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

Archive for the ‘philosophical song’ Category


This article is written by Avinash Scrapwala, 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 :

4070 Post No. : 15207 Movie Count :

4180

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 86 # Asha Bhonsle – Happy 86th birth anniversary#
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Yesterday 8th September 2019 was the eighty-sixth birth anniversary (born on 08th Sep’1933) of the legendary singer Asha Bhonsle.

We are all aware of the greatness and versatility of this voice and cannot imagine our HFM (for me Marathi film music too) without her voice. She has been ruling the hearts over seven decades or more than that now…

I am not going into the details of her biography, famous songs, popular songs, awards etc etc because her name itself speaks for the ‘greatness’ and her ‘epic’ journey in our film industry and the name itself carries such a vastness in it that one can only imagine the efforts one have to put in writing about her journey in HFM. And that is why I salute to all the authors who have written the various books on her.

She has come a long way and immortalized herself in the Hindi Film music with her singing. We have been reading about her initial struggle and competition with other singers including her own sister the great legendary singer Lata Mangeshkar. But Asha Bhonsle carved out a special place for her and remain favorites of many music lovers.

Her popularity keeps increasing and was always increasing in other countries too. And how popular she was in other countries than India, I came to know while I was once travelling in a UAE based airlines from Abu Dhabi to Ahmedabad. In the flight ‘entertainment box’ when I was looking for various Hindi film audios to listen during the travel, I came across a compilation of Asha Bhonsle containing almost fifty songs starting from ‘Mr John ya Baba Khan’ to the very latest song, I think, from ‘Begum Jaan (2017)’. Her introduction was given very aptly mentioning her as the ‘true Queen of Melody’ and her seven decades long career in Bollywood and singing film and non-film songs and songs in many languages too. (I do not remember the exact words now, but it was very well mentioning of her great achievements in that brief intro).
Then there were compilations of other Indian singers too like Mohd Rafi, Yesudas, Shreya Ghoshal, and Lata Mangeshkar. (I think Kishore Kumar’s songs were not there and songs from Yesudas and S.P. Balasubramaniam were in regional languages of India).

But the interesting thing that surprised me was when I read the intro given for Lata Mangeshkar. She was mentioned as the ‘another giant singer in Bollywood and sister of the great Asha Bhonsle’ :). And like other singers (that I mentioned above) the quantity of songs included for Lata Mangeshkar too was around 20-25 songs only.

One can understand my feelings, as an Indian, when I read that intro and the thoughts going through my mind. Well, nothing wrong in that if we see the other point of view, and for us both of them will remain ‘great and immortal’ always forever.

And, I think today’s song is a befitting song for the occasion of the 86th birth anniversary of Asha Bhonsle. This song epitomises much of what she is known for.

The song is from the movie ‘Koraa Badan-1974’ directed by B.S. Shad for ‘Brar Productions, Bombay’ and was a ‘social movie’ (passed by Censor Board with ‘A’ certificate).

It had Reeta Anchan, Harinder, Bindu, Jayshree T., Paintal, Montu, Rajan Haksar, Shera, Yash Sharma, Prakash Ved, Meher Mittal, Vijay Tandon.
Also, it had Sunil Dutt, Mala Sinha, Dev Kumar, Subhash Ghai, Shobhna in ‘Special appearances.

This movie had six songs penned by Babu Singh Maan (three songs), Kashmir Qadar (two songs) and Mahendra Dehalvi (one song).
Songs for this movie were composed by Vedpal Verma, and Shruti, Kant Verma and Ajay Kumar were his assistants.
Asha Bhonsle, Hemlata, Krishna Bose and Manhar had given their voices to the songs in this movie.
Background music for this movie was given by Mohammad Shafi.

This movie was passed by Censor Board on 15.03.1974 with restricted viewing for ‘Adults’ only.
(It seems that there was another movie with the same title in ‘2003’, and the online videos of this 2003 movie is available which is wrongly described as movie of 1974.

Today’s song is written by Mahendra Dehalvi and composed by Vedpal Verma. On screen it is performed by Jayshree T., and sung by Asha Bhonsle.

When I initially shared this song in 2013 (on 08.06.2013) the video of this song was available and the link no longer exists
However, audio of this song is available. (there is a little difference in lyrics in the video and the audio of the songs i.e. only for repeating of the same lines in ‘antara’ and the ‘mukhda’ at the end of the song.
The lyrics given are as per audio link available and I have keep the ‘mukhda’ at the end of the song as per the video link).

let us now enjoy this song …

With today’s song the movie ‘Koraa Badan-1974’ makes its debut on the blog.

I would request knowledgeable readers to throw more light on this movie and its songs.

Audio

Song-Zindagi zindadili ka naam hai (Kora Badan)(1974) Singer-Asha Bhonsle, Lyrics-Mahendra Dehalvi, MD-Vedpal Verma

Lyrics

Zindagi
Aha zindagi ee
Ho Zindagi
Zindaa dili kaa naam hai
Zindagi zindaadili kaa naam hai ae
Jeena hai to hans ke jee le tu
Pyaar mein gham ka zehar bhi pee le tu u
Zindagi zindaadili kaa naam hai ae
Zindagi ee

Ya aa yaara yaara yaara ya
Yaara aa
Yaara aa

Narm honthhon ke
Surkh paimaane
Pee le pee le tu u
Aaj deewaane ae
Narm honthhon ke ae ae
surkh paimaane ae
Pee le pee le tu
aaj deewaane ae
Mastiyon mein doob ja re
Bekhudi ka le mazaa re
Zindagi
Zindagi zindaadili kaa naam hai ae
Zindagi zindaadili kaa naam hai
Jeena hai to hans ke jee le tu
Pyaar mein gham ka zehar bhi pee le tu u
Zindagi zindaadili kaa naam hai ae
Zindagi ee

Ya aa yaara yaara yaara ya aa
Ya aa yaara yaara yaara yaa yaa
Yaara aa
Yaara aa

Chaar din ke hain
Gham ke ye baadal
Waqt badlegaa aa
aaj nahin to kal
Chaar din ke hain
gham ke ye baadal
Waqt badlegaa aa
aaj nahin to kal
Husn ki baahon mein aaja
Pyaar ki raahon mein aaja
Zindagi
Zindagi zindaadili kaa naam hai
Zindagi zindaadili kaa naam hai

Jeena hai to hans ke jee le tu
Pyaar mein gham ke zaher bhi pee le tu
Zindagi zindaadili kaa naam hai
Zindagi zindaadili kaa naam hai
Zindagi

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Devnagri Script lyrics(Prrovided by Avinash Scrapwala)
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ज़िन्दगी
आहा ज़िन्दगी ई
हो ज़िन्दगी
ज़िंदा दिली का नाम है
ज़िन्दगी जिंदादिली का नाम है ए
जीना है तो हंस के जी ले तू
प्यार में ग़म का ज़हर भी पी ले तू ऊ
ज़िन्दगी जिंदादिली का नाम है ए
ज़िन्दगी ई

या आ
यारा यारा यारा या
यारा आ
यारा आ

नर्म होंठों के
सुर्ख पैमाने
पी ले पी ले तू ऊ
आज दीवाने ए
नर्म होंठों के
सुर्ख पैमाने ए
पी ले पी ले तू
आज दीवाने ए
मस्तियों में डूब जा रे
बेखुदी का ले मज़ा रे
ज़िन्दगी
ज़िन्दगी जिंदादिली का नाम है ए
ज़िन्दगी जिंदादिली का नाम है ए
जीना है तो हंस के जी ले तू
प्यार में ग़म का ज़हर भी पी ले तू ऊ
ज़िन्दगी जिंदादिली का नाम है ए
ज़िन्दगी ई

या आ
यारा यारा यारा या आ
या आ
यारा यारा यारा या या
यारा आ
यारा आ

चार दिन के हैं
ग़म के ये बादल
वक़्त बदलेगा आ आज नहीं तो कल
चार दिन के हैं ए
ग़म के ये बादल
वक़्त बदलेगा आ आज नहीं तो कल
हुस्न की बाहों में आजा
प्यार की राहों में आजा
ज़िन्दगी
ज़िन्दगी जिंदादिली का नाम है
ज़िन्दगी जिंदादिली का नाम है

प्यार में ग़म का ज़हर भी पी ले तू
ज़िन्दगी जिंदादिली का नाम है ए
ज़िन्दगी ई

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

Blog Day : 4057 Post No. : 15190

Songs Repeated in Hindi Films – 10
– – – – – – – – – – – – – – – – – –

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Blog 10-Year Challenge (2009-19) – Song No. 43
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As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .

The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.

10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.

Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai Bandi 1957 1814
O Pawan Veg Se Udne Waale Ghode Jai Chittod 1961 1815
More Ang Lag Jaa Baalmaa Mera Naam Joker 1970 1816
Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa Haseenon Ka Devta 1971 1817
Mile Mile Do Badan Khile Khile Do Chaman Blackmail 1973 1818
Pahraa Hai Yahaan Pahraa Badnaam 1975 1819

There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.

And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.

In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,

haan babu ye circus hai
aur ye circus hai show teen ghante ka

pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai

The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.

The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.

And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –

duniya mein tere teer ka
ya taqdeer ka maara hoon. . .

This verse segment is the one that I never seem to have been able to get over all my life.  “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.

This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.

An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.

A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –

haaye. . .
awaara hoon..oon..oon. . .

This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.

Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ??  Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂

Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂

Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂

And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.

I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”

And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.

No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”.  There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.

I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.

Song Repeat – Mera Naam Joker (1970)

Song Reprised at End – Awaara (1951)

Song – Aawaara Hoon. . .  (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan

Lyrics

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon

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Hindi script lyrics (Provided by Sudhir)
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आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4046 Post No. : 15175

Am writing this post with a heavy heart.
I never expected that I’d be writing a post on this occasion so soon.
But if we’ve learnt anything about life in all our lives, it is that life is unpredictable.
For all the wonderful advancements that science has made, we still don’t know who will live how long. All we know is that everyone has to go some day.

As it turned out, Independence Day 2019 was the day that Vidya Sinha, well-known heroine of (mainly) the 1970s, had to leave us and go.

When I came across the news on Twitter this (15th August) afternoon, I felt immensely sad. She had passed away in the morning.

A few days earlier I had got the news that she was on ventilator, with lung problems. That news shocked me because I had no idea that she was unwell at all. I had not heard about her for years – and then suddenly, boom, you get news like this.

So today, when I read the news of her death, it was not entirely unexpected. But that doesn’t mean it made me any less sad.

Vidya Sinha was part of my childhood, part of my schooldays.

I’ve often said I am a 1970s boy – which means my school life spanned that decade.

It is also the decade that I have most nostalgic memories of – especially with regard to films and music. In the 1980s, I was busy with higher studies, career, moving places etc – life changed quite a bit. And of course, thereafter, other priorities took over.

So it is the 1970s, and my experiences of that decade, the films I watched, the songs I listened to, that have particularly fond memories for me.

And Vidya Sinha was certainly very much part of those fond memories. As it turned out, the main part of her career was totally in that decade. Though she acted in the 80s too (and even later), I will always associate her with the 1970s.

I will not discuss her personal life – to be honest, I don’t know much about it. I am sure there are many other sources that can, and will, provide this. I will myself learn about it only from them.

This post, written so soon after her passing away, is just to pay her my own personal tribute.

Many who have remarked on her death, have referred to her as having the “girl next door” image in her films. And that’s not entirely off the mark. In many of her films, this was the type of role she played. Both her best-known films, Rajnigandha (1974) and Chhoti Si Baat (1976) portrayed her as a woman who you could easily run into in Bombay at a bus stop, waiting for a BEST bus. Or working in an office. She had that unassuming, down-to-earth image about her.

And it was this image that endeared her to many at that time.

That was the time when Hema Malini was the reigning female superstar. Zeenat Aman, Neetu Singh and Raakhee were also popular. Rekha , though not yet the star she was to become, had her fair share of films. Parveen Babi and Reena Roy were beginning to make their mark. Then there were others, like Yogeeta Bali, Moushumi Chatterjee and Sulakshana Pandit, who had their fans too.

Many of these heroines comfortably fitted the requirement of the typical mid-1970s masala film. Stories often had a plot around smuggling, or (if village-based) dacoits. There’d be song-and-dance, a car (or horse) chase, “disguises” – the usual masala stuff. Music was often loud, costumes even louder.

Then you also had the “art” films of the mid-70s. Dominated by Shabana Azmi and Smita Patil.

But there was also room for simple, wholesome entertainment – without the above-mentioned elements. Films of Hrishikesh Mukherjee and Basu Chatterjee specialized in this.

And this is where Vidya Sinha fitted in very comfortably.

She didn’t have a very prolific, or long, career – certainly not by standards of other heroines. She also didn’t have a very wide variety of roles, unlike many other heroines.

But one thing for sure. In almost every film she did, she had a role that you felt was just tailormade for her. Ok, she wasn’t a star like Hema Malini, but the roles themselves needed an understated, non-star type, actor. And no one did that better than Vidya. (In later years, Deepti Naval would do similar roles).

Vidya doesn’t quite get credit for her acting – but I think it could also be because I always felt she didn’t “act”. She just seemed to be natural for her role – you didn’t even notice her “acting”.

In those days, when I was in school, Hema, being the reigning superstar, was the favourite for many of my friends. In trying to be “hatke” :-), I preferred Vidya, Moushumi, Leena C, even Sulakshana. Their films usually had better storylines, I felt.

I’ve seen most of Vidya’s films of the time – she didn’t act in too many.
The ones that I remember are Rajnigandha (1974), Chhoti Si Baat (1976), Karm (1977), Mukti (1977), Inkaar (1977), Pati Patni Aur Woh (1978), Tumhaare Liye (1978) and Atithee (1978).

I have very fond memories of those times, and of her – which is why it hit harder to hear about her illness, and her death.

She might not be physically around anymore, but her films will remain with us. And memories of her films. I thank her for these at least.

Moving on the song for today, it is from a film Mera Jeevan (1976).

Now this is a film I do not recall seeing. But when I checked the songs, all of them seemed familiar. That’s possibly because at that time, I used to get to listen to a lot of songs, without having any clue about the film. I’d get to hear the song on radio, or through my classmates in school. Or I might even have seen the film at that time, but have no recall of it.

There are 4 songs in this film – of which 3 are already posted. The title song sung by Kishore Kumar “mera jeevan kuchh kaam na aaya” is quite well-known, as is “tera jogi aaya” by Rafisaab. The other song posted already is “Koi mere haathon mein mehendi lagaa de”, sung by Asha Bhosle. I’ve heard this song too in my schooldays.

The song that remains to be posted is “ye sooraj ye chanda ye taare”, sung by Asha Bhosle. From the clip it appears that Vidya Sinha is a teacher at a school, and singing this song to her students.

Lyrics are by MG Hashmat, probably best-known for “mera jeevan koraa kaagaz”. At least, that’s the first time I heard of him.

The song “ye sooraj ye chanda ye taare” is philosophical – talking primarily about life.

Which, given the context of this post, is most apt.

A few lines struck me as particularly poignant

Jeevan khilona hai
Kitna salona hai
Sukh dukh ke aansoo ka
Haar phirona hai
Isi khilone se
Khel rachaana hai
Kya leke aaye the
Kya leke jaana hai

So very true.

We come into this world with nothing, and with nothing we will one day return.

All we leave behind are a legacy, if at all, and memories.

Go well, Vidya Sinha.

Thank you for the memories.

May your soul rest in peace.

Om Shanti.

PS-With this philosophical song, all the songs of “Mera Jeewan”(1976) have been covered in the blog and this movie joins the list of movies that have been YIPPEED in the blog.


Song-Ye sooraj ye chanda ye taare(Mera Jeewan)(1976) Singer-Asha Bhonsle, Lyrics-M G Hashmat, MD-Sapan Jagmohan
Chorus

Lyrics

aa aa
aa aa aa
aa aa
aa aa

ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
bolo bolo
hamaare
nahin
uske
jisne hum sab ko banaaya hai
achcha
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare

nadiya ki dhaara ye
badle kinaara ye
thham nahin paaye kyun
behti hi jaaye kyun
kahaan se aati hai
kahaan ko jaati hai
kisne pukaara hai
kiska ishaara hai
ghoome zameen
aur aasmaan
manzil miley
jaane kahaan
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare

jeewan khilauna hai
kitna salona hai
sukh dukh ke aansu ka haar pirona hai
isi khilaune se
khel rachaana hai
kya leke aaye thhe
kya leke jaana hai
baadal kahe
jis ko jahaan
jalte dilon ka hai ye dhuaan
ye sooraj ye chanda ye taare
bolo chalte hain kis ke sahaare
sadiyon se ghoome hai
kisko ye dhoondhe hai
ye sooraj ye chanda ye taare
bolo
chalte hain kis ke sahaare
ye sooraj ye chanda ye taare

bolo
chalte hain kis ke sahaare


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 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 :

4031 Post No. : 15152

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Blog 10-Year Challenge (2009-19) – Song No. 41
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1st August of 2009, ten years ago. Five songs had been posted that day. As many as 4 movies opened their accounts on the blog that day – the four debut movies being ‘Shin Shinaki Boobla Boo’ (1952), ‘Sabse Bada Rupaiya’ (1955), ‘Duniya Rang Rangeeli’ (1957) and ’Laakhon Mein Ek’ (1971). The fifth film – ‘Bhabhi’ from 1957 had its 5th song posted that day.

The current status of these five films is that two of them – ‘Bhaabhi’ and ‘Duniya Rang Rangeeli’ have since been yippeee’d. for the remaining 3 films, two songs are pending for each one of them. The following table gives the complete status, as of just prior to this post today. The second last column gives info about the film status as of ten years ago, and the last column gives the status, as of today.

Ruk Jaa Re Piyaa Sabse Bada Rupaiyya 1955 Deb 7 of 9
Tie Lagaa Ke Maana Janaab Ban Gaye Hero Bhaabhi 1957 5th Yippeee’d
Tum Kyaa Jaano Tumhaari Yaad Me Ham Kitna Roye Shin Shinaaki Bubbla Boo 1952 Deb 5 of 7
Sainyaa Kyon Aaye Mujhe Angdaayi Duniya Rang Rangeeli 1957 Deb Yippeee’d
Jogi O Jogi Arre Pyaar Me Kyaa Hogaa Laakhon Mein Ek 1971 Deb 3 of 5

Getting on to Ten-Year Challenge, I looked up the pending songs from the three films that are still awaiting yippeee status, and I have picked this song from the film ‘Shin Shinaki Boobla Boo’ of 1952.

This film is produced and directed by PL Santoshi, under his home banner of Santoshi Productions. The main cast of actors is listed as Rehana, Ranjan, Sadhana Bose, Veera, Baby Tabassum, Radha Kishan, Mumtaz Ali, Tiwari, Samson, Indu Pal, Shama Gulnar, Prabhu, Sarosh, Bingu, Goldstein, Mehmood, Senoor (parrot), Titi (cat).

The film has 7 songs which are penned by PL Santoshi and the music is composed by C Ramchandra. In the earlier posts, our dear Arun ji has dealt with the theme of the picture, its main artists and the issue of the film being banned by the govt, inspite of getting a ‘U’ certificate from the Censors. Interested readers may refer to the detailed posts by Arun ji, for the following songs – “Arey Baba. . Ye Hansi Baba. . Ye Khushi Baba. .” and, “Kuchh Chuhalen Hon Kuchh Charche Hon”.

Interesting to note that 1998, a TV serial with title ‘Cincinnati Bublaa Boo’ was telecast by Star Plus, over a period of 25 weeks – yes, ‘Shin Shinaaki’ and ‘Cincinnat’ sound very suspiciously close to each other. Cincinnati is a city in the US, and Shin Shinaaki is the name of the female lead in this fantasy story.

The song is crafted like a bhajan, and has very very philosophical flavor. Actually, the theme of this song is surprisingly quite profound – telling about a thief who lives inside, and does not allow the individual person to light the lamp of devotion. Tied with the bonds of karma, the person is not able to resist as this thief plunders the treasures of good will and bhakti, and keeps the self entangled in the web of this world. This thief is ‘maaya’, the illusory misconceptions and wrong understanding of this world, which hides the truth about this world, the self and the devotional relationship to the Almighty.

The verses of this song have a deep meaning, and are very well crafted. The singing voice is of Lata Mangeshkar. A song that needs some attention as one listens to it.

With this song, the film ‘Shin Shinaki Boobla Boo’moves one step closer to Yippeee status. Now only one more song of this film remains to be posted here.

Song – Sai Re, Sai Re. . . Ghar Ghar Mein Ik Chor Sai  (Shin Shinaki Boobla Boo) (1952) Singer – Lata Mangeshkar, Lyrics – PL Santoshi, MD – C Ramchandra
Chorus

Lyrics

saai re
saai re

saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

tu bhakti ka diya jalaawye
chor bujhaavye baati
ho oo oo oo
oo oo oo oo
tu bhakti ka diya jalaawye
chor bujhaavye baati
loot jaaye sab maal khazaana
din dekhe na raati re
din dekhe na raati
haath kisi ke aavye na wo
haath kisi ke aavye na wo
laakh kare koi zor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

oo oo
tere dekhte ghar mein aaya. . .
ghar mein aaya
tere dekhte doley
kaisa jaadu daala tujh pe
tu kuchh bhi na boley re
tu kuchh bhi na boley
tan mann baandh liye hain dono
tan mann baandh liye hain dono
baandh karam ki dor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re saai re
saai re saai re
ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai ghar ghar mein ik chor
saai re. . .

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

साईं रे
साईं रे

साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰

तू भक्ति का दिया जलावये
चोर बुझावये बाती
हो ओ ओ ओ
ओ ओ ओ ओ
तू भक्ति का दिया जलावये
चोर बुझावये बाती
लूट जाये सब माल खज़ाना
दिन देखे ना राति रे
दिन देखे ना राति
हाथ किसी के आव्ये ना वो
हाथ किसी के आव्ये ना वो
लाख करे कोई जोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰

ओ ओ
तेरे देखते घर में आया॰ ॰ ॰
घर में आया
तेरे देखते डोले
कैसा जादू डाला तुझ पे
तू कुछ भी ना बोले रे
तू कुछ भी ना बोले
तन मन बांध लिए हैं दोनों
तन मन बांध लिए हैं दोनों
बांध करम की डोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे साईं रे
साईं रे साईं रे
घर घर में इक चोर
साईं घर घर में इक चोर
साईं घर घर में इक चोर
साईं रे॰ ॰ ॰


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 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 : 4028 Post No. : 15144

Today, 29th July, is the 66 birthday for Anoop Jalota, the renowned singer of classical and semi-classical music. Known as the Bhajan Samrat, his forte is in the arena of religious bhajans and devotional songs. Here is wishing him many many happy returns of this day.

Anoop was born this day in 1953, in Nainital. His late father, Purushottam Das Jalota has also been a renowned singer of devotional songs himself. Anoop got his initial education in classical music at the Bhatkhande Music Institute in Lucknow. He started his singing career as a chorus singer at All India Radio. Over the years, he has sung popular sugam sangeet and ghazals also. But he has not been as famous and successful in that area. He started singing devotional songs and for that, he has become very popular. He was honored with the award of Padam Shri in 2012.

His songs in Hindi films are quite limited, although I do find two songs by him already on our blog. Today’s song is from the 1977 film ‘Shirdi Ke Sai Baba’. This song is written by Pandurang Dixit and its music is also composed by him. On screen, this song is performed by Manmohan Krishan.

The film is produced by the Sarla Charities Trust, and is directed by Ashok V Bhushan. It is a screen adaptation of the biographical book on Sai Baba by the late Shri Govindrao Dhabolkar. The cast of actors includes Sudhir Dalvi in the title role, Manmohan Krishan, Raj Mehra, B M Vyas, Usha Chauhan, Beerbal, Nazeer Kashmiri, C S Dubey, Gurbachan Singh, Jyotsana Kirpekar, Preetam Balley, Vatsala Deshmukh, Ratanmala Pandit, Bhawna, Master Teeto, and Master Raju. The film has many special and guest appearances, viz., Rajendra Kumar, Hema Malini, Shatrughan Sinha, Premnath, Manoj Kumar, Madan Puri, Sachin, Dhiraj Kumar, Paintal, Krishan Dhawan, Satish, and Kuljeet.

Geet Kosh lists 9 songs for this film. Some are traditional, and the remaining are penned by Dev Krishan, Manoj Kumar and Pandurang Dixit. The latter is also the music director  for this film. One song of this film is already showcased here on our blog.

In this song, the on screen performer is Manmohan Krishan. He is leading a few others, including some police personnel and taking them to the place where Sai Baba resides.

This song was recorded in 1977, when Anoop would have been just 24 years of age. One can make out the difference in the quality of the voice – in this song and his singing 40 years hence, in the current period.

The Bhajan itself is written and composed very beautifully. Exhorting the listener to meditate on the universality of the message of brotherhood, and the underlying unity and commonalities of all the religions and beliefs. That is the message of Sai Baba – ‘Sab Ka Maalik Ek’ – that the Supreme One is the One and same for all people.

Song – Sumar Manwa. . . Sumar Re Panchtatva Suvichaar  (Shirdi Ke Sai Baba) (1977) Singer – Anup Jalota, Lyrics – Pandurang Dixit, MD – Pandurang Dixit
Chorus

Lyrics (Provided by Avinash Scrapwala)

sumar manwaa aa aa aa aa aa
sumar manwaa aa aa aa aa aa
sumar manwaa

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
ghat ghat bheetar jag mein nirantar
naad brahma saakar
sunlo pranav ki divya pukaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

mera mera
kuchh nahin tera
chhod do ahankaar
paalo shaashwat soukhya apaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

taaran aur phal
karm bhaagya ka
smar lo baaram baar
sunlo dharm chakra jhankaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

chandra kor ka achal sahaara
kare sitaara ek aadhaar
maano shradhha ka ye saar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

aao jalaado
yagya agni mein
ye katu vishay vikaar
karlo daivi saakshaatkaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar
sumar manwaa
sumar manwaa
sumar re panch tatva suvichaar

ye stup aikya ka
prem dharm ka
satya shaanti ka dwaar
sandesh bhavya de
mantra divya de
sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar
jai jai sainaath avtaar

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
सुमर मनवा आ आ आ आ आ
सुमर मनवा आ आ आ आ आ
सुमर मनवा

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार
घट घट भीतर जग में निरंतर
नाद ब्रह्म साकार
सुन लो प्रणव की दिव्य पुकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

मेरा मेरा
कुछ नहीं तेरा
छोड़ दो अहंकार
पा लो शाश्वत सौख्य अपार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्व सुविचार

तारण और फल
कर्म भाग्य का
स्मर लो बारं बार
सुन लो धर्म चक्र झंकार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

चन्द्र कोर का चल सहारा
करे सितारा एक आधार
मानो श्रद्धा का ये सार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

आओ जला दो
यज्ञ अग्नि में
ये कटु विषय विकार
कर लो दैवी साक्षात्कार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार
सुमर मनवा
सुमर मनवा
सुमर रे पञ्च तत्त्व सुविचार

ये स्तूप ऐक्य का
प्रेम धर्म का
सत्य शान्ति का द्वार
सन्देश भव्य दे
मंत्र दिव्य दे
साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार

जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार
जय जय साईनाथ अवतार



This article is written by Peevesie’s Mom, 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 :

4018 Post No. : 15128

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Blog 10-Year Challenge (2009-19) – Song No. 40
——————————————————————————————

Hullo to Atuldom

Today is a unique happy birthday date. It is not any celebrity’s birthday. It is the birthdate of our beloved blog Atul-song-a-day which has been nicknamed ASAD and all of its followers are called Atulites.

This is one blog which has brought together a lot of Hindi film music lovers from across the world. It must have started as a one-man’s passion for film music but has now become an addiction for a set of music lovers who are equally passionate about Hindi film music. People who have associated themselves with the blog are going to great lengths to find hitherto unheard songs, finding about the life-stories of those associated with those songs etc. We have our own in-house encyclopaedia who has put a lot of time into researching about long forgotten artists, singers, musicians, and also cleared confusion about artist who had same or similar names and were popular about the same period etc. We have an NRA (Non Resident Atulite) who has assigned Sudhir ji a job of finding movies of the 60s’ decade that were lost or forgotten and Sudhir ji has done a great job of finding at least 112 such movies with about 79 left and these may be really unavailable otherwise he would have dug them out too. In addition to this, he has an ongoing series of songs which were reused in movies and I am sure that will give us a minimum of 50 songs.

Sudhir ji and Arunkumar ji (the encyclopaedia) are just two examples of dedicated contributors. We have others whose craze for Hindi film music has been manifested in the form of reading through the “ancient” 😉 issues of Film-India magazine and sharing knowledge gathered from there with us on the blog. Then there is the case of two resident NRAs who collaborate to produce posts to remember their favourite Sahir on his birth and death anniversaries. Of course, one NRA is more active than the other who I expect will surface in the last week of July as the anniversary of his and our favourite Mohd. Rafi is coming up and his activity will continue on to first week of August. (Hope I am not proved wrong) Of course there are those contributors who surface on the really important celebratory occasion of the blogs’ 15000th post, Atulji’s personal 10000, and birthdays of their personal favourite singers Mukesh, Shamshad Begum etc. I must make special mention of the behind the scene contributor who sees to it that the links of songs posted are working links in addition to sending his farmaishes in the form of lyrics.  So Atuldom is a kingdom of a group with varied interests in HFM and who have their own way of making the blog a unique space in cyberland.

As far as my own film music addiction is concerned, I have mentioned many a times how this blog has affected my way of listening to songs. How I have learnt about the life and times of the singers, actors, music directors, and others associated with movie making. And the most important take-away from this blog is a whole new set of friends who are always in touch 24/7 and who receive my phone-calls with a smile (I can feel it in their “Hello”). But I had an altogether different experience the last time I called Sudhir ji; my “hullo Sudhir ji” was met by a good two minute of laughter, such is the camaraderie that he knew exactly what I was going to say. 😊

For all of the above a big thank you to the blog and the blog master Atul. It is only because Atul ji started the blog on 19th July 2008 that we can call ourselves Atulites or Atulwaasis, who are residents of Atuldom.

Exactly a year after it was born, Atulji posted six songs on 19th July 2009. These represented six movies: two from 1969, and one each of 1956, 1954, 1953 and 1949. Of the movies that these songs were from only one is left to be yyippeed!! That is ‘Sambandh’ of 1969. It has 5 songs posted on the blog, out of a possible 11 or 12 , the last being posted in October of 2011. That is a loooong time ago.

So, to take ‘Sambandh’ a step forward we re-visit it today. The movie was produced by Ram Mukherjee; directed by Ajoy Biswas; had Asha Bhonsle, Mahendra Kapoor, Mukesh, Hemant Kumar for playback singers for songs written by Kavi Pradeep and composed by OP Nayyar. Atul ji has said in one of the previous posts of the songs of this movie that this was an unusual combination- OP Nayyar setting Kavi Pradeep’s words to tune. This movie had Pradeep Kumar and Deb Mukherjee heading the cast which also had Anjana (this was her debut) Sulochana Latkar, Anita Dutt (looks like Anita Guha, must have been Dutt at that time), Achala Sachdev, Vijaya Chaudhary, Abhi Bhattacharya, Nana Palshikar, Leela Mishra, etc.

The synopsis as given on IMDB is:

Manav Chatterjee’s childhood is spent in a wealthy home where his father, Umakant, is an alcoholic, and his mother a simple housewife, who tries in vain to get his dad to give up on alcohol. This results in differences between his parents, leading to their separation, and him leaving the house to be with his mother. Manav grows up as a cynic, and this cynicism increases when he goes to live with a foster and a very wealthy family. He marries Hiralal’s daughter, Sandhya, and both love each other deeply. But things do not seem to go Manav’s way at all, as he is separated from Sandhya, and after several months finds out that Hirala is about to get Sandhya married – again. Now Manav has changed his name, and is being helped by an unknowing Umakant to try and salvage, what possibly remains, of the rest of this bitter and lonely life.

Here is the list of songs posted this-date-that-year as is the practice in the Ten-Year Challenge,

Gore Gore Mukhde Pe Gesoo Jo Chhaa Gaye Patanga

1949

Bujh Gaye Aasha Ke Diye…Badle Rang Jahaan Ke Shikast

1953

Dil Se Milaa Ke Dil Pyaar Kijiye Taxi Driver

1954

Dil Dil Se Milaakar Dekho Mem Sahib

1956

Apni Maata Ke Dulaare Bachche Sambandh

1969

Saathiyaan Nahin Jaana Ke Ji Na Lage Aaya Saawan Jhoom Ke

1969

Hindigeetmala.net (my personal HFGK) lists 12 songs for ‘Sambandh’ of which we have 5 on the blog. Of the twelve, six songs have Asha Bhonsle giving playback, one being a duet with Hemant Kumar. It is difficult to find videos of all the songs that are left to be posted, only audios are available on youtube. Another thing I found was almost all the songs were rather sombre or completely sad. Would love to see the movie to understand why the mood of the songs are so.  And as Atul ji has previously said this is a rather unusual OP Nayyar album with not one peppy number. So, choosing from what is available, here is the Hemant Kumar – Asha song which is a prayer and I would like to know on whom it was filmed.

HAPPY BIRTHDAY ASAD!!!!!
Thank you Atul ji for giving us ASAD.

There is still a lot of songs left in the ocean of HFM for us to find gems, pearls and corals.

P.S. after writing the post I ran through the movie to see who has lip synced the song. I found that the Hemant Kumar part is no where in the movie and Anita Dutt has lip-synced the Asha Bhonsle part.

Editor’s note-With this song, Hemant Kumar completes 200 songs in the blog as a playback singer.

 

Audio

Video

Song – Tum Ko To Karodon Saal Huye Batlaao Gagan Ghambhir  (Sambandh) (1969) Singer – Hemant Kumar, Asha Bhosle, Lyrics – Kavi Pradeep, MD – OP Nayyar

Lyrics

hey jagat pita parmatma
karo nirmal meri aatma
dukh haro dayalu
ab sukh do
sab avgun mere
karo kshama
parbhu karo Kshama
parbhu karo kshama
hey jagat pita parmatma

aaaa aaaaa
aaaa aaaaa

tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

milte hain kisi ko bin maange hi moti
oo oo oo
koi maange lekin bheekh naseeb na hoti
oo oo oo
kya soch ke hai malik ne rachi
ye do rangi tasveer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

kuch kismatwaale sukh se amrit peete
oo oo oo
kuch dil par rakh pathar jeewan jeete
oo oo oo
kahin mann panchhi aakaash ude
kahin paanv padi zanjeer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

kyun alag alag taqdeer

kyun alag alag taqdeer

kyun alag alag taqdeer

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

हे जगत पिता परमात्मा
करो निर्मल मेरी आत्मा
दुख हरो दयालु
अब सुख दो
सब अवगुण मेरे करो क्षमा
प्रभु करो क्षमा
प्रभु करो क्षमा
हे जगत पिता परमात्मा

आss आsss
आss आsss

तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

मिलते हैं किसी को बिन मांगे ही मोती
ओ ओ ओ
कोई मांगे भी तो भीख नसीब ना होती
ओ ओ ओ
क्या सोच के है मालिक ने रची
ये दो रंगी तस्वीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

कुछ किस्मत वाले सुख से अमृत पीते
ओ ओ ओ
कुछ दिल पर रख कर पत्थर जीवन जीते
ओ ओ ओ
कहीं मन पंछी आकाश उड़े
कहीं पाँव पड़ी ज़ंजीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर


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 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 : 4017 Post No. : 15125

Two signature melodies, one sweet voice,

Do Naina, Aur Ek Kahaani

Do Panchhi, Do Tinke, Kaho Le Ke Chale Hain Kahaan

And the voice – Aarti Mukherjee.

Celebrating Aarti ji’s birthday today – she turns 76 today. Greetings and best wishes to her for good health, and many more such celebrations to follow.

Aarti ji was born in Calcutta, in 1943. Along with her formal school education, her grooming in classical music also continued side by side, at the feet of teachers like Shri Chinmoy Lahiri, Shri Susheel Bannerjee and Ustad Mohammed Sageeruddin. It was a childhood dream for her to be a famous singer, and be counted in the same list as Lata Mangeshkar.

In her teen years – she was just 12 or 13, in 1955 she appeared in the ‘All India Music Talent Contest’ in Calcutta. Then couple of years down the road, in 1957, she participated in the Metro-Murphy Talent Search Contest held in Bombay. The panel of judges were the esteemed cream of music directors from Hindi cinema – Anil Biswas, Naushad, Vasant Desai and C Ramchandra. She was judged to be the winner in the female singer category. This recognition opened doors for her as a playback singer in the world of cinema. She was just fourteen years old.

Vasant Desai gave her the debut break when he invited her to sing for the 1958 film ‘Do Phool’. It is a chirpy lilting children’s song that she rendered so effectively – “Matak Matak Naachoon Re”. Oportunities started to come her way. She sang a duet with Lata ji, for the film ‘Sahaara’, also 1950 – “Atkan Matkan Dahi Chatokan”. Then on to ‘Schoolmaster’ in 1959, and ‘Angulimaal’, ‘Apna Ghar’ in 1960. The song “Dheere Dheera Dhal Re Chanda” is one of her earliest popular melodies.

In 1962, she got her first break in Bangla films, with the film ‘Kanya’. Her versatility and her sweet voice helped her to make a place for herself in the Bangla cinema, coming quickly to the level of popularity of Sandhya Mukherjee, who was the lead playback singer in that era. She has given playback to almost all the stalwart leading ladies of Bangla cinema of that time – Aparna Sen, Sharmila Tagore, Madhabi Mukherji, Debashri Roy, and Tanuja etc.  Her popularity was at its peak in 1970s.

Meanwhile, she continued to sing in Hindi films, such sweet renditions like – “Mat Jaiyo Piya Pardes Sajaniya Paiyaan Pade Re” (‘Vidyapati’, 1964), “Saara Mora Kajra Chhudaaya Tu Ne” (‘Do Dil’, 1965), “Kirnon Ki Dori Chaand Ka Palna” (‘Maya Sundari’, 1967), “Jaago Anjaani Rajdulaari” (‘Ek Surat Do Dil’. 1968), and more.

In 1975 came the popular and successful ‘Geet Gaata Chal’ – in which Ravindra Jain gave us such beautiful melodies – “Shyam Teri Bansi. . .”, “Kar Gaya Kaanha Milan Ka Waada” and “Main Wahi, Darpan Wahi”.

Aarti ji has won the Filmfare award for the best female playback singer in 1983 for the song of ‘Maasoom’ – “Do Naina. . .”. She has also won the Bengal Film Journalists Award for best playback singer in 1967, for film ‘Golpo Hoelo Satyi’ and 1976, for ‘Chhutir Phande’. For her vocal performance in ‘Geet Gaata Chal’ (1975), she was honored with the Mian Tansen Award.

Today, I present a very interesting and a very pleasing melody from the 1959 film ‘Schoolmaster’. The film is a Hindi remake of the 1958 hit Kannada film, of the same name. The film is produced and directed by BR Panthulu, under the banner of Padmini Pictures. The star cast for this film is listed as BR Panthalu, Radha Kishan, Ulhas, MV Rajamma, Shakeela, B Saroja Devi, Kamini Kadam, Lalita Pawar, Achla Sachdev, Karan Diwan, David, Jawahar Kaul, Raja Gosavi, Puranik, Vishwa Mehra, Shivaji Ganeshan, Baby Laxmi, Kusumlata, Kumuda, Shashikala, Venkatesh, Gopi Nath, Ganesh, Vijay, Pramod, and Ramesh. The story of the film is a typical family drama of a joint family – a retired schoolmaster with three sons, and he ends up losing his house and even a respectful accommodation with his children. This theme has been replayed in many films, earlier and later.

Geet Kosh lists 9 songs for this film. All the song have been written by Kavi Pradeep. The music is by Vasant Desai. Vasant Desai has used as many 10 playback singers in this film – Lata Mangeshkar, Manna Dey, Geeta Dutt, Talat Mehmood, Mahendra Kapoor, Pradeep, Lalita, Indu and Sarla. And then there is this one solo song in the voice of Aarti Mukherjee.

A lovely melody, and a very lovely rendition. Listen and enjoy.

Song – Ek Do Teen, Gin Bhai Gin  (School Master) (1959) Singer – Aarti Mukherji, Lyrics – Kavi Pradeep, MD – Vasant Desai

Lyrics

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
isi tarah ye jeevan chalta
shaam subah pal chhin
shaam subah pal chhin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

kismet sabko jag mein naach nachaaye
kadve meethe sabko ghoont pilaaye
ulta waqt yahaan jab aaye haaye
apne bhi hotey hain paraaye haaye
dekhne waale dekh laga ke
aankhon mein durbin
aankhon mein durbin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

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

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
इसी तरह ये जीवन चलता
शाम सुबह पल छिन्न
शाम सुबह पल छिन्न
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

किस्मत सबको जग में नाच नचाए
कडवे मीठे सबको घूंट पिलाये
उल्टा वक़्त यहाँ जब आए हाए
अपने भी होते हैं पराये हाए
देखने वाले देख लगा कर
आँखों में दुरबिन
आँखों में दुरबिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन


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 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 : 4003 Post No. : 15106

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 37
——————————————————————————————

This day, ten years ago – as such sections are generally titled in newspapers that carry a review of their news content from 50 or 100 or 150 years in the past. Well yes, our antecedents are more modest, and so we hark back 10 years into our collection on the blog. On 4th July, ten years ago, the films that got posted were,

 

Jauhri 1951
Dholak 1951
Chaand Mere Aaja 1960
Bank Manager 1959
Faulaad 1963
Jawaab 1970

 

Of these six films, three had made their debut on that date. The debut making films are ‘Jauhri’ (1951), ‘Chaand Mere Aaja’ (1960) and ‘Jawaab’ (1970).

And then, of these six films, three have been yippeee’d so far – ‘Dholak’, ‘Bank Manager’ and ‘Faulaad’. Of the remaining six, one film is on the threshold of being announced as a yippee film. And this film is ‘Chaand Mere Aaja’. So we are posting the final song of this film, to formally announce this film as being yippeee’d today.

Reminds me, it would be an interesting analysis to know, how many of the Ten Year Challenge posts are resulting in the film being yippeee’d. Meaning that the film’s debut date and the yippee date are exactly 10 years apart.

The film ‘Chaand Mere Aaja’ of 1960 has 7 songs listed in the Geet Kosh. Of these, six are already showcased on our blog. We bring on board, the final song of this film today. It is interesting to note that, as per the Geet Kosh, six of the songs of this film are available on gramophone records. And the 7th, which is today’s song, is available only in the film’s soundtrack. Thankfully, the video clip of this song is available online.

The song is written by IC Kapoor. Music composition is by Chitragupt. And the singing voice is of Mohammed Rafi. On screen, this song is performed by Bharat Bhushan. The song is presented in a party, where apparently, the tone of the song does not quite jell with the mood and ambience of a get together of the rich and well to do people.

In any case, we bring on board the last and final song of this film, adding it to the list of films with all songs covered –  over a period of ten years – exactly. 🙂

 

Song – O Duniyawaalo Kaisa Tumhaara Ye Sansaar Hai (Chaand Mere Aaja) (1960) Singer – Mohammed Rafi, Lyrics – IC Kapoor, MD – Chitragupt

Lyrics

o duniya waalo..oo
oo oo oo oo
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
jhoothe ki jeet yahaan
sachche ki haar hai
jhoothe ki jeet yahaan
sachche ki haar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

bade bade bazaar saja kar
gali gali mein dhol baja kar
sona dikhla peetal bechen
gin kar paise poore letey
dil ka sauda jaan ka sauda
hota hai imaar ka sauda
khoon pasina bik jaata hai
maut aur jeena bik jaata hai
pooch raha hai tumse bolo
kaisa ye vyohaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

aansoo le lo aanhen le lo
hasrat le lo chaahen le lo
taambe ka ik tukda phenko
toote dil ki duaaen le lo
loot chuke ho duniya saar
is par bhi taqraar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

sapnon ki duniya ko chhodo
asliyat se munh na modo
kab tak jhoothi shaan rahegi
do din to ye jaan rahegi
saaz samay ka bol raha hai
raaz ke taale khol raha hai
kaath ki handiya jal ke rahegi
khota ye vyopaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

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

ओ दुनिया वालो॰॰ओ
ओ ओ ओ ओ
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
झूठे की जीत यहाँ
सच्चे की हार है
झूठे की जीत यहाँ
सच्चे की हार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

बड़े बड़े बाज़ार सजा कर
गली गली में ढ़ोल बजा कर
सोना दिखला पीतल बेचें
गिन कर पैसे पूरे लेते
दिल का सौदा जान का सौदा
होता है ईमान का सौदा
खून पसीना बिक जाता है
मौत और जीना बिक जाता है
पूछ रहा है तुमसे बोलो
कैसा ये व्योहार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

आँसू ले लो आहें ले लो
हसरत ले लो चाहें ले लो
तांबे का इक टुकड़ा फेंको
टूटे दिल की दुआएं ले लो
लूट चुके हो दुनिया सारी
इस पर भी तक़रार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

सपनों की दुनिया को छोड़ो
असलियत से मुंह ना मोड़ो
कब तक झूठी शान रहेगी
दो दिन तो ये जान रहेगी
साज़ समय का बोल रहा है
राज़ के ताले खोल रहा है
काठ की हँडिया जल के रहेगी
खोटा ये व्योपार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ


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 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 :

3976 Post No. : 15063 Movie Count :

4133

Missing Films of 1960s – 111
– – – – – – – – – – – – – – –

“हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“
(“hum to doobenge sanam, tumko bhi le doobenge”)

(I will drown no doubt my dear, but will take you down with me.)

Some conversations, some words, touch a certain nerve inside that they simply cannot be forgotten.  And some of them go even a step further.  Some such words become so indelibly ingrained in the collective memory of a society that they end up becoming a part of the current lingua franca, an idiom that normal people begin to use in everyday conversations.

The above dialogue is one such example. This phrase has become part of the Hindustani exchange – I am sure this is a matter of current experience for all of us. Let me tell you where this dialogue comes from. The earliest occurrence that I am aware of is this being used in a film – well, 68 years ago. The year was 1951. The film maker was Raj Kapoor. The film was ‘Aawaara’. The scene in reference is / was considered a daring scene in those times. Nargis and Raj Kapoor are seen in swimming costumes, in a splashing pool close to a beach. This comes a little before the song “Dum Bhar Jo Udhar Munh Phere. . .”.

Nargis invites RK to dive into the pool. RK feigns fear, as if expressing he does not know how to swim. This exchange is all through facial expressions. Nargis dives into the pool. RK follows. Nargis quickly scrambles out of the pool, then tells RK that the water is deep, and he might drown. RK lunges at Nargis’ hand and tries to pull her back into the pool, and speaks this dialogue – “हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“.

The dialogues of ‘Aawaara’ (as also the story) are written by Khwaja Ahmed Abbas or KA Abbas for short. As a writer, he was associated with Raj Kapoor and RK Films all the way from ‘Aawaara’ in 1951 to ‘Henna’ in 1991. He had passed away in 1987. Raj Kapoor had started making ‘Henna’, but then he himself passed away in 1988. The film was completed by Randhir Kapoor.

The association he shared with Raj Kapoor lasted almost 4 decades. The association stands the testimony of ideology – KA Abbas was a very active member of both IPTA (Indian People’s Theatre Association) and PWA (Progressive Writers Association). And Raj Kapoor and his socialistic ideology as expressed in films like ‘Aawaara’, ‘Shri 420’, ‘Boot Polish’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’ etc. These films have a focus on the underprivileged in the society, and are a call to make a better society.

The word “progress and progressive” attached with it has a history of its own. In 19th century England, the word progressive was the battle cry of all those who wanted a better deal for the underprivileged and wanted science and technology to spearhead the movement for social development. It stood for liberation and democracy. Munshi Prem Chand, doyen of Urdu writers, had delivered the Presidential Address of the first meeting of the PWA. It was a movement for the freedom-loving writers who were opposed to the status quo in the feudal-dominated Indian society. They thought that unless the Indian society was not transformed and the common masses were not in the driving seat, nothing could change. Writers like Krishan Chander, Ismat Chugtai, Saadat Hasan Manto, Ahmad Nadeem Qasmi, Ali Sardar Jafri, Sibte Hassan, Ehtesham Hussain, Mumtaz Hussain, Sahir Ludhianvi, Kaifi Azmi, Ali Abbas Hussaini, Makhdoom Mohiuddin, Farigh Bukhari, Khatir Ghaznavi, Raza Hamdani, M Ibrahim Joyo, Sobho Gianchandani, Shaikh Ayaz, Rajinder Singh Bedi, Amrita Pritam, Ali Sikandar, Zoe Ansari, Majaz Lucknawi, and yes, Khwaja Ahmed Abbas, made it the strongest literary movement.

My earliest introduction to Abbas Sb was sometimes in mid 1960s. Although we watched the movies diligently, on TV and on the big screen, it was not yet time to grasp all the names that came while the credits were rolling. Becoming familiar with the story writer or the art director or the choreographer, was still a few years hence. What stuck to my mind was really a very out of the way encounter. It was a tele-film which probably no one remembers any more. But somehow, that film and the name has simply remained glued in memory. It wasn’t accompanied by any pompous announcements etc. It was just a film, that happened to get telecast when I happened to be sitting in front of the television at a neighbour’s house one evening. The title of the film is ‘India, My India’. It was a very interesting documentary. Starting with the very early morning hour – like 5 am, the telefilm captured vignettes of rural and urban lifein India, from different parts of the country. For every hour, the location would change. And for the next about 5 minutes, the viewer was treated to a sampling of the local life and local color at that hour of the day, accompanied by a narrative description. Over a period of two hours, 24 different locations of the country were mapped into this documentary, showing life as it happens, at different times in a cycle of 24 hours. To my tiny intelligence, this was a wonderful new experience, and I am sure a wonderful new experiment for its creator.

Another place where this name was highlighted every week, was on the last page of the weekly tabloid – Blitz, published from Bombay and Delhi. Being a journalist household, we always had a huge selection of newspapers and magazines delivered every morning. Blitz was one of the weekly papers that was the staple of many member of our household (a joint family setup at that time). For me, Blitz was an attraction because it always carried something ‘scandalous and titillating’ 😉 . Of course, the name of KA Abbas was always prominently posted on the last page of the weekly edition, quite appropriately titled the ‘Last Page’. I remember I used to read it with interest, because it was always a wry and a sideways look at the socio-political current affairs. A good read, because it introduced many a names to my still fledgling memory, names that would become important in later decades.

KA Abbas was born in Panipat (now in Haryana). He came into a family of erudite scholars with a history of good education and social involvement. His father was a celebrated Urdu poet, Khwaja Altaf Hussain Hali, a student and scholar of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the leaders of the first war of independence in 1857 – the first celebrated martyr of Panipat who was blown from the mouth of a cannon. Abbas’s father graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman. He spearheaded an effort to modernise the preparation and manufacture of Unani medicines. Abbas’s mother, Masroor Khatoon, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He was instructed in reading the Arabic text of the Quran. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LLB in 1935 from Aligarh Muslim University.

Abbas began his career as a journalist with ‘National Call’, a New Delhi based newspaper after finishing his BA. Simultaneously, while doing his LLB in 1934, he started ‘Aligarh Opinion’, India’s first university students’ weekly during the pre-independence period. In 1935, Abbas came to Bombay and joined ‘The Bombay Chronicle’. He occasionally served as a film critic. An event transpired and the film editor of the paper passed away. Abbas got promoted to be the editor of the film section.

While at The Bombay Chronicle, (1935–1947), he started a weekly column called ‘Last Page’, which he continued when he joined the Blitz magazine. ‘Last Page’, (‘Azad Kalam’ in the Urdu edition). This column continued till Abbas Sb passed away in 1987, making this the longest-running political column in India’s history (1935–87). A collection of these columns was later published as two books.

In 1936, a few months after having come to Bombay and starting work at ‘The Bombay Chronicle’, a meeting with Himanshu Rai and Devika Rani happened. As a result, the young journalist took his first steps into the film industry. He started working as a copywriter and a publicist for Bombay Talkies. And shortly thereafter, he sold his first story and screenplay to Bombay Talkies – the film being ‘Naya Sansaar’ (1941).

The world of Hindi cinema quickly opened up to him. Here was an energetic young man with liberal outlook and a new expression, seeking to inject a new wave into the world of cinema. ‘Naya Sansar’ was the first such offering. He won the Bombay Film Journalists Association (BFJA) award for the best screenplay in 1942, for this film.

1943 – the great famine of Bengal happened. A story took a foothold in his mind. He wrote the story, the screenplay, became a producer and a director also in the same step – the result was the 1945 release of ‘Dharti Ke Lal’. KA Abbas had fired the first volley of the neo-realist socially aware cinema in India. The film was made under the banner of IPTA.

In parallel, he wrote the script for Chetan Anand’s ‘Neecha Nagar’ and V Shantatram’s ‘Dr Kotnis Ki Amar Kahaani’. Both films were released in 1946.  ‘Neecha Nagar’ went on to win the Palme d’Or (Golden Palm) award at the Cannes Film Festival, in one of the three categories – the only Indian film to have that honor in the history of our industry.

In 1951, he set up his own banner – ‘Naya Sansaar’, and went on to create some very iconic films in the history of Indian cinema. Commercial success not being the criteria, the value of social awareness and the commentary on the state of current affairs in the society simply cannot be measured. A short sampling of his critically acclaimed work is as follows,

1951: Screenplay for ‘Awaara’, nominated for the Palme d’Or at the Cannes Film Festival.

1956: Screenplay for ‘Jaagte Raho’, won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in 1957 and the Certificate of Merit at the fourth National Film Awards.

1958 Screenplay and direction for ‘Pardesi’, nominated for the Palme d’Or at the Cannes Film Festival.

1960: Direction for ‘Eid Mubarak’ (children’s documentary) , got All India Certificate of Merit for the Second Best Children’s Film

1964: Screenplay, production and direction for ‘Shehar Aur Sapna, won the National Film Award for Best Feature Film

1965: Direction for ‘Hamaara Ghar’, won award at the International Film Festival, Santa Barbara, USA

1970: Screenplay, production and direction for ‘Saat Hindustani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

1972: Screenplay, production and direction for ‘Do Boond Pani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

Other major films he was associated with either as screenplay/story writer, producer, or director – or all of the roles, include ‘Aaj Aur Kal’ (1947), ‘Anhonee’ (1952), ‘Raahi’ (1953), ‘Munna’ (1954), ‘Shree 420’ (1955), ‘Chaar Dil Chaar Raahen’ (1959), ‘Gyaarah Hazaar Ladkiaan’ (1962), ‘Aasmaan Mahal’, (1965), ‘Bambai Raat Ki Baahon Mein’ (1967), ‘Mera Naam Joker’ (1970), ‘Bobby’ (1973), ‘Achaanak’ (1973), ‘Faaslah’ (1974), ‘The Naxalites’ (1980), ‘Love In Goa’ (1983), ‘Ek Aadmi’ (1988), and ‘Henna’ (1991).

As a journalist, he met with and interviewed several renowned world leaders and notable personalities – including the Russian Prime Minister Khrushchev, American President Franklin Roosevelt, Charlie Chaplin, Mao-Tse-Tung and Yuri Gagarin.

As a writer, he has authored more than 70 books in his lifetime in Hindi, Urdu and English.

In 1963, Abbas wrote, produced and directed ‘Shehar Aur Sapna’. This film is an experience totally different. The theme of the film is the dream city of Bombay, and the severe housing problem it faces. The myth of this city attracts thousands of young men who arrive here every day, with a dream of their own. But the harsh realities of making a living, and of having a roof on one’s head in this city, is an experience that can shatter many a tough determined minds.

The story is told through the experiences of Bhola, a young man – almost a village bumpkin, who comes to Bombay in search of livelihood, and Radha, a young woman also from a distant village, who is duped into a sham marriage, and is then plowed into flesh trade, from where she dares to escape, to start living on her own terms in this cruel and heartless city. For a time, their home is an abandoned drain pipe. Their support system is a trio of good samaritans, who themselves are inhabitants of the world of footpath dwellers – roles played by David, Anwar Hussain and Nana Palsikar. Manmohan Krishan plays the role of a wandering homeless poet (shades of ‘Matwaala Shaayar Ram Joshi’) who is a mute observer to all the events that transpire in the lives of this set of characters.

The progression of the storyline came as a shock to many who had never visited Bombay. No doubt the events depicted are dramatized to a certain extent, but surely they are also grounded in the realities of the living experience of this city. As the film comes to a close, the young couple are now parents to a newborn, their temporary shelter hosted by the three samaritans has been razed by bulldozers, to clear the way for an apartment complex being built by a rich builder, their drain-pipe home has finally found the purpose it was originally intended for – that is, the pipeline is laid and the drain pipe buried into the earth. The closing shot of the film shows the couple walking into a dying dusk, carrying the baby and their worldly belongings in a couple of makeshift shoulder bags, not knowing where to head – maybe towards a dream – a ‘sapna’, and nothing else.

A time of his own life that Abbas Sb has talked about in his writings and interviews – he too had slept of the footpaths of Bombay during his initial days in the city. As he prepared to shoot this film, he actually walked through the streets and bylanes of the city where the have-nots dwell in large numbers, at all times of the day and in all types of weather, to be able to recreate the landscape in the film to tell the story he wanted to. People making homes in drain pipes is a reality that he has seen and experienced. So it came quite naturally that he is able to present these sequences so convincingly.

The film is written, produced and directed by KA Abbas, under his own banner – Naya Sansaar, Bombay. The roles of the lead pair Bhola and Radha, are performed by Dilip Raj (son of the renowned P Jairaj) and Surekha Parkar. The rest of the cast is listed as Nana Palsikar, Manmohan Krishan, David, Anwar Hussain, Asit Sen, Jagdish Kanwal, Rasheed Khan, Ravikant, Ram Murty, Nazeer Kashmiri, Narbada Shankar, Moti Beena, Master Javed, and Pardesi amongst others.

Coming to the music of this film – the thing that makes the music of this film some sort of a rarity is the fact that it was never released on gramophone records. The songs of this film are essentially a recitation of poetry that occurs at four points in the story line. The poet protagonist is Manmohan Krishan. He is the one who sings all these four pieces, accompanying significant moments in this film. The lines of this poetry are penned by Ali Sardar Jafri and the music direction is by JP Kaushik (aka Jag Phool Kaushik).

The rare thing about these poetical pieces is of course their availability. These renditions were never released on gramophone records. Furhter, despite being an award winning film, the film itself has become a rarity, not available easily in public domain. Our dear friend from Jaipur, Pawan Jha, has uploaded one poetical segment elsewhere on YouTube. In absence of the availability of all the four pieces of poetry, I have extracted and edited the four pieces into a single video clip, from a copy of the film which itself is not the best. But no complaints – at least we have what we have. Small blessings that all the four poetical pieces are available. I debated and discussed with friends, whether this should be four different poetical renditions. As one listens to the four pieces, one can make out the one single thread that runs through these four pieces, giving credence to the Geet Kosh listings that lists these four pieces as parts 1 to 4. And so I felt it important to present them together as one poem with four parts. In the edited clip, I have included a very small segment of the film appearing just before each part presents itself in the storyline, to get a flavor of the backdrop against which each of these parts is presented.

The interesting thing about this post is that the film makes its debut today on our blog, and simultaneously, we can also declare it as yippeee’d – all the songs of this film are now posted. And it also brings us close, very close, to the culmination of this series of bringing on board the missing films of 1960s.

As one reviews the history of Indian cinema, one does not, should not categorize the luminaries like Satyajit Ray, Bimal Roy, Raj Kapoor, K Asif, Chetan Anand, Ritwick Ghatak, Mehboob Khan, Mrinal Sen, Rituparno Ghosh, Muzzafar Ali and the like. These legendary film makers each are a class unto themselves. And so is Khwaja Ahmed Abbas. His body of work put together may well form an institution that will be a matter of research and debate for decades to come. The medium of cinema is undoubtedly more rich, because KA Abbas worked on it. And because a compelling film like ‘Shehar Aur Sapna’ was created by him.

Born on 7th June, 1914, today is the 105th birth anniversary of this illustrious film maker. One of the very few whose dedication went exceptionally beyond the considerations of commercial success of his creations. His focus, his commentary, never wavered away from an acknowledged social responsibility of the medium of cinema. I fall back once again on the film ‘Aawaara’ and its dialogues – two samples.

Raj is running from the police and incidentally enters the home of Judge Raghunath and Rita. There is an exchange about the identity of the intruder. In a comic way, Raj is trying to convince Rita that he is a thief. And this is how he presents it –

“बस यही तो हमारे नए समाज का कमाल है।

जो चोर हैं, दूसरों की जेब काटते हैं, पब्लिक की आँख में धूल डालते हैं, मेरे जैसे फ़र्स्ट क्लास सूट पैंट पहनते हैं, उन्हें हम शरीफ समझते हैं। और जो ईमानदारी से मेहनत मजदूरी करके पेट पालते हैं, फटे पुराने कपड़े पहनते हैं, उन्हें चोर आवारा डाकू समझ कर धर लिया जाता है। ये पूंजीपति, ये काले बाज़ार वाले सेठ, ये मुनाफाखोर, ये ब्याज लेने वाले, ये सब कौन हैं। मेरी तरह चोर।“

“Bas yahi to hamaare naye samaaj ka kamaal hai.

Jo chor hain, jo doosron ki jeb kaat’te hain, public ki aankh mein dhool jhonkte hain, mere jaise first claas suit pant pehante hain, unhen hum shareef samajhte hain. Aur jo imaandari se mehnat mazdoori kar ke pet paalte hain, fatey puraane kapde pehante hain, unhem chor aawaara daaku samajh kar dhar liya jaata hai. Ye poonjipati, ye kaale bazaar waale seth, ye munaafakhor, ye byaaj lene waale, ye sab kaun hain. Meri tarah chor.”

And in the closing minutes of the film, as the court case against Raj is in progress, the judge invites Raj to say what he wants to, in his own defence. One part of that monologue goes like –

“आप जो चाहे मुझे सज़ा दे सकते हैं।

मगर क्या आप समझते हैं के मुझे फांसी देने से ये पाप क्रोध हिंसा और अपराध का जहर जो आपकी दुनिया में फैला हुआ है, ये दूर हो जाएगा।

मैं आपको अपनी जीवन कथा सुनाना नहीं चाहता। मगर इतना ज़रूर कहना चाहता हूँ, के अपराध के कीड़े मुझे खून में अपने माँ बाप से नहीं मिले थे। उस गंदे गट्टर से मिले थे जो हमारी गंदी चाल के पास से बहता है। वो गट्टर आज भी वहाँ बह रहा है। और अपराध के कीड़े अब भी उस में पल रहे हैं। और.. और सैंकड़ों हजारों बच्चे जो आस पास की चालों में रहते हैं रोज़ाना इन कीड़ों के शिकार हो रहे हैं। मेरी फिक्र ना कीजिये, उन बच्चों की फिक्र कीजिये, अपने बच्चों की फिक्र कीजिये। ऐसा ना हो

के एक दिन आप, और आप, और आप, और आपका बच्चा भी मेरी तरह इस कटहरे में बार बार कहे के मेरी रगों में भी शरीफ बाप का खून है।”

Aap jo chaahe mujhe sazaa de sakte hain.

Magar kya aap samajhte hain ke mujhe faansi dene se ye paap krodh hinsa aur apradh ka zehar jo aapki duniya mein faila hua hai, ye door ho jaayega.

Main aapko apni jeevan katha sunaana nahin chaahta. Magar itna zaroor kehna chaahta hoon, ke apradh ke keede mujhe khoon mein apne maa baap se nahin miley the. Us gande gattar se miley the jo hamaari gandi chaal ke paas se behta hain. Wo gattar aaj bhi wahaan beh raha hai. Aur apradh ke keede ab bhi us mein pal rahe hain. Aur. . aur sainkdon hazaaron bachche jo aas paas ki chaalon mein rehte hain rozaana in keedon ke shikaar ho rahe hain. Meri fiqr na kijiye, un bachchon ki fiqr kijiye, apne bachchon ki fiqr kijiye. Aisa na ho ke ek din aap, aur aap, aur aap, aur aapka bachcha bhi meri tarah is katehre mein baar baar kahe ke meri ragon mein bhi shareef baap ka khoon hai.

Touching upon the sordid realities of human existence, and the dichotomy of the crooked and dubious haves versus the helpless have nots just trying to survive. The dialogues bring home a message that is topical even today – a message that inevitably gets lost in the glitz of commercial compulsions.

His creations, his vision is exceptional. Even when he writes the story for ‘Bobby’ – yes it is a showman’s film, an RK creation. But beneath the formula drama, there is an effort to dissect and discuss the social divide of the rich-boy-poor-girl tale. It is was an RK film – one had a ice-cream flavored happy ending.

‘Shehar Aur Sapna’ is an out and out KA Abbas statement – the ending is poignant, rooted in the real world, but still colored with an idealist’s hope looking into the future – shades of “. . . Wo Subah Kabhi To Aayegi. . .”.

[Acknowkledgements – A part of this article is adapted from the material in multiple articles on Wikipedia.]

Song – Ye Shaam Bhi Kahaan Hui  (Shehar Aur Sapna) (1963) Singer – Manmohan Krishan, Lyrics – Ali Sardar Jafri, MD – Jag Phool Kaushik

Lyrics

(Part 1)

ye shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

patharon ki basti hai
patharon ka zinda hai
patharon ki deewaaren
jin mein qaid insaan hai
patharon ki sejen hain
patharon ka bistar hai
patharon ke takiye hain
patharon ki chaadar hai
neend aur sapne bhi
patharon mein dhalte hain
patharon ke seene mein
kitne paap palte hain
kitne paap palte hain

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 2)

pathar ka bhagwaan yahaan hai
pathar ka shaitaan
pathar ke dil
pathar ke sar
pathar ke insaan
koi rasta kaise paaye
dil ka haal kisey samjhaaye
chaaron or khadi hai dekho
pathar ki santaan
pathar ki santaan

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 3)

pyaar ko aaj nai
tarah nibhaana hoga
pyaar ko aaj nai
tarah nibhaana hoga
hans ke har dard ko
har gham ko bhulaana hoga
hans ke har dard ko

aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
khoon e dil de ke unhen
phir se jalaana hoga
khoon e dil de ke unhen
phir se jalaana hoga
pyaar ko aaj nai

abhi khil jaayenge masle huye
kuchle huye phool
abhi khil jaayenge masle huye
kuchle huye phool
shart bas ye hai ke
seene se lagaana hoga
shart bas ye hai ke
seene se lagaana hoga
pyaar ko aaj nai

wo jo kho jaayen to
kho jaayegi duniya saari
wo jo kho jaayen to
kho jaayegi duniya saari
wo jo mil jaayen to
saath apne zamaana hoga
wo jo mil jaayen to. . .

(Part 4)

hazaar ghar hazaar dar
ye sab hain ajnabi magar
khabar nahin ke ab kidhar
mudegi apni rehguzar

yahaan se jaayenge kahaan
amaan paayeng kahaan
ye zindagi ki bebasi
ye bebasi ki zindagi..ee..ee

ye bebasi ki zindagi..ee..ee

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

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

(भाग 1)

ये शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

पत्थरों की बस्ती है
पत्थरों का ज़िंदा है
पत्थरों की दीवारें
पत्थरों के इंसान हैं
पत्थरों की सेजें हैं
पत्थरों का बिस्तर है
पत्थरों के तकिये हैं
पत्थरों की चादर है
नींद और सपने भी
पत्थरों में ढलते हैं
पत्थरों के सीने में
कितने पाप ढलते हैं
कितने पाप ढलते हैं

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 2)

पत्थरों का भगवान यहाँ है
पत्थरों का शैतान
पत्थर के दिल
पत्थर के सर
पत्थर के इंसान
कोई रस्ता कैसे पाये
दिल का हाल किसे समझाये
चारों ओर खड़ी है देखो
पत्थर की संतान
पत्थर की संतान

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 3)

प्यार को आज नई
तरह निभाना होगा
प्यार को आज नई
तरह निभाना होगा
हंस के हर दर्द को
हर ग़म को भुलाना होगा
हंस के हर दर्द को

आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
खून ए दिल दे के उन्हें
फिर से जलाना होगा
खून ए दिल दे के उन्हें
फिर से जलाना होगा
प्यार को आज नई

अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
शर्त बस ये है के
सीने से लगाना होगा
शर्त बस ये है के
सीने से लगाना होगा
प्यार को आज नई

वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो मिल जाएँ तो
साथ अपने ज़माना होगा
वो जो मिल जाएँ तो

(भाग 4)
हज़ार घर हज़ार दर
ये सब हैं अजनबी मगर
खबर नहीं के अब किधर
मुड़ेगी अपनी रहगुज़र

यहाँ से जाएँगे कहाँ
अमान पाएंगे कहाँ
ये ज़िंदगी की बेबसी
ये बेबसी की ज़िंदगी॰॰ई॰॰ई

ये बेबसी की ज़िंदगी॰॰ई॰॰ई

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई


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 : 3975 Post No. : 15061

Today, 6th June, is the birth anniversary of Rajinder Krishan, one of the most prolific songwriters in Hindi cinema. As I looked up the date of birth, I find that he was born in the year 1919. So that makes today, the 100th birth anniversary for him.

A career that spans four decades in the industry saw a prolific output from his pen – close to 1700 songs, and story/screenplays and dialogues for many films. He made his debut in 1947 – as a songwriter for ‘Zanjeer’ (1947) and as a screenplay writer for ‘Janta’ (1947). He passed away in 1987, completing 40 years of active writing work in films, although films carrying songs written by him continued to be released till the early 1990s.

The 1955 film ‘Teerandaaz’ was produced and directed by HS Rawail, under the banner of Roshni Pictures, Bombay. The cast of actors for this film is listed as Madhubala, Ajit, Kuldip Kaur, Jairaj, Gope, Sunder, Randhir, Yashodhara Katju, Ridku, Chandrashekhar, Bhagwan Sinha, Ravi, Pal Sharma, Krishna Varma, Kumud Tripathi, Ramlal, Madan Bhandari, Helen, Kammo, Mohna, and Chanchal.

The six songs in this film are all written by Rajinder Krishan. Music is composed by C Ramchandra. Today’s song is sung by Lata Mangeshkar. One song of this film is already showcased here. This song is the second song of this film to take its place on our blog.

The song is a lilting melodious song, quite reminiscent of the golden era of music in Hindi films. I am hearing this song for the first time, as I prepare this post. What a lovely song, and what an enchanting rendition it is. The words of this song present an aspect of the philosophy of life – the search for a certain happiness in life that would be the true happiness. Some try to seek this solace in wine, but the poet says that happiness is not genuine – maybe the sip of the tipple from the eyes of the beloved would bring solace to the restless heart.

The more I listen to these words, the more this song becomes dear to me. I request our more knowledgeable readers and friends who may have seen this film, to please add more information about this film and the picturization of this song.

With this post, we also welcome back to the blog, our dear Nitin ji, after a long gap. We met at the luncheon gangout of Atulites at Sadanand ji’s place (in Bombay) on 3rd May. At that meeting, he had promised to become active once again. During the past four weeks or so, he has been resending lyrics of pending songs from the films of 1950s. From that, I have picked today’s lovely song, to celebrate the centenary celebration for Rajinder Krishan.


Song – Badi Bewafaa Hai, Udti Hawaa Hai (Teerandaaz) (1955) Singers – Lata Mangeshkar, Lyrics – Rajinder Krishan, MD – C Ramchandra

Lyrics (Provided by Nitin Shah)

badi bewafa hai
udti hawa hai
badi bewafa hai
udti hawa hai
ye zindagi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
wo duniya kahaan hai
milti jahaan hai
dil ki khushi saaqia 
dil ki khushi saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

dekha hai hum ne
din raat pii ke
nikle na phir bhi
armaan jee ke
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
jhoothi hai saaqi
mai ki ye masti
roshan ho kaise
phir dil ki basti
yahaan na wahaan hai
jaane kahaan hai
wo roshni saaqia 
wo roshni saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
badi bewafa hai
udti hawa hai
yeh zindagi saaqia 

sheeshe mein jo hai
wo to hai naqli
kahaan pe chhupa ke
rakhi hai asli
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
aankho se apni
ik jaam de de
betaab dil ko
aaraam de de
tadpa rahi hai
rah rah ke dil ki
ye bekali saaqia 
ye bekali saaqia 
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa

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

बड़ी बेवफा है
उड़ती हवा है
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
वो दुनिया कहाँ है
मिलती जहां है
दिल की खुशी साक़ीया
दिल की खुशी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ

देखा है हमने
दिन रात पी के
निकले ना फिर भी
अरमान जी के
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
झूठी है साक़ी
मय की ये मस्ती
रोशन हो कैसे
फिर दिल की बस्ती
यहाँ ना वहाँ है
जाने कहाँ है
वो रोशनी साक़ीया
वो रोशनी साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ
बड़ी बेवफा है
उड़ती हवा है
ये ज़िंदगी साक़ीया

शीशे में जो है
वो तो है नक़ली
कहाँ पे छुपा के
रखी है असली
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
आँखों से अपनी
इक जाम दे दे
बेताब दिल को
आराम दे दे
तड़पा रही है
रह रह के दिल की
ये बेकली साक़ीया
ये बेकली साक़ीया
आ आ आ आ
आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ


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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 over 15200 song posts by now.

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

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

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