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

Archive for the ‘Poignant Song’ Category


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

Blog Day :

3927 Post No. : 14996

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Atul Song-A-Day 15K Song Milestone Celebrations – 6
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Carl Sagan, in his book, ‘Pale Blue Dot’ talks about the picture taken by Voyager I before it left the solar system. Planet Earth, the only home we have known so far appears less than a fraction of a pixel in the picture. It’s on this speck of dust like object in the vast cosmos lived every human, plant and animal we ever know and every civilization.

On this planet the greatest men in a wide variety of fields have left behind their legacies both good and bad. Their lives however great or condemnable have been spent here.  In the vastness of time and space, a few years spent by great men may mean nothing. However, the legacy left behind by such men are recognized and appreciated for generations.

Theatre and entertainment arenas have also seen many a great men and women contribute their art and expertise to mankind. Quite a few are well known and many others are often not credited to the extent to which they should be.

Narrowing down to a movie and further restricting ourselves to Hindi film and non-film songs, the essence of this blog, we are now at the doorsteps of 15 thousand representations.

By these 15k representations, we all have tried to contribute our little efforts in bringing to the fore, the works of film artists – popular, less known and unknown. Amongst the main contributors, the nearly impossible tasks are taken up more experienced and knowledgeable such as Arunkumar ji, Sudhir ji, Sadanand ji etc.  The painstaking efforts in collecting accurate information from various sources and contacts and posting in a concise manner is definitely not an easy task.

Then, there are specialists such as Nalini ji for reminding us of the artist’s anniversaries and Prakash ji for identifying lesser known actors on the screen. Raja ji, whose marathon posts never bore us and we have Avinash ji who pours his heart out in the posts. We have Bharat ji with his expertise and first-hand experience.

There have many others who were more contended with sending only lyrics and a few who keep giving home-works to others. 🙂 A few are more than happy to suggest corrections to the posts and lyrics etc. in the comments section. Then, there are also contributors who vanish for a while and re-appear for special occasions (pun about self intended). 🙂

And, finally we have Atul ji, the fulcrum of our activities and the force that binds us together. Atul ji marches along from one milestone to another. And when he reaches the next milestone, we are all automatically teleported there. 🙂

I never planned for any special song for this occasion. (That again, the leaders will have a plan). But seeing that a great gem of an even greater singer is yet to be posted, I decided to go for his solo.

The singer is Talat Mahmood, of whom quite a lot has already been written on the blog.

My father, an avid fan Talat saab often says that his voice is for royal people. By royal, he means to say people with special taste and I can’t agree with him more. Talat Saab’s melancholic songs sung in blue mood are a class apart, the likes of which one will never get to hear from any other singer.

There are several such songs of Talat Saab which one can hear multiple times and can only admire the grace and dignity in his voice for songs pertaining to even dejection.

The list seems to be endless, but it’s a fact that he sang quite fewer songs compared to his other well-known contemporaries. However, Talat Saab’s voice will always be the triumph of quality over quantity.

The present song which I had not heard in the recent past is also amongst my many favourites of Talat Mahmood. There are stars and the moon in the song in case people are wondering what Carl Sagan had to do with this song in the first place. 🙂 (Kya karein, some starting problems in writing this post)

I pray for the continued longevity on the blog, active participation of all the contributors and readers as well.

Hearty Congratulations to one and all on this great achievement.

Song – Aao Baadal Chain Se Royen (Aawaara Ladki) (1967) Singer – Talat Mehmood, Lyrics – Rajnikant, MD – Dhaniram

Lyrics (Provided by Sudhir)

baa..aadal aa..aaawo

baadal aawo

aawo baadal aawo. . .

aao baadal chain se royen
aao baadal chain se royen
jalti dhoop
jalti dhoop
jalti dhoop mein main hoon akela
aao baadal chain se royen
aao baadal chain se royen

khush rahen
khush rahen. . .
khush rahen ye duniya waale
khush rahen ye duniya waale
khatm hua mera mela
khatm hua mera mela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

armaan the dil mein mere kitne
chanda ke
haaye chanda ke saathi taare jitne
haaye chanda ke saathi taare jitne
dooba dil armaan bhi doobe
dooba dil armaan bhi doobe
toofaan ka dekha rela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

din the chaar jo beet gaye mere
din the chaar jo beet gaye mere
honge dukh ke ab derey
honge dukh ke ab derey
darr nahin par hanse bhi kaise
darr nahin par hanse bhi kaise
gham se ab tak khela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen

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Hindi script lyrics (Provided by Sudhir)
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बा॰॰दल आ॰॰आवो

बादल आवो

आवो बादल आवो॰ ॰ ॰

आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
जलती धूप
जलती धूप
जलती धूप में मैं हूँ अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

खुश रहें
खुश रहें॰ ॰ ॰
खुश रहें ये दुनिया वाले
खुश रहें ये दुनिया वाले
खत्म हुआ मेरा मेला
खत्म हुआ मेरा मेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

अरमान थे दिल में मेरे कितने
चंदा के
हाए चंदा के साथी तारे जितने
हाए चंदा के साथी तारे जितने
डूबा दिल अरमान भी डूबे
डूबा दिल अरमान भी डूबे
तूफाँ का देखा रेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

दिन थे चार जो बीत गए मेरे
दिन थे चार जो बीत गए मेरे
होंगे दुख के अब डेरे
होंगे दुख के अब डेरे
डर नहीं पर हँसे भी कैसे
डर नहीं पर हँसे भी कैसे
ग़म से अब तक खेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ

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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 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 :

3898 Post No. : 14948 Movie Count :

4084

Missing Films of 1960s – 98
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It is such a delight to ferret out unheard songs from obscure and unfamiliar films. So many times, I come across the film names and then move on because it is unfamiliar. So many times I pause at a film folder in my collection, thinking whether I have opened it before. But then usually, other pressing matters take precedence and I say ‘oh well’, and move on.

But there are other times, when I have to get inside the folder and check out the contents. Like today’s song. A film like ‘Kaurav Pandav’ from a year like 1970 – never read anything about the film, never heard its music before, not sure what I will find in there, given the names of artists. But you know what, over the years, experience has taught me that the contents of such folders almost always never fail to surprise – with one or more forgotten gems that are almost lost under the sand dunes of time.

What does one say for the song like this post? Remarkable, unheard gem, lovely melodious, rare of the rare, never heard of the film – are some comments I get from friends after they hear my upload on YouTube. What a superlative find this song is. Suman Kalyanpur at her subdued best, meaningful and wonderful lyrics from Anjaan, and a melody that is such a lovely reminiscent throwback on the golden era of melody – from another obscure artist of that era – Suresh Kumar. All the attributes come together to bring out such a lovely song – the type that you won’t even get to hear on Radio Ceylon (now SLBC).

This film also has an alternate title – ‘Sampoorn Mahabharat’. The film is produced under the banner of Firdaus Films, Bombay and is directed by S Dosani. The star cast includes Arvind Pandya, Sadhana Khote, Meenakshi, Shyam Irani, Shetty, Shri Bhagwan, Anjum, Fazal Khan, Jilani, Radheshyam, Dinesh Kumar, Pintu, Jagdish Kanwal, Prem Sagar, Amrit Rana, Prakash, RP Kapoor, Champaklala, V Prem, Narbada Shankar, Bihari Singh, Shri And Shrimati Kapoor, Savita, Krishna Duggal, and Vasundhara.

Geet Kosh lists 6 songs for this film, four written by Anjaan and two by Yogesh. This song is from the pen of Anjaan. Music is by Suresh Kumar, a lesser known music director from 1950s and 60s; he also created music as one partner in the duo of Suresh-Talwar.

What else to say – just listen to the song. And the wonder is that this, and many more like this, are still unheard, still hidden, and many may even be lost already. But of course, small mercies to be grateful for, that we find what we can. And we listen and enjoy.

Brief note about the homework assignment from Khyati Ben.  We are now shortly coming to the end of this series – a handful of traceable films remain. We should get the century milestone with this series in a few days. Then we will be able to claim that all possible films of 1960s which can be traced wherever, are now represented here. I will give the specific numbers when I close this series.

So how about someone doing a similar exercise for the 1950s. If someone takes up the task to list out all the pending films of 1950s, I promise that I will go after to locate and trace and bring them up here on our blog. Request is to all members of bandwagon – one enthusiastic volunteer needed. 🙂

 

Song – Pardesi Piya Se Kiya Pyaar  (Kaurav Pandav) (1970) Singer – Suman Kalyanpur, Lyrics – Anjaan, MD – Suresh Kumar

Lyrics

moti chugne gayi re hansini
maansarovar teer
pankh pankh par raajhans ne
likh di preet ki peer

aaaaaaaaa aaaaaaaa
aaaaaaaaaaaaa aaaa

pardesi piya..aa..aa

pardesi piya se kiya pyaar
akele mora jiya na lagey
akele mora jiya na lagey
jaane chhalia darad na hamaar
jaane chhalia darad na hamaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
ud gai nindiya
bujh gai bindiya
tujh bin o rasia
mora murjhaaye solaa singaar
mora murjhaaye solaa singaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
chaand jalaaye raat rulaaye
chain naa aaye piya
soona laage re sansaar
soona laage re sansaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

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Hindi script lyrics (Provided by Sudhir)
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मोती चुगने गई रे हंसिनी
मानसरोवर तीर
पंख पंख पर राजहंस ने
लिख दी प्रीत की पीर

आssssssss आssssss
आssssssssssss आsss

परदेसी पिया॰॰आ॰॰आ

परदेसी पिया से किया प्यार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
जाने छलिया दरद ना हमार
जाने छलिया दरद ना हमार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
उड़ गई नींदिया
बुझ गई बिंदिया
तुझ बिन ओ रसिया
मोरा मुरझाए सोला सिंगार
मोरा मुरझाए सोला सिंगार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
चाँद जलाए रात रुलाये
चैन ना आए पिया
सूना लागे रे संसार
सूना लागे रे संसार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰


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 :

3896 Post No. : 14939 Movie Count :

4080

#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # 82 # Remembering Navin Nischol#
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‘Ek Baar Kaho’ (1980) was directed by Lekh Tandon for ‘Rajshri Films, Bombay’. It had Navin Nischol, Shabana Azmi, Madan Puri, Rajendra Nath, Hari Shivdasani, Suresh Oberoi, Arvind Deshpande, Dilip Dhawan, Kiran Vairale, Anil Kapoor, Ravi Beri, Wasim Hasan, Madhumita, Sheela David, Savita Bajaj, Kamal Rai, Mala Jaggi, Shivraj, Rajan Kapoor, Nandlal Sharma, Taneja, Suhas Khandekar, Avtar Gil, Ratan Gaurang, Brijendra Mohan and Jagdeep.

This movie had six sound tracks including one two part song and one dialogue track. As many as four lyricist penned down lyrics for this movie – Mahendra Dehlvi, Dev Kohli, Kulwant Jani and Maya Govind. Music for this movie was composed by Bappi Lahiri. Aarti Mukherji, Bappi Lahiri, Jagjit Singh, Sulakshana Pandit and Yesudas had given their voices to the songs of this movie.

This movie was passed by Censor Board on 03.09.1980.

Today 19th March 2019 is the eighth Remembrance Day (11th April 1946 – 19th March 2011) of actor Navin Nischol. On this occasion remembering him here with a song from ‘Ek Baar Kaho’ sung by Yesudas. Lyrics for this song are by Maya Govind and as mentioned above it is composed by Bappi Lahiri.

The song though is a background song we can see Navin Nischol and others in picturisation of this song and we can enjoy his ‘elegance’ and ‘soft expressions’ in this song and for me (and I can say people like me) who like Navin Nischol’s performance this song is nice one to watch for him even though he is not lip-syncing the lyrics.

With today’s song the movie ‘Ek Baar Kaho’ make its debut on the blog.

Let us now enjoy the song …

Video

Audio

Song – Chaar Din Ki Zindagi Hai Jaa Rahe Hain Din (Ek Baar Kaho) (1980) Singer – Yesudas, Lyrics – Maya Govind, MD – Bappi Lahiri
Chorus

Lyrics

chaar din ki zindagi hai
jaa rahe hain din
do gaye tere milne se pehle
do gaye tere bin
priye kab milan hoga
priye kab milan hoga

tum kahin kho jaaogi
jaan main paata agar
ban ke hamraahi tera
sang hi karta safar
ye safar poora nahin hoga tumhaare bin
do gaye tere milne se pehle
do gaye tere bin
priye kab milan hoga
priye kab milan hoga..aa

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

yaad ke toote mahal
kab tera mandir banaa aa
deep jaltey reh gaye
chhup gayi moorat kahaan
ye diye vishwas ke
bujh jaayen naa ek din
do gaye ae tere milne se pehle
do gaye tere bin
priye kab milan hoga..aa
priye kab milan hoga

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Hindi script lyrics (Provided by Sudhir)
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चार दिन की ज़िंदगी है
जा रहे हैं दिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा

तुम कहीं खो जाओगी
जान मैं पाता अगर
बन के हमराही तेरा
संग ही करता सफर
ये सफर पूरा नहीं होगा तुम्हारे बिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा

आ आ आ आ 
आ आ आ आ 
आ आ आ आ 
आ आ आ आ 

याद के टूटे महल
कब तेरा मंदिर बना
दीप जलते रह गए
छुप गई मूरत कहाँ
ये दिये विश्वास के
बुझ जाएँ ना एक दिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा


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 : 3887 Post No. : 14918

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Blog 10-Year Challenge (2009-19) – Song No. 14
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‘Bobby’ created almost a storm in 1973. This drama of puppy love, completely fresh faces (almost, Rishi Kapoor had already made his mark in the ‘child RK’ role in ‘Mera Naam Joker’ (1970)), and a love story aimed at an age bracket lower than college going young people – the lovers in this film are just transitioning from high school to college. In the early 1970s, the influence of the hippie movement and free love ideas from the west into the Indian society was still a compelling influence. And the provocative presentation, as is the wont of RK style, ensured that young people of all ages went to see this film multiple times in the theaters.

The story of RK – from ‘Mera Naam Joker’ (1970) to ‘Bobby’ (1973) is quite well known. ‘Mera Naam Joker’ was designed and produced by RK as his magum opus. He put his everything into that film, both the creativity and the finances – and lost out on the gamble at the box office. Many reasons can be analyzed as to why that happened. ‘Mera Naam Joker’ is a remarkable film, but then maybe RK went overboard in certain aspects. With the huge success of ‘Sangam’ (1964) behind him he gambled that the length of the film won’t be a deterrent to the audience. He called the wrong numbers on the dice. The film was a financial disaster for RK, in its first run. It broke him.

But his resilience to bounce back played out well. After a gap of three years, he came up with ‘Bobby’, and he had the audiences lapping it up, again and again. Some journalist even wrote that RK has extracted his revenge on the system, as well as the audiences, and got compensated many times over for the disaster of ‘Mera Naam Joker’.

‘Bobby’ was also a significant departure for RK banner in another way. The Shankar-Jaikishan duo of music directors had been rendered solo, by the untimely departure of Jaikishan in 1970. RK took a glaring decision to switch music directors, bringing to close an association that had lasted for more than two decades. Many industry observers commented that this was expected. Many others in the industry were shocked by this move. A move that essentially signaled the downturn of Shankar as an MD. He doggedly tried to keep the SJ banner alive but the zest and the verve was gone, forever. The numbers speak for themselves – in 1971, seventeen films were released with music by SJ. Of course, presumably, a fair share of the work on this set of seventeen would have been done while Jaikishan was still alive. The rest of the decade of 1970s tells a grim story. 1972 – 8 films; 1973 – 7 films; 1974 – 4 films; 1975 – 5 films; 1976 – none; 1977 – 2; 1978 – 1; 1979 – 2; 1980 -1. The magic sun of SJ was slowly fading away.

RK switched to Laxmi-Pyaare. From RK’s perspective, this was a correct strategic move. And the results are for everyone to see. Of course, no one can discount the uncanny ability of RK to inspire creation of absolutely wonderful music for his films. And yes, Laxmi-Pyaare delivered to his expectations. The songs of ‘Bobby’ were super hits in their time, and they continue to be in popular demand even now after almost four decades. I am sure I do not need to present the song list to make this point. 🙂

With ‘Bobby’, RK and Laxmi-Pyaare introduced a new and a very different sound to the world of Hindi film music. The name – Narendra Chanchal. A singer with a very expressive, a very deep baritone – a voice with a phenomenal range that rivaled even Mahendra Kapoor in rendering the higher octaves. It is quoted that RK had heard him sing at some religious function. He followed up with some more research, and then decided to bring in this voice for a Sufi-like song in the film.

I remember that the promotion and the publicity presentations for this film was quite low key. The film was introduced without much fanfare. Yes, the choice of moving from SJ to LP did become talk of the town, but nothing much more than that. And this new singer – Chanchal, got introduced to the public, just as is. Working with the expected fare of Lata, Shailendra Singh, Asha and Manna Da, the audiences would be taken by surprise as Chancal would appear in person on the screen, to present this song.

And the song was an immediate hit. Over the years, it has gained almost a cult status. In reasonable memory, this probably was the first Sufi-type song presented in such traditional Sufi garb, in a Hindi film. No, I am not trying to discount all the bhajans and songs of religious expression that came before this. But surely, this song introduced a completely new sound in the Hindi film music space. The genre – picking on the original writings of Bulle Shah, the famous Sufi poet from Punjab. And the voice – no, not choosing Rafi or Manna Dey to render this. Chanchal – a new voice, a new full throated sound, that you had to slightly reduce the volume on the radio or gramophone, as his singing came on.

RK’s uncanny ability to present a song on the screen in a manner that the emotions of the players on screen will grab the emotions in the audience’s mind and heart, and pull the strings, almost viciously. The two young lovers are at a precipice of near break-up. Just recently into their romance, a jarring note of an unexplained misunderstanding tears them apart, oh so cruelly. The young man follows the lady, as she joins a school trip to get away from him. He tries to approach her; she is cold and nonchalant, and the ever chivalrous bystanders give a good beating to the young man. The lady is still silent. And so is the young man, just looking at her imploringly, asking for a chance to explain. The conversation is not entertained. The hearts are pining and wreathing with tears. But the stand-off remains. Explanations are not allowed. The silent gazes of pain, the eyes telling beseeching stories of pleadings. But no, the words are not permitted.

And then, this deep throated sound from a singer sitting in a group of porters, rises to block out and mask all the other sounds in the camp. A voice that delivers the message, the words that the young man is trying to articulate, but is not able to. Those words are compellingly brought out in this loud rustic voice of a folk singer, singing by the campfire, playing on a daff (‘डफ’) in his hand. The memories go back to ‘Jis Desh Mein Ganga Behti Hai’ (1960). There also, the protagonist plays the daff, when an important message, and the right words are to be delivered.

Over the years, Chanchal did sing, maybe a dozen, or maybe a score more songs in Hindi films. And then he quietly exited and went back to his forte – the world of popular religious bhajans. His success in that field is simply phenomenal, and for everyone to see. Just that he could not jell well with the systems of the tinsel town Mayanagri.
[Author’s Note: After little more research on the internet, we find that the total number of songs sung by Narendra Chancal in Hindi films is about 35.  Nahm ji has pointed out in comments another wonderful solo – “Kabhi Gham Se Dil Lagaaya” from film ‘Daaku’ (1975). Other superb solos by him are:
“Meri Zindagi Tumhare Pyaar Pe Kurbaan” – from ‘Jeevan Sangram’ (1974)
“Loot Liya Sansaar” – from ‘Fauji’ (1976)
“Yaar Di Chaukhat Kaaba Kaashi” – from ‘Ram Bharose’ (1977)
“Do Ghut Pila De Saaqiya” – from ‘Kaala Suraj’ (1986)
“Tut Gayi Je Yaari” – from ‘Ramkali’ (1986)
The other songs are duets, group songs, and of course religious bhajans.]

Ten years back, this day, the output on the blog was nothing short of phenomenal. On 10th March, 2009, a total of 12 songs were posted. Atul ji was quite in the pink, and on the roll, during those initial weeks and months of this blog. 12 songs mean that 12 films got represented that day. And ‘Bobby’ made its debut on that day, with the song – “Main Shaayar To Nahin”.

Over the past decade, nine of those films have been yippeee’d, and three remain. As I checked the list, I was somberly surprised that a film like ‘Bobby’, with one superlative song after another, had not yet been yippeee’d here. And mind you, the songs pending are not lightweights. Each one of them is a popular super hit, all by itself.

Quick round up review of credits – the words of this song are adapted and redrafted by Rajkavi Inderjeet Singh Tulsi, based on an original song by Bulle Shah. The music – Laxmi-Pyaare. Singing voice – Narendra Chanchal. On screen, the singer himself is performing the song, carrying the messages between the two young lovers, Rishi Kapoor and Dimple Kapadia, who are not communicating, except through the eyes. And the words of this song so powerfully express the unsaid emotions between them.

If you have ever been in love, this song is for you. And yes, if you have ever been in love, this film is for you.

 

Song – Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta (Bobby) (1973) Singer – Narendra Chanchal, Lyrics – Inderjit Singh Tulsi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Avinash Scrapwala)

beshaq mandir masjid dhaa de
bulle shah..aa ye kehta..aa

beshaq mandir masjid todo
bulle shah..aa ye kehta..aa
par pyaar bharaa dil
kabhi na todo..o..o
is dil mein..ae dilbar rehta

jis palde mein tuley mohabbat. . .
jis palde mein tuley mohabbat
us mein chaandi nahin tolnaa..aa
taubaa meri
naa dholna
main nahin bolna..aa
ho nahin bolna jaa
main nahin bolna jaa
o main nahin bolnaa jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

aag te ishq baraabar dono..o
par paani aa..aag bujhaaye
aag te ishq baraabar dono
par paani aag bujhaaye
aashiq ke jab aansoo nikley..ae..ae
aur agan lag jaaye
tere saamne baithh ke rolaan..aa..aa..aa..aa..aa
ho tere saamne baithh ke rolaan
dil ka dukhdaa nahin pholna..aa..aa
dholnaa..aa
main nahin bolna..aa
ho nahin bolnaa jaa
main nahin bolnaa jaa..aa
ve main nahin bolna jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

ve main nahin bolna..aa
o ve main nahin bolna..aa
ve main nahin bolna..aa..aa..aa..aa
ve main nahin bolna..aa
ve main nahin bolna..aa
dholna..aa
main nahin bolna
nahin bolna
ve main nahin bolna
nahin bolna aa
ve main nahin bolna aa
nahin bolna
ve main nahin bolna..aa..aa

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

बेशक मंदिर मस्जिद ढा दे
बुल्ले शाह॰॰आ ये कहता॰॰आ

बेशक मंदिर मस्जिद तोड़ो
बुल्ले शाह॰॰आ ये कहता॰॰आ
पर प्यार भरा दिल
कभी ना तोड़ो॰॰ओ॰॰ओ
इस दिल में॰॰ए दिलबर रहता
जिस पलड़े में तुले मोहब्बत॰ ॰ ॰
जिस पलड़े में तुले मोहब्बत
उसमे चांदी नहीं तोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा
ओ मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

आग ते इश्क बराबर दोनों॰॰ओ
पर पानी आ॰॰आग बुझाए
आग ते इश्क बराबर दोनों
पर पानी आग बुझाए
आशिक के जब आंसू निकले॰॰ए॰॰ए
और अगन लग जाए
तेरे सामने बैठ के रोलां॰॰आ॰॰आ॰॰आ॰॰आ॰॰आ
हो तेरे सामने बैठ के रोलां
दिल का दुखड़ा नहीं फोलना॰॰आ॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा॰॰आ
वे मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

वे मैं नहीं बोलना॰॰आ
ओ वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ॰॰आ॰॰आ॰॰आ
वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना
नहीं बोलना
वे मैं नहीं बोलना
नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
नहीं बोलना
वे मैं नहीं बोलना॰॰आ॰॰आ

 


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 : 3884 Post No. : 14911

“Isi Ka Naam Duniya Hai”(1962) was directed by Shakti Samanta for J B Productions, Bombay. The movie had Ashok Kumar, Shyama, Mehmood, Sahira, K N Singh, Nazeer Hussain, Lalita Kumari, Susheel Kumar, Farida, Kundan, Lata Sinha, Rajan Kapoor, Kathana, Anwari, Ramlal, Masood, Ramesh Chauhan, Helen, R L Ranjan, OmPrakash, Meera Parel etc in it.

The movie had seven songs according to HFGK. Two songs have been covered in the past.

Today (7 march 2019) is the seventh remembrance day of music director Ravi (3 March 1926 – 7 March 2012). As a tribute to him. Here is a song from “Isi Ka Naam Duniya Hai”(1962).

Curiously, this song does not figure in the list of songs mentioned in HFGK. It is the movie opening song cum title song cum theme song cum background song, and the song seems to get played in the movie at several places.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections.

This song was apparently there only in the movie and its records were not made. So the poor quality of the song is because of the poor quality of the print of the movie.


Song-Isi ka naam duniya hai (Isi Ka Naam Duniya Hai)(1962) Singer-Ravi, Lyrics-S H Bihari, MD-Ravi

Lyrics

kahin khushiyon ke mele hain
kahin gham ke fasaane hain
isi ka naam duniya hai
isi ka naam duniya hai
paraaye hain kabhi apne
kabhi apne paraaye hai
isi ka naam duniya hai
isi ka naam duniya hai

bilakhte hain kahin par
bhookh se bachche gareebon ke
bilakhte hain kahin par
bhookh se bachche gareebon ke
kahin par hotelon mein daawten hain
naach gaane hain
isi ka naam duniya hai
isi ka naam duniya hai

kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par aadmi ki laash
be gor-o-kafan dekhi
kahin par reshmi jode hain
daulat hai khazaane hain
isi ka naam duniya hai
isi ka naam duniya hai

koi laakhon ke bangle mein
sukhon ki neend sota hai
koi laakhon ke bangle mein
sukhon ki neend sota hai
kahin par aandhiyon mein
zindagi ke aashiyaane hai
isi ka naam duniya hai
isi ka naam duniya hai


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 : 3875 Post No. : 14896

Hullo to all in Atuldom

I love masala movies as much as I love movies which are close to reality. I am of the opinion that movies should make us forget our daily tensions as much as entertain us. There were a few movie makers during my growing up years whose films were a must-see for my parents as they were entertaining as well as showed middle-class families and their ways. These movies were generally targeted towards family audiences – ‘Khoobsurat’ (1980), ‘Golmaal’ (1979), ‘Baaton Baaton Mein’ (1979), ‘Khatta Meetha’ (1977), ‘Chupke Chupke’ (1975) etc fell in this category and I must thank Hrishikesh Mukherjee, Basu Chaterjee for these gems.

Then there were these absolute entertainers which needed us to keep “logic at home” before going to see them. Else how does one explain the story of a pair of twins one of whom looks much older than the other -‘Dharam Veer’ (1977) and ‘Suhaag’ (1979). How does one explain the jumps in the climax; the heroes begin punching the villains on board a ship – belonging to a Rajput clan- that is anchored at sea but sing romantic songs and songs of friendship in the environs of Kashmir (in ‘Dharam Veer’). Or the heroes are following the villain who has kidnapped their mother through the streets of Mumbai on the way to the Juhu airport (which used to be where people parked their private aircrafts formerly) but strangely the streets look like some foreign land – turns out it was Singapore!! But when the climax scene is getting over, and the villains meet their final fate, all the places that Mumbaikars are familiar with make an appearance on the screen (in ‘Suhaag’).

Now ‘Suhaag’ and ‘Dharam Veer’ are two movies which I must have seen a number of times (have lost count) in spite of all these glaring ‘logic-less-ness’ (I know there is no such word in English language). There are a few other movies which fall under the ‘entertainer without logic’ category- ‘Chacha Bhatija’ (1977), ‘Parvarish’ (1977), ‘Naseeb’ (1981), ‘Desh Premee’ (1982), ‘Coolie’ (1983), ‘Mard’ (1985) – which I have seen about 100 times (not exaggerating). And it seems the maker of these Mr. Manmohan Desai had the confidence that his audience will lap it all up without questions.

In recent times I have been seeing these series of videos on YouTube wherein Amitabh Bachchan (the permanent fixture in most of the above-mentioned Manmohan Desai movies) in company of Rishi Kapoor was relating how they enacted all those scenes, as directed by Manji (Manmohan Desai’s pet name apparently) even if they were not personally convinced that there was any logic in the scene. The duo specially drew attention to the “mother of all logiclessness” scene – three people lying in a row and donating blood to an accident victim. Now there is nothing illogical in three people donating blood; but blood from the three being collected into a single bottle? And a single tube carrying blood to the patient!!! And has anyone heard of the blood group of RH. Also, Amitabh pointed out how Manji thought the villains were brainless as they could not see through the disguise of 3 people who have gate-crashed into a wedding and singing on top of their voices – ‘Amar Akbar Anthony’.

Anyway, such were the movies of Manmohan Desai in the 70s. He started making movies in the 60s with ‘Chhalia’ (1960) being his directorial debut. Which was followed by ‘Bluffmaster’ (1963), ‘Budtameez’ (1966), ‘Sachaa Jhootha’ (1970), ‘Kismat’ (1968) etc. Of the 20 films he made in a career span of 29 years 13 were successful. He had writers like Kadar Khan, KK Shukla, Prayag Raj, Salim Javed, Anand Bakshi, Sahir, Qamar Jalalabadi, Gulshan Bawra and Shailendra pen the stories and songs for these movies. He had also worked with Kalyanji Anandji, Laxmi Pyare, RD Burman and Anu Malik for music direction in his movies.

Today’s post is to remember the magic of Manmohan Desai on his 82nd birth anniversary and what better song than the one that shows his logical thinking. One patient getting blood from three donors all at once. 🙂


Song-Khoon khoon hota hai paani nahin (Amar Akbar anthony)(1977) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

maa sirf nataa nahin
yeh kuch aur bhi hai
maa se bichad ke bhi
ye toot jaata nahin
yeh sach hai koi kahaani nahin
aaa aa aaa aaa aa 
yeh sach hai koi kahaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

aaa aa aaa aa

phoolon ki pehchaan hai rangon boo se
pehchaane jaate hain insaan lahoo se
insaan lahoo se
haan isse badi kuchh nishaani nahin
aaa aa aaa aa
haan isse badi kuch nishaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

aaa aa aaa aaa aaaaa aaa
aaaa aaaa aaa aaa aa 

ye khoon jis ne paida kiya hai
wo doodh maa ka sab ne piya hai,
sab ne piya hai
kya is ki keemat chukaani nahin
aaa aa aaa aa
kya iski keemat chukaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

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

माँ सिर्फ नाता नहीं
ये कुछ और भी है
माँ से बिछड़ के भी
ये टूट जाता नहीं
ये सच हैं कोई कहानी नहीं
आs आ आs आs आ
ये सच हैं कोई कहानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं

आs आ आs आ

फूलों के पहचान है रंग ओ बू से
पहचाने जाते हैं इनसां लहू से
इनसां लहू से
हाँ इससे बड़ी कुछ निशानी नहीं
आs आ आs आ
हाँ इससे बड़ी कुछ निशानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं

आs आ आs आs आsss आs
आss आss आs आs आ

ये खून जिसने पैदा किया है
वो दूध माँ का सबने पिया है
सबने पिया है
क्या इसकी कीमत चुकानी नहीं
आs आ आs आ
क्या इसकी कीमत चुकानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं


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 : 3837 Post No. : 14846

It was in 1985 that after appearing my 12th exams, and as usual to take up some work in summer vacations, that I joined a Nagpur based Construction Company at Parli Vaijnath. Results for the exams were on favourable and I failed, so I continued working and after almost eleven months as the project was over, looking into my sincerity and dedication the site incharge recommended and arrange a job for me in Delhi based company working there for the expansion project. And going by the circumstances in a middle-class family, I dropped the idea of joining ‘regular education’ and instead thought that maybe I should opt for distance education – which however, become possible only after three and half years almost. . .

Well, when I joined this Delhi based company the first thing coming to my mind was travelling to Delhi and that way travelling India, because I had only visited Nagpur by that time, which was a big city for me other than the place where we were staying near Akola. I had not imagined then where I am heading to and how my life will be shaped or anything serious like that – I just kept going. I ended up working in this company for almost seventeen and half years.

After Parli Vaijnath the next destination for me was Koradi (Nagpur) for a short period, then to Kota (Rajasthan) for seven and half years, then to Phulpur (Allahabad) for two years, from there to Aonla (Bareilly) for almost six years. In between to Sonepat (Haryana) for a short period. Again Bareilly and from there to  Ghaziabad (UP), this was again for a short period of six months, then to Mundra (Kachchh-Gujarat) in between Kandla-Adipur (Kachchh-Gujarat). I spent almost eleven years in Kachchh before I left a job – reasons are part of another article 🙂 , but mainly to prove myself that I can do anything 🙂 .

Couple of months I was without job when I got an opportunity to join a company of my very first boss, who had by then become an owner of a company. This was my coming back to roots – return to Maharashtra after almost twenty-seven years. I spent almost two years in Nagpur to return to Gujarat – to shift my wife and as my daughters were already studying there so that I can proceed for my first overseas job in Kenya.

***

As I left my home state for work in 1988, I was always thinking of getting back there to be with my parents to have a settled life after marriage. However, as years passed by it didn’t happen even after my trying and appearing for several interviews. This longing for going back to Maharashtra was still there for many years when I was a bachelor and till many years after I got married. But as years passed, and I continued with my job, I slowly lost the interest of going back to my home state or the neighboring state. Then it was like if not Maharashtra at least Gujarat where industries were flourishing and job opportunities were more.

During this period, I always used to think about my childhood friends and other peoples who were well settled at the nearby places in home state and living a well settled life. I was envious of them, because from my batch I think I was the only one who had to leave the state and had to struggle, and move from place to place.

In our family also, before me, only my youngest uncle who had joined army was the first person to leave the state and travel across India. All other relatives either paternal or maternal were settled in Maharashtra only. After my army man uncle and me, it was after many years that one of my cousins got an opportunity in Germany and he is there since many years now.

So, I was always dreaming about the ‘fursat ke raat din’ and in turn the ‘smooth life – the ‘sahal rastaa’. . . Let us read some lines about this, that Javed Akhtar has written in his poem ‘Doraahaa’ (taken from his book ‘Tarkash’ (Quiver) and transliterated in English). I remember these lines with reverence – these were recited by my Guru and Motivational Speaker Shri Rooshikumar Pandya ji in one of his programs I attended, and that is how I became aware of it.

ye jeewan ik raah nahin
ik doraahaa hai
 
pehlaa rastaa bahut sahal hai
is mein koi mod nahin hai
ye rastaa, is duniya se bejod nahin hai
is raste par miltey hai
reeton ke aangan
is raste par miltey hai
rishton ke bandhan
is raste par chalnewaale
kehne ko sab sukh paate hai
lekin
tukde tukde ho kar
sab rishton mein bant jaate hai
apne palle kuchh nahin bachtaa
bachti hai
benaam si uljhan
saanson ka indhan
jis mein unki apni har pehchaan
aur un ke saare sapne
jal bujhte hai
is raste par chalnewaale
khud ko khokar jag paate hai
upar-upar to jeete hai
andar-andar mar jaate hai

***

But then I get to travel many places, working new job environments, facing new problems, visiting new places, adjusting to the new environments, different cultures, different cuisines 🙂 ; I start enjoying this way. . .

And the motivating things were – thinking about armed forces who are way not only from their homeland but away from their families too? How they survive? People who get transferred on regular intervals? How they cope with it? Even government servants. Or we also have employees getting transferred every now and then within a short period of time, how they deal with it? What are their sufferings?

And, working at or visiting construction sites and places around them and the ‘sub-travel’ that happened during this,  I was always reminded of the famous novel ‘Rangbhoomi’, by Munshi Premchand ji, and I used to think how years back he had written about the industrialization and its effects, and how it affects people’s behaviour staying away from their homes or had to leave their families in search of job and survival.

And I realized that my sufferings are not even a fraction of what these people were already going through in their lives.

***

After spending almost fifteen years (out of my home state Maharashtra where I left on 29.11.1988 to reach Kota then) in north India, I finally got a placement in a Delhi based company for their plant in Kachchh-Gujarat. I spent five and half years in one company and then shifted to another company in search of ‘growth’ – personal as well as professional.

When I made this change my HR head used to ask me that what change I got? Am I happy? And he was always telling me that ‘the sky is the same everywhere’. . .

Well, during those years I was reading and studying Sahir almost on daily basis and again somehow the circumstances at work were not giving me satisfaction. ‘Shaahi Ki Zanjeerein Todte Chalo’ – this song was daily going through my mind then, and as I shared it, it appeared on the blog on 02.12.2014 and within a week I ‘broke the shackles’ to put in my papers. I resigned without having another job in hand. I was ready to take new challenge but I didn’t expect of what it finally turned out to be for me.

I was without job for almost two and half months. Here we go back to the remaining part of the poem of Javed Akhtar Saab,

doosraa rastaa
bahot kathin hai
is raste mein
koi kisi ke saath nahin hai
koi sahaara dene waala haath nahin hai
is raste mein
dhoop hai
koi chhaaon nahin hai
jahaan tassalli bheekh mein de de
koi kisi ko

is raste mein
aisa koi gaaon nahin hai
ye un logon ka rastaa hai
jo khud apne tak jaate hai
apne aapko jo paate hai
tum is raste par hi chalna
 
mujhe pataa hai
ye rastaa aasaan nahin hai
lekin mujhko ye gham bhi hai
tumko ab tak
kyun apni pehchaan nahin hai

(Javed Saab had written this poem to his daughter Zoya)

***

Somehow, luckily, I got an opportunity and a job in Nagpur and somehow bitter-sweet I survived those two years again to change for a new job for which I would have to stay away from my family. Somehow these days are also passing now and the assignment will be finished soon. Or I will part the ways again, as yet once again I am feeling to move to other ‘horizons’. . .

I don’t know if what happened in my case had also happened with other people too. When I left the job in Gujarat and came back to Nagpur to work in a company which was owned by my very first boss when he himself was in service in another small construction company then. Then the company I joined in Kenya is where one of my earlier bosses already working as a director and with whom I had worked at two project sites in India years earlier, and I was coming back to him after almost eighteen years.

I get to relive the ‘nostalgia’ (in different settings now though) of those years again when I was junior to them and even junior in my professional life and when I came back to them at least I had achieved something in my professional life.

Still, working in different professional organisations, the question remains – Am I satisfied? Am I successful? Have I excelled myself since my previous work settings and professional journey?

Am I satisfied where I have reached from where I started?

And naturally ‘satisfaction’ and ‘success’ parameters are different for each individual.

So, it cannot be measured 🙂 . Some may be ‘satisfied but not successful’ and some ‘successful but not satisfied’ (I had once read it somewhere 🙂 ). But of course, the yardstick varies from person to person.

justju jiski thi usko to na paaya hamne
is bahaane se magar dekh li duniya hamne
(Shaharyar)

 ***

Almost nine months back, my family had to shift from Anand to Vadodara as my daughter had got a job there. This was the first time in all these twenty-four years after my marriage that the ‘shifting’ of household was going to be done without me!! I remember one night when I was going to bed in my camp and was just looking at my room made from ‘China structure’ the thought just came to my mind was – how many ‘roofs’ have I changed till now – (Kiraaye ke makaanon se lekar apne makaan tak aur phir se kiraaye ke makaanon tak. . .).

What I had achieved so far. . . And most importantly what I have contributed so far wherever I had been?

I quote Javed Akhtar again, ‘Krishanchander’ from the collection ‘Tarqash’.

apni zindagi mein tumne kya kiya?
kisi se sachche dil se pyaar kiya?
kisi dost ko nek salaah di?
kisi dushman ke bete ko mohabbat ki nazar se dekha?
jahaan andheraa tha wahaan roshni ki kiran le gaye?
jitni der tak jeeye, is jeene ka kya matlab tha?

Or take this from Sahir, when Naresh Kumar Shaad interviewed Sahir

‘When and where were you born?’

Sahir’s reply was ‘Young man, this is a routine question. Instead, when you ask me that question, add ‘why were you born?’ (taken from Akshay Manwani’s ‘Sahir Ludhianvi -The People’s Poet’

***

I remember one of my Bengali colleagues who was with me at Kota and had knowledge about palmistry telling me that wherever I will be I will be loved and remembered there. . . “lekin paisa rahega nahin tumhaare paas“. The same thing was told to me by my landlord at Bareilly who had a knowledge of astrology, ‘beta, jo bhi kamaaoge kharch ho jaayega’ 🙂 .

 But as I look back now, I feel happy about this journey till date;

ye ejaaz hai apni aawaargi ka
jahaan bhi gaye daastaan chhod aaye
(Habib Jaalib)

 And yet once again I am facing the same question again ‘I have to go from where I am’ but where? The addiction to travel to different places and meet different peoples, new problems, new observations – will that allow me to settle?

jidhar jaate hain sab, jaana udhar achchhaa nahin lagta
mujhe paamaal raaston ka safar achchhaa nahin lagta
(Javed Akhtar)

Or take this conversation as mentioned by Javed Akhtar while elaborating on his poem ‘Aawaargi’ the conversation between a master and his servant, from a story by Albert Camus;

I am going away from here

Where are you going? (Servant asks the Master)

I am going away from here that is where I am going

And I am sure there are many who must have enjoyed their respective ‘aawargis’, and there must be many who are enjoying now and there will be many who will choose their path when their ‘dil’ says and enjoy their ‘aawaargi’. . .  Here the ‘enjoyment’ is enjoying the ‘struggles’, the ‘sufferings’, the ‘hard work’, ‘the success’, the ‘failure’, the ‘regrets’, the ‘loneliness’, the ‘company’, ‘the good and bad decisions’, but keep going on and finding one’s own way in this journey of life. . .  I had been fortunate to meet few of them in my life and they have contributed a lot to the society too and left a mark of themselves around the peoples and places they were with. . .

हमारे हर शऊर -ए -ज़िन्दगी का राज़ ठहरेगी यही आवारगी
कल बाइस -ए -एज़ाज़ ठहरेगी 
– ओबैद आज़म आज़मी 

(शऊर -ए -ज़िन्दगी = जीवन की समझ
बाइस -ए -एज़ाज़ = सम्मान का कारण )

***

Javed Akhtar’s take on ‘aawaargi’ begins with these lines from the nazmaawaara’ by Majaaz Lucknowi.

shehar ki raat aur main naashaad-o-naakaaraa firoon
jagmagaati jaagti, sadakon pe aawaaraa firoon

I request readers to go through this link – ‘Aaawargi’ – and listen what Javed Akhtar had said about his poem ‘aawargi’ – the song we are enjoying today.

In Hindi movies, there are many songs and many famous ones too, having the word ‘aawaara’ used in them. However, I think that Aawaara Hoon’ from ‘Aawaara’ (1951) and one non-filmy song of Bhupen Hazarika ‘haan aawaara hoon’ are the closer to the theme of ‘aawaargi’ as mentioned by Javed Akhtar. Let us see the following stanzas each taken from these two songs;

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
zakhmon se bharaa seenaa hai meraa
hansti hai magar ye mast nazar
duniyaa aaa
duniyaa mein tere teer kaa yaa taqdeer kaa maaraa hoon
yaa gardish mein hoon aasmaan kaa taaraa hoon
aawaaraa hoon, aawaaraa hoon

and

jahaan kahin dekhe zindagi ke rang
wahaan thehar gaya
aawaargi mein aawaargi ko
manzil bana liya
maine dekhi hai kahin
gagan choomti oonchhi ataari
aur khaaq chhaanti dekhi hai wahin
zindagi bechaari
kahin dekhi hai kabhi
chaukhaton par
jhoolti phulwaari
murjhaayi kahin
khil na saki
ik kali bechaareee
maine dekhn hain zameen pe kai
bujhte huye sooraj
jalta hai jo aakaash mein
wo raat ka taara hoon
haan aawaara hoon

Even the song “Aawaara Ae Mere Dil“is another nice song. I may be forgetting some other songs – the readers may please add to this list of ‘aawaargi’ theme.

***

Now let us consider the peoples involved in this creation – the song of today – and the phase they were passing through in each of their individual lives. Because this composition is overall so nice that I was in dilemma on whose anniversary or special occasion I should present it. But since the ‘first creation’ are the lyrics I thought it appropriate to be posted on the occasion of the birth anniversary of Javed Akhtar (17 January). Wishing him belatedly on his seventy fourth birth anniversary and wishing him a healthy and peaceful life ahead.

RD Burman the composer, I think, has given one his best and all-time great composition. And I would rate in the same category as “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam“, “Raah Pe Rehte Hain, Yaadon Pe Basar Karte Hain“. Early eighties were the period when Pancham Da’s career was on the declining phase, though during this period to 1994 till ‘1942 A Love Story’ happened he had given many beautiful compositions to us.

Kishore Kumar was already ruling the roost then but somewhere he was eager to go back to his roots to Khandwa ‘chal re musaafir chal re ab apne garb ko chal re’And somewhere in this song we can find from his voice that he was eager to return back to Khandwa as early as possible which did not happen as he passed away in 1987.

 ***

 ‘Duniyaa’ (1984) was directed by Ramesh Talwar for Dharma Productions, Pvt Ltd. It was produced by Yash Johar. Hiroo Johar was the associate producer of this movie. Naresh Malhotra was the Chief Assistant Director of this movie. Editing of this movie was done by the famous Waman Bhonsle and Gurudutt Shirali. This movie was passed by Censor Board on 18.09.1984.

It had Ashok Kumar, Dilip Kumar, Rishi Kapoor, Amrita Singh, Prem Chopra, Amrish Puri, and Pran. It also featured Satyen Kappu, Mac Mohan, Javed Khan, Arvind Deshpande, Sulbha Deshpande, Akbar, Dhumal, Master Rinkoo, Baby Pooja, and supported by many others. Pradeep Kumar, Kulbhushan Kharbanda and Om Puri makes a guest appearance in this movie, while Saira Banu appeared in a very special appearance in this movie.

Story, Screenplay and dialogues of this movie were written by Javed Akhtar who also wrote the lyrics of the six songs in this movie. Music for this movie was composed by RD Burman. And I think this album can be included in one of the best of Pancham Da, as this movie has all good songs. Asha Bhonsle, Lata Mangeshkar, Kishore Kumar and Mahendra Kapoor gave their voices to the songs in this movie.

No video clip of this song is available so far. I have also not watched this movie and so do not know in which context this song might have appeared in the movie.

[Acknowledgements – Javed Akhtar’s book ‘Tarqash’, Javed Akhtar on Tata Sky Active – ‘Aawaargi‘ episode.]

Song – Phirte Hain Kab Se Dar-b-Dar (Duniya) (1984) Singer – Kishore Kumar, Lyrics – Javed Akhtar, MD – RD Burman

Lyrics

phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
naa-aashna har rehguzar
naa-meharbaan sabki nazar
jaayen to ab jaayen kidhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ik din mili ik maahjabeen
tan bhi haseen
jaan bhi haseen
dil ne kahaa hamse wahin
khwaabon ki hai manzil yahin
khwaabon ki hai manzil yahin
phir yoon huaa
wo kho gayee
to mujhko zid si ho gayi
laayenge usko dhoondh kar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ye dil hi thha jo seh gayaa
wo baat aisi keh gayaa
kehne ko phir kya reh gayaa
ashqon ka dariyaa beh gayaa
ashqon ka dariyaa beh gayaa
jab keh ke wo dilbar gayaa
tere liye main mar gayaa
rotein hain usko raat bhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ham bhi kabhi aabaad thhe
aise kahaan barbaad thhe
be-fiqr thhe aazaad thhe
masroor thhe
dilshaad thhe
masroor thhe
dilshaad thhe
wo chaal aisi chal gayaa
hum bujh gaye dil jal gayaa
nikley jalaa ke apnaa ghar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar

ab is nagar

ab us nagar. . .

[Following stanza is not included in the song/movie.
It is part of the ghazal written by Javed Akhtar.]

aasaar hain sab khot ke
imkaan hain sab chot ke
ghar band hain sab got ke
ab khatm hain sab totke
kismet ka sab ye pher hain
andher hain
andher hain
aise huye hai be-asar
main aur meri aawaargi

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

फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
ना-आशना हर रहगुज़र
ना-मेहरबान सबकी नज़र
जाएँ तो अब जाएँ किधर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

इक दिन मिली इक महजबीन
तन भी हसीं
जान भी हसीं
दिल ने कहा हमसे वहीँ
ख़्वाबों कि है मंजिल यहीं
ख़्वाबों कि है मंजिल यहीं
फिर यूं हुआ
वो खो गयी
तो मुझको ज़िद सी हो गयी
लायेंगे उसको ढूंढ कर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

ये दिल ही था जो सह गया
वो बात ऐसी कह गया
कहने को फिर क्या रह गया
अश्कों का दरिया बह गया
अश्कों का दरिया बह गया
जब कह के वो दिलबर गया
तेरे लिए मैं मर गया
रोतें हैं उसको रात भर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

हम भी कभी आबाद थे
ऐसे कहाँ बर्बाद थे
बे-फिक्र थे आज़ाद थे
मसरूर थे
दिलशाद थे
मसरूर थे
दिलशाद थे
वो चाल ऐसी चल गया
हम बुझ गए दिल जल गया
निकले जला के अपना घर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर

अब इस नगर

अब उस नगर॰ ॰ ॰

[नीचे दिया गया अंतरा, जो इसी नज़्म का हिस्सा है,
फिल्म के लिए रेकॉर्ड नहीं किया गया।]

आसार हैं सब खोट के
इमकान हैं सब चोट के
घर बंद हैं सब गोट के
अब ख़त्म हैं सब टोटके
किस्मत का सब ये फेर हैं
अंधेर हैं
अंधेर हैं
ऐसे हुए हैं बे-असर
मैं और मेरी आवारगी

 


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 :

3797 Post No. : 14787 Movie Count :

4043

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 75# Dharmendra- Memories of the Seventies #
————————————————————————————————–

 Welcome all to this article of mine which comes after a long gap of more than a month, and though I am late in sending this article, I hope our editors will consider this for post. And that will also help me in getting back into the ‘article writing’ again, because since last two months I am trying to complete and send some of my unfinished articles, but the schedule at work front and very less time after official work is not allowing me time and the concentration to focus on the articles I wish to share.

Well, with this article I hope I get back into writing and share my thoughts taking you down memory lane into the ‘seventies’ again 🙂

***

8th December 2018 is the 83rd birth anniversary (08.12.1935) of actor Dharam Singh Deol whom we fondly know as Dharmendra. And, ‘maa kasam …’ 🙂 , he will be there in our fond memories of the movies from almost every decade ever since he began his career in the Hindi movies with ‘Dil Bhi Tera Ham Bhi Tere’ (1960) till the very recently released movie ‘Yamla Pagla Deewaana-Phir Se’ (2018).

For me I have fond memories of watching many of his movies with my uncles, like ‘Shikaar’ (1966), ‘Yakeen’ (1969), ‘Kab? Kyun? Aur Kahaan?’ (1970), ‘Mera Gaon Mera Desh’ (1971), ‘Resham Ki Dori’ (1974), ‘Raja Jaani’ (1973), and more. Then I also remember some of his movies which I must have watched with my parents like ‘Yaadon Ki Baarat’ (1973), ‘Dost’ (1974), ‘Sholay’ (1975), ‘Maa’ (1976), ‘Charas’ (1976), ‘Dream Girl’ (1977), ‘The Burning Train’ (1980) etc. I still remember watching his ‘Devar’ (1966), during the Ganpati Festivals on the small 16mm screen in open grounds in the seventies.

Then there were movies which I watched with my brothers and cousins during the ‘summer vacations’ like ‘Dharam-Veer’ (1977), ‘Chacha Bhatija’ (1977), ‘Ram Balram’ (1980), ‘Teesri Aaankh’ (1982), ‘Samrat’ (1982), ‘Main Intaqaam Loonga’ (1982). And then movies like ‘Aap Ki Parchhaayiyaan’ (1964), ‘Main Bhi Ladki Hoon’ (1964), ‘Izzat’ (1968), ‘Mere Hamdam Mere Dost’ (1968), ‘Khamoshi’ (1969), ’Sharaafat’ (1970), ‘Samadhi’ (1972), ‘Jheel Ke Us Paar’ (1973), ‘Chaitaali’ (1975), ‘Chupke-Chupke’ (1975), ‘Ek Mahal Ho Sapnon Ka’ (1975), ‘Kinaara’ (1977), ‘Blackmail’ (1978), ‘Dillagi’ (1978) which I watched during the weekly screening of movies in the re-creation club building in our colony where we were staying then.

Then, when I was a grown-up boy 🙂 there was a phase in my life when I was learning in 11 -12th std but was less on studies and more on cricket and movies. I watched many of his movies like ‘Haqeeqat’ (1964), ‘Pyaar Hi Pyaar’ (1968), ‘Jugnu’ (1973), ‘Patthar Aur Paayal’ (1974), ‘Pratigya’ (1975), and the other movies released during those years (1983-1985) i.e. ‘Naukar Biwi Ka’ (1983), ‘Qayaamat’ (1983), ‘Jeene Nahin Doonga’ (1984), ‘Baazi’ (1984), ‘Dharam Aur Kanoon’ (1984), ‘Jaagir’ (1984), ‘Jhoothha Sach’ (1984), ‘Raj Tilak’ (1984) etc. And then I got to watch some movies like ‘Bandini’ (1963), ‘Neela Aakaash’ (1965), and ‘Satyakaam’ (1969), ‘Phagun’ (1973), on television (‘Doordarshan’) during this period.

The above was when we were still located in the Akola District of Maharashtra (CP & Berar circuit for the movies). And by that time I was already a Rajesh Khanna fan 🙂 . Reading the film magazines then I came to know that it was Dharmendra whose movies were still running good even during the Kaka’s Superstardom days. After that we shifted to Parli Vaijnath – Marathwada region of Maharashtra (and known as in the Nizam Circuit for the movies).

There I had already taken up working in a construction company and during this period till 1988 I watched many of the old and new movies. I remember I watched Dharmendra’s ‘Aaayi Milan Ki Bela’ (1964), ‘Kaajal’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Anupama’ (1966), ‘Dil Ne Phir Yaad Kiya’ (1966), ‘Phool Aur Patthar’ (1966), ’Aankhen’ (1968), ‘Aaya Saawan Jhoom Ke’ (1969), ‘Rakhwaala’ (1971), ‘Loafer’ (1973), ‘Keemat’ (1973), ‘Baghaawat’ (1982), ‘Hukumat’ (1987), ‘Aag Hi Aag’ (1987) etc.

Then I shifted to Kota (Rajasthan) in Nov 1988 for my professional career and there also watching the movies was the ‘main source of entertainment’. I got to watch many old Hindi movies as well as the new ones. I got to watch Dharmendra’s movies like ‘Batwaara’ (1989), ‘Naakabandi’ (1990), ‘Farishtey’ (1991) and after many years I got to watch ‘Mera Gaon Mera Desh’ (1971) again in a theater. I watched the film repeatedly on consecutive days and enjoyed it a lot. Later on, based at Kota and traveling around places like Nimach, I watched ‘Tehalka’ (1992). I also remember correctly that I watched his ‘Man Ki Aankhen’ (1970), on VHS cassettes on ‘VCR’ we use to hire to watch movies then during our weekly get-together or holiday. Later I bought VCDs of the films ‘Ganga Ki Lehren’ (1964), ‘Dulhan Ek Raat Ki’ (1967), which has one of my favorite songs “Ek Haseen Shaam Ko. . .“.

And there are other movies like ‘Aadmi Aur Insaan’ (1968), ‘Bahaarein Phir Bhi Aayengi’ (1966), ‘Chunaoti’ (1980), ‘Do Chor’ (1972), ‘Ishq Par Zor Nahin’ (1970), ’Jeevan Mrityu’ (1970), ‘Jwaar Bhaata’ (1973), ‘Kahaani Kismat Ki’ (1973), ‘Mohabbat Zindagi Hai’ (1966), ‘Naya Zamaana’ (1971), ‘Razia Sultan’ (1983), ‘Tum Haseen Main Jawaan’ (1970), which I don’t remember correctly but I think I watched them either in theatre or on TV. As I was going through his filmography for this article, I was thinking that there are still many movies of him (till seventies) which I have not watched and should watch them as and when possible.

The latest movies that I have seen of Dharmendra is ‘Apne’ (2007), which I could not watch in theatre when I was in Kachchh-Gujarat and had later bought its DVD and watched with my parents and family at home.

Watching his movies has always been a different experience and entertaining and enjoyable too. I think me, and many others like me, will always be thankful to him for the joy he has given to us through his movies. His fight scenes with Shetty are always a favorite of mine and those were the main attractions from his movies too, wherever Shetty was co-star in the movies he acted.

Then there are songs from his ‘black and white’ movies and many other ‘musicals’ of the ‘seventies’ which I cannot forget and many of them are ‘songs that brings back memories’ for me. I have watched many of his movies more than once and it is always pleasant to watch him on the screen. I cannot forget his ‘emotional speech’ in the ‘Filmfare awards function’ when he was felicitated with the ‘Filmfare Lifetime Achievement Award’.

His movies also have many emotional scenes between a ‘mother and son’ where I always find him very natural and touching. For today’s occasion I am presenting a song from the 1976 movie ‘Maa’. As I had mentioned earlier in one of my articles that there are few Hindi movies where an elephant has been a central character in the movies and few of these movies have been a part of my permanent memory since then. I remember to have watched this movie with my parents but have forgotten it now except Dharmendra, the elephants in the movie and this song that I am presenting today.

Though the song is a background song and not lip-synced by Dharmendra, I want to introduce it with this article. (I had earlier sent this song to Atul ji in Oct 2012). Also, this is the song which brings back memories of those years for me. It is part of that ‘nostalgia’ of Hindi movies and the songs for me over the years.

So, I when decided to share an article for Dharmendra’s birth anniversary (now belated), I searched for other songs from his movies where he also lip-synced the songs, or even from this movie ‘Maa’, but I strongly feel sharing of this song sung by Rafi Saab which is a trip down memory lane for me from the movies of Dharmendra of the seventies.

‘Maa-1976’ is edited and directed by M.A. Thirumugam for ‘Devar Films, Madras’. It is produced by Sandow M.M.A. Chinnappa Devar who had also written the story of this movie. It has Dharmendra, Hema Malini, Nirupa Roy, Ranjeet, Padma Khanna, Devar, Om Prakash, Paintal, Bramhachari, Shashi Kiran, Rajan Haksar, Urmila Bhatt, Umesh Sharma, Raj Baldev, Viju, Kalpana, Gemini Balu, Narayan Mustafa, Anand Kumar and others. Dialogues for this movie were written by Inder Raj Anand and editing was done by M.G. Balurao (assisted by K. Ramu). The movie was passed by Censor Board on 10.09.1976.

The movie has total seven songs in it as per HFGK and all the seven songs are written by Anand Bakshi and composed by Laxmikant-Pyarelal. HFGK also mentions about two tracks as club dance music and dance music in this movie. Kishore Kumar, Lata Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.

I am reproducing below the ‘plot summary’ of this movie as mentioned on IMDB

Vijay lives with his mother in a palatial house deep in the jungles in South India where he makes a living trapping animals for circuses, zoos – both nationally and internationally. He meets with beautiful US-returned Nimmi, both fall in love with each other and want to get married. Vijay’s mother cautions them both against separating new-born animals from their birth mothers, but both refuse to listen. Then the unexpected happens, a mother lioness, angered at Vijay for taking her cubs, attacks him, and leaves him badly wounded. With the help of his mother, and Nimmi, Vijay recovers and despite of what happened, and his mother’s warning, he again goes to trap animals – this time a baby elephant for a circus. He does manage to trap the elephant in a pit, but the angered mother elephant pursues them, even after they transport it in a truck. Her maternal and protective instincts come to fore, she overtakes the truck, dismantles it, but is chased away by Vijay and his employees. She turns to attack Vijay, but his mother intervenes – and is instantly attacked and crushed. Holding his mother in his arms, Vijay swears to hunt them the elephant as well as all other animals and kill them one by one, but his dying mother makes him promise that he will not do so, but instead return all cubs to their parents, as well as the baby elephant. Vijay promises to do so, and his mother passes away. Vijay is devastated, in heart-wrenching sorrow & pain, he calls out to his mother, and carries out her promise. He releases all trapped animals, and returns the cubs to the jungle. But returning the baby elephant, Ganesh, is another issue altogether as it has been transported to the city, and must be brought back. When Vijay goes to bring it back, he finds out that the truck had broken down, the elephant had escaped and is lose in the city. He desperately goes around looking for it. In the meantime, back home, the mother elephant is on a rampage, enraged at being separated from its child, it crushes vegetation, attacks villagers, and tears down their dwellings. And the next target that looms before it is none other than Vijay’s beloved – Nimmi…

 Today’s song is sung by Mohd Rafi and composed by Laxmikant-Pyarelal. Lyrics are by Anand Bakshi. The movie ‘Maa’ also makes a debut on the blog today …!!!

Belatedly wishing Dharam ji a very happy birthday and a healthy and peaceful life ahead …

[Author’s Note: This also serves one of my purpose of introducing movies having ‘same title’ too. We already have the movie ‘Maa-1952’ and ‘Maa-1960’(UR) on the blog. And fortunately, I had the opportunity to share couple of songs from the ‘1952-Maa’ and one song from the ‘1960-Maa’ on the blog].

Maa Tujhe Dhoondhoon Kahaan

 

Song – Maa. . . Tujhe Dhoondhoon Kahaan (Maa) (1976) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part 1

maa aa aa

maa tujhe dhoondhoon kahaan aa
maa tujhe dhoondhoon kahaan aa
maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa°°°°°°

maa ek jaisi hoti hai
bachche ik jaise hote hai
chot lage to insaanon ki tarah
pashu bhi rotey hai
bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

tu sach kehti thi ee
kisi ki bad duaa lag jaati hai
tu sach kahti thi ee
kisi ki bad duaa lag jaati hai
apni hi bandook se goli
khud pe bhi chal jaati hai
maine kaisa khel yeh khela
roun baitha aaj akela
tujhko kho kar man aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan

maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa
maa tujhe dhoondoon kahaan
maa tujhe dhoondoon kahaan
maa aa aa

Part 2 (at the end of the movie)

bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

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

भाग १

माँ आ आ

माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ °°°°°°

माँ एक जैसी होती है
बच्चे इक जैसे होते है
चोट लगे तो इंसानों कि तरह
पशु भी रोते हैं
बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
अपनी ही बन्दूक से गोली
खुद पे भी चल जाती है
मैंने कैसा खेल ये खेला
रोऊँ बैठा आज अकेला
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ°°°

भाग २

बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

माँ आ आ



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 : 3793 Post No. : 14779

“Khan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Satyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.

The movie had three songs in it. One song has been covered in the past.

Here is the second song from “Khan Dost”(1976) to appear in the blog. This song is sung by Manna Dey. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a poignant song on Shatrughan Sinha who plays a prisoner and who is seen looking back at his wasted life with regret in this picturisation. The pictorisation also shows Satyen Kappu playing a jailor and Raj Kapoor playing his subordinate.

Incidentally, Hindi movie jails look like a police station where a prisoner is seen kept behind bars in a small room. That is because Hindi moviemakers cannot differentiate between a police station and a jail. 🙂

Audio

Video

Song-Meri zindagi tujhpe roye (Khan Dost)(1976) Singer-Manna Dey, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

meri zindagi mujhpe roye ae
roye

meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye

jo karz liya hai saanson ka
wo karz chuka na paaya
jo karz liya hai saanson ka
wo karz chuka na paaya
baaqi hi raha har karz mera
koi farz nibha na paaya
ab waqt kahaan kuchh kar sakoon
ab waqt kahaan kuchh kar sakoon
koi zakhm kisi ka bhar sakoon
ab pachhtaaye kya hoye
meri zindagi mujhpe roye ae
roye

kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
jisne dikhlaai duniya mujhe
us maa ka dil bhi dukhaaya
jis pe hon gunaahon ke saaye
jis pe hon gunaahon ke saaye
wo chain kahaan se paaye
dariya bhi ye daag na dhoye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
roye


This article is written by Nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

3773 Post No. : 14750 Movie Count :

4034

na tu zameen ke liye hai na aasmaan ke liye
tera wajood hai sirf dastaan ke liye
 

palat ke su-e-chaman dekhne se kya hogaa
wo shaakh hi na rahi jo thhi aashiyaan ke liye

garaz paarast jahaan mein wafaa talaash na kar
ye shai bani hai kisi dusre jahan ke liye

Thus wrote Sahir Ludhianvi for the film ‘Daastaan’ (1972). Here he takes a cue from Allama Iqbal who said ….

na tu zameen ke liye hai na aasmaan ke liye
jahaan hai tere liye tu nahin jahaan ke liye

Ever the cynic….

Whereas Iqbal was always motivational, Sahir had an inverted view of things.  Maybe this solitude and despair was because of ‘Pyasaa” or vice versa.  Take the instance of “Wo Sub’ha Kabhi To Aayegi“ in the film ‘Phir Subah hogi’ (1958). These verses are said to have inspired his contemporary Jaan Nisaar Akhtar to write the song “Gham Ki Andheri Raat Mein” in ‘Susheela’ (1966), with the lines,

gham ki andheri raat mein dil ko na beqaraar kar
sub’ha zaroor aayegi, sub’ha ka intezaar kar

Just last week, I was thinking about the Hindi poem I had written in 2016. It was published in my office magazine. This poem has some heavy references of Sahir’s songs.  And that I should write a post about Sahir Ludhianvi on his anniversary. But for some reason I had the impression that his death anniversary falls in June or July. I thought I will look up on the blog for the birth anniversary and if it is anytime soon I will write a post.

As it happened my office computer was out of order last week and it returned to work only on Friday and there is no lap-top currently in my use at home, I missed the opportunity to write this article on time. It was Raja ji’s article which alerted me to the fact of Sahir Ludhianvi’s death anniversary on 25th October.

Before I get to the song in hand, let’s take a look at my poem.  This is rather long and I am told it lacks something.  But this is the finished product:

कोशिश करने वालों की कभी हार नहीं होती ?

सुना मैंने के कोशिश करने वालों की कभी हार नहीं होती
सोचा के अपनी सी कुछ कोशिश मैं भी कर देखूं
कोशिश एक जद्द-ओ-जहद हालात को बेहतर करने की
कोशिश जो हर एक करे खुद को बेहतर इंसान बनाने की
कोशिश वो जो अपने परिवार की, सम्मान की रक्षा की
कोशिश के ऐसे जीऐं अपना स्तर उँचा हो नजर में खुदा की
कोशिश वो जो हो इज्जत से जीने की और इज्जतदार मरने की
फिर कहें
कि कोशिश करने वालों की कभी हार नहीं होती ।

फिर कहा किसी ने कि मरने की बात क्यू करें
मौत में कैसी इज्जत कैसी आबरू
क्यूं जब मर कर बाबुल से नजरें मिलाना है
तो जीना और मरना ऐसे रहे के अपना सर उँचा हो
ये ना हो कि बहू और बेटी को बाजार में खड़ा करे
और कहें कि
कोशिश करने वालों की कभी हार नहीं होती ।

शायद ये साहिर नें 1957 में लिखा हो के
“संसार की हरेक बेशर्मी
गुरबत की गोद में पलती है”
सोचने लगी के क्या ये आज भी सच है
कोई सोचे या नहीं, बात काबिले गौर है
क्यूं की
कोशिश करने वालों की कभी हार नहीं होती ।

और कहा साहिर ने के
“अवतार पयंबर जनती है,
फिर भी शैतान की बेटी है”
मुझे लगा जैसे आज मैं ही बैठी हूं
किसी टेलीविजन के ‘टॉक शो’ पर
और दुहार लगाई हूं “फ्रीडम ऑफ एक्सप्रेशन” की
वहां तक,
कोशिश करने वालों की कभी हार नहीं होती ।

आज का दौर हम सब ‘अय्याश’!
माडर्न और सैवी होने का हमें फक्र है

‘अय्याश’ इतना ‘ओल्ड फैशन्ड’ शब्द है,
की ‘हम अय्याश’ सुन कर सब चौंके,
अय्याश वो है जो ऐश में डूबा हुआ है
जिंदगी के मजे लेने में, जानों और पहचानों
“औरत ने जन्म दिया मर्दों को, मर्दों ने उसे बाजार दिया”
और तो
कोशिश करने वालों की कभी हार नहीं होती ।

मेरी बहनों और बेटियों, अपनी इज्जत अपने हाथ
जब खुद अपनी इज्जत करना सीख जाओ
के औरों को तुम्हारी इस्मत पर नजर डालते शरम आये
संघर्ष का सब से बड़ा मैदान यहीं है के
कोख में अपनी बेटी का कत्ल ना होने देना हरगिज
और ना खुद को शैतान की बेटी बनने दो,
बात बहुत बड़ी मेरी तुच्छ कलम कह गयी
सच है,
कोशिश करने वालों की कभी हार नहीं होती ।

ओ बाबुल प्यारे, मुझे नाज से लाड से पालने वाले
कल तू मुझे संजोता, संवारता था और ससुराल भेजता
कल मैं तेरी आँखों की चमक और पगड़ी का फक्र थी
आज ये हाल है, कि हम अपनी बेटियों को परदेसी कर देते हैं
ताकि वो अपनी पोजिशन बनाये दुनियाँ में
जाओ,
के कोशिश करने वालों की कभी हार नहीं होती ।

नतीजा ये की आज दुनियाँ की कोई गैर-जरूरी चीज नहीं
जिसे बेचने में मेरा इस्तेमाल नहीं होता
आज मैं हर अखबार में हर फिल्मी पोस्टर में
हर पल हर वक्त बेची और खरीदी जाती हूं
मजे की बात तो ये हुई के मुझे एहसास तक नहीं
की मैं हर लम्हे कितनी “निर्भय” हो गई इस बाजार में
पता है, कोशिश करने वालों की कभी हार नहीं होती
अगर ये मेरी और तुम्हारी हार नहीं है
तो कोई मुझे बताये कि ये क्या है?

ये कैसी कोशिश है
कि हर तरह से मेरी हार होती है ।

Sounds rather like a long story.  But the story is original and sort of a parody of the original ‘Koshish Karnewaalon Ki Kabhi Haar Nahin Hoti” by Harivansh Rai Bachchan.

Now moving to the song in hand, from the film ‘Begum Jaan’ (2017).  This is an adaptation of the original song in “Phir Subah Hogi”(1958) written by Sahir Ludhianvi.   Only a word in the mukhda is changed and the whole song in re-rendered by Arjit Singh and Shreya Ghoshal. Credit for the lyrics and composition is given to Sahir Ludhianvi and Khayyam.
(As per myswar.com  http://myswar.co/song_details/begum-jaan-2017-woh-subah-hami-se-aayegi-7 )

A big fan of Arjit Singh I am not and this particular rendition has not endeared him to me.  I believe singing has to be of words and uttering words in a loose manner somehow dilutes the impact.  I don’t know if the singing here was required this way due to the situation, as I haven’t seen the movie.   The background music is a haunting fall back on “Tadap Tadap Ke Iss Dil Se” (‘Hum Dil De Chuke Sanam’, 1999). While listening to this and the original by Khaiyyam I was reminded of “Dekh Lo Aaj Hum Ko Ji Bhar Ke” (‘Baazaar’, 1982) as well as “Najariyaa Ki Maari” (“Pakeezah”, 1971).

This is a tribute to the poet of such inimitable songs such as:

Tum Mujhe Bhool Bhi Jaao To Ye Haqq Hai Tum Ko

Tum Agar Mujh Ko Na Chaaho To Koi Baat Nahi

Chalo Ek Baar Phir Se Ajnabi Ban Jaayen Ham Donon

Jaane Wo Kaise Log Thhe Jin Ke Pyar Ko Pyar Mila

Mann Re Tu Kaahe Na Dheer Dhare

And many more such songs.

[Editor’s Note: The delay in publication is an oversight of the editors, the author had sent in this contribution just in time.]


Song – Wo Sub’ha Ham Hi Se Aayegi (Begum Jaan) (2017) Singer – Arijit Singh, Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Khayyaam
Arijit Singh + Shreya Ghoshal
Chorus

Lyrics

in kaali sadiyon ke sar se
jab raat ka aanchal dhhalkega aa
aaaa aaaaa aaaaaaaaa
jab dukh ke baadal pighlenge
jab sukh ka saagar chhalkega aa
aaa aaa aaa aaa
jab ambar jhhoom ke naachega
jab dharti naghme gaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

jis sub’ha ki khaatir jug jug se
ham sab mar mar ke jeete hain

aaa aaa aaa
jis subah ki amrit ki dhun mein
ham zehar ke pyaale peete hain
in bhooki pyaasi roohon per
ek din to karam farmaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

maana ke abhi tere mere
armaanon ki qeemat kuch bhi nahin

hmm hmm hmm
mitti ka bhi hai kuchh mol magar
insaanon ki qeemat kuchh bhi nahin
aa aa aa
insaanon ki izzat jab jhoothhe
sikko mein na toli jaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

इन काली सदियों के सर से
जब रात का आँचल ढलकेगा
आssss आssss आssssssss 
जब दुख के बादल पिघलेंगे
जब सुख का सागर छलकेगा
आss आss आss आss
जब अम्बर झूम के नाचेगा
जब धरती नग़मे गाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

जिस सुबहा की खातिर जुग जुग से
हम सब मर मर के जीते हैं
आss आss आss
जिस सुबहा के अमृत की धुन में
हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर
एक दिन तो करम फरमाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

माना के अभी तेरे मेरे
अरमानों की क़ीमत कुछ भी नहीं
हम्ममम हम्ममम हम्ममम
मिट्टी का भी है कुछ मोल मगर
इन्सानों की क़ीमत कुछ भी नहीं
आs आs आs
इन्सानों की इज्ज़त जब झूठे
सिक्कों में ना तोली जाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14995

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4104

Total visits so far

  • 11,572,222 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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