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

Archive for the ‘qawwali’ Category


This article is written by Raja, a fellow enthusaist 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 :

4270 Post No. : 15500 Movie Count :

4271

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂

Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂

And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.

Audio

Video


Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai

Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai

ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil

chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil

mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai

kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja

oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai


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 : 4222 Post No. : 15426

“Zindagi Ya Toofaan”(1958) was directed by by Nakshab for Serafim Pictures Bombay. This movie had Nutan, Pradeep Kumar, Johny Walker, Minu Mumtaz, Yakoob, Om Prakash etc in it.

The movie had ten songs in it. Seven of these songs have been covered in the blog.

Here is the eighth song from the movie to appear in the blog. This song is sung by Asha Bhonsle , Shamshad Begam and chorus. Nakshab is the lyricist. music is composed by Naashaad.

The song is picturised as an all female qawaali (or is it mujra ?) picturised on Nutan, Minu Mumtaz and others.


Song-Badi mushqil se hum samjhe (Zindagi Ya Toofaan)(1958) Singers-Asha Bhonsle, Shamshad Begam, Lyrics-Nakshab, MD-Naashaad

Lyrics

badi mushqil se hum samjhe
humen wo kya samajhte hain
jo achche hain wo har insaan ko
achcha samajhte hain
aa aa aa
zahe qismat mujhe wo apna deewaana samajhte hain
aa aa aa
zahe qismat mujhe wo apna deewaana samajhte hain ae
inayat hai nawaazish hai agar aisa samajhte hain
inaayat hai nawaazish hai, agar aisa samajhte hain
zaah e kismat mujhe wo apna deewana samajhte hai

aa aa aa aa aa
jo kahna tha nazar milte hi dil se kah chuki nazren
aa aa aa
bahut chaaha bahut roka na roke se ruki nazren aen
yaka yak kisliye wo muskuraaye kyun jhuki nazren
aa aa aa
yaka yak kis liye wo muskuraaye kyun jhukin nazren aen
bhari mehfil hai lekin ye humen tanha samajhte hain
bhari mehfil hai lekin ye humen tanha samajhte hain
inaayat hai nawaazis hai agar aisa samajhte hain

aa aa aa
tamanna har tamanna jo na ho poori arre tauba
tumhaare dil se kurbat aankh se doori arre tauba
mohabbat bandi ye majboori are tauba
aa aa aa
mohabbat ki ye had bandi ye majboori are tauba aa
ki ye bhi kah nahin sakte tumhen hum kya samajhte hain
ki ye bhi kah nahin sakte tumhen hum kya samajhte hain
inaayat hai nawaazis hai agar aisa samajhte hai

aa aa aa
aa aa aa
aa aa
naseebon ki kharaabi hai ki tumse pad gaya paala
aa aa aa
mila hoga tumhen kaahen ko aisa chaahne waala aa
udhar tumne samajh kar humko begaana mita daala
aa aa aa
udhar tumne samajh kar humko begaana mita daala aa
idhar hum hain ki hum phir bhi tumhen apna samajhte hain
idhar hum hain ki hum phir bhi tumhen apna samajhte hain
zah e kismat mujhe wo apna deewana samajhte hain
inaayat hai nawaazis hai agar aisa samajhte hain


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

Blog Day : 4167 Post No. : 15341

Today’s song is from film Golden Eyes alias Secret Agent 077 – 1968. The film was made by Madan Chitra. Its director was Kamal Sharma and the music was by B N Bali aka Baldev Nath Bali. The songs were written by Shevan Rizvi. The cast included Shailesh kumar, Mumtaz, Asit Sen, Ulhas,Rajan Haksar Shaikh, Jeevan kala, Helen and a host of other actors.

This was a film which was supposed to be a detective story, with a secret agent having an ID number 077 – a la James Bond ! This film came in the wake of the wave created by one of India’s most successful Secret Agent films in Hindi, featuring the Jumping jack-Jeetendra ( with Trade mark White shoes), which was film Farz-1967. But the comparison , rather similarity ends here only, as far as film Golden Eyes is concerned.

Perhaps, our readers may be wondering as to why have I suddenly changed the track and jumped to talk about an obscure film like Golden Eyes-68 ! About a week ago, I received an E mail query from one of my old friends, inquiring if there were 2-3 artistes with the name of Sailesh, who was a singer, actor and MD ? I routinely get many such queries and I try to answer all of them promptly. In this case, I knew what the problem was. “Sailesh” was a case of ‘Same name Confusion’. I was quite amused, because in my immediate last post, I had discussed a case of SNC and now this case has come up.

I sent my detailed reply to the friend, but thought of writing a post here, so that one more SNC name will be cleared. That is the reason, I selected today’s film song, because in this film the Hero was Shailesh kumar. Yes, there were 2 artistes in Hindi films with the similar name Sailesh. One was Sailesh Mukherjee, who was an actor, singer and a MD and the other was Shailesh Kumar who was only an actor.

In case of artistes before 50’s, getting information was sometimes very difficult. At times, we had to wait for months and years till we hit upon some information source. getting in touch with a close relative of that artiste also solved the problem. But not always. I came across few cases, where even the son or the daughter of the artistes did not know much about the Film career of their father. For example, with great difficulty, I located the address of the daughter of comedian Mirza Musharraf in Mumbai. When I actually visited her, with prior appointment, for an interview, i found that she did not know much about Mirza’s film activity and that she was of no use to me. On the contrary, the daughter of actor singer Parshuram, had all the information, photos, paper cuttings etc. about her father.

In this case, I had a contact with Sailesh Mukherjee’s daughter in law, who gave me all information about what he did after leaving films and the family details. So, first here is information on Sailesh Mukherjee, which is updated with new additions on his post- film life.

Born on 3rd June 1926 in Calcutta, Sailesh Mukherjee completed his Matriculation and came to Bombay in 1946 to become a Music Director. He met Anil Biswas-also from Bengal- and got an opportunity to sing in film Milan-1946. That is how his singing started and he sang in films like Andhon ki Duniya-47 and Vanvasi-48,Aaag-48 (2 songs),Anmol Moti-49 with Shamshad,The last Message-49 with Uma Devi,
Deepak-51 with Uma Devi,Suhag Sindoor-53,Samaj-54 with Asha.
In Andolan-51 he sang ‘Vande Matharam’ with Manna Dey,Parul Ghosh and Sudha malhotra.
He last sang in Naya qadam-58.

His dream of becoming a MD was still not coming through,Finally he became a Music Director ,a joint one with Suresh kumar-in film Suhag Sindoor-1953. Even in this film,his partner made him sing 2 songs,under his baton !

Anyway, later Shailesh gave music to Parichay-54 and Savera, in 1958. While recording songs for Parichay,Shailesh played Tabla himself in all songs. In film Savera his songs became very popular. Songs like “Chhuppa chhuppi Aagad Baagad jaayi re” by Lata and Manna Dey, ” Nadiya ka pani” by Lata and “Jane na,Jane na” by Geeta were specially became hits.

Inexplicably,despite good and hit songs,he stopped getting any more films,either as a Music Director or as a singer. So Shailesh changed his gear once again and he became an Actor. First he acted in film Bandish-55 in the name of ‘Sailesh’. Then he became Hero in ” Miya bibi raazi”-1960, ” Pyar ki Pyas”-1961 and ” Monica”-1962 (UR). As a Hero he had taken a new name SHRIKANT GAURAV. The films did not click.

Music was his passion. He was a multi talented man. Later on he became an Interior Designer and prospered. In addition, he used to compere a programme in Calcutta wherein he would interview all the leading top artist of Calcutta e.g Uttam Kumar etc which was sponsored by Horlicks. He had designed Mala sinha’s bungalow too. The first recording studio at Natraj for Shakti Samanta was designed by him. He used to fly to Calcutta to interview Bengali film stars. Since he had a very good voice and a great command and knowledge about Bangla literature he would lend his voice for documentaries too. He was very passionate about nature and gardening hence he had bought 11 acres of land in Karjat. He used to have regular sessions of his songs at his farmhouse. He used to sing Madhushala with lots of passion. Rabindra Sangeet was his favorite.

Sailesh Mukherjee died somewhere in 1998.

Now let us know about the Same name Shailesh Kumar. His real name was Shambhunath Purohit. He was born on 21-3-1939 at Jodhpur, in a rich family with lot of property. He was handsome and six feet tall. Once he came to Bombay and went to see the shooting of a film. The producer director Ratibhai Punatar offered him a role in the film, but he declined. Later on he completed a course of acting in Filmalaya Acting School.

In 1960, he came to Bombay with just Rs. 75 with him. He used to sleep in the office of a Jodhpur businessman and took rounds of studios for work. Same time Dharmendra was also looking for work. They became friends. However it was Shailesh, who got the first break when he worked in film Nai Maa-1960. Then he was selected for a major role by producer director Sadashiv Row kavi, for his film ‘Bhabhi ki Chudiyan’-1961.( This was a remake of the hit Marathi film “Vahininchya bangdya” ( ?????????? ???????? )-53. A Telugu remake also was made as “Vadina Gari gajulu”-55). This film became popular in Hindi. Row kavi had made a 3 film cotract with Shailesh. The second film was Begana in 1963.

Shailesh did many films from good banners, as Hero and side Hero. he worked in 25 films, but somehow, in spite of acting in good films, with good directors and banners, his luck waned and the flow of films weakened. He managed to do some B and C grade films. His friend Dharmendra also got a break same time, but he rose very high in the industry.

After 1977, Shailesh suffered from a serious ailment of Thyroid gland and he had to take treatment in Tata Hospital. A rumour spread that he had Cancer and films stopped completely. In 1978, he returned to Jodhpur, never to return again to Bombay. He died on 21-4-2017, at the age of 78 years. He left behind him wife Pushpa and a son and a daughter. His last film was Ooperwala jaane-1977. He did 25 films+ 5 UR films.

During his career, Shailesh kumar acted along with Top class actors like Manoj kumar, Sanjiv kumar, Ashok kumar, Randhir kapoor, Balraj Sahani, Dharmendra,Sohrab Modi, Raaj kumar etc, big Heroines like Mumtaj, Rekha, Tanuja, Meena kumari etc, big directors and big banners. However all this did not help him and he remained a side actor only. His health also restricted his career. This is Luck !

Today’s song is sung by Usha Balsavar and Mahendra kapoor with chorus. The music for this film was given by composer B.N.Bali. He was one of those small time composers, who got only the B and C grade films. First of all,let us know who this B N Bali is. There was yet another composer Bali,in the early era of Hindi films. H.C.Bali or Harishchandra Bali(20-3-1906 to 24-6-1976),the expert classical singer who changed into a successful composer is credited with discovering K L Saigal in the early 30s.

B N Bali or Baldev Nath Bali too was a good singer and was a composer restricted to mostly religious or low budget films.He gave music from Bedard-1949 up to Do Dilwale-1973, a total of 24 films,including one unreleased film-Bahut Door (40s). He also gave music to a Haryanvi film in 1973.Though he composed music with a variety,somehow he lacked what it takes to make it to the Big league. On the contrary,B N Bali is known for copying the popular tunes of other composers blatantly.

‘Jab un ka khayal aata hai’-sung by Rafi in Pahla pehla pyar was a copy of Rafi’s ‘Jin raaton me neend ud jaati hai’ by Hansraj behl.
‘Sapne me saiyan tu aaya na karo’-Asha/manna Dey song was a true copy of O P Nayyar’s ‘ Ek pardesi mera dil le gaya’
‘Tu us ka kar bhala’ Rafi in Raja Vikram sang the same “Bhagwaan’ tune as in ” O duniya ke rakhwaale’ etc. etc.

With today’s song, singer Usha Balsavar makes her Debut on the Blog.

( some Information used herein is from Dainik Bhaskar dt.9th May 2017 and Times of India of 20-5-2017, with thanks.)


Song-Husn ki zulfen kaali pad gayin aahon se dil waalon ki (Golden Eyes)(1968) Singers-Usha Balsavar, Mahendra Kapoor, Lyrics-Shewan Rizvi, MD-B N Bali
Female chorus
Male chorus
Mahendra Kapoor + Male chorus
Usha Balsawar + Female chorus

Lyrics

husn ki zulfen kaali pad gayin
o o o
aa aa aa aa
husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

o o o o
o o o o

aahon ne taqdeer bana di
kaale kaale baalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalo ki

ishq ne tumko o o
aahen di hain
aah mein dil ka saaz diya hai
ishq ne tumko aahen di hain
aah mein dil ka saaz diya hai
ishq ne tumko aahen di hain
aah mein dil ka saaz diya hai

ho hamko banaane waale ne dekho
naaz diya andaaz diya hai
hamko banaane waale ne dekho
naaz diya andaaz diya hai

hamko banaane waale ne dekho
naaz diya andaaz diya hai
ho o o
andaaz diya hai
haan aan aan andaz diya hai

thokar mein hum rakhte hain
thokar mine hum rakhte hain
taqdeer zamaane waalon ki
thokar mein hum rakhte hain
taqdeer zamaane waalon ki

thokar mein hum rakhte hain
taqdeer zamaane waalon ki
thokar mein hum rakhte hain
taqdeer zamaane waalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

tera sa andaaz na dekha
husn na dekha
naaz na dekha
tera sa andaz na dekha
husn na dekha naaz na dekha

tera sa andaz na dekha
husn na dekha naaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

husn ko tere dua lagi hai
aji husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

aji husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfe kaali pad gayin
aahon se dil waalon ki

hosh se hum madhosh huye hain
arre marne pe taiyyaar huye hain
hosh se hum madhosh huye hain
marne pe taiyyaar huye hai

hosh se hum madhosh huye hain
are marne pe taiyyar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

ho o o
kurban gaye hain
haan aan
kurban gaye hain

khoon bahaa ke keemat di hai
arre khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

arre khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

khoon bahaa ke keemat di hai
laal gulabi gaalo ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki
husn ki zulfen kaali pad gayin
aahon se dil waalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki


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 : 4147 Post No. : 15313

“Zingaaro” (1963) was directed by Chandrakant for Jai Films, Bombay. The movie had Jairaj, Zabeen, Tiwari, Bela Bose, Lakshmi Chhaaya, Aruna Irani, Maruti, Mridula, Baburao Pehalwan, Babu Raje, Radheyshyam, Moolchand, Gani Pehalwan, Julian etc.
The film has six songs. One song has been covered in the past.

Here is the second song from “Zingaaro” (1963) to appear in the blog. The song is sung by Mahendra Kapoor, Suman Kalyanpur and chorus. Prem Dhawan is the lyricist. Music is composed by S N Tripathi.

Only the audio of the song is available. From the sounds of it, the song is a qawwaali. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Arre adaa se muskura dena…aap se humko mohabbat ho gayi (Zingaaro)(1963) Singers-Mahendra Kapoor, Suman Kalyanpur, Lyrics-Prem Dhawan, MD-S N Tripathi
Male chorus
Female chorus

Lyrics

are adaa se muskura dena
aur haseen sar jhuka lena aa aa
haseenon ko bhi kitna sahal hai
bijli gira dena

ae ji aap se haaye
aap se humko mohabbat ho gayi
ho gayi
ae ji aap se humko mohabbat ho gayi
ho gayi

aur hashr se pehle kayaamat ho gayi
ho gayi
aur hashr se pehle kayaamat ho gayi
ho gayi

ishq ka mat naam lo ae meharbaan aan
ishq ka

aji ishq ka mat naam lo ae meharbaan aan
kya karoge
hoye hoye
kya karoge
jo museebat ho gayi
ho gayi

aji aap se humko mohabbat ho gayi
ho gayi

aa aa aa aa aa aa aa
are ishq mein peechhe haten jo
hum vo deewaane nahin
aji kyun nahin ji, kyun nahin
nahin hum vo deewaane nahin
jalne se jo khauf khaaye
hum vo parwaane nahin
aji kyun nahin ji kyun nahin
nahin hum vo parwaane nahin
jo garajte hain baraste hi nahin
aayega na aap par humko yaqeen

jala do haaye
jala do haddiyaan meri
jala do o
uda do
uda do
dhajjiyaan meri uda do
khata-e-ishq ki aisi saza do
meri hasti hi duniya se mita do
mita do
mita do
mita do
o o o

chhodiye hum aazmaaish kar chuke
kar chuke ji kar chuke
hum aazmaaish kar chuke

aapki sachchi wafa pe mar chuke
mar chuke ji mar chuke
sachchi wafa pe mar chuke

aa aa aa aa
humko bhi haaye
humko bhi thhodi si chahat ho gayi

ho gayi
humko bhi thhodi si chahat ho gayi
ho gayi

aapse humko mohabbat ho gayi ee ee
aapse humko mohabbat
haay
mohabbat
hoye
mohabbat ho gayi ee ee
hashr se pehle kayamat ho gayi ee ee
hashar se pehle kayaamat
haay
kayamat
haay
kayamat ho gayi
ee ee

ho gayi ho gayi
ho gayi

ho gayi
ho gayi
ho gayi
ho gayi


This article is written by Arunkumar Deshmukh, 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 :

4049 Post No. : 15178 Movie Count :

4171

Today’s song is from a Marathi film- Dhananjay-66. This is a Hindi song, sung by Chitalkar, under his own baton ! Lyrics are by P L Santoshi. The film was based on a story by Marathi’s renowned Detective Novelist of yesteryear – Baburao Arnalkar.

In the early 50s,when I was about 10-11 years old, I first read a Marathi detective novel written by Baburao Arnalkar. In those days, reading such stuff was a no-no for children, and so I had to read it, sitting in some lonely corner, keeping one eye and one ear for checking if anybody is seeing me. I was simply thrilled by reading this book and then started the marathon reading of detective novels- of course chori chori ! Happily I found some of my friends also doing the same thing and even my elder brother was seen reading these books.

Shortly, this became an open programme and I joined a local book library, catering to such books. Every month such 10 books used to come there and all these books were written by one author- Baburao Arnalkar. We always wondered how can any one man write so many books, so varied and entertaining every month. As the time went by, the author wrote in a magazine, how he was impressed by novels of Edgar Wallace, Berkeley grey, Roderick Graeme, Peter Cheyney, Sax Rohmer and few others. He decided to adapt their stories to Indian environment, culture and customs, so that Marathi readers felt affinity for them. Certain books, however, were just not possible to adapt lest they lost their charm and such books were presented just in a translated form, with same name and places to maintain reality.

Baburao’s main character, on whom he wrote more books was Dhananjay ( he got this name from Bhagwadgeeta) – a private detective with a sharp intelligence, fearlessness, a high degree of common sense and an ability to use logic rightly. This character seemed to be a combination of Perry Mason (Earl Stanley Gardener), Hercule Poirot (Agatha Christie) and Sherlock Holmes (Arthur Connon Doyle).

Baburao also brought into Marathi the dashing ” Normon Conquest ” of author Berkeley Grey as Zunjar (झुंजार) along with his wife Joy (Vijaya) and the faithful assistant Biji (Netaji). Novels of Zunjar were particularly more popular because he was flamboyant, adventurous and of humorous nature with a speciality of getting his commission from every villain,before Police arrested him. He was one who would not hesitate to cross legal boundaries in order to book the villains in the final chapter. Zunjar’s Guru Bhimsen and successor Golandaz also had many books on them.

The other popular character Baburao Arnalkar brought was Roderick Graeme’s famous “Black Shirt”. In Marathi he became Kalapahad(काळापहाड)- a successful Novelist by day and a daring adventurer by night. Baburao brought stories of Peter Cheyney and Ellery Queen. Brett Haliday’s Mike Shane became Jayant in Marathi. Carter Brown’s private detective was Sanjay in Marathi. Additionally he created from Edgar Wallace, Kodand rao- Public Prosecutor (J.G.Reader), Major(Retd.) Sudarshan- a private investigator and C.I.D. Inspector Murar Rao.

Shifting from the usual, Baburao brought Jungle stories of British Settlements in Africa by Edgar Wallace, featuring Commissioner Sanders, Capt.Hamilton and funny but brave Lt.Bones. These were brought in original form having English names and places. Similarly, the “Justmen” series by Edgar Wallace featuring George Manfred, Leon Gonsalves and Raymond Poicort – each having different skill and together punishing secretly the difficult to catch criminal, helping the Police. Baburao was too versatile. he brought stories of Sailors, featuring Capt Daryasarang and his assistant Savlaram. The seafaring criminal stories were an entirely different world for Marathi readers.

Baburao also gets credit for introducing the deadly Dr. Fu Manchu, a character created by Sax Rohmer. Fu Manchu is a Chinese scientist who wants to rule the world. An entire generation born in the 40s was mesmerised by Baburao’s detective novels and feasted on the stories of heroes created by British, American and German authors, in the 1920s and 1930s. These novels re-created the pre-war times and entertained people.

Having read Baburao Arnalkar’s books based on foreign authors, I got and read almost every English book that Baburao had translated. Novels by Edgar Wallace and others are still in my library. I had about 200 selected books-Marathi- of Baburao Arnalkar, which I gifted to my niece recently.

Baburao Arnalkar (real name Chandrakant Sakharam Chavan) was born on 9-6-1906 at Arnala in Vasai. He studied only up to 10th, but earned a proficiency in English, as he was an avid reader of books. In the 1942 Freedom struggle, he was jailed for 18 months. In this jail, he got hands on the books of Edgar Wallace. He was so thrilled that he decided to bring these books in Marathi. He had already written his first detective novel ” Queen of Diamonds” (चौकटची राणी) in 1939.

He started an Optical lenses shop in Bombay for earning a living. His writing started from 1946, but in the period 1952 to 1966, he was very prolific, writing 6 to 10 books a month. On completing 500 books,the then Maharashtra Government felicitated him and awarded Rs. 10000 also. He wrote 1042 detective novels, before he put his pen down due to old age. His name was entered in Guinness Book of World Records in those days.

He received several awards and honours from prestigious institutions. However the so called Classic literature writers never conceded Detective Novels as a respected form of literature. This always remained an entertainment for the middle class society who dreamt of super powered heroes. More than this recognition, he valued the love and affection an entire generation poured on him. He not only gave entertaining books but also sustained and developed the reading habit among the youngsters of those times.

Baburao Arnalkar died peacefully on 5-7-1996 at the ripe age of 90 years. He must have been a contented man. My thanks to him, for being a true entertainer.

Film Dhananjay-66, based on Baburao Arnalkar’s story, was produced by C.Ramchandra. After parting ways with Lata, in the late 50s, C.Ramchandra did not do well in Hindi films. He disappeared slowly. He turned to Marathi films and stage shows around the world. He got married second time to Shantabai and had a son and a daughter from this marriage. Most of his time he stayed in his Poona Bungalow. His son and daughter are leading doctors in USA, and are well settled. I do not know if Shantabai is still alive. C.Ramchandra had produced 2 Marathi films. The other film was Gharkul.

C.Ramchandra played the Hero- Dhananajay’s role in this film. After his first flop film Naganand-1935 ( only 9 people in the first show. There was no second show), this was his second film in the Hero’s role. The film did average business. The cast was Chitalkar, Uma, Arun Sarnaik ( he had acted in 2 Hindi films…Subhadra haran-64 and Lady killer-68), Ashalata, Gulab Mokashi, Jaymala , Shakuntala etc etc.

The film was directed by Raja Thakur. Rajaram Dattatreya Thakur was born in 1923 at Ponda in Goa. He did work as an assistant to Master Vinayak and later Raja Paranjape. Raja Thakur had produced an English film ” Birbal – My brother “-1973. His another film “Mumbaicha Jawai” (मुंबईचा जावई)-1970, was remade in Hindi as ‘Piya ka Ghar’-1971 by Basu Chatterjee.

There were 6 songs in the films. 3 songs were in Hindi. 1 song was in Konkani. This song “Hatat bangdi sonyachi, hi pori konachi ( हातात बांगडी सोन्याची, ही पोरी कोनाची ) became an evergreen song, so popular that even now, it is played in Ganesh utsav, Holi etc. programmes. Only 2 songs were in Marathi, in this Marathi film.

Today’s song has a tune, which Chitalkar seems to have borrowed from his own film Aazad-1955 – “Marna bhi muhabbat mein kisi kaam na aaya”. Enjoy today’s song in Chitalkar’s voice.


Song- Na mila hai na milega mujhe aaraam kahin (Dhananjay)(Marathi)(1966) Singer – Chitalkar, Lyricist – P L Santoshi, Music – C Ramchandra
Chorus

Lyrics

Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin een een een
suniye
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o
main chala to chal diya zindagi ka kaarwaan
arre main ruka to ruk gaya zindagi ka kaarwaan
hans ke jisne dekh liya
arre hans ke jisne dekh liya
main usi ka ho gaya
aa aa aa aa
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin

do ghadi bhar ke liye kar liya mukaam wahin een een
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o o
raat ke hai baad din aur din ke baad raat hai
arre chal rahi isi tarah saari kaaynaat hai
main bhi chala jaa raha
main bhi
main bhi chala jaa raha
gham aur khushi saath liye
ae ae
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin

o meri is zindagi mein thaharne ka kaam nahin
een een een
Na mila hai na milega mujhe aaram kahin
main musaafir hoon
meri subah kahin shaam kahin


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 :

3959 Post No. : 15037 Movie Count :

4123

Missing Films of 1960s – 110
– – – – – – – – – – – – – – –

Coming into the home stretch now. 110 films from 1960s added during this series. Some of them have been so rare that no information even is available about them. Like today’s film – ‘Black Arrow’ from 1965.

Geet Kosh, the major source of all information on Hindi films of those decades, provides us with the following details. The film is produced under the banner of Ameer Productions, Bombay, and is directed by Mehmood. It is not clear whether this is the same person as the comedian Mehmood that we are all so familiar with. The film is listed as a costume drama. The film poster that is available online indicates this film to be of the ‘zorro’ genre – a masked rider wearing a black cape and a black hat and riding a black horse – gives an impression of a zorro clone type film.

The star cast is listed as Hercules, Chandrakala, SK Shyam, Anjum, Funny Walker, Jilani, Hameeda Bano, Sadhana Khote, Khurshid Khan, Nazeer Kashmiri, Shakeela Bano Bhopali, and Jaani Babu qawwaal.

Geet Kosh lists four songs for this film. All the songs are written by Aziz Ghaazi. Now this name, although not new on the blog, does not have any information associated with it. We have four songs by this songwriter on the blog. In the Geet Kosh listings, I could locate 29 songs written him, for 9 films, from 1958 to 1969. Then, in our blog, his name appears again for a film in 1987 – ‘Tarzan And Cobra’. That makes 10 films that are known to have his name connected with. Almost all films that he has written for are stunt and costume drama films, as their names would suggest – ‘Jungle Princess’ (1958), ‘Choron Ki Baraat’ (1960), ‘Diler Haseena’ (1960), ‘Night Bird’ (1961), ‘Black Arrow’ (1965), ‘Noor Mahal’ (1965), ‘Tarzan And Hercules’ (1966), ‘Tarzarn Aur Jaadui Chiraagh’ (1966), ‘Sakhi Lutera’ (1969), and ‘Tarzan And Cobra’ (1987). So far this is all the information that I have been able to locate about this obscure songwriter.

The previous song written by Aziz Ghazi and posted on our blog, is a qawwaali in the voices of Mubarak Begum and Jaani Babu Qawwaal – “Adaayen Teer Hain Andaaz Barchhi Bhaale Hain” from the film ‘Jungle Princess’ (1958). And again today, we have another qawwaali sung by the same singers. As I have been surveying the landscape of 1960s films and songs, I realize that the qawwaali has been a very popular song type used in the films, all the way from mid 1950s to around end 1970s. So much that every third or fourth film, especially if it is a stunt type B/C grade film, contains a qawaali. Many of them are quite obscure, unavailable. And those which are available, are not much heard. Maybe because they belong to obscure films. But the qawwaalis, in themselves, are superb creations that have gone unnoticed and are lost to the listeners. It may be an idea to do another series of such unfamiliar qawwaalis from that era. (Aah. . . plans. . .) 😉

Let’s listen to this ‘nok jhonk’ qawaali, a very obscure and a rare song. This is the only song that is available for this film, in public domain. It appears that other songs were probably not released on gramophone records. Small mercies – that this one long qawwaali is now available.

Given the list of actors, my intuition says that this qawwaali is performed on screen by Shakeela Bano Bhopali, lip syncing for the back ground voice of Mubarak Begum, and Jaani Babu Qawwaal, singing for himself.

Another interesting point that comes to mind, as I listened to an prepare the lyrics. Per our earlier discussions, and Atul ji’s observations, a nok-jhonk type of song always ends in an agreement between the parties. In other words, it takes about three minutes for the jhagda to end and friendship to begin. This being a qawaali, the protagonists are taking longer to make their points. However the agreement is reached, albeit it arrives after six minutes. Oh well, it is a qawwaali after all. 🙂

Song – Jhoothe Ho Jhoothe Tum Ishq Waale  (Black Arrow) (1965) Singer – Mubarak Begum, Jaani Babu Qawwaal, Lyrics – Aziz Ghazi, MD – Iqbal
Mubarak Begum + Jaani Babu Qawwaal
Female Chorus
Male Chorus

Lyrics

nazar aate ho tum
bezaa..aar hum se. . .

na hoga ye kabhi
sarkaa..aar hum se. . .

jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

tum ne achhi ye mohabbat ki adaa ha paayi
aaj is ke ho to kal us ke baney shaidaai
jaante hi nahin tum waada nibhaana kya hai
jaaiye jaaiye in baaton mein rakha kya hai
haa aaa aaa aaa aaaa
tum se harjaai ki. . .
ulfat ka bharosa kya hai. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

tum ne har baat ko afsaana bana kar chhoda
jis ko chaaha us ko deewaana banaa kar chhoda
bijliyaan hosh pe hans hans ke giraane waale
dil ki duniya mein ho tum aag lagaane waale
aaaa aaaa aaaaa aaaaaaa
ek hum hi nahin. . .
kehte hain zamaane waale. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

hum na hotey to zamaane mein andhera hota
dard ka ranj ka nafrat ka basera hota
husn se apne nazaaron ki sajaaya hum ne
pyaar kya hota hai ye tum ko bataaya hum ne
haa aaa aaa aaa aaaa
ishq mein mit gaye par lab na hilaaya hum ne. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

hum na hotey to ye shokhi na masti hoti
husn ki duniya pe hasrat hi barasti hoti
pyaar kar ke tumhen magroor banaaya hum ne
dilbari ka har ek andaz sikhaaya hum ne
haaaa aaaa aaaaa aaaaaaa
ishq ki raah mein
dil apna jalaaya hum ne. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

pyaar ke naam pe tum mil ke daghaa detey ho
tum wafaadaari ki inaam sazaa detey ho
tum ne chhoda hai mohabbat mein sahaara de kar
tukde dil kar diya hai tum ne hamaara le kar
aaj to gusse mein sarkaar nazar aate ho
khich ke tum aur bhi talwaar nazar aate ho
maan letey hain chalo pyaar tumhaara sachchaa
aao mil jaao ye jhagda nahin hota achhaa
baat taqraar ki dekho na zabaan par laao
saaz e dil chhed ke ulfat ke taraane gaao

hum hain tumhaare
tum ho hamaare
dil ko mila hai sahaara
pyaar ka har taraf hai ujaala

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

नज़र आते हो तुम
बेज़ा॰॰आर हम से॰ ॰ ॰

ना होगा ये कभी
सरका॰॰आर हम से॰ ॰ ॰

झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

तुमने अच्छी ये मोहब्बत की अदा है पाई
आज इसके हो तो कल उसके बने शैदाई
जानते ही नहीं तुम वादा निभाना क्या है
जाइए जाइए इन बातों में रखा क्या है
हा॰॰ आss आss आss आsss
तुमसे हरजाई की॰ ॰ ॰
उलफत का भरोसा क्या है॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

तुमने हर बात को अफसाना बना कर छोड़ा
जिसको चाहा उसको दीवाना बना कर छोड़ा
बीजलियाँ होश पे हंस हँस के गिराने वाले
दिल की दुनिया में हो तुम आग लगाने वाले
आsss आsss आssss आssssss
एक हम ही नहीं॰ ॰ ॰
कहते हैं जमाने वाले॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

हम ना होते तो जमाने में अंधेरा होता
दर्द का रंज का नफरत का बसेरा होता
हुस्न से अपने नज़ारों को सजाया हमने
प्यार क्या होता है ये तुमको बताया हमने
हा॰॰ आss आss आss आsss
इश्क़ में मिट गए॰ ॰ ॰
पर लब ना हिलाया हमने॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हम ना होते तो ये शोख़ी ना मस्ती होती
हुस्न की दुनिया पे हसरत ही बरसती होती
प्यार कर के तुम्हें मगरूर बनाया हमने
दिलबरी का हर एक अंदाज़ सिखाया हमने
हा॰॰ आsss आssss आssssss
इश्क़ की राह में॰ ॰ ॰
दिल अपना जलाया हमने॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

प्यार के नामे पे तुम मिलके दग़ा देते हो
तुम वफादारी की इनाम सज़ा देते हो
तुमने छोड़ा है मोहब्बत में सहारा दे कर
टुकड़े दिल कर दिया है तुमने हमारा लेकर
आज तो गुस्से में सरकार नज़र आते हो
खिच के तुम और भी तलवार नज़र आते हो
मान लेते हैं चलो प्यार तुम्हारा सच्चा
आओ मिल जाओ ये झगड़ा नहीं होता अच्छा
बात तक़रार की देखो न ज़बां पर लाओ
साज ए दिल छेड़ के उलफत के तराने गाओ

हम हैं तुम्हारे
तुम हो हमारे
दिल को मिला है सहारा
प्यार का हर तरफ है उजाला


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

Blog Day : 3879 Post No. : 14902

Mohammed Rafi : The Incomparable (II) – Song No. 08
—————————————————

While I was writing the previous post of this series few days ago, I was maybe suffering from lack of motivation.  So I could not be very expressive and just tried to put together some random thoughts and to start the series again.

Today I am glad that somehow this series has begun again. Simply because I have spent this week in sharing with all those around me with some musical sense, a link I found on YouTube.  Sharing it because that is the only thing I could do short of shouting on rooftops that look what I have found.

Years ago I was a regular visitor http://www.mohdrafi.com.  I was just visiting and reading the various articles that were posted and sometimes making some comments.  Overtime that passivity was a bit tedious and the writings and articles there felt repetitive and somewhat amateurish.  It never inspired any inclination to be more active, though it is a very good site dedicated to the memory of Rafi Sb and full of information about him.

While being a Rafi fan myself, I have often wondered how can people be so over the top in praise and eulogies of some mortals, so as to call him God, Farishta and what not.  The fans of Rafi Sb are so so much – deewane and parwaane on him as if these words were coined for them only, if the readers know what I mean.

Whatsapp university tells me that a human mind can store or process 1 million billion bits of data in a lifetime.  In this same humble brain there are various tidbits of information stored by me too, some which has come to fore during this momentous week.  I have remembered that during the 70’s Rafi Sb used to go on a lot overseas tours to do stage shows.  And years ago I had/heard an audio cassette of one of these shows.  With the advent of YouTube the things and all type of rare and songs and videos became accessible.  Now I remember myself searching for the video clips of stage shows by Mohammed Rafi Sb.  And I found and saw small clips of these shows.  But I had not found any longish recording links of complete stage shows.  Over the years I stopped looking for those.  I can’t recall now when was the last time I really looked for this lost treasure.  I had may be subconsciously given up on ever finding any such thing. It was as if I had convinced myself that they don’t exist.

So It was while just browsing for more inspiring songs by Rafi Sb in the labyrinth of YouTube, I found this video recording of Rafi Sb’s live concert of 1979 at Montreal, Canada.  I was dumb founded that something like this has existed for the last 38 years without being uploaded anywhere and it has surfaced in July 2018.  It was a heaven sent gift for me and it has triggered all sort of memories of all that was there in the deep recess of my mind.  At first I really thought it just cannot be, a video recording of such significance being uploaded now, it was too good to be true.  It is of 1.15 hours.  Here is the link – Mohammed Rafi Live Concert Video – Montreal 1979

As I said above I just couldn’t believe that finally I am seeing something like this.  This is the first time something so comprehensive video is uploaded on the net.  It was a year before the end of the true Golden era of Hindi film music.  And how the maestro is performing, it is to be seen and heard to be believed.  And the singing gets better and better as song after song are getting rendered from his soul.  I have asked this question to many people I have shared the video with, that what do they think that he is singing from his throat, mouth or heart?  Some say that the throw of voice is phenomenal and someone said that this is just not possible to be so much more than the original soundtrack in live performance.

What can one say?  As some of the comments are surmising that “hamaari auqaat nahi hai ke Rafi sahaab ke baare mein kuch keh saken“.  What we can do is just listen to this incredible performance and thank the uploader of this best of the best generosity on his part.  This is a boon to Rafi fans like me 39 year after the event.  But one thing it creates is a hunger for more such recordings, which have started surfacing now.  Let us hope and pray the other such treasures are safe somewhere in the world and will surface in due course, in our lifetime.  I am truly humbled by the good fortune of being able to experience something like this.

Naushad Sb had this to say about Rafi Sb “aaj mausiqui ko tujh pe naaz hai“.  This has made me see that all this highest of high praises were showered on him by various peers and contemporaries were really heartfelt and never were they too much.  I rather think they felt speechless when contemplating what to say about Rafi Sb and took a short cut and called him God of music.

Someone has commented that Rafi Sb does not need the award of ‘Bharat Ratna’ rather the award needs Rafi Sb to mean something.  Not intending to be political, I can but agree with this.  More so with the history and the civilisation from which such a sur samraat has emerged.  Something else I have understood with this ethereal experience is that those who can deny the truth in the statement that “Rafi ko nahi suna to kya suna?” could do so because of their ignorance of the subject matter.

Today I am presenting a rare song by Rafi Sb from the film ‘Duniya Hai Dilwaalon Ki’ (1966).  Music is by Jimmy (aka James Singh) and the lyricist of this qawwali is Anjum Jaipuri.  As can be expected it is a delightful qawwali containing a repertoire of mumbaiyya terminology.  They could have used this one in ‘Munna Bhai MBBS’ series too.

And there is the ‘whistle sound’ in the middle of singing.  Rafi Sb has done this in the live concert too, i.e. whistled in the middle of the Punjabi song and then continued to sing in the same breath.  Unbelievable, that the microphone is able to capture the bass and the echo in the words that are falling from the mouth like precious jewels in a free fall in a hall full of people watching.  Yes there is that ‘goonj‘ in the words as they are resonating from the mike, and the sound of the end of the earlier word still can be head even as he starts the next word.  This is the only explanation of the sound of the word already sung and the start of the next word at the same time.  May be this happened with others also, I don’t know.

The simplicity, humbleness of the person while acknowledging the applause.  The only concession to any showmanship on Rafi Sb’s part is the formal attire, which has to be more as a form of respect for the audience than anything else.  His God gifted ability is there for all to see.  I can empathise with the people who were part of the recording studio set up, witnessing the phenomenal singing day in and day out for all those years, for being in so much in awe of the personality so as to call him God.

Anyways , all we can do is listen and try not to faint with the awesomeness of it all.  And thank the Almighty God for blessing us with this gift just as he blessed Rafi Sb.


Song – Ye To Qismat Hai, Meri Jaan Varna (Duniya Ha Dilwaalon Ki) (1966) Singer – Mohammed Rafi, Lyrics – Anjum Jaipuri, MD – Jimmy
Chorus
Unidentified Male Voice

Lyrics

koyi kuchh bhi kahe pyaare
magar yeh baat pakki hai..ea..eaaaaaaa
yahaan aata hai wo jis per
koyi ilzaam hotaa hai 
haa aaan 
sabab koyi..ee..eeee
na koyi thhaa 
jo yun khinch kar
chale..ea aaye

yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

yaar apna ik imaamudeen thha
manchala thha aur bahot shauqeen thhaa
haan aaan
saathh choupaati gaye ham ghoomne
arey husnwaalon par lagaa woh jhoomne
to phir
kabhi ladki ko yoon bulaata thha
dheere dheere seeti bajaata thha
(whistle sound)
dheere dheere seeti bajaata thha
ganga jamuna ke gaane gaata thha
raj ki tarha muskuraata thha
ek ladki jo zaraa…
ek ladki jo zara jaadi thhi
pehne huey wo kaali saadi thhi
us ki aankhon mein deep jalte thhe
dekhnewaale aankhen malte thhe
raat soyee thhi us ke baalon mein
chaand hansta thha gore gaalon mein
aayi shaamat usey salaam kiyaa
us ne chappal se apni kaam liyaa
haan aaan
chhed khaani ka mazaa mehenga pada
aur ham ko pyaare
jail mein aana pada
ho ho hoo
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

dhoka diya naseeb ne
ban kar bigad gayaa
haay haay hai
arey kadke ki jeb mein
jo mera haath pad gaya
to phir
khol ke dekha paakit khaali thha
paakit wala bhi khud sawaali thha
band kaaghaz mein dil ki tehreeren
husnwaalon ki chand tasweeren
apni qismat ke rang aise thhe
ek sigret thhi chaar paise thhe
chaar paison mein guzar kab hotee
husnwaalon ki nazar kab hotee
inhen daulat se pyaar hota hai
in ki balaa ke koi rota hai
aaya gussa to paakit phaink diya
paakit waale ne mujh ko dekh liya..aa
haan aan
bhaagnaa chahaa magar main gir pada
jaise uttha muhn pe ek thappad padaa
haan aan 
apne peshe se huyi nafrat mujhe 
jail mein karni padi kasrat mujhe
ho ho 
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

aa aaa aaaa aaaa
aa aaaa aaa
haan aan
baap zinda thha
bohat aaraam thha
ghar mein apna ramchander naam thha
aur ab
hamen ab ramu dada kehte hain
chaal mein gangu ki hum rehte hain
tezi mandi ka dhanda hota thha
apni masti mein banda sota thha
yun hi phokat mein kaam chalta thha
kaale ghode tak naam chaltaa thha
dil mein chaahat thhi badi sehre ki
aane waali thhi ghadi sehre ki ee
haan aan 
maa qasam apna yeh dil kaala nahin 
doston ki baat ko talaa nahin
haan aan
laaye ismuggling ka sona chaal mein
raamchander ko phasaaya jaal mein

haa..aan
o yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

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

कोई कुछ भी कहे प्यारे
मगर ये बात पक्की है॰॰ए॰॰ए॰॰ए
यहाँ आता है वो जिस पर
कोई इल्ज़ाम होता है
हाँ॰॰आं
सबब कोई॰॰ई॰॰ई
ना कोई था
जो यूं खिच कर
चले आए

ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

यार अपना इक इमामुद्दीन था
मनचला और बहोत शौकीन था
हाँ॰॰आं
साथ चौपाटी गए हम घूमने
अरे हुस्न्वालोन पर लगा वो झूमने
तो फिर
कभी लड़की को यूं बुलाता था
धीरे धीरे सीटी बजाता था
(सिटी का स्वर)
धीरे धीरे सीटी बजाता था
गंगा जमुना के गाने गाता था
राज की तरह मुसकुराता था
एक लड़की जो ज़रा॰॰॰
एक लड़की जो ज़रा जाड़ी थी
पहने हुए वो काली साड़ी थी
उसकी आँखों में दीप जलते थे
देखनेवाले आँखें मलते थे
रात सोई थी उसके बालों में
चाँद हँसता था गोरे गालों में
आई शामत उसे सलाम किया
उसने चप्पल से अपनी काम लिया
हाँ॰॰आं
छेड़खानी का मज़ा महंगा पड़ा
और हम को प्यारे
जेल में आना पड़ा
हो हो हो॰॰ओ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

धोखा दिया नसीब ने
बन कर बिगड़ गया
हाय हाय हाय
अरे कड़के की जेब में
जो मेरा हाथ पड़ गया
तो फिर
खोल के देखा पाकिट खाली था
पाकिट वाला भी खुद सवाली था
बंद काग़ज़ में दिल की तहरीरें
हुस्न्वालोन की चंद तस्वीरें
अपनी किस्मत के रंग ऐसे थे
इक सिगरेट थी चार पैसे थे
चार पैसों में गुज़र कब होती
हुस्नवालों की नज़र कब होती
इन्हें दौलत से प्यार होता है
इनकी बला से कोई रोता है
आया गुस्सा तो पाकिट फेंक दिया
पाकिट वाले ने मुझे देख लिया॰॰आ
हाँ॰॰आं
भागना चाहा मगर मैं गिर पड़ा
जैसे उठा मुंह पे एक थप्पड़ पड़ा
हाँ॰॰आं
अपनी पेशे से हुई नफरत मुझे
जेल में करनी पड़ी कसरत मुझे
हो हो
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

आ आs आss आss
आ आss आs
हाँ॰॰आं
बाप ज़िंदा था
बोहत आराम था
घर में अपना रामचंदर नाम था
और अब
हमें अब रामू दादा कहते हैं
चाल में गंगू की हम रहते हैं
तेज़ी मंडी का धंधा होता था
अपनी मस्ती में बंदा सोता था
यूं ही फोकट में काम चलता था
काले घोड़े तक नाम चलता था
दिल में चाहत थी बड़ी सेहरे की
आने वाली थी घड़ी सेहरे की॰॰ई
हाँ॰॰आं
माँ कसम अपना दिल काला नहीं
दोस्तों की बात को टाला नहीं
हाँ॰॰आं
लाये इस्मग्लिंग का सोना चाल में
रामचंदर को फसाया जाल में

हाँ॰॰आं
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ


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 : 3723 Post No. : 14659

“Zaalim Jaadoogar”(1960) was produced and directed by Sultan for Firdaus Films Bombay. This movie, a fantasy movie had Hercules, Neeta, Rajrani, Shaam, Sujata Kumari, Harbans, Kenny, Leela, Bagla, Maqbool, Begam, Ameer Ahmad, Hameed Majnu, Zippy, Ghulam Hussain, Mansoor, Md Sandow, Moosa, Gopal, Badri Narayan, Shaukat, Saban Ali, Om Prakash etc in it.

The movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Zaalim Jaadoogar”(1960) to appear in the blog. The song is sung by Seeta Agrawal, Meenu Purushottam and chorus. Shor Niyazi is the lyricist. Music is composed by Iqbal.

Only the audio of the song is available. The song appears to be a qawwaali song.

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


Song-Hamen yoon na dekho badi berukhi se (Zaalim Jaadoogar)(1960) Singers-Seeta Agrawal, Meenu Purushottam, Lyrics-Shor Niyazi, MD-Iqbal

<strongLyrics

hamen yoon na dekho badi berukhi se
kahin rooth jaayen na
ham zindagi se

aa aa aa aa
aa aa aa
hamen yoon na dekho
hamen yoon na dekho
haay hamen yoon na dekho
badi berukhi se
hamen yoon na dekho
badi berukhi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho
badi berukhi se

agar tumse raushan hai jhilmil sitaare
mohabbat bhi zinda hai dam se hamaare
tumhe ho mubarak ye rangeen nazaare
hame kya garaj
haanji hamen kya garaj
chaand ki chaandni se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho badi berukhi se

kasam aapki dil se dil ko milaa kar
hamaari wafaaon ko tum aajmaa kar
hamen apna kah do zara muskura kar
ye dil kya hai
haanji ye dil kya hai
ham jaan de den khushi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hame yoon na dekho
haay hamen yoon na dekho badi berukhi se

kisi din tumhen dil lagaana padega
kisi din tumhen dil lagaana padega
mohabbat mein aansu bahaana padega
mohabbat mein aansu bahaana padega
kabhi na kabhi sar jhukaana padega
chhudaaoge daaman
haan chhudaaoge daaman kahaan tak kisi se
zamaane mein ham bhi nahin kam kisi se
zamaane mein ham bhi nahin kam kisi se
hamen yoon na dekho
haay hamen yoon na dekho badi berukhi se
hamen yoon na dekho badi berukhi se


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.

Blog Day : 3652 Post No. : 14506

Hullo to all atulites

In the euphoria to celebrate the blogs 10th anniversary with an appropriate post last week I missed out on a few anniversaries, occasions for which I always try and send a special song. I just realised that 18th July is the anniversary of another favourite. So here is a song for the occasion.

But I think, we can have a song featuring one in a movie in which the other is the main lead. The two actors I was thinking of combining are Rajesh Khanna and Sanjeev Kumar.

We missed Sanjeev Kumar’s birthday last week, he would have been 80 years on 9th July. And 18th July, it will be six years since Rajesh Khanna passed away. Both the actors were active around the same period. Both had their distinct styles in acting and also the kind of characters they enacted. They have appeared in about five films together – “Bandhan”, “Aap Ki Kasam”, “Chala Murari Hero Banane”, “Suraag” and I think Rajesh Khanna had a guest appearance in “Ram Tere Kitne Nam” which released about the time Sanjeev Kumar passed away. “Bandhan” was essentially a Rajesh Khanna movie where Sanjeev Kumar had a small role as a lawyer who fights a case for Rajesh Khanna. “Aap Ki Kasam” had Sanjeev Kumar play RK’s friend and neighbour and the eventual cause for the separation of Rk and Mumtaz. I don’t remember much about “Chala Murari Hero Banane” which was a movie about movies made by actor Asrani and I feel both RK and SK might have played themselves i.e. film stars, in guest appearances. That brings us to “Suraag” which is a Sanjeev Kumar movie where Rajesh Khanna is in a guest appearance in a song situation along with Tina Munim.

Remembering Rajesh Khanna with this song from “Suraag” which was produced by Jagmohan Mundhra and directed by Jag Mundhra and Ambrish Sangal. It had Sanjeev Kumar as husband to Gita Siddharath, playing a professor in Criminology and Parikshat Sahni playing a doctor who is the professor’s unmarried friend. Shabana Azmi plays Parikshat Sahni’s wife who is kidnapped on her way to New York. And then the movie’s mystery begins. The movie had music by Bappi Lahiri and written by Kaifi Azmi. The playback singers use in the movie were Mohd. Rafi, Asha Bhonsle, Lata Mangeshkar, Bappi Lahiri and Kishore Kumar. Today’s song is a qawwali where Rajesh Khanna is on stage with Tina Munim and Gita Siddharath and Sanjeev Kumar are in the audience. Half way through the song Gita spots Shaban Azmi among the chorus girls and then the chase to find her picks up steam. I have seen this movie ages ago so I don’t remember if the song happens abroad or in India. The movie’s story transports the audience back and forth between India and America.

Here is the song which has Rafi and Asha giving playback alongwith male and female chorus.

(not a very clear video)
Song-Wo nazar le ke rahi dil (Suraag)(1980) Singers-Rafi, Asha Bhonsle, Lyrics-Kaifi Azmi, MD-Bappi Lahiri
Male chorus
Female chorus
All chorus

Lyrics

woh nazar leke
woh nazar leke rahi dil
tanaana haiya hu
woh nazar leke rahi dil
tanaana haiya hu
lut gaye
lut gaye
lut gaye hum sare mehfil
tanana haiya hu uuuu
lut gaye hum sare mehfil
tanana haiya hu uuuu haaye
thham ke baithe hain jo dil
tanaana haiya hu
thhaam ke baithe hai jo dil
tanana haiya hu

hai yahi
haan yahi
hai yahi toh mere kaatil
tanana haiya hu uuuu
hai yahi toh mere kaatil
tanana haiya hu uuuuu haye

woh nazar leke rahi dil ka
tanana haiya hu
woh nazar leke rahi dil ka
tanana haiya hu

thhaam ke baithe hain jo dil
tanana haiya hu uu

thhaam ke baithe hain jo dil
tanana haiya hu

kisliye tezz hawaaon mein
jalaaya hai charaag
kabhi paaoge na tum
khoye huye dil ka suraag
uska paana toh hai mushqil
mushqil
uska paana to hai mushqil
tanaana haiya hu uuuu haaye
woh nazar leke rahi dil
tanana haiya huuu
woh nazar leke rahi dil
tanana haiya hu

aaaaa
aapke dil mein nazar aate hai
yun hi kai daag
aise daagi ka bhala
paayenge kya aap suraag
wo na tha

wo na tha
wo na tha pyaar ke kabil
tanaana haiya hu uuu haaye
thhaam ke baithe hain jo dil
tanana haiya hu

thhaam ke baithe hai jo dil
tanana haiya hu

unko dekho koi aur unki adaayen dekho
ek zara sar ko jo sharmaake jhukaayen dekho
bijliyaan kyun na woh hans hans ke giraayen dekho
unpe qurbaan hai mehfil
mehfil
unpe qurbaan hai mehfil
tanana haiya hu uuuu haaye
wo nazar leke rahi dil
tanana haiya hu
wo nazar leke rahi dil
tanana haiya hu

aaaa aaaaa aaa
aaaaaa aaaaaa aa

pa ni sa ni
pa ni sa ga sa ni
sa ga ma ga sa ni ni sa
pa ni sa ni
pa ni sa ga sa ni
sa ga ma ga sa ni ni sa

mere dildaar ho tum
meri jaan pyar ho tum
main hoon chanda ki kiran
nahi talwar ho tum
kabhi behosh ho tum
kabhi hosiyar ho tum
milti hai mujhko saza

aur gunehagaar ho tum
bikhne aaye ho yahaan
kaise khareedaar ho tum u u u
aaaaa aaaaaaa
aaaaaa aaaaa
bikhne aaye ho yahaan
kaise kharidaar ho tum u u u u
kabhi ikraar ho tum
kabhi inkaar ho tum
kabhi aasaan bahot
kabhi dushwaar ho tum
dil ka bachna to hai mushkil
mushkil
dil ka bachna to hai mushkil
tanana haiya hu uuuu haye
wo nazar leke rahi dil ka
tanana haiya huuu
wo nazar leke rahi dil ka
tanana haiya hu

in nigaahon ki kasam
gori baahon ki kasam
mehke baalon ki kasam
dehke gaalon ki kasam
bikhare gesu ki kasam
jaage jaadoo ki kasam
mast khushboo ki kasam u
uth’te pallu ki kasam
de bhi do husn ki khairaat hamein
banke aaye hain hum saahil
saahil
banke aaye hai hum saahil
tanaana haiya hu u u haaye
tham ke baithe re jo dil
tanana haiya hu

tham ke baithe re jo dil
tanana haiya hu

jhoothi baaton ki kasam
teri ghaaton ki kasam
muskuraane ki kasam
dil lubhaane ki kasam
pyaase tan man ki kasam
dil ki dhadkan ki kasam
teri subahon ki kasam
teri shaamon ki kasam
aaaaa aaaa
hai gunehgaar tera dil
tanaana haiya hu u u u
thhaam ke baithe hain jo dil
tanaana haiya hu

thhaam ke baithe hain jo dil
tanaana haiya hu

wo nazar leke rahi dil ka
tanana haiya hu
wo nazar leke rahi dil ka
tanana haiya hu

tanana haiya hu tanana haiya hu
tanana haiya hu tanana haiya hu
tanana haiya hu tanana haiya hu
tanana haiya hu tanana haiya hu
tanana haiya hu tanana haiya hu
tanana haiya hu tanana haiya hu


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 : 3651 Post No. : 14500

With well over fourteen thousand plus songs and counting, blog century post is a keenly looked forward to occasion for the blog. It signifies the achievement of yet another century for the blog.

With this song, we achieve one more century for the blog, namely century number 145. In other words, this post is song post number 14500 for the blog.

Under normal circumstances, a century landmark is often the main show in the blog, but this time it finds itself relegated to the status of a sideshow. The blog is completing ten years of its existence in a couple of days from now, and we are all concentrating on that mega event. It is like a grand wedding coming up in a family that everyone is concentrating on and they miss the fact that a kid in the family had just won a seat in a prestigious college. On another day, it would be a grand occasion, but it gets ignored on a occasion like this.

Well, a century is a century, as our respected Sunil Gavaskar never fails to remind us. 🙂 And that is indeed the case. No century comes easy in this blog. This century has been toughgoing. This time duration of 41 days for this century had as many as four dot days including two dot days in a row, which is quite unusual for the blog. A late surge for the last few days, driven by entusiasm for the forthcoming 10th anniversary date sees us clocking a good number of posts (26) in the last six days. It looks like lightening pace by present days standard of the blog, but believe me, it would have regarded as ultra slow in olden days of yore (2011-12) when we averaged 6 to 7 songs in a day and some less enthusiastic music lovers would request us to go slow on our postings. 🙂

Coming to the song, this song, like most blog century songs, richly deserves this honour. This song is a qawwaali. Those music lover who are fans of qawwaali would know what a good qawwaali means. It means a song lasting more than seven or eight minutes and still music lovers not realising how this time flies away. Typical HFM qawwaalis has nok-jhonk between the two genders, where the lead singer of each genders has chorus to lend support to them. The lyrics of these qawwaalis are , to my mind the real stars of this genre of song. The words, word plays, the taunts, the jokes that form part of the qawwaali are hard hitting as well as amusing.

The qawwaali under discussion is from “Jungle Princess”(1958). It is an obscure song from an obscure movie. This movie was directed by A R Zameendaar for Navshakti Films, Bombay. This costume drama (veshbhoosha pradhan film) had Kamran, Shanta Kumari (Neeru), Baburao, Indira, Habeeb, Leela Gupte, Janibabu Qawwaal, Shakila Bano, Fazal, Neelofar, Amina, Sheikh, Funny Walker etc in it.

The movie had five songs in it. Full details are known only for one song, viz for the song under discussion. Singers of other songs are not known though it is mentioned in HFGK that Mubarak Begam and Jaani Babu qawwaal were the singers in the movie.

Here is this qawwaali for “Jungle Princess”(1958). It is sung by Mubarak Begam and Jaani Babu qawwaal, assisted by female and male chorus. The great lyrics are by Aziz Ghaazi. Music is composed by the duo of Bipin Mehboob.

The song is a forgotten gem. One expects a qawwaali to contain only heavey duty Persian/ Urdu stuff but it is a “modern” qawwaali far ahead of its time (1958) and it contains English words in it as well. 🙂

1958! So this qawwaali was created exactly 60 years ago !

Here is this fantastic qawwaali from “Jungle Princess”(1958) as the 14500th song in the blog. Only the audio of the song is available. Video would have been available had the movie done well like say “Al Hilal”(1958) which had also come in the same year and whose iconic qawwaali had become the 5000th song in the blog back in 2011 !

Only the audio is available and let us be thankful for that. My guess is that this song was picturised on Shaikila Babo Bhopali and Jani Babu Qawwaal.

With this song, “Jungle Princess”(1958) makes its debut in the blog.

This song also serves as a tribute to Mubarak Begam whose remembrance day falls tomorrow (18 july 2018). We will pay our tribute to her tomorrow as well with some more of her great songs. For now, here is this 14500th song in the blog. As always, I thank one and all for their continued support for a decade (it will be a decade two days from now). It had been a reat journey. We had achieved 145 centuries in this one decade. Let us see what the future has in store for us. Just how many more centuries do we have in store and in how many more years. Let us take it one song at a time like how we have done so far and who knows where we may end up with. It has been a great one decade for me as well as the fellow travellers of this musical bandwagon. Let this musical bandwagon continue to roll on and on !

And now, please listen to this song. If you are like me, you may find yourself listening to this song again and again. And that is what I am doing at this moment as I type out these finishing lines of this article.


Song-Adaayen teer hain andaaz barchhi bhaale hain (Jungle Princess)(1958) Singers-Mubarak Begam, Jaani Baabu Qawwaal, Lyrics-Aziz Ghaazi, MD-Bipin Mehboob
Female chorus
Male chorus
All chorus

Lyrics

adaayen teer hain
andaaz barchchi bhaale hain
sambhal ke aana muqaabil mein
husn waale hain
aji haseen jitne hain
sab apne dekhe bhaale hain

hum ahl e dil bhala kab
inse darne waale hain

adaayen teer hai andaaz barchchi bhaale hain
sambhal ke aana muqabil mein
husn waale hai

adaayen teer hai

jahaan haseen hon inke wahin pe hain dere
wahin pe hain dere
bajaake sitiyaan galiyon mein karte hain phere
ye karte hain phere
gumaan hota hai
gumaan hota hai
kauve udaane waale hain
sambhal ke aana muqabil me
husn waale hain

adaayen teer hain

na karna inpe bharosa
ye hue hain kis ke
na karna

inpe bharosa
ye huye hain kis ke

aji dikhaai ek jhalak
muskura diye khiske

muskura diye khiske
ye dhokhebaaz bhala
ye dhokhebaaz bhala
kiske hone waale hain

hum ahl e dil bhala
kab inse darne wale hain

haseen jitne hain

bataao kis’se ye ulfat ka taraana seekha
ye taraana seekha
kisne ?? jab dil ka lagaana seekha
dil ka lagaana seekha
huzur aise bahut
huzur aise bahut
hamne dekhe bhaale hain
sambhal ke aana muqabil mein
husn waale hain

adaaye teer hain

ye muskura ke bajaate hain dil ka ek taara
ye muskura ke

bajaate hain dil ka ek taara
jo inse pyar kare
uske baj gaye barah

uske baj gaye barah
ye laal pyaar mein
ye laal pyaar mein
jhandi dikhaane waale hain

hum ahl e dil bhala kab
inse darne waale hain

haseen jitne hain

bane hain aashiq e jaanbaaz jeb mein zero
hain jeb mein zero
badha ke baal samajhte hain
ban gaye hero
ye ban gaye hero
inhen bhi dekhiye
inhen bhi dekhiye
ji teer kya nikaale hain
sambhal ke aana muqabil me
husn waale hain

adaayen teer hain

hai rang pakka magar
zidd hai ke pari samjho
hai rang

pakka magar
zidd hai ke pari samjho

pataakha jaan kaho
inko phuljhadi samjho

inko phuljhadi samjho
aji andhere bol rahe
andhere bol rahe hain ki
hum ujaale hain

hum ahl e dil bhala kab
inse darne waale hain

haseen jitne hain sab

bhala hazaaro taraf ??
tera hai kya kehna
tera hai kya kehna
kameez phhaad ke majnu ne suit hai pehna
ye suit hai pehna
club mein seekhne ab
calub mein seekhne ab
dance jaane waale hain
sambhal ke aana muqabil mein
husn waale hain

adaayen teer hain

laga hai munh pe to powder
labon pe hai laali
laga hai

munh pe to powder
labon pe hai laali

zamaana badla hai
Laila nahin rahi kaali

ab nahin rahi kaali
aji kata ke baal ye
kata ke baal ye
england jaane waale hain

hum ahl e dil bhala kab
inse darne waale hain

haseen jitne hain
sab apne dekhe bhaale hain

sambhal ke aana muqabil mein
husn waale hain

hum ahl e dil bhala kab
inse darne waale hain

sambhal ke aana muqabil mein
husn waale hain

hum ahl e dil bhala kab
inse darne waale hain

sambhal ke aana muqabil mein
husn waale hain

adaaye teer hai andaz barchchi bhaale hai
sambhal ke aana muqabil mein husn waale hain


What is this blog all about

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

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

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

Important Announcement

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

Total number of songs posts discussed

15505

Number of movies covered in the blog

Movies with all their songs covered =1195
Total Number of movies covered =4273

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