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

Archive for the ‘Protest song’ Category


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

Blog Day : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

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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 : 3539 Post No. : 14210

“Main Aazaad Hoon”(1989) was produced by Habib Nadiadwala and directed by Tinnu Anand. The movie was an adaptation of Frank Capra’s “Meet John Doe”(1941). Amitabh Bachcahn played the lead role in the movie.

While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. “Main Aazaad Hoon”(1989), like its Hollywood original, showed the hero as a common man, helpless against system. Indian audience, brought up on staple diet of escapist movies were not mature enough to appreciate movies that were off the beaten track. People expected Amitabh Bachchan to play his usual larger than life superman like character, but the movie depicted him as an ordinary man, as powerless and helpless as most ordinary men, and movie goers were not prepared for that. While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. So it showed, if any proof was needed that Indian audience of 1989 had not reached the maturity of Hollywood audience of 1941 !

Personally I quite liked the movie, but I was in a minority. Most other people had expected to see Amitabh Bachchan as an angry young man of “Trishul” or “Andha Kaanoon” and they felt let down with the non escapist fare that this movie served.

“Main Aazaad Hoon”(1989) had just one song in it.

Here is that sole song from “Main Aazaad Hoon”(1989). This song is sung by Amitabh Bachchan and chorus, in addition to some unidentified voices. The song is sung by Amitabh Bachchan and it is picturised on himself. Kaifi Azmi is the lyricist. Music is composed by Amar Utpal.

Since it is the only song from the movie, this song serves dual purpose simultaneously. This song is the debutant song as well as a YIPPEE song. So one can say, rather pompously that “Main Aazaad Hoon”(1989), makes its debut in the blog with this song and get YIPPEED as well. 🙂


Song-Itne baazoo itne sar (Main Aazaad Hoon)(1989) Singer-Amitabh Bachchan, Lyrics-Kaifi Azmi, MD-Amar Utpal
Chorus
Unknown male voice

Lyrics

itne baazu itne sar
hmm
itne baazu itne sar
gin le dushman dhyaan se
hmm hmm

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
jee jaan se

aao
aa jaao
jag pe chha jaao
ji jaan se
haan
ye hui na baat
aise hi gaate hain
ek do

aaye ho tum to aao
jee jaan se
hamen aake raah dikhaao
jee jaan se
manzil pe hamen pahunchaao
jee jaan se
aao
aa jao
jee jaan se
jag pe chha jao
ji jaan se
aao mere saath aao
ji jaan se
meri dhun mein tum gaao
ji jaan se
milke lashkar ban jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
ginle dushman dhyan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khele hum ji jaan se

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se

aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se

maalik ka dhan jo badhaaye
ji jaan se
?? hi dhan ban jaaye
ji jaan se
kyun na ik din lad jaayen
jee jaan se
aao
aa jaao
ji jaan se
jag pe chhaa jaao
ji jaan se

ek duniya sang hai
ye haq ki jung hai
ek duniya sang hai
ye haq ki jung hai

laalach se takraana hai
beshak takraayenge
haan
laalach se takraana hai
beshak takraayenge
jinko jhukna aata hai
saare sar kat jaayenge
jinko jhukna aata hai
saare sar kat jaayenge
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
aao aa jaao
jag pe chha jaao
aao aa jaao
jag pe chha jaao

itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi jab khelen hum ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
harega wo har baazi
jab khelen hum ji jaan se


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 : 3535 Post No. : 14199

“Sankalp”(1974) was directed by Ramesh Sahgal for Twinkle Stars, Bombay. This “social” movie had Farida Jalal, Sukhdev, Bipin Gupta, Anjali Kadam, arjun Bakshi, Mahesh (new discovery), Yunus Parvez, Leela Mishra, Jankidas, Suresh Divekar, Subhash Sethi, Mona, Nikita, Chandu Alahabadi, Master Sheroo, Master Ratan, Satish Chhabra etc in it, with special appearance by Sulakshana Pandit.

The movie had four songs in it. Three songs from the movie have been covered in the past. These three songs were discussed in 2011, 2015 and 2018 , viz at three year intervals. 🙂 Here are the details of these three songs:-

Song Title

Post No.

Post Date

Tu hi saagar tu hi kinaaraa 3921 23-May-11
Sab thhaath pada rah jaawega 11307 22-Jul-15
Ghaav dil ke dhuyen se seete hain 14194 22-Mar-18

Here is the fourth and final song from “Sankalp”(1974) to appear in the blog. This song is sung by Mukesh and Mahendra Kapoor. Kaifi Azmi is the lyricist. Music is composed on Khayyam.

Only the audio of this song is available. One can guess that the song is a public lament song where people hold politicians responsible for the ills of the nation. Yes, people four decades ago held the same view about politicains that they do now. 🙂

Personally I think that now a days we are much better off vis a vis the situation of 1970s. Those were the days when we had economic policies that relied upon dole contributed by western nations. Things are vastly better today. The economic policies which kept the nation poor and steadily brought it on the verge of bankruptcy have since been abandoned. Politicians continue to be more or less same as before but the country is doing far better. So people listening to this song today will not share the same despondency as this song may have brought about in the past.

With this song, “Sankalp”(1974) joins the list of movies that have all their songs covered in the blog.


Song-Bheetar bheetar khaaye chalo (Sankalp)(1974) Singers-Mukesh, Mahendra Kapoor, Lyrics-Kaifi Azmi, MD-Khayyam
Unknown voice
All

Lyrics

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bhed kaun kholegaa
munh se kaun bolegaa

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

jantaa bholi-bhaali hai
pet bhi jeb bhi khaali hai
naaron se garmaa do lahu
vaadon se bahlaaye chalo
vaadon se bahlaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

badhti jaaye hai mehngaai
ghat’ti jaaye hai kamaayi
cheezon ke daam badhaaye chalo
insaan ka bhaav giraaye chalo
insaan ka bhaav giraaye chalo

bheetar-bheetar khaye chalo
baahar shor machaye chalo

haathon mein kuchh note lo
haathon mein kuchh note lo
phir chaaho jitne vote lo

khote se khotaa kaam karo
baapu ko neelaam karo
arre
baapu ki tasveer hai ye

tere baap ki kyaa jaagir hai ye
baapu-baapu karte raho

zahar dilon mein bharte raho
basti-basti aag lage
har insaan ek naag lage
praant-praant ko tang kare
bhaasha se bhaasha jang kare
koi yahaan malyaali
koi yahaan bangaali
gujrati hai koi yahaan
punjabi hai koi yahaan
ye hai maratha aur vo tamil
aapas mein yaari hai mushkil
sabko chaahiye apni zameen
hindustaani koi nahin
hindustaani koi nahin
hindustaani koi nahin

desh kahaan ab desh rahaa aa aa
desh kahaan ab desh rahaa
aa aa aa

desh to seemaaon mein bantaa
aur bhi tukde udaaye chalo
kursi apni bachaaye chalo
kursi apni bachaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo


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.

This is the 2800th song of Rafi Sb to be showcased on our blog.
‘Mera Suhaag’ (1961) is the 3800th film represented on our blog.

Blog Day : 3471 Post No. : 13936

Series of Rafi songs-Rafi with music directors
—————————————————————-
(Pal do pal ka saath)-MD composing just one Rafi song
——————————————————————-
Part I-Arun Raghavan
—————————-
During his HFM career, Rafi worked with 14 music directors in more than 100 songs each. I describe them as Major music directors for Rafi or three figure music directors with Rafi. Then there were 45 music directors who composed between 11 to 99 songs with Rafi. We can call them semi major or two figure music directors with Rafi.

Major (viz three figure) music directors created 2743 song with Rafi, which is 53 % of all Rafi songs in HFM. The semi major (viz two figure) music directors created 1528 Rafi songs, viz 30 % of all Rafi songs in HFM. So we can say that the major and semi major music directors (59 in number) contributed a whopping 83% of all Rafi songs, which adds up to 4271 songs in all.

Then there were 170 music directors who worked with Rafi in less than 10 songs each. They were like the proverbial squirrels of Ramayan fame, who would carry a few grams of tiny pebbles each on their tiny paws while the giant vaanars would carry large boulders on their shoulders. The individual contributions of each of these music directors may be small in comparison to the major music directors, but the cumulative total of Rafi songs by these single figure music directors adds up to a figure of 503 ! This total is bigger than the career total of HFM songs sung by some well known playback singers, viz K L Saigal, Suraiyya, Talat Mehmood etc. And these songs contain quite a few wonderful songs as well.

I had discussed this fact while discussing a song on the occasion of Rafi’s birth anniversary. Raja, while commenting on that article had written –

“Just wondering if we have covered songs of all those 173 composers (1-9 songs category) here already? If not, that could be a project. Every composer who has used Rafisaab should be on the blog, even if the song being posted for that composer isn’t necessarily the Rafisaab one (if it is, of course better!).
That could be our way of showing our gratitude to that composer.”

I had taken note of Raja’s suggestion. And this writeup begins our series of articles about those music directors who were associated with Rafi in less than ten songs each. The name that I have chosen for this series is- pal do pal ka saath. This phrase is taken from that memorable qawwaali from “The Burning Train” (1981) containing this phrase.

In the beginning, I will discuss those music directors who have worked with Rafi in just one song each.

There are 48 such music directors. While most of them are small time less heard music directors, we have some rather well known names too in the list.

I decided to take up these names alphabetically. The first name that crop up in Alphabetical order is Aabid Hussain Khan who composed one Rafi-Zohrabai Ambalewaali duet in a 1949 movie called Last Message”(1949). While a few songs from this movie are available, the Rafi song , viz. “na thahar sake na tadap sake” does not seem to be available.

The next name that comes up alphabetically is Aparesh Lahiri (father of Bappi Lahiri). He has composed one Rafi song in a movie called “Subhash chandra” (1978). Since Netaji Subhash Chandra Bose’s birth anniversary is coming up next week, that would be the opportune time to cover this song.

The next name in the list of music directors is Arun Raghavan. He was a South Indian music director and he worked in just one Hindi movie. This movie, called “Mera Suhaag” (1961) was produced by Produced by N S R Mani and directed by H Krishnamoorthy for Secarts, Madras. The movie had Kanta Rao, Rajnala, Ramkrishna, K V S Sarma, A V subbarao, Balkrishna, Krisha Kumari, Girija, Rajshree, Hemlata etc. in it. In all likelihood, this movie was a remake of a south Indian movie where songs were re reccorded in Hindi. There were nine songs in the movie. Eight of these songs were sung by well known South Indian playback singers viz. P Susheela, S Janki and P B Srinivas.

But there was one song in the movie which was sung by Rafi. And that happens to be the one and only collaboration of Arun Raghavan as a music director with Rafi in a Hindi movie.

The song is penned by Vinod Sharma, who like the music director is an obscure name for this blog.

This song is a rare song. Only the audio of the song is available.

From the sounds of it, the song appears to be used as a background song in the movie.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

So much discussion on a song which is a rare and obscure song. Most sites dealing with HFM will struggle to find anything to write on this song. But trust us in this blog to treat most songs in general and songs like this in particular with so much care and respect, and we are able to come up with so many special things to say about songs like this.

This song is special for us for the following reasons:

1. This is the only occasion when Rafi has sung a song under the music direction of Arun Raghavan and under the penmanship of Vinod Sharma.

2. This is the 2800th Rafi song in the blog. It was a conscious decision on our part to use a Rafi song from a less known music directors to emphasize that they too have contributed their mite in enriching HFM.

3. With this song, “Mera Suhaag”(1961) becomes the 3800th movie to get represented in the blog. The same reason as given above applies here as well for considering this movie for this honour.


Song-Yug yug se anyaay ho raha hai naari ke saath (Mera Suhaag)(1961) Singer-Rafi, Lyrics-Vinod Sharma, MD-Arun Raghvan

Lyrics

Yug yug se anyaay ho raha hai naari ke saath
kaun samajh paaya uska dukh uske man ki baat
Yug yug se anyaay ho raha hai naari ke saath

dharmraj ne drupad suta ko diya juye mein haar
harichandra ki raani taara bik gayi beech baazaar
bik gayi beech baazaaaar
Yug yug se anyaay ho raha hai naari ke saath
kaun samajh paaya uska dukh
uske man ki baat

Shakuntala ko raaja bhoola
jiska thha vishwaas kiya
chhoti si thhi baat
Raam ne
Seeta ko vanwaas diya
Seeta ko vanwaas diya
Seeta ko vanwaas diya

tujhko bhi vanwaas mila hai
teri karun kahaani
kul maryaada raah mein teri
?? deewaani
tera dharm piya ko paana
?? tujhko mil jaaye
haan
?? tujhko mil jaaye
dukh ki kaali si raat kate
sukh ka sooraj muskaaye
tere man ka kamal khilaaye
tere man ka kamal khilaaye
tere man ka kamal khilaaye


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.

“Paighaam”(1959) was produced and directed by S S Vasan for GeminiPictures, Madras. The movie had Dilip Kumar, Vyjyanti Mala, Raj Kumar, Pandhari Bai, Motilal, B Saroja Devi, Johny Walker, Minu Mumtaz, Vasundhara Devi, Protim Devi, Bannerji, Mukherji, Shivraj, Sitalaxmi, Ishwarlal, Pushpmala, Master Gopi, Karupayya, Radjha, Madhavan, Amar, Kamal Krishn etc in it.
Read more on this topic…


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

hullo to all Atulwaasis

Today is 24th December 2016 -92nd birth anniversary of Mohammad Rafi.

At first I thought I would not be able to do a post which does justice to the persona of Mohd Rafi. Even now I am not trying to; all that I am doing is bringing to the blog a song which shows the vocal range that Rafisaab was gifted with. And this is not a super classical song but a fun song which one would normally expect Rafi to sing for Shammi Kapoor. But today’s song is for Shashi Kapoor and one should be excused if there is a feeling of the song being a Shankar- Jaikishan creation. Why? Because the director duo of this song were once music arrangers & assistants for Shankar Jaikishan.
Read more on this topic…


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

Nightingale Noorjehan – 4
—————————–

With this, a very strong protest song by Noorjehan, ‘Kab tak teri duniya mein andhera hi rahega?’ All her songs from the Film ‘Hamjoli’ are covered for our blog. The remaining songs from the Film, according to HFGK are:

S No. Song Singer Remark
1 ‘Wafaayen Meri Aazmaoge Kab Tak’ G M Durrani
2 Vipat Suno Giridhari Roshan Ara Begam Famous classical singer of those days. Song is already posted in the blog
3 Koyaliya Bole Jiya Mora Dole Zohrabai Ambalewaali
4 Mori Chanchal Jawani Muskaraayen Shamshad Begam Wrongly attributed to Noorjahaan
5 Jag Ki Sewa Kar Le Bande Mehboob Khan Famous movie director

In addition, there is another song in the movie, which is not mentioned in HFGK. This song is “Aankh Mein Gussa”. it is perhaps sung by G M Durrani.
Read more on this topic…


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.

“Amar Rahe Ye Pyaar”(1961) was directed by Prabhu for R P Films, Bombay. This social movie had Rajendra Kumar, Nalini Jaiwant, Nanda, Radha Kishan etc in it.
Read more on this topic…


“Baap Bete” (1959) was an A V M Productions movie. It was directed by Raja Paranjpe. The movie had Ashok Kumar, Shyama, Chitra, Baburao Pendharkar, Kanhaiyalal, Vinod Sharma, Nana Palsikar, Jagdeep, Ramesh Deo, Lalita Pawar etc in it.
Read more on this topic…


“Shagoon” or “Shagun” (1964) was a Shaheen Art production. It was directed by Nazar. The movie had Kamaljeet, Waheeda Rehman, Neena, Achla Sachdev, Libi Rana, Nazir Hussain, Nana Palsikar, Pratima Devi, Rajdeep, Chand Usmani etc in it.
Read more on this topic…


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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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14752

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4034

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