other external power. In the country, the legislature has the power to make laws which is subjected to certain limitations.

2. Socialist

The term ‘Socialist’ was added in the Preamble by 42nd Amendment, 1976 which means the achievement of socialist ends through democratic means. It is basically a ‘Democratic Socialism’ that holds faith in a mixed economy where both private and public sectors co-exist side by side.

3. Secular

The term ‘Secular’ was incorporated in the Preamble by 42nd Constitutional Amendment, 1976 which means that all the religions in India get equal respect, protection and support from the state.

4. Democratic

The term ‘Democratic’ implies that the Constitution of India has an established form of Constitution which gets its authority from the will of the people expressed in an election.

5. Republic

The term ‘Republic’ indicates that the head of the state is elected by the people directly or indirectly. In India, the President is the head of the state and he is elected indirectly by the people.

BR Ambedkar said about the preamble:-

It was, indeed, a way of life, which recognizes liberty, equality, and fraternity as the principles of life and which cannot be divorced from each other: Liberty cannot be divorced from equality; equality cannot be divorced from liberty. Nor can liberty and equality be divorced from fraternity. Without equality, liberty would produce the supremacy of the few over the many. Equality without liberty would kill individual initiative. Without fraternity, liberty and equality could not become a natural course of things.

As today we all are celebrating the 71 Republic Day , being the day of inception of the constitution of India, I thought that we should start this post with ‘The Preamble to the Constitution’.  The Preamble though is very much part of the constitution itself.

I have the great pleasure of writing the post on this song celebrating the very appropriateness of the justice, liberty, equality and fraternity. This is also the song which brought me to this blog incidentally on 25th of January 2011, and this was my first comment on this blog’s farmaish page.

 

47 | nahm
January 25, 2011 at 1:06 am

I have surfed the net all over for this song/nazm:

khud jiyo auron ko bhi jeene do,
yehi to hai zindagi ka raasta,
tumhien aman ka shanti ka vasta,

This is not available even on youtube. i am very much surprised did not anticipate this difficulty. This was widely used in school assembly , and i found on some website that today itself that it is sung by the great Mohammed Rafi (also). Frankly i was expecting many versions (by various singers). If u could find and just send the lyrics at least, on urgent basis. i shall be ever grateful.

It was exactly 9 years ago that I stumbled upon this blog and life as I knew it before, changed for me.  In many ways I can define the journey of my life before and after 26th January 2011.

Now about the page “Readers farmaishes” :  I wonder at how beautifully the word “Farmaish” has adapted to its Anglicized plural ‘farmaishes’. Another unique word which require a few sentences to get at the spirit of it, in any other language.  Google’s English is showing the pathetically legal “Petition”, or it is most likely a Victorian equivalent. The concept of ‘farmaishi programme’ is so intrinsically Indian, be it a much indulged child’s or an overindulged housewife’s.  Or it fits us ‘spoilt-for-choices’ lovers of Hindi film music.

So it turns out that all those years ago I was looking for the lyrics of this song and in my search found that it is a Rafi song picturized on Prithvi Raj Kapoor in a classroom singing in front of school children. That time, the archives page of the website of Films Division of India was empty. I was searching the youtube intermittently for this song, in the hope that it will surface somehow.  I tried everything I could for this was a Rafi song and no effort was to be spared.  As luck would have it a few months ago I again searched for it and this time found a FDI film ‘Khud Jiyo Auron Ko Bhi Jeene Do’ in the Films Division archives pages. I requested Sudhir Sir to try and find the song, if it exists.

A few days ago Sudhir Sir had emailed me that the song is located and he had the video of the song, but it was not Rafi Sahab’s song. A decade old search has come to an end. All the info pertaining to it was correct, except for the singing voice. But when I heard the song today, when Sudhir Sir, sent the upload link to me, I am so glad that I persisted in the search, my search and quest is very much justified. Though it is not in Rafi Sahab’s voice, but a wonderfully worthy song written, composed and sung by the multi-talented Prem Dhawan. All the thanks and gratitude we the listeners, the beneficiaries of hard work of Sudhir Sir, can give to him, are just not enough.

The tune, voice, rendition and the lyrics are all soothing to the jaded soul.

 

Song – Khud Jiyo Auron Ko Bhi Jeene Do (NFS) (1971) Singer – Prem Dhawan, Lyrics – Prem Dhawan, MD – Prem Dhawan
Chorus
Chorus + Prem Dhawan

Lyrics

khud jiyo auron ko bhi jeene do
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta

khud jiyo auron ko bhi jeene do
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta

aa aaaa aaaa
aaaaa aaaaa aaaa
aaaaa aaaaa aaaa

hmm mmmmm
mmmmmmmmm

chaman mein phool khilte bhaant bhaant ke
magar sabhi ka hota ek hi chaman
magar sabhi ka hota ek hi chaman
hon rehnewaale ham kisi bhi praant ke
hai ek apni dharti ek hi watan
hai ek apni dharti ek hi watan
to phir khinche khinche se dil hain kis liye
chalo dilon mein le ke ek hi lagan
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

yahi likhaa hai geeta aur quraan mein
yahi hai baani nanak aur kabir ki
isi liye to gandhi ji ne jaan di
ke jaane ham ye baat us faqeer ki
unhin ki zindagi hai  kisi kaam ki
samajhte hain jo doosron ki peed bhi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta

alag alag hai apni bhaasha to bhi kya
ke dil jo samjhe wo zubaan to ek hai
ke dil jo samjhe wo zubaan to ek hai
punjab ho bangal ho madras ho
hamaara ye hindostan to ek hai
hamaara ye hindostan to ek hai
allah kaho ishwar kaho ke wah guru
jaana jahan hai wo nishaan to ek hai
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

ha aaa aaaa
haa aaaa
haa aaaa
aaaaa aaaaa
aaaaa aaaaa aaaaa aaaaa
aaaaa aaaaa

hai ladna hi to mil ke lado bhook se
jo bhook saare desh ko hai khaa rahi
mitaao zaat paat lado phoot se
wo phoot jo hamaare ghar jalaa rahi
hai khelna hi khoon se to aao phir
tumhe hai seema desh ki bulaa rahi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

diye diwaali ke jalaao mil ke sab
manaao gale mil se saare eid bhi
manaao gale mil se saare eid bhi
mitaa hai bhagat singh jo apne desh pe
to tipu bhi mitaa hai aur hameed bhi
to tipu bhi mitaa hai aur hameed bhi
hai desh zindaa kyun ke desh sab ka hai
na rehti warna jeene ki ummeed bhi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

aa aaaa
aaaaa aaaaa
aaaaa aaaaa
aaaaaaa aaaaa
hmmm mmmmm
mmmmmmm

wo swarg jo rakhaa hai aasmaan pe
usey na kyun zameen pe utaar len
chalo uss apne ujde huey bagh ko
nayi nayi bahaaron se nikhaar len
banaayen taaj jaise aur mahal kayi
ajanta jaise but naye sanwaar len
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

mili hain aise saath apni qismatien
ke jaise saath ganga ke jamnaa bahe
ke jaise saath ganga ke jamnaa bahe
to kyun na tere dil ki baat main kahoon
to kyun na mere dil ka raaz tu kahe
to kyun na mere dil ka raaz tu kahe
samajh len ek doosre ke gham ko ham
to phir jahaan mein koyi gham hi kyun rahe
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta

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

 


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

Blog Day : 4069 Post No. : 15206

Today (8 september 2019) is the birth anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011).

It is appropriate that we honour him in the blog with a song. Lyrics of the song (sent by Avinash Scrapwala) is there with me. When I listened to the song, I wanted to listen to the original Assamese song. That opened a Pandora’s box. I discovered such a goldmine of information about Bhupen Hazarika, Assam, Assamese culture and History etc that it became a case of information overload for me. Now I have so much information to discuss that I do not known where to begin.

The thought that immediately came to my mind is whether Bhupen Hazarika has got his due recognition. The answer is, yes, belatedly, but his contribution has been recognised and he received Bharat Ratna this year in 2019. A posthumous recognition, and a richly deserved one.

The contribution of Bhupen Hazarika in putting North East part of India in general and Assam in particular and bringing its rich culture to the notice of outsiders is immense.

He began very young and visited all over the world and became a truly cosmopolitan Indian. And he never forgot his roots !

Assam and North East is a remote part of India, and it was considered a “punishment” post for Indians living in other parts of the country. That was mainly because this part of the country was neglected and underdeveloped. The aspirations and feelings of this part of the country were not properly addressed. This led to feeling of alienation and led to separatist movements and militancy.

I had the experience of being posted in this “punishment” posting area from 2000 to 2003. These three years helped me understand Assam and North East first hand by interacting with the natives of the region. And I realised how their hopes, aspirations, demands etc were falling into deaf ears for decades.

Now, for the last few years, attempts has been made to make the people of north East region feel like every one else. The infrastructure works that were languishing for decades have been fast tracked. In 2000, I was posted in Lumding division. The MG line from Lumding to Badarpur and beyond in South Assam was planned for BG conversion but the progress was abysmally slow. During the last few years, this project was fast tracked and now we finally have BG line between Lumding and South Assam. A travel between Silchar to Lumding, which took 12 hours now takes five hours. This remote area now feels more mainstream with rest of Assam. Assam itself now feels more mainstream in India than ever before.

In the past, roads and bridges would not be constructed in border areas because China used to object. Now the government ignores such Chinese protests and goes ahead with the construction work. That is how the long pending demands of Assam and North East were met. Bogibeel Bridge, which was a demand since 1985, in the agreement signed between AASU and Indian Government was gathering dust for decades before this bridge finally got constructed and inaugurated in 2019. One year ago, another bridge (which too was not getting constructed in the past because of Chinese protests) got finished and was inaugurated. This bridge over river Lohit, connecting Dhola and Sadia ( the longest road bridge in India), was very appropriately named as Bhupen Hazarika Bridge.

At a time when North East felt alienated from rest of India, it was people like Bhupen Hazarika who kept their morale high and kept their hopes alive, and kept their faith in India intact.

Not just India, even the neighboring Bangladesh regards him highly. His iconic Assamese folk song Manush Manusher Jonno (Humans are for humanity) was chosen to be the second most favourite number after the National anthem of Bangladesh, in a Bangladeshi opinion poll.

Many of his Assamese songs became known all over India after their Hindi versions were made. One such album of his songs was “Main aur Mera Saaya”(1993). Here, Gulzar translated some of Bhupen Hazarika’s iconic Assamese songs into Hindi.

These Hindi songs became so popular that they are sung all over India by artists and they are performed by school children in their cultural programmes.

Here is the song “Ek Kali Do Pattiyaan” from this album. Bhupen Hazarika had sung this song originally in Assamese as “Eti Kuhi Duti Paat”. This song has subseuently been sung by many other artists, in Assamese as well as Hindi, and I guess in other languages as well.

Here is this goose bump inducing folk song from Assam, beautifully translated into Hindi by Gulzar. The song is sung and composed by Bhupen Hazarika.

As mentioned above, the lyrics of this song were sent to me by Avinash Scrapwala.


Song-Ek kali do pattiyaan (Bhupen Hazarika NFS)(1993) Singer-Bhupen Hazarika, Lyrics-Gulzar, MD-Bhupen Hazarika

Lyrics (Provided by Avinash Scrapwala)

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
ho oEk kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein

Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
O o
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Preet rang laayee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Jugnu aur Lachhmi ki
Preet rang layee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Ek kali do pattiyaan aa aan
Khilne bhi naa paayee thhi ee ee
Todne us baageeche mein
Daanav aaya re
Ho o daanav aaya re
Daanav ki parchhaayee mein
Kaanp rahi thhi pattiyaan
Bujhne lagi maasoom kali
Daanav ki parchhaayee mein
Daanav ki parchhaayee mein

Saaye se bedaar huye
Tambaran si baahon ke
Saaye se bedaar huye
Tambaran si baahon ke

Dhol maadal bajne lage
Maadal aise baaje re
Lakhon milke naache re
Aaya ek toofaan naya
Daanav dar ke bhaag gaya
Maadal aise garja re
Daanav dar ke bhaga re
Daanav dar ke bhaga

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Ratanpur baageeche mein
Ho Ratanpur baageeche mein

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

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
हो एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
हो ओ ओ
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

एक कली दो पत्तियाँ आ आँ
खिलने भी ना पायी थी ई
तोड़ने उस बागीचे में
दानव आया रे
हो ओ दानव आया रे
दानव की परछाई में
काँप रही थी पत्तियाँ आँ
बुझने लगी मासूम कली
दानव की परछाई में ए
दानव की परछाई में

साए से बेदार हुए
ताम्बरन सी बाहों के
साए से बेदार हुए
ताम्बरन सी बाहों के

ढोल मादल बजने लगे
मादल ऐसे बाजे रे
लाखों मिलके नाचे रे
आया एक तूफान नया
दानव डर के भाग गया
मादल ऐसे गरजा रे
दानव डर के भागा
रे दानव डर के भागा

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
रतनपुर बागीचे में
हो ओ रतनपुर बागीचे में


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

Blog Day :

3997 Post No. : 15093

Mohammed Rafi : The Incomparable (II) – Song No. 12
———————————————————-

This particular ghazal, as some other Mirza Ghalib ghazals, has been sung by various singers.  Some of the famous renditions by KL Sehgal Sb, Suraiyya and also by Jaddanbai are already posted in the blog:

https://atulsongaday.me/2012/11/20/nuktaa-cheen-hai-gham-e-dil/      KL Sehgal (‘Yahudi Ki Ladki’, 1933)

https://atulsongaday.me/2010/04/17/nukta-cheen-hai-gham-e-dil/        Jaddanbai (Non-Film song, 1930)

https://atulsongaday.me/2011/03/13/nukta-cheen-hai-gham-e-dil-2/         Suraiyya  (‘Mirza Ghalib’, 1954)

Another rendition of the golden era is yet to find its way into the blog, so here is the Rafi Sahab rendition.  This is a very small simple ghazal with only the four sha’irs being rendered.

The starting word is ‘nuktaa cheen’, which means to be critical or criticism of something or someone.  The word ‘nuktaa’  in common urdu actually means ‘a point” or ‘a dot’.  In geometry it used to be ‘nukta alif’ to ‘nukta bey” as in point A to point B.

Nukta cheeni as being critical of someone or something, ably comes out in this sha’ir by Qateel Shifai :

wohi to sab se zyada hain nukta cheen mera
jo muskura ke hamesha gale lagaye mujhe 

Here the word is used in the sense of ‘being critical of someone”.  But Ghalib says “nuktaa cheen hai gham-e-dil”, he means to use the word in the other English meaning of the word i.e. cirtical, as in serious ill or a critical condition of health.  I have always felt like this about this sha’ir.  Did Ghalib have knowledge of the English word for ‘nukta-cheeni’ and also its another usage, i.e. critical ?  Who can say!  It is more likely that ‘nukta cheen’ is a Persian origin word meaning critical, as in health condition.

Actually this blog has quite a few anecdotes about Mirza Ghalib recorded in the write-ups and comments. Those who wish to know more can read the comments on this page : https://atulsongaday.me/2011/02/23/aah-ko-chaahiye-ik-umr-asar-honey-tak/  including anecdote regarding this sha’ir :

banaa hai shah ka musaahib phire hai itraata
w
agarna shehar mein ghalib ki aabroo kya hai

 Also a few more things that I can recite from memory high lighting the legendary poets talent for ‘fil-ba-dih” replies  i.e. quid pro que replies, what we mean when we say tit-for-tat.

Once Ghalib was taking a walk in the garden with the Emperor (Bahadur Shah Zafar) a few days after the holy month of Ramazaan.  The Emperor asks him “Roze kitne rakkhe ?”.

Ghalib who is known for not observing the religious obligations, was ready with his reply “huzur, ek nahi rakkha”.  Perfect example of telling the truth yet not saying it.

Mirza Ghalib was said to be very fond of mangoes.  Once he was sitting down with friends and eating mangoes to the heart’s content.  They all kept eating the mangoes and throwing the peel (chhilka) to one side.  One among them who didn’t like mangoes was not eating.  Some donkeys happened by and they made towards the mango peels, but did not eat them.  The person who was not eating the mangoes, took the opportunity to ridicule the others including Ghalib, saying that “ke dekho aam to gadhe bhi nahin khaate”.  To this Ghalib had the last word saying “gadhe hi aam nahin khaate”.

It has now been a few years since I had any meaningful, at length discussion with my cousins, uncles or even friends in live discussions.  Since we grew up and became responsible persons in our lives, we all seem to meet on occasions, for a few short hours or days if we are lucky.  And since most of my cousins are staying abroad, and lone friend from my school days is staying in faraway place, I miss this type of discussions.

It’s really funny how some conceptions or misconceptions are formed in mind and are difficult to dislodge. There are a few such instances related to words, where I carried misconceptions that were later corrected.  One was about the Urdu word ‘habshi’ (meaning – a person belonging to the Habsh tribe of North Africa, a dark coloured person).  I read the word as ‘Jashi”, since both words have the same formation as written in Urdu, except for placement of the dot below the alphabets. the ‘hai in ‘habshi’ is the same in the word as ‘jeem’, except for the dot below ‘jeem’. Actually the dot below the next alphabet ‘be’ may have looked like it below ‘hai’ and I read it as ‘jeem’ and read the word as ‘jashi’ to begin with, and the first impression stuck.

It was as late as 1981, when the film ‘Razia Sultan’ was released, and I became aware of my mistake.  My elder sister had a hearty laugh at that time and she told the joke to her friends too. 🙂

Next such thing happened to me with the song “Mera Mann Tera Pyaasa” from Gambler (1971). In this song there is this stanza :

 

zindagi hai meri ik daao
tu hai haar jeet meri
aise waise jaise bhi tu khel ham se
jaisi marzi teri …..

This is one of my favourite Rafi/SDB song, but I thought the lines were:

zindagi hai meri ik daao
tu hai ‘haathhi’ meri

It must have been as late as 2003-04 when I was disabused of the fact that the word was ‘haar jeet’ and not ‘haathi’, by my friends in office.  I took pain to explain how I could have thought of a ‘haathi’ in this line, mainly that since there is daao in first line, it can be a chess game and hence the haathi !  The friends managed not to double over with mirth 🙂 .

Having come to this song, I can leave it without quoting the last stanza :

pataa nahin kaun hoon main
kyaa hoon aur kahaan mujhe jaanaa
apni wo kahaani jo ajaani
ho ke ban gayi, fasaanaa
jeewan kyaa hai, tamaashaa
meraa man tera. . .

Here is this non-film ghazal rendered by Mohammed Rafi Sahab, which is composed by Khayyaam. Each and every word is rising from the throat as rose petals, falling on water – so light and slow, floating in the air first and resting on the water to swim.

This voice – a gift from the Almighty and a favour for mankind. . .

[Ed Note: This recording is from the LP released by HMV in 1967 on the occasion of the birth centenary celebrations of Mirza Ghalib. This is a very special LP – music by Khayyaam, singing voices of Begum Akhtar and Rafi Sb, narration by Kaifi Azmi and sleeve notes prepared by Ali Sardar Jafri. In current times, this LP has become a collector’s item.]

Song – Nukta-cheen Hai Gham e Dil, Us Ko Sunaaye Na Baney (NFS – Mohammed Rafi) (1967) Singer – Mohammed Rafi, Lyrics – Ghalib (Traditional), MD – Khayyaam

Lyrics 

nuktaa-cheen hai gham-e-dil
us ko sunaaye na baney ea ea
kya baney baat jahaan
baat banaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

khel samjha hai kahin
chhod na de bhool na jaaye
kaash yoon bhi ho ke 
bin mere sataaye na baney ea ea
kaash yoon bhi ho ke

bojh wo sar se giraa hai ea
ke utthaaye na utthe ea ea
kaam wo aan padaa hai
ke banaaye na baney ea ea
kaam wo aan pada hai

ishq par zor nahi  
hai ye wo aatish ghaalib
ke lagaaye na lagey
aur bujhaaye na baney ea ea
ke lagaaye na lagey
aur bujhaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

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

नुकता चीं है ग़म-ए-दिल
उस को सुनाये न बने ए ए
क्या बने बात जहां
बात बनाए न बने ए ए
नुक़ता चीं है ग़म-ए-दिल

खेल समझा है कहीं
छोड़ न दे भूल न जाए
काश यूँ भी हो के
बिन मेरे सताये न बने ए ए
काश यूँ भी हो के

बोझ वो सर से गिरा है ए
के उठाये न ऊठे ए ए
काम वो आन पड़ा है
के बनाए न बने ए ए
काम वो आन पड़ा है

इश्क़ पर ज़ोर नहीं
है ये वो आतिश ग़ालिब
के लगाए न लगे
और बुझाए न बने ए ए
के लगाए न लगे
और बुझाए न बने ए ए
नुकता चीं है ग़म-ए-दिल


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

Blog Day : 3930 Post No. : 15001

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 11
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Mohammed Rafi : The Incomparable (II) – Song No. 09
———————————————————
Another momentous occasion, another celebratory post and I was feeling lost. Where was the inspiration ? I saw the e-mailer for the celebration posts planned, just after I had prepared and submitted a post for another song(yet to be posted). This post took a whole three weeks to complete. I am actually not happy writing posts this way. I prefer to write the complete post, in one go. I may look at it 2-4 times and make certain corrections/improvements if required before submitting the post. If I am forced to take breaks while writing the posts, than it takes forever to complete the job.

Fresh instructions were issued to write a post and send it ASAP 🙂 . Incidentally, this acronym is three quarters same as ASAD. ASAD means “Lion” in Arabic and Urdu. I tried to find if this word has a meaning in any other language and found on Google that it means “shubha Mahurat” in Hindi. How appropriate is all this !

On receipt of the above ASAP request, I informed the kaptan’s that I can send a post only next week. They were given no other option but to agree 🙂 .

Than I suddenly remembered the song which had brought me to the blog back in 2010. Predictably it was an illusion of a Rafi song. Why I call it an illusion is that there are just signs of it existing, but so far it has not surfaced. As per some online comments I had gathered this information that Rafi Sahab had rendered this Poem by Pradeep “Khud jiyo auron ko bhi jeene do” for a documentary film made by films division of India. In this document Prithvi Raj Kapoor is shown singing this peom in a class room. I chanced upon this blog in January 2010 while looking for the full lyrics of this poem.

Last week I again searched for any more clues about this rendition by Rafi Sahab and found that a documentary named “khud jiyo auron ko bhi jeene do” was listed in the archives of Films Division of india. This raises hopes that this song exists. So I have requested Sudhir Sir to try to find it.

But this celebration post cannot wait and it started on the blog and I needed a special song for this. Four posts on this 15KSMC have already appeared , awesome songs and posts by Peeviecee’s Mom, Avinash Ji, Shenoy ji and Ava ji. In my own searches and looking for inspiring song, I have just skimmed by these articles and not been able to give comments. All of these were relatively newer songs, so I looked for an old song. I found one Rafi Solo from the 50’s which should have been here already.

But just as I was trying to introspect and decide how to start the post and what to write in it, I remembered this endearing philosophical song rendered by Rafi Sahab in English. The song exhorts us to remember that the world is one and that we share one earth, sky and sun. For all that we know, we are alone in the universe. The universe out there is huge, mean and dangerous. It makes sense for the dwellers of this planet to stick together and not try to wipe each other out from the face of the earth. The past Civilizations of the bygone eras were destroyed due to natural calamities and due to excesses committed by humanity. There are traces of these bygone civilizations, some of which were literally rotten to death. There are continents on this earth, where the entire aboriginal races were eliminated to cater to the human greed of the so called civilized races. That was the era where the strong destroyed the weak for greed of land and resources and wealth.

Now the continents of the world and its controllers are invested in each other and are dependent on each other for accumulation of their virtual wealth and power. And the nation states of the modern world are sailing in the same seas. It is the financial interests of the market forces of modern civilsation, that guide the national pride and the fervor of strategically important market places. In this wider picture also the old adage “united we stand, divided we fall” holds good.

The lyrics of the song are written by Harindernath Chattopadhyay, to suit the meter of the song ‘Bahaaron Phool Barsaao” arguably the most popular song ever. The composers of these iconic songs are Shankar-Jaikishan.

The earnest and honest rendition by Rafi Sahab is to be heard and absorbed in the heart. This is Rafi Sahab singing in an unfamiliar language. He used write down the lyrics in urdu, which is the only language he knew to read and write. A humble person is showing us a wider picture in the mirror.
He tries to make us see ‘ A world his dignity demands. ‘ The Almighty creator looks at the world as one, so remember friends the world is one. And most major monotheistic religions of the world also believe that the human race is created from a single male and female.

So the Rafi song from 1950’s, which is my favorite period for widest range of Rafi Sahabs songs, will wait for its turn in this series. Just a reminder to myself, that I need to write a post each to commemorate 100 years of Majrooh Sultanpuri, Kaifi Azmi and Shamshad Begum.

Meanwhile, to all those connected with blog, my fellow contributors and the kaptans, I extend heartiest congratulations on this milestone of 15000 songs, and wish that we all find the gems we look for in the musical khazana.


Song-Remember friends the world is one (Rafi NFS)(1970) Singer-Mohammed Rafi,Lyrics-Harindernath Chattopadhyay, MD-Shankar-Jaikishan

Lyrics

although we hail from different lands
we share one earth and sky and sun
remember friends the world is one
although we hail from different lands
we share one earth and sky and sun
remember friends the world is one

we want all enmity to cease
for we want peace
we all want peace
we want no hate
we want no strife
since we were born
for love and life

come let us chant while joining hands
we shall not rest till wars are done
remember friends the world is one
although we hail from different lands
we share one earth and sky and sun
remember friends the world is one

we have met here to dream and build
we want our dreams to be fulfilled
we have come here to dream and plan
a world of joy and hope for men
a world His dignity demands
a world that we shall see begun
remember friends the world is one

although we hail from different lands
we share one earth and sky and sun
remember friends the world is one


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

Blog Day : 3874 Post No. : 14895

Mohammed Rafi : The Incomparable (II) – Song No. 07
—————————————————

I remember during the radio days, whenever a non filmy song programme would start, we would shut down the radio.  Now it was time to play or to do some study seriously or even watch TV.  The time for all of these things was limited.  Entertainment was available only on its time with fixed hours and no more, because even if we were free the friends will be called home and play time was over.  Time spend with friends in the colony playing or just doing gup-shup was precious.

One Doordarshan showed, programs in English, Marathi and Gujarati in variety of topics, kids shows, game & sports, filmy shows, quiz shows, songs etc.  There used to be a program even for farmers called ‘Aamchi Maati Aamchi Manasa” (Our Soil and Our People).  Childrens shows such as ‘Aao Maare Saathe’ and ‘Santa Kukdi’ are there in the memory.  Shows like Sabira Merchants ‘Whats the Good Word’ and Tabassum’s ‘Phool Khile Hain Gulshan Gulshan’ and some shows by Yaqub Saeed are also in the recesses of deep memory.

Now everything is available anytime anywhere, with no fixed hours.  Unlimited everything and I am back to the same theme of technology being good, but too much dependence on it is not so good.  Its advancement are there for the human use, but what is happening all around is the other way round.  The technology of internet /wi-fi is occupying the total collective human waking time and imagination.  In fact there is nothing left to imagination, all of it is on display, so to speak.

Now back to what I was saying in the first paragraph.  So sugam sangeet and anyhting non-filmy was a no-go zone as far as I can remember.  I think it was my older sister who found those geet/songs drama shows like ‘Hawal Mahal’ etc. boring.  So Vividh Bharati and All India Radio Urdu Service, both were only used to … listen to film songs. 🙂  Now I realise that this way I missed out on the non-film songs of various singers including those of Rafi Sb.  Even Radio Ceylon was only for Binaca Geet Mala, and nothing else.  So I had zero exposure of non film songs till those private videos started on television, for popularising the private music albums.  Since my association with the blog I have learnt to appreciate the non-film songs and geets a lot better.

This post is to revive a series on Rafi Sb which I had started in 2016. The last post (no. 6) appeared in the blog on 31.07.2016, which was song No. 06 – Hum To Chale Pardes Hum Pardesi Ho Gaye.

Now his song no. 07 is a non-film ghazal which is written by Mirza Ghalib and composed by Khayyaam Sb.  And rendition is by the one and only Rafi Sb.  This is taken from the LP ‘Ghalib – Portrait of a Genius’, which was released by HMV in 1968 on the occasion of the birth centenary celebrations of this poet genius.

This is a popular ghazal and there are many renditions by other singers too.  They seem to have been circumspect in selecting the ‘asha’ar’ to include in the rendition as have Khayyaam and Rafi Sb.  This ghazal was made popular also by Gulzar Sahab, when he used a sha’ir from this ghazal for the mukhda of the song ‘Dil Dhoondta Hai Phir Wohi‘ in ‘Mausam’ (1975).

About the rendition what can one say that has not been said before.  Words are inadequate as the listeners can listen and realise.


Song – Muddat Hui Hai Yaar Ko Mehmaan Kiye Huye (NFS) (1968) Singer – Mohammed Rafi, Lyrics – Mirza Ghalib, MD – Khayyaam

Lyrics

muddat hui hai yaar ko mehmaan kiye huye..ea
josh-e-qadah se bazm charaghaan kiye huye..ea
muddat hui hai yaar ko. . .

maange hai phir kisi ko lab-e-baam par hawas 
maange hai phir kisi ko lab-e-baam par hawas 
zulf-e-siyaah rukh pe pareshaan kiye huye..ea
zulf-e-siyaah rukh pe. . .

ik nau bahaar-e-naaz ko taake hai phir nigaah
chehra farogh-e-mai se gulistaan kiye huye..ea
chehra farogh-e-mai se. . .

ji dhoondhtaa hai phir wohi fursat ke raat din
ji dhoondhtaa hai phir wohi fursat ke raat din
baitthe rahe tasavvur-e-jaanan kiye huye..ea
baitthe rahe tasavvur-e. . .

‘Ghalib’ hamen na chhed ke phir josh-e-ashk se..ea
baitthe hain ham tahaiyya-e-toofan kiye huye..ea

muddat hui hai yaar ko mehmaan kiye huye..ea..ea

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

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए
जोश ए क़दाह से बज़्म चरागां किए हुये॰॰ए
मुद्दत हुई है यार को॰ ॰ ॰

मांगे है फिर किसी को लब ए बाम पर हवस
मांगे है फिर किसी को लब ए बाम पर हवस
ज़ुल्फ ए सियाह रुख पे परेशान किए हुये॰॰ए
ज़ुल्फ ए सियाह रुख पे॰ ॰ ॰

इक नौबहार ए नाज़ को ताके है फिर निगाह
चेहरा फ़रोग़ ए मय से गुलिस्ताँ किए किए हुये॰॰ए
चेहरा फ़रोग़ ए मय से॰ ॰ ॰

जी ढूँढता है फिर वही फुर्सत के रात दिन
जी ढूँढता है फिर वही फुर्सत के रात दिन
बैठे रहे तसव्वुर ए जानां किए हुये॰॰ए
बैठे रहे तसव्वुर ए॰ ॰ ॰

ग़ालिब हमें ना छेड़ के फिर जोश ए अश्क से॰॰ए
बैठे हैं हम तहइय्या ए तूफाँ किए हुये॰॰ए

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए॰॰ए


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

Blog Day : 3873 Post No. : 14892

Today (24 february 2019) is the 95th birth anniversary of Talat Mehmood (24 February 1924-9 May 1998).

Talat Mehmood sang some 450 songs in all which includes HFM as well as NF songs. This blog contains 377 of his songs. So we are only about 70 odd songs short of covering all Talat Mehmood songs in the blog.

Today, on this occasion, here is a non film song of Talat Mehmood. Like most NFS, this song too has superb lyrics which are penned by Jigar Muradabadi. The song is composed by Iqbal. The date of release in not known, and I have assumed it to be 1960.

This is a Talat Mehmood song that I heard for the first time only just now, when I realised that today was Talat Mehmood birth anniversary.

Lots of me to Ghazal singers came up on the scene in later decades, but it is Talat Mehmood was the original pioneer of this genre of songs. And it can safely be said that few other ghazal singers can cast a spell over their listeners as Talat Mehmood can. Here is this ghazal as a ready proof.


Song-Bekaif dil hai aur jiye ja raha hoon main(Talat Mehmood NFS)(1960) Singer-Talat Mehmood, Lyrics-Jigar Moradabadi, MD-Iqbal

Lyrics

Bekaif dil hai aur
jiye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
Bekaif dil hai ae

majboori e kamaal e muhabbat to dekhna aa aa
majboori e kamaal e muhabbat to dekhna aa aa
jeena nahin qubool
jiye jaa raha hoon main aen
Bekaif dil hai ae

wo dil kahaan hai
abke jise pyaar keejiye ae ae
wo dil kahaan hai
abke jise pyaar keejiye ae ae
majbooriyaan hain
saath diye ja raha hoon main aen
Bekaif dil hai ae ae

pehle sharaab jist thhi
ab jist hai sharaab
pehle sharaab jist thhi
ab jist hai sharaab
koi pila raha hai
piye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
Bekaif dil hai ae ae


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.

Blog Day : 3809 Post No. : 14805

I am presenting a non-filmi ghazal recorded sometime in the early 1940s which I had heard a few years back. But after a long gap, this ghazal resurfaced when I was looking for information on the music director Chitta Roy in the context of one of the songs, aayi jawaani aayi aayi composed by him. The ghazal is ‘gham-e-zindagi kaa yaa rab na milaa koi kinaaraa’ (1940) sung by Talat Mehmood. Chitta Roy composed the music for this ghazal. The shaayar of this ghazal has been mentioned as I A Minai or Idris A Minai, a name I heard for the first time.

Despite searching extensively on the internet, I could not get even the basic information about Idris A Minai. A Google search on him gave information mostly about Ameer Minai, a well-known classical Urdu poet of the 19th century whom the current generation of fans of ghazals identify with his popular ghazals like ‘sarakati jaaye re rukh se naqaab aahista aahsta’ and ‘jab se bulbul tu ne do tinke liye’. There was, however, one name ‘Khalid Minai’ which appeared on a Google search as a Facebook page. A surprise was in store for me when I opened the page. Khalid Minai was none other than Idris A Minai who had adopted ‘Khalid’ as his nom de plume. The Facebook page, started by his son on the occasion of his 100th birth anniversary has a detailed biography of Idris A Minai. I have majorly edited his biography from the Facebook page – Khalid Minai, to make it concise. The edited version follows as under:

Idris Ahmad ‘Khalid’ Minai (29/08/1916 – 08/02/2008) was the grandson of the great Urdu poet and scholar, Ameer Minai (1827 – 1900) and the son of Mohammad Ahmad Minai and Raees Fatima. He was born in the “Purani Khandsar” quarter of the State of Rampur, (now in Uttar Pradesh) where both Ameer Minai and his son Mohammad Ahmad Minai served as high officials of the State of Rampur. The family who had settled in Rampur since 1858, moved to Hyderabad (India) in 1937 shortly after the death of his father, Mohammad Ahmad Minai.

Idris Minai completed his BA from Allahabad University in 1937, and MA in Economics from Osmania University, Hyderabad, in 1940. After a stint as a journalist for the paper “Payaam”, edited by Qazi Abdul Ghaffar, Idris Minai joined the Hyderabad State Bank (now State Bank of Hyderabad) in 1941, serving as the branch chief in Aurangabad (now in Maharashtra).

After Partition, Idris Minai was the first of the seven Minai brothers to move to Pakistan in 1948. After working in the State Bank of Pakistan for 2 years, he moved to the then newly formed National Bank of Pakistan – Pakistan’s first official commercial bank. Over the next twenty years, he served the bank in various capacities – both in West and the then East Pakistan (now Bangla Desh). He retired from the National Bank of Pakistan as Deputy Managing Director in 1971.

Literature and poetry were a major part of the environment in which Idris Minai grew up. His grandfather, Ameer Minai, was regarded as one of the major poets in the history of Urdu literature, and had succeeded the great poet, Ghalib, as the poetic mentor of the Nawab of Rampur. His father, Mohammad Ahmad Minai, was also a prolific poet, though he gave up the pursuit later in life. It was, therefore, natural for him to express himself in poetry, and, following the common practice, he chose a nom de plume, ‘Khalid’ (meaning, ‘eternal’).

Most of his poetic training occurred informally through interaction with his peers and elders which included Jaleel Manakpuri, the famous Urdu poet and the student of Ameer Minai, Fani Badayuni, Jigar Muradabadi, Hasrat Mohani, Hairat Badayuni, and Qazi Abdul Ghaffar, who gave him his first job. He developed close personal friendships with poets such as Sikandar Ali Vajd, Mahirul Qadri, Saeed Shaheedi, and several others. A notable influence for him was his eldest brother, Ismail Ahmad “Tasneem” Minai, who was himself a distinguished poet and writer. He was also influenced by Allama Iqbal for his universal vision which went beyond the classical poetry.

One of Idris Minai’s early works is an ode on the River Ganga which he wrote based on his experience while he was staying in Allahabad for his graduation. A collection of Idris Minai’s works is in the preparatory stage. In addition to poetry, he also wrote Urdu prose pieces in a language that recalled Oscar Wilde in its stylish beauty

Throughout his active life, Idris Minai participated in literary activities, beginning with mushairas in Allahabad, Hyderabad, Bombay (Mumbai), and elsewhere. After moving to Pakistan, the Minai siblings organised regular poetic events in Karachi and Lahore featuring the leading poets of the time.

Idris Ahmad ‘Khalid’ Minai breathed his last on February 8, 2008 in Karachi.

The ghazal under discussion has two versions. Talat Mehmood sang the original version in 1940 as per the uploader of the video. I could not get information on the internet as to when the original record was released. If the uploader is correct, then this ghazal precedes Talat Mehmood’s first recorded song sab din ek samaan nahin thha (1941). Talat Mehmood re-recorded this ghazal in almost identical orchestration sometime in 1960. I have given videos of both the versions for comparison purpose. My preference is the original version because Talat Mehmood voice was fresh without much of quiver as against the 1960 version.

Audio Clip :

(Original recorded in 1940)
Audio Clip :
\
(Re-recorded in 1960)
Song-Gham e zindagi ka ya rab na milaa koi kinaara (Talat Mehmood NFS)(1940) Singer-Talat Mehmood, Lyrics-Idrees A Minai, MD-Chitta Roy

Lyrics (based on Original recording)

gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
meri fikr-e-bekaraan ne
do jahaan ko chhaan maaraa
meri fikr-e-bekaraan ne

meri aarzoo ko bakhshi
teri har nazar ne rafat
meri aarzoo ko bakhshi
teri har nazar ne rafat
usse bekaraan karegaa
mere shauq kaa sharaaraa
usse bekaraan karegaa

main kabhi ravaan davaan thhaa
kahin dasht-e-bekhudi mein
kisi door ki sadaa ne
mujhe pyaar se pukaaraa
kisi door ki sadaa ne

meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
na sukhan se raaz paidaa
na jabeen se aashkaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi ee ee ee ee eee

———————————–
Meaning of some Urdu words

Yaa rab= Oh God

Fikr-e-bekaraan= Limitless anxiety

Rafat= Elevation

Shararaa= Spark, Flash

Ravaan= Moving

Davaan= Running

Dasht-e-bekhudi= Wilderness of intoxication

Sadaa= Call

Zarf= Capability

Sukhan= Words, News

Jabeen= Forehead

Aashkaaraa= Clear, Visible


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.

Blog Day : 3803 Post No. : 14795

Jigar Muradabadi (06/04/1890 – 09/09/1960) has been often called as ‘shaayar of beauty and love’. Jigar confined his poetry mostly covering his admiration for beauty, love, and emotions. It is said that his poetry has some influence of Daagh Dehlvi and Momin Khan Momin.

I have read through almost all of his ghazals that are available online and in Hindi (or Roman Hindi). There are no philosophical or spiritual tones in almost all of his ghazals. Like-wise I have not come across any poetry depicting the situations during the British rules though he had spent much of his life under British rule. Even if such poems do exist, perhaps they have not been well publicised. After independence also, his poetry did not venture much into the socio-economic situations in the country which had been the main plank of Urdu poets associated with PWA.

Jigar says :

Unka jo farz hai wo ahl-e-siyasat jaane
Mera paighaam mohabbat hai jahaan tak pahunche

[What is their duties only politician would know.
I give the message of love wherever it reaches]

As in the case of some Urdu poets like Majaaz Lucknawi, Jigar’s ghazals are a sort of his own autobiography. From 1920 to 1938, his life was captivated by alcohol and the beauty. Married at an early age, he had numerous love affairs, all of which turned out to be failures. These are all reflected in his ghazals. But unlike Majaaz who rued his failed love affairs in his poetry, Jigar can find joy even in his unfulfilled love because, for him, the experience of love itself is a joy.

It has been stated that he had a huge fan following encompassing both the elites and the masses. The respect he got cut across the religious lines. It is said that participation of Jigar Muradabadi was a sure success of a mushiara due to his poetry and the melodious renditions.

Jigar did not formally become guide to the budding young Urdu poets of his time. But he was a source of inspirations and mentors for poets like Behzad Lucknawi, Majrooh Sultanpuri, Shakeel Badayuni, Khumar Barabankvi etc.

I am presenting Jigar Muradabadi’s one of those ghazals which seems to have been ignored by many prominent ghazal singers. This beautiful non-film ghazal is ‘sharmaa gaye lajja gaye daaman chhuda gaye’ (1993). Ghazal is composed and rendered by Rochana Dahanukar. Her rendition of the ghazal is preceded by a she’r which has, more or less, the same meaning as that of the maqta of the ghazal. I am not sure whether the first she’r was written by Jigar Muradabadi. I have tried to translate the ghazal below to the best of my ability:

taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

Taghaaful = Neglect, unmindful.
Tajaahul= Feigning ignorance.
Tabassum= Smile.
Takallum= Converations, Talking.

[She is uncaring, she ignores me, at times she talks and smiles.
At least she has slowly reached me thus far.]

sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye

Marhabaa=Hello, Welcome

[She blushed, shied and then moved away from me.
O my love, welcome, at least she came thus far.]

dil par hazaar tarah ke auhaam chhaa gaye
yeh tum ne kya kiya meri duniya mein aa gaye

Auhaam= Whims, superstitions.

[A thousand types of superstitions descended on me.
What you have done by coming into my life.]

sehn-e-chaman ko apni bahaaron pe naaz thha
wo aa gaye to saari bahaaron pe chaa gaye

Sehn-e-chaman= Garden courtyard.

[The courtyard of garden was so proud of the season of spring.
When she came, she overshadowed the season of spring.]

ab kya karoon main fitrat-e-nakaam-e-ishq ko
jitne thhe haadsaat mujhe raas aa gaye

Fitrat-e-nakaam-e-ishq= nature/creation of unrequited love.
haadsaat= Calamities

[What can I do about the creation of unrequited love?
The number of such calamities I faced, I enjoyed them.]

Rochana Dahanukar had started as a classical/ghazal singer with 3 albums to her credit in the 90s. Later on, she had her own musical band giving performance in India and abroad. She is also a voice trainer for the upcoming singers.

This ghazal of Jigar Muradabadi has joie de vivre in all the she’rs except the last one where the poet is helpless in facing numerous calamities from his unrequited love. But he still says that he enjoyed them because of the experience of imagining the love.

Enjoy this beautiful ghazal in the sonorous voice of Rochana Dahanukar.

Audio Clip:

Song-Sharma gaye laja gaye daaman chhuda gaye (Rochana Dahanukar NFS)(1993) Singer-Rochana Dahanukar, Lyrics-Jigar Muradabadi, MD-Rochana Dahanukar

Lyrics

taghaaful tajaahul tabassum takallum
taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

sharmaa gaye laja gaye daaman chhuda gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

dil par hazaar tarah ke auhaam chhaa gaye
dil parrrrrrrrrr
dil par
dil par hazaar tarah ke auhaam chhaa gaye
yeh tumne kya kiya meri duniya mein aa gaye
yeh tumne kya kiya meri duniya mein aa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

sehn-e-chaman ko apni
sehn-e-chaman ko apni bahaaron pe naaz thhaa
sehn-e-chaman ko apni bahaaron pe naaz thhaa
wo aa gaye to saari bahaaron pe chhaa gaye
wo aa gaye to saari bahaaron pe chhaa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

ab kya karoon main fitrat-e-naakaam ishq ko
ab kya karoon main fitrat-e-naakaam ishq ko
jitne thhe haadsaat mujhe raas aa gaye
jitne thhe haadsaat mujhe raas aa gaye
ai ishq marhaba wo yahaan tak to aa gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye


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 : 3730 Post No. : 14673

The palat side of today’s song, was posted – goodness, four years ago.  And Sandhya ji is now completing 87 years today, and stepping into her 88th. Abundant greetings to Sandhya Mukherji – we wish for her good health and comfort, and that we may get many more such opportunities to greet her.

Four years back, I had posted the lovely, lively “O Re Jeene Waale, Hans Le Gaa Le Dhoom Mach Le” – one of her very few non film songs recorded in Hindi. From the same gramophone record (GE 24065 – Columbia), I present today, the song from the other side. A more poignant song, a sad song of separation – this song is no less iconic. As I tried to search for more, I drew a blank (so far).  It seems that this gramophone record and these two songs may well be the only two non-film Hindi songs that have been recorded by Sandhya ji.

For a brief bio sketch of this artist, I request readers to go back to the song referred above, and view that article.

She worked at New Theatres from 1948 to 1950, and sang under the music direction of RC Boral. She came to Bombay in 1950 – ‘Sazaa’ (1951) was her debut in the Bombay industry, after which she recorded songs for another eight films. And then, in 1956 she decided to return to Calcutta, after having recorded “Maine Jo Li Angdaai. . .” under the music direction of Salil Da, for the film ‘Jaagte Raho’ (1956). After that, she stayed only in Calcutta, and recorded a few songs for a handful of Hindi films.

Today’s song is penned by Prem Dhawan and is set to music by Kanu Ghosh. The melancholia of this song is such a surprising antipode of the song “O Re Jeene Waale. . .”. Listen and enjoy.

Once again, greetings to Sandya ji, and best wishes for a healthy and comfortable years ahead.


Song – Tum Gaye Lut Gaya Pyaar Ka Ye Jahaan (Sandhya Mukherji NFS)(1950) Singer – Sandhya Mukherji, Lyrics – Prem Dhawan, MD – Kanu Ghosh

Lyrics

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

meri aankhon ki tum
roshni le gaye
meri aankhon ki tum
roshni le gaye
mere hothon ki tum
sab hansi le gaye
ab meri zindagi
zindagi hai kahaan

wo bahaaren gayin
wo nazaare gaye
wo bahaaren gayin
wo nazaare gaye
meri raaton se wo
chaand taare gaye
na meri hai zameen
na mera aasmaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

मेरी आँखों की तुम
रोशनी ले गए
मेरी आँखों की तुम
रोशनी ले गए
मेरे होठों की तुम
सब हंसी ले गए
अब मेरी ज़िंदगी
ज़िंदगी है कहाँ

वो बहारें गईं
वो नज़ारे गए
वो बहारें गईं
वो नज़ारे गए
मेरी रातों से वो
चाँद तारे गए
ना मेरी है ज़मीं
ना मेरा आसमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां


This article is written by Bharat Upadhyay, 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 : 3695 Post No. : 14612

Month of August is full of so many National memories. Whenever we celebrate 9th August or 15th August, there will be invariably references of martyrs who dedicate their lives for the nation. We fought one war with China and four with Pakistan, and our loss of ‘shaheeds‘ was substantial.

Jaidev ji composed these Pt Narendra Sharma’s expressive lyrics in the voice of Lata ji. He recorded the same song with the voice of Asha ji and even that is equally popular.

(After the China war Lata and Asha had practised with a song of Pradeep ji, composed by C Ramchandra. But when Lata ji sang it ALONE on 26th January function at New Delhi, it became a much discussed controversy, as everybody will recall.)

The lyrics are so impressive and expressive, that there is no need for longer explanation. I am sure that the listeners of the song will become totally emotional.


Song: Jo Samar Mein Ho Gaye Amar (Patriotic NFS)(1962) Singers: Lata Mangeshkar, Lyrics: Pt Narendra Sharma, Music: Jaidev

Lyrics

jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
sang phool-paan ke
rang hai nishaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
dhruva hain kraanti-gaan ke
surya nava-vihaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
praan desh-praan ke
moorti swaabhimaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

——————————————————
Hindi script lyrics (Provided by Bharat Upadhyay)
——————————————————

जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
संग फूल-पान के
रँग हैं निशान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
ध्रुव हैं क्राँति-गान के
सूर्य नव-विहान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
प्राण देश-प्राण के
मूर्ति स्वाभिमान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15501

Number of movies covered in the blog

Movies with all their songs covered =1193
Total Number of movies covered =4270

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