Archive for the ‘Rafi solo’ Category
Main marne chala hoon
Posted on: December 2, 2020
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.
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Blog Day : |
4520 | Post No. : | 16077 |
“Gunaahon Ka Devta”(1967) was directed by Devi Sharma for Janta Chitra, Bombay. This “social” movie had Rajshree, Jeetendra, Mehmood, Leela Chitnis, Auna Irani, Randheer, Tuntun, Farida, Shahid, S K Prem, Sujata, Jeewan, Jankidas etc in it.
The movie had seven songs in it. Six songs (including one multiple version song) have been covered so far. Here are the details of the songs of this movie:-
| S.No. | Song Title | Posted on |
|---|---|---|
| 01 | Chaahaa thaa banoon pyaar ki raahon ka devata | 22.07.2010 |
| 02 | Raam kare kahin nainaa naa uljhen | 30.07.2010 |
| 03 | Teer aankhon ke jigar ke paar kar do yaar tum | 13.07.2012 |
| 04 | Ham ko to barbaad kiyaa hai aur kisey barbaad karoge (multiple version song) | 22.07.2020 |
| 05 | Mehfil mein shama chamki parwaane chale aaye | 08.10.2020 |
The seventh and final song from “Gunaahon Ka Devtaa”(1967) is a light hearted comic relief song sung by Rafi and picturised on Mehmood. Mehmood too utters a fe sentences in the song. Lyrics are by Hasrat Jaipuri. Music is by Shankar Jaikishan.
Music of the song is reminiscent of another Shankar Jaikishan composition namely “hum kaale hain to kya dilaale hain”.
Lyrics of this song were sent to me Avinash Scrapwala.
With this song, all the songs of “Gunaahon Ka Devtaa”(1967) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Main marne chala hoon (Gunaahon Ka Devtaa)(1967) Singer-Rafi, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Mehmood
Lyrics(Provided by Avinash Scrapala)
Hoshiyaar
Arey khabardar
Mere ko mat rokna
Main jaa rahaa hoon
arey todi naakh tablaa
ne phodi naakh peti
Main jaa rahaa hoon
Main marne chalaa hoon
Are ab rokne se kya faydaa
jab chidiyaa chug gayi khet
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Aye husn teri khaatir
Aye husn teri khaatir
O husn teri khaatir
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Ye maut bhi darwaazaa hai
milne ka meri jaan
Ye maut bhi darwaazaa hai
milne ka meri jaan
mar kar bhi jiyaa karta hai
hokar amar insaan
mar kar bhi jiyaa karta hai
hokar amar insaan
Majnu ki qasam
Raanjhe ki qasam
Meri jaan ki qasam
arey mere babaji qasam
Dadaji ki qasam
kakaji ki qasam
arey Padm ji ki qasam
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Aye husn teri khaatir
Main marne chalaa hoon
Main marne chalaa hoon
Atka huaa armaan dil e maasoom se nikle
Atka huaa armaan dil e maasoom se nikle
Aashiq ka janaazaa hai
badi dhoom se nikle ae
Aashiq ka janaazaa hai
badi dhoom se nikle ae
lailaa ki qasam
shirin ki qasam
ke sar ki qasam
arey meri maa ki qasam
meri dadi ki qasam
meri nani ki qasam
mar gayaa babaji ee
Main marne chalaa hoon
Main marne chalaa hoon
Aye husn teri khaatir
Main marne chalaa hoon
Main marne chalaa hoon
Logon mere marne pe tum
Aansoo naa bahaanaa
Logon mere marne pe tum
Aansoo naa bahaanaa
Aa jaaye meri yaad to phir
Naachnaa gaaanaa
Aa jaaye meri yaad to phir
Naachnaa gaaanaa
Baiju ki qasam
taani ki qasam
tansen ki qasam
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
Main marne chalaa hoon
arey main marne chalaa hoon oon oon …
Le lo jee paanch paanch aane
Posted on: November 19, 2020
This article is written by nahm, 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.
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Blog Day : |
4507 | Post No. : | 16050 |
Bhaari bhaari meena kumari
ghar mein jaa ke maara maari
This was the sales pitch sh’air by some urchins in Mumbai local trains, selling small items like hairbands, hair clips, fancy earrings, finger rings and combs etc. I have had an highly educating experience of travelling in local trains on regular basis from 1988 to 1994, during peak hours, traversing the length and breadth of Mumbai on central, western and harbor lines. The sales pitch and the bol bachchan street seller’s ingenuity in using colourful simile’s, in the present song reminded me of the long forgotten ditty above. (bhaari means costly or rich in mumbaiyya)
I have a tendency of getting involved in different types of hobbies and activities if they catch my interest. I usually follow these interests for a while till something else occupies the space in my time. In school we had a learning topic of ‘home science’. They taught cooking, stitching, crocheting, embroidery etc. But I was only doing those things, to the extent necessary. But crocheting and embroidery had sort of caught my interest and I dabbled in them whenever the opportunity arose. If my mom was doing some knitting, then I would want to take up crochet and finish the wool which she brought to knit some sweater etc. I found the creativity there fascinating, especially in embroidery. Also crocheting and embroidery with wool is quicker.
Once I saw an advert in a magazine for a thread manufacturing co. The ad had a very colourfully embroidered one dimensional ‘charminar’. Not the cigarette box, but the actual ‘charminar’ of Hyderabad. It must have been early or late 80’s. I liked the colourful mural like look of it so much, that I wanted to make it immediately. I got hold of whatever new cloth piece I could find at home, which happened to be orange. I made a drawing of the charminar on a paper and traced it on to the cloth. Once basic work is done, then there is the need for the colourful silk thread, plus a big size ring to fix the cloth and needles. All the paraphernalia was arranged and I set to work, till it finished. It is one my treasured created things, along with one another similar whimsy design which was actually front portion of a small jacket. Many years later I had that embroidered ‘charminar’ framed. Now that frame is also broken, and the orange cloth is lying somewhere in a drawer, waiting reframing or whatever is its destiny.
It so happened that I visited Hyderabad city in April 2019. There was a wedding to attend and some business related visit. It was my second visit there, first being in 2008, which incidentally coincided with the annual “Numa’ish”. It is a traditional yearly event in Hyderabad, which is an exhibition cum sale, on a huge scale and an area is devoted to this “numa’ish”. Special buses are run from the outskirts and surrounding areas for people to travel to and fro, and all that razzmatazz. People came for this exhibition in droves. Now I don’t know if it is the same with all the changes, huge malls being more attractive. I myself found it easier to roam around alone at IKEA, while my husband attended to business.
The annual “Numaish” is held in the second half of january and the night prior to ‘republic day’ all govt. building were lit up with colourful lights. We visited the ‘charminar’ on the night of 25th January, to see it aglow with white lights. During that visit we couldn’t go inside the monument, which we rectified during the 2019 visit. A portion of it was closed even, as it was damaged during the previous monsoon. The huge complex of ‘chowmohalla palace’ is in close vicinity, but it is like an oasis of peace, if feels like another place altogether in total contrast to the area surrounding ‘charminar’. I think it must have been a walled city once upon a time with its multiple gates in all 4 directions, as was traditional for great cities.
Now of course, the city manages to hold in great contrasts, with all the commercial areas hosting huge multinationals office complexes.
After the 2019 visited, I looked and looked for a song featuring the city of Hyderabad to post. But I did not find any such songs. But yesterday I was looking for a good song composed by Sardar Malik, and found this Rafi solo, a sales pitch song, composed by Sardar Malik, written by Hasrat Jaipuri which is entirely shot in locations of Hyderabad old city. It is said that “dhoondne se khudaa miltaa hai”, so what is a song, how would it not be found. I found this song when I had given up finding such a song. The movie is “Mera ghar mere bachche”(1960) and the song is picturised on Charlie. The films cast included Sohrab Modi, Sulochana, Sudesh Kumar, Kumari Naaz, Balraj – I, Daisy Irani, Kavita, Nana Palsikar, Subbiraj, Sadhna Chowdhry, and S’aadat Ali, apart from Charlie. This movie is produced and directed by Sohrab Modi.
The rendition by Rafi Sahab is as usual the star of the show second only to the magnificent charminar filmed 60 years ago. The print is good, so some other historical buildings can also be seen in the song, like Safdarjung museum(ghanta ghar), the Chowmohalla palace entrance etc.
6 out of the 9 songs in the movie are already posted in the blog :
| Song | Date posted |
|---|---|
| Bahaaron se poochho mere pyaar ko tum | 22 September 2009 |
| Dil mera naache thunak thunak | 4 September 2010 |
| Chanda ke desh mein rehti ek raani | 11 March 2012 |
| Wo hi oodi oodi ghataayen hain | 1 July 2016 |
| Zulm bhi karte hain aur kehte hain ke fariyaad na kar | 19 June 2017 |
| Peena haraam hai to nigaahen milaa ke pee | 4 September 2020 |
The expressions in the song, like ‘sauda haathhon haathh hai’ , ‘muraaden dil ki bar aayen’, ‘andhere mein bahot kuchh soojh jaayegaa’, ‘aap ki munh mein ghee shakkar’,’ maare sharam ke phir gayaa paani’, so freely used are a refreshing reminder of a very civilized part of mumbaiyya dialect.
Video :
audio :
Song-Le lo jee paanch paanch aane (Mera Ghar Mere Bachche)(1960) Singer-Mohammed Rafi, Lyrics-Hasrat Jaipuri, MD-Sardar Malik
Lyrics
Mud mud ke
har koyi dekhe
maal mein kuchh to baat hai
paise do aur maal utthaao
sauda haathhon haathh hai
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane
haan
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane ae
yeh kangha leejiye
baabu
muraaden dil ki bhar aayen
koyi ganja
kare sar mein
to us ke baal aa jaayen
meraa surmaa
agar aise
ke ji andhaa lagaayegaa
to andhe ko
andhere mein
bahot kuchh soojh jaayegaa aa
ye surmaa kya hai jadoo mantar
aap ki munh mein ghee shakkar
jo bhi chaaho
le lo saayin
paise ki sab baat hai
paise do aur maal utthaao
sauda haathhon haathh hai
le lo ji le lo o
paanch paanch aane ae
aayenge phir na aa
aise zamaane
haan aane
le lo ji le lo o
paanch paanch aane ae
aayenge phir na aa
aise zamaane
ham ko London ka powder maangtaa hai
mem saab
idhar to India ka maal miltaa hai
haan khaalis hindustaani
hindustaani
chhee chhee chhee
hamaare desh ke har maal pe
duniyaa hai deewaani
videshi maal per
maare sharam ke
phir gayaa paani
lagaate hain nazar ham par
yeh cheeni aur japaani
chali aati hai lene maal
inglistaan ki naani
inglistaan ki naani eeee
tum letaa London se takkar
aap ke munh mein ghee shakkar
London waale laakh jalen
par uparwaala saathh hai
paise do aur maal utthaao
sauda haathhon haathh hai ae
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zama..aane
haan aa
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane aewaah
le lo ji le lo
paanch paanch aane ae
aayenge phir na aa
aise zamaane
Maut uski jawaani pe lalchaayee
Posted on: November 6, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4494 | Post No. : | 16021 | Movie Count : |
4384 |
Sometime back, I had come across a list of unreleased songs of Mohammed Rafi on the internet. The number of such songs were close to 100. A scrutiny of the songs revealed that these were not necessarily unreleased songs. Some songs were from unreleased films which were released later on gramophone records in some cases. Then, there were songs which were composed for released films but were not picturised. Some songs were deleted from films mainly to reduce the length of the films. Some of the songs in the list have already been covered in our Blog.
To begin with, I checked from the list to see which of the songs, especially of 1940s and 50s are available on the video sharing platforms which are yet to be covered on the Blog. From the list, I found two of the earliest songs among others rendered by Rafi for an unreleased film, ‘Geet Aur Aansoo’ (1940s) which are yet to be covered in the Blog. I am presenting one of Rafi’s two songs in the film, ‘maut uski jawaani pe lalchaayi’. The song has somewhat unusual lyrics by Surjeet Sethi.
Arun ji has confirmed that not much details about the film in HFGK such as the name of the director, star cast and other crews of the film is available except that it was produced under the banner of S. S. Moviemakers. One website (myswar.com) has shown the film as that of 1947 but as unreleased and has listed 7 songs in the film of which 2 songs were sung by Mohammed Rafi, 4 songs by Kusum Mantri and remaining one song sung by S Mohinder who was the music director. SAREGAMA has also listed S Mohinder as the music director for three mp3 clips of the songs of the film. All the songs were written by Surjeet Sethi.
I find from the filmography of S Mohinder that in most of the films for which he was the music director, Surjeet Sethi wrote lyrics for him. He wrote lyrics for S Mohinder in ‘Sehra’ (1948), ‘Neeli’ (1950), ‘Bahadur’ (1953), ‘Paapi’ (1953) and ‘Sau Ka Note’ (1955). After 1955, Surjeet Sethi seems to have given up writing lyrics for the film. After a gap of many years, Surjeet Singh’s name propped up as a producer-director-lyricist of an obscure film ‘Sandli’ (1980s, UR) for which S. Mohinder was the music director.
‘Geet Aur Aansoo’ (1940s UR) raises a point to ponder as to which was the debut film of music director S. Mohinder – ‘Sehra’ (1948) which has been marked as such or ‘Geet Aur Aansoo’ (1940s) songs of which were supposed to have been recorded in 1947? Surprisingly, I have not come across in any article on S. Mohinder or his interviews in which he had ever mentioned ‘Geet Aur Aansoo’ while discussing his film music.
I personally feel that ‘Geet Aur Aansoo’ may be the debut film both for music director, S. Mohinder and lyricist, Surjeet Sethi. First, the style of singing of Mohammed Rafi reminds me of his song in ‘Jugnu’ (1947). Secondly, I came to know from the Rajya Sabha interview which S Mohinder gave about 4 years back that he and Surjeet Sethi got acquainted with each other only during their train journey from Lahore to Bombay Central in May 1947, a few months before on the partition. During the conversation in the train, Surjeet Singh introduced himself as a shaayar. Their friendship in Mumbai may have led to their collaboration in ‘Geet Aur Aansoo’ (1940s, UR) and some more films.
Audio Clip:
Song-Maut uski jawaani pe lalchaayee (Geet Aur Aansoo)(1947) Singer-Rafi, Lyrics-Surjeet Sethi, MD-S Mohinder
Lyrics
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi
uski hansi ne khud ko naashaad kiya aa aa aa aa
uski hansi ne khud ko naashaad kiya aa aa aa
uski shokhee ne khud ko barbaad kiya
usko le doobi uski hi angdaayi
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi
mil gayi raakh mein aaj uski jawaani
mil gayi raakh mein aaj uski jawaani
maut ki dulhan bani wo husn ki raani ee
naseeb-e-maut ab teri kahaan sunaayi(?)
maut uski jawaani pe lalchaayi
liya aagosh mein jyonhi wo muskaayi
maut uski jawaani pe lalchaayi
lalchaayi
lalchaayi
This article is written by Avinash Scrapwala, 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.
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Blog Day: |
4487 | Post No. : | 16008 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 109 # Tribute to actor Vinod Mehra #
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30th October’2020 is the thirtieth ‘Rememberance Day’ of one of the much loved and handsome actors of Hindi Film Industry – Vinod Mehra. He was born on 13th February’1945 and passed away at the young age of forty-five only. The news of his death shocked everybody at that time. He started his career in Hindi movies as a child artist in the late fifties and his career as an adult began in 1971.
‘Seventies’ saw many actors who may not have worked more or given many hits but somehow they have left their indelible impression in the mind of movie-goers and children grown in ‘seventies’ like me.
I think I can include names like Vinod Mehra, Navin Nischol, Vijay Arora, Anil Dhawan, Mahendra Sandhu, Vishal Anand etc. in this list. (I may be forgetting some and not recollecting at this moment).
That was a time when we were watching movies without being a ‘fan’ of anyone. The ‘thrill’ of watching movie in the ‘theatre’ and the whole atmosphere, the big ‘posters’ , the ‘ticket windows’, the different color tickets of various ‘classes’, the ‘namkeen moongfalli, or chanaa and ‘sharbat’ was other main attraction in the intervals and coming out of the theatre after the show ends was like landing back from ‘another planet’ to our own 😊
Vinod Mehra is one such name from those years which immediately reminfds us of his ever ‘smiling face’. His hair style and his looks, his physique and appearance on the screen always give a ‘warm’ feeling. His ‘emotional roles’ make our eyes misty and gave our hearts a stir. Such was his impact. And when I am writing about him, first time here on the blog, I feel like missing a friend or like familiar person very much and my mind constantly asking me – why is that people like him passed at so early? at the age of forty-five?
I think these lines from the today’s song best explain my thoughts for him today ‘tumse nahin pehchaan meri, phir bhi aise lagtaa hai pehle bhi kisi yug mein apna saath rahaa ho jaise’…
It was like he was around in one special corner of our heart always there in the midst of so many stars around.
I remember his photo with his signature sent to my Father in reply to his fan mail which was in his possession along with other ‘star’s’ letters.
Well, going back to the movies of Vinod Mehra which I remember to have watched …
If I try to recollect now the movies of his that comes to my mind as an oldest memory of him, of course, start with ‘tere nainon ke main deep jalaaungaa’ i.e. Anuraag-1972 which I must have watched with my parents. But the song continued to haunt me as a flashback all over the years and the other song and movie permanently embedded on my impressionable mind was ‘Do Khilaadi-1976’ – its song – ‘jhoomtaa saawan dekho aaya’ – never got erased from my memory.
In between I must have watched his ‘Do Phool-1973’, ‘Kunwaara Baap-1974’, ‘Raftaar-1975’, ‘Do Jhooth-1975’,’Naagin-1976’, ‘Ghar-1978’, ‘Chakravyuha-1978’, ‘Swarg Narak-1978’, ‘Dada-1979’, ‘The Burning Train-1980’, ‘Pyaasa Saawan-1981’, ‘Khuddaar-1982’. I watched these movies either with my parents or my uncle.
For ‘Jaani Dushman-1979’ I was permitted to go alone and not take my younger brothers with me so that they don’t get scared watching and after watching the movie 😊
I watched his ‘Naukar Biwi Ka-1983’, ‘Dharam Aur Qanoon-1984’, ‘Jeene Nahin Doonga-1984’, ‘Locket-1986’, ‘Aag Hi Aag-1987’ with my brothers and cousins.
And I watched ‘Eeshwar-1989’ during my stay at Kota.
I watched his ‘Amardeep-1979’ in 2012 when Rajesh Khanna passed away and movies of Kaka were screened specially on a tv channel.
I watched his ‘Anurodh-1977’ on VCD, much later when I was in Nagpur in 2016 and liked his role very much.
The latest of his movie that I watch was ‘Aarop-1974’ which I watched on my laptop in Sep’2019 during my stay at Kenya (during my preparation for a post for BTYC).
I may have also watched his other movies but I am forgetting them like I think I had watched ‘Sabse Bada Rupaiyya-1976’ and later ‘Amarprem-1971’ may be on tv channels.
However, when I see his filmography now, I realized that I have yet to watch many of his movies from the seventies as well as of eighties till he was doing acting.
Coming back to today’s song now, it is from the movie ‘Ek Hi Raasta-1977’ wherein Vinod Mehra is lip syncing for Rafi Saab’s voice and music is composed by Rajesh Roshan. Lyrics are by Verma Malik.
Shabana Azmi and a child artist (Master Inderjeet/Master Asif/Master Babu?) are also seen in the picturization of this song.
One song from the movie was introduced by me here where in I have given the details of this movie – ‘Ek Hi Raasta-1977’. So, I will not repeat the same here, and instead I will give the details of songs from this movie in the following table (our new practice, so that whenever the movies are Yippeeee’ed on the blog we need to ‘insert’ the links of the respective songs only and update the table for grand ‘finale’ 😊
List of songs – ‘Ek Hi Raasta-1977’ as per HFGK (1971-1980) Vol-V; (in order of appearance there)
| S.No. | Song Title | Singer/s | Posted on |
| 01 | Akalmand ko ishaara… itni jaldi kahaan jaate ho | Asha Bhonsle, Kishore Kumar | |
| 02 | Dil ko mila lo dil ko takra lo… I like what you are saying | Asha Bhonsle, Amit Kumar, chorus | |
| 03 | Dheere dheere sun more sajna… piya piya boley more kangnaa | Lata Mangeshkar | |
| 04 | Tumse nahin pehchaan meri … | Mohd Rafi | Being posted today |
| 05 | Bin saathi ke jeewan kya | Kishore Kumar, Anuradha Paudwal | 17.08.2015 |
Let us now enjoy today’s song and pay our tributes to the ever ‘smiling’ ‘charming’ Vinod Mehra.
I hope you will like the song too …
Video
Audio
Song-Tumse nahin pehchaan meri lekin aisa lagta hai (Ek Hi Raasta)(1977) Singer-Rafi, Lyrics-Verma Malik, MD-Rajesh Roshan
Lyrics
(dialogues not included)
(Child’s laughing sound)
Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise
Tujhe dekh ke bhooli bisri
Tasveer ubhar aati hai
Yaad ki dhundhli si parchhaayee
Dil mein utar jaati hai
Donon ko naa yaad rahaa ho
Ho sakta hai aise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tujhse mera kya naata
Jab samajh nahin paata hoon
Doob ke main gehraayiyon mein
Ye sochke reh jaata hoon
Kisi janam mein toone koi
vachan liya ho jaise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tumse nahin pehchaan meri
Lekin aise ae lagta hai
Pehle bhi kisi yug me apna
Saath rahaa ho jaise ae
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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(गीत के शुरुवात में दिए गए संवाद शामिल नहीं किये गए हैं)
(बच्चे के हंसने की आवाज़)
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुझे देख के भूली बिसरी
तस्वीर उभर आती है
याद की धुंधली सी परछाई
दिल में उतर जाती है
दोनों को ना याद रहा हो
हो सकता है ऐसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुझसे मेरा क्या नाता आ
जब समझ नहीं पाता हूँ
डूब के मैं गहराईयों में
ये सोचके रह जाता हूँ
किसी जनम में तूने कोई
वचन लिया हो जैसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4484 | Post No. : | 15998 |
“Fifty Fifty”(1956) was produced and directed by Roshanlal Malhotra for Roopnagar Limited, Bombay. This “social” movie had Nalini Jaiwant, M Rajan, David, Manmohan Krisgna, Lalita Kumari, Amar, Sundar, Gope, Om Prakash, Tuntun, Helen, Mumtaz, Rajan Kapoor, Kathana, Dubey, Lalita Kapoor etc, with guest appearances by Randheer, Jayant and Jeewan.
The movie had eight songs in it. Six songs have been covered in the past.
Here is the seventh song from “Fifty Fifty”(1956) to appear in the blog. The song is sung by Rafi. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.
ONly the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that the song is a beggar/ fakir song on some character artist.
Song-Kab tak tu Bhagwan se apna aap chhupaayega(Fifty Fifty)(1956) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Madan Mohan
Lyrics
kab tak tu bhagwaan se apna aap chhupaayega aa
tera likkha ik din tere samane aayega aa aa
saamne aayega
kab tak tu bhagwaan se apna aap chhupaayega aa
tera likkha ik din tere samane aayega aa aa
saamne aayega
jo saagar ke andar seepi beech chupaaye moti
dekh rahi hai sab kuchh logon us maalik ki jyoti
jo saagar ke andar seepi beech chhupaaye moti
dekh rahi hai sab kuchh logon us maalik ki jyoti
arre us maalik ki jyoti
jag ke bhedi kya bande se dhokha khaayega aa
tera likkha ik din tere saamne aayega
kab tak tu bhagwaan se apna aap chhupaayega
tera likkha ik din tere samane aayega aa aa
saamne aayega
jiski marzi bin o moorakh hil na paaye tinka
lekh likha hai paass usi ke tere ik ik din ka
jiski marzi bin o moorakh hil na paaye tinka
lekh likha hai paass usi ke tere ik ik din ka
arre tere ik ik din ka
kahaan phir uski nazron se tu bach ke jaayega
tera likha ek din tere saamne aayega
kab tak tu bhagwan se apna aap chhupaayega aa
tera likkha ik din tere saamne aayega aa aa
saamne aayega
- In: "Please don't go" song | Beggar's song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by nahm | Rafi solo | Rafi songs | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 6 Comments
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.
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Blog Day : |
4481 | Post No. : | 15991 |
Mohammed Rafi: The incomparable (II) – Song No. 20
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25/10/2020 – Remembrance Day of Sahir Ludhianvi
“Koyi shaayar ta’aaruf ka mohtaaj ho saktaa hai lekin uss ki shaayari kisi ta’aaruf ki mohtaaj nahi honi chaahiye, chaahe wo shaayari doosri zubaan mein tarjuma shudaa hi kyun na ho”.
So began the article published in the Urdu magazine ‘Fann Aur Shakhsiyat’ (Sahir number), dated 22nd July 1958, written by Khwaaja Ahmed Abbas.
Sahir. . . ba-zubaan e khud
(Answering a question asked by Nida Fazli)I am the youngest among my contemporaries except Kaifi considering my age. Faiz, Sardar, Niyaaz all are senior. When Majaz’s ‘Aahang’ was published I was a student in Matric (Xth std) and at the time of publication of Faiz’s collection I was studying in BA. There are really effects of Faiz in some of my poems. Majaaz is more classical, which I like. Maybe it is more impressive in ‘Chaklay’. Every poet is impressed by his senior poets. But there is a difference in vinegar and its affects. Many of my poems tackle different topics like, Taj Mahal, chakla, avoidance (garez), and beautiful turn (khoobsurat mod) etc. No one’s 100% and perfect. In Faiz’s work there are more of comparisons (Anthropomorphization). The adjectives in my poems create an atmosphere. The personality of the poet also has an impact on his art and expression. There is an inner circle, the subject and vivid representation takes shape accordingly. By nature I belong to the middle class. Maybe I have still not managed to de-class myself. Years ago my poems were heard silently among the labourers. But Kaifi would generate more claps. Some people have an opinion that Sahir is more liked the college going boys and girl, this is poetry of an immature brain. But I do doubt the maturity of brains of the people who think like this. I am product of this very circumstances and it is natural to be affected by it. But the poetry’s subjects and their treatment is also bound to change with the age of the poet, as in our times Hafeez and A’dam were very popular among elderly poets. We used to take part is these Mushaa’ire, recited our poems which were well liked by all. Firaaq says this even today that “Mushaa’iron ke ticket to Sahir ke naam par hi bikte hain”.
I know there are very few people who understand Urdu and fewer are interested in it in India. But the revived interest in Urdu poetry, contemporary as well as some poets belonging to the earlier generations, and other literary works, which is raising its head frequently, is heartening. Urdu poetry in itself is a strong statement. It is very important and significant in the 21st century and new millennia also, as it was in 19th and 20th centuries.
And Sahir is a big part of this strong statement. For his content and creative flexibility. There may be a way of looking at his poetry apart from his roots in leftist ideology. I don’t think he died with, as strong sense of his ideology as he began his active poetic life.
I am fascinated by the impact of Allama Iqbal on his poetry. He wrote this in early 40’s :
ye kooche ye neelaam ghar dilkashi ke
ye lut’te huye caaravan zindagi ke
kahaan hain, kahan hain, muhafiz khudi ke
sana-khwaan-e-taqdees-e-mashriq kahan hain
Very few poets have used the word ‘khudi’ after Iqbal so immediately after him. In fact the philosophy of ‘khudi’ is the inherent identity of Iqbal’s literary and poetic work. Here if Sahir is speaking of ‘khudi’ it must be a reference to glorification and paeans of the civilizational progress of the ‘mashriq’ sung by Iqbal. The question by Sahir is still valid, as it was 80 years ago. The question is much bigger than ever, exactly when and how much more, the personal integrity, conscience of each one of us singing praises of cultural, civilizational and religious values are going to go and face this shameful reality.
Allama Iqbal left this world in 1939. For the impressionable youth, a rebellious one like Sahir, the impressive content and complete logical values in Iqbal’s considerable poetic output, could have felt like the shackles. So he hits out, at the reality of society, more in self-defence to stop his own slide into the spirituality. He wants to stay in the realm of the material and spirituality seems like a cave to him, with no way out.
But it is a fact that he ventured into the cave, with a parody too :
cheen-o-arab hamaara, hindostaan hamaara
muslim hain ham watan hai saara jahan hamaara
Bringing it down to the basic issues of survival with:
Cheen-o-arab hamaara, hindostan hamaara
Rehne ko ghar nahin hai, saara jahan hamaara
He takes this She’r of Iqbal ;
Na tu zameen ke liye hai na aasmaan ke liye
Jahaan hai tere liye tu nahin jahaan ke liye
And makes it;
Na tu zameen ke liye hai na aasmaan ke liye
Tera wajood hai ab sirf daastaan ke liye
He does satire, demoralise and ridicule the concept of humans being the supreme creation, and degenerates it. Not that he has any answers or solutions to the angst expressed in “jinhen naaz hai hind par. . .”. How the ideology he wore on his sleeve, must have been time and again, weighed against the religiosity and convictions of Iqbal. He challenges Iqbal’s concepts and thrives on it.
tere ishq ki intehaa chaahta hoon
meri saadgi dekh kya chaahta hoon
He takes the above ghazal of Iqbal and writes this as college bait-baazi song “Tere Pyaar Ka Aasra Chaahta Hoon“.
In relation to the saga called ‘chaklay’, I am reproducing a portion of the article ‘Sahir aur Us ki Sha’iri’, by Kaifi Azmi, originally published in 1948, in ‘Naye Adab Ke Ma’emaar’ (‘Ma’emaar’ – builders or constructors, derived from ta’ameer or ‘imaarat’):
The hapless and hungry nation in reverence towards which glorious paeans are sung with closed eyes, houses brothels at every step. Hence brothels are entrenched in Indian literature too.
The rank intensity, hatred and sincerity with which saahir has shaken up the ‘sanakhwan-e-tasdeeq-e-mashriq’ are simply incomparable.
In ‘chaklay’ (brothels), Sahir’s dignity, his soul and the restlessness of his conscience can be seen at the acme of eminence; I get goose bumps when I read this poem. The feelings that might have stimulated him to write it are so intense that here his characteristic melancholy transforms into an overwhelming deluge.
[Source – ‘Yeh Un Dinon Ki Baat Hai’, selected and translated by Yasir Abbasi].
One wonders if Sahir ever gave a thought to Rafi sahab’s rendition of the songs of ‘Pyasa’, as he got into a controversy over credit and remuneration. It is 40 years since both of them left the temporary abode called life. We are into 100th year of Sahir and no closer to finding the reply to his call. . .
sana-khwaan-e-taqdees-e-mashriq ko laao
sana-khwaan-e-taqdees-e-mashriq kahan hain
I wonder if any literary work of this world, or any research paper is there, that offers solutions, shows the way out, of this socio-economic problem. But it is a sad state of affairs that this civilization has ceased to view this as a degenerating parasite of a problem in society. It exists only in Sahir’s poetry as an issue.
I am presenting a Rafi song on this occasion. This is a solo song written by Sahir Ludhianvi for the film ‘Naach Ghar’ (1959). N Datta is the composer for this film. The song is a prayer, banjaara song, and overlay of a mujra. As if the mujra is going on and the viewer is singing the song. I can only guess at it as the video is not available. The rendition by Rafi Sahab is again out of this world, especially the starting one minute, before the mujra part begins. I am at a loss, ke sahir ki baat karun ya Rafi ki.
The movie ‘Naach Ghar’ has 10 songs with Rafi being the only male singer, singing four duets with Lata Mangeshkar, one with Asha Bhosle and one with Geeta Dutt. The only solo song by Rafi in this film the present post. I had never heard this song before March 2020, when I decided to post this as the birthday post for Sahir’s birth anniversary. But since it could not be posted, I have revised the post for the death anniversary.
This is the 20th song in the series of ‘Mohammed Rafi – The Incomparable (II)’. The first two differing portions of the song are too brief; one wants them to go on and on. But the song moves on to beyond the dance music to chhed-chhaad mode, romantic and pardesi. 3:15 duration is too short to pack so much, and it ends too soon. Only the audio is available of the song which is picturized on Gopi Krishna. This could be a stage song or road-side tamasha song.
Song – Teri Ada Pe Qurbaan, O Jaane Waale (Naach Ghar) (1959) Singer – Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta
Lyrics (Provided by Avinash Scrapwala)
main banjaara
door ka aa
ghoomun dagar dagar
base rahen is nagar ke baasi
basaa rahe ye nagar
ho ho oo ooooooo
allah ke naam pe
maula ke naam pe
allah ke naam pe
maula ke naam pe
de de o jaanewaale
allah ke naam pe
allah ke naam pe
maula ke naam pe
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan
ho jaayenge
hum deewaane
ho jaayenge
hum deewaane
lut jaayenge
khwaab suhaane
lut jaayenge
khwaab suhaane
o zaalim tarsaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan
pardesi ke dil ki duaa le
pardesi ke dil ki duaa le
khud ruk jaa yaa
hum ko bula le
khud ruk jaa yaa
hum ko bulaa le
ghaayal chhod ke jaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
yeri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan
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Hindi Script Lyrics (Provided by Sudhir)
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मैं बंजारा
दूर का
घूमूँ डगर डगर
बसे रहें इस नगर के बासी
बसा रहे ये नगर
हो हो ओ ओssssss
अल्लाह के नाम पे
मौला के नाम पे
अल्लाह के नाम पे
मौला के नाम पे
दे दे ओ जाने वाले
अल्लाह के नाम पे
अल्लाह के नाम पे
मौला के नाम पे
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
हो जाएँगे
हम दीवाने
हो जाएँगे
हम दीवाने
लुट जाएँगे
ख्वाब सुहाने
लुट जाएँगे
ख्वाब सुहाने
ओ ज़ालिम तरसाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
परदेसी के दिल की दुआ ले
परदेसी के दिल की दुआ ले
खुद रुक जा या
हमको बुला ले
खुद रुक जा या
हमको बुला ले
घायल छोड़ के जाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
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