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 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.

Yesterday (27 april 2017), sometime around noon, I got to hear the very sad news that Vinod Khanna had passed away.
I had logged onto Twitter for a bit – and immediately saw a tweet saying “One of the most handsome actors of Hindi movies. RIP”. My heart sank. Soon it was clear that the person being discussed, and now trending as a hashtag, was our own beloved Vinod Khanna.

Recently a picture of Vinod Khanna had been circulating on social media. It shocked many (including myself) as it showed him in a very frail condition. I, for one, was not even aware that he was ailing. But nowadays, with advances in medical science, you tend to expect recovery, especially for someone barely 70.

It was not to be.

The end was therefore unexpected for me – and I think, for many.

All day today, my thoughts have been with Vinod Khanna. He was “my generation” and therefore the memories were even stronger. Much like the memories that came streaming into my mind when Rajesh Khanna passed away a few years ago.

Just to clarify, when I say “my generation”, I don’t mean he was my age. I consider the 1970s “my generation”, because that is the decade of my childhood, when I have most memories of watching, and being aware of, films. After that, especially approaching the mid-80s, it wasn’t quite the same – so I don’t consider films after, say 1982, as “my generation”. I know it’s arbitrary, but that’s how I see it.

Vinod Khanna was bang in “my generation”. Sure, he acted well after that too, but his rise in films, and his popularity, happened in the 1970s and continued later.

Vinod Khanna. Have we seen a more handsome actor in the last 40 years? Women swooned over him – and understandably. When he was a villain in his early career, however mean his role was, you really didn’t want him to be beaten up by the hero. He was too good-looking for that. 🙂

My first distinct memories of Vinod Khanna are probably associated with Mere Apne (1971). I distinctly remember seeing this film as a kid – it was a very different sort of film, with Vinod Khanna and Shatrughan Sinha the main characters, and Meena Kumari in a very different role. The song “koi hota, jisko apna”, picturised on Vinod, became very popular.

Those were the days of the Rajesh Khanna tsunami. Many newcomers joined the industry aspiring to be the next big hero. Anil Dhawan, Navin Nischol, Kabir Bedi, Amitabh Bachchan, Vijay Arora, Rakesh Pandey and many more.

The scene was crowded – the likes of Vinod Khanna and Shatrughan Sinha went the “villain” route to make a connect with the audience. They were popular villains too, but when they got lead roles and the crowd happily accepted them, they made the switch.

I remember seeing many of Vinod Khanna’s films at the time when he acted “villain” roles – Aan Milo Sajna, Purab aur Paschim, the fantastic Mera Gaon Mera Desh and Ek Bechara, to name just a few.

I also remember seeing films like “Hum Tum Aur Woh”, where he was cast opposite South Indian actress, Bharathi. Then there were other films like Kache Dhaage, Gaddaar and Aap Ke Khaatir, the last of these best-known for the hugely popular “Bambai se aaya mera dost”.

At that time, being a young teenager, I was much impressed by “Imtihaan”, a film about a teacher and his experiences in a school. The song “ruk jaana nahin, tu kahin haar ke” was not only very popular, it was very inspirational and motivational for many, including myself, at the time.

Then there was another film “Inkaar” which I saw at that time, and really liked. It was one of those James Hadley Chase type stories – I need to rewatch it.

I remember, sometime around 1978, Filmfare magazine had, as its cover story, the top three heroes of the time. No.1 was obviously Amitabh Bachchan, No. 2 was Dharam but at no.3, surprisingly for me, was Vinod Khanna. Not Shashi Kapoor or Jeetendra or Rishi Kapoor or even the redoubtable Sanjeev Kumar, but Vinod Khanna. (At that time, they also had Hema, Zeenat and Parveen as the top three heroines).

I don’t know what their criteria was – and this isn’t intended to compare actors – but my point is, Vinod was one of those stars whose star value was not always self-evident.

The late 70s were the days of the multi-starrer – and Vinod had his fair share of them. Hera Pheri, Amar Akbar Anthony, Khoon Pasina, Parvarish, Muqaddar Ka Sikandar, The Burning Train, Qurbani – all big films of the time, featuring Vinod Khanna.

There was also a Vinod solo – Lahu Ke Do Rang, with the popular “chaahiye thoda pyaar”. I think this film did well at the box-office. I remember I quite liked it.

And then, suddenly (at least to me it was sudden), Vinod quit films. To join Osho. He was right on top of his game at the time – but for some reason, he chose to take that step.

Anyway, he was back after a few years for his second innings. During this period he had films like Dayavan and Chandni, both making an impact on the audience, even if he shared screen space with Feroze Khan in Dayavan, and was not the male lead in Chandni.

I sort of lost track after that – though I did see him in Jurm (1990), looking every bit as handsome as he’d looked 15 years earlier.

The most recent film of his that I happened to watch was Dabangg – that was in 2010. He acted even after that – most recently in Dilwale (2015) but I haven’t seen any of his films after Dabangg.

So a career that started with Man Ka Meet (1968) went on for almost 50 years!

And oh, before I forget to mention it, Vinod Khanna was more than just an actor. He joined politics in the late 90s and won elections from Gurdaspur. As far as I know, unlike many film stars who joined politics and failed to connect with their constituencies, Vinod Khanna was actually popular in the Gurdaspur constituency.

So, all in all, quite a life, quite a career. His family would be proud of him.

As I reflect on his career today, I can only thank him for giving me these memories. And since he was “my generation”, that makes it even more special for me.

Coming to the song for today.

Late in the evening, I got this wish to write on the blog for Vinod Khanna. I checked for a few songs I had in mind – they were all already in there. Then, to my surprise, I noticed that this song, which was quite popular in its time, was still not on the blog.

I quickly contacted Atul to inform him that I planned to do a write-up and would it be ok if I used this song. I wanted to be sure it wouldn’t clash with any other planned post. He said “go ahead”.

So here is “meri dushman hai ye”, probably better known as “ye khidki jo band rehti hai” from Main Tulsi Tere Aangan Ki (1978).

This film, best-known for getting two yesteryear biggies, Asha Parekh and Nutan, to act together was a big hit, as far as I remember. The title song was extremely popular at the time.

I last saw the film ages ago, sometime in the late 70s. It was a film revolving around Asha Parekh, who Vijay Anand is in love with, and Nutan who he is married to. Vinod Khanna is Vijay Anand’s son from Asha Parekh but is brought up with great love by Nutan. This causes resentment for Deb Mukherjee, Nutan’s own son, especially when he gets to know that Vinod Khanna is not even Nutan’s own son. After some misunderstandings, where Vinod Khanna typically plays big brother-shielding-younger-brother, all ends well.

The song is sung by Rafisaab, with lyrics by Anand Bakshi and music by L-P. I remembered this picturised on Vinod Khanna, so I went looking for it today, but I myself hadn’t heard it in a while.

So, while presenting it here on the blog, I just want to remember Vinod Khanna again.

Go well, Sir – and rest in peace.


Song-Ye khidki jo band rahti hai (Main Tulsi Tere Aangan Ki)(1978) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Meri dushman hai ye
Meri uljhan hai ye
Bada tadpaati hai
Dil tarsaati hai
Ye khidki khidki
Ye khidki
Ye khidki jo band rehti hai
Ye khidki jo band rehti hai
Meri dushman hai ye
Meri uljhan hai ye
Bada tadpaati hai
Dil tarsaati hai
Ye khidki khidki
Ye khidki
Ye khidki jo band rehti hai
Ye khidki jo band rehti hai

Lagta hai mela na jaane kahaan
Aashiq jawaan hote hain yahaan
Arrey sabko pataa hai ye daastaan
Is ghar mein hai ek ladki jawaan
Aankhen jhuka ke guzro is gali se
Aane jaane waalon se kehti hai
Ye khidki
Ye khidki jo band rehti hai
Ye khidki jo band rehti hai

Gham ki ghata hai
ye chhant jaayegi
Aahon se deewaar phhat jaayegi
Jab saamne se ye hat jaayegi
Ghoonghat mein gori simat jaayegi
ik roz khul jaayegi toot ke ye
Kitni nazron ke teer sehti hai
Ye khidki
Ye khidki jo band rehti hai
Ye khidki jo band rehti hai

Aaye kabhi chaubaare mein wo
Kuchh soche mere baare mein wo
Arrey baatein kare do ishaaron mein wo o
Chup se khadi hai us kinaare mein wo
Us paar wo hai
Aur is paar main hoon
Nadiya beech mein behti hai
Ye khidki
Ye khidki jo band rehti hai
Ye khidki jo band rehti hai

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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.

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

According to HFGK, there were nine songs in the movie. Two songs from the movie have been covered in the blog.

Here is the third song from “Guru Ghantaal”(1956) to appear in the blog. HFGK mentions this song as a duet by Rafi and Geeta Dutt. On listening through the uploads of this song, one notices that this song has two versions. One version is sung by Rafi , Geeta Dutt and chorus, whereas another version has some additional uncredited voices as well.

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

Part I

Part II

Song-Ye kaise yog liya sarkaar (Guru Ghantaal)(1956) Singers-Geeta Dutt, Rafi, Lyrics-Pt Gaafil, MD-Lachchiram

Lyrics
——————————-
Part II
——————————-

ye kaise
yog liya sarkaar

badal kar bhesh mere dildaar
mere dildaar
badal kar bhesh mere dildaar
ye kaise yog liya sarkaar
mere sarkaaar
na kar takraar
meri sarkaar
tumhaara khench ke laaya pyaar
tumhaara

badal kar bhesh mere dildaar
ye kaise yog liya sarkaar
mere sarkaaar
na kar takraar
meri sarkaar
tumhaara khench ke laaya pyaar
tumhaara
hahahaha

jag waalon se nazar bacha ke
lekar maala tilak laga ke
lekar maala tilak laga ke
tilak laga ke
saajan kyun chhoda gharbaar
badal kar bhesh mere dildaar
mere dildaaar
aha
na kar takraar meri sarkar
tumhara khench ke laya pyaar
tumhaara

badal kar bhesh mere dildaar
ye kaise yog liya sarkar
mere sarkaaar
na kar takraar meri sarkar
tumhara khench ke laaya pyaar
tumhara
haha

ladki o ladki
ladki kadki aur bekaari
raam mister raam
mister raam bane hain prem pujaari
are ladki kadki aur bekaari
raam mister raam
mister raam bane hai prem pujari
o lekar chimta aur khartaal
bajaaye hum veena ke taar

o chhodo chhodo ji sarkar
mere sarkar
na kar takraar meri sarkar
tumhara khench ke laaya pyaar
tumhaara

badal kar bhesh mere dildaar
ye kaise yog liya sarkar
mere sarkaaar
haha
na kar takraar meri sarkar
tumhara khench ke laaya pyaar
tumhaara
haha

——————————-
part II
——————————-

o chhodo chhodo ji sarkaar
mere sarkaar
na kar takraar
meri sarkaar
tumhaara khench ke laaya pyaar
tumhaara

badal kar bhesh mere dildaar
ye kaise yog liya sarkaar
mere sarkaaar
hahaha
na kar takraar
meri sarkaar
tumhaara khench ke laaya pyaar
tumhaara
haha

chaar sau bees
o four twenty
arre waah waah
four twenty
prem pujaari
bane na durgat kahin tumhaari
four twenty
prem pujaari
bane na durgat kahin tumhaari
sambhal ja
kadkon ke sarkaar
kahin joote na pade hazaar
daran dan dindar dandan daa
patik lapatakik ??vurr

mere sarkaaar
na kar takraar
meri sarkaar
tumhara khench ke laaya pyaar
tumhaara

badal kar bhesh mere dildaar
ye kaise yog liya sarkaar
mere sarkaaar
hahaha
na kar takraar
meri sarkaar
tumhaara khench ke laaya pyaar
pyaar
pyaar
pyaar
bakshanhaar o kartaar
maula karega beda paar
bakshanhaar o kartaar
maula karega beda paar
o o o o
raam ki leela nyaari ee ee ee
raam ki leela nyaari re bande
raam ki leela nyaari
ho o o o
raam ki leela nyaari ee

jag taaran taaran bhavhi bhanjan
dharni dhaar
o dekho raam ki leela
raam ki leela
raam ki leela aa aa
raam ki leela nyaari re saadho
raam ki leela nyaari ho o o
raam ki leela nyaari

bhajo raadhe ae ae
bhajo raadhe ae ae ae
bhajo raadhe
ae ae ae

bhajo raadhe govind
bhajo raadhe govind

bhajo raadhe
o bhajo raadhe
bhajo raadhe
bhajo raadhe

bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind
bhajo raadhe govind


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 song is from the film Basant-60. Its namesake film Basant was made in 1942 as well. But in matters of success, both films were opposite to each other. Basant-42, directed by Amiya Chakrawarty , was a successful film, having well known actors and Music Director. Basant-60 in contrast was not so much successful. It was not liked by people, though the lead actors were well known. Nutan was already acclaimed but Shammi Kapoor had yet to come to his elements which he would do with the film Junglee-61. He was still struggling with ‘ Hum sab chor hain ‘ and ‘ Tumsa nahi dekha ‘ acting styles.

Nutan and Shammi Kapor came together for the first time in the film ” Laila Majnu “-53. Basant-60 was their second film. They were yet to become comfortable with each other and it was noticeable in the film too ! Nutan was a fine, talented artiste. She did such films for sustenance. Later this pair was to do yet another film, “Laat sahib “-67, by which time they had beccome seasoned actors.

However, one feels that Nutan was not an actress suited for Shammi’s style. He was suited more for actresses like Sharmila, Asha Parekh, Saira Bano, Kalpana etc. Moreover in the 60s, Shammi Kapoor’s films did not need any story. His films had almost the same story, with few cosmetic changes here and there. Audience went to see the film for Shammi’s antics, his love scenes with New actresses every time and for its Music.

Otherwise also, 1960’s films were escapist films. There was a quantum shift from social issues, reforms, poor farmers, family feuds etc of 1950s to Love, Romance,Music and Dance. Cinema showed us what we always dreamt-Ooty, Shimla, Kashmir, Manali, Musoorie, Himalayas, Villas, Imported cars, Heroines changing clothes 10 times in a day, Heroes stunningly rich or without a job need, or worry of any kind, circling around trees, Bees kissing each other and comic respites with specialist Comedians. In the beginning of such genre of films, a few early films could not develop this technique fully, but it was perfected soon enough and then we had films like Dil deke dekho, Love in Simla,Jab pyar kisise hota hai, Ek Musafir ek haseena etc etc.

The director of this film was B.Mitra or Bibhuti Mitra. Born in 1915 at Calcutta, he joined New Thatres as an assistant in the studio after graduating. Soon he shifted to Bombay and produced two documentaris- V for Victory and Voice of Youth, both in 1941, for British Government as an effort to their war propoganda. These documentaries were shown all over India, in the Theatres.

He tried his hand at film direction. His first film ‘Angoothi’-43 was a resounding Flop. Ashok Kumar was its Hero.when Angoothi was released Ashok’s film Kismet was creating records all over India. Even then, Angoothi ran only for 3 days and it was withdrawn from theatres.

Normally, in Film Industry, an unsuccessful Director is not touched with even a barge pole, but S. Mukherjee selected him as a Director, in Filmistan.

His first film with Filmistan was Safar-46. The director of the film was Bibhuti Mitra. C.Ramchandra was the Music Director. In fact this was his first film after joining Filmistan. Mitra had a nasty habit of interfering in the Music Director’s work. C.Ramchandra did not like it. But because of Shashdhar Mukherjee, he kept quiet. Luckily, halfway through the film, Mitra left and went away to Calcutta.

In late 1950, when the work for film Shabistan started, Bibhuti Mitra came back to Filmistan to direct this movie. The MD was C.Ramchandra. As expected, Mitra started interfering in film’s music. By now, C.Ramchandra was a well known and successful composer and was in great demand from producers. This time he did not tolerate Mitra’s interference. The matter went to S. Mukherjee. Mukherjee took Mitra’s side, as he had brought him back. C.Ramchandra decided to leave Filmistan. Mukherjee was shocked and tried to dissuade CR from leaving,but CR was firm. However he promissed to mukherjee that whenever Filmistan needed him, he will come back and work. True to his word, C.Ramchandra did come back to do Anarkali-53 and Nastik-54 later on. The balance work of Shabistan was done by Madan Mohan.

Bibhuti mitra( 1-1-1915 to 14-3-1989 ), had directed about 12 films from 1941 to 1972 (including phagun-58 and Ji chahta hai-64). He became a producer with his own Mitra productions. he produced Shart-54, Phagun-58 and Basant-60. After Basant’s failure he wound up his production outfit. He directed his last film Mehmil-72, in which he acted also.

Film Basant-60 had music by O P Nayyar. This was a film of Records. One- the film had 14 songs. One duet ‘Raste mein ek haseen’ featured twice in the film, thus effectively making it 15 songs in the film. Two- in all the 14 songs, Asha Bhosle’s voice was there. Three- she had only 1 solo ( and 2 with chorus). Four- there were 10 duets of Rafi and Asha. This was the highest for both of them in any film, in their careers. There was also a triad with Asha, Rafi and Batish. Even Mughal-e-azam had 12 songs. Five- Comedian Johnny Walker had 4 songs, the highest for him as a comedian in any film where he was not the hero.

One of the reasons why Basant-60 flopped was that its story was a mixture of Safar-46 and Shabnam-49 ( both films had their origins in Hollywood films), which were the most successful films of B.Mitra.

Greta memsaab has been writing reviews of Hindi films since some years now. She has reviewed this film also. As per her review, here is an edited synopsis of film Basant-60…..

“Take the plot of It Happened One Night, sprinkle in some ingredients from An Affair To Remember, then stir in a third plot which is completely nuts, and voila! it’s Basant. Two of my favorite Hollywood films and some masala craziness for the price of one Hindi film! Sure, there are huge plot holes and it’s nonsensical at times, but what do I care—especially when the hero and heroine are my beloved Shammi Kapoor and beautiful Nutan. They are great together: his nonchalant silliness complements her feisty character perfectly.
Plus, there’s Pran! and lovely music from OP Nayyar.

Meenakshi Rai (Nutan) is the spoiled daughter of millionaire Rai Bahadur (Murad). We know that she’s a modern girl because she wears trousers and says “My foot!” a lot. She wants to marry Rajesh (Pran), a man of whom her father disapproves strongly.

Her father is escorting her to Calcutta by train to get her away from Rajesh, but she disembarks at another stop in the middle of the night as he is sleeping. Her bag is stolen on the platform by a scoundrel named Billoo (Johnny Walker) and she chases him to a nearby fairground, where she recovers her bag but discovers that her father already has the police after her.

To escape them, she takes to the stage and sings a lovely song (“Raaste Mein”) with a guy named Ashim (Shammi Kapoor). But when she returns to the train station to catch the Bombay train, it’s crawling with police and her father is there! So is Ashim, who has figured out who she is; he’s traveling to Bombay as well.

She decides to take the bus instead and sits next to Billoo—who steals all the money from her purse when she isn’t looking. For some reason never explained, Ashim is on the bus too, and sees a police roadblock ahead. He pushes Billoo aside and saves her from detection.

They enact a hilarious drama of a possessive husband and his shrewish wife, and the policeman flees to avoid getting involved. Shammi and Nutan are really fun to watch as he continues to needle her (and imitates her “My foot!” at every opportunity), and she gives it back to him as good as she gets.

To escape further notice, Meenakshi and Ashim take to the side roads. When Billoo the con man sees a poster with her photo and a Rs 50,000 reward, he starts trailing them. There is a lot of other comic side plot action with Johnny, but I won’t go into it here. He is pretty funny, though.

As Meenakshi and Ashim head towards Bombay by whatever transport they can find, they argue a lot but are getting acquainted too. She tells him that she is headstrong because her father has always been so controlling, and she is longing for a little freedom. They are so CUTE together.

Back in Bombay, Rai Bahadur just wants his daughter back, and is even willing to compromise with Rajesh.

But Ashim and Meenakshi are falling in love.

So true! When the two reach her home in Bombay, she confesses her feelings to Ashim. He tells her to meet him after one month apart, as a test to make sure their love is true. This seemed like a bad idea in An Affair To Remember, and it seems like a bad idea now, but she happily agrees.

Unfortunately, Rajesh is waiting in the wings, and he needs her money. On Meenakshi’s birthday—which Ashim attends in disguise—Rai Bahadur announces her engagement to Rajesh, as promised. Ashim is furious and confronts her, but she reassures him that she loves him. Rajesh overhears them, and sends his thugs to kill Ashim when he goes on a trip to deliver a valuable necklace in this place (our lunatic third plot development):

On the night when they are to meet, Meenakshi has a car accident and is paralyzed from her waist down. Rai Bahadur dies of a heart attack when he hears the news. When she recovers enough to leave the hospital in a wheelchair, Rajesh tells her that Ashim is dead too.

Poor Meenakshi is bereft. Is Ashim really dead? If not, where is he? Did he show up for their rendezvous and think her absence meant she had decided to marry Rajesh? Will she marry Rajesh? Will she ever walk again?

Oh, the drama! The tears! The beauty of Shammi! ”

Thank you Greta Memsaab. ( Do you find traces of ‘Chori- Chori’ and ‘Dil hai ki manata hi nahin ‘-91 in this film too ? )

Let us now enjoy one of the funny duets, filmed on Johnny Walker in the film Basant-60.


Song-Duniya pakki four twenty(Basant)(1960) Singers-Rafi, Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-O P Nayyar

Lyrics

duniya pakki four twenty
duniya pakki four twenty
maar maar ke
are maar mar ke chappal
meri kardi chaplam chanty
duniya four twenty
duniya pakki four twenty

aashiq ki hai reet niraali
bin tabley ke kare qawwaqli
akal ka andha gaanthh ka poora
dil mein mohabbat pocket khaali

jimijimijimijimi
jahaan bhi dekhe koi haseena
wahin baja di ghanty
duniya four twenty

duniya pakki four twenty

chhokariyaan baanki mastaani
sab hai paise ki diwani
inko chaahiye mota bakra
motor saadi surmedaani
jaha bhi tagda engine dekha
karti thamtham thanti
duniya four twenty
duniya pakki four twenty

waah re teri mohabbat ka
len den ke sar par haath
haan tu agar hai chalte purje
mister hum bhi hain chaalaak

aha
bhookhe pet mohabbat kaisi
chhodo tantam tanti
duniya four twenty

duniya pakki four twenty

biwi bachche bahan aur bhaai
sab hain matlab ke shaidaayi
jeb garam to yaara hazaro
kadki ho to kaun ho bhai
haan
biwi bache bahan aur bhai
sab hai matlab ke shaidayi
jeb garam to yara hazaro
kadki ho to kaun ho bhai
ik din inko maal na do to phir
dekho phantam ??
duniya four twenty
duniya pakki four twenty
hahah
hahahwah
duniya pakki four twenty
maar maar ke
haa haha
maar maar ke chappal meri
kar di chaplam ??
duniya four twenty
duniya pakki four twenty


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.

Atul ji’s 10K Song Milestone Celebrations – 3
——————————————————————–

This is a very special day, a very special occasion. Our leader of the Blog, Atul ji, has completed individual 10,000 posts.

What an achievement ! 10,000 song posts, with Lyrics and a related text to go with it, posted by a single person !!

This must enter the Record Books !!!

I first came across the Blog, sometime in late 2010 or may be early 2011. I was quite impressed with the presentation, collection of the songs and the comments made by readers. My first comment on the Blog was to appreciate Atul ji and the efforts taken by the Blog to present old songs,with lyrics. Slowly,I started giving my own comments on the Blog. Encouraged by Atul ji and others, I soon became a regular here and shared what I knew about old films and its music.

In the process of commenting, my first article (post) was posted on the Blog on 1-10-2012. Atul ji was kind enough to write the lyrics of the song, on my behalf. (This special help in lyrics writing continues even today – after more than 570 song posts – thanks to his generosity 🙂 ). Atul ji was very encouraging and prodded me to continue writing regularly. I too learned quite a lot from the comments of readers on various songs daily. It actually became a routine for me to visit the Blog first thing in the morning and following it through the entire day. I know many of the regulars too have this same habit.

Though I was very active on internet and was a member of several groups, and my articles were posted on different sites, blogs and group fora, my heart remained with Atul ji’s Blog. This was because I was impressed with his dedication and hard work in keeping the flock together and serving the music lovers of the world. As per a report by Word Press, this Blog  reaches 298 countries of the world in all continents and Atul ji’s songs give joy and pleasure to millions all over. During the last few years I met several regulars of the Blog and also attended Gangouts in Mumbai and Bengaluru. This Blog gave me several online friends,

In all these years, I was very curious to know who this Atul ji is. In due course of time, I came to know more about him, saw his photographs and even became his “friend “on Facebook, when he started his own page. I, however, missed the golden opportunity to meet him personally, when he attended the first ever Gangout in Mumbai in December 2014, which I could not attend unfortunately. Meanwhile we became quite well known to each other by exchange of mails, Whatsapp and Blog’s multiple activities.

I have always wondered, what sort of energy this person has ! How does he manage his job, family life and the Blog activity- all at the same time? Atul ji’s posts are full of knowledge and statistics. The kind of joy Atul ji has provided to the millions of music lovers all over the world is simply incomparable. It is a matter of pride that he runs a unique Blog, which is perhaps the only one of its kind in the whole world ! All this prompted me to write a small poem on Atul ji…..

suno ji suno,
yeh hai mera pyara
sub ka dil lubhaanewala,
Gaanewala, Ranchiwala……..1

ye koi khel nahi hai
itna aasan nahi hai
yadein taaza karnewala
Gaanewala, Ranchiwala…….2

duniya is ko dekh rahi hai
gaane sunke khoj rahi hai
hai bhala kaun ye dilwala
Gaanewala, Ranchiwala……3

is ke pyar mein doobi duniya
is ko chaahe saari duniya
kahaan hai pyaara geetonwala
Gaanewala,Ranchiwala…..4

geeton ki is yatra mein
hum sab iske saathi hain
sub ko saath lenewala
Gaanewala, Ranchiwala…..5

naayak ho to aisa ho
khushiyan apni baatnewala
har yaatri ko chaahnewala
Gaanewala, Ranchiwala…..6

sab ke dil mein ek hi naara
neta ho to aisa pyaraa
Atul ji jaisa bade dilwala
Gaanewala,Ranchiwala…..7 

I wish Atul ji and the Blog many more achievements and peaks of successes.

Coming to today’s song, it is actually not a song I would normally discuss, but I have selected this song because it is from a significant film in the career of my favourite star – The Fearless Nadia. In fact, this film was her swansong. After this film (Khiladi-1968), she bid a final good bye to Hindi film world, in which she was the Queen of Stunt Films, right from 1933 to 1968.

At the time of this film, she was already 60 years old, but if you see this film, she exhibited the same skills, for which she was the Darling of Millions in her hey days. Fearless Nadia was a phenomenon of the Hindi film industry. Neither before her nor after her, was there so daring a lady who did all her thrilling stunts herself. She fought with 8 to 10 persons at a time, lifted men in the air, was an expert in fencing, fighting, driving, riding, jumping and handled ferocious animals like tigers, lions etc.

I was a great fan of her films from young age (even now) and must have seen at least 20-25 of her films. I always dreamt meeting her some day,in person. My dream came true on the morning of 23rd July 1984, when I actually met Fearless Nadia and talked to her !

It so happened that those days Nadia was staying in Colaba area of south Bombay and everyday morning, used to take her dog for a walk in a park nearby. One of my good friends, Sharma ji also lived in that area. He once told me this. I expressed my desire to meet her and he made a plan. He too used to visit that park and knew Nadia well as a neighbour. I went on 22nd July to stay with Sharma ji. Next day early morning, we got ready and went to the park. As expected, Nadia came there with her dog. Sharma ji greeted her and introduced me as a great fan of her films. I was simply thrilled. I rattled out 10-15 names of her films, which I had seen. She was naturally impressed and talked to me for about 15 minutes. Then we parted. I shall always cherish those moments in my life.

Film Khiladi-68 was a spy crime thriller, having some really spectacular stunts, which reminded the older films of Nadia. Actually, the film opens with a scene showing some people firing on Nadia. The cast of the film had Dilip Raj as its hero. This Dilip Raj was the eldest son of legendary actor P. Jairaj. Unfortunately, Dilip Raj was not only a flop and bad actor, but also a bad and ungrateful son. He extracted so much money from Jairaj by deceit, that Jairaj had to go to court to evict his son from his house. He cheated his father and tried to usurp all his estate and throw Jairaj out of his own house!

Dilip Raj acted as a Hero in only 5 films and total 26 films in all from 1956 to 2013. His best known film was ‘Shehar Aur Sapna’ (1963).

The Hindu, the well known daily published a review of film Khiladi (1968), recently on 24-2-2017. Considering the gap of almost 50 years, it was quite a reflection of people’s love for Fearless Nadia even in this era ! Here is the review-

As Vishal Bhardwaj pays tribute to Fearless Nadia in “Rangoon”, let’s go back to the action-star’s last hurrah at the box office to figure out how Nadia was the mother of all Khiladis in Hindi cinema. Here she virtually plays one. As Agent Madam XI, she grooms and protects Pratap or Agent 707 (Dilip Raj), who is out to ensure the release of an atomic scientist who has been kidnapped by evil forces for the formula that he has created. As the names suggest, the Homi Wadia film is a tribute to the James Bond variety of cinema.

There is an agent called Udti Chidiya but the best is reserved for Nadia, who is christened Living Fireball, perhaps a tribute to her long innings as the action queen of Hindi cinema. From giving demonstration of bullet proof jackets to changing get-ups in every other scenes, the focus is on the ageing star. Born as Mary Evans, the Australian origin actor made a mark in Hindi films much before Bollywood discovered the Katrina Kaif template. She fostered a strong bond with Wadia, whose Basant Studios was famous for mythologicals and action-adventures. The duo gave a series of hits but find little mention every time history of Hindi cinema is recounted. Recently, when Mahesh Bhatt chronicled the history of studios in India through a television series Basant was missing from the list despite the fact that his father Nanabhai Bhatt also closely worked with Wadia.

Today, they might look predictable but some of the action sequences in “Khilari” can still give goose bumps. The explosions in air and water look believable and the kind of scale Wadia has been able to achieve with limited resources is commendable. The gadgets are futuristic. A gun which fires in reverse, a belt which works as an iron cutter, Pratap even has a drone like device to send signals.

Style Statement
A limited actor, Dilip also gets to explore the flirtatious side of this genre so that Wadia could bring in an element of glamour and use the talent of Lala-Sattar. In action sequences, Dilip looks a little limp and his karate style, in fact, evokes unintentional humour. But that’s fun of Wadia style of entertainment. It was never meant for the discerning but always kept the front benchers on the edge.

If cynics could free themselves from the tyranny of ‘taste’, there is lot to read in these films. High on style and sensuality, they catered to the baser instincts of the audience but provided its female characters agency to find their way in the society. Wadia’s female characters could frequent spaces which were not meant for Hindi film heroines. Nadia was the star in this league, a female Robin Hood, who could ride horses, crack the whip and make lecherous men fall in line. It was in contrast to the patriarchy that the so called A-grade cinema of the time perpetuated.

Here the villain of the piece is also a woman called Golden Dragon played by Sujata who doesn’t hold back her lust for Pratap. With a dragon tattooed on her back, her den could give competition to Shaakaal’s lair in “Shaan”, made a decade later.

Then there is Suzie, another strong female character, who lays down her life to protect her father and Pratap. Tun Tun provides comic relief as Miss Beauty. It is this equal universe that makes “Khilari” a fair game.

With this song, film Khiladi-68 is making a debut on this Blog. All the 5 songs were written by Lyricist Farooque Qaiser. The music was by the duo of Lala-Sattar. The singers are Rafi and Asha Bhosle.  On screen, the song is performed by Dilip Raj accompanied by an actress that I am not able to identify. A look at the list of actors indicates that this actress could be Uma, but I am not certain. I request other friends and readers to help identify her.


Song – Aao Ji Aao Na, Dil Mein Samaao Na (Khilaadi) (1968) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Farooque Qaiser, MD – Lala Sattaar

Lyrics

aao ji aao na
dil mein samaao na
hum bhi tumhaare hain
hum ko sataao na
arre dil hai mera deewaana
haaye re
mera dil
mera dil
mera dil

jaao ji jaao na
hum ko sataao na
duniya kahegi kya
aise bulaao na
arre dil hai tera deewaana
haaye re
tera dil
tera dil
tera dil

mehboob ho ik tum sa
ik yaar miley hum sa
mehboob ho ik tum sa
ik yaar miley hum sa
phir dekho zindagi ka
aata hai mazaa kaisa
tarsaa na
behka na
tarsaa na
behka na
kabhi nahin
kabhi nahin
aao ji aao na
dil mein samaao na
hum bhi tumhaare hain
hum ko sataao na
arre dil hai mera deewaana
haaye re
mera dil
mera dil
mera dil

dildaar bhole bhaale
hotey hain dil ke kale
dildaar bhole bhaale
hotey hain dil ke kale
dil de ke jaan lenge
ye pyaar karne waale
tarsaa na
tadpa na
tarsaa na
tadpa na
kabhi nahin
kabhi nahin
jaao ji jaao na
hum ko sataao na
duniya kahegi kya
aise bulaao na
arre dil hai tera deewaana
haaye re
tera dil
tera dil
tera dil

tu dard bhi na jaane
tu pyaar bhi na maane
tu dard bhi na jaane
tu pyaar bhi na maane
main pyaar kaise kar loon
ye duniya degi taane
tarsaa na
tadpa na
tarsaa na
tadpa na
kabhi nahin
o kabhi nahin
jaao ji jaao na
hum ko sataao na
duniya kahegi kya
aise bulaao na
arre dil hai tera deewaana
haaye re
tera dil
tera dil
tera dil

aao ji aao na
dil mein samaao na
hum bhi tumhaare hain
hum ko sataao na
arre dil hai mera deewaana
haaye re
mera dil
mera dil
mera dil

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

आओ जी आओ ना
दिल में समाओ ना
हम भी तुम्हारे हैं
हमको सताओ ना
अरे दिल दिल है मेरा दीवाना
हाये रे
मेरा दिल
मेरा दिल
मेरा दिल

जाओ जी जाओ ना
हमको सताओ ना
दुनिया कहेगी क्या
ऐसे बुलाओ ना
अरे दिल है तेरा दीवाना
हाये रे
तेरा दिल
तेरा दिल
तेरा दिल

महबूब हो इक तुम सा
इक यार मिले हम सा
महबूब हो इक तुम सा
इक यार मिले हम सा
फिर देखो ज़िंदगी का
आता है मज़ा कैसा
तरसा ना
बहका ना
तरसा ना
बहका ना
कभी नहीं
कभी नहीं
आओ जी आओ ना
दिल में समाओ ना
हम भी तुम्हारे हैं
हमको सताओ ना
अरे दिल दिल है मेरा दीवाना
हाये रे
मेरा दिल
मेरा दिल
मेरा दिल

दिलदार भोले भाले
होते हैं दिल के काले
दिलदार भोले भाले
होते हैं दिल के काले
दिल दे के जान लेंगे
ये प्यार करने वाले
तरसा ना
तड़पा ना
तरसा ना
तड़पा ना
कभी नहीं
कभी नहीं
जाओ जी जाओ ना
हमको सताओ ना
दुनिया कहेगी क्या
ऐसे बुलाओ ना
अरे दिल है तेरा दीवाना
हाये रे
तेरा दिल
तेरा दिल
तेरा दिल

तू दर्द भी ना जाने
तू प्यार भी ना माने
तू दर्द भी ना जाने
तू प्यार भी ना माने
मैं प्यार कैसे कर लूँ
ये दुनिया देगी ताने
तरसा ना
तड़पा ना
तरसा ना
तड़पा ना
कभी नहीं
कभी नहीं
जाओ जी जाओ ना
हमको सताओ ना
दुनिया कहेगी क्या
ऐसे बुलाओ ना
अरे दिल है तेरा दीवाना
हाये रे
तेरा दिल
तेरा दिल
तेरा दिल

आओ जी आओ ना
दिल में समाओ ना
हम भी तुम्हारे हैं
हमको सताओ ना
अरे दिल दिल है मेरा दीवाना
हाये रे
मेरा दिल
मेरा दिल
मेरा दिल


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.

Atul ji’s 10K Song Milestone Celebrations – 1
——————————————————————–

On this blog, one thing we enjoy is, celebrations.  🙂

We are always looking for an opportunity to celebrate – and every other day, we get a reason to do so. Often it is somebody’s birthday or birth anniversary, or a milestone of a 100th or 1000th song for an artiste, or for the blog. And even if it is a death anniversary, which is not really a cause for celebration, we use the occasion to pay tribute to the concerned artiste. Many of my own posts fall in this category. An occasion gives me an opportunity to reminisce and share my thoughts.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 37
– – – – – – – – – – – – – – – – – – – – – – – – – –

“हम तो पहली ही नज़र में दे चुके हैं दिल तुम्हें

Lingering memories, fading in, successively, in a shuffle sequence, as the charmed mind tries to follow and decipher all the fine nuances and entertaining devices, contained in this immortal, unforgettable voice – that of Rafi Sb.
Read more on this topic…


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

“Neel Kamal” (1968) was directed by Ram Maheshwari for Kalpanalok. The movie had Waheeda Rehman, Raj Kumar, Shashikala, Balraj Sahni, Jairaj, Chhaya, Sulochana, David Abraham, Mehmood, Manoj Kumar, Lalita Pawar, Tiwari etc in it.
Read more on this topic…


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

“Pyaar Ka Bandhan”(1963) was produced and directed by Naresh Saigal for N S Films. The movie had Raj Kumar, Nishi, Dhumal, Pratima Devi, Helen, Naaz, Jagdish Raaj, Johnny Walker etc in it.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 36
– – – – – – – – – – – – – – – – – – – – – – – – – –

“सावन की परी चुप चुप है खड़ी

I came across this song for the first time, few weeks ago. It has been sitting in the hard disk for quite some time now, one of a set of songs of Rafi Sb that Bakshish Singh ji gave to me. On some prompting thought in the mind, I just played this song, as I was searching for a song starting with ‘स’, and goodness, just could not believe that this wonderful gem of a song has been sitting away from mainstream listening. Later, when I checked online, this song is posted on YT more than once, implying it is not so rare as I would imagine. Oh but, what a song, what a song.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 35
– – – – – – – – – – – – – – – – – – – – – – – – – –

“शम्मा बुझने को चली

Of the many colors of Rafi Sb’s voice, probably the most touching, and the most impressive is his interpretation of the emotions of sadness. Maybe, it be so that the “. . . sweetest songs are the ones that tell of the saddest thoughts” (from the poetry of Percy Shelley, that inspired the iconic song of ‘Patita’ (1953) – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain”). And maybe, that the genuineness and honesty of expressions that go together with the unfeigned and substantive voice of Rafi Sb, it simply makes us feel the true depth of this ‘sweetness’ – a sweetness that touches a very familiar, a very dear chord within.
Read more on this topic…


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(© 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 eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13206

Number of movies covered in the blog

Movies with all their songs covered =982 Total Number of movies covered =3697

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Blog Start date: 19 july 2008 Active for 3000 days.
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