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

Archive for the ‘Radio Song’ Category


This article is written by Sadanand Kamath, 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 :

5149 Post No. : 17112 Movie Count :

4618

The years 1980s and 90s were the golden period of TV serials which used to be telecast on National Doordarshan Channel.  The TV Serials of these period might have been lacking in technical specs as compared with that of the current TV serials. But what made these Doordarshan serials very popular was that they were mostly based on down to earth story lines, the good directions, the good performances of the lead and supporting actors and above all the absence of the present TRP dominated TV industry. These factors have made the TV serials of yore unforgettable for most of the the viewers including me. And the proof is that most of these serials had repeat telecasts on a number of times keeping in view the response from the viewers.

Apart from ‘Ramayan’ and ‘Mahabharat’ TV serials which I had watched in my middle-aged years, I had, more or less, regularly watched TV serials like ‘Hum Log’ (1984), ‘Ye Jo Hai Zindagi’ (1984), ‘Karamchand’ (1985), ‘Buniyaad’ (1986), ‘Nukkad’ (1986), ‘Wagle Ki Duniya’ (1988), ‘Gul Gulshan Gulfaam’ (1991), ‘Dekh Bhai Dekh’ (1993), ‘Byomkesh Bakshi’ (1993), ‘Farmaan’ (1994) and ‘Shriman Shrimati’ (1994) etc. For me, watching these serials now on the video sharing platforms, is like reliving my old memories. Those were the days when almost entire family members would sit together in a single room to watch their favorite TV Serials.

‘Farmaan’ (1994) was one of the TV serials of the golden period which I had watched on the TV without missing any of the 14 episodes. The story of the serial was based on the Urdu novel ‘Alampanah’ written by the well-known Urdu writer-poet, Rafia Manzoorul Amin (1930-2008) on the Nawabi culture of Hyderabad which has changed after 1947 and the financial challenges they faced. The serial was produced by Gul Anand for Doordarshan who, apart from producing mainstream Bollywood films, had also produced some off-beat Hindi films such as ‘Khatta-Meetha’ (1978), ‘Chasm-e-Buddoor’ (1981) and ‘Chatran’ (1988). Lekh Tandon who had directed box office successful films like ‘Professor’ (1962), ‘Amrapali’ (1966), ‘Jhuk Gaya Aasmaan’ (1968), ‘Prince’ (1969), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Agar Tum Na Hote’ (1983) among others, directed this TV serial. This was Lekh Tandon’s 4th TV Serials for Doordarshan, the first being ‘Dil Dariya’ (1988) in which he gave Shahrukh Khan his first break as an actor.

Recently, I watched 11 of the 14 episodes of ‘Farmaan’ on a video sharing platform which were uploaded by Prasaar Bharati after re-mastering the VHS tapes of the serial. I watched the remaining 3 episodes in an old video format with less than average audio and video quality. The main cast of ‘Farmaan’ includes Kanwaljit Singh, Deepika Deshpande, Vineeta Malik, Raja Bundela, Navin Nischol, Kalpana Iyer, Neha Sharad, Savita Bajaj etc. In addition, there were about a dozen actors from Hyderabad who played the subsidiary roles in the serial.

The story starts with 23-year old Aiman Shahab (Deepika Deshpande) getting down from the train at Begumpet railway station and proceeding to a Nawabi Palace in a cycle-rickshaw for an interview with Badi Sarkar (Vineeta Malik), a widow and the  matriarch of the royal family who is looking for an English knowing Assistant to help her in day-to-day work. She is selected and provided accommodation in the Palace. Azar Nawab (Kanwaljit Singh), the only son of Badi Sarkar looks after the business interest of the family. Other occupants of the Palace Estate are – Tasneem Pasha (Kalpana Iyer), the step sister of Badi Sarkar and a widow; Shahana (Neha Sharad), daughter of Tanseem Pasha; and Basharat Nawab (Raja Bundela). They are financially dependent on Badi Sarkar and mostly while away their time in a care-free manner. Both Tasneem Pasha and her daughter, Shahana have a close friend, Mukhtar Nawab who is disliked by Badi Sarkar because he was the person who induced her husband, Bade Nawab to gambling and lost a lot of money. Waqar Chand (Navin Nischol), the younger brother of Bade Nawab stays in a separate cottage within the Palace Estate. Waqar had been ordered by Bade Nawab not to visit the Palace because he had chosen the profession as an artist. But the actual reason is quite different – he was in love with Badi Sarkar before she got married to Bade Nawab. Waqar Chand also does not want any one to visit his cottage and stays as a recluse bachelor doing painting as his hobby, away from the family of Badi Sarkar.

Over a period of time, Aiman Shahab who was looking timid and unsure of her self confidence in an alien atmosphere, develops friendship with the care-free Basharat Nawab who become her informal guide for the city tour. Everyone in the Palace and in the office like her. Aiman has become indispensable for Badi Sarkar. However, she has problems with Azar Nawab. Her very first encounter with him in a wedding function where he behaves as a predator by forcefully embracing her, develops hatred for him. Her second encounter with him is also not good when he objects and pushes her out for using his estate for her hobby of doing some paintings which she was encouraged to pursue by none other than Waqar Chand. This trend continues for most of the part of the serial whenever they meet each other – professionally or personally. In fact, the aim of Azar Nawab in finding faults with Aiman and passing sarcastic comments seems to reminds her that after all she is sub-servient to Badi Sarkar and to him. But Aiman also gives back her responses to Azar in the same tone to keep him in check.

But behind the façade of the egoism, ruthlessness and sarcasm, Azar Nawab has developed a soft corner for Aiman without she being aware of it. Over a period of time, she also gets impression that inwardly, he is a good human being based on a couple of incidents. For instance, Azar takes out his jeep to follow Aiman to pick her up when he comes to know that she has gone for a walk to the forest area which is infested with wild animals. The second time, when she gets a surprise gift from Azar in which she finds a photo frame of her childhood picture with her deceased parents when he comes to know that  Aiman had lost her mother when she was a child and her father when she was in college. Azar had made an all out efforts to get that picture for her from Bengaluru where she was staying with her aunt before taking the present assignment in Hyderabad. Their confrontational attitudes develop into a subtle romance.

After the death of Waqar Chand, Aiman visits Azar Nawab’s office and hands over her resignation from the employment as she did not wish to work in the palace which is embroiled with some unpleasant happenings in the past. As usual, Azar Nawab gets rude with her but later cools down when he comes to know that she has no man in her life including Basharat Nawab. He embraces her not as a predator but as a genuine lover. He asks  her whether she loves him too for which she nods in agreement. And the serial ends with this scene.

In line with the story and the time period (post-independence period), director Lekh Tandon chose Hyderabad for major shootings and selected the actual royal palace and the cottage without much of grandeur to lend the reality of the situation for royal families in the post-1947 scenario. Some shooting was also done at Dandeli in Karnataka to cover Azar Nawab’s business interest in timber.  The costumes for the main actors were designed by Rafia Manzoorul Amin, the author of the novel, ‘Alampanah’ who kept them very simple. All the main actors had only the light make-up. This simplicity lent credence to the characters in the serial. All the main actors gave fine performances. The sleek direction which avoided overdoing romance and melodrama and the tight editing gave the serial the repeat value for viewers.

‘Farmaan’ (1994) has 6 songs including the title song, details of which are as under:

  1. Har dil ko sunaate hain farmaan muhabbat kaa – Bhupendar Singh, L: K Razdan, MD: Kishore Desai
  2. Piya baaz pyaala piya jaaye na – Khan Ather, L: Quli Qutab Shah, MD: Khan Ather
  3. Rehte rehte chup jhagadna haay re – Khan Ather, L: Unknown, MD: Khan Ather
  4. Yaad bole to takiye mein gajre ki baas – Khan Ather, L: Sulaiman Khateeb, MD: Khan Ather
  5. Bujh gaya dil mera – Khan Ather, L: Unknown. MD: Khan Ather
  6. Iss bazm ki thhodi si mehak – Warsi Brothers, L: Unknown, MD: Khan Ather

I liked all the songs of ‘Farmaan’ which fit very well in the story situations. Since I have to choose only one song for the presentation,  I have selected  the song, “Yaad Bole ToTakiye Mein Gajre Ki Baas”. It is written by a well-known Dakkhini shayar, Sulaiman Khateeb (1942-1978) who has used some beautiful metaphors for ‘yaad’ (memory) in simple words.

The song is rendered by Amir Mohammed Khan Ather (1953 -13/12/2020), popularly known as Khan Ather) who had also composed music for the song. He was a well-known Hyderabad-based ghazal singer and a die-hard fan of Mohammed Rafi. Since Rafi’s death on July 31, 1980, Khan Ather would pay tributes to the him every year on July 31st by organizing ‘Yaad-E-Rafi’ concerts in which he would sing songs rendered by Rafi Sahab.

 

Song – Yaad Bole To Takiye Mein Gajre Ki Baas (Farmaan)(TV) (1994) Singer – Amir Mohammed Khan Ather, Lyrics – Sulaiman Khateeb, MD – Amir Mohammed Khan Ather

Lyrics

yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
jaise kewade ka kaanta kaleje ke paas
yaad bole to
yaad bole to

yaad bole to bachpan mein chhode so gaaon
jaise panghat ke paani mein Radha ki chhaaon
yaad bole to khaali diwaane ka khwaab
ek bachche kaa jaise adhoora jawaab

yaad bole to palkaan po aansoo ki loat
kaale baadal po chaandi ki chamkili goat
yaad rote so aankhiaan mein gori ka roop
jaise padte so paani mein halki si dhoop

yaad bole to aansoo ki tooti ladi
ghup andhaare mein chhooti huyi phooljhadi
yaad bole to juhi ki khilti kali
sote baalak ke honthon po jaise hansi

yaad bole to akhiyaan jhukaane ka naam
ek naqsha bana ko mitaane kaa naam
yaad bole to dil mein chhupaane ki baat
chup zara soch ko muskuraane ki baat
chup zara soch ko muskuraane ki baat

yaad bole to
yaad bole to
yaad bole to
yaad bole to

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

याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
जैसे केवड़े का काँटा कलेजे के पास
याद बोले तो
याद बोले तो

याद बोले तो बचपन में छोड़े सो गौं
जैसे पनघट के पानी में राधा की छौं
याद बोले तो खाली दीवाने का ख़्वाब
एक बच्चे का जैसे अधूरा जवाब

याद बोले तो पलकां पो आँसू की लोट
काले बादल पो चांदी की चमकीली गोट
याद रोते सो आँखों में गोरी का रूप
जैसे पड़ते सो पानी में हल्की सी धूप

याद बोले तो आँसू की टूटी लड़ी
घुप अंधारे में छूटी हुई फुलझड़ी
याद बोले तो जुही की खिलती काली
सोते बालक के होंठों पे जैसे हंसी

याद बोले तो अखियाँ झुकाने का नाम
एक नक़्शा बना को मिटाने का नाम
याद बोले तो दिल में छुपाने की बात
चुप ज़रा सोच को मुस्कुराने की बात
चुप ज़रा सोच को मुस्कुराने की बात

याद बोले तो
याद बोले तो
याद बोले तो
याद बोले तो

Translation of some Dakkhini words used in the song

baas – बास : Fragrance

khaali – खाली : Only

loat – लोट : Stream

goat – गोट : Embroidery

padte so paani – पड़ते सो पानी : Falling water (Rain)

ghup – घुप : dark


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 :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


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 :

4303 Post No. : 15569

During 1950s and 1960s, there were quite a few South Indian movies that were dubbed into Hindi. While dialogues were dubbed, original songs sung in the South Indian language were resung in Hindi.

“Aayi Phir Se Bahaar”(1960) is one such movie. It was a remake of Tamil movie “Raaja Raani” (1956). The movie was written by M Karunanidhi and directed by A Bhimsingh. The movie had Padmini, Sivaji Ganesan, S S Rajendran, Raja Sulochana, T A Madhuram, N S Krishnan, Rajgopal, Doraiswami, etc in it.

The Tamil movie had T R Pappa as the music ditector. When this movie was dubbed in Hindi, Vedpal Verma was tasked with recording songs in Hindi.

The Hindi version had eight songs. One song has been covered in the past.

Here is the second song from “Aayi Phir Se Bahaar”(1960) to appear in the blog. The song is sung by Lata. Vedpal Verma is the lyricist as well as the music director. The song is picturisec as a radio song.Padmini switches on the radio and this song begins to play right from the beginning. No time wasted for previos song, or announcement. In my radio listening days I could rarely time my radio switching to this perfection. 🙂

After the song is over, the radio gets switched off. So in effect, the radio gets used as a record player, which by the way was not yet invented till that time. 🙂

Audio

Video

Song-Tu dulhan banegi teri doliya sajegi (Aayi phir Se Bahaar)(1960) Singer-Lata, Lyrics-Vedpal Verma, MD-Vedpal Verma

Lyrics

Tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori
laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori
laayega raaja baaraat

chanda banega maathe ki bindiya
kaari badariya kaajal
kaari badariya kaajal
amber banega teri chunariya
aur bijuriya paayal
aur bijuriya paayal
laaj rachegi bankar mehandi
kar degi peele haath
ho gori laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori laayega raaja baaraat

preet ye teri dulhan banegi
dulha sajan ka pyaar
dulha sajan ka pyaar
baadal banenge teri paalki
pavan jhakore ka haar
pavan jhakore ka haar
pahle milan me karna tu gori
rangreliyaan saari raat
ho gori laayega raaja baaraat
tu dulhan banegi
teri doliya sajegi gori
laayega raaja baaraat
ho gori laayega raaja baaraat


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

Blog Day :

4092 Post No. : 15235 Movie Count :

4187

Songs Repeated in Hindi Films – 11
– – – – – – – – – – – – – – – – – –

I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.

Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.

The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.

Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.

And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.

And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.

The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.

The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.

The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.

When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.

On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.

Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.

The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.

And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.

Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye  (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .

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

हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3578 Post No. : 14326

Today (5 may 2018) is the twelfth rememberance day of Naushad (26 December 1919 – 5 May 2006).

Naushad composed just above 600 songs in 64 Hindi movies. 530 songs from 60 of his movies have been covered in the blog. 49 of these movies have already been YIPPEED in the blog. So unlike other music blogs/ radio stations/ TV stations, who play the usual well known songs as always, we in this blog only have 70 odd Naushad compositions from 15 movies to chose from, seeing that we do not repeat a song in the blog.

Seeing that all Naushad movies of 1950s and 1960s have already been YIPPEED, we only have Naushad songs of 1970s and beyond left to be covered.

Here is a song from “Aaina”(1974) as a tribute to Naushad. This movie was a Kalakendra Films production. It was produced by N Selvaraja and L Duraiswamy and was directed by K Balachandar. The movie had Mumtaz, Rajesh Khanna, A.K.Hangal, Nirupa Roy, Rita Bhaduri,Ratan Chopra, Lalita Pawar, Jayasudha,Adil Aman, Manmohan Krishna, Anjum Savera,Vandana Rane, Yasmin,Baby Seema, Kalpana, Jagdish Raj, Polson, Madhukar, Brahmachari, Suraj, Prem Kumar, Master Paresh Kumar, Master Jaganath, Madan Puri, Suresh Chatwal, Jagdeepetc in it. This movie had Neetu Singh and Dharmendra in special appearances. The film also had Kamal Hasan in it who was also one of the dance directors of the movie.

The movie had five songs in it. Two songs have been covered in the blog.

This song, the third from the movie, is sung by Lata. Jaan Nisaar Akhtar is the lyricist.

The song is picturised as a radio song on Reeta Bhaduri, who is seen singing this song as a tribute to Mumtaz, who plays the long suffering and scarificing bhartiya naari in the movie, as far as I can tell from the picturisation of this song.

The picturisation also shows many other persons, including Nirupa Roy, listening to the broadcast of this song on radio.

Audio

Video

Song-Wo jo auron ki khaatir jiye (Aaina)(1974) Singer-Lata, Lyrics-Jaan Nisaar Akhtar, MD-Naushad

Lyrics

wo jo auron ki khaatir jiye mar mite
sochti hoon unhen kya mila
wo jo auron ki khaatir jiye mar mite
sochti hoon unhen kya mila
kya mila
kya mila

jaise baadal barasta hua
pyaas jag ki bujhaata hai
aa aa aa
jaise baadal barasta hua
pyaas jag ki bujhaata hai
jaise chandan sabhi ke liye
apni kushboo lutaata rahaa aa
yoonhi tum apna jeevan lutaati rahi
par tumhen pyaar kiska mila
wo jo auron ki khaatir jiye mar mite
sochti hoon unhen kya mila

khwaab dekhe hamaare liye
ek pal bhi agar so gayi ee ee
khwaab dekhe hamaare liye
ek pal bhi agar so gayi
tum ho maa saare pariwaar ki ee
sabki fikaron mein tum kho gayi ee
tum ho ma sare pariwar ki ee
sabki fikaron me tum kho gayi ee
tum na biyahi
na hatho me mehndi rachi
aur na maathe ko teeka mila
wo jo auron ki khaatir
unhen kya mila

ek aurat ho meri taraha
phir bhi lagti ho devi mujhe
aa aa
ek aurat ho meri tarha
phir bhi lagti ho devi mujhe
apna sab kuchh mitaaya magar
ik nayi zindagi di mujhe ae
apna sab kuch mitaya magar
ik nayi zindagi di mujhe ae
har andhere mein jalti pighalti rahi
dil tumhen deep jaisa mila
wo jo auron ki khaatir jiye mar mite
sochti hoon unhen kya mila
kya mila
kya mila


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.
Read more on this topic…


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

For a soft and lovely and romantic expression, it probably does not get better than this delightful ghazal. The words, the music, and the rendition – all have come together to craft this wonderful expression of bashful love. Love, that wants to say many things, but remains un-speaking, when presented with the opportunity. The anxiety and hesitations tie the tongue, and the moments pass by without a word being said. Shakeel Sb has so beautifully painted the words around this emotion. Each couplet is a priceless gem. I am bowled over with how the words are knitted together.

hasraten aarzooen umangen
jaane kis raah par jaa rahi theen
un ko dekha to manzil samajh kar
ruk gaya karvaan un ke aage

Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (9 november 2014) is the 61st death anniversary of Ghulam Haider (1908-9 november 1953). He died at a young age of 45, but by that time he had does so much in his chosen field that his name will remain immortal in the annals of HFM.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Apradhi” (1949) was directed by Yashwant Pethekar for Prabhat Films. This movie had Ram Singh and a very young Madhubala in lead roles. A very good quality video of this movie is available on YT and the film itself is quite an interesting movie to watch, though I have watched only a small portion of the movie myself.
Read more on this topic…


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

‘ X ‘ as we all know is the 24th letter in the alphabetic order of the English Language. Over the years I have often heard the phrase ‘ angrez chale gaye aur yeh angrezi chhod gaye…… ‘ This was usually in response to someone saying either ”sorry’ or ‘thank you’. The aspersion on the whole language was cast as ‘sorry’ and ‘thank you’ seem more formal and trivial words, compared to our own ‘ shukriya ‘ and ‘ mu’aaf kijiye ‘ or ‘dhanyawad’ and ‘kshama kijiye’ .

Similarly, the alphabet ‘ X ‘ of the English language is surplus to requirement as far as Hindi /Urdu are concerned.
Read more on this topic…


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) 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

17102

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

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