Advertisements

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

Archive for the ‘Rafi songs’ Category


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.

“Halla Gulla” (1954) was produced and directed by Bhagwan for Bhagwan Art Productions, Bombay. The movie had Bhagwan, Shakila, Sajjan, Baburao, Leela Gupte, Leela Gandhi , Begam Bai, Suneeta, Salvi, Qamar, Sukumar, Bhagwan Rao “Aankh”, Balaram, Deepak, Yashwant, Swami etc in it.

The movie had nine songs in it. All these nine songs were Rafi-Asha Bhonsle duets ! This must be a record of sorts where all songs of a movie are duets and are sung by the same pair of singers.

It would seem that Bhagwan had lip synced in Rafi’s voice. The actress lip syncing in Asha Bhonsle’s voice could be either Shakeela or Leela Gandhi or Leela Gupte. I request our knowledgeable readers to throw light on the picturisation of this song.

Saba Afghani is the lyricist. Music is composed by Nisaar Baazmi.


Song-Yoon na chhedo balam koi na aa jaaye (Halla Gulla)(1954) Singers-Asha Bhonsle, Rafi, Lyrics-Saba Afghani, MD-Nisar Bazmi

Lyrics

yoon na chhedo balam
koi na aa jaye
yoon na chhedo balam
koi na aa jaaye
tumko nahin sharam
tumko nahin sharam
mohe laaj aaye
yoon na chhedo balam
koi na aa jaaye

ek to sataaye mohe bairi hawaayen
aanchal udaayen kabhi laten bikhraayen
ek to sataaye mohe bairi hawaayen
aanchal udaayen kabhi laten bikhraayen
dooje tum to piya
mohe na sataao piya
mohe na sataao
tumko to aaye maza
mora jiya jaaye
ho mora jiya jaaye
yoon na chhedo balam
koi na aa jaaye

ghoonghat se roop gori tera pukaare
naina bulaayen tere kar ke ishaare
ghoonghat se roop gori tera pukaare
naina bulaayen tere kar ke ishaare
ye sharmeeli ada
kise na lubhaaye bata
kise na lubhaaye
aise mein door bhala
kaise raha jaaye
ho kaise raha jaaye

yoon na chhedo balam
koi na aa jaaye

kyun aaj pyaar bhari karte ho baaten
samjhi main khoob sajan tumhri ye ghaaten
kyun aaj pyaar bhari karte ho baaten
samjhi main khoob sajan tumhri ye ghaaten
dekho mori kasam
aise na banaao mohe
aise na banaao
kar doongi shor abhi
paas jo tum aaye
ho paas jo tum aaye
yoon na chhedo balam
koi na aa jaaye
yoon na chhedo balam
koi na aa jaaye

Advertisements

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 (15 august 2017) is the 71st Independence day of India.

This is the tenth independence day for the blog. In addition, we have also had nine republic days. We have discussed a few patriotic songs on all these 17 national days. So one can imagine the number of patriotic songs that we have covered in the blog so far. The count of patriotic songs in the blog shows 106 songs as of now !

While discussing songs from movies, we sometimes come across special songs that are suitable songs for special occasions. Same was the case with this song from “Samundar”(1957). In my bid to cover all the eight songs from the movie, seven songs have been covered. The eighth song was deferred to be covered on Indepence day because it is suitable song for such an occasion.

“Samundar” (1957) was produced and directed by Premnath for Premnath Films. The movie was an all family affair. Premnath, Bina Rai (his wife), Rajendranath (his brother) figured in the movie. Others in the cast were Nishi, Tuntun, Anmol Krishan, Ram Avtar, Ullas, Heeralal, Sundar, Ridkoo, Paul Sharma, Rajan Kapoor, Habeeb, Azeem, Mahesh, Manohar, Niranjan etc.

Here is this eighth and final song from the movie to appear in the blog. This song is sung by Geeta Dutt, Rafi and chorus. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.

The song is picturised as a “ship” song populated by seafaring sailors led by Premnath. Premnath sings in Rafi’s voice. I am unable to identify the person who lip syncs in Geeta Dutt’s voice. In any case, Geeta Dutt’s voice is mainly heard alongwith the chorus in this song.

I have not been able to get a few words right in the lyrics. I request our readers with keen ears to help fill in the blanks/ suggest corrections as aplicable.

With this song, “Samundar”(1957) joins the list of movies that have all their songs covered in the blog.

I take this opportunity to wish everyone a very happy Independence day.

Video


Audio

Song-Gaao re gaao re khushiyon ka taraana (Samundar)(1957) Singers-Rafi, Geeta Dutt, Lyrics-Rajinder Krishan, MD-Madan Mohan
Chorus

Lyrics

hoy
hoy
yeah
ho ho ho ho
ho ho ho
haa haa ha haa
ha ha ha ha
ho ho ho ho
ho ho ho
haa haa ha haa
ha ha ha ha

aa aa aa aa
aa aa aa aa
aa aa aa aa aa
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoomke aayi aazaadi
door nahin wo din jab hogi
hari bhari ik ik waadi
jhoom ke aayi aazaadi

hoy hoy

apne sitam ka aap nishaana
dekho wo saiyyaad hua
dekho wo saiyyaad hua
ujad gaya thha jo gulshan
wo phir se hai aabaad hua
phir se hai aabaad hua
apni basti chaand(?) huyi hai
gair ke ghar mein barbaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoom ke aayi aazaadi

hoy

apni dharti par na honge begaanon ke dere
begaanon ke dere
naam na lenge kadam badhaane
ka ab chor lutere
ka ab chor lutere
lehar lehar ban jaayegi saagar
desh ki saari aabaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoom ke aayi aazaadi

hoy hoy

aao maathe lahu lagaakar
aaj ye kha len kasmen
aaj ye kha le kasmen
aaj se phir hum kabhi na
honge
kisi gair ke bas mein
kisi gair ke bas mein
?? na chheen sakega koi hamari aazaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoomke aayi aazaadi
jhoomke aayi aazadi
aaa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
a aaa aa aa aa aa aa
aa aa aa aa aa aa aa


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

HAPPY INDEPENDENCE DAY to all our readers. May the 70th Anniversary of India’s Independence bring happiness, prosperity and peace to people of this great nation.

On this occasion, I present to you a Marching Patriotic song, in praise of the Motherland, from the film ‘Sipahsalaar’ (1956). Sipahsalaar means Chief of Army or Commandant . The name of this film is not well known because the lead actor,the composer or the director were not famous at that time. I said ‘ that time ‘ because in the next one year, this film’s hero – Shammi Kapoor would come in a complete makeover of appearance (without his funny unbecoming moustache) and style of acting with the film ‘Tumsa Nahin Dekha’ (1957). Later on, he wrote a glorious chapter in the history of Indian cinema.

Nadira, the heroine in this film, had become an overnight glittering star with her very first film ‘Aan’ (1952). However, this good luck slowly but surely diminished over next few years and she ended up doing side and character roles.

Born as a Baghdadi Jew, on 5-12-1932, with a name of Farhat Khatoon Ezekiel, her mother was Iraqi and father was Egyptian. She was the only girl in the family. She had 2 brothers. First she wanted to become a nun and then a doctor, but financial difficulties forced her to learn shorthand and typing. Being attractive, she had many boy friends. One day, along with her boy friend, she went for a party of film world. Kardar, Mehboob, SU Sunny etc. were present there and naturally they were impressed with her good looks and sophistication. Mehboob Khan was the first to contact her and sign a contract with her for Rs. 1200 p.m.

For first 3 months, there was no work, except watching the shooting daily and learning things. She did not get her pay, as she did not ask for it. When Mehboob came to know, she was given Rs 3600 all at one time. 65 years ago, this was a big amount !

Her first film ‘Aan’ became a hit. In her second film ‘Naghma’ (1953), she fell in love with the Producer / Director / Lyricist Nakshab Jarachavi, and they got married. Unfortunately, she could not tolerate his narrow minded restrictions on her social life and the marriage broke within 2 years. Then she married a non filmi person, but this marriage too broke very soon. After these two failed alliances, she remained single forever. Nadira worked with Raj Kapoor, Dilip Kumar, Dev Anand, Ashok kumar, Raaj kumar, Talat mehmood and almost every known actor of that era. She was the first actress to own a Rolls Royce car in Bombay. But later on she worked even in B and C grade films to survive. She won a Filmfare award for her role in film ‘ Julie ‘ (1975).

She acted in 92 films. Her last released film was ‘Josh’ (2000). Her last days were spent in illness and in the company of friends like Nirupa Roy, Nimmi and Shyama. She died on 9-2-2006. Her last rites were done as per Hindu customs, because that was her last wish.

The composer of this film is Iqbal, who has often been mistaken for more famous composer Iqbal Qureshi. While Iqbal Qureshi’s career spanned the years 1958 to 1991,  Iqbal (Mohammed Iqbal), operated between 1953 to 1975. This Iqbal was known as ‘Chhota Iqbal’, probably based on the heights of these two Iqbals. Iqbal Qureshi was more than 6 feet tall.

He started his career with ‘Malika Saloni’ (1953). He gave music to 21 films and 2 unreleased films. His films are –

Malika Saloni (1953)
Jaadugar (1954)
Jaasoos (1955)
Sakhi lutera (1955)
Anokha Jungle (1956)
Sipah Salaar (1956)
Gypsy (1957)
Chetak aur Rana Pratap (1958)
Black Mailer (1959)
Hero No. 1 (1959)
Toofani Teerandaz (1959)
Wrong Number (1959)
Diler Haseena (1960)
Gun Fight (1960)
Jaalim Jaadugar (1960)
Night Bird (1961)
Toofani Tarzan (1962)
Kaala Jaadu (1963)
Black Arrow (1965)
Fauladi Mukka (1965)
Agent 302 (1963)
Unreleased – Gypsy (1960s) and Raajkumar Sooraj (1970s)

Iqbal never compromised on quality singers and used Rafi, Suman Kalyanpur, Asha, Khan Mastana, Meena Kapoor, Madhubala Zaveri, Mubarak Begum, Mahendra Kapoor, Ismail Azad Qawwal, Talat Mehmood, S Balbir, Minu Purushottam, Chandbala etc. His songs do not include, possibly, any Lata number.

After films, he composed several Muslim devotionals with Mukesh and few ghazals with Shailendra Singh. His composition “Dil Ne Chheda Hai Taraana” from film ‘Sipahsalaar’ – a Talat-Asha duet, is included by HMV in their Classic selection.

With all this, Iqbal remained a small time composer, an action film music director, unlike his same name counterpart who bathed in the glory of hit songs. Iqbal’s only hit film,’Sipahsalaar’ is also invariably included in Iqbal Qureshi’s filmography, which is injustice to poor Iqbal !

‘Sipahsalaar’ is an Eagle Films, Bombay presentation by its owner FC Mehra. This was quite an entertaining costume drama wherein Shammi Kapoor donned the cowboy dress for a major part of the film. Unfortunately all the prints of this film were destroyed in a fire and today, the film is not available anywhere. Shammi Kapoor always regretted that he did not keep a copy of this film with him.

I have seen the film. Since I find that many people are curious about this film, based on my notes I give herewith a short synopsis of the film. If you are unable to see the film, at least here is some information about it.

It is an Eagle Films presentation, produced by FC Mehra and directed by Mohd. Hussain ( 25-2-1918 to 25-7-1980, total films 39) who also wrote its story, screenplay and dialogues as well. Music was by Iqbal with lyrics from Farooque Qaiser.

The evil Vazir of Bharatpur (Randhir) ousts the good king (Uma Dutt) and captures the throne. The good but helpless king escapes to another country. However his loyal, trustworthy and brave Sipahsalaar (S Nazir) goes underground and continues guerrilla fighting with the Vazir.

The king wants to send a plan to recapture his kingdom to his Sipahsalaar. For this purpose he chooses Captain Shyam (Shammi Kapoor). He is ready to undertake this dangerous mission. Disguised as a truck driver, the Captain starts his journey, but is recognised and stopped by a major (Shyam Kumar) at the border. At this time a mysterious, beautiful patriot girl Radha (Nadira) saves him and both escape in the jungle.

Hereafter the film depicts many adventures, jungle scenes and moments of love between Shammi Kapoor and Nadira, including some songs.

They finally reach Sipahsalaar, and deliver the message. However while regaining the kingdom, there is a battle and the Sipahsalaar sacrifices his life for the king.

As far as today’s song is concerned, it seems there is also a second part of this song, which was only in the film and no record was ever made. The second part was played in the background at the last scene when the Sipahsalaar dies in the battle, after regaining the kingdom for the ousted king.

This is a fitting song for today’s occasion. Let us enjoy it……


Song – Ae Maadr e Watan, Maadr e Watan (Sipahsalaar) (1956) Singer – Mohammed Rafi, Lyrics – Farooque Qaisar, MD – Iqbal
Unidentified Male Voice
Mohammed Rafi + Unidentified Female Voice
Chorus

Lyrics

ae maadr e watan

ae maadr e watan
maadr e watan
ae maadr e watan
maadr e watan
ae maadr e watan
maadr e watan
ae maadr e watan
maadr e watan

rahenge le ke raaj hum
wo tera takht o taaj hum
rahenge le ke raaj hum
wo tera takht o taaj hum
wo tera takht o taaj hum
ke veer ho ke aaj hum
aaj hum
aaj hum
tujhe ye dete hain vacahan
tujhe ye dete hain vacahan
maadr e watan maadr e watan
ae maadr e watan
maadr e watan
ae maadr e watan
maadr e watan

ye hum ne kha li hai qasam
nahin sahenge ab sitam
ye hum ne kha li hai qasam
nahin sahenge ab sitam
nahin sahenge ab sitam
nikal pade hain ghar se hum
ghar se hum
ghar se hum
sar se baandh kar kafan
sar se baandh kar kafan
maadr e watan maadr e watan
ae maadr e watan
maadr e watan
ae maadr e watan
maadr e watan

giren falak se bijliyaan
bijliyaan
bijliyaan
giren falak se bijliyaan
chale hazaar aandhiyaan
giren falak se bijliyaan
chale hazaar aandhiyaan
chale hazaar aandhiyaan
badhega yun hi kaarvaan
kaarvaan
kaarvaan
kuchalne dushmanon ka tan
kuchalne dushmanon ka tan
maadr e watan maadr e watan
ae maadr e watan
ae maadr e watan
ae maadr e watan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ए मादर ए वतन

ए मादर ए वतन
मादर ए वतन
ए मादर ए वतन
मादर ए वतन
ए मादर ए वतन
मादर ए वतन
ए मादर ए वतन
मादर ए वतन

रहेंगे ले के राज हम
वो तेरा तख्त ओ ताज हम
रहेंगे ले के राज हम
वो तेरा तख्त ओ ताज हम
वो तेरा तख्त ओ ताज हम
के वीर हो के आज हम
आज हम
आज हम
तुझे ये देते हैं वचन
तुझे ये देते हैं वचन
मादर ए वतन मादर ए वतन
ए मादर ए वतन
मादर ए वतन
ए मादर ए वतन
मादर ए वतन

ये हम ने खा ली है कसम
नहीं सहेंगे अब सितम
ये हम ने खा ली है कसम
नहीं सहेंगे अब सितम
नहीं सहेंगे अब सितम
नहीं सहेंगे अब सितम
निकाल पड़े हैं घर से हम
घर से हम
घर से हम
सर से बांध कर कफन
सर से बांध कर कफन
मादर ए वतन मादर ए वतन
ए मादर ए वतन
मादर ए वतन
ए मादर ए वतन
मादर ए वतन

गिरें फ़लक से बिजलियाँ
बिजलियाँ
बिजलियाँ
गिरें फ़लक से बिजलियाँ
चलें हज़ार आंधियाँ
गिरें फ़लक से बिजलियाँ
चलें हज़ार आंधियाँ
चलें हज़ार आंधियाँ
बढ़ेगा यूं ही कारवां
कारवां
कारवां
कुचलने दुश्मनों का तन
कुचलने दुश्मनों का तन
मादर ए वतन मादर ए वतन
ए मादर ए वतन
ए मादर ए वतन
ए मादर ए वतन


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.

“Hathhkadi”(1958) was directed by Sudarshan Bhatia for D S Films. The movie had Motilal, Shakila, Sajjan, Jabeen Jaleel, Amarnath, , Mirza Musharraf, Mirajkar, Ramesh Sinha, Bhagwan Sinha, Umesh Sharma, Murad, Bhudo Advani, Cuckoo, Sheila Vaz etc in it.

Two songs from the movie has been discussed in the past. Here is the third song from “Hathhkadi”(1958) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Indeewar is the Lyricist. Music is composed by Naashaad.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Duniya hai badi zaalim duniya se bacha lo jee(Hathkadi)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Indeewar, MD-Naashaad

Lyrics

aa aa aa
o o o
o ho o
o o o o
duniya hai badi zaalim
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bithha lo ji ee
palkon mein bitha lo ji

taqdeer ka maara hoon
taqdeer ka maara hoon
mujhe apna bana lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji

kahaan leke chale mujhko
mera dil ghabraata hai

o o o
phailaaye huye baahen
mera pyaar bulaata hai
o mere paanv piya doley
main gayi sambhaalo ji
palkon mein bitha lo ji ee
palkon mein bitha lo ji
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bitha lo ji ee
palkon mein bitha lo ji

aa aa aa
o o o

o ho o
o o o
o o
ho dil to ye hi kehta hai
main tum mein sama jaaun
o dil to ye hi kehta hai
main tum mein sama jaaun
aisa na kaho ji tum
aisa na kaho ji tum
tumse hoye sharmaaun

apnon se kya parda
arre parda uthha lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji
taqdeer ka maara hoon
mujhe apna bana lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bitha lo ji

aanchal mein chhupa lo ji
hmm hmmm
aa ha ha
aa aa a
o o o
ho ho ho


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.

“Insaaf”(1956) was directed by Kedar Kapoor for Bhagyoday Pictures, Bombay. This movie had Nalini Jaiwant, Ajit, Kamal Kapoor, Ramesh Tiwari, Durga Khote, Helen, Johny Walker etc in it.

There were eight songs in this movie which is described as costume drama (veshbhoosha pradhan) in HFGK. Two songs from the movie have discussed in the blog in the past.

Here is the third song from “Insaaf”(1956) to appear in the blog. This song is sung by Rafi. Asad Bhopali is the lyricist. Music is composed by Chitragupta.

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


Song-Daulat ke andhere mein tera kho gaya imaan…Allah ki nazron mein baraabar hain sab insaan (Insaaf)(1956) Singer-Rafi, Lyrics-Asad Bhopali, MD-Chitragupta

Lyrics

daulat ke andhere mein aen aen
tera kho gaya imaan aan
tujhko na rahi
apne paraaye ki bhi pehchaan

magroor na ho
magroor na ho
apne muqaddar pe o naadaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan

duniya ka ajab rang nazar aane laga hai
ik bhaai hai jo bhaai se takraane laga hai
ik beta hai jo maa ko bhi thhukraane laga hai
o o o
afsosh ke insaan bana jaata hai shaitaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan

zaalim ko har ik zulm se baaz aana padega
looti huyi har cheez ko lautaana padega
insaaf ki aawaaz pe jhuk jaana padega
o o o o
kudrat ka ye kaanoon badalna nahin aasaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan

ye saaz ye mehfil ye taraane na rahenge
ye husn o mohabbat ke fasaane na rahenge
jo aaj hai kal tak wo zamaane na rahenge
o o o o
mit jaayenge ik pal mein gunaahon ke ye saamaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan


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.

“Dr Shaitaan”(1960) was produced by Ram Kumar and it was directed by Shriram Bohra for Bohra Brothers production, Bombay. The movie had Premnath, Shakila, Sheikh Mukhtar, Sunder, Tiwari, Sheikh, Helen, Nasreen, Nazi, Indira, Ramkumar, Rajan Kapoor, Ramlal, Mahendra, Maqbool, Mirajkar, Kamaol Sharma etc in it.

This movie was a crime thriller. It had six songs in it. Four of these songs have been discussed in the past.

Here is the fifth song from “Dr Shaitaan”(1960) to appear in the blog. This song is sung by Rafi and Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. N Datta is the music director.

The song is a “Mumbaiya” style teasing song with Mumbaiyya slang words like “piyela”, ” maghaz phirela” etc liberally sprinkled in the lyrics.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this lively tapori brand teasing song.


Song-Hamen raste mein chhede kyun (Dr Shaitaan)(1960) Singers-Asha Bhonsle, Rafi, Lyrics-Jaan Nisaar Akhtar, MD-N Datta
Both

Lyrics

hamen raste mein chhede kyun
arre kya tu piyela hai
karen kya pyaar mein tere
maghaz apna phirela hai

oho o o
hamen raste mein chhede kyun
arre kya tu piyela hai
karen kya pyaar mein tere
maghaz apna phirela hai

oho o o
daadan daan daan daaan dan daan
laa ra laa la laa lalalala

ab to meri jaan
kahde zara haan
aisa bhi kya hai arre ae

dil to le chuka
chaahe aur kya
ja maskhari kyun kare ae ae ae
ab to meri jaan
kya
kahde jara haan
aisa bhi kya hai are

dil to le chuka
chaahe aur kya
ja maskhari kyun kare
haaye ye ada
hum to dilruba
haaye ye ada
hum to dilruba
nakhron pe tere marela hai

humen raste mein chhede kyun
are kya tu piyela hai
karen kya pyaar mein tere
maghaz apna phirela hai

oho o o
daadan daan daan daaan dan daan
laa ra laa la laa lalalala

lagta yahi dar
dekhegi agar
duniya kahegi bura
tujhpe jab maren
kis’se hum daren
humko na itna dara aa aa aa

lagta yahi dar
dekhegi agar
duniya kahegi bura
tujhpe jab maren
kis’se hum daren
humko na itna dara

samjhe na zara
maane na kaha
samjhe na zara
maane na kaha
tera to bheja sadela hai
aany
hume raste mein chhede kyun
are kya tu piyela hai
karen kya pyaar mein tere
maghaz apna firela hai

oho o o
daadan daan daan daaan daan daan
laa ra laa la laa lalalala


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.

hum kahin bhi hon
chale aayenge

What an extraordinary promise this is.

We had a small get together of music lovers, earlier in the day today. And for the day it is, part of our conversation revolved around Rafi Sb, and his persona, and his legacy. ‘God’s Own Man’ is the phrase expressed by one of the gathering. Certainly, all people are God’s people. But then some are special. They are ‘God’s Own People’. Humble and giving – the two traits that stand out as shining beacons in this industry that is famous for cutthroat competition, and the rule of money power. So much corruption and cruelty bleeds into it, and in turn, generates more cruelty and heartlessness.

A small anecdote that expresses Rafi Sb’s true persona – small but truly profound. The day (this day thirty seven years ago), when he felt the first tremors of the heart problem that would very shortly prove to be ultimately decisive, and the family was getting ready to take him to the hospital, his last words to his wife were – please take care that no needy person reaching the doorstep of the Rafi household, is ever turned back empty handed. Was that a statement arising out of a presentiment of what was about to transpire? If it was, then it is remarkable that in such a portent moment of intuition, his thoughts were about some needy person coming to his doorstep, and not about anything else related to family or assets or instructions for the future.

So much has been said and written about him. Most things one can think of expressing, have already been said. And yet, there is this feeling that so much more has still to be said. About him, about his voice, and his songs. Some months back, when I was working on the series “Mohammed Rafi – ‘अ’  से  ‘ह’ तक”, there were two songs that I had short listed to present as part of the series. However, on repeated listens, the mind pulled them out of the series, and thought better to save them for the anniversaries. Both these songs have something to say about the persona that Rafi Sb endures to be. Incidentally, both these songs get posted today.

The first one is the song that Raja ji posted earlier in the day – “Khushboo Hoon Main Phool Nahin Hoon”. The words of this song are such an endearing statement – that the sounds of his songs will sustain the music and the personality, enduring the passage of time, just like fragrance that wafts forever in the alleyways of the mind, unlike a flower that will decay and die, and be forgotten.

The second song is this one that I am posting now – “आप जब याद करेंगे हमको, हम कहीं भी हों चले आएंगे”. What a remarkable and a lasting promise he makes to us. We just have to stir the memories, whenever, and he promises that he will be with us. And every time that happens, it is a bevy of his songs that passes through the mind, re-enlivening his voice echoing into our ears. And his songs playing in close vicinity, makes one feel that yes, he is still around, for his voice is still here with us.

The film is an unreleased picture from the 1970s – ‘Murder On Highway’. One wonderful lilting song of this film has already appeared on our blog, as part of the above mentioned series – “Saawan Ki Pari, Chup Chup Hai Khadi”. Music is from the mind of C Arjun, and the words are (likely) from the pen of Asad Bhopali. Although, in effect, it is a call to the beloved, for a tryst, for a union. The words are simply superb. A couplet from the first antaraa says

aap ko dekh ke jeene waale
aap ke naam pe mar jaayenge. . .

The words and the sound of the voice seems to carry the being to the place where, yes, we are face to face with this divine voice. . . always,

hum kahin bhi ho chale aayenge. . .

Song – Aap Jab Yaad Karenge Hum Ko  (Murder On Hihgway)(UR) (1971) Singer – Mohammed Rafi, Lyrics – Asad Bhopali, MD – C Arjun

Lyrics

aap
jab yaad karenge humko

hum kahin bhi hon chale aayenge
aap jab yaad karenge humko
hum kahin bhi hon chale aayenge
ek din aap hamaare honge
log munh dekhte reh jaayenge
aap jab yaad karenge humko

ru e roshan hai gulaabi
shokh aankhen hain sharaabi
chaal aisi hai ke dekha kijey
aap ae jaan e bahaaraan
kyun hain betaab pareshaan
kya hua kuchh to ishaare kijey
aap ko dekh ke jeene waale
aap ko dekh ke jeene waale
aap ke naam pe mar jaayenge
aap jab yaad karenge humko

aap ki zulf ka saaya
jab se ehsaas pe chhaaya
aaj tak hosh na aaya humko
pyar karne ka saleeka
dil lagaane ka tareeka
aap hi ne to sikhaaya humko
berukhi hum se karenge to huzoor
berukhi hum se karenge to huzoor
pyaar karne ko taras jaayenge
aap jab yaad karenge humko
hum kahin bhi hon chale aayenge
ek din aap hamaare honge
log munh dekhte reh jaayenge
aap jab yaad karenge humko

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

आप
जब याद करेंगे हमको

हम कहीं भी होंगे चले आएंगे
आप जब याद करेंगे हमको
हम कहीं भी होंगे चले आएंगे
एक दिन आप हमारे होंगे
लोग मुंह देखते रह जाएँगे
आप जब याद करेंगे हमको

रु ए रोशन है गुलाबी
शोख आँखें हैं शराबी
चाल ऐसी है के देखा कीजे
आप ए जान ए बहारां
क्यों हैं बेताब परेशान
क्या हु कुछ तो इशारे कीजे
आप को देख के जीने वाले
आप को देख के जीने वाले
आप के नाम पे मर जाएँगे
आप जब याद करेंगे हमको

आप की जुल्फ का साया
जब से एहसास पे छाया
आज तक होश ना आया हमको
प्यार करने का सलीका
दिल लगाने का तरीका
आप ही ने तो सिखाया हमको
बेरुखी हम से करेंगे तो हुज़ूर
बेरुखी हम से करेंगे तो हुज़ूर
प्यार करने को तरस जाएँगे
आप जब याद करेंगे हमको
हम कहीं भी होंगे चले आएंगे
एक दिन आप हमारे होंगे
लोग मुंह देखते रह जाएँगे
आप जब याद करेंगे हमको


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.

In India, we are often required to attend get togethers (formal/ officials as well as informal/ unofficial etc). Singing of a few film songs is almost always a part of these gatherings, which are sung by enthusiastic singers and their performances are followed by polite clappings.

The songs that are sung on these gatherings are mostly from the golden era originally sung by legends. I often think of that era when these legends were still around me. I would often imagine a gathering where songs were sung not by the enthusiastic singers but by the singers who originally sang these songs. Just imagine participating in a programme where Rafi songs are being sung live by none other than Rafi himself !

During the golden era of HFM, viz from 1950s to 1970s, the playback legends would often visit various cities and towns and sing in public functions.

In eastern part of India, Durga Puja is the most important festival and it would last for many days- typically for for days (saptami to dashmi). The Durga Puja organising committees would arrange for cultural programmes at night on all these days and these cultural programmes would draw big audience. I, growing up in Ranchi, attended lots of such cultural programmes on these nights.

Some durga puja organisers would be more ambitious than others and they would contact legends to participate in their cultural programmes. Some organisers would be even more ambitious and they would invite such legends just as a stand alone function, a musical night. And guess what ! Sometimes these legends would actually agree to participate on these functions.

The true tale that follows is about one such cultural programme that took place some 50 years ago in a small town in West Bengal.

Amirchand informed his friends Dipu and Radhakant that Rafi was coming in for a musical night. Diehard Rafi fans all, they got all enthusiastic about attending the programme. Then Amirchand broke the news that it was not in their city of Calcutta, but at Kanchrapara, a railway town located 50 km away !

On that evening, the three friends had an early dinner and then they boarded a local train to Kanchrapara. Once they alighted at the Railway station, the festive atmosphere and stream of people going in a particular direction meant that they had no difficulty arriving at the railway stadium which was the location for the function.

A large tent was erected and the fucntion was to be held inside it. It turned out that all the tickets were already sold out !

The locals advised them not to lose heart and asked them to wait. In any case, Rafi’s performance was towards the fag end of the programme.

During those days of old, such programmes were not organised for any mercenary purposes. After the tickets were sold out and ticket holders had taken their seats, the side partitions of the tent would be taken out so that even those without tickets could watch from a distance, while being seated on the ground. The stage was quite high so that even people located far off could have decent view.

Finally the partitions were removed for the non ticket holders like Deepu and co. At this moment, something unexpected happened. Deepu noticed an usher cum organiser, proudly sporting the organiser’s large usher badge, coming his way. He was not a stranger, but a familiar face. It was Biman, his childhood acquaintance. “Hey Biman”- Deepu shouted and ran towards him. The two childhood friends hugged each other like how separated at childhood children do in Hindi movies. 🙂

“I did not know that you stay at Kanchrapara”- Deep exclaimed. Biman explained that he lived in the Railway area and it was his youth organisation which was behind this function. He motioned Deepu and his two friends to follow him discreetly. He took then to the front row where their were cushioned seats- seats meant for special guests ! So Deep and his friends found themselves becoming special guests in a programme where they were unable to get tickets just a few hours ago !

It was at around midnight that Rafi made a grand entry with a full throated shot of “Yaahoo”. Mortals, after shouting like this would lose their voice for several days, but it was no ordinary mortal of course ! Audience began to pass on slips with their farmaishes and Rafi saab began to oblige them. He read a slip and asked- “who among you has sent this slip ? Please stand up. This song is my favourite. O duniya ke rakhwaale”.

An old man stood up and raised his hand. “I will sing this song later. Please remind me later.”-Rafi assured him.

Rafi kept singing songs after songs on the farmaishes of audience. There was a farmaish for a duet. He asked for a lady from the audience to accompany him for the duet. A young lady volunteered. The two sang several duets. Rafi took her under his wings and guided her like his child, and covered her lapses expertly.

People were so engrossed that they did not realise that several hours had passed and midnight was giving way to dawn ! A few organisers came up to the stage, perhaps to remind him that it was time to wind up. Rafi requested them to give him a few more minutes. “Is the gentleman still here who requested for duniya ke rakhwaale ?” Rafi saab asked. The old man stood up and raised his hand even before Rafi saab could complete his question.

Rafi saab concluded the programme by singing his favourite song-” o duniya ke rakhwaale”. It had already become daylight by then. Not a sigle soul among the audience had left the area. That was the kind of connect Rafi saab had established with his audience in that small town in Bengal.

Deep and his friends came back home. Full contented and savouring a great experience of a lifetime.

The above experience was easily an experience of the lifetime. Deep aka Deependu Mukherjee shared this experience in his blog in 2016, some five decades later. I stumbled upon this article in december 2016 and I wanted to discuss it in the blog during Rafi saab’s birth anniversary in December 2016. But I could not get Mr Deependu Mukherji’s permission in time to use this article. When he logged into his computer after the Christmas vacation then he came across my request and he permitted me to use this article anyway I wanted. So I am extremely thankful to him for this article as well as his permission. I have gone through this article several times and I get a goosebump every time, and I find the cochlea of my heart getting warmed each time without fail.

Rafi saab singing the farmaishes of his fans live, and the fans lapping up every moment of the experience. Needless to say that the audience who gathered that day fifty years ago were all blessed souls and they would all remember this night as long as they live.

Just imagine Rafi Saab, the undisputed number one playback singer of the era agreeing to participate in a function like this which was truly a function of ordinary music lovers for ordinary music lovers. And Rafi saab merged with the audience like one among them, even seeking out a member of the audience to sing with him ! No airs of superstardom whatsoever ! He never looked at the watch. He in fact took some more time to comply to the farmaish of an old man, remembering to save that song for the last.

The golden era of HFM was from 1949 to 1980. Lots of people contributed in making this era the golden era. It is quite a coincidence that Rafi saab first caught the imagination of public as a playback singer with “Dulaari” in 1949. So Rafi saab making his mark in HFM and HFM entering its golden era happened in the same year.

Coincidence ! Then what about the other coincidence ? The golden era of HFM came to an end in 1980. And Rafi’s tenure in this earth too came to an end in 1980 ! On 31 july 1980, to be precise.

So one can say that the Golden era of HFM began with Rafi and came to an end with him. A coincidence indeed. But what a coincidence. Or may be not.

1980, the last year of Rafi saab on this earth saw some superb songs sung by him. He in fact looked to be firmly on his way to the top once again.

“Asha”(1980) is a movie studded with tremendous songs. One can keep listening to the songs of this movie in loop without feeling bored. All six songs of this movie are timeless gems. Four out of six songs of “Asha”(1980) have already been covered. I was deliberately holding on to the remaining two songs of the movie. Both these songs showcase Rafi’s voice at its very best.

Today (31 july 2017), on this occasion of Rafi saab’s remembrance day, here is this superb Rafi Lata duet from “Asha”(1980). Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

I am surprised that the video of this song is not available. I had seen this movie during its time but I do not recall whether the picturisation of this song was there in the movie. It should be a stage performance song going by the lyrics of the song.

I request our knowledgeable readers with better memories to tell us about the picturisation of this song. I am surprised that this song is decribed as a rare song by some uploaders.

Listening to the audio itself is a divine experience. So here it is as a tribute to Rafi!


Song-Tumko salaam hai (Asha)(1980) Singers-Lata, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics

ek din bahaar ne ae ae
phoolon se ye kaha
kaanton ki nok par
khilte ho tum magar
hanste ho jhoom kar r r r
zakhmon ko choom kar
insaanon ke liye
deewaanon ke liye
mushqil ye kaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
ho o
tumko salaam hai
ho o
tumko salaam hai

kahiye sahibaan
ye daastaan kaisi lagi
ye daastaan nahin ee ee
haan haan ji
haaan nahin
koi payaam hai
tumko salaam hai
koi payaam hai
tumko salaam hai

ho tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai

afsos kya
aa aa aa aa aa
afsos kya
ki dil khushiyon se thha bhara
thhoda sa ye agar
chhalka to kya hua
thhoda sa ye agar
chhalka to kya hua
aadha chhalak gaya
khaali nahin hua
aadha bhara hua aa aa
abhi ye jaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
koi payaam hai
tumko salaam hai

tumko salaam hai
tumko salaam hai
tumko salaam hai

tumne to bas mujhe ae ae ae ae
tumne to bas mujhe jeena sikha diya
jalwa dikha diya
parda uthha diya
jalwa dikha diya
parda uthha diya
har zakhm daag hai
har gul charaag hai
maalik dimaag hai ae ae
dil to ghulaam hai

tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai

is zindagi ko tum m m m m
is zindagi ko tum thhoda sa pyaar do
gham ke bhi raat din
hans kar guzaar do
gham ke bhi raat din
hans kar guzaar do
kyonki ye zindagi
ae mere hamnasheen

koi saza nahin ee ee
ye ik inaam hai
tumko salaam hai
koi payaam kai
tumko salaam hai
koi payaam kai
tumko salaam hai

tumko salaam hai
tumko salaam hai
sabko salaam hai


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

It is that time of year.

Another year comes along, another 31st of July comes along – and once again, we remember, and pay tribute, to the one and only Rafisaab on this date.

37 years ago, on this day in 1980, our beloved Rafisaab left our midst.

Since then, Hindi film music has never been the same. Many have tried to fill the void – and they have been good singers too – but somehow, the void has never been filled.

For it is no ordinary void – because Rafisaab was no ordinary singer. His voice and his rendition were in a league of their own. So it is absolutely no disgrace to any singer trying to sing like Rafisaab if he falls just a bit short.

As for me, the 31st of July is a date that always fills me with emotion. As it is, not a single day goes by when I don’t listen to a Rafisaab song. It just happens – whether I’m looking for a song myself, or am reminded of a song by someone else. Thankfully there are many of his songs out there – just as there are millions of his fans out there too.

Yes, that is the legacy of Rafisaab – the wealth of music, the absolute treasure-trove of music, he has left behind for all of us. Everyone has to go sometime, however much we might wish otherwise. What matters is the legacy and memories the person leaves behind.

And Rafisaab has been amazingly generous in this regard. Not only leaving behind his legacy in the form of songs but also leaving behind very sweet memories with those who were fortunate enough to meet and interact with him. I never had that good fortune – but those who did, have nothing but kind words to say about Rafisaab.

And why not? After all, Rafisaab himself was one of the kindest and gentlest souls in the industry. Given his huge stature for most of his career, he could easily have put on airs, or thrown his weight around. He could have dictated terms to composers and colleagues, he could have exploited his popularity.

But then he would not have been the Rafisaab we all know and love so much. He would have been at best a great singer, with a divine voice. That is very important, no doubt, and would have ensured him a place in posterity anyway. But the place Rafisaab has in many hearts today is at an even higher level. It goes way beyond what just singing ability could have managed.

And that is because, above all, he was a very good person. An exceptionally good person. And that earns you respect and admiration beyond just your professional ability.

For me too, this is one of the main reasons I am such a big fan of Rafisaab. Of course, I love listening to his voice. I get lost in his voice. When I hear “tum bhi the khoye khoye”, it is like Rafisaab talking to me. 🙂

But the fact that he was such a kind and gentle person, never hurting or exploiting others, that makes me feel so very warm towards Rafisaab, the person, not just Rafisaab, the singer.

Stories abound about Rafisaab’s kindness and his helpful nature. I will not go into them now – many of them are narrated by those who interacted with him and can be found in videos on the net, and from other sources.

Rafisaab himself never blew his trumpet. It is said that he used to point upwards whenever someone complimented him on a song. In effect, saying “I have done nothing, it is all due to Him”. Such a humble soul he was!

I consider myself a reasonably big Rafisaab fan – but I am very humbled (and actually secretly overjoyed) when I come across other fans who are even bigger Rafisaab fans. 🙂 That’s because for me, it’s not a competition. 🙂 In fact, I might get to learn of new songs of Rafisaab, or new anecdotes about him.

If nothing else, I get to discuss more about Rafisaab – something I never tire of doing anyway. Forget being tiring, talking about him has the opposite effect on me. 🙂 If I’m tired, I just have to think about Rafisaab, listen to a song of his – and I suddenly feel much better. 🙂 There are many songs of his I just tune in to – “deewana hua baadal”, or “pukaarta chala hoon main” or “tum jo mil gaye ho”. These are just three examples – there are many more.

I have spent hours listening to Rafisaab songs. I have spent entire nights watching Youtube videos of Rafisaab songs and videos about him. When at 4.30 a.m, I feel “maybe I should just grab a couple of hours of sleep so that I’m not a complete zombie the next morning”, I actually still feel fresh, and good enough to go on. It is more a reluctant acceptance of physiological demands on the body than a desire to call it a day (or night, as the case happens to be). So I consider this time well spent. 🙂

In fact, only a few days ago I did an all-nighter, watching a whole lot of videos on Rafisaab. The Doordarshan show on him, where DD had invited young singers from all over India to pay tribute to Rafisaab. Then some videos from Pakistan, where Pakistani singers were paying tribute to Rafisaab. Followed by videos with Rishi Kapoor, Jeetendra, Shailendra Singh, SP Balasubramaniam and others talking about Rafisaab. And so on.

I went on and on – everytime a video would appear on the “suggested videos” list, I would not be able to resist. 🙂

In fact, I’d seen some of these videos earlier too. But so what? Like I said, I’m never tired of listening to, or listening to talk about, Rafisaab. 🙂

All of them were good fun in their own way – in particular, I would recommend watching the tribute to Rafisaab by SP Balasubramaniam. This video should give you an idea of what a big Rafisaab fan he is. https://www.youtube.com/watch?v=vcJxGgn4g2U.

By the way, what I find very heartening is that it is not just oldtimers who are fans of Rafisaab. Many of today’s youth too, in their 20s/30s, appreciate him. I know quite a few in this age group who are diehard Rafisaab fans.

Just a few days ago, on Twitter, there was a tweet from a young Rafisaab fan to his followers, saying “please tweet me your favourite Rafisaab song”.

The response to it was amazing. In no time, SO many people tweeted SO many songs, it surprised me. What made me particularly happy was that many of these responses seemed to come from young people. This reassured me that Rafisaab’s legacy continues. Not that I doubted it, but it’s always good to see evidence that reassures you.

I can go on and on about Rafisaab – I’ve written many posts on him here, but I will stop this one here for now, and move on to the song for today.

This song is from Shaayad (1979).

Full credit for this song appearing in this post must go to our own Avinashji. He sent me the link to this song a few days ago, with a request to post it on Rafisaab’s death anniversary.

Guess what? I had never even heard this song before! Avinashji himself was shocked – I think I must have fallen several notches in his eyes now as a Rafisaab fan. 🙂

Apparently this song is fairly well-known, it has also been sung in programmes by Sonu Nigam and Shan Mukherjee. (It is composed by Shan Mukherjee’s father, Manas Mukherjee, so it makes sense that Shan has sung it in programmes).

Anyway, I hadn’t heard it before – but when I listened to it the first time, I was struck by not just Rafisaab’s voice, but also the beautiful lyrics by Nida Fazli. They’re simple lyrics, but yet so powerful!

I then got down to watching the film, so as to get the context of the song.

In the film, Saroj (Naseeruddin Shah) is suffering from cancer. His wife, Sudha (Neeta Mehta), puts on a brave face but is totally shattered within. They have a young daughter (role played by Baby Manisha Munshi?).

Naseeruddin sings this song to his wife and daughter. Later, after his death, his daughter sings a few lines.

The male version is sung by Rafisaab The few lines in the female voice are sung by Sagarika Mukherjee, daughter of the composer Manas Mukherjee. ( I believe this was her debut song, she must have been barely 8 or 9 then).

The song talks about dying, but in a way that is very comforting. It says, “I am not a flower that I will wither away, I am that fragrance that will linger on. In every season that comes along, I will come to you too”. How beautiful and comforting a thought is that!

Right through the song, while listening to it, I felt as if Rafisaab is singing to me. As if he is telling me that he is a fragrance, not a withering flower. That he can be found in every bud that blooms, in every manifestation of nature.

And then the lines

Jab bhi meri yaad sataaye
Phool khilaati rehna
Mere geet sahaara denge
Inko gaati rehna
Main andekha taara bankar
Raah dikhaoonga

That’s Rafisaab talking to us. Right there.

Today, Rafisaab is not physically in our midst – but he is very much with us in spirit, in our hearts.

And his songs are the fragrance that will live on forever.

Video (partial)-Rafi version

Audio (Full)-Rafi version

Video-Sagarika Mukherji version

Song-Khushboo hoon main phool nahin hoon jo murjhaaoonga (Shaayad)(1979) Rafi/Sagarika Mukherji, Lyrics-Nida Fazli, MD-Manas Mukherji

Lyrics

——————————
Male version (Full audio version)
——————————
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga

Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa aa
Khushboo hoon main

Jab jab mausam
Lehraayega
Jab jab mausam
Lehraayega
Main aa jaaoonga
Main aa jaaoongaa aa
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main

Meri soorat koi nahin
Chehra mera chehra hai
Bheega saawan
Soona aangan
Har aaina
Mera hai
Jab jab kali khilegi koi
Jab jab kali khilegi koi
Main muskaaoonga
Main aa jaaoonga aa
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main

Shaam ka gehra sannaata jab
Deep jalaane aayega
Mera pyaar
tumhaari sooni
Baahon mein ghabraayega
Main mamta ka aanchal ban kar
Main mamta ka aanchal ban kar
Lori gaaoonga
Main aa jaaoonga aa
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main

Jab bhi meri yaad sataaye
Phool khilaati rehna
Mere geet sahaara denge
Inko gaati rehna
Main an-dekha taara ban kar
Main an-dekha taara ban kar
Raah dikhaaoonga
Main aa jaaoonga aa
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main

Jab jab mausam
Lehraayega
Jab jab mausam
Lehraayega
Main aa jaaoonga
Main aa jaaoongaa aa
Khushboo hoon main
Phool nahin hoon
Khushboo hoon main
Phool nahin hoon
Khushboo hoon main

————————————–
Female version
————————————–
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main
Jab jab mausam
Lehraayega
Jab jab mausam
Lehraayega
Main aa jaaoonga
Main aa jaaoongaa aa
Khushboo hoon main
Phool nahin hoon
Jo murjhaaoonga aa
Khushboo hoon main
Khushboo hoon main
Phool nahin hoon

———————————————————
Hindi script lyrics (Provided by Ashwini Scrapwala)
———————————————————

पुरुष स्वर (आडियो पर आधारित)

खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा

खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा॰॰आ॰॰आ
खुशबू हूँ मैं
जब जब मौसम लहराएगा
जब जब मौसम लहराएगा
मैं आ जाऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा॰॰आ
खुशबू हूँ मैं

मेरी सूरत कोई नहीं
हर चेहरा मेरा चेहरा है
भीगा सावन
सूना आँगन
हर आइना
मेरा है
जब जब कली खिलेगी कोई
जब जब कली खिलेगी कोई
मैं मुस्काऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा॰॰आ
खुशबू हूँ मैं

शाम का गहरा सन्नाटा जब
दीप जलाने आएगा
मेरा प्यार
तुम्हारी सूनी
बाहों में घबराएगा
मैं ममता का आँचल बन कर
मैं ममता का आँचल बन कर
लोरी गाऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा॰॰आ
खुशबू हूँ मैं

जब भी मेरी याद सताए
फूल खिलाती रहना
मेरे गीत सहारा देंगे
इन को गाती रहना
मैं अन-देखा तारा बन कर
मैं अन-देखा तारा बन कर
राह दिखाऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा॰॰आ
खुशबू हूँ मैं
जब जब मौसम लहराएगा
जब जब मौसम लहराएगा
मैं आ जाऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
खुशबू हूँ मैं
फूल नहीं हूँ
खुशबू हूँ मैं

स्त्री स्वर

खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा

खुशबू हूँ मैं
जब जब मौसम लहराएगा
जब जब मौसम लहराएगा
मैं आ जाऊंगा
मैं आ जाऊंगा॰॰आ
खुशबू हूँ मैं
फूल नहीं हूँ
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा
खुशबू हूँ मैं
खुशबू हूँ मैं
फूल नहीं हूँ
जो मुरझाऊंगा


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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’s(31 july 2017) Monday song is ” Hey Shankar Pralayankar ” by Mohd. Rafi from the film HANUMAN PATAAL VIJAY-1951. The film was made by Basant Pictures of Homi Wadia. The producer and director was also Homi Wadia-the younger of the Wadia Brothers- and the music was by S N Tripathi.

From the day films started getting made in India, in the silent film era, the Religious and Mythological stories were used to make films. The simple reason was Indian audience was well versed in such stories from Puranas, Ramayan or Mahabharat, from generations, all over the country. This was a common thread between various states of india. Thus, even when Talkie films started, initially, many such films were made in almost all languages. Actually, such Mythological films were a guarantee to recover the invested money and a handsome profit too !

When the influence of social films increased in the 40’s decade, religious films were made less, but it is worth noting that the most popular Religious Films ever, like Ramrajya, Bharat Milap and Har Har Mahadev etc were made during this period only.

The Best and the Golden period for Religious films was the 50’s decade- 1951 to 1960. In these 10 years, as many as 124 Religious and Mythological films were made. This works out to an average of ONE film EVERY MONTH for 10 continuous years. Later on, however, making of such films tapered consistently and nowadays, Religious and Mythological stories can only be seen on Home Television.

From childhood, I developed a religious mindset, but my father ensured to impress on me that Religion is strictly a personal matter and one must decide how much importance one should give to Religion in one’s life. I have followed this principle till today and I treat all religions with same reverence. Excess or exhibition of Religion must be avoided. This is my opinion.

What is the difference between Religious and Mythological films ? Are they same ? No, there is a difference. Films based on stories from Puranas ( which is a mix of imagination and History in symbolic way) are Mythological Films. Examples are ‘ Ganga Maiyya’ or ” Ram Hanuman Yuddha ” or ” Ram Rajya ” etc. Films based on Bhakti or Upasana , involving Historical stories,persons or happenings are Religious films. Examples are ” Shri Chaitanya Mahaprabhu”, ” Sant Tukaram” or ‘ Mahatma Kabeer’ etc.

Film ” Hanuman Pataal Vijay-51″ is a Mythological film. It is taken from Vishnu Puran. Valmiki Ramayan also mentions it. The film tells the story how Hanuman saved the brothers Ram and Laxman from the Pataal kingdom of Ahi Ravan- brother of Lankesh Ravan. The cast of the film was Mahipal, Meena Kumari, Niranjan Sharma( like Jeevan as Narada, he was a regular Ravan), Shanta Kunwar, S N Tripathi, Dalpat, Rajni ( she was the daughter of Bhudo Advani’s brother) etc etc.

Don’t be surprised by seeing the Music Director’s name in the cast. Yes he is the same person. Tripathi was not an occasional actor, but a regular one. As a Music Director, Tripathi gave music to 107 films, composing 863 songs therein. He was an All rounder. He was a story writer, composer, Producer, Director and an Actor. He even sang 13 songs in 7 films, in his early career. Tripathi directed 18 films and acted in as many as 83 films !

Though his music was good, he remained branded as a Mythological, Religious, costume and fantasy film composer. Rarely he got any social film as a MD. Even as a Director he directed only 5 Social films. His role as Hanuman in Mythological films was popular. In films where mahipal was doing Ram’s role, Tripathi used to be the Hanuman. These were mostly Wadia films. Prakash Pictures also produced Mythological films, their films never gave importance to Hanuman. Some unknown actor was used for that role. Basant Pictures gave importance to Hanuman and Tripathi was fixed for it.

Wadia’s action, costume and fantasy films were very popular in the Middle East and Pakistan. When they made ” Rambhakta Hanuman”- in 1948, they had a problem. Partition had taken place and Pakistan was a New Muslim country. Wadia’s were worried if this Mythological film would be received well there. The major role of Hanuman was done by S N Tripathi. How to export this Hindu religious film in Muslim countries like Pakistan and the Middle East, was a major problem. A simple trick solved this problem. Wadias changed the title of this film copy for Export and it was named ” Udta Bandar ” (उडता बंदर ). With this new title the film became a Hit in that Territory !

Meena kumari acted as a Goddess in few mythological films, before she shifted to social films after the unprecedented success of film Baiju Bawra-52. She went on to become an A-1 grade actress in Hindi films, but her earlier Hero Mahipal remained a B grade actor till the end. may be that is the difference of Talents and Luck !

The story of the film ‘ Hanuman Pataal Vijay was-

Chandrasena, the beautiful princess of Naag Lok was kidnapped by Ahi Ravan, the king of Pataal Lok. Ahi Ravan- the brother of lankesh Ravan, his brother mahi Ravan and wife Mahadevi try very hard but Chandrasena, being a staunch Ram Bhakta, does not bow to them.

When Ram-Ravan yuddha started and Ravan’s son Indrajit was killed, he called his brother Ahi Ravan for help. He devised a plan to kidnap Ram-Laxman and sacrifice them to Goddess Chandi in Pataal Lok. Coming to know of this, Hanuman is kept as a guard for Ram-Laxman. However Ahi Ravan comes in the guise of Bibhishan and cheats Hanuman. He kidnaps the brothers and goes to Pataal Lok. Hanuman comes to know this and reaches Pataal Lok. There he is stopped by a guard named Makardhwaj, who claims to be the son of Hanuman and Makara in the sea. Hanuman defeats him easily, goes inside and tries to take away the unconscious brothers. The army of Ahi Ravan fights with him. In this battle Hanuman kills both Ahi Ravan and Mahi Ravan. But they become alive again and again.

Hanuman is perplexed.He contacts Chandrasena who knows the secret. On a condition that Hanuman will bring ShriRama to her for marriage, she is ready to tell the secret. He agrees. There are Bees who bring nectar for Ahi and Mahi Ravan for their immortality. Hanuman starts killing the Bees. One Bee tells him that Ahi Ravan will die only if 5 candles in different directions have to be blown off same time to kill him. Hanuman saves her life but asks her to knaw the Bed legs in Chandrasena’s room just before Ram comes there.

Accordingly Hanuman becomes Panchmukhi , blows the candles and Ahi and Mahi Ravan are dead.

Shri Ram visits Chandrasena with a condition that he should not be asked to sit on the floor. He is asked to sit on bed, which breaks easily and Ram is on the floor. Ram then tells her, he can not marry her , but he will marry her in Krishna Janma.
Thus Hanuman achieves vijay in Pataal.

This story is a mix of Valmiki Ramayan and Krittivasi Ramayan by Krittihas Ojha of 15th century and published in 1834 AD. As per Aditya kavi’s telugu ‘Ahi Ravan Charitra” in the 16th century, both Ahi Ravan and mahi Ravan were same person with 2 names. Ahi means Sthaan (place) and Mahi means Earth bottom. Thus Ahi/Mahi Ravan was the king of Pataal ( below Earth).

There was also a film in Telugu, “Mahi Ravan”in 1940 and V Jaggiah had done the main role.

Let us now enjoy this Bhajan by Mohammed Rafi……


Song-Hey Shankar pralayankar (Hanuman Paataal Vijay)(1951) Singer-Rafi, Lyrics-B D Mishra, MD-S N Tripathi

Lyrics

hey shankar pralayankar
raakho mohe apni sharan
hey shankar pralayankar
raakho mohe apni sharan
hey shankar

saaje ?? vibhuti
saaje gal mund maal
baaje damroo dam dam
gaaje sav gan vishaal
aao hey mahaakaal
jaago hey kaamdahan
aao hey mahaakaal
jaago hey kaamdahan
hey shankar pralayankar
raakho mohe apni sharan
hey shankar

dhadhhak rahi mrityu jwaal
umad chali rakt dhaar
dhah dhah girta hai durg
dagmag hai raaj dwaar
dhadhhak rahi mrityu jwaal
umad chali rakt dhaar
dhah dhah girta hai durg
dagmag hai raaj dwaar
aao hey vishwanaath
shankar aanand karan
aao hey vishwanaath
shankar aanand karan
hey shankar pralayankar
raakho mohe apni sharan
hey shankar

mangalmay roop dhharo
mere sab paap haro
mangalmay roop dhharo
mere sab paap haro
aao hey mahaashakti
praanon mein shakti bharo
aao hey mahaashakti
praanon mein shakti bharo
pragato hey gangaadhar
jaago
jaago hey ??dahan
jaago
jaago
jaago


Advertisements

Important Announcement

(© 2008 - 2017) 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.

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 more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13529

Number of movies covered in the blog

Movies with all their songs covered =1015
Total Number of movies covered =3712

Total visits so far

  • 9,573,218 hits

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

Join 2,113 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008

Active for more than 3250 days.

%d bloggers like this: