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

Archive for the ‘Rafi songs’ Category


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

Blog Day :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda

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

Blog Day : 4051 Post No. : 15180

Today’s song is from film Raj Mukut-50.

From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.

Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.

The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.

Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).

Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.

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

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.

Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.

Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.

She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.

In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.

She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.

She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).

Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-

“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.

FILMS

She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.

In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.

TELEVISION

Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.

This programme ran continuously on Doordarshan for 21 years ..

Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .

RADIO

Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.

She was conferred the award of “JOKES QUEEN OF INDIA”.

AUTHORSHIP AND JOURNALISM

Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.

During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.

For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.

STAGE

As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.

Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.

On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”

Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.

He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !

The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).


Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice

Lyrics

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka

aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin

is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin

honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin

nahin nahin jee nahin nahin
nahin nahin jee nahin nahin

dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin


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 : 4042 Post No. : 15167

“Guru Ghantaal”(1956) was produced by R N Sharma and N K Kaushik and directed by S M Yusuf for V K pictures Bombay. The movie had Sheila Ramani, Motilal, Usha Kiran, Agha, Sundar, Mirza Musharraf, Paro, Sheikh, Kesri, Vijaybala, Ravikant, Jagdev etc in it.

The movie had nine songs in it. Five songs have been covered in the past.

Here is the sixth song from “Guru Ghantaal”(1956) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Khawar Zamaan is the lyricist. Music is composed by Pt Lachchiram.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This is a superb “nok jhonk” duet which deserves to be better known among music lovers.


Song-Ham aapke hain hamse toh parda na keejiye (Guru Ghantaal)(1958) Singers- Rafi, Asha Bhonsle , Lyrics-Khawar Zamaan, MD-Pt Lachchiram
Both

Lyrics

ham aapke hain
humse toh parda naa keejiye
o o o o
aji parda naa keejiye
aji parda naa keejiye
ho
ho o o
ham rooth jaayenge
hamen chheda naa keejiye

arre waah
ho o o o
hamen chheda naa keejiye
aji chheda naa keejiye ae
ho o

ik baat meri gaur se sun leejiye huzoor
ik baat meri gaur se sun leejiye huzoor
farmaayiye farmaayiye
ho o o
farmaayiye farmaayiye
sun lenge ham zaroor
sun lenge ham zaroor

tirchhi nigaah se hamen dekha naa keejiye
dekha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o

kya jhoothh-moothh baaten banaane se faayda
kya jhoothh-moothh baaten banane se faayda
baithhe bithhaaye hamko
ho o o
baithhe bithhaaye hamko sataane se faayda
sataane se faayda

yoon baat baat par aji roothha naa keejiye
roothha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
humen chheda naa keejiye
aji chheda naa keejiye ae

ho o o

dar hai ke zamaana kahin majboor naa kar de
dar hai ke zamaana kahin majboor naa kar de
iss pyaar ki duniya se
o o o
iss pyaar ki duniya se kahin door naa kar de
kahin doon na kar de

inn chhoti-chhoti baaton ko socha naa keejiye
socha naa keejiye
ham aapke hain
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o


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 : 4035 Post No. : 15159

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 42
——————————————————————————————

Though I have been discussing Hindi movie songs in the blog for more than a decade now, it is not as if I had watched too many movies during my “formative” years. I recall having watched a few movies in early 1970s, with the last of these movies being “Zindagi Zindagi” (1972) in 1972.

My movie watching spree began in 1978 (after six years) when I joined college and got “freedom” that I as a college goer was “supposed” to enjoy. 🙂 And I fully misused my freedom, by watching movies when I should have been attending my classes.

It was during this movie watching spree that I watched not just the current movies but also those movies which had come between 1972 and 1978 which I had missed during their time. This included all Amitabh Bachchan hit movies like “Zanjeer” (1973), “Deewaar”(1975), “Sholay” (1975) etc.

When my pre teen movie watching ended in 1972, I had watched very few movies. I could only identify Rajesh Khanna, Tanuja, Mumtaz etc thanks to Rajesh Khanna movies like “Haathi Mere Saathi”(1971) and “Apna Desh” (1972) that I got to watch at that time. Thanks to watching “Haqeeqat”(1964) is an open field show at night in my railway colony, I became familiar with Dharmendra. In another such free show, I watched “Dil Diya Dard Liya”(1966) and that is how I became familiar with Dilip Kumar.

That was about it. I had not watched any movies of Rajendra Kumar, Raj Kumar, Raj Kapoor, Dev Anand, Hema Malini, Sanjeev Kumar, Saira Bano etc till 1978 !

During my “catching up with lost time” movie watching spree, I watched “Resham Ki Dori”(1974) some time in 1978 or 1979. This movie, as I know now thanks to HFGK, was directed by Atmaram for Modern Pictures Bombay. The movie had Saira Bano, Dharmendra, Kumud Chhugaani, Rajendranath, Sujit Kumar, Sajja, Ramesh Deo, Rajan Haksar, Jayshree T, Kundan, Meena T, Bhagwan, Shabnam, Sapru, Shivraj, Jankidas, Keshav Rana, Sundar, Master Sachin, Ramlal, Bhagwan Sinha, Leela Mishra, Radheshyam, Chaand Usmani (Special appearance), Kanwar Ajit, Suresh, Murad etc in it.

Except Dharmendra, almost every other actor in the movie was “new” and unfamiliar for me. Many of them continued to remain unfamiliar to me for decades. For instance, I was not aware which actress played the sister of Dharmendra in this movie. Somehow I had erroneously assumed that she was called Urmila Bhatt (I find , to my surprise that she is not even there in the cast). Only now, when I checked up the starcast, I realised that the sister had to be Kumud Chhugaani.

The movie had six songs in it. The most popular song of the song was the raakhi song and it was posted exactly ten years ago. So that means that this day ten year ago was the festival of Rakshabandhan. And as was the practice in the blog, Rakhi related songs were discussed on the blog on that day (5 august 2009).

Song Movie Remarks
Behna ne bhai ki kalaayi pe pyaar baandha hai (Reshan ki dori)(1974) 2 songs covered out of 6
dil se dil ki dor baadhi chori chori (Chaayaa)(1961) YIPPEED (all 7 songs covered)
Aaya tumpe dil aaya (Do Ustaad)(1959) YIPPEED (all 8 songs covered)
Soona hai mere dil ka jahaan (Devtaa)(1956) 4 songs covered out of 8
Dil tootnaa thha dil toot gaya (Dilruba)(1950) YIPPEED (all 11 songs covered)
Marne ki duaayen kyun maangoon (Ziddi)(1948) YIPPEED (all 9 songs covered)

As can be seen, six songs from six movies were covered on 5 august 2009. Four out of these six movies have been YIPPEED by now.

Today, we take up one of the unYIPPEED movies, namely “Reshan ki dori”(1974).

The two songs of this movie that have been covered till now are

S N Song Song number in blog Date of posting
1 Bahnaa ne bhaayi ki kalaayi se pyaar baandhaa hai 1729 5-Aug-09
2 Chamka paseena ban ke nageena 9116 8-Dec-13

Today, as part of blog ten year challenge (2009-2019), here is a song from “Resham Ki Dori”(1974). This song is a lovers’s song. It is sung by Rafi, with a few sweet nothings uttered by Saira Bano (I guess). Indeewar is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised on Dharmendra and Saira Bano. It was for the first time in this movie that I had seen Saira Bano in a movie. I had not seen her in “Padosan”(1968) because my elders did not take me to watch this (or other well known movies) of those days.

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

Video

https://www.youtube.com/watch?v=VsrXJWkEKQs (video)
Audio

Song-Sone ke gahne kyun toone pahne (Resham Ki Dori)(1974) Singer-Rafi, Lyrics-Indeewar, MD-Shankar Jaikishan
Saira Bano

Lyrics (Provided by Avinash Scrapwala)

Sone ke gahne
Kyun tune pahne
Kaaya teri khud kanchan hai ae
Gesu banaaye to
Phool kyun sajaaye
Tera badan khud gulshan hai ae
Achchhaa
Sone ke gahne
Kyun tune pahne ae
A haa haa
dhat

Heere ki angoothhi bhi
Lagti hai jhoothhi
Itni chamak teri aankhon mein ae
Ja ja
Jhoothhe

Moti ki maala
Kyun pahni baalaa
Moti chhupe hai tere daanton mein
Haay Raam
Moti chhupe hai tere daaton mein
Ghadi ghadi darpan ke ae
Oye hoye hoye hoye
Ghadi ghadi darpan ke ae
Aage khadi kyun
Tera badan khud darpan hai
Hato ji
Sone ke gahne
Kyun tune pahne
Kaaya teri khud kanchan hai ae ae
Sone ke gahne
Kyun tune pahne
Hmm mm
how romantic

Sooraj sa chamke
Jab tera mukhda
Maathe pe bindiya sajaayi kyun
Haan
Ha h h h sach
Laali bina honthh laal hai tere
Hothhon pe laali lagaayi kyun
Hmm mm
Hothhon pe laali lagaayi kyun
Singaar ki ee
Haaye ae main mar jaawaan
Singaar ki tujhe kya hai zaroorat
Tera singaar tera yauvan hai
uff
Sone ke gahne
Kyun tune pahne
Kaaya teri khud kanchan hai ae ae
Laa laa laa laa
Gesu banaaye to
Laa laa laal laa
Phool kyun sajaaye
Laa laa laal laa
Tera badan khud gulshan hai ae
Hmm hmm hmm hmm
Sone ke gahne kyun tune pahne

——————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————-
सोने के गहने
क्यूँ तूने पहने
काया तेरी खुद कंचन है ए ए
गेसू बनाए तो
फूल क्यूँ सजाये
तेरा बदन खुद गुलशन है ए
अच्छा
सोने के गहने
क्यूँ तूने पहने ए
अ हा हा
धत

हीरे की अंगूठी भी
लगती है झूठी
इतनी चमक तेरी आँखों में ए
जा जा
झूठे

मोती की माला
क्यूँ पहनी बाला
मोती छुपे है तेरे दाँतों में
हाय राम
मोती छुपे है तेरे दाँतों में
घडी घडी दर्पण के ए
ओये होए होए होए
घडी घडी दर्पण के ए
आगे कड़ी क्यूँ
तेरा बदन खुद दर्पण है
हटो जी
सोने के गहने
क्यूँ तूने पहने
काया तेरी खुद कंचन है ए ए
सोने के गहने
क्यूँ तूने पहने
हम्म म्म
हाउ रोमांटिक

सूरज सा चमके
जब तेरा मुखड़ा
माथे पे बिंदिया सजाई क्यूँ
हाँ
अ ह ह ह सच
लाली बिना होंठ लाल है तेरे
होंठों पे लाली लगाई क्यूँ
हम्म म्म
होंठों पे लाली लगाई क्यूँ
सिंगार की ई
हाए मैं मर जावां
सिंगार की तुझे क्या है ज़रुरत
तेरा सिंगार तेरा यौवन है
ऊफ
सोने के गहने
क्यूँ तूने पहने
काया तेरी खुद कंचन है ए ए
ला ला ला ला
गेसू बनाए तो
ला ला ला ला
फूल क्यूँ सजाये
ला ला ला ला
तेरा बदन खुद गुलशन है ए
हम्म हम्म हम्म हम्म
सोने के गहने क्यूँ तूने पहने


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

Blog Day :

4030 Post No. : 15150

Mohammed Rafi : The Incomparable (II) – Song No. 13
———————————————————-

Remembering Mohammed Rafi Sahab on his 39th death anniversary :

No need to keep a reminder in the mobile.  I come across Rafi Sahab’s  name or reference to or one of his songs every day.  The figure is at 2955/4845 on the blog’s stats page.  The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs.  The difference between the two figures is more than 500 songs.

The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).

 

Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni
Chal Chal Ri Goriyaa Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni

 

The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube.  It is debatable, if these can be treated as songs.

I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.

Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans.  I have chosen a naat as the commemorative post for today’s occasion.  I am giving the lyrics as per the recorded version.  There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same.  The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere.  Only the lyricist name is available as Nirang Sambhali.  It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.

It expresses the yearning to visit Makkah and Madina and perform Hajj.

INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.

Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.

Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.

INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.

BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.

It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’  aka ‘raah e madina’ in the ‘Naat’.

On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan.  Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts  and wonders of the Master, are you both (man and Jinn) going to be in denial of’.

I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.

Ar-rahmaan (The Beneficent):

I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.

The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?

He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?

The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?

From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?

And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?

Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?

All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?

We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?

O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?

There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?

And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?

Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?

The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?

This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?

But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?

Having (spreading) branches.
So which of the favours of your Lord would you deny ?

In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?

In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?

They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?

In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?

As if they were rubies and coral.
So which of the favours of your Lord would you deny ?

Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?

And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?

Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?

In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?

In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?

In them are found good and beautiful  –
So which of the favours of your Lord would you deny ?

Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?

Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?

Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?

Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.

The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth.  Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime.  Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).

I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :

And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.

Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.

 

(Live)

(Recorded)

Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]

Lyrics 

agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa

jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa

meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien 
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa

agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi 
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa

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

अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा

जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा

मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा

अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा


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

Blog Day : 4030 Post No. : 15148

31st July – a day when Hindi Film Music lovers, world over, remember the legendary, Mohd. Rafi who left us this day in 1980. Its 39 years- hard to believe. Seems too recent, when the newspapers carried the news. Those were times when there was no flash news, breaking news or someone getting the news and forwarding on WhatsApp etc. At the most there used to be the evening edition of newspapers like Mid-day, Afternoon Despatch & Courier, and if I remember right there was a newspaper called Evening News and I don’t remember if the news broke out in the evening papers or the early morning papers. What I do remember is that it was monsoon and as is usual for the time of the year, there were rains in Mumbai and the roads of Bandra, where Rafi Saab lived and through which his funeral procession was going to pass, were flooded with his fans. The footage of the procession was recorded by Films Division of India and shown in the pre-movie news reels throughout India. Those were different times altogether and my intention is not to make anyone glum.

So, snapping out of the mood and getting on. Without fear of being labelled a ‘stuck record’ I will make it very clear (and I am sure I have done it a number of times) I am not partial to any singer be it Kishore Kumar or Rafi Saab or Mukesh or Manna Dey or Mahendra Kapoor. Specially in the era when they were ruling the airwaves with their “hai preet jahaan ki reet sada”; “zindagi kaisi hai paheli haayre”; “main pal do pal ka shaayar hoon”; “kya hua tera vaada”; or “bachchna ae haseenon lo main aa gaya” and all the other thousands of songs that these singers have sung between them. I used to be as much in love with “abhi toh haat mein jaam hai toba kitna kaam hai” as with “nadiya se dariya, dariya se sagar, sagar se gehra jaam”. I used to sing along with “chal mere bhai tere haat jod ta hoon” and “karam kiye jaa phal ki ichcha mat kar ae insaan”. And my love for the songs by these singers was not limited to the songs of the 70s but I enjoyed “deewana mastana hua dil” alongwith ‘hum hain raahi pyar ke humse kuch na boliye” and “kisiki muskurahaton pe ho nisaar” etc. etc. etc… I am sure I have proved the point that I was not a partial to any singer and was more concerned about the songs. One reason for this could be that I didn’t know the difference of one from the other till much later in life. I might have started finding differences when we got news of the sad demise of Mukesh when he was on tour in the USA and the papers listed out his popular songs.

Whenever I sit to write about the singers mentioned above, I find that all their most popular songs are already posted. So is the case with songs of Mohd. Rafi. The stats page of our blog gives the possible number of Rafi songs as 4845 of which we have posted 2960 giving us 1885 songs to choose from. And I suppose these are numbers of his Bollywood songs and doesn’t include his recordings in other Indian or international languages song like Sinhalese, Arabic, Farsi, Dutch, Creole etc. I tried to find statistics of his number of songs with his contemporary singers and found that he had maximum duets with Asha Bhonsle, Manna Dey and Lata Mangeshkar (in that order) – and I always used to think that the Lata- Rafi combo would have had more songs. How wrong we can be!!!!

This time too I had zeroed in on two popular (in their time) songs to go with this post. And then I saw a link on facebook in one of the music lovers’ group, to a song by Sudhir Phadke that was sung by Mohd. Rafi and from a rather recent movie- if 1972 can be called recent. The name “Daraar” written as “darar” in some places didn’t ring a bell in my head. I tried the usual reference sources at my disposal- Wikipedia and imdb. I got very sketchy information. The movie was a January 1972 release. It was directed by Ved Rahi and Mahendra Dehlvi and Kulwant Jani were the lyricist. The starcast had the not so famous Baldev Khosa, Lata Arora, Radharani, Birbal etc. Such a non-descript movie had a lively song. It was sung by Jaywant Kulkarni and Mohd. Rafi. How I wish there was a video to see who was lip syncing this.

here is the song.


Song-Ab ham bhi banenge dulha (Daraar)(1972) Singers-Rafi, Jaywant Kulkarni, Lyrics-Kulwant Jaani, MD-Sudhir Phadke
Chorus

Lyrics

o ho
o ho

hadipa
hadipa

ab hum bhi banenge dulha
apna bhi jalega choolha
ab hum bhi banenge dulha
apna bhi jalega choolha
te bhaabhi zara nach ke dikha aa aa
haaye haaye
te bhaabhi zara nach ke dikha
ni bhaabhi zara nach ke dikha

hoye hoye hoye hoye

aaj kismat ki maina
aaho
mere kaanon mein boli
oho
mere ghar bhi aayegi
oho
ek bulbul ki doli
jiski soorat ko ab tak haan
dil ke sheeshe mein dekha hai
jiske sundar mukhde ko haan
maine sapnon mein chooma hai
gulaabon ki wo daali
saru se kad waali
wahi toh mere ghar mein aayegi ee ee
haaye haaye haaye
bhaabhi zara nach ke dikha
ni bhaabhi zara nach ke dikha

hoye

usey doli se uthha ke
saji sej pe bithha ke
thoda ghunghta hata ke
ho gora ang ang dekhoonga haay haay
mujhe saath leke jaana
tera yaar hoon puraana
tera hansna hansaana
ho main bhi sang sang dekhoonga hoye hooye

dekhkar uska jalwa haan
mar na jaaye tu gash khaa ke
toot jaate hain taare haan
uski nazron se takraa ke
wo jiski jawaani chenab ki rawaani
wahi to mere ghar mein aayegi ee ee ee
hoye hoye
te bhaabhi zara nach ke dikha


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 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 : 4030 Post No. : 15147

It is that day of the year again.

The 31st of July.

A date that doesn’t need any reminder for lovers of HFM.

Of all the days in the calendar, a few stand out – and the 31st of July is one of them.

For it is the death anniversary of one of the most loved and respected figures of the Hindi film industry, Mohammad Rafi, respectfully referred to as Rafisaab.

Today on his 39th death anniversary, we on this blog, remember him with great fondness and respect.

I’ve written about Rafisaab many times here on this blog. In fact, there’s no one I have written about more than about Rafisaab.

To be honest, there really isn’t anything more for me to say that I haven’t already said before.

How I, growing up in a Kishore-dominated era, fell in love with Rafisaab’s voice.

How I’ve done all-nighters listening to Rafisaab songs, completely losing track of time.

How much I respect Rafisaab for being such a good human being, inspite of having the power to abuse his position, if he had wanted.

I’ve written about all this – and more. And I don’t want to bore readers here by repeating stuff.

Not that I get bored of writing about Rafisaab. Never. When I don’t ever get bored of listening to his voice, how can I possibly get bored of writing about him? It is such a pleasure, and an honour, to write about Rafisaab.

So whether I have any new material or not, I will write about Rafisaab – even if it is only a few lines. That is the very least I can do for someone who has given me so much joy in life. And on his Remembrance Day, I just have to write a few lines for him – to thank him for everything.

Different people make a mark in this world for different reasons. Not all leave a legacy of course, but I doubt even those who do, have any idea of the magnitude of the legacy they would leave behind. And its endurability.

I doubt Rafisaab thought about all this when he was alive. He was a simple man, happy to earn his living through the one profession that he loved, and knew he was loved for – singing. Even for that, he was humble enough to always point upwards, to God, to suggest He was to thank for everything.

Rafisaab was very soft-spoken. For all his animation while singing, he was an extremely shy person in conversation and avoided interviews. Which is also why there are very few interviews of him available out there. It is our loss, but then that was the person he was. At least we have his songs, and anecdotes of those who knew him with us.

Rafisaab was devoted to his profession – he would do riyaaz for hours. He enjoyed spending time with his family. And enjoyed playing badminton. And good food. A man who always had a smile on his lips, who never thought ill for others – on the contrary, he went out of his way to help others.

A simple man – but what a legacy!

One that he would never have imagined during his lifetime.

Even today, 39 years after he is gone, there isn’t a day when his songs are not playing on radio. There isn’t a day when HFM lovers from around the world are not listening to his songs on whatever device they have. Today, thanks to technology, we have access to music on demand.

Yes, Rafisaab has enriched the lives of millions by his sheer voice. And that, for decades. And, I am sure, will continue for decades too. Such is the love people have for Rafisaab. It transcends generations.

This is another aspect that makes me really happy for him. It is great to see young generations today, even teenagers, listen to Rafisaab’s songs. Of course, their music interests are current too – and they should be. But from what I’ve seen, many of them are still happy to listen to old HFM songs – and Rafisaab, of course. Which is why I say Rafisaab’s voice transcends generations.

In my own case, I know my next generation is also very fond of Rafisaab. My niece’s husband invariably plays Rafisaab songs in his car. Not just for me, but for himself too. Not that my niece complains. She is herself very fond of Rafisaab. 🙂 They like current songs too, but Rafisaab is a fixture in their car. Especially 1960s songs like “dil ke jharoke mein”, “pukaarta chala hoon main” and “deewana hua baadal”. I swear, I did nothing to influence them – it all happened by itself. 🙂 Actually, my niece’s father-in-law is also a Rafisaab fan, so maybe that played a role too.

Now my niece has a kid – he is not even 3, but I have a feeling he will also soon be listening to Rafisaab. 🙂

I will not be surprised if this is the story in many other families too. I hope it is – then Rafisaab’s legacy is in safe hands.

Rafisaab deserves nothing less. A person with such a divine voice, a person who had such a good heart, who did good for so many, deserves every little bit of love and respect he gets.

I always have a warm feeling, and feel energized, when I discuss, or write about, Rafisaab. His songs immediately come to my mind, THAT voice, those intonations in the rendering. I get lost, happily so, thinking about his songs.

I can keep going on and on, but then I will be repeating what I’ve written in the past. And will be boring the readers. 🙂

So I’ll just move on to the song for today.

This is from Jaani Dushman (1979). A decade right up my sleeve, given that I’m a 1970s boy. Avinashji, himself a huge Rafisaab fan, sent me the lyrics and requested me to do a write-up.

By the late 70s, Rafisaab had regained his place in public mindspace. The first half of the decade had been totally dominated by Kishore Kumar (inspite of a few Rafisaab hits). But by the mid-70s, Rafisaab began coming back. I remember Laila Majnu (1976) songs being a success. A year later, he had chartbuster hit songs in Amar Akbar Anthony (1977), Hum Kisise Kam Nahin (1977) and Apnapan (1977), to mention just three films.

And so he continued, with hits in Abdullah (1980) and Karz (1980), right until his untimely death.

Jaani Dushman (1979) was during his revival phase.

The film has the popular, foot-tapping Rafisaab-Asha Bhosle duet “tere haathon mein pehna ke chudiyaan”, but also the song of today “chalo re doli utthao kahaar” (which comes multiple times in the film, if I remember right), was popular too.

The film itself is a multi-starrer in keeping with the trend of the time. Those were the days of multi-starrers – many commercial films had two or more lead heroes and heroines. JD went a step further, and must be considered a mother of multi-starrers – it had at least 5 “heroes” – Jeetendra, Sanjeev Kumar, Vinod Mehra, Shatrughan Sinha and Sunil Dutt. And Rekha, Reena Roy, Bindiya Goswami, Neetu Singh and Sarika amongst the “heroines”. Other movies of that era that were multi-multi-starrers that come to mind are Naagin (1976) and the Burning Train (1980).

I remember seeing the film at the time, but given my pathetic memory, I don’t remember too much of it. I do remember that it was meant to be a horror film of sorts, where a monster is supposed to murder every newly-wed bride. Something like that.

The songs of the film were quite popular, and the film too did well I think.

“Chalo re doli utthao kahaar” is a background song, picturised during the bidaai of a daughter as she leaves her parents’ home. It is a typical Rafisaab song – he was very good at emotional, background songs of this type. With their ebbs and flows.

Talking of emotional, background songs, am reminded of Ravi, the composer of songs of Waqt (1965) saying he had insisted with the Chopras on Rafisaab singing “waqt se din aur raat”, though Mahendra Kapoor, and not Rafisaab, was generally their preferred singer. He had said that this song would suit Rafisaab more than anyone else.

Similarly Kalyanji Anandji picked Rafisaab to sing a couple of lines as background song in that death scene in Muqaddar Ka Sikandar (1978) – “zindagi to bewafa hai, ek din thukraayegi”. Anandji said in an interview that he was a bit embarrassed to ask Rafisaab to sing those lines, because he had no other song in the film, and it was only a couple of lines. But he wanted them to be in Rafisaab’s voice. Without the slightest ego, Rafisaab rendered those lines with his usual high standards.

L-P, ever loyal to Rafisaab, even during Kishore Kumar’s peak, used him to render the emotional background song “nafrat ki duniya ko chhod ke” of Haathi Mere Saathi (1971) even though Kishore Kumar sings the songs picturised on Rajesh Khanna.

This song for today is also an L-P composition. I request you to please listen to this song – and remember Rafisaab today.

Rafisaab, you will always be in our hearts. The years roll by, but the love and respect does not diminish one bit. For what you’ve given the world, millions are ever grateful to you.

Personally, I can’t thank you enough, hence this post as a humble tribute.

(As mentioned above, lyrics for today’s song have been provided to me by Avinashji. I thank him for providing me these lyrics).

Video

Audio

Song-Chalo re doli uthhaao kahaar piya milan ki rut aayi (Jaani Dushman)(1979) Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Chorus

Lyrics (Provided by Avinash Scrapwala)-Based on audio link

Hmm hmm hmm
Hmm hmm hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Pi ki nagri le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Jin nainon ki ee tu hai jyoti
Un nainon se ae barse moti
Daawaa nahin hai
koi Zor nahin hai
Beti sadaa hi paraayi hoti
Jaldi naihar se le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee

Chhaayi hai dekho hariyaali ee ee
Aayi hai rut khushiyon waali ee
Har aasha parwaan chadhi ee ee ee
Din hai Dashehra
Raat deewaali ee
Galey daal baahon ka haar
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Tan maike man teri nagariyaa
Ud jaaun main Ban ke badariyaa
Chaand nagar ko Chali chakori ee ee
Pyaasi hoon milan ki sanwariyaa
Mere sapne sajaao
Qahaar
Piya milan ki rut aayi ee
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Sooni padi ee
Bhaiyya ki ee haveli
Vyaakul behnaa aa
Rah gayi akeli ee
Jin sang naachi
Jin sang kheli ee
Chhoot gayi wo o
Sakhi Saheli ee
Ab naa deri lagaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Piya milan ki rut aayi
Piya milan ki rut aayi ee

—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
हं हं हं
हं हं हं हं ह
हं हं हं
हं हं हं
हं ह
हं हं हं

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
हं हं हं
हं हं हं हं ह

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
पि की नगरी ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
हं हं हं
हं हं हं
हं हं ह

जिन नैनों की तू है ज्योति
उन नैनों से बरसे मोती
दावा नहीं है
कोई जोर नहीं है
बेटी सदा ही पराई होती
जल्दी नैहर से ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई

छायी है देखो हरियाली ई ई
आई है रुत खुशियों वाली ई
हर आशा परवान चढ़ी ई ई ई
दिन है दशहरा
रात दिवाली ई
गले डाल बाहों का हार
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

तन मयके मन तेरी नगरिया
उड़ जाऊं मैं बन के बदरिया
चाँद नगर को चली चकोरी ई ई
प्यासी हूँ मिलन की सांवरिया
मेरे सपने सजाओ
कहार
पिया मिलन की रुत आई ई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

सूनी पड़ी ई
भैय्या की ई हवेली
व्याकुल बहना आ
रह गयी अकेली ई
जिन संग नाची
जिन संग खेली ई
छूट गयीं वो ओ
सखी सहेली ई
अब ना देरी लगाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
पिया मिलन की रुत आई
पिया मिलन की रुत आई ई


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 : 4029 Post No. : 15145

When you enjoy something, you think nothing of it without jumping on it. On the other hand, if you consider something as a burden, you cannot bring yourself to d it and start postponing it till you can no longer postpone it.

July is one such month when one is required to perform such unpleasant tasks. If one is an Indian tax payer then he must file his tax return by the end of this month. Most people find it an unpleasant task and kep postponing it. When they finally persuade themselves to do it on the last day, they find that others have also got the same idea. And since many people are trying to do the same thing at the same time, the system crashes and that throws things out of gear for everyone concerned.

The government also realises it and the last date is often extended. This year was one such occasion. The last date of filing income tax return has now been extended by one month. The last minute IT return filers will now procrastinate till end of august and will then scramble to file their returns on 31 august 2019, I am sure of it. 🙂

If one is an income tax return filer as well as a central government employee then one has some most unpleasant tasks to perform in this month. This tast is, filling up one’s performance review for the last year. It is called APAR (Annual Performance Appraisal Report).

In the past, things were done manually. Now everything is done online. So, government officers file their APAR as well as ITR electronically.

For someone like me, who is an experienced computer user, filing online APAR and ITR should not be a problem. And these problems can be daunting.

Just like there is a deadline for filing ITR, there is a deadline for APAR as well. Officers in various central governments had time schedule, viz officers would file their self appraisal by 30 june 2019, reporting officer would give his report by 31 july 2019, reviewing officer would give his remark by 31 august 2019 and accepting officer by 15 september etc. Different departments and zones have their own time frame that may be a bit flexible. For instance, in my Railweay zone, one could file self appraisal by 15 july 2019 and reporting officer had to give their review by 5 august 2019 and reviewing officer by 20 august 2019 and accepting officer by 10 september 2019.

Last date for me to file my self appraisal in my APAR was 15 july 2019. It was threatened that after 15 july 2019, the form would move to the next authority (reporting officer) on its own if self appraisal was not done by then. I took no action till 11 july 2019. Then I started to act. I collected data and filled up the relevant portions and then saved the data. That was on friday 12 july 2019.

The next step was to digitally sign it and forward it online to the reporting authority. Digital signature turned out to be a big hassle. Every Government officer has a digital signature ( in a USB token form)with him that he uses for digital signatures for various purposes like filing APAR, authorising purchases etc. These digital signatures are valid only for two years. You merrily use a digital signature and before you realise it, its validity is over. Then one has to apply for new token.

The digital signature that I had successfully used till six months ago was no longer working and so I had obtained a new digital signature. And this was registered in the APAR software as well. But when I tried to sign my APAR form digitally, I got error message. I tried the whole friday and also saturday but I could not get my digital signature working.

I was not the only one struggling with my APAR of course. There were others as well. When I discussed my dilemma with others on the same boat, I was advised that the solution was to de register the digital signature and then re register it.

On monday (15 july 2019), which was the last day for my APAR to be sent, I tried to follow the advice. I de registered the digital signature and then re registered it. Then, with bated breath, I procceeded on to affix digital signature. Much to my relief, this time it worked like a charm and my APAR went through duly digitally signed, to the next authority, viz reporting officer.

I too was reporting officer and/or reviewing officer for many officers and their APARs has arrived on my inbox. So I proceeded to write them. The most satisfying part of the exercise for me was to digitally sign the document and find the satisfying message that the digitally signed document was successfully sent to the next authority. I quickly finished up all APA’s in one day when the going was good and the digital signature was co operating.

That done, I began to feel as if I had won a big battle. Now I began to prepare myself mentally for filing the ITR. Going by past experience, I know that one should not try to file ITR on the last day. One should file it at least a few days in advance when income tax depratment servers are not lightly loaded and respond well. On the last day, one may not even get to access these servers.

In the past, ITR filing was a manual process and it had to be submitted in the local Income tax office, duly taking stampedacknowledgement. It was a hassle and so many people, including me, would pay money to some chartered accountant, who would bring an ITR form and take your signature on it. Then he would fill up the various colums, submit the form to the income tax office and give you the stamped acknowledgement.

The chartered accountant earned his money because it was a work full of hassles. And then the income tax rates kept on changing every year. Moreover, female employees had different income tax rates. So I would just get in touch with a chartered accountant and pay him for filing ITR for me as well as my wife.

Since 2012 or so, it has become possible to file income tax online. One could file it online, and also digitally sign if you had a digital signature with you. I would resolve to have a digital signature for myself, but I could never live up to this resolution. So, the next best thing was to take print our of the online filled form, sign it manually and send it to Income tax department at Bangalore. After a few months, you would receive acknowledgement that your ITR was accepted.

When online filing of ITR became possible, I began to do it for me and my wife.

since this was once in an year exercise, I would forget how I had filled up the ITR the last year and I would start afresh. I was this feeling that I had forgotten how it is done, that was the cause behind my reluctance in filing ITR.

Though the last date for filing ITR was extended to 31 july 2019, I decided that it was high time that I mustered enough courage and be done with it. So, it was on 29 july 2019 that I opened the computer and logged on to the income tax department site. And it was there that I got stuck. What was my user name and password ? With some online query, I realised that once PAN number was the user ID. Then I typed my password on a hunch and it worked. So I was relieved. I was finally logged on to the income tax department site.

I chose the option of filing the return online. I had my form 16 ready with me. I managed to put most values correctly and was pleased that the online calculator agreed with the calculations of form 16. But when I reached the portion that calculated income tax, I found that I was supposed to pay some more tax according to IT department calculation, whereas my form 16 showed that I had paid more tax than needed and IT department owed me some refund.

Where was the discreparcy ? On carefull scrutiny, I realised that I had not mentioned by contribution towards PM national relief fund, which was 100 % tax deductible. But how to enter this figure ? The relevant column of section 80 G was not accepting the figure. Then I realised that the ITR form had another tab for donations under sction 80 G. I went to that tab, filled the details and found that the relevant column in the form now accepted this figure. I also found that now the form 16 figures of income tax matched with the online calculation. So IT department was now in agreement that I had paid all my IT and I owed some refund.

That done, I saved the draft and came to the final part which is always my favourite part, sending the filled up form. I clicked the send button. The form displayed two errors, one was that I had to specify the bank account where refund is to be received. Second error was about using some prohibited special characters. I rectified the errors and clicked the button. This time the form was submitted.

Submission was alright, but form needed to be verified as well. It was only after verification that the IT depratment processes it. The traditional method is take a print out, sigh it and send it by post of IT department at Bangalore. It is the older and non elegant method of doing it, which used to be the method followed by majority of tax filers. But now several method of e verificcation are available and the IT department keeps adding to it. Last time I had done the e verification though online banking. This time I found a new option, viz e verification through Aadhaar. I chose this option. One gets OTP on one’s Aadhar registered mobile and this OTP is then needed to be typed in on the form. When I did not get the OTP for some time, I again clicked the verify by Aadhaar button. When OTP came and I filled it, I had a feeling that second click meant another OTP and the OTP filled my me was for the earlier click and so my e verification would fail.

I was right. My e mail advised me that my e verification had failed.

I braced myself and repeated the process again. This time I patiently waited for the OTP to arrive. It arrived and I keyed in the numbers. Now I received confirmation message that my aadhaar verification was successful, the ITR was submitted and e verified and I did not have to do anything else.

I felt jubilant. Now it was time to do the same for my wife’s ITR. She had sent her IT details to me by whatsapp, but my mobile storage was full and while deleting my storage, I had deleted her IT details as well. I was itching to process my wife’s IT return but I did not have any details to go by.

After lunch time, I phoned my wife and asked her to send her tax details. Armed with those details, I opened the IT department page and tried to log on. But I got an error- username or password incorrect ! I checked again. The username, viz PAN number was right. Was the password incorrect ? How to check it. I found that I had fortunately saved the details of my wife’s later ITR. The password was incorrect. I fed the correct details and was relieved to find the page opening.

Feeding the details was no problem. I find that the details were already filled up in the form. Apparently, IT department already had picked up the details of her IT return from her form 26AS (TRACES). So the details matched perfectly.

So I saved the draft and submitted the return. As for e verification, I thought that I should do it through online banking. I did that and the OTP that came on my wife’s registered mobile was filled. But the e verification could not be done. Perhaps I had done some mistake. I should have logged out of ITax department site before going to bank site. So I decided to do it through Aadhaar verification. On clicking this option, the IT site demanded aadhaar OTP within 2 minutes. This 2 minute limit was not there when I was doing it for my own tax return. Thankfully the OTP arrived in time and I fed the OTP with 30 seconds to spare. This time the e verification was a success. So, I was able to file the IT return of my wife as well.

As always, when the task gets accomplished, I feel that it was easy ! But by the next eleven months, I will have forgotten the process and I would agains get nervous and feel clueless when it is time to file the ITR the next year. 🙂

After this rather long writeup, I struggled to come up with a “suitable” song to go with it. Then I tried to visualise what the lead pair of Hindi movies will do after they accomplish such an important task. They will go outdoors and sing a joyous duet, of course. 🙂

So, here is just that joyous duet song. The song is sung by Rafi and Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Satyam.

The movie was directed by K S R Das for PNR Pictures, Madras. the movie had Anil Dhawan, Aruna Irani, Jyoti Laxmi, Narendranath, Jagdeep, Sulochana, Ramaprabha, Brahm Bhardwaj, Shetty, Coca Cola, Shekhar, Swaraj, Prem Kumar, Master Ripple Sapru, Bindu (special appearance), Baby Dolly, Baby Charulata etc in it.

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

The song is picturised on Anil Dhawan and an unfamiliar looking lady. Going by the cast, my guess is that she is Jyoti Laxmi. I request our knowledgeable readers to help identify the lady.


Song-Kya kar diya bata do zara(Raani aur Jaani)(1973) Singers-Rafi, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Satyam

Lyrics

kya kar diya
bata do zara
ye dil deewaana hua aa aa
kya kar diya
bata do zara
ye dil deewana hua
tumhi ko mana
tumhi ko chaha tumhi ko pooja
haye bolo kya kar diya
bata do zara
ye dil diwana hua

poochha tumhi ne to kya chaahiye ae
hamne kaha ki wafa chaahiye ae

daaman tumhaara na chhodenge hum
waada wafa ka na todenge hum
wafa nibhaao
idhar to aao
wafa nibhaao
idhar to aao
gale lagaao

haaye bolo
kya kar diya
bata do zara
ye dil deewaana hua
aa aa aa
kya kar diya
bata do zara
ye dil deewaana hua

o o o
ru ru ru ru

la ra la la
laralalalala
lalalala

dam se tumhaare jawaan hai bahaar
tum jo kaho to karoon dil nisaar
tumhaare siva hum kidhar jayenge
yahi hum to kadmon pe mar jaayenge

bade haseen ho
ke dilnasheen ho
bade haseen ho
ke dilnasheen ho
mere yakeen ho
haaye bolo kya kar diya
bata do zara
ye dil deewaana hua

haaye
kya kar diya bata do zara
ye dil deewaana hua

nibhaana sajan dil ki har baat ko
samajhna zara dil ke jazbaat ko

khabar hai mujhe teri har baat ki
kadar hai mujhe tere jazbaat ki
tumhi dharam ho
tumhi karam ho
tumhi dharam ho
tumhi karam ho
tumhi sanam ho

haaye bolo kya kar diya
bata do zara
ye dil deewaana hua
aa aa aa
kya kar diya
bata do zara
ye dil deewaana hua

o o o ru ru ru ru
laralalala
laalaalaalaala
lalaalalaa
laalaalaalaalalalaa
laralara
lalalala
o ho ho ho


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 :

4027 Post No. : 15141 Movie Count :

4159

Songs Repeated in Hindi Films – 7

– – – – – – – – – – – – – – – – – –

A birthday greeting that is now a week ago (plus one more day 😉 ). Many many happy and healthy returns Naseer ji – may we all be blessed with a few more decades of accomplished performances by yourself.

Memories do always seem to connect as if yesterday. Maybe it is the ‘me’ inside me that is never changing in this ever changing world, and so every memory, every remembrance of every person, place, happening, event, vision, hearing a song on the radio, and yes, seeing films in black and white on the TV screens in neighbor’s homes – everything seems to have happened just yesterday.

The film was ‘Manthan’ (1976). And the days were when we would just sit and watch a film on TV for no reason – just that it was a Saturday / Sunday and Doordarshan would be airing a feature. Much later in life I would surprised to find out that some of the films I had watched on TV were actually color films. But then, those black and white images in the memory are more prized and dear now, than the actual color visuals captured later in the day (yesterday, I mean – as I said, everything seems to have happened yesterday).

So, ‘Manthan’ it was. A film that was part of the earliest batch of New-Wave cinema in India. From the first viewing, the memory that I have is, that I do not remember anything about the film or its storyline, its characters, their names, performances etc. Everything that I know about this film is from later viewings. But there are two items that are stuck in the storage from that viewing – one is a visual of a man driving a jeep, a woman trying to follow him on foot, and the song playing – “Mero Gaam Kaathha Paarey”. And the second is a funny mention – a belligerent villager pronouncing the word ‘society’ as ‘sisoti’ (सीसोटी). That is the earliest data byte stored in memory about this exemplary and infinitely versatile performer – Naseeruddin Shah.

Beyond that of course, getting in later teens and going to college, it was trendy and fashionable to go see new wave films – and so a much crowded occupancy of memories related to his films. The list seems to go on and on – ‘Nishant’ (1975), ‘Bhumika’ (1977), ‘Godhuli’ (also 1977), ‘Junoon’ (1978), ‘Sparsh’ (1979), ‘Aakrosh’, ‘Albert Pinto Ko Gussa Kyon Aata Hai’, ‘Bhavni Bhavai’ (all three in 1980), then ‘Chakra’ and ‘Sazaay e Maut’ (what a solid psychological thriller this one is), both from 1981, ‘Bazaar’ (1982), then a ton of them in 1983 – ‘Katha’, ‘Mandi’, ‘Ardh Satya’ and the peerless cult classic ‘Jaane Bhi Do Yaaro’, then ‘Paar’, ‘Mohan Joshi Haazir Ho’ and ‘Khandhar’ in 1984, ‘Mirch Masala’ in 1985, and in 1986, ‘Musafir’, and ‘Genesis’ – the unforgettable film of primeval emotions and human relations, by Mrinal Sen.

On the way, his career merged into the commercial circuit, and, with some of the then current group of parallel cinema performers, he established himself as a performer at home both with ‘sisoti’ and “Oye Oye Aaaa. . . O Tirchhe Nainon Waali” (‘Tirchhi Topi Waale’, 1998). The ease with which he has straddled both the streams is really heartwarming. It simply goes to underline his openness and his versatility. Starting with ‘Hum Paanch’ in 1980, he entered into the mainstream commercial Hindi cinema and has made an enviable position for himself in the industry with creditable performances in films like ‘Umrao Jaan’ (1981), ‘Dil Aakhir Dil Hai’ (1982), ‘Masoom’ and ‘Who Saat Din’, (1983), ‘Ghulami’ and ‘Trikaal’ (1985), ‘Karma’ (1986, in the esteemed company of Dilip Kumar), ‘Ijaazat’ (1987), the fabled ‘Pestonjee’ in 1988, along with ‘Hero Hiralal’ and ‘Maalamaal’. In the 1988 Merchant-Ivory production of the crime thriller ‘The Perfect Murder’, he plays the pivotal role of Inspector Ghote. Then on to ‘Tridev’ in 1989, ‘Police Public’ in 1990. . . and then there are many, too many to be listed here. A sampler of important ones –‘Vishwatma’ (1992), ‘Sir’ (1993), ‘Mohra’ (1994), ‘Himmat’ (1996), ‘Chinagate’ (1998), ‘Sarfarosh’ (1999), ‘Hey Ram’ – the role of Mahatma Gandhi (2000), ‘Monsoon Wedding’ (2001), ‘3 Deewaarein’ and ‘Main Hiin Na’ (2004), ‘Iqbal’ (2005), ‘Omkara’ and ‘Banaras’ along with ‘Yun Hota To Kya Hota’, his debut as a director in (2006), ‘Parzania’ (2007), ‘Jaane Tu Ya Jaane Na’ in which he plays the role of a portrait on the wall, and ‘Mere Baap Pehle Aap’ in 2008. . . As I said, his notable performances are simply too numerous to be sampled.

Naseer was born in Barabanki (UP) on 20th July, 1949. His parents, Aley Mohammed Shah and Farrukh Sultan, are originally from Meerut. His school education happened at St. Anselm’s in Ajmer and St. Joseph’s College in Nainital. After doing his BA from Aligarh Muslim University, he joined the National School of Drama in Delhi. From there on, the rest is all fairly recent history. His work, on stage and on screen is the story of his life.

On the way, he has earned two National awards for the best actor – ‘Sparsh’ in 1979 and ‘Paar’ in 1984, and one National award for the best supporting actor in ’Iqbal’ (2006). He also has to his credit three Filmfare awards for Best Actor –  ‘Aakrosh’ (1981), ‘Chakra’ (1982) and ‘Masoom’ (1984). He also won the Volpi award for the best actor at the Venice Film Festival in the year 1984 for his performance in ‘Paar’. He has also been honored with the national awards of Padam Shri (1987) and Padam Bhushan (2003).

The song being presented today is a repeat category item with a slight difference. It is a medley of 6 songs, that have been strung together into a wonderful imitiation performance by Naseer. There is a specific similarity in this set of songs. All are rendered by Rafi Sb, and all are Shammi Kapoor songs on screen. The audio segments edited together are all original renditions, with no effort to re-record or improvise.

The choice of Shammi Kapoor songs all – you may ask. Yes, the interesting background to this song does indeed involve Shammi Kapoor as an important figure in the storyline, albeit in absentia.

The film is ‘Sitam’ from 1984. The film is produced by Vikram, and is directed by the husband wife team of Aruna Raje and Vikas Desai. The main cast of actors is Naseeruddin Shah, Smita Patil, Vikram. Asrani, Sulabha Deshpande, Seema Deo, Vikas Desai, Arun Sarnaik, Keith Stevenson amongst others.

Subhash Munkur (role played by Naseeruddin Shah) is a lively, jolly fellow who loves to live the life to its fullest. He is a middle income family person, working in a certain office. He is an avid football player and is the captain of the homegrown team in his company. He is also a very fervent fan of Shammi Kapoor, and imitates his acting and sings his songs. His wife, Meenakshi (role played by Smita Patil) is a home maker, and they have a small son to complete their small dream world.

One day, suddenly, this dream world is mortally shattered. Subhash passes away in a freak inadvertent accident on the football field. Meenakshi is devastated and crushed – she had a very loving relationship with her husband.

This song medley appears in the film a little while after the accident. Meenakshi is alone at home and the memories of Subhash are all around her, and she is traumatized by them. She envisions him still in the home, and singing Shammi Kapoor songs as he used to, to woo her and also to irritate her. Whichever part of the home she goes to, there is a song and a vision attached with it, and she continues to see him singing, in the balcony, in the kitchen, in the bedroom, on the dining table – everyplace in the home. She is not able to hold her grief, and is sobbing and in tears all the time, while this ‘dream of wide open eyes’ is being enacted around her.

So here is a treat of Shammi Kapoor songs, performed quite well by Naseeruddin Shah. Of course the original personality is the big difference, but still, it is a creditable imitation. Once again, this medley is not listed in the EP of the film or in the Geet Kosh and is available only on the film track.

The rest of the story is an interesting premise. Inder (role played by Vikram), the person who inadvertently caused the accident on the football field, is till then unknown to Meenakshi. He locates her and tries to become friendly with her and her son. He is guilt ridden and some how wants to make some amends, he knows not how. But then Meenakshi discovers the truth behind his visits. She further accuses him, berates him and in anger asks him to leave her home. Inder goes back and attempts to commit suicide by slashing his wrists. He is taken to the hospital and saved, but now the guilt factor in his mind has multiplied manifold. He becomes suicidal and a mental patient, and is shifted to the mental ward. The doctors understand his situation that the only remedy for him is to get forgiveness from Meenakshi. And of course, Meenakshi, in her own shattered state of mind, is in no condition or frame of mind to forgive Inder.

This is actually where the film starts. The earlier events are presented as a flashback, and the rest of the film is about how Meenakshi comes to terms with her grief, and ends up forgiving Inder. The film is a very interesting psychological narrative.

Enjoy this replay of six of the famous songs of Shammi Kapoor. I have listened to and viewed this clip so many times now, and every time, it seems to end just too soon. One does not realize that more than three minutes have passed. And the mind actually waits for yet one more song segment.

And the added bonus is the improvised performance by Naseeruddin Shah. Great performer, great actor – I am sure you will agree.

 

Song – Kisi Na Kisi Se Kabhi Na Kabhi (medley)  (Sitam) (1984) Singers – Mohammed Rafi, Lyrics – [multiple], MD – [multiple]

Lyrics

kisi na kisi se
kabhi na kabhi
kahin na kahin dil lagaana padega. . .

tum ne mujhe
dekha
ho kar
meharbaan
ruk gayi ye zameen
tham gaya aasmaan
jaan e mann
jaan e jaan
tum ne mujhe
dekha. . .

badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye. . .

kya haseen mod par aa gayi zindgani
ke haqeeqat na ban jaaye meri kahaani
jab aahen bhare ye thandi pawan
seene mein sulag uth’ti hai agan
tujhe dekh ke kehta hai mera mann
kahin aaj kisi se mohabbat na ho jaaye. . .

dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas. . .

tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar. . .

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

किसी ना किसी से
कभी ना कभी
कहीं ना कहीं दिल लगाना पड़ेगा॰ ॰ ॰

तुम ने मुझे
देखा
हो कर
मेहरबान
रुक गई ये ज़मीन
थम गया आसमान
जान ए मन
जान ए जान
तुम ने मुझे
देखा॰ ॰ ॰

बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये॰ ॰ ॰

क्या हसीन मोड़ पर आ गई ज़िंदगानी
के हक़ीक़त ना बन जाये मेरी कहानी
जब आहें भरे ये ठंडी पवन
सीने में सुलग उठती है अगन
तुझे देख के कहता है मेरा मन
कहीं आज किसी से मोहब्बत ना हो जाये॰ ॰ ॰

दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास॰ ॰ ॰

तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर॰ ॰ ॰


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 : 4020 Post No. : 15131

“Khilaadi”(1968) was directed by Homi Wadia for Basant Pictures Bombay. This “social” movie had Nadia, Dilip Raj, Uma Bhende, Sujata, Sheikh, Suzie, Amarnath, Wazir Mohammad Khan, Vishwas Kunte, Uma Dutt, Dalpat, Habib etc in it.

The movie had five songs in it. One song has been covered in the past.

Here is the second song from “Khilaadi”(1968) to appear in the blog. This song is sung by Asha Bhonsle and Rafi. Farooque Kaiser is the lyricist. Music is composed by Lala Sattar.

The song is picturised on Dilip Raj and Uma Bhende. Dilip Raj was son of P Jairaj. Uma Bhende, a leading Marathi movie actress, had famously lip synced the popular “Dosti”(1964) song “Gudiya hamse roothi rahogi” earlier.


Song-Pyaar koi kam kam kare (Khilaadi)(1968) Singers-Asha Bhonsle, Rafi, Lyrics-Farooque Kaiser, MD-Lala Sattar

Lyrics

pyaar koi kam kam kare
haaye alla
dheer dhare ji zara dheer dhare
kaahe gori chham chham kare
haaye alla
bijli gire ji dil pe bijli gire

pyaar koi kam kam kare
kaahe gori chham chham kare

hove ruswa na meri jawaani
mujhpe itni karo meharbaani
dil hai haazir abhi pyaar kar lo
phir na aayegi rut ye suhaani

duhaai duhaai mere saajna
koi kya karega tera saamna
haaye pyaar koi kam kam kare
haaye allah
dheer dhare ji zara dheer dhare
kaahe gori chham chham kare
haaye alla
bijli gire ji dil pe bijli gire

pyaar koi kam kam kare
kaahe gori chham chham kare

tu jo chaahe to kismat bana loon
dil ki dhadkan mein tujhko chhupa loon

aisi nazron se dekho na balma
hosh apne main kaise sambhaaloon
nasha hai sanam ye mere pyaar ka
bharosa nahin hai tere pyaar ka
haaye kaahe gori chham chham kare
haaye allah
bijli gire ji dil pe bijli gire

pyaar koi kam kam kare
haaye alla
dheer dhare ji zara dheer dhare
kaahe gori chham chham kare
pyaar koi kam kam kare ae ae


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15182

Number of movies covered in the blog

Movies with all their songs covered =1176
Total Number of movies covered =4171

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Active for more than 4000 days.

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