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

Archive for the ‘qawwali’ Category


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॰ ॰ ॰


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

Blog Day :

4329 Post No. : 15622 Movie Count :

4303

Hullo Atuldom

This is an attempt to remember two legends of Bollywood with one post.

On reviewing the “anniversaries page” of the blog I found an opportunity to introduce the qawwali song from a 1982 released (exact date being 27/05/1982 meaning the movie is 38 years old), Raj Kumar Kohli produced and directed, multi starrer “Badle Ki Aag” (Flames of Revenge).

The recent stay-at-home gave me the time to sit through this movie. It is a very typical, simple, regular story with a slight twist.

There is a family of father (Kadar Khan), mother (Nirupa Roy), two sons and a daughter. The father in his greed for wealth wipes out his partner’s family but the children of this family escape the mass-murder. Nirupa Roy gets separated from her sons in the course of walking out on her cruel greedy husband. She has her daughter with her. The sons grow up to be dacoits Shera (Dharmendra) and Lakhan (Sunil Dutt) and daughter (Sarika) an aspiring lawyer whose education is funded by Lakhan who has kept in touch with the mother and sister. Lakhan is a do-gooder daku where as Shera is ruthless.

Meanwhile the daughter (Reena Roy) of the affected family has been brought up in a kotha and nurses a desire to revenge her families misfortune. Her brother (Rajeev Anand who was seen in about 5 movies after which he turned producer) grows up to be a cop. There is one more important character in the whole setup- Inspector Amar Verma (Jeetendra) who is the son of Mohanlal Verma (Madan Puri) who is constantly tormented by Shera and Lakhan. Now here is the promised twist- at different times Geeta (Reena Roy) the dancer has had interaction with the three heroes and all of them have developed feelings for her. But she loves the Inspector who has seen her at different times with the other two and misunderstands her. Isn’t that a different kind of love-story. Here I should mention the existence of Bijli (Smita Patil) who loves Shera. Hope the readers have got confused about the very regular story that this movie had. The movie was a success at the Box-Office what with so many stars.

Today’s songs has the three heroes disguised as Qawwals at Janakidas’s son’s wedding. We have Smita Patil dancing around. Here I must admit that this post reminded me of this Qawwali sung by Kishore Kumar, Mahendra Kapoor and Suresh Wadkar. It had music by Laxmikant- Pyarelal and had lyrics by Verma Malik.

Small thoughts after seeing the song on repeat for writing this post- (1) Sunil Dutt and Jeetendra are jumping around and Dharmendra stays put on his mat. (2) Looks like this is the only time when Smita Patil has shared screen time with Jeetendra.

With this song we remember Sunil Dutt and Laxmikant Shantaram Kudalkar on their anniversaries.

Video

Audio

Song-Main jis mehfil mein aata hoon (Badle Ki Aag)(1982) singers-Kishore Kumar, Mahendra Kapoor, Suresh Wadkar, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
All

Lyrics

ho ho ho
ho o ho
ho ho ho ho
ho o ho
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
aata hoon aata hoon aata hoon
jo chaahta hoon
le jaata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main woh bala hoon
main woh bala hoon
jis se khudaayi darr gayi
main woh bala hoon
jis se khudaayi darr gayi
maut se takkar huyi toh maut tauba kar gayi
tauba tauba tauba
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

duniya ka iss mutthi mein aaghaaz hai anjaam hai
duniya ka iss mutthi mein aaghaaz hai anjaam hai
aur khuda ke baad har ek
leta mera naam hai
naam hai naam hai
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main kya hoooon
main kya hoon
aur kaun hoon tum jaante nahin
main kya hoon aur kaun hoon
tum jaante nahin
donon ka malkul(?) maut hoon pehchaante nahin
main maut se bhi lad jaata hoon

main maut se bhi lad jata hoon
main maut se bhi lad jsata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

main woh azeem hasti hoon
jise waqt na mita sake
arre main woh azeem hasti hoon
jise waqt na mita sake
na aandhi hi uda sake
na shola hi jalaa sake

bandook se jo baat kare
main us nasal ka khoon hoon
jo dushmanon ko kuchal de
main aisa ek janoon hoon
zaalimon aur baaghiyon qaatil luteron ke liye ae
zaalimon aur baaghiyon qaatil luteron ke liye ae
main khud hi toh insaaf hoon
main khud hi ek kaanoon hoon
kanoon se main takraata hoon

kanoon se main takraata hoon
kanoon se main takrata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

zulm hoon aur andher hoon main haan
aur jangal ka sher hoon main haan
ser pe sawa ser hoon main haan haan
tujh mein itna josh nahin
arre tujh ko apna hosh nahin
main bhi toh khaamosh nahin
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
haan haan haan haan
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon


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

Blog Day :

4325 Post No. : 15616 Movie Count :

4302

———————————————–
Hindi Songs in Malayalam Films – 1
———————————————–

Hullo Atuldom

Today’s post is thanks to my husband who brought a few things to my notice. We were seeing some movie on a Malayalam channel and we realized that they had lined up a few movies that star Mohanlal – one of the super-actors that every Malayali is a fan of; the other being Mammooty. And I proudly call myself a Malayali when I am seeing any movie that stars one of the two. I am an equal fan of both. The two have been around since the 70s and have been all-round entertainers.

Today we shall be focusing on Mohanlal Viswanathan who is mononymously credited as Mohanlal in the movies and is fondly addressed as Lalettan by his close associates and fans. (Ettan is the way an elder brother is addressed in Malayalam.) He made his debut as a teenager in 1978 but that movie had its theatrical release only 2005. His screen debut was in the 1980 release “Manjil Virinja Pookal” (roughly translating as “Flowers that bloom in the snow”) where he played a negative character. The films that followed saw him play antagonistic characters and gradually rising to supporting roles. He had worked himself to the level of being a bankable actor by the mid-80s and gained stardom after starring in a series of successful movies.

Late 80s, 1988 to be precise was the year that I took to seeing Malayalam movies and possibly the first Mohanlal movie that I saw was “Ente Mamattikkuttiammakku” (translating as “For my Mamattikkuttiamma”) Mamattikkutti being a kind of pet name for small kids. This was a 1983 release, that I saw in the open-air theatre (another first experience for me, seeing movies in an open-air theatre) of the colony we were staying in then. That movie had Mohanlal in a supporting role too. I have seen him in his comic element in many movies since then and must say every time I like him more.

1997 saw Lalettan star in his first non-Malayalam film “Iruvar”-a Tamil film which was directed by Mani Ratnam. 2002 saw him play Sreenivasan – a Mumbai Police officer in the Ram Gopal Verma directed, Ajay Devgan- Vivek Oberoi- Manisha Koirala starrer “Company”. Lalettan’s performance was well-recieved by the Hindi speaking audience. 2007 August saw him in his next Hindi movie, also directed by Ram Gopal Verma, “Aag” (also called “Ram Gopal Verma ki Aag”) touted as the remake of the Bollywood classic “Sholay” where he re-apprised the role played by Sanjeev Kumar in the original. I don’t think he has made an appearance in any Hindi movie since, but his Telugu debut movie “Janatha Garage” is seen often on the various satellite channels in its dubbed Hindi version.

Reader’s Digest India has, in 2004, described him as a “Jack of all Trades and master of many”. His directors describe him as “one of the finest actors of the country who can slip easily into any role.” 2010 saw him play Major Mahadevan in “Kandahar”, the third of the Major Mahadevan Series of films which also happened to be Amitabh Bachchan’s Malayalam debut.

Many of his movies have been remade in Hindi; for example Akshay Kumar starrer “Khatta Meetha” (2010) was a remake of Mohanlal’s 1988 release “Vellanakalude Nadu” (translated as “The land of white elephants”); Akshaye Khanna- Paresh Rawal starrer “Hungama” (2003) was a remake of the 1984 “Poochhakkoru Mookkuthi” (A Nose-ring for the cat). Even “Bhool Bhulaiya” starring Akshay Kumar and Vidya Balan was a remake of Mohanlal’s 1993 ‘Manichitrathazhu” (the ornate lock). Mohanlal’s 1988 “Chitram” (translation: Picture) was remade as “Pyar Hua Chori Chori” starring Mithun Chakravarty and Gautami (of south). I can think of a few more remakes, an interesting point to note here is that Lalettan didn’t star in any of the Hindi remakes of his successful originals.

So we have two films of Mohanlal to choose from, with which he can make his debut on our blog. But I am presenting a Malayalam movie instead. Much before his foray into Bollywood he had lip synced to a song in Hindi written by Madhu and composed by Raveendran which had the legend K J Yesudas as the playback. Now, we on this blog don’t need any introduction to K J Yesudas. But Madhavan Raveendran (or Raveendran master as he was called) is a new name for us. He was a popular music composer in Tamil and Malayalam films. The only bit of information that I could gather about the lyrics writer is that the movie credit shows his name as Mohan (Bihar) which means that he may have been from Bihar.

Today we shall have a song from the 1990 release “His Highness Abdullah”. This was the debut production of Mohanlal’s company ‘Pranavam Arts’ and was directed by Sibi Malayil (another new name for us). Will just say that Sibi Malayil is a director of many well-received movies in Malayalam. This movie had six songs of which one was a qawwali in Hindi as the character played by Lalettan is shown to be a Muslim Qawwali singer in Bombay (Mumbai). It shows Kim (of “Disco Dancer” fame) dancing to Lal’s singing. Mamukkoya the actor know for playing comic characters brings in Sreenivasan (another of the many versatile actors of Malayalam cinema) in the second stanza of the song to introduce him to the singer.

I am sure the regular followers of the blog would have guessed my sudden deviation into the Malayalam film world as also why the focus is on Mohanlal a.k.a Lalettan. Well today is an important date in his life. He turns 60. Let us wish him lots more years of entertaining us.


Song-Khuda se aarzoo meri (His Highness Abdullah)(Malayalam)(1990) Singer-Yesudas, Lyrics-Mohan (Bihar), MD-Raveendran

Lyrics

Khudaa se aarzoo meri
kabhie yeh raat na guzre
mohabbat kaa har ek lamha
haa aa
mohabbat kaa har ek lamha
teri baahon mein ab guzre

Tu badi maashallah kahe Abdullah
tera jalwa, subhanallah
kabhie shabnam kabhie shola
main majnu tu hai meri laila
de de dil ka pyaara nazraana…
tu badi mashallah kahe abdullah
tera jalwa subhaanallah
kabhie shabnam, kabhie shola
main majnu tu hai meri laila
de de dil ka pyara nazraana…

hum hain tere aashiq
kis baat ka sharmaana
kis baat ka sharmaana
tu seene se lagaa le
na chalega bahaana…
na chalega bahaana
husn la jawaab hain
husn la jawaab hain
khuli hui kitaab hain
khuli hui kitaab hain
pardha aaa sarkaana
oo
jalwa aaa dikhlaana….
ham nahi begaane
mane ya na mane
hum tere deewane.
tu badi mashallah kahen abdullah
tera jalwa subhanallah
kabhie shabnam kabhie shola
main majnu tu hai meri laila
dede dilka pyara nazrana

jaam jawaani ka tu hothon se pilaa de
pilaa de
rang bhari mehefil main tu
gul naya khilaadhe aee
ye adaayein kamaal hai aee
aaa
ye hunar bemisaal hai aee
jaam jawaani ka tu hothon se pilaa de
tu hotonse pilaa de
rang bhari mehefil main
tu gul naya khila de
tu gul naya khila de
ye adaayein kamaal hain
ye adaayein kamaal hain
ye hunar bemisal hain
ye hunar bemisal hain
ye sama aa suhaana oo
armaa aaaa mitaana
hum nahi anjaane
maane ya na maane
hum tere mastaane
haan badi mashallah kahe abdullah
tera jalwa subhanallah
kabhie shabnam, kabhie shola
main majnu tu hai meri laila
dede dil ka pyaara nazraana


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

Blog Day : 4323 Post No. : 15612

Today’s song is from a C grade Costume film of the 50s, Aan Baan-56. It was made by D D Kashyap, under his own banner, Kashyap Productions, Bombay. Needless to mention that the film was directed by himself. Music was by Husnlal-Bhagatram, with assistance from krishan Chander. The cast of the film was Ajit, Mahipal, Nalini Jaywant, Usha Kiran, Pran, Ulhas, Manmohan Krishna and many others.

On Saturday, 16th May morning, I got a call on my Mobile. I picked it up and saw that it was flashing name of Bharatbhai and his photo. A little surprised to get his call at early morning hours, I took the call and as usual said,” Good Morning Bharat ji. Aaj subah subah yaad kiya ?” There was a pause and an unfamiliar voice said, ” Main Bharat ji ka beta baat kar raha hoon.” I knew he was ill. My mind suddenly became alert. For next 5 minutes his son was giving me details of his illness and finally he ended with those dreaded words, ” last Friday,8th May ko raat mein 1230 baje Bharatbhai ki death ho gayi “.

I was stunned. I gave my condolences to the bereaved family and kept the phone. I sat still for five minutes. Then I saw a missed call from Sadanand ji. I gave him a call. He too had got the news. We shared our thoughts and it was decided that Sadanand ji will announce this news on our WA group.

Old people parting is not unusual, but when the departed one is close to you or a family member, one does feel the pain. Bharatbhai was around 87 year old, recently he had a Hip Replacement operation and thereafter he was not well. I had spoken to him in the Hospital as well as when he came back home also. However, his going was a pinching shock.

I came to know Bharatbhai in or around 2013, through our Blog. Those days we did not have the WA group. We started exchanging songs and related matters on phone and e-mails. Then he and Nitin ji came calling to my house in early 2014, first time an Atulite visited me. I was very thrilled. I introduced my wife to them. We had deeper friendship after that. One of his friends, Mr. Chavda, stays in our building and is my friend too. During the last 7 years we visited each other’s houses many times, for meetings or otherwise also. When some important person used to visit me, I used to call him also. Thus he had met Biren Kothari, Shishir krishna Sharma, Rajnikumar Pandya, AK ji and others first time at my place only.

In 2018, he, myself and Sadanand ji visited Surat to meet Harish Raghuvanshi ji. Even in this age, his enthusiasm and memory was praiseworthy. The last we met was in Sadanand ji’s house. He missed one meeting in my house in this January, due to his health issues.

Bharat ji was Tech Savvy at this age also. He had a good collection of books. He actually xeroxed few books from his collection and gave me, on my request. Jolly and friendly Bharat ji can not be forgotten easily. Losing him is a great loss. I pray for his Eternal Peace and Attainment of Moksha !

Life goes on……

Today’s film was a routine film. The period in which such films attracted audiences had long ceased, but still some such films were made, albeit in much less numbers. Costume films had a fixed theme of story. Good and Old King, bad Vazir or close relative, beautiful daughter, her handsome singing lover, final sword fighting and all is well in the end. Same story with some ship-shaping here and there used to be presented. In this connection I remember one thing.

In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points. A peculiar thing in our film industry is the ” Story Department” in some film production companies. Members of this department have Extra Para Perception and Extraordinary imagination. They can mix all 7 story elements in one ‘Khichdi’ and make a film. There are many cases where over enthusiasm on their part has killed the Box office prospects of even good films.

I quote her an example. Prakash pictures had become famous for their 2 Block buster hit films based on Ramayan stories. So when their third Ramayan film ” Ram Baan”-48 came, anxious audiences crowded the theatres, but within few days, the theatres were almost empty and the film flopped so badly that it could be called a ” super duper Flop ” ! The reason ? The story department of Prakash pictures and their wildest imaginations !

The team of Mohanlal Dave and Pt. Girish twisted the original Ramayan story so crudely (or cruelly?), that the audience could not digest it. The film showed a) Shurpankha’s swayamvar in Ravana’s darbar – which is not in Ramayana b) Sita wants in this film the Suvarn Mrig skin for NOT her Kanchuki, but as a gift to Laxman’s wife Urmila ! Too much wild imagination. c) Ravan gives his Sandals to Seeta to walk out of the Laxman Rekha…utter foolishness and finally d) Shabari goes to Rama to invite him and when he comes, introduces Hanuman and Sugriva to Rama. She describes how Ravana took Seeta to Lanka etc. Total lies !

These story department twists to Ramayana story, put Prakash Pictures to such a loss, that they came out of it only after Baiju Bawra, 4 years later. The story of film Aan Baan -56 is also a twisted form of the set pattern. Nothing really new in it. Naturally the film was not a success. The director D D Kashyap was an all rounder in films.

DHARAM DEV KASHYAP aka D.D.Kashyap was born in 1910 at Jalalpur in UP(now Uttar Pradesh,but earlier called United Province), in a middle class family without any connection to films or music. When DD came to the college in Lucknow, he was awed by the silent movies. By 1931 the Talkie started and he decided films as his career. He knew that it is only Bombay that can extend opportunities to him. Reaching Bombay, he laboriously worked up his way,doing menial jobs on the way, to the V.Shantaram camp. He was a learned man with a flair for writing, hence he got a chance to become an assistant to Munshi Aziz, while writing dialogues for AADMI-1939.(I checked the credits of Aadmi and truly his name features in the list of assistants, in the Dialogues section.) I can only imagine how he must have felt then.
Looking at his enthusiasm, Shantaram promoted him as one of his asst.Directors in PADOSI-1941. He even did a cameo role of OMKAR in Padosi.
Now he had enough experience and his first film as a Director was NAI KAHANI-1943. Then came a series of films, Chand, Nargis, Aaj ki Raat, pyar ki Jeet, Badi Behan, Kamal ke phool, Aaram, Do sitare, badnam, Naya Ghar, Shama Parwana, Aan baan, Halaku, Maya(Dev Anand film), and Dulhan ek raat ki-67.

he has also written the story of 10 o’clock-58.

He was an actor, writer, s/play writer, dialogue writer, producer as well.
Actually he produced Badi behan-a hit film, Aaram-another hit and Shama Parwana.

He died on 5-9-1988,at Bombay.

Today’s song is a duet of Asha and Mubarak Begum, which, I guess, is the only such duet. The song has a suspicious resemblance to another song from a later film – which I am unable to recollect the name now. If any reader knows, please write in comment section.


Song-Aji iss faani duniya mein muhabbat ke siwa kya hai (Aan Baan)(1956) Singers- Asha Bhonsle, Mubarak Begum, Lyrics- Qamar Jalalabadi, MD- Husnlal Bhagatram
Both

Lyrics

Aji iss faani duniya mein
muhabbat ke siwa kya hai
aji iss faani duniya mein
muhabbat ke siwa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa aa aa
muhabbat gar na hoti
kyun chamak hoti sitaaron mein
aa aa aa aa
ghataayen jhoomti kyun
phool kyun khilte bahaaron mein
jo sach poochho muhabbat hi khuda hai
aur khuda kya hai
jo sach poochho muhabbat hi khuda hai
aur khuda kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa aa aa
qadam kaise uthhe
kaanton bhari hain pyaar ki raahen
kahin bikhre huye aansoo
kahin bikhri huyin aahen
chale jo pyaar ki raah par
unhen aakhir milaa kya hai
chale jo pyaar ki raah par
unhen aakhir milaa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa
aa aa
aji manzil pe jab mehboob ka aa aa
deedaar hota hai ae
khabar hoti hai phir
kitaana suhaana pyaar hota hai ae ae ae
jo kaaanton se dare
phoolon ki keemat jaantaa kya hai
jo kaaanton se dare
phoolon ki keemat jaantaa kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa aa
yahi darr lag raha hai
pyaar karke dil na pachhtaaye
meri naazuk ye jawaani
dard ki duniya na ban jaaye ae
tumhi mujhko bataao
dil lagaane mein maza kya hai
tumhi mujhko bataao
dil lagaane mein maza kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai
aji chhodo jee chhodo
is muhabbat mein dhara kya hai

aa aa aa aa aa
idhar aao zara
ik baar dekho
meri aankhon mein
dhadak uthha hai dil
jaadoo hai kaisa teri aankhon mein

nigaahen mil gayi ab ye bata do
faisla kya hai
nigaahen mil gayi ab ye bata do
faisla kya hai
aji tum thheek kehte ho
muhabbat ke siwa kya hai
aji tum thheek kehte ho
muhabbat ke siwa kya hai

aji is faani duniya mein muhabbat ke siwa kya hai
aji is faani duniya mein muhabbat ke siwa kya hai
aji is faani duniya mein muhabbat ke siwa kya hai


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

Blog Day :

4305 Post No. : 15574 Movie Count :

4288

WHAAATTT!!! is my first reaction. I am shattered by the flash news.
God can’t be so heartless.

The tributes are flowing in the various news channels.

Amitabh has twittered: He is gone…! Rishi Kapoor…. Gone…just passed away! .. I am destroyed!

Juhi has said: I am shocked beyond words.

Shakti Kapoor is saying: I can’t digest that he is not there. This shouldn’t have happened (is what is Shakti has been telling).

These were the first reactions. In his telephonic talk with the news channels Shakti Kapoor was telling that he looked fine and on the road to be being ‘fit and fine’ when he last met him before the lock-down. But of course it is a known fact the big C is a deceiver. I have gone through the feeling that Shakti was talking of.

Rishi “Chintu” Kapoor has left us in shock. We are yet to come out of the shock that Irfan Khan pushed us into. Both great performers. We don’t know who we should send condolences to in this hour of grief – their families, best friends, colleagues or we his fans.

I began this post as soon as I saw the news item. Now it is four in the afternoon.

Then I let myself cool down, very difficult. There are too many thoughts running through the head. He was very cute as the tiny boy walking in the rain with his siblings. He was a National award winner for his role in ‘Mera Naam Joker’ (1970) and best actor award for his debut in adults roles in ‘Bobby’ (1973).

I don’t know how to pay a tribute to my favourite actor/s Irfan and Chintu. So I tried to look for movies where the two have acted together – cannot be possible that these two have not done a movie together, considering that Rishi was very active playing so many diverse characters in recent years. I remembered a movie which I have seen on TV a few years back where Chintu played a character inspired by Dawood Ibrahim and Irfan played Wali Khan an Indian intelligence operative whose mission was to keep an eye on the activities of the don and his gang. I vaguely remember that the movie had a long climax where Wali (Irfan Khan) and Arjun Rampal (also playing an Indian intelligence operative) stage the exchange of the captured don, bring him into Indian territory, and shoot the don when the don mocks the Indian judicial system etc. and how he will be back into his underworld activities. One thing that stayed with me after the movie was both the don’s character and Wali have a bloody end. But the movie itself was a gripping tale.

Shankar-Ehsaan-Loy were the music directors and Niranjan Iyengar the lyricist. The qawwali as picturized in the film gives us a look of almost the entire star cast headed by Rishi Kapoor alongwith Irfan Khan, Shruti Hassan, Arjun Rampal, Huma Qureshi, Shriswara, Nassar, KK Raina etc. Rishi Kapoor looked deadly in that getup.
[Note: A second longer version of the song is also available, but apparently it is the longer audio version that has been quiet randomly overlaid with video clips from the film. The editing and lip syncing is jarring, but it gives one extra antraa of the song.]

And now he is not there. Even when we know that everyone has to go one day we don’t want people we like to go. But then that is the way of life and as I always say and what my mother believed in “Kal Kya Hoga Kis Ko Pata. . .”.

Thinking of two super actors, from different genres and eras May their soul be at peace now, at least they are eased of their pain

 

Song as Picturized

Remix – Longer Audio Version Overlaid with Video Clips

Song – Mera Murshid Khele Hori  (D Day) (2013) Singer – Munnawar Masoom, Javed Ali, Shankar Mahadevan, Gaurav Gupta, Rajiv Sundaresan, Mani Mahadevan, Raman Mahadevan, Lyrics – Niranjan Iyengar, MD -Shankar Ehsan Loy
Chorus

Lyrics 

Based on the Picturized Version

ho oo oo
saawa te suha rang sab ke naseeb da
ho oo oo oo oo
saawa te suha rang naseeb da
khele dukh sukh aankh micholi
ho oo oo
khele dukh sukh aankh micho..oli

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
ho oo oo
saawa te suha rang sab ke naseeb da
khele dukh sukh aankh micholi
mera murshid khele hori
mera murshid khele hori

[dialogue]

yaara rang hai uska nyaa..aara
mera murshid khele hori
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaa..aa..aara
mera murshid khele hori
mera murshid khele hori

[dialogue]

pyala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansara
ho oo oo
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai. . .

[dialogue]

ho oo oo oo oo
uski rangat meri aadat
uski chaahat ek ibaadat
aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa
uski rangat
meri aadat hai
uski chaahat
ek ibaadat hai
uske hone se
sab salaamat hai
uski nazron se sab ki barkat hai
sabki..ee..ee..ee barkat hai
naache naseeba taar pe jiske
haath hai jiske do..o..ori
mera murshid khele hori
ho pyaala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansaara
ho oo oo

[chanting – “Allah Ho Akbar”]

ishq da rang hai nyaara
tere ishq da rang hai nyaara
rang hai nyaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara

[chanting – “Allah Ho Akbar”]

Additional Antraaa from the Longer Audio Version

uske reham se sab kuchh rangiya
rangeya..aa..aa
uski nemat se jag sajiya
ga ma pa ni sa
ni pa
ma re
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin palkon pe
khwaab sajaaye
kahin raaton se
neend udaaye
kahin baadal
kahin barkha
kahin vakhra
kahi sarkha
roop se roop pe na ja uske
shabad anek hai
ek hai boli
mera murshid khele ho..o..ori
mera murshid khele ho..o..ori
yaara rang hai uska nyaara..aa
mera murshid khele ho..o..ori

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu

aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu

ho oo oo
pyaala chhidke apne karam ka..aa
rang de sab sansa..aa..aara
mera
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara

jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu
(jee mein jaan mein saare jahaa..aan mein tu)
jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu


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

Blog Day :

4270 Post No. : 15500 Movie Count :

4271

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But once, in the room, recording?

He was a totally different person.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yes, 15,500.

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

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

Now onto the song for today.

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

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

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

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

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

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

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

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

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

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

This is what he said:

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

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

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

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

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

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

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

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

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

Anyway, enough of digression.

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

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

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

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

Audio

Video


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

Lyrics

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

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

kahaan se aaye ho
bolo ji kya iraada hai

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

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

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

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

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

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

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

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

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

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

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


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4222 Post No. : 15426

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day : 4167 Post No. : 15341

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

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

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

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

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

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

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

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

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

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

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

Sailesh Mukherjee died somewhere in 1998.

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

o o o o
o o o o

aahon ne taqdeer bana di
kaale kaale baalon ki

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

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

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

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

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

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

aahon ne taqdeer bana di
kaale kaale baalon ki

aahon ne taqdeer bana di
kaale kaale baalon ki

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

tera sa andaz na dekha
husn na dekha naaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

kaliyaan khilte laakhon dekhin
lekin ye aagaaz na dekha

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

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

aji husn ko tere dua lagi hai
shaayad hum dilwaalon ki

husn ko tere dua lagi hai
shaayad hum dilwaalon ki

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

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

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

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

aankhon pe kurbaan gaye hain
katl bina talwaar huye hain

ho o o
kurban gaye hain
haan aan
kurban gaye hain

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

khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

arre khoon bahaa ke keemat di hai
laal gulaabi gaalon ki

khoon bahaa ke keemat di hai
laal gulabi gaalo ki

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

aahon ne taqdeer bana di
kaale kaale baalon ki

husn ki zulfen kaali pad gayin
aahon se dil waalon ki


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4147 Post No. : 15313

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

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

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


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

Lyrics

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

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

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

ishq ka mat naam lo ae meharbaan aan
ishq ka

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

aji aap se humko mohabbat ho gayi
ho gayi

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

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

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

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

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

ho gayi
humko bhi thhodi si chahat ho gayi
ho gayi

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

ho gayi ho gayi
ho gayi

ho gayi
ho gayi
ho gayi
ho gayi


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

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

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,619,872 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,873 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: