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

Archive for the ‘qawwali’ Category


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

Blog Day :

4651 Post No. : 16316 Movie Count :

4430

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 132 # Qawwalis – 10 # Missing Films of 1971- 04#
——————————————-————————————————-—

Welcome all to the ‘tenth’ qawwali post in this series. It gives me immense satisfaction that I could present this series. I will be able to conclude this series in the next couple of posts.

Today we will listen to a ‘sufi qawwali’ rendered by the most admired ‘qawwali singing’ duo Shankar-Shambhu. I have mentioned it in my earlier posts that I have a great fascination for this name ‘Shankar-Shambhu’, may be because of the movie with same name released in ‘1976’ which I watched in my childhood, and possibly may be from the discussions of elders at home about the ‘qawwali’ and this ‘qawwali’ singing duo.

Stage shows and programs of ‘Qawwali’ were very common during the years of my childhood i.e., the ‘seventies’ and they were also part of movies where we had great qawwalis produced in HFM.

Today’s qawwali is from the movie ‘Shaan-E-Khudaa-1971’. It is directed by Nanubhai Vakeel for ‘Vanita Films, Bombay’. It had Azra, Rajpal, Chandra Mohan, Benazir, Roshan, Salam, Sukhbir Kaur, Anwari Bai, Munshi Munakka, Wazeer Muhammad Khan, Uma Dutt, Shaukat Azmi, Sujata, Master Sunil, Master Dabbu, Baby Deepali and others.

This movie was passed by Censor Board on 20.05.1971.

‘Shaan-E-Khudaa’ had seven songs written by A.H. Rizvi, S.H. Bihari, Kaifi Azmi and a traditional song. Music for this film was composed by Iqbal Qureshi. Asha Bhonsle, Mohd Rafi, Hemlata, Krishna Kalle and Shankar-Shambhu had lent their voices to the songs in this movie.

Here is the list of songs of this movie as mentioned in HFGK Vol-V (1971-1980);

S.No. Song Title Lyricist Singer/s
01 Teri zulfon ke ameer… jalwa zaraa dikhaa de A.H. Rizvi Shankar-Shambhu
02 Kaali kamli waale tujhpe laakhon salaam Asha Bhonsle
03 Ya nabi salaam aleka, ya rasul salaam aleka A.H. Rizvi Asha Bhonsle
04 Rakhta hai jo roza kabhi bhookhaa na rahegaa Asha Bhonsle
05 Dekha na kabhi hamne apnaa hai ki begaanaa Krishna Kalle
06 Milta hai kya namaaz mein sar ko jhukaa ke dekh lo A.H. Rizvi Asha Bhonsle
07 Bihar ho ki maneri ho, ye rozaa ye roze ki shaan allaah

On screen today’s qawwali is performed by Shankar-Shambu themselves. I guess that it is picturized in the premises of the famous ‘Khawaajaa Moinuddin Chishti’ dargaah at Ajmer. The picturization also shows the clips of the ‘annual fair’ at the dargaah and also the picturesque locations of Ajmer including the famous ‘Pushkar Lake’.

let us now listen to today’s qawwali in the voice of Shankar-Shambhu and chorus. Lyrics are by A.H. Rizvi and Music is composed by Iqbal Qureshi.
I have not been able to note correct words at a few places. I would request readers to provide correct ords there and would also like to request knowledgeable reader who had watched this movie to throw light on the movie and its songs..

From today the ‘holy’ month of ‘Ramaadaan’ will also start and I would take this opportunity to wish everyone a ‘very happy Ramaadaan’.It will miss the normal fervor this time due to the current ‘Covid19 pandemic’ related restrictions. I am sure people will celebrate it with the same enthusiasm and offer their prayers to God to bless everyone with good health, joy and peace in life.

This movie ‘Shaan-E-Khudaa-1971’ makes its debut on the blog ith this qawwaali.

Video

Audio

Song-Dil ki lagi bujhaa de Ajmer waale Khwaajaa(Shaan e Khuda)(1971) Singers-Shankar-Shambhu, Lyrics-A H Rizvi, MD-Iqbal Qureshy

Lyrics

raahate khal gojaan (?) Moinuddin
raahate khal gojaan (?) Moinuddin

haami e bekasaa Moinuddin
ahl-e-duniya ka wo nahin mohtaaj
jispe ho meharbaan Moinuddin

teri zulfon ke aseer aayen hain ae ae
khaa ke sab ishq ke teer aayen hain ae ae
khwajaji ee ee ee
ek mela sa lagaa hai daron par
door se tere fakir aayen hain
jalwaa zaraa dikhaa de
khawaaja ji ee ee ee
jalwaa zaraa dikha de
ajmer waale khwaaja
jalwaa zaraa dikhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa
o more khwaaja
dil lagi bujhaa de
aa aa aa aa aa aa
dil ki lagi bujhaa
aa aa aa aa aa aa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
aa aa aa aa aa aan

har kaam mera
meri taqdeer ne bigaadaa
gham ki chali wo aandhi
dil ka nagar ujaadaa aa
ujdaa nagar basaa de
khawaaja ji ee ee ee
ujdaa nagar basaa de
ajmer waale khwaaja
ujdaa nagar basaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de

ye wo chaukhat hai
jis chaukhat par sab
gardan jhukaate hain
yahaan rehmat utarti hai
farishte aate jaate hain
aa aa aa aa aa aa aa
yahi dar hai jahaan
mehmood khilji rota aa aayaa thha
yahi dar hai jahaan jo
usne maanga thha wo paaya thha
haan aa aa aa aa aa
isi dar par kabhi
akbar ne bhi
daaman pasaaraa thha
yahin gardan jhukaayi thhi
yahin par taaj utaaraa thha

jhaangir aaya thha dehleez par
jaise faqir aaye
palat jaate thhe dushman ki taraf se
jitne teer aaye ae
sabko diya sahaaraa aa
tu sab ke kaam aayaa
khwaajaa ji ee ee ee
mere khwaajaa ji ee
sabko diyaa sahaaraa
tu sab ke kaam aayaa
mujhko bhi aasraa de
mujhko bhi aasraa de
ajmer waale khwaajaa
mujhko bhi aasraa de
ajmer waale khwaajaa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
o ho more khwaajaa
haan aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de

jab ke ajmer mein
khwaaja ka qadam aaya thha
phool sa chehra
kadi dhoop mein murjhaayaa thha aa
saath khwaaja ke jo
deewaane chale aate thhe
aisi garmi thhi ke parwaane jaley
jaate thhe
ek jungle mein nazar
aaya kahin kuchh saayaa
kaafilaa hazaratein
khwaaja ne wahaan thhehraaya aa
aake charwaahe ye bolen ke
yahaan se jaao o
kaafilaa apnaa kahin aur hi
tum thhehraaao o o
kaise mumkin hai ki is saaye mein
insaan rahe
oont rajaa ke yahaan baithhte hain
dhyaan rahen
uthhte utthte bhi ye phir
hazrat e khwaajaa ne ae ae kahaa aa aa
lo jagah apni sambhaalo
main kahin aur chalaa aa aa
par faqiron ko sataaya hai
to pachhtaaoge
oont baithhe hi rahenge
na uthhaa paaoge
sabne us roz ye khwaajaa ki
qaraamat dekhi
oont baithhe to phir
uthhne ki na himmat dekhi

qadmon pe sar jhukhaa ke
charwaahe saare boley ae
aisi na tu sazaa de ae
khwaajaa ji ee ee ee
mere khwaajaa ji ee ee ee
aisi na tu sazaa de ae
ajmer waale khwaajaa
aisi na tu sazaa de ae
ajmer waale khwaajaa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
o ho more khwaajaa
dil ki lagi bujhaa de
haan aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa aan
dil ki lagi bujhaa de
ajmer waale khwaaja
khwaajaa ji ee ee ee
dil ki lagi bujhaa de
khwaajaa ji ee ee ee
mere khwaajaa ji ee ee ee
khwaajaa ji ee ee ee
haaye khwaaja jee
aa aa aa aa aa
dil ki lagi bujha de
Ajmer aale Khwaaja
dil ki lagi bujhaa de
khwaajaa jee
jalwaa zaraa dikhaa de
ajmer waale khwaaja
jalwaa zaraa dikhaa de
ajmer waale khwaaja aa aa aa


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 :

4629 Post No. : 16282

Rafi Sahab’s Legendary Associations – 3
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Sar jo tera chakraaye, Ya dil dooba jaaye
Aa jaa pyaare paas hamaare, Kaahe ghabraaye
Kaahe ghabraaye. . .

Ae dil hai mushkil jeena yahaan
Zara hatt ke zara bach ke
Yeh hai bombay meri jaan. . .

Jaane kahan mera jigar gaya ji
Abhi abhi yahi thha kidhar gayaa ji. . .

Gareeb jaan ke hum ko na tum mita dena
Tumhin ne dard diya hai tumhi dawaa denaa

Just to list a few of the famous Rafi solos and duets for Johny Walker.

This series is about collaborations and team work by Rafi Sahab for various artists, mainly with composers, singers and lyricists.  But since the song I stumbled upon is too good, atypical rendition by Rafi Sahab for Johnny Walker, as we know the veteran comic actor.  So I have included this in the series.

In the list of Rafi Sahab’s songs I counted around 125 songs of Johnny Walker.   This blog already has 136 songs listed as filmed on Johnny Walker songs. The readers can view the list here.

Some of these are by other singers like Mannadey or Mahendra Kapoor etc., but they should be very few, so what I have found is possibly one of the very few around 5-10 Rafi songs actually sung on screen by Johnny Walker remaining to be posted.

‘Ghulam Begum Baadshah’ is a 1956 film produced under the banner of Niagra Films, Bombay and is directed by Jugal Kishore. The star cast of the film is listed as Sheela Ramani, Daljeet, Wazir Muhammad Khan, Altaf, Nishi, Sadiq, Paras, Khairati, Malika, R Nath, Jogendra, Preetam, Dilip Bamblaheri, Wajid Ali, Bhanesh Kumar, Shivji Bhai, Chand, Kamaldeep, Rajpuri, Prakash, and Johnny Walker

The film has six songs written by four lyricists – Indeewar, Roopbani, Shyam Hindi and Shaukat Pardesi. This song is written by Roopbani. The film’s music is composed by Sudipta Bhattacharya. Four out of six songs of this film are posted in the blog :

Aaj Hai Mujhko Khushi Jhoomti Hai Zindagi
Dil Hai Ye Tera Dil Tu Liye Jaa
Dil Se Mere Dil Mila
Jannat Ki Hoor Hoon Dil Ka Suroor Hoon

The tally of the lyricist and the music director in our blog, as per the stats page is as follows:

Sudipta Bhattacharya 6
Roopbani 19

Going by the above Sudipta Bhattacharya, was not a one film wonder and he has composed the music for at least two Hindi films or may be some non-film songs.  This is a rare qawwali by a Bengali music director, discounting the excellent filmy qawwaliyan composed by RD Burman.

Such is the beauty of 50’s Rafi songs, and this song has the added attraction is being specifically sung for Johnny Walker.  As a composition also I must say it is top-notch.  It could have been the run of the mill, funny, chhed-chhad qawwali, but it is not so.  The sense of timing of Johnny Walker and Rafi sahab’s spirited enjoyment of performing and singing is a highlight.

One can imagine the amount of time and hard work in the creation of this and the many  rehearsals etc that must have been gone into creating this song.

The more times I see and hear this song, I am sure whoever is reading the post is going to see this song multiple times.  Truly, it is so perfectly synchronised, composed, written, sung, performed and edited song.

Song – Thoda Sa Hum Ko Sharbat e Deedar Chahiye (Ghulam Begum Baadshah) (1956) Singer – Mohammed Rafi, Lyrics – Roopbani, MD – Sudipta Bhattacharya
Unidentified Male Voice
Chorus

Lyrics 

aa aaa aaaa

bahot jal kar
muhobbat mein mera dil. . .
aaj bolaa hai..ae..ae
qayamat hai tu
arey bijli hai tu
sholaa hai..ae..ae
tthoda sa hum ko sharbat-e-deedar chaahiye
tthoda sa hum ko sharbat-e-deedar chaahiye
tthoda sa hum ko sharbat-e-deedar chaahiye ea
tthoda sa hum ko sharbat-e-deedar chaahiye
pi pi ke jise jhoomen hum ko pyaar chaahiye haan
pi pi ke jise jhoomen hum ko pyaar chaahiye
tthoda sa hum ko sharbat-e-deedar chaahiye

ha ha aa

aa aa aaaa
daulat na chahiye mujhe
na maal chaahiye
aaa aaaaaa
aaaaa aaaaaaaaaa
arey roti na chahiye mujhe
na daal chahiye..ae..ae
phir kya chahiye
arey jo haathh mein hai tere
wo rumaal chahiye
samjhe na
jo haath mein hai tere
wo rumaal chahiye
jo haath mein hai tere
wo rumaal chahiye ea
jo haath mein hai tere
wo rumaal chahiye
aashiq hain hum ko
ishq ka aazaar chahiye
aashiq hain hum ko
ishq ka aazaar chahiye
arey
tthoda sa hum ko sharbat-e-deedar chaahiye..ae

ha aa

haaan aaaan
qaatil hai tu agar
to main qaatil ka
ba ba ba
baap hoon
baap hoon
naagin hai tu agar
to main zehreela saa..aanp hoon
to phir kya ho. . .
sab kuchh hoon tere ishq mein
khaana kharaab hoon
sab kuchh hoon tere ishq mein
khaana kharaab hoon
sab kuchh hoon tere ishq mein
khaana kharaab hoon
sab kuchh hoon tere ishq mein
khaana kharaab hoon
ik tere jaisa hum ko bhi dildaar chahiye
ik tere jaisa hum ko bhi dildaar chahiye

tthoda sa hum ko sharbat-e-deedar chaahiye
tthoda sa hum ko sharbat-e-deedar chaahiye

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

आ आs आsss

बहोत जल कर
मुहब्बत में मेरा दिल॰॰॰
आज बोला है॰॰ए॰॰ए
क़यामत है तू
अरे बिजली है तू
शोला है॰॰ए॰॰ए

थोड़ा सा हमको शर्बत ए दीदार चाहिए
थोड़ा सा हमको शर्बत ए दीदार चाहिए
थोड़ा सा हमको शर्बत ए दीदार चाहिए
थोड़ा सा हमको शर्बत ए दीदार चाहिए
पी पी के जिसे झूमें हमको प्यार चाहिये
पी पी के जिसे झूमें हमको प्यार चाहिये
थोड़ा सा हमको शर्बत ए दीदार चाहिए

हा हा आ

आ आ आsss
दौलत ना चाहिए मुझे
न माल चाहिए
आss आsssss
आssss आsssssssss
अरे रोटी ना चाहिए मुझे
ना दाल चाहिए॰॰ए॰॰ए
फिर क्या चाहिए
अरे जो हाथ में है तेरे वो रुमाल चाहिए
समझे ना
जो हाथ में है तेरे वो रुमाल चाहिए
जो हाथ में है तेरे वो रुमाल चाहिए
जो हाथ में है तेरे वो रुमाल चाहिए
आशिक हैं हमको इश्क़ का आज़ार चाहिए
आशिक हैं हमको इश्क़ का आज़ार चाहिए
अरे
थोड़ा सा हमको शर्बत ए दीदार चाहिए॰॰ए

हा आ

हाँ॰॰आँ
क़ातिल है तू अगर
तो मैं क़ातिल का
बा बा बा
बाप हूँ
बाप हूँ
नागिन है तू अगर
तो मैं ज़हरीला साँ॰॰प हूँ
तो फिर क्या हो
सब कुछ हूँ तेरे इश्क़ में खाना ख़राब हूँ
सब कुछ हूँ तेरे इश्क़ में खाना ख़राब हूँ
सब कुछ हूँ तेरे इश्क़ में खाना ख़राब हूँ
सब कुछ हूँ तेरे इश्क़ में खाना ख़राब हूँ
इक तेरे जैसा हमको भी दिलदार चाहिए
इक तेरे जैसा हमको भी दिलदार चाहिए

थोड़ा सा हमको शर्बत ए दीदार चाहिए
थोड़ा सा हमको शर्बत ए दीदार चाहिए


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

Blog Day :

4598 Post No. : 16225

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 123 # Qawwalis – 8
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Welcome all to the today’s ‘special post’. Special because, we pay our tributes to Khayyam Saab(18 February 1927 – 19 August 2019) on his ninety-fourth birth anniversary today on 18th February’2021.

On this occasion, we are going to listen to a ‘qawwali’ composed by him for the movie ‘Chambal Ki Kasam-1979’.

This ‘qawwali song’ under the above series is coming after a long gap of more than three and half years. The last time I had shared a ‘Qawwali’ was on 26.06.2017 and that qawaali too, like this one, was from the pen of Sahir Ludhianvi.

I had earlier planned to present today’s qawwali for the same occasion last year, however I was unable to send the article at that time.

We have one hundred and sixty-three songs under the category of ‘Qawwalis’.
Today’s ‘qawwali’ is only the second ‘qawwali composition’ of Khayyam Saab to appear on the blog.
The only previous Khayyam qawaali in the blog was this song from ‘Shankar Hussain-1976’ which was posted on 22.05.2011.

But the case with the lyricist Sahir Ludhianvi is totally different. He, so far has twenty-five of his ‘qawwali songs’ on the blog. And today’s song will be his twenty-sixth qawwali song on the blog (more statistics on ‘Qawwali’ on the blog will be coming here in future posts). 😊

Today’s ‘Qawwali’ written by Sahir Ludhianvi can be termed as a ‘social-muqaabla qawwali’ 😊 between a ‘law abiding Police officer’ and a person who has lost his faith in ‘law and order’ and hence doing ‘his self-styled justice with the ‘goons’ in the society’.

We are all aware that in our Hindi movies we have many types of qawwalis created for a particular situation taking a‘liberty’ from the purest form of ‘qawwali’ is i.e., ‘sufiana’…

“Chambal Ki Kasam-1979” was an M.P.D. Productions presentation. It was produced by V L Murlidhar and directed by Ram Maheshwary. It had Raj Kumar, Shatrughan Sinha, Moushmi Chatterjee, Farida Jalal, Ranjeet, Nirupa Roy, Paintal, Gopal Sehgal, R. Tiwari, Usha Kiran, Peace Kanwal, Jagdish Raj, Nazir Hussain, Gufi, Paro Devi, Maruti, Uma Khosla, Raj Rani, Master Bhagwan, Gurucharan, Usha (Gwalior), Pandit Ganga Prasad (Gwalior), Mansaram, Master Rajesh, Master Rahul, Master Sonu, Master Rajiv, Baby Shaloo, and Manu Arora.

Pradeep Kumar and Amjad Khan makes a guest appearance and a special appearance in this movie respectively.

Story of this movie was written by M.K. Tamanna and Screenplay was written by Benoy Chatterjee. Dialogues of this movie were written by Sagar Sarhadi and Safdar Hussain. Additional Dialogues were by Ela Maheshwary. Editing for this movie was done by D.N. Pai and M.S. Shinde.

This movie had eight songs, which were sung by Jagjit Kaur, Lata Mangeshkar, Manna Dey, Mahendra Kapoor and Mohd Rafi.
Sahir Ludhianvi is the lyricist for all the songs and music is composed by Khayyam Saab.

So far, five songs of this movie ‘Chambal Ki Kasam-1979’ have been posted on the blog as given below;

Song Posted On
Simti huyi ye ghadiyaan 27.04.2012
Chanda re mere bhaiyya se kehna 02.08.2012
Parmeshwar rakhwaalaa tera 25.10.2014
She’r ka husn ho 09.12.2016
Marta hai koi to mar jaaye 30.01.2021

Let us now enjoy to this wonderful ‘qawwali’ sung by Manna Dey and Mahendra Kapoor. It is performed on screen by Shatrughan Sinha (lip syncing in Manna Dey’s voice) and Raj Kumar (lip syncing in Mahendra Kapoor’s voice). The two actors are seen trying to score brownie points over the other in this lyrical muqaablaa -😊. Finally the ‘law’ has the last laugh in archtypical Hindi movie style …

Also seen in the picturization of this song are Nirupa Roy, Moushumi Chatterjee and Farida Jalal with many other artists.

This ‘qawwali’ composition by Khayyam Saab is in his own style and it grows on us if we listen to it more than once …

Remembering Khayyam Saab …

Video

Audio (Partial)

Song-Kaun hai mujrim kaun hai munsif (Chambal Ki Kasam)(1979) Singers-Mahendra Kapoor, Manna Dey, Lyrics-Sahir Ludhianvi, MD-Khayyam
Chorus

Lyrics

aa aa aa aa aa aa aa aa
aa aa aa aa aa aaa

aa aa aa aaa

jaaneman jo tera manshaa hain
wo ham jaante hain
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa

tu kisi bhes mein aaye
tujhe pehchaante hain

tum badi tez nazar rakhte ho
ham maante hain
arey hamse bachta nahin mujrim
ye sabhi jaante hain

aa ha ha
achchaa aa
to suniye

ho o
kaun hai mujrim
kaun hai munsif
o
kaun hai mujrim
kaun hai munsif
bahas hai bekaar
mujrim kaun nahin
kaun nahin mere yaar
mujrim kaun nahin
mere yaar

arey aisaa kaho naa
ho o
ek tumhi ho nek jahaan mein ae
ho ek tumhi ho nek jahaan mein
baaki sab badkaar
matlab ye niklaa

ye nikla mere yaar
matlab ye niklaa mere yaar

aisaa nahin hai wallaah

daake ke hain roop hazaaron
qatl ke laakhon dhandhe ae
asal se badhkar
hoye asal se badhkar
sood kamaayein
saahukaar ke phande ae
paani ke injection bechen
arey paani ke injection bechen
dhan ke lobhi bande
desh ke sewak ban kar netaa
khaayen kaum ke chande ae
desh ke sewak ban kar netaa
khaaye kaum ke chande

ho o
chor pakadne waale dekhe
ho o chor pakadne waale dekhe
chor ke saajhedaar
bhaashan rehne de
rehne de mere yaar
bhaashan rehne de mere yaar

arz ye hai kiblaa

jantaa aur sarkaar ke mujrim
hain sab aise bande ae
inki gardan
oye inki gardan naapenge
ik din qaanoon ke phande ae
jantaa inke khoon se apne ae
arey jantaa inke khoon se apne
haath kare kyon gande
ham maujood hain
ham rokenge
saare kaale dhandhe

ham maujood hain
ham rokenge
saare kaale dhandhe

ho o o
tum khud hi ban baithhe ho o
ho tum khud hi ban baithhe ho
qaanoon ke thekedaar
tumko kya bolen

kya bolen
sarkaar
tumko kya bolen sarkaar

arey bhaai aur kya karen ham

ho o o o
lambaa hai qaanoon ka rastaa
aur vakaalat mehangi ee ee
ho o o o
paap ke bojh se toot ke reh gayi
satya aur nyaay ki bahangi
hamne khud bandook uthhaa li
khench li ab talwaar
isme kya bigdaa
kya bigdaa mere yaar
isme kya bigdaa mere yaar

kiblaa mulahijaa ho
irshaad
irshaad

ho o o o
khoon ka badlaa khoon chalaa
to khoon bahegaa sadiyon
ho o o
aangan aangan dwaare dwaare
sog rahega sadiyon
nafrat se nafrat badhti hai
pyaar ka phal hai pyaar
nafrat jaane de

jaane de mere yaar
nafrat jaane de mere yaar

ab hamaari bhi suniye hazrat
aa aa aa aa aa aa aa aa a a a
qaatil ko jo qatl kare ae
usko qaatil mat kehnaa
kaayar ban’ne se behtar hai
baaghi ban kar rehnaa

aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
aap ki ye bhool hai kiblaa
kaayar wo jo hathiyaaron ke
bal per jeena seekhe
insaan ho kar insaanon ke
khoon ko peena seekhe
arey ab bhi sudhar jaa
ab bhi khule hain
ab bhi sudhar jaa
ab bhi khule hain
pashchaataap ke dwaar
nafrat jaane de ae

ab bhi sudhar jaa
ab bhi khule hain
pashchaataap ke dwaar
nafrat jaane de
jaane de mere yaar
nafrat jaane de mere yaar

pashchaataap
arey ham ko pashchaataap sikhaate
mar gaye kitne gyaani

wo khaali gyaani honge
wo khaali gyaani honge
par ham hai gyaani jaani

arey karte rahe hain karte rahenge
bhai karte rahe hain
karte rahenge
ham yoonhi manmaani
aage bhi manmaani ki
arey aage bhi manmaani ki
to goli padegi khaani

ha ha ha haa
arey maar sake jo hamen ae
arey maar sake jo hamen
wo goli bani nahin hain jaani
bani to hai
bani to hai par hamne
ab tak chaahi nahin chalaani

haan ha ha
aaj ye hasrat poori kar lo
bhai aaj ye hasrat poori kar lo
maukaa hai laasaani
bhai maukaa hai laasaani
mere jaani ee
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa

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

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


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

Blog Day :

4548 Post No. : 16129

‘Naach Ghar-1959’ was directed by R.S. Tara for ‘Quality Pictures, Bombay’. R.S. Tara was also the producer of this movie.

It had Ashok Kumar, Shobha Khote, Gopikrishna, Helen, Kamala Laxman, Anup Kumar, Dhumal, Iftekhar, Maya Das, Mirza Musharraf, Jamal, Sujata, Bismillah, Vivek and others.

This movie was passed by the Censor Board on 23.01.1959.

‘Naach Ghar-1959’ had ten songs as listed in HFGK Vol-III (1951-1960) as given below;

SNo Song Title Singer/s
01 Tumhe kaise kahoon o jee, o o o Lata Mangeshkar, Mohd Rafi
02 Main banjaaraa door ka …teri adaa pe qurbaan Mohd Rafi
03 Dil tujhko diya tha dildaar maan ke Lata Mangeshkar
04 Meri sune to o pardesi dil se dil takraane de Lata Mangeshkar, Mohd Rafi
05 Dukh jo diye hain duniya ne … Lata Mangeshkar, Mohd Rafi
06 Ae dil zubaan na khol sirf dekh le Lata Mangeshkar
07 Main hoon Mr John, watan mera … Mohd Rafi, Geeta Dutt
08 Jaaneman jaaneman chilman uthha kar dekh le Asha Bhonsle, Mohd Rafi
09 Door se yoon na tarsaao, roshni ban ke aa jaao Lata Mangeshkar
10 Tere shehron se raaja hamen ban hi bhaley* Lata Mangeshkar, Mohd Rafi

*(HFGK mentioned this song as ‘one’ single song only and so the other resources. However, this song is available on internet as ‘part-1’ and ‘part-2’, of which one part has been posted in the comment section by me, and to be updated in main post.
I would request knowledgeable readers to throw more light on this song and other songs of this movie).

All the songs for this movie were written by Sahir Ludhianvi and music was composed by N. Datta.

As mentioned above lyrics are by Sahir Ludhianvi and music is composed by N. Datta.

With this song, all the songs of “Naach Ghar”(1959) are covered and the movie joins the list of movies that have been YIPPEED in the blog.

(audio)
Song-Jaaneman chilman uthha kar dekh le (Naach Ghar)(1959) Singers-Rafi, Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-N Datta
Male chorus
Female chorus

Lyrics

aa aa aa
aa aa aa
aa aa aa aa
jaaneman
jaaneman chilman uthha kar dekh le ae
dekh le ae
diljalon se dil lagaakar dekh le ae
dekh le ae
jaaneman chilman uthhakar dekh le ae
dekh le ae
diljalon se dil lagaa kar dekh le ae
dekh le ae
jaaneman chilman uthhakar dekh le

ishq hai sahib
zabardasti nahin ee ee ee ee ee ee ee ee
kyun koyi ee ee ee ee
kyun koyi
chilman uthhakar dekh le ae
dekh le ae

kyun koyi
chilman uthhakar dekh le ae
dekh le ae
kyun koyi
chilman uthhakar dekh le
dekh le

aazmaaye honge toone saikdon
ab hamen bhi aazmaa kar dekh le ae
dekh le ae
ab hamen bhi aazmaa kar dekh le ae
dekh le ae
ab hamen bhi aazmaa kar dekh le ae
dekh le

mera jalwaa dekhnaa aasaaan nahin
ee ee ee ee ee ee
apnaa munh oon oon
apnaa munh aayeenaa laa kar dekh le ae
dekh le ae

apnaa munh aayeenaa laa kar dekh le ae
dekh le ae
apnaa munh aayeenaa laa kar dekh le ae
dekh le

ye haseen surat hai jab tak saamne ae
kaun uthhe aayeene ko thhaamne ae
aur phir aayeenaa dikhlaayega kya
tere deewaanon ke kaam aayegaa kya
apni soorat se to wahshat hai hamen
tere jalwon se mohabbat hai hamen
jo teri soorat dikhaa de jaaneman
hamko wo aayeenaa laa de jaaneman
taake ye aashiq ye matwaalaa tera aa
muddaton ka chaahnewaalaa tera
muddaton ka chaahnewaalaa tera
tujhko duniya aa aa aa aa
tujhko duniya se chhupaa kar dekh le ae
dekh le ae
tujhko duniya se chhupaakar dekh le ae
dekh le ae
jaaneman chilman uthha kar dekh le ae
dekh le ae
diljalon se dil lagaakar dekh le ae
dekh le ae

(aa aa aa aa aa aa aa aa aa )
jaaneman chilman uthhakar dekh le ae
dekh le ae


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 :

4540 Post No. : 16109

Today’s song or rather a qawwaali is from the film “Talwar ka Dhani”-1956. The film was made by Dwarka Khosla under his own banner Vikas Productions, Bombay. The film was , naturally, directed by him.

Dwarka was born in 1904 in Hoshiarpur, Punjab. He started from Silent films. His first Talkie film as a director was Josh-E-Jawani-1935. He directed 33 films. His last film was Reporter Raju-1962.

“Talwar ka Dhani”-56 was a Costume drama. It was actually a remake of the same name film made in 1938. I remember another such film which was remade with the same title and same story, after 14 years. Film Gunsundari was made as a Silent film in 1927. It was remade as a Talkie film, with the same title and same Heroine in 1934. The Heroine was Gohar Mamajiwala and both films were made by Ranjit, directed by Chandulal Shah. 14 years later, his nephew, Ratilal Punatar remade film Gunsundari in 1948, with Nirupa Roy as a Heroine. By coincidence, all the 3 films were successful and popular hit films, mainly due to a very powerful story.

Similar history is for one more film. Film Anarkali was first made as a Silent film in 1928, with Sulochana (Ruby Meyers) as the heroine. Later, a Talkie film with the same name, same story and same Heroine was remade in 1935. What’s more, film Anarkali was made once more in 1953 and even in this film Sulochana acted-not as a Heroine , but as Hero’s mother ! Thus, she became the first and the only actress to work in the same titled, same story 3 films. Ashok Kumar was the only actor who also worked in 3 films with the same Title-Kangan, in 1939, 1959 and 1972. Of course the stories were different in all films.

Actress Sulochana happens to be the only actress to have worked in most Same Titled films, in the same role. She featured as a Heroine in silent film Madhuri-28 and Talkie film Madhuri-1932, as well as Silent film Indira B.A.-1929 and Talkie film Indira M.A.-1934. She also featured in Silent film Bambai ki Billi-1927 and Talkie Bambai ki Billi-1936. She did 8 different roles in this film.

Talking of Remakes, Mala-41 was remade as Amar-54 in which actor Jayant did the same role in both films and Naushad was the MD for both films. Film Aurat-40 was remade as Mother India-1957 in which actor Kanhaiyalal did the same role in both films. Film Grihasti-48 was remade as Ghar basa ke dekho-63 and Malkin 53 was remade as Biradari-66. There are many such cases in Hindi films. However, the same Title, same artiste in the same role and same story films are rare.

The decade of 50’s was right in the middle of the Golden Period of HFM and 1956 was the midpoint of the 50’s. A total of 120 films were made in this year comprising a variety of Genres. Consequently as many as almost 30 MDs gave music in this period, but the major chunk of 50 Musical films was shared by 10 MDs only. Surprisingly, Naushad the king of popular music had not even a single film in this year. The share was – C Ramchandra did 3 films, SD Burman did only 1 film-Funtoosh, S-J did 8 films and 7 of these were Hit films (Rajhath, Patrani, New Delhi, Chori chori, Basant Bahar, Halaku and Kathputli). Then Hemant Kumar did maximum 9 films, but all were mediocre, Madan Mohan did 6 films-out of which 4 films were Musical….Bhai Bhai, 50-50, Memsahib and Pocketmaar. Husnlal-Bhagatram did 3 non descript films, but O P Nayyar blew his trumpet with 6 musical films out of his 8 films in 1956…Naya Andaz, Hum sab chor hain, Dhake ki malmal,CID, Chhoo Mantar and Bhagam Bhag. Chitragupta did 8 films, Ravi 1 film and Anil Biswas 3 films. ( data from HFGK)

Talwar ka Dhani-56 had a cast of Nadira, Manhar Desai, B M Vyas, Shammi, Dalpat, Kammo, Maruti, Sulochana etc. It was a costume stunt film.When I first went to see this film in its second run in 1960 or so, I thought that this must be based on the story of “King Arthur and his sword”, but I was mistaken. Probably the producers had not even heard who this Arthur was, and they based their story on Gujarat background.
Appropriately, the hero was also Manhar Desai(real name Malcom Alfredo Desai( 3-8-17 to25-2-92), a Goan who was a Popular Hero in Gujarati films those days.

The Vikas production film was directed by Dwaraka Khosla-a veteran of 33 films in 30 years from 1932(Veer kunal) to 1962(Reporter Raju).The Lyricists in this film were Anjum Jaipuri(for above song) and G.S.Nepali.The story,s/play and dialogues were by Masood. The title was very misleading,but many films with Talwar were produced,like Talwar ka paani,Bedhari Talwar,Chauhani Talwar,Bhawani Talwar,Nangi Talwar,Taj aur Talwar,Tilasmi Talwar and also a Talwarwala ! The story was…

Queen mother Sudha(Sulochana) sent her infant prince(Pakku) to a secret place through her Loyal sardar(B.M.Vyas) to avoid torture by the rebell Villain Megha(Anwar). Megha’s army chases them but they escape safely. Megha starts killing all the loyalists and Queen sends S.O.S. to her loyal Thakurs. From them come Vijay(Manhar),Rani(Nadira) and Gopu(Maruti). They enter the Palace in disguise of Dancers and meet the Queen. They hatch a plan to kidnap the Princess and reach her to hideout of Prince. This plan is passed on to Megha by Indira(Shammi) the loyal maid. Megha allows the plan and then captures Prince, Princess and these 3 fighters. But a helpful Saroj(Kammo), maid helps them to freedom.

These 3 fighters collect an army of Thakurs and attack Megha. There is a fight in which Megha is burnt alive, instead of the Prince.
The Queen makes Vijay her Vazir and marries him with Rani.

B M Vyas is one artiste who is not discussed much anywhere- like Ramayan Tiwari or Jayant. Only a few villains like K N Singh, Jeevan, Yakub, N A Ansari etc are discussed as popular villains. Less exposure hides some qualities of that artiste which remain unknown to the general public. How many of us know that B M Vyas was a trained singer and that he has given Playback in 4 Hindi films ? Surprised ? This is what I meant.

Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.

On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.

Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.

While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.

The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.

Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc.

Vyas was interested in music since childhood. He is a self-taught singer. In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat . Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).

Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.

After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.

When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.

He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991). Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur.

When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too.

B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95. Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)

Talwar ka dhani-56 had music by my favourite Melody Maker Chitragupta. Today’s qawali is sung by Yousuf Ansari aka Yusuf Azad Qawal (23-3-1920 to 27-2-1998). Yusuf also acted in 3 films. He sang 16 songs in 15 films. However his NFS and qawalis are more famous and more popular. Let us enjoy this one today.


Song- Hamen itna bata do ishq ki manzil kahaan tak hai(Talwaar Ka Dhani)(1956) Singer-Yusuf Aazaad Qawwaal, Lyrics-Anjum Jaipuri, MD-Chitragupta
Chorus

Lyrics

hamen itna bataa do
ishq ki manzil kahaan tak hai
hamen itna bataa do
ishq ki manzil kahaan tak hai

hamen itna bataa do
ishq ki manzil kahaan tak hai
muhabbabt ka ye afsaana
zameen se aasmaan tak hai
muhabbabt ka ye afsaana
zameen se aasmaan tak hai

hansi jab lab pe aati hai
zamaana jhoom jaata hai
naa jaane kaun aake ae ae ae
naa jaane kaun aake
daaman-e-dil choom jaata hai
kahaani kiske waadon ki
hamaari daastaan tak hai
kahaani kiske waadon ki
hamaari daastaan tak hai

aa aa aa
haan haan haan
muhbbat ka ye afsaana
zameen se aasmaan tak hai

aa aa aa aa
aa aa aa aa
aa aa aa aa
milaake aankh sharmaana
adaa se muskura dena hai
tumhen kisne sikhaaya hai
ae ae ae
ae ae ae
tumhen kisne sikhaaya hai
kisi ka dil chura lena
ye bijli kyun nigaahon se
hamaare ashiyaan tak hai
ye bijli kyun nigaahon se
hamaare aashiyaan tak hai

aa aa aa aa
mohbbat ka ye afsaana
zameen se aasmaan tak hai

nazar kyon milke sharmai
koi raaj kya jaane
samajh mein kuch nahi aate
ae ae ae
o o o
o o o
samajh mein kuch nahin aate
teri nazaro ke afsaane
wahi tak hai ye nazaara
nazar jiski jahaan tak hai
wahin tak hai ye nazaara
nazar jiski jahaan tak hai

aa aa aa aa
haan haan
mohbbat ka ye afsaana
zameen se aasmaan tak hai

aa aa aa aa
mohbbat ka ye afsaana
zameen se aasmaan tak hai


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

4495 Post No. : 16025

Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).

Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai

I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.

I am giving a part of a story here:

A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.

The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.

In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.

I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.

So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.

Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.

Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.

The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.

The following three songs of Ghazab 1951 are posted:

Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda

This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.

Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.


Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus

Lyrics

Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa


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.

This article is the 16000th post in the blog.

Blog Day :

4484 Post No. : 16000 Movie Count :

4382

This blog regularly clocks centuries of songs. So it follows that the blog clocks thousand songs too after every ten centuries.

The blog has seen 15 instances of thousandth posts so far.

These were special occasions when special writeups are presented with special songs.

It is interesting to look back at the 15 instances of thousandth posts in the blog. Here are their details:-

Post number Date of posting Song Movie (year) Blog day Days taken for the thousandth post
1000 30 march 2009 Piya ham saat mulk ka paani Lootmaar (1980) 255 days 255 days
2000 27 September 2009 Dhakdhak karti chali jeewan ki rail re Dilruba (1950) 436 days 181 days
3000 20 september 2010 Maa mujhe apne aanchal mein chhupa le Chhota Bhai (1966) 794 days 358 days
4000 13 june 2011 Kya se kya ho gaya bewafa tere pyaar mein Guide (1965) 1060 days 266 days
5000 13 nov 2011 Hamen to loot liya mil ke husn waalon ne Al Hilal (1957) 1213 153 days
6000 23 May 2012 Geet kitne gaa chuki hoon Asha Bhonsle NFS 1405 days 192 days
7000 13 Nov 2012 Falak se utre zameen pe taare Rafi NFS 1579 days 174 days
8000 28 april 2013 Beautiful baby of Bombay Ek Phool Chaar Kaante (1960) 1745 days 166 days
9000 13 November 2013 Ankhiyaan sang ankhiyaan laagi aaj Bada Aadmi (1961) 1944 days 199 days
10000 20 July 2014 Phul rahin belariyaan dole Trapped (1931) 2193 days 249 days
11000 31 March 2015 Kaam ki dhun mein hain rawaan Gyaarah Hazaar Ladkiyaan(1962) 2447 days 254 days
12000 20 April 2016 Door desh se aane waale Gaja Bhau(1943) 2833 days 386 days
13000 4 March 2017 Dil tumse lagaaya kyun hamne Captain Aazaad (1964) 3151 days 318 days
14000 1 February 2018 Khayyam hai Allah waala Omar Khayyam (1946) 3485 days 334 days
15000 21 April 2019 Deepak jo gaaye so paaye gyaan dhyaan Sahhanshah Akbar (1943) 3929 days 444 days
16000 26 october 2020 4484 days 555 days

We can see from the above that there has been at least one Thousandth song post every year from 2009 onwards. 2009, 2011, 2012 and 2013 saw two such posts, which means that the blog added nearly 2000 songs in these years.

All these songs were very very special songs in one way or the other. Some songs were iconic songs, some extremely rare, while some were popular in their times but had been forgotten with passage of time.

Some of these posts combined other major blog landmarks. For instance song post number 3000, a popular song, was Lata Mangeshkar’s 1000th post in the blog. Song post number 4000 , a popular songwas Rafi’s 1000th. 6000th post, a non film song was Asha Bhonsle’s 1000th post in the blog.

The 5000th song post, recognised Bulo C Rani, the less known music director of this iconic qawwaali, who completed his century in the blog with this song.

In the earlier days of the blog, regulars would eagerly look forward to the thousandth post and would try to guess the song. In some cases, for instance the 5000th post, people successfully guessed the song because we were posting far too many Bulo C Rani compositions in the blog those days to take him to his hundredth song in the blog. 🙂

Who could forget the leadup to the ten thousandth song in the blog ! Regulars, on those pre whatsapp days were keeping in touch with each other on e mail, sharing messages like, one more song posted, three to go. What song it is going to be, etc. The excitement, the eager anticipation, and finally the song getting posted, and the comments on the song post- those were heady days for the blog. Those who were part of those exciting days still fondly remember those days.

One can notice that the thousandth posts have been coming relatively slowly ever since. Song post 11000 took 254 days, whereas the next thousandth posts took over 300 days each to materialise.

Song post 15000 was the slowest. It took 444 days.

What about song post 16000 ? This gets posted today. It has taken 555 days !

444, 555. Such honky tonk numbers inadvertently and unnoticeably creep into the affairs of the blog. Who can forget the concidences involved while posting the “1” songs- viz song post numbers 1, 11, 111, 1111 and 11111 ! Those who have forgotten about the amazing coincidences noticed are requested to go though this article.

Another thing noticeable about these writeups is that they are penned by pillars of the blog, such as Raja, Sudhir Jee etc. Some of these writeups have been joint efforts, involving upto three contributors. Sudhir Jee’s contribution extends beyond the article writing. He would also dig up the song for the occasion, often a rare not yet on internet gem and upload that specially for the occasion. For instance, the 10000th song post was a song of 1931 (the earlist year for HFM) and it was especially uploaded by him minutes before that post was published on 20 July 2014 !

Selection of the song has been a matter of much speculation among the regulars of the blog, as discussed above. While some of these songs have been correctly guessed by them, guessing them has become difficult of late. That is because the person writing the article (that is often me) is not sure what song to pick. I myself manage to land an appropriate song often at the last moment. For example, I accidentally discovered the song for song post number 13000 and posted it for that occasion. When I was myself not clear about the song, how were others going to guess the song ! That way I feel like legendary leg spinner B S Chandrashekhar. He himself did not know what ball he was going to deliver next, so how was it possible for the batsman to anticipate his next delivery ! 🙂

In our whatsapp group of regulars, some of them have been guessing the song that would be the 16000th song for the blog. One guess is that it would be a Lata Mangeshkar song, alongwith her career records. That did not happen.

I was actually toying with such an idea. But then I realised that the songs that I could use with such an idea did not seem suited for an occasion like the 16000th song for the blog.

Just when it seemed that I was unable to find a suitable song, I stumbled upon this song which is being presented today. This song was discovered by me almost like how I discovered the 13000th song post song.

This song is as rare as they can be, from a movie that can be as rare as they come. The movie is “Toofaani Teerandaaz”(1959). The movie, a “stunt” movie, is produced and directed by A R Zameendaar for Navshakti Films, Bombay. The movie had Shanta Kumari, Deep Kumar, Tuntun, Sheikh, Habeeb, Shakeela Bano Bhopali, Ismail Azad, Sajjan, Goldstein, Daya Devi, Nazeer Kashmiri, Amir Ali, Sattar, Md Ali, Ghani, Azam, Haneef, Yunus, Nawab, Funtoosh, Baby Shahjahaan, Khan Habib, Khan Nusrat, Khan Atiq etc in it.

The movie had five songs in it. The movie is yet to make its debut in the blog.

The songs are rare, but they have been made available online thanks to the generosity of some well known HFM music collectots and sharers.

The song under discussion is a qawwaali. It is sung by Ismail Azad qawwaal and Sudha Malhotra,accompanied by male and female chorus. In all great qawwaalis, it is the lyricist who makes the qawwaali great.Farooque Kaiser is the lyricist of this fantastic qawwaali. Music is composed by Iqbal.

Only the audio of thd song is available. My guess is that this song was picturised on Ismail Azad (singing for himself) and Shakila Bano Bhopali, with others in the standard qawwaali set up so common in Hindi movies those days.

The song is in the same league as many iconic qawwaalis of Hindi movies. It is just that this song failed to get popular and so remained under the radar. With time, the song was forgotten. Thanks to music collecter Shri Girdharilal Vishwakarma, and the uploader shri Aditya Pant, we can enjoy this fantastic fantastic qawwaali. Our thanks to them.

The song, a nearly seven minute feast, starts with a long harmonium piece, followed by an interesting war of words between the two genders. Quite a remarkable song that will grow on the listeners if they listen to it a few times. I know it because I got tolisten to it quite a few times while trying to get the lyrics right.

“Toofaani Teerandaaz”(1959) makes its debut in the blog with this song.

Another thousandth song post done ! I feel relieved and happy. It will be a while before I will have to worry about finding another suitable song for the occasion. 🙂

I take this opportunity to thank one and all. This set of thousand songs took 555 days to arrive at a rate of less that two songs per day, but what is important is that we are still on the move and we continue to add to an already rich collection of songs. I take this opportunity to thank one and all. I expect that we will continue to recive the same support, help, encouragement, contributions etc for one and all.


Song-Hum wafaadaar nahin tu bhi to dildaar nahin(Toofaani Teerandaaz)(1959) Singers-Ismail Azad, Sudha Malhotra, Lyrics-Farooque Kaiser, MD-Iqbal
Male chorus
Female chorus

Lyrics

Shukr kar hamne tujhe chaand si soorat de di
naaz kaliyon ka hawaaon ki nazaakat de di
teri zulfon ko ghataaon ki bhi rangat de di
loot kar saare zamaane ki muhabbat de di
phir bhi hamse ye gila hai ke wafaadaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

ham na hote to bahaaron mein na rangat hoti
chaand mein noor na kaliyon mein nazaakat hoti
pad gayi jaan zamaane mein hamaare dam se
pyaar tum kisko jataate jo na aurat hoti
phir bhi hamse ye gila hai ke wafaadaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin

tu bhi to dildaar nahin
tu bhi to dildaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin

tujhko magroor kiya
keh ke haseena hamne
teri khaatir kiya
manzoor ye jeena hamne
banke majnu kahin laila pe huye hain qurbaan
cheer laaye pahaadon ka bhi seena hamne
phir bhi hamse ye gila hai ke wafaadaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

chaahe joban bhi
tera hukm na taala hamne
daali Mirza ke gale pyaar ki maala hamne
isko kehte hain muhabbat yahi hoti hai wafa
khud to girte bhi rahe
tujhko sambhaala hamne
phir bhi hamse ye gila hai ke wafaadaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin

tu bhi to dildaar nahin
tu bhi to dildaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin

le sahaara meri baahon ka zara ab to sambhal
do kadam raah e wafa mein tu mere saath to chal
teri ulfat ki nishaani nahin jag mein koi
mard ke pyaar ka wo dekh nishaan Tajmahal
phir bhi hamse ye gila hai ke wafaadaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

pahle mumtaz ne ki jaan muhabbat mein nisaar
baad mein Tajmahal ka hai banaana bekaar
waqt ne phoonk diye kitne wafaaon ke charaag
beh gaye mauj mein kitni hi kumhaaran ke pyaar
aise hamse ye gila hai ke wafaadaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

zahar aankhon ka har ek jaam mein daala tumne
zulf ke parde mein hai saanp ko paala tumne
hashr(?) tak yaad rahega tera ye zulmo sitam
banke hawwa hamen jannat se nikaala tumne
phir bhi hamse ye gil hai ke wafaadaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

taane sakhiyon ke sune
hamne hi Radha banke
pyaar mein ho gaye ruswa kahin Laila ban ke
Ram ka saath diya kisne museebat mein bata
kaun jungalon mein phira saath mein Seeta ban ke
phir bhi hamse ye gila hai ke wafaadaar nahin

ham wafaadaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
tu bhi to dildaar nahin
ham wafaadaar nahin
tu bhi to dildaar nahin

jaa tere husn ka ab koi talabgaar nahin
dil hai aurat ka koi pyaar ka baazaar nahin
ham nahin ?? ke ab naaz uthhaane waale
aur aa jaayenge dil hampe lutaane waale
ham na honge to ye kya shaan rahegi baaqi
jaan jaayegi magar aan rahegi baaqi
kaun hai aap ki soorat se jo bedaar nahin
qatl kar denge tumhe haath mein talwaar nahin
?? naazuk mein ye taaqat meri sarkaar nahin
?? se nipatna koi dushwaar nahin
phir bhi hamse ye gila hai ke wafaadaar nahin

ham wo baazaar nahin tu bhi to dildaar nahin…


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

4412 Post No. : 15810 Movie Count :

4357

Remembrance day for Nusrat Fateh Ali Khan:

Since 31st July, I am on an unprecedented spree of anniversary and birthday posts. When I scrolled down the month of August in the “Anniversary dates” page of the blog, I saw that on 16th August there are three birthdays and one death Anniversary. Birthdate is of Hemlata, Saif Ali Khan and Manisha Koirala. Incidentally both Manisha Koirala and Saif share not just the birthdate, but the year too, both born in 1970. So both are turning 50 today.

Nusrat Fateh Ali khan is among the legendary musicians of 20th Century. He was born in 1948 and breathed his last on 16th August, 1997, at the age of only 49. It is a tragedy for the talented musicians, who received international accolades, name and fame in his short life. A vocalist, an institution in the qawwali form of the singing, a composer and a writer also for these qawwalis. He sang other poets qalaam too, but most of his renditions are credited as written and composed by himself. Listening to his rendition of these qawwali’s is an experience to behold, especially the recordings of live performances in private functions. Most of his qawwali’s have by now been remixed in some way, or somewhat repackaged and mostly recorded in the voice of his nephew Raahat Fateh Ali Khan. One such example is “mere rashk-e-qamar”, which is not a patch on the original rendition of Nusrat Fateh Ali Khan.

Qawwali is a much loved and revered form of musical renditions in the sub-continent. In my short and narrow experience and viewpoint, this is a form of music, which has never failed to impress and influence the listener. I have seen unlikeliest of people fall into the spell of this. Nusrat Fateh Ali Khan’s forte was sufiana with a mix of folk and Hindustani classical. His influence on hindi film music was evident even before his music actually arrived on Indian scene, from across the border. It is true that music and strains of sufiana in the case, know no boundaries.

I feel, the revival of appealing music, in hindi films from 90’s onwards is due to the influence of this sufiana music from across the border, and a few fresh blood which arrived on the young shoulders of A. R. Rehman. Others followed, but the A.R. Rehman style of music and the Nusrat Fateh Ali Khan’s style of sufiana, though rarely crossing over to each other’s side, continued their journey and the journey continued for over two decades. This has put the contemporary hindi film music in the international market as a saleable product. Punjabi Pop’s role in this process is also there.

Oka, now we go on to the birthdays and anniversary. When I saw these name, this movie “Kachche Dhaage” seen maybe on cable TV, surfaced in the memory. Good songs was the first recollection, plus impression of Manisha’s beauty, scenic views in songs, Saif Ali Khan’s Sauvé city suits, with scenes of desert etc. Ajay Devgan’s role of angry young man was the main lead with Manisha and Saif is the step brother from city with Namrata Shirodkar in tow.

So I have a sufiana qawwali which is written, composed and sung by Nusrat Fateh Ali Khan, from the film ‘Kachche Dhaage”(1999). Saif and Manisha both are present in this qawwali, which is performed on screen by Anu Kapoor. With this song Nusrat Fateh Ali Khan makes a debut on the blog as a singer and lyricist. One song composed by him was earlier posted.

This movie has more great songs, with punjabi folk flavor, so they should last us a few more anniversaries and birthdays, in coming years.

Audio :

Video :

Song-Is shaan e karam ka kya kehna (Kachche Dhaage)(1999) Singer-Nusrat Fateh Ali Khan, Lyrics-Nusrat Fateh Ali Khan, MD-Nusrat Fateh Ali Khan
Chorus

Lyrics

Aa aa aa
Aa aa aa aa
Nawaazta hai jo sab ko
Wo dil nawaaz hai tu oo ooo
Niyaazmand hain sab
Aur beniyaaz hai tu u
Zamaane bhar ke banaata hai
Saare bigde kaam
Kareem saare zamaane ka
Kaarsaaz hai tu ooo oo

Iss shaan-e-karam ka kya kehna
Iss shaan-e-karam ka kya kehna
Dar pe jo sawaali aate hain
Iss shaan-e-karam ka kya kehna
Dar pe jo sawaali aate hain

Ik teri kareemi ka sadqaa
Ik teri kareemi ka sadqaa
Wo man ki muraaden paate hain
Ik teri kareemi ka sadqaa
Wo man ki muraaden paate hain

Iss shaan-e-karam
shaan-e-karam ka kya kehna
Iss shaan-e-karam
shaan-e-karam ka kya kehna
Iss shaan-e-karam

khaali na rahi
rehmat se teri
khaali na rahi
rehmat se teri

dukh dard ke maaron ki jholi
dukh dard ke maaron ki jholi
kya tera karam hai dar pe tere
kya tera karam hai dar pe tere
bharti hai hazaaron ki jholi
shaan-e-karam ka kya kehna
Iss shaan-e-karam
shaan-e-karam ka kya kehna

mushkil ko tu aasaan banaa detaa hai
mushkil ko tu aasaan banaa detaa hai
har guncha-e-ummeed khilaa detaa hai
har guncha-e-ummeed khilaa detaa hai
taqdeer se ho jaaye jo bhai se judaa
uss bhai ko bhai se milaa detaa hai
shaan-e-karam ka kya kehna
Iss shaan-e-karam ka kya kehna

Din raat hai mangton ka pheraa
Din raat hai mangton ka pheraa
Pa ma ga ma ga ga
Ga ga sa
Ni Sa dha ni sa
Pa ma ga ma ga ga
Ga ga ri sa
Ga ma pa ni sa
Ni sa ga ma
Pa ma ga ma ga ga
Ga ga sa
Ni sa ga ma pa
Pa ma ga ma ga ga
Ga ga sa

……….

Din raat hai mangton ka pheraa
Din raat hai mangton ka pheraa
Kya khoob sakhi hai dar teraa
Kya khoob sakhi hai dar teraa
Milti hai karam ki bheekh unhen
Milti hai karam ki bheekh unhen
Daaman jo yehaan phailaate hain
Milti hai karam ki bheekh unhen
Daaman jo yehaan phailaate hain

Milti hai karam ki bheekh unhen

Iss dar ki sakhaawat kya kahiye
Iss dar ki sakhaawat kya kahiye
Ga ga ga ga ni sa ga ga ga ga ga
Ga ga ga ga ni sa ga ga ga ga ga
Ga ga ga ga ni sa ga ga ga ga ga
Iss dar ki sakhaawat kya kahiye
Iss dar ki sakhaawat kya kahiye
Pakke rishte teri rehmat se jo ban jaate hain
Pakke rishte teri rehmat se jo ban jaate hain
Kachche dhaage se bandhe log chale aate hain
Kachche dhaage se bandhe log chale aate hain
Tu mila detaa hai bichhde huey insaanon ko
Tu mila detaa hai bichhde huey insaanon ko
Tere andaaz-e-karam shaan ye dikhlaate hain
Iss dar ki sakhaawat
kya kahiye
Iss dar ki sakhaawat kya kahiye

Khaali na gaya mangtaa koyi
Khaali na gaya mangtaa koyi
Mohtaaj yehaan jo aate hain
Mohtaaj yehaan jo aate hain
Wo jholiyaan bhar ke jaate hain

Mohtaaj yehaan jo aate hain
Wo jholiyaan bhar ke jaate hain

Iss shaan-e-karam ka kya kehna
Iss shaan-e-karam ka kya kehna

Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa
Iss shaan-e-karam ka kya kehna
Aaa aaaa aaaa


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 : 4368 Post No. : 15700

While covering songs on most days, I do not feel much pressure. The only pressure on me is that the day should not end up as a DOT day. I make sure that at least one writeup appears on the blog every day. Fortunately there has been no DOT days this year. The last DOT day of the blog was in December 2019.

The other “pressure”, apart from that of avoiding DOT day, is to make sure that guest posts are published within a day or so. If there is too much delay in publishing them then it may lead to avoidable misunderstanding. Then there is pressure of publishing articles that are topical (having to do with anniversaries, special days etc) which must be published on the appointed day otherwise they lose their relevance.

When it is a question of publishing one post to avoid DOT day, I am happy just being able to publish a bare bones article, an article that hardly has any details other than the most basic information, a far cry from some of the three thousand words plus writeups in the blog. A few of the special occasion writeups are also like that. Guest posts are “easy” because all the hard work is already done by others. It is articles by me on special occasions that put me under pressure. If I am aware of the special occasion well in advance then I am mentally prepared, but if I become aware of the special occasion only on the day when it arrives, then I am in “trouble”. It happens with me in case of many of the anniversaries, seeing that I am not very good in remembering such dates.

Then there are some many days, like Mother’s day, Father’s day, Doctor’s day, Chocolate day and other such largely artificially created days that one becomes aware of only in the morning when one starts the computer and open the search page viz google. And there is some special google doodle staring at you, informing you that it was “Milk” day on that day ! I became aware of “milk” day on the morning of 1st June 2020. I felt that I needed to write an article on the occasion. Much of my day was spend thinking about an appropriate song, because there were very few songs on milk. Then it struck me that milk products qualify as well. And there are so many Hindi film songs on “Maakhan” (butter). We in India even have a God (Lord Krishna) who is the brand ambassador of “Maakhan”. It was already afternoon when this idea struck me and then I started typing out my writeup on the topic. This article finally appeared on the blog in the afternoon at 16:39 IST.

I feel the most “pressure” when the blog reaches its nervous nineties. It means that we need to have a special song as our blog century song. Nowadays, we are barely going at the rate of two or three songs in a day and we do not seem to able to muster the kind of creative writing juices that seemed to flow in abundance till a few years ago. Those days, people would start eagerly anticipating the moment. They would sometimes even stat guessing the song, taking hint from the tallies of various artists in the blog, or basing their guess on the anniversaries to come.

Those days are behind us. Those days we were galloping at Rajdhani express speed, reaching a century in 16 days. These days we are crawling at the speed of a passenger train, reaching centuries in over 50 days.

Just like in case of special occasion songs, I obviously has to think of an appropriate song for the blog century song. The song must be a “special” song befitting the special occasion. As in the case of other “special” occasion songs, this special occasion also puts me under pressure. This time the pressure is of my own making because I myself do not pay attention to the matter in time, and start worrying about it only at the last moment.

I was aware that we are reaching out 157th century, viz song post number 15700, but it was only yesterday (2nd July 2020) when I finally realised that the century post had to be inevitably posted on 3rd July 2020, if I had to ensure that this occasion did not clash with other special occasions viz anniversaries etc.

Like on many similar blog century occasions, I have chosen a “special” song as the blog post number 15700 of the blog. This song can be described as belonging to the category of rare songs, that few people may have heard of. Forget the song, one may not even have heard the name of the movie. The movie is called “Safed Ghoda Kaala Sawaar”(1960) aka “Black Rider”(1960). It was directed by Mehmood (same as the comedian or someone else ?) for Screenarts Bombay. The B grade obscure movie had Kamran, Krishnkumari, Habeeb, Shaam, Najma etc in it. HFGK mentions five songs for this movie.

One song from this movie has been covered in the past. Here is the second song from “Black Rider” (1960) to appear in the blog. The song is sung by Balbir and Minu Prushottam with chorus. Naqsh Llayalpuri is the lyricist. Music is composed by Harbans.

The song is a qawwaali and sounds wonderful to listen to. But while most qawwaalis are quite long, this qawwaali ends after three minutes , after just two stanza, with the listeners wanting more. I wonder if this song was originally longer and only three minutes long version of the qawwaali was released on record. I request our knowledgeable readers to thow light on the movie as well as on the picturisation of the song.
[Ed Note: As Sudhir ji points out in his comment, the full song is double the length – it is 6+ minutes and appears on two sides of a 78 rpm record. Whoever has uploaded the song did not take care enough to upload the full song. Sudhir ji has now uploaded the full qawwaali and updated the lyrics.]

With this extremely rare song, the blog reaches another century in the blog. This century took 53 days. Now that we are onto song post number 15700, the next magic number 16000 appears near by. Hopefully we will reach that big landmark in a matter of another few months.

With this post done, now I feel free to post next few articles without much pressure, before it would be time for the next important events for the blog, viz blog anniversary (which falls in july itself) etc.

I take this opportunity to thank one and all for their continued support in helping this musical bandwagon keep chugging along merrily. Many more musical gems still lie ahead that we need to explore and savor.

Song – Husn Waale Khilauna Jaan Ke Dil Tod Dete Hain (Black Rider)(1960) Singers – S Balbir, Meenu Purushottam, Lyrics – Naqsh Llayalpuri, MD – Harbans
Male chorus
Female chorus

Lyrics

aa aa aa
haseenon ki adaaon ne
hazaaron ko mitaa daala
kisi ko kar diya ruswa
kisi ka ghar jalaa daala

husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

kabhi palken jhukaa ke aur
kabhi zulfon ko bikhraa ke
aa aa aa
kabhi nazren milaa ke aur
kabhi aanchal ko lehraa ke
aa aa aa
dilon ko loot lete hain
dilaason per hi behlaa ke
tamaasha dekhte hain phir
tadapte dil ko tadpaa ke
sahaara dene se pehle
sahaare chhod dete hain
sahaara dene se pehle
sahaare chhod dete hain
nazar se loot lete hain
tadapta chhod dete hain
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain

hamaara naam bhi badnaam
kar daala zamaane ne
haa..aa..aan
ghazab ki talkhiyaan bhar di
mohabbat ke fasaane mein
bade hi tez hain ye ishq waale
dil lagaane mein
basa ke apne haathon
pyaar ki basti mitaane mein
ye aise raahbar hain jo bhatakta chhod dete hain
ye aise raahbar hain jo bhatakta chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

haa..aa..aa..aan
bade masoom bantey hain
bahut hoshiyaar hotey hain
haa..aa..aan
sambhal paate nahin wo
jin pe inke waar hotey hain
ye zaalim ishq waale
kis qadar ayyaar hotey hain
jo in se dil lagaate hain
bahut bezaar hotey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
aaa aaa aaa aaa aaaaa
aaa aaa aaa aaaaa
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
aaa aaa aaa aaa
aaa aaa aaa aaa
ishq waale laga kar aag daaman chhod dete hain

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

आ आ आ
हसीनों की अदाओं ने
हजारों को मिटा डाला
किसी को कर दिया रुसवा
किसी का घर जला डाला

हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

कभी पलकें झुका के और
लाभी ज़ुल्फों को बिखरा के
आ आ आ
अभी नज़रें मिला के और’
कभी आंचल को लहरा के
आ आ आ
दिलो को लूट लेते हैं
दिलासों पर ही बहला के
तमाशा देखते हैं फिर
तड़पते दिल को तड़पा के
सहारा देने से पहले
सहारा छोड़ देते हैं
सहारा देने से पहले
सहारा छोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं

हमारा नाम भी बदनाम
कर डाला जमाने ने
हाँ॰॰आँ॰॰आँ
ग़ज़ब की तल्खियाँ भर दीं
मोहब्बत के फसाने में
बड़े ही तेज़ हैं ये इश्क़वाले
दिल लगाने में
बसा के अपने हाथों
प्यार की बस्ती मिटाने में
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

हाँ॰॰आँ॰॰आँ॰॰आँ
बड़े मासूम बनते हैं
बड़े होशियार होते हैं
हाँ॰॰आँ॰॰आँ
संभाल पाते नहीं वो
जिनपे इनके वार होते हैं
ये ज़ालिम इश्क़ वाले
इस कदर अय्यार होते हैं
जो इनसे दिल लगाते हैं
बड़े बेज़ार होते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
आ आ आ आ आ
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
आ आ आ आ आ
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं


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

Blog Day :

4357 Post No. : 15679 Movie Count :

4320

Hindi Songs in Bangla Film – 31
———————————-

In Balochistan province of Pakistan, there is a well-known Hindu temple, Hinglaj Mata Temple locally known as Nani Ka Mandir. This temple is regarded as one of the 51 Shaktipeeths and is revered by Hindus, Sikhs and Muslims from Balochistan and Sindh especially the Zikri Balochs who are also the patrons of the temple. The temple is located at the banks of River Hinglaj with a rock carved deity in a cave. This temple is ‘kul devta’ (family deity) of many Hindu khatri families of Sindh, Balochistan and also of some of those residing in India and abroad.

In olden times, visiting the temple involved a trek of around 250 kms from Karachi through the hot deserts and hilly terrains. Now, there is a road from Karachi which takes about 4 hours to reach the temple. In the bi-annual pilgrimage which takes place during Navratris in the months of April and October, thousands of pilgrim marches on foot to Hinglaj Mata Temple. On the way, pilgrims spend a night at Chandrakoop (Moon Well), a shrine of volcanic mud-filled well. It is believed that if pilgrims confess the sins committed by them during their life time while offering prayer at Chandrakoop, they become free from the sins.

Kalikananda Abadhut, a Bengali monk, wrote a travelogue of his pilgrimage to what he calls ‘Marutirtha Hinglaj’ (‘Desert Pilgrimage of Hinglaj’). Probably, he may have gone on pilgrimage before the partition. Based on this travelogue, Bikash Roy, the producer-director-actor, made a Bangla film with the same title which was released in 1959. The star cast included Bikash Roy as an Ascetic leading a group of pilgrims to Hinglaj Mata temple. Uttam Kumar and Sabitri Chatterjee, who later join the pilgrimage unintentionally, performed the role of a husband and a wife. Other actors included Anil Chatterjee, Pahari Sanyal, Chandrabati Devi, Sandhya Devi etc. The film was shot in Digha  in East Mednipur district of West Bengal whose topography closely matches to that of Hinglaj.

On the recommendation from Pradeep ji (Dr. Pradeep Kumar Shetty) who also pointed out that there was a Hindi song in the film, I watched the film with English sub-titles on a video sharing platform. The story of the film is as under:

Abadhut, an ascetic (Bikash Roy) is leading a group of pilgrims to Hinglaj Mata temple located in Balochistan. He is assisted by Popatlal (Pahadi Sanyal), Rooplal (Anil Chatterjee) and Bhairabi (Chandrabati Devi). There is also a priest who is conscious of traditions and caste system and expects everyone to follow strictly.

Before the departure from Karachi, Abadhut cautions the pilgrims that it is a long and arduous journey for days involving walking through hot desert sands and hilly tracks. The food is meagre and pilgrims will have to spend nights without any shelters. Since the water is scarce in the desert, Abadhut advises pilgrims not to share their water with others. All the pilgrims during the journey are to behave as ascetic and worked selflessly for other pilgrims when they are in need of assistance.

Abadhut also tells the story and significance of pilgrimage to Hinglaj Mata temple. When Lord Vishnu scattered the body of Sati all over the Indian sub-continent, the head fell on Hinglaj and thus became the holiest place among the 51 Shaktipeeths. Whoever has committed the sins, they can visit Hinglaj Mata temple only after confessing the sins at Chandrakoop, a volcanic shrine, located on the way to Hinglaj temple. Lord Ram is said to have visited Hinglaj to wash off the sin committed by him by killing Ravan.

While Abadhut is giving guidance to the pilgrims, there is a couple who have taken shelter at pilgrims’ base camp. They are Thirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee). Kunti, a daughter of a wealthy merchant is already married but her husband has been missing for the last two years. She takes the help of Thirumal, a fake astrologer for finding her husband. During their meetings, they become close to each other. One day, Kunti runs away with Thirumal and they get married at the temple. But the society refuses to accept their marriage as her first husband is supposed to be alive though missing and both of them belong to different caste. After failing to find shelter, they are on the run and finally they take refuge in Karachi base camp of pilgrims.

Kunti suggests Thirumal to let follow the pilgrims so that at least for some days, they are safe. But Thirumal refuses. However, in the night a person tries to molest Kunti. Next morning, Thirumal agrees to be the part of the pilgrims. But by the time, pilgrims caravan has already left. Both try to catch up with the pilgrims but they have gone too far and taken a shelter during noon to avoid the harsh sun. Abadhut notices that a couple are walking towards him from quite a distance and then suddenly they fall on the sand. He sends his other pilgrims to look for them. They are brought to the pilgrims’ shelter in unconscious state. After few hours, they regain consciousness. Thirumal tells his story as to how he has grown up in Kolkata as an orphan and did all sorts of illegal work including stealing and how he met Kunti and got married. While catching up with the pilgrims, on the way, they were waylaid by dacoits and Kunti was raped.

After hearing the story, some pilgrims do not want Thirumal and Kunti as part of pilgrimage as they have committed the sins. After the incident, Kunti also feels that she is the sinner for loving Thirumal and a disgraceful woman because of which they are facing all sorts of problems in their life. So, she turns ascetics cutting off her relations with Thirumal who is devastated. He exhibits bouts of insanity. However, despite the murmur of protests from pilgrims, Abadhut takes care of both of them by postponing the journey by one day.

Next day, pilgrims start a long day’s journey. On the way, some pilgrims get dehydrated and are taken care by other pilgrims. But the priest is not able to walk. So Thirumal takes him on his back and walks towards the destination which is Chandrakoop. However, Thirumal suddenly feels suffocated as he is not able to remove the hands of the priest around his neck. He collapses unconscious. It transpires that the priest had already died on the way and Thirumala was carrying his corpse on his back  This event results in Thirumal getting once again the bout of madness. He leaves the caravan and walk aimlessly. In no time, he is found missing. Other pilgrims have no strength to search for him. They think that Thirumal would eventually return.

Finally, pilgrims reach Chandrakoop. After the bath, they visit the shrine of volcanic mud well to offer prayer and also to make the confession of their sins. If the confession is true, the muddy water in Chandrakup continues to boil. Otherwise it stops boiling. While Kunti is about to make her confession, she sees Thirumal on the opposite side on the top of a hillock. But in the streak of madness, Thirumal jumps in the boiling muddy water of Chandrakoop and gets submerged, never to return.

The journey continues to Hinglaj Mata temple and pilgrims complete the prayers. They are now on the return journey. However, Abadhut, Bhairabi and Kunti takes a detour and in the process, they lose direction. The long walk makes them dehydrated and fall on the sand unconscious. Some of the pilgrims rescue them but not Kunti who after regaining consciousness, had already proceeded towards Chandrakoop and jumped into the boiling mud well to join her husband, Thirumal. The bond which was cursed during their life time has become divine with their death.

The director has nicely attempted to make the pilgrims’ journey to run along with moral journey. The pilgrims’ group is a mix of all classes and caste but a priest in the group laments that pilgrims have forgotten the traditions and customs. He does not like to be touched by other pilgrims. He is uncomfortable with Abadhut drinking tea with local tribals. But when the priest gets dehydrated and requires to be carried, it is Thirumal, a sinner according to the priest, who carries him on his shoulder. It is the irony that the priest who is the strong follower of the traditions and religious customs, upon his death,  his last rites is carried out  in the desert without any religious ceremony.

There are few among the pilgrims who are of the opinion that it is a sin to allow Thirumal and Kunti to accompany them in the pilgrimage as they are the sinners. It is once again Abadhut who makes them understand that they need to weigh between sin and compassion. Otherwise abandoning both of them in the desert would tantamount to abetment of their death which is a sin. Lastly, those who are branding them as sinners have also committed the sins. Otherwise why they should visit Chandrakoop to confess their sins to get them washed off. And a confession made by one of the assistants, Popatlal is the worst kind as it related to infanticide.

The film makes us to ponder what is sin and what is virtuous. Perhaps, the answer lies in two lines of Sahir Ludhianvi in a song from ‘Chitralekha’ (1964):

ye paap hai kya ye punya hai kya
reeton par dharm ki moharen hain

‘Marutirtha Hinglaj’ (1959) has three non-Bangla songs of which two are vedic chants in Sanskrit. The third song is a Naat, “Tu Nishaan-e-Benishaan Hai” sung by Shankar-Shambhu Qawwaal and chorus. Lyrics writer is not known. Perhaps it may have been mentioned in the credit titles of the film which is displayed only in Bengali. The Naat is set to music by Hemant Kumar.

The situation of the song is that when the pilgrims take the halt for the day, Abadhut notices a bulky man coming from the opposite direction. He is Khan Sahab who has come to invite the pilgrims to his place where they can rest in shades and also have the advantage of having a well. He also invite pilgrims  to  join his group for the prayer in praise of the Almighty.

Video

Audio

Song – Tu Nishaan e Benishaan Hai (Marutirath Hinglaj) (1959) Singer – Shankar Shambhu Qawwaal, Lyrics – [Unknown], MD – Hemant Kumar
Chorus

Lyrics

ae ae ae
aa aa aa
tu nishaan-e-benishaan hai
tu bahaare-e-sarmadi hai. . .
tera dekhna ibaadat
ibaadat
tera dekhna ibaadat
teri yaad zindagi hai..
tera dekhna ibaadat
aa aa aa aa
teri yaad zindagi hai
aa aa aa aa
tera dekhna ibaadat
 
aa aa aa aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
tu agar mujhe nibha le
nibha le
tu agar mujhe nibha le..
teri banda parwari hai..
tu agar mujhe nibha le
aa aa aa aa
teri banda parwari hai
(aa aa aa aa)
tu agar mujhe nibha le
 
aa aa aa
mera daaman-e-gadaai
tere aage kyun na phaile ae
tera mulk do jahaan hain
tere ghar mein kya kami hai. . .
tera mulk do jahaan hai
tere ghar mein kya kami hai. . .
aa aa aa aa
tera mulk jo jahaan hai
 
tere dar pe sajde karna
ho karna
tere dar pe sajde karna
tujhe yaad kar ke rona aa
yehi hai namaaz meri
ho meri
yehi hai namaaz meri
yehi meri bandagi hai..
ye hi hai namaaz meri
aa aa aa aa
yehi meri bandagi hai..
aa aa aa aa
yehi hai namaaz meri
meri ee. . .

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

ए ए ए
आ आ आ
तू निशान ए बेनिशां है
तू बहार ए सरमदी है॰ ॰ ॰
तेरा देखना इबादत
इबादत
तेरा देखना इबादत
तेरी याद ज़िंदगी है॰॰
तेरा देखना इबादत
आ आ आ आ
तेरी याद ज़िंदगी है
आ आ आ आ
तेरा देखना इबादत
आ आ आ आ

ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
तू अगर मुझे निभा ले॰॰
तेरी बंदा परवरी है
तू अगर मुझे निभा ले
आ आ आ आ
तेरी बंदा परवरी है
आ आ आ आ
तू अगर मुझे निभा ले

आ आ आ
मेरा दामन ए गदाई
तेरे आगे क्यों ना फैले
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
आ आ आ
तेरा मुल्क दो जहां है

तेरे दर पे सजदे करना
हो करना
तेरे दर पे सजदे करना
तुझे याद करके रोना आ
यही है नमाज़ मेरी
हो मेरी
यही है नमाज़ मेरी
यही मेरी बंदगी है॰॰
यही है नमाज़ मेरी
आ आ आ आ
यही मेरी बंदगी है॰॰
आ आ आ आ
यही है नमाज़
मेरी॰ ॰ ॰


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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 TWELVE years. This blog has over 16300 song posts by now.

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