Archive for the ‘Mukesh NFS’ Category
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5305 | Post No. : | 17383 |
Mukesh and his Co-Singers –9
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Let me begin this post with a disclaimer to make it more interesting.
If you are reading this post, it means the editors have gratefully accepted my take on the subject and for the inclusion of this NFS in the above quoted series.
The series Mukesh and his co-singers had begun with Mukesh’s association with Rafi saab. Thereafter, I have covered a total of 4 each male and female co-singers. Amongst male singers apart from Rafi saab, Talat Mehmood, Kishore Kumar and Manna Dey have been covered.
A very important name missing amongst male singers was of course Mahendra Kapoor who not only has some good number of songs with Mukesh, but also had a close and friendly relationship with him. The obvious reason for the delay of this post was the fact that all of the known 12 songs in which they collaborated had already been covered on the blog.
So what do I have in store in this post? Well, when the words “rare” and “Mukesh” appear together anywhere, I take them quite seriously and one of the first thoughts that comes to my mind is if the same has been represented on the blog or if there is any scope for its immediate inclusion.
Thus, a couple of months back, when Zafar bhai of Delhi shared the NFS of the combo from his invaluable collection, I knew I had a chance of making this post.
Before we go into the details as to how this post came about, here is the table of songs with all details and the respective links on the blog. The duo has a dozen songs in which they sang together (triads, quartets and a quintet included) and which are quite familiar and remembered to this day. I shall run through them without much detailing.
| S.No | Name of the Song | Movie (Year of release) | Other co-singers if any | Music Director | Lyricist |
|---|---|---|---|---|---|
| 1 | Kadam kadam se dil de | Chaar Dil Chaar Raahen (1959) | Manna Dey, Meena Kapoor | Anil Biswas | Sahir Ludhianvi |
| 2 | Hai aag hamaare seene mein | Jis Desh Mein Ganga Behti Hai (1960) | Geeta Dutt, Manna Dey, Lata Mangeshkar | Shankar Jaikishan | Shailendra |
| 3 | Ik baat kahoon wallaah | Shrimaan Satyawad (1960) | Suman Kalyanpur | Dattaram | Gulzar |
| 4 | Ham dilli ke daade hain | Dilli Ka Dada (1962) | N Datta | Sahir Ludhianvi | |
| 5 | Yeh haseen bambai | Holiday In Bombay (1963) | N Datta | Anjaan | |
| 6 | Har dil jo pyaar karegaa | Sangam (1964) | Lata Mangeshkar | Shankar Jaikishan | Shailendra |
| 7 | Mera rang de basanti chola | Shaheed (1965) | Rajendra Mehta | Prem Dhawan | Prem Dhawan |
| 8 | Jo chalaa gayaa usey bhool jaa | Saathi (1968) | Naushad | Majrooh Sultanpuri | |
| 9 | Zindagi hai kya | Satyakaam (1969) | Kishore Kumar | Laxmikant Pyarelal | Kaifi Azmi |
| 10 | Dhol bajaa dhol | Vishwaas (1969) | Usha Timothy, Hemlata | Kalyanji Anandji | Gulshan Baawra |
| 11 | Bheetar-bheetar khaaye chalo | Sankalp (1974) | Khayyam | Kaifi Azmi | |
| 12 | Kuncham kuncham thodaa thodaa | Imaan Dharam (1977) | Asha Bhonsle | Laxmikant Pyarelal | Anand Bakshi |
| 13 | Seva Core Ke Jawan | NFS (1975) | Chorus | Khayyam | Sahir Ludhianvi |
Song No 1 in the table is probably only one of its kind, wherein all 4 singers name starts with the letter “M”.
2 again is a rare song with 5 great singers coming together for a quintet in a classic film.
3 is chirpy and hummable.
4 and 5 are under the composition of N Datta and incidentally both the songs are about our two metro cities.
6 is probably the most known song in the table.
7 is of course a patriotic song sung with much gusto.
8 is a known song, but what most people probably do not know is that the refrain “bhool jaa” is sung by Mahendra Kapoor where as Mukesh sings most of the song.
This was Mukesh’s association with Naushad after nearly two decades. Incidentally, it was my debut post of another series called Mukesh and his composers. That post was sans the table which became a regular feature in my posts later on. I am contemplating writing again on the combo as new information has come to my knowledge.
9 to 12 are quite familiar and readers can easily associate with them just by reading the name of the song.
13 is what this post is all about and so read on.
So, after having come across the posting by Zafar bhai, a quick search on the net and I came across
the following:-
==
The relevant text is as follows.
ASC CORPS SONG
In Oct 1975 the Corps song entitled ‘Seva Corps KeJawan’ was composed and recorded on a 45 RPM disc by HMV. The Corps song depicts in simple language the various facets of the Corps. Shri Sahir Ludhianvi composed the song; Shri Khayyam has scored the music and it is sung by late Mukesh, Mahendra Kapoor and others under the able direction of Shri Yash Chopra, the famous director.
From the picture of the disc that he has shared along with the audio, artists involved in the NFS; the singers, lyricist, composer and this case the director Yash Chopra are quite evident.
And now starts the story, which, as I write; am afraid has no definite answers or conclusions.
Even before the two famed voices start singing the NFS, the prelude composition unmistakably takes us back to the radio days program “Jaimala” on Vividh Bharathi. Yes, the popular signature tune of the program. It’s used once before the voices start singing and thrice at the end of the song. So was the signature tune of Jaimala program used from this particular composition of Khayyam saab or someone else had composed the tune earlier and Khayyam saab took the liberty of burrowing it for obvious reasons?
In this quest, apart from our editors, I sought help from our Avinash ji also. A good friend that he is, instead of helping me, he put up a bigger problem and that too with documentary proof.
Apparently, the book Khayyam The Man – His Music, researched, compiled and edited by Vishwas Nerurkar and Bishwanath Chatterjee has a special mention of this NFS in the footnotes and states that Mukesh is not part of the song.
Well, on listening to the song, it is true that Mukesh’s voice is extremely difficult to identify as Mahendra Kapoor’s strong metallic voice overshadows and looms large in the entire song. However, with due regards to the authors of the book on Khayyam, I have the following to submit.
1. On keener listening at the start of the song, there is indeed a trace of Mukesh’s voice that can be heard separately. It lasts for a very short while though.
2. Again, there seems to be a difference when Mahendra Kapoor is singing in unison with Mukesh and the chorus is rendering its part in the song. I mean, evidently, there is one more voice with Mahendra Kapoor.
3. The official home page of the Indian Army under its section Corps Colour And Song clearly attributes the artists involved in the making of the song and Mukesh is very much mentioned.
4. The gramophone record disk clearly displays Mukesh’s name on it. In fact, Mukesh is printed before Mahendra Kapoor. 🙂
5. A few articles on the net which seem to have copied info from the army website invariably mention Mukesh.
6. There is photograph easily available on the net depicting the two singers. Though there were quite a few private concerts that the two participated, this particular snap because of the attire seems to be very much from the recording of the said NFS. Mukesh also has a book in his left hand and some notes can be seen. I wonder if the same can be deciphered to conclude the matter.
Harish Raghuwanshi’s latest edition of MGK also does not feature this NFS. In my brief interaction with him on email, I was given to understand that he did get this information a few years back but could not lay his hands on the audio. He as such has not ruled out Mukesh’s voice in the song.
So, there are two important aspects to be firmly decided.
1. If Khayyam saab was the original composer of the signature tune used in Jaimala program.
2. The undeniable and irrefutable fact of Mukesh being the co-singer with Mahendra Kapoor in view of the footnote in the book on Khayyam saab.
I leave it to the editors, readers and knowledgeable contributors to throw more light and perceptions on the above two points.
It was important to include a post on Mukesh’s collaboration with Mahendra Kapoor along with the table of songs and I am happy that I got an opportunity to do so with this NFS.
I take this opportunity to thank all the seva core jawans for the invaluable service that they are rendering to our country.
Further, today on 26 January 2023, while we celebrate our 74th Republic Day, let us be thankful and express our sincere gratitude to all the soldiers of our armed forces for the supreme sacrifice they are making in keeping us safe.
Long live our motherland.
Jai Hind.
Youtube Link:
Song-Hum Sewa corps ke jawaan sada chalen seena taan (Patriotic NFS)(1975) Singers-Mukesh, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Khayyam
Lyrics
hum
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
sewa corps ke jawaan
sada chalen seena taan
sarhad sarhad pahunchaayen hum
fauzon ka saamaan
sarhad sarhad pahunchaayen hum
fauzon ka saamaan
apne jaan se pyaari samjhen
har sainik ki jaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
parwat faanden nadiyaan cheeren
jungle daalen chhaan
parwat faanden nadiyaan cheeren
jungle daalen chhaan
mushqil se mushqil manzil ko
hum samjhen aasaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
desh ki sewa fauz ki sewa
apna dharm imaan
desh ki sewa fauz ki sewa
apna dharm imaan
apni corps pe maan hai humko
apni corps mahaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
desh ki sewa fauz ki sewa
apna dharm imaan
desh ki sewa fauz ki sewa
apna dharm imaan
apni corps pe maan hai humko
apni corps mahaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
hamen rokne na paaye
koi aandhi ya toofaan
Sewa corps ke jawaan
sada chalen seena taan
This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4751 | Post No. : | 16489 |
Eid ul Azha mubarak ho, to all friends and readers.
It is generally believed that faith and logic are two different things. What is faith? Basic premise of faith would be the belief in God. The conviction that there is a Supreme Power who holds the strings of all things in the universe. After all the world is a stage and we all are actors. Shakespeare said it, but it is nothing but the truth. All of us are here for a set number of days, playing our designated roles, doing things we are destined to do, amassing good deeds and bad deeds. As we complete the life circle and leave this mortal world, the soul does go somewhere, where else it will go but to the creator? Logic has no option but to agree that the creator is in best position to answer the question, what is the purpose of creation? If there was no creator, nothing makes sense in the whole existence. Science can give answers till a certain point and that is that. Logic starts where science gives up. And sound logic points to God, the Creator, the Sustainer, the one who says “be” and it is.
I quote here some of the verses from the Glorious Quran.
“O Mankind, indeed we have created you male and female, and made you peoples and tribes that you may know one another. Indeed, the most noble of you, in the sight of Allah is the most righteous of you. Indeed, ALLAH is (all) knowing and (well) acquainted.” – 49:13
“And (O Muhommad) say: My Lord forgive and have mercy, for you are the best of all who show mercy.” – 23:118
“O mankind, there has come to you, a convincing proof (Prophet Muhammad) from your Lord and we send down to you a manifest light (this Quran).” – 4:174
“And whoever is guided is only guided for [the benefit of] himself.” – 27:92
“And for those who fear Allah, He will make their path easy.” – 65:4
“Allah never changes the condition of people until they change what is in themselves.” – 13:11
“And put thy trust in Allah. And enough is Allah as a Disposer of affairs.” – 33:3
“Take care of your souls.” – 5:105
“Do not ridicule others, perhaps they may be better than you.” – 49:11
“If you are thankful, I will increase my blessings upon you.” – 14:7
“So remember me, I will remember you.” – 2:152
“He knows what is in every heart.” – 67:13
“Verily, with every hardship comes ease.” – 94:5
“Allah does not burden a soul beyond that it can bear.” – 2:286
“Do not lose hope, nor be sad, for you will overcome them, if you are among the believers.” – 3:139
“We will test you in fear, hunger, loss of wealth life & fruit, but give glad tiding to the patient (steadfast).” – 2:155
“Call upon me, I will respond to you.” – 40:60
“Indeed, Allah is with those who abide him and those who are doers of good.” -16:128
“Allah will provide for him from a quarter from where he had no expectation. And whosoever puts all his trust in Allah, He will be enough for him. Allah is in command and he has set a measure for all things.” – 65:3
“And worship your Lord until there comes into you the certainty/inevitable (death)” – 15:99
“You prefer the life of this world. Although the hereafter is better & more lasting.” 87:16-17
“And we have certainly beautified the nearest heaven with stars.” – 67:5
“The Pharoah’s wife said (Pray) My lord, build for me near you a house in paradise.” – 66:11
These ‘Aayaat’ are part of different Surah (Chapters) in the Quran, revealed at different times to the Prophet Mohammad (PBUH) (570-632 CE), during his Prophethood years (610-632 CE). Mohammed (PBUH) was unlettered with no formal education, and had rarely traveled outside of Makkah, before his migration (Hijraah) to Madinah. All ‘Aayaat’ of the Holy Quran were revealed to him, via the Angel Jibraeel (AS) at different times and in context of different situations. They were delivered as signs and guidance. These ‘Aayaat’ were then related by the Prophet (PBUH) to his companions (Sahaba), who recorded them in writing. All of these ‘Aayaat’ were recorded in the Prophet’s life time. It was collated/arranged in a meticulous way, in the form of different Surah’s of the Quran during the reign of Hazrat Abu-Bakr (RA) (573-634 CE), the first Khalifa, in the present compilation. Hazrat Umar (RA) had a great contribution in this process. There is great detail available about how the procedure was done, with verification of at least 2 witnesses that the Aayat is indeed written down in the presence of the Prophet. Different Surah’s are also classified as ‘Makkih’ and ‘Madnih’, those revealed before migration to Madinah and after.
How simple and easy, is the faith and the true path, can be discerned in these quotes. How wise is the counsel, for all situations? It answers some of the basic questions bothering the mankind, with intellectuals, philosophers, thinkers having scratched their heads for all these millennia. I have tried to collate them in an order, so it is in the order of creation, faith, trust, thankfulness, the true way of living, easy way of functioning as a creation, hope, the hereafter, the quest for heaven, how it is near and then the last one speaks of the wife of one (Pharoah-who denied the existence of Allah and declared himself as God) can ask (pray) for the highest level in Jannah (Paradise). It means, its available for everyone, one only has to seek it and ask for it, whatever and whoever you are. This may not be the best way of saying it, and if I have erred, may Allah (SWT) forgive me.
A brief definition of Jannah with a prayer:
Jannah, where there will be no sickness, no pain, no difficulty, no separation, no loss.
Jannah, its beauty such that no mind could even ever comprehend.
Jannah, where those you love are waiting for you.
Jannah, where your Allah is waiting for you.
Jannah, which is never ever going to end.
Remind yourself that this is the decree of Allah and in his decisions is hidden kindness. Remind yourself that it is not just going to be okay, but it is going to be worth it.
Dear heart, please just remind yourself that your Allah is with you. Please don’t ever forget that.
Your Allah is with you. Your Allah will never leave you.
He knows of your condition. He is aware of your struggle.
And not a single moment of this going by unrewarded.
Allah knows that you are scared, and it is okay to be scared.
Keep trusting your Allah. Don’t lose hope in His mercy. He is right here with you.
Feel it and treasure it.
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On a different note, this is what Allama Iqbal has to say:
Sajdon ke ee’waz firdaus mile ye baat mujhe manzoor nahi
Be-laus i’baadat karta hoon banda hoon tera mazdoor nahi
Ee’waz or I’waz means in return of, and ‘Firdaus’ is Jannat/heaven/paradise in persian.
What Iqbal means is :
I am not doing salutations / ibaadat (supplication) and itaa’at (obedience / submission to the will of Almighty), so that you grant me heaven in return. My prayers are pure, as I am your slave and not a paid servant.
This is, but the highest point of devotion, that the pious seek.
One of those pious, righteous, seekers of the divine favour, was Umar Farooq (RA) (584-644 CE). Umar bin Khattab was the second Khalifa of the Khulfa-e-Rashideen. The status of Umar Farooq, as a Sahaba, companions of the Prophet (PBUH), as among the beloved and respected Khalifa, can be ascertained from the fact of his being one of the “Ashra Mubashra”. “Ashra Mubashra” are the 10 exalted ones among the Sahaba, who were given the ‘Good News’ or ‘Glad Tidings’. What would be the ‘Good News’ who have the clear idea of the purpose of creation, life and death? It is the achievement of securing a place in ‘Jannah’. So, by divine declaration, those 10 were given the Good News, that a place is secured in Jannah for them. The magnificent ten include all four Khulfa-e-Rashideen. Umar Farooq (RA)’s significance as a Khalifa and his role in the spread of Islamic empire much beyond the Arabian Peninsula is indisputable and incomparable. One more significant and important contribution of Umar Farooq (RA), is the introduction of Islamic calendar i.e. the Hijri calendar. There is a great deal to learn from his story, for he was one of the major detractors of the Prophet for a long time. But once he accepted that Mohammed is indeed the Messenger of Allah, and came into the fold of Islam, blessed by the Allah (SWT) and rose to great heights that he did.
I have read up a lot in recent days, so that I could give some accurate and concise information in this post. But if I go on, this post will never finish.
So, I will move to the song, which is a non-film song sung by Mukesh. The song is composed by Iqbal and lyricist is Shadaab Minai. Shadaab Minai is probably making a debut here with this song. The song is talking in detail of an incident i.e. a qissa during the reign of Umar Farooq (RA), the second Khalifa.
Tally of music director, lyricist and singer in the blog so far as follows:
| Iqbal |
23 |
|
| Shaadaab |
2 |
|
| Mukesh |
797 |
932 |
Unless the Shadaab in the stats page is the same as Shadaab Minai, otherwise this is the first song written by Shadaab Minai in the blog.
This is a rare song, which I think few people may have heard before. I was not aware it until a few months ago, when it was shared by someone on WhatsApp.
Song – Hai Bahut Mashoor Ye Qissa Umar Farooq Ka (Mukesh – NFS) (1970), Singer – Mukesh, Lyrics – Shadaab Minai, MD – Iqbal
Lyrics
hai bahot mash-hoor ye qissa
Umar Farooq ka
aaj bhi duniyaa mein hai
charcha Umar Farooq ka
jab khilaafat ka sharf
haasil hua Farooq ko
momino ki fikr rehti thhi sadaa Farooq ko
kaam aate thhe har ek
majboor ke Hazrat Umar
shauq se karte thhe khud
har ek ki khidmat Umar
phirte phirte ek din
pahunche Umar ek ghar ke paas
dekhte kya hain
wahan baithhi hai ek aurat udaas
degchi chulhe pe thhi aur
ro rahe thhe us ke laal
jab kiya Hazrat Umar ne ja ke
aurat se sawaal
ro rahe hain kis liye bachche
yeh kya hai maajra
bhook se rote hain ye bachche
ye aurat ne kaha
bole Hazrat degchi mein
pak raha hai kya kaho
kis liye ghamgheen ho
jo kuchh bhi hai dukhda kaho
boli wo aurat ke paani se bhari hai degchi
kyun ke main bachchon ko behlaati hoon
is soorat se hi
uff taraste hain ye bachhche daane daane ke liye
kuchh nahi hai mere paas in ko khilaane ke liye
teesre din ka hai faqaa
mere bachchon par huzoor
mera koyi bhi yahaan wali nahin
nazdeek-o-dur
roye uss ko dekh kar iss haal mein
Hazrat Umar
aa gaye fauran hi bait-ul-maal mein Hazrat Umar
aata kapda ghee chhuaare aur raqam le kar Umar
ghamzada aurat ke ghar ki simt daude jaldtar
peetth par dekha Umar ke bojh to bola ghulaam
bojh uttha kar mujh ko chalne deejiye aye nek naam
ye Umar bole agar ye bojh main de doon tujhe ea
hashr ke din kya sazaa dega na jaane rab mujhe
de diya dukhiya ko sab saamaan la kar aap ne
aur khilaaya sab ko khaana pakaa kar aap ne
khaa liya bachchon ne aurat ne khaana jis ghadi
ho gaye Hazrat Umar khush dekh kar un ki khushi
aap ko de kar duaaen phir ye aurat ne kaha
kaash mil jaata koyi ham ko khalifa aap sa
ham gariboon ki Umar koyi khabar rakhte nahin
a’iysh mein hain mast dukhiyon par nazar rakhte nahin
le ke dukhiya ki baaton ka asar Hazrat Umar
khaamoshi se laut aaye apne ghar Hazrat Umar
subah us aurat ko Faarooq ne bulwa liya
aur wazifa us ka bait-ul-maal se jaari kiyaa
ho ke sharminda phir Umar ne aurat se kaha
dukh bahot pahunchaa hai tum ko
meri ghaflat se sada
tum mujhe kar do mu’aaf
itni hai meri iltejaa aa
tum jo mujh ko bakhsh do
bakhsh de mujh ko khudaa aa
saari duniyaa mein hai charcha
har kahin Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4441 | Post No. : | 15885 |
Non Film Songs of Mukesh – 02
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These days, new-borns, barely a few hours old are made to wear full pants. It was not the case three and a half decades back at least in my case.
I got my full pant stitched only when I entered High School from primary grade. And, that too since it was mandatory for boys to start wearing full pants from VIII standard. Else, who knows, I would have had to wait for another 3 years for this luxury when I would step into college life. Jeans and readymade pants were an ultra-luxury which would have to wait for some more time.
What “aspect” of the body of a 12-year-old boy gets covered by wearing full pants is something which I have never been able to contemplate till today. Now at 46, I prepare wearing shorts even when going to the market. 🙂 How times change.
With full pants, the amount of pocket money received from parents also started improving. Especially, during and after matriculation, along with the coins, times arrived wherein I started possessing currency notes of 1, 2, 5 and on rare occasions even 10 and 20.
Family visits to restaurants did happen frequently. However, unlike the popular Punjabi la carte option these days, it was more of a combination of 2-3 snacks even for dinner. After matriculation, I developed the audacity of visiting restaurants on my own and ordering food items of my choice. This was basically after returning from college classes which were not so stringent as that of school. Then there was the option of bunking classes too.
Onion uttappa with a cup of tea or limca were my preferred choices. Sitting alone in restaurants and savouring these dishes is an experience I will never forget. At Belgaum, the place from which I hail, there were a few restaurants known for their special dishes. A hotel named “New Grand” established in 1948, had a popular and unique taste of upma which continues to be the talk of the city even today. Recently, the hotel has been demolished and moved away to a nearby location. But the ambience and the taste of food items no longer exits.
There is also a restaurant called “Ajantha” famous for its missal. It continues to be served to this day, but then again, the aroma and the taste of the bygone era is lost forever. Soft and fluffy idlis with unique taste of coconut chutney and sambar continue to be much preferred dish in this hotel to this day.
Quite adjacent to “New Grand” hotel was a theatre named Rex, which has also been now modified into a mini-mall/coffee shop etc. It was in this theatre that I saw my first and only “old Hindi movie” on a big screen.
The movie name was Neel Kamal released in 1968 which I saw in 1991/1992. I basically went to see it for the Rafi saab number Tujhko pukaare meraa pyaar. The storyline was quite annoying for me. Waheeda Rehman must have had a good walking exercise while the film was being made. 🙂
However, apart from the Rafi numbers, I came out of the theatre appreciating Asha Bhosale’s rendition of He rom rom mein basnewaale Ram. Listening and watching these songs which I had heard on radio/tape recorder on the big screen was quite a thrilling experience for me.
Born in 74, by the time I was 18, it was early nineties. Readers of the blog may well acknowledge that I write and present songs mainly from 40’s to 60’s. I sometimes venture into 70’s in case the need arises. So, basically, I discuss songs from an era before I was born. 🙂
Coming to watching old Hindi movies, I must admit that I score very badly on this front. I am yet to watch even classics such as Barsaat (49), Anmol Ghadi (1946), Deedar(1951), Andaz (1949) and a host of such movies. I did buy CD/DVD of many such movies but never cared to watch them.
Coming back to pocket money and my newfound freedom to spend on my own, I got myself involved into buying stamps, coins, books, novels, audio cassettes etc.
During one such venture in a cassettes shop, I came across a two-cassette pack of non-film ghazals of Mukesh. While I was quite familiar with filmi songs, it was on very odd occasions that I heard the NFS of Mukesh on Radio Ceylon. My joy knew no bounds when I caught sight of this pack. However, the joy seemed to be short lived. Let me explain.
The two-cassette pack was priced 55 and I must have hardly had 30 rupees. I was adamant on buying whatever 30 rupees could buy. The shop keeper explained that since it is a pack of two, individual cassettes cannot be sold. And for me to collect another 25 rupees would have taken months. I spent quite a while with him imploring and pleading to sell one of them. After much cajoling he did agree to sell Cassette No 01 priced 27.5 rupees.
The episode did not end with my purchase of one cassette. My next demand (off course free of cost) was the cover of the pack with a debonair looking Mukesh in excellent print staring straight into the eyes of the beholder. With special permission from the bosses, I am reproducing the picture of the cassette cover. I have always been awestruck with the gaze in the eyes of Mukesh in this picture.
The same snap of Mukesh was on the main cover. Now tell me, which Mukesh fan would walk away without possessing this poster.
Digressing, “poster” reminds me of my other craving and madness of collecting model Deepti Bhatnagar’s posters, calendars, advertisements or whatever my eyes would set upon featuring the beauty. This will require a separate and detailed article altogether and thankfully this series gives me ample scope and opportunity of indulging in such revelations. As the film trailers would shout “Coming soon at a theatre near you “, I have revealed the model’s name to keep the post awaited. 🙂
Coming back to the cassette story, the shopkeeper was in no position to yield stating that he himself is not sure if the other cassette would be sold as I had just bought only one. He even threatened to take back what he had just sold and return my money. Counting my blessings, I ran away with this single cassette. The date on which I had bought it was 30 January 1992. The cassette was released by HMV 4 years earlier in February 1988. I know these details since the cassette cover is still in my possession and I had this good habit of writing the date on which I bought such things.
At the shop, it did not cross my mind that I should have tried taking a photostat copy of the back of the pack or even noting the details of the songs that were printed. As for me, mobile phones in 1992 were only in the books of George Orwell, Arthur Clarke etc. 🙂
Well, after a couple of months, I did go back to the shop to purchase the second cassette. Yes, along with the pack cover ofcourse. 🙂
Unfortunately, the shop was selling some other commodities and the cassette guy had vanished. On enquiry, I was told that the earlier guy had closed shop for whatever reasons. I only prayed to God that the reason should not have been the sale of a single cassette for what should have been sold in a pack of two.
For many years, I always wondered what songs Cassette number 2 contained. Now with the advent of internet and the ease with which anything under the sun can be searched, I have got the full details of the cassettes. Interested readers may visit this site for the same.
Readers may be aware that I have posted two articles on the association of Mukesh with Khaiyyam saab in my other series. One article with the filmi songs of the combo and the other featured all the NFS.
Here is the post which covered the all NFS of Mukesh with Khaiyyam saab..
Coming to today’s NFS, I have chosen a Ghalib ghazal composed by Khaiyyam saab. Needless to mention, this ghazal is one of the ten songs in cassette number 01.
This ghazal was first released on records in 1963, as can be seen from the record label above.
Song-Ham rashq ko apne bhi gawaara nahin karte (Mukesh NFS)(1963) Singer-Mukesh, Lyrics-Ghalib, MD-Khayyam
Lyrics
ham rashq ko apne bhi gawaaraa nahin karte
ham rashq ko apne bhi gawaaraa nahin karte
marte hain vale un ki tamannaa nahin karte
marte hain vale un ki tamannaa nahin karte
dar pardaa unhen ghair se hai rabt-e-nihaani ee ee ee
dar pardaa unhen ghair se hai rabt-e-nihaani ee
zaahir kaa ye pardaa hai ki pardaa nahin karte
zaahir kaa ye pardaa hai ki pardaa nahin karte
marte hain vale un ki tamannaa nahin karte
ye baais-e-naumeedi-e-arbaab-e-hawas hai ae ae ae ae
ye baais-e-naumeedi-e-arbaab-e-hawas hai ae
Ghalib ko buraa kahte ho
Ghalib ko buraa kahte ho achchhaa nahin karte ae
Ghalib ko buraa kahte ho achchhaa nahin karte ae
Ghalib ko buraa kahte ho achchhaa nahin karte ae
ham rashq ko apne bhi gawaaraa nahin karte ae ae ae
Aaj gagan se chandaa utraa
Posted on: August 27, 2020
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4422 | Post No. : | 15837 |
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Non Film Songs of Mukesh – 01
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“But, I dont remember singing this song.”- Legendary singer Kundan Lal Saigal is said to have said these words on hearing Mukesh’s iconic solo song from Peheli Nazar (1945).
Of all the awards, love, affection and recognition that Mukesh continues to draw the world over, I feel the above words by the legend was the single most and greatest achievement of Mukesh.
Remembering Mukesh on his remembrance day, I humbly start with this new series on his non-film songs.
Mukesh is one of the few singers whose filmi and non-filmi songs continue to be popular among the masses.
Before I proceed further, we must again thank one of the pioneers of compilation of film songs and the untiring efforts of Shri Harish Raghuwanshi, the compiler of Mukesh Geet Kosh. It was because of his widely acclaimed work that a fair and correct number of songs sung by Mukesh came to the fore. He has been most helpful to me in all my previous posts on Mukesh. The conviction with which I conclude and present posts is the assurance given by him that a particular table of song contents is correct. I will always remain hugely indebted to all the help he has rendered.
As we have seen in the past few years, quite a few rare and seldom heard released and unreleased film songs of Mukesh continue to be unearthed from the archives of HFM history.
Same is the case with NF songs. Though there are several lists available on the net, as a matter of fact not all are in the public domain as of now.
As such it is difficult to pin-point the exact number of NF songs sung by Mukesh in this post but we shall proceed with the series and see where we eventually land up. And since this series will generally be devoid of tables etc, I am contemplating writing on my personal experience topics in the forthcoming posts.
However, this post is on Mukesh and his voice. A phenomenal voice which cannot be explained in plain words and continues to enthrall music lovers the world over.
For Mukesh it was never about number of songs. Nor was it about remuneration. There are many recollections by artists who have said that Mukesh upon rendering the songs used to walk away without collecting his fees if the filmmakers were into any financial trouble.
In spite of having huge financial problems in the mid-fifties, Mukesh was never lured by financial gains. And, that is also the reason why he opted to sing many NFS.
It was always about quality of songs that he sang. No wonder it is an indisputable fact that he had the highest hit ratio among all his contemporaries.
Sadness in the voice was his virtue, a trademark that will remain etched in the annals of music for times to come.
For today’s inaugural post of the series, I take up this popular song written by Madhukar Rajasthani and composed by J. P. Kaushik.
Song-Aaj gagan se chanda utra (Mukesh NFS) (1963) Singer-Mukesh, Lyrics-Madhukar Rajasthani, MD-J P Kaushik
Lyrics
aaj gagan se chanda utraa
aa gaya meri baahon mein
apalak dekhoon
keha na sakoon kuchh
hoyi raat nigaahon mein
aaj gagan se chanda utraa
cham cham chamke pathh taaron ka
chham chham karta kaun chala
cham cham chamke pathh taaron ka
chham chham karta kaun chala
sapnon ki tasveer si khinch gayi
door gagan ki raahon mein aen
aaj gagan se chanda utraa
aa gaya meri baahon mein
aaj gagan se chanda utraa
jaane kis dhun mein deewaana
madhushaala ke dwaar pe aaya
jaane kis dhun mein deewaana
madhushaala ke dwaar pe aaya
pyaala chhoota haath se uske
bikhra husn ke paanwon mein aen
aaj gagan se chanda utraa
aa gaya meri baahon mein
aaj gagan se chanda utraa
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mukesh NFS | Mukesh solo | Mukesh songs | NFS | Post by Mahesh Mamadapur | praising a person | Songs of 1960s (1961 to 1970) | Songs of 1961 | Yearwise breakup of songs
- 5 Comments
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4353 | Post No. : | 15669 |
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुन्दर हो
Yes, this song is from film ‘Mohra’ (1994). Ah but I am not bringing on the film version of the song.
This very song was earlier and originally sung by Mukesh in his inimitable voice in the sixties. The film for which he had sang never reached proper production stages. The song has since remained and gets counted amongst the many NFS that he sang. There are almost no details available about Mukesh version and hence this post will be quite short and devoid of any tables, histograms etc. 🙂
But then, I do not want to make the post too short either and so let me write something about the 1994 film which I have never seen. I am told it had a rather unexpected climax and so pondering if I should watch only the ending. 🙂
I consider myself qualified to write about the 1994 film as it is yet to make its debut on the blog which is quite surprising. There is a well-established wiki page of the movie on the net and I request interested readers to visit it for much of the details.
One of the apparent reasons as to why the song sung by Mukesh was included in the film could be probably because Viju Shah the music director of the film is the son of music director Kalyanji Virji Shah of composer duo Kalyanji Anandji. The lyric writer obviously remained Indeewar.
The film has 3-4 versions of the song sung by Pankaj Udhas and Sandhana Sargam. All these years, I was under the impression that at least the romantic version was picturised on Raveena Tandon but it does not seem to be.
And, with such poor knowledge of “new films”, I am happy I seldom venture into this rather unfamiliar territory. I am sure more knowledgeable contributors will take up the film song and write in detail about the many versions.
As usual, I reached out to Shri Harish Raghuwanshi ji, the Surat based complier of Mukesh Geetkosh to see if I could get more details about the Mukesh version. He gave several leads such as searching the register where song was to be recorded, contacting any of the Kalyanji-Anandji’s orchestra team etc. He has also written to me stating that he has contacted Anandji, Indeewar, Mohnish Behl etc to get some leads but to no avail. All he remembers is the film being about Navagraha. I thank him for the continuous support and help I receive.
All these efforts of tracing the film that never took off being quite an ordeal, I decided to go ahead and represent this post on the blog. What is more important is that the complete song sung by Mukesh is available on several platforms and is a treat to listen.
Song – Na Kajre Ki Dhaar, Na Motiyon Ke Haar (NFS-Mukesh) (1960s) Singer – Mukesh, Lyrics – Indiwar, MD – Kalyanji Anandji
Lyrics (Provided by Sudhir)
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho
tu taazgi phoolon ki
kya saadgi ka kehna
tu taazgi phoolon ki
kya saadgi ka kehna
singaar tera yauwan
yauwan hi tera gehna
teri soorat jaise moorat
main dekhoon baar baar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho
tera ang sachcha sona
muskaan sachche moti
tera ang sachcha sona
muskaan sachche moti
tere honth hain madhushala
tu roop ki hai jyoti
ude khushboo jab chale tu
boley to bajey sitaar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho
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Hindi script lyrics (Provided by Sudhir)
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ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो
तू ताज़गी फूलों की
क्या सादगी का कहना
तू ताज़गी फूलों की
क्या सादगी का कहना
सिंगार तेरा यौवन
यौवन ही तेरा गहना
तेरी सूरत जैसे मूरत
मैं देखूँ बार बार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो
तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरे होंठ हैं मधुशाला
तू रूप की है ज्योति
उड़े खुशबू जब चले तू
बोले तो बजे सितार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो
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: | 4331 | Post No.: | 15625 |
Today, May 27, 2020 is the 56th Remembrance Day of India’s first Prime Minister, Pandit Jawaharlal Nehru. I also remember this day for two other reasons. First, it was the day when my SSC result was out in the morning and second, I had to attend my maternal uncle’s marriage. That day was almost like current lockdown situation except that the trains were running and we could go out. A pall of gloom was visible on almost every one’s faces I met at the marriage. The question in their mind was ‘After Nehru, Who?
Pandit Jawaharlal Nehru was a visionary and the architect of modern India. For a newly independent country, charting of a growth path was necessary. The policies were directed towards creating infrastructure facilities like construction of major dams, power plants and setting up of heavy industries like steel plants, engineering and chemicals. Higher educational institutes like Indian Institute of Technologies (IITs), the Indian Institute of Management (IIMs) and other scientific institutes like All India Institute of Medical Science (AIIMs) were set up. He was also the architect of non-alignment movement during the cold-war years.
There were also brickbats for Pandit Nehru’s policies. His handling of Kashmir issue in 1948 and his China policies were highly criticised. Also, the food crisis in the 1960s were blamed for not giving importance to the agricultural sector in the Five-year plans. The foremost critics of Nehruvian policies in those days were Dr. Ram Manohar Lohia of Socialist Party, Hem Barua, H V Kamath and Barrister Nath Pai of Praja Socialist Party, Balraj Madhok of Jan Sangh and Hiren Mukherjee of Communist Party of India. Despite their relatively much lower number of seats in the parliaments, they were forces to reckon with as the leaders from the opposition parties.
I remember in my teen that during the parliament sessions that the newspapers will carry front-page news of the criticism of Government’s policies by one or more of the names of the leaders I mentioned above. Some of these names may not ring bell to the new generations. Most of them were good orators. It was the charismatic presence of Pandit Jawaharlal Nehru who aptly handled heated debate upholding the democratic norms in the parliament.
After the General Election of 1957, one more strong critic of Pandit Nehru’s policies entered the Lok Sabha. He was 33-year old Atal Bihari Vajpayee of Jan Sangh. There used to be heated arguments between the young Atal Bihari Vajpayee and Pandit Nehru in Lok Sabha. One of the anecdotes which Atal Bihari Vajpayee revealed during a ‘no confidence’ motion against his Government in 1996, proves that despite serious differences, Pandit Jawaharlal Nehru’s admired Atal ji’s performance in the Lok Sabha. Let us read in Vajpayee’s own words which he spoke in Hindi (translated by me in English):
Once during the heated debate in the Lok Sabha, I told Nehru ji that he had a mixed personality in which he was both Churchill and Chamberlain (former prime ministers of the U K – first was supposed to be hawkish and the second dovish in crisis management). Nehru ji did not get angry. In the evening, I attended at a function organised for a visiting foreign dignitary. At the venue, Nehru ji saw me and called at his place to complement me for my rousing speech of that day in the Lok Sabha. He took me to one of the foreign dignitaries and introduced me by saying ‘he is a young leader from the opposition who always criticises me, but I see in him a great future’.
And what a great statesman Atal Bihari was as well. In 1977, when Atal Bihari Vajpayee became the Foreign Minister, he came to South Block to take charge of his ministry. While walking in the lobby of his office, he noticed that Nehru ji’s portrait was missing from the wall. He called his officials and asked them as to what happened to the portrait. There was no answer. After some time, he found that Nehru ji’ portrait was back in its place. Both these anecdotes indicate the greatness of both these leaders and their relationship in which there was no malice despite serious political differences.
Some of the IPTA members belonging to Hindi film fraternity were also the critics of the Nehruvian policies. Majrooh Sultanpuri in 1948 wrote a poem calling Pandit Nahru a stooge of Hitler and the slave of the Commonwealth for which he was arrested in 1949 by the then Chief Minister of Bombay State, Morarji Desai. Sahir Ludhianvi’s satirical song, cheen o arab hamaara hindustaan hamaara had an implicit criticism of the Government’s policies for widening the gap between ‘haves’ and ‘haves not’.
Shailendra was also the critics of Nehru. He had written a sarcastic poem on Nehru’s visit to the UK in June 1953 to attend the coronation ceremony of Queen Elizabeth. In today’s scenario, probably, Shailendra would have become a persona non grata in South Block. But with Pandit Nehru, it was different. The following anecdote which I read on the facebook page of Dinesh Shankar Shailendra, the youngest son of Shailendra, throws some light which indicates that Pandit Nehru had no malice towards his critics.
Sometime after the Chinese aggression in October 1962, Pandit Nehru invited some members of Indian Film Industry to Delhi to personally thank them for doing programmes for the Indian Army to boost their moral and also raise funds. Raj Kapoor with his core team comprising Shankar-Jaikishan, Mukesh, Hasrat Jaipuri and Shailendra were also the guests. All the guests were waiting at the venue but Nehru ji got delayed. A bored Shailendra told Raj Kapoor that he was tired of waiting and would like to go back to his hotel room. He also said that there were so many important guests and he would not be missed. Raj Kapoor agreed.
After some time, Pandit Nehru arrived and personally met all his guests. While talking to Raj Kapoor, Pandit Nehru suddenly asked ‘Where is Shailendra? – the man who wrote hothon pe sachchaayi rehti hai, jis desh mein ganga behti hai. Raj Kapoor was in a quandary. He immediately sent Shankar to bring Shailendra from his hotel room which he did. A relieved Raj Kapoor proudly introduced Shailendra to Pandit Nehru who insisted getting photographed exclusively with Shailendra. Nehru ji told Shailendra that he would personally sign the picture and send it to him which he did.
It was, therefore, no surprise that the finest tributes to Pandit Nehru following his death on May 27, 1964 came from his critics. After reading them, I feel that they have all come from the bottom of their hearts and also out of immense respect for him. Kaifi Azmi wrote a heart-felt song, meri aawaaz suno, pyaar ka raag suno for ‘Naunihaal’ (1967). He also wrote a nazm, Nehru in 1964. Sahir Ludhianvi wrote a nazm, Jawaharlal Nehru soon after the death of Pandit Nehru.
Pandit Nehru was a great admirer of Hindi and Urdu poetry. He was a fan of poets like Josh Malihabadi, Firaq Gorakhpuri, Suryakant Tripathi Nirala and Harivanshrai Bachchan with whom he used to interact with them on poetry. There are anecdotes on Pandit Nehru’s friendship with these poets which also reveal that Pandit Nehru took criticism from his friends without malice towards them.
Pandit Nehru was instrumental in setting up of Children’s Film Society of India in 1955. He had invited Kidar Sharma to direct the first film for the children, ‘Jaldeep’ (1956). The film won the award of the best film under children’s film category at Cannes Film Festival in 1957. For the next children’s film, ‘Bachhon Se Baaten’ (1957), Kidar Sharma requested Nehru ji as a part of the film. One can say that Pandit Nehru acted in a film where he was the main actor. [Source: Kidar Sharma’s autobiography, ‘One And Lonely Kidar Sharma’ (2002)].
Shailendra wrote a non-film song as a tribute to Jawaharlal Nehru. On the occasion of the 56th Remembrance Day of Pandit Jawaharlal Nehru, I am presenting the same non-film song ‘phool khilega baaghon mein’ (1964) which is rendered by Mukesh. The song is set to music by Shankar-Jaikishan.
Audio Clip:
Song-Phool khilega baaghon mein jab tak ghulaab hai pyaara (Mukesh NFS)(1964) Singer-Mukesh, Unknown voie, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus
Chorus + Mukesh
Lyrics
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
Nehru naam tumhaara
jab tak hai iss jag mein
chanda suraj kaa ujiyaara
tab tak zinda hai dharti par chaacha naam tumhaara
humko hai dukh humne kho daala apna humjholi
jiske saath deewaali thhi uske sang khelen holi
kaun bada ab hum jaise ban ke khilwaad karega
pyaar karega jhagdega jhoothi taqraar karega
khilega jag ke aangan mein
jab tak bachpan pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
kaun manga kar dega humko bhaalu haathi cheete
bachpan ke din apne to bachpan se pehle beete
kaun hamen chitti likhega pyaar bhari bhaasha mein
haay tumhen bhi hum likh paate kaash aur tum jeete
jab tak bachche muskaayenge youn nirmal jaldhaara
tab tak zinda hai dharti par chaacha naam tumhaara
wo muskaan hamaare jaisi hriday jeetne waali
wo gussa jo sheetal hai jaise barkha matwaali
wo ghudki jo sikhlaati hai sabak yaad kar lena
wo baaten jaise bikhraaye phool phool ki daali
yaad aayengi jab tak dukh mein degi yaad sahaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein jab tak gulaab ka pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
chale gaye ho lekin lagta hai tum yahin chhupe ho
jaise hum bachchon se aankh micholi khel rahe ho
bagiyaa ke phoolon mein bikhri hai muskaan tumhaari
nadiyon ke sang chalte ho parvat ke saath khade ho
jab tak baaki hai duniya mein jo kuchh bhi hai pyaara
tab tak zinda hai dharti par chaacha naam tumhaara
kabhi na bhoolenge hum tumne itna pyaar diya hai
kabhi na murjhaayega tumne jo gulzaar diya hai
hamen tumhaari yaadon ki saugandh ke hum bachche bhi
yogya banenge uske tumne jo sansaar diya hai
jab tak mehnat ke haathon jaayega vishwa sanwaara
tab tak zinda hai dharti par chaacha naam tumhaara
hum sachche insaan banen
hum dost banen vishwaasi
hum chaahe jo hon pahle hon achchhe Bharatwaasi
kabhi na ho ab jung zameen par
desh rahen sab mil kar
jung ek hi ho duniya mein
bhookh rog aur dukh par
jab tak bahti hai is duniya mein Ganga ki dhaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
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 : | 3652 | Post No. : | 14504 |
ASAD 10th Anniversary Celebrations – 12
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For TEN year old ASAD, my hearty congratulations and happy B-Day to the Musically Singing Blog.
The lion’s share of the congratulations for this celebration goes to Atul ji, for starting and sustaining this blog, and words cannot describe our gratitude for that. The blog has also brought together many music lovers and I have found some real ‘gems’ of friends in them. Atul ji, thanks again for that too.
I wish to celebrate with the members who like real GOOD Music with this RARE jugalbandi of Talat Mehmood and Mukesh. It is an NFS Gazals and is one a rare set which are classified as ‘ham-radeef ghazalein‘; which means a pair of ghazals in which a phrase of couple or more words at the end of each she’er is the same, even in when the ghazals are written by different sha’ayars.
I strongly believe – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain“. And so I have included these two ham-radeef ghazals, in this celebration series. Some members may classify such songs as ‘melancholy‘. (By the way I hate to describe a song by that word. I prefer to call them ‘full of pathos’, instead). As my personal choice, I enjoy and prefer them to ‘chaalu’ songs. Recently Arunbhai mentioned on Facebook – “When you are happy, you enjoy the music. But, when you are sad, you understand the lyrics.” Since this is lyrics emphasising presentation, I am justified to present it for an Event Celebration.
Coming back to the ‘ham-radeef‘ ghazals presented today. It is from a really rare album bearing same name from Saregama (or was it ‘HMV’ and then ‘RPG’ as it was called in different periods of time). Great, but less heard music director Murli Manohar Swaroop not only searched out the ‘similar ending words’ ghazals, but also gave melodious and appropriate tunes to them. The extended play record (called EP, for the knowledge of younger generations) contains four pairs of such ‘ham-radeef’ ghazals.
On this EP, three such pairs are by Talat and Mukesh and one is by Talat and CH Atma. Shri Sadanand Kamath from our group has already presented one Talat-Mukesh ‘ham-radeef‘ pair of ghazals on our musical blog. This is the second one out of those four and ‘Prabhu krupa’ permitting, I shall present them, unless someone beats me in the race.
As you can see, the lyrics have all the she’ers ending with the words “kyun ho“. That is the beauty of ‘Ham-Radeef’ ghazals. Two poets, Ghalib and Daagh Dehlavi, in different time period have written them. Two sweetest voices of OUR music world, Talat Mehmood and Mukesh have rendered them in different tunes. I call it nothing less than the marvel of the composer Murli Manohar Swaroop.
Meanings and Translation (Provided by Sudhir)
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kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho
nawah = lamentations, poems on tragedy of karbala
sanj- = serious, sad, gloomy, depressed; as in sanjeedah / संजीदा
fughaan = lamentations, cry of distress
Once the heart is given to someone else
Why then lament with regret and distress
For, when the heart is given over, and is not in your bosom
How then there be a tongue in your mouth
[The poet is emphasizing that when the heart is given to someone else, then we have lost the right to complain or be regretful. We gave over our heart by our own sweet will. Then where arises the question to be distressed, or to raise a voice of complain.]
jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho
qaaboo = in control; in possession
ruswaa = infamous, disgraced, having a bad reputation
ruswaa e jahaan = having a bad reputation in the society, amongst ones social circle
khalish = irritation, enmity, antagonism
tapish = heat, burning, agitation
qalaq = rgret, pain
fughaan = lamentations, cry of distress
If heart is safe within our own posession
There is no fear of being disgraced, disreputed within one’s social circle
There will be no irritation, no agitation, no regrets, no cries of distress
wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho
wafaa = faithfulness, keeping a promise
sangdil = person with a heart of stone
sang = stone
aastan = abode, threshold (in context of an entrance), दर, दरवाज़ा
sang e aastan = stone step at entrance; an abode made of stone
What be that love, and what good being faithful to such love
If love means breaking one’s head against stone
And if love does mean breaking one’s head against stone
Then why, O stone hearted one
Be that stone of your abode, of the entrance where you be
[The poet’s indication is towards the heart of the person, which is itself being compared to stone; for the heart is where one’s living force is; where one lives.]
bahut niklenge roz e hashr tere jaur ke kwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho
roz = day
hashr = final outcome, the final judgement
roz e hashr = the Day of Judgment; qayaamat; End of the World
jaur = tyranny, oppression, evil deeds
khwaahaan = wishes, desires
sitam = tyranny, injustice
hausalah = courage, capacity
shart = condition
imtihaan = trial, test
On the Day of Judgment
All the mis-deeds and offences of injustice
That you desired, will be exposed
Why then your courage for being cruel and merciless
Be a condition for your trials (today)
[The poet lays his faith on the final Day of Judgment, that an evil doers deeds will be exposed and dealt with accordingly, so why the courage and the capacity of an evil doer to torment and persecute others be a matter of examination today.]
qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho
qafas = cage, place of confinement
roodaad = narrative, story
chaman = garden
roodaad e chaman = a story about (my) garden
aashiaan = abode, nest, home
O my beloved
(I am in (your) imprisonment (confinement))
Fear not narrating to me the description of my garden
Even if that be my nest
The nest that was struck by lightning yesterday
unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho
go = although
ranjish = complaint, unpleasantness
beja = unjustified, unfair
baaham= together, alongwith
shikaayat = complaint, grievance
darmiyaan = middle, in between
My beloved has unfair unjustified complaints of me
But then these complaints are to me and no one else
For complaints only come along with love
[The poet is expressing that because love is, therefore complaints are. One does not complain to them with whom there is no relation of love.]
nikaala chaahta hai kaam kya taanon se tu ghalib
tere be-mehr kehne se wo tujh par mehrbaan kyun ho
taanah (taanon) = taunt, sarcasm
be-mehr = heartless, one without compassion
If you think that by being sarcastic
You will be able to obtain any advantage for yourself
Whyfore will you be showered with favors and love
Just be calling someone heartless and without compassion
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
chaarahgar = healer, curer
daagh = wounds, blisters
raa’egaan = useless, waste
O my healer, my curer
The blisters on my heart
Are as dear to me, as is my heart itself
It is a treasure I have accumulated
With great pain and sacrifices
Why then this treasure may allowed to be wasted in vain
Song: Kisi Ko Deke Dil Koi / Jo Dil Kaaboo Mein Ho (NFS) Singers: Talat Mehmood / Mukesh, Lyrics: Ghalib / Daagh Dehlavi, Music: Murli Manohar Swaroop
Lyrics
kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho
kisi ko de ke dil koi
jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho
khalish kyun ho, tapish kyun ho
wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho
kisi ko de ke dil koi
haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
haa..aan
bahut niklenge roz e hashr tere jaur ke khwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho
khalish kyun ho, tapish kyun ho
qafas mein..ein..ein
haan
qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho
kisi ko de ke dil koi
unhen go ranjish e beja hai lekin hai to hum se hai
unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho
khalish kyun ho, tapish kyun ho
haan..aan..aan..aan
nikaala chaahta hai kaam kya taanon se tu ghalib
haan..aan..aan..aan
tere be-mehr kehne se wo tujh par mehrbaan kyun ho
kisi ko de ke dil koi
aan..aan..aan
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jigar se kam naheen ae chaarahgar daagh e jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho
khalish kyun ho, tapish kyun ho
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
किसी को दे के दिल कोई नौवा-संज ए फुगां क्यों हो
ना हो जब दिल ही सीने में तो फिर मुंह में ज़ुबान क्यों हो
किसी को दे के दिल कोई
जो दिल क़ाबू में हो तो कोई रुसवा ए जहां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो क़लक़ क्यों हो फुगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
वफा कैसी कहाँ का इश्क़ जब सर फोड़ना ठहरा
तो फिर ए संगदिल तेरा ही संग ए आस्तां क्यों हो
किसी को दे के दिल कोई
हाँ॰॰आँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
हाँ॰॰आँ
बहुत निकलेंगे रोज़ ए हश्र तेरे जौर के ख्वाहाँ
सितम का हौसला दुनिया में शर्त ए इम्तिहान क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
क़फ़स में॰॰एं॰॰एं
हाँ
क़फ़स में मुझसे रूदाद ए चमन कहते ना डर हमदम
गिरी है जिस पे कल बिजली वो मेरा आशियाँ क्यों हो
किसी को दे के दिल कोई
उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
उन्हें गो रंजिश ए बेजा है लेकिन है तो हमसे है
मोहब्बत गर ना हो बाहम शिकायत दरमियाँ क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
हाँ॰॰आँ॰॰आँ॰॰आँ॰॰आँ
निकाला चाहता है काम क्या तानों से तू ग़ालिब
हाँ॰॰आँ॰॰आँ॰॰आँ
तेरे बे-महर कहने से वो तुझ पर महरबान क्यों हो
किसी को दे के दिल कोई
॰॰आँ॰॰आँ॰॰आँ
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जिगर से कम नहीं हैं चारगर दाग़ ए जिगर मुझको
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
जो पैदा की है मर मर के वो दौलत रा’एगां क्यों हो
ख़लिश क्यों हो तपिश क्यों हो
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
zamaanaa bade shauq se sun raha tha
hameen so gaye daastaan kehte kehte
hameen so gaye
Today is the remembrance day of legendary singer Mukesh. (23 July 1922 to 27 August 1976).
“Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.”
These are the words of composer Salil Choudhary in praise of the voice of Mukesh.
Read more on this topic…
Gokul nagri jaanaa
Posted on: November 21, 2016
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Welcome to all readers to the 126th century on the blog. Yes, we now have 12,600 songs on board with this post.
It’s now customary to have a special post or a song on such occasions. The last one saw a bundle of century celebrations in a single post. This time however it will be different in the sense that the highlight will be on the song itself and its historic importance rather than other aspects.
Read more on this topic…
Prabhu ka naam japo man mere
Posted on: February 28, 2016
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Mukesh and his Composers – 11
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Remembering Ravindra Jain on his birth anniversary today 28th February. Last year on 9th October he passed away from multiple organ failure in a Mumbai hospital at the age of 71. So this will his first birth anniversary without his physical presence in this world.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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