Archive for the ‘Rafi solo’ 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 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 : | 3679 | Post No. : | 14573 |
Hullo Atuldom
I think I should get over this habit of waking up late to dates. I remembered that today (14 august 2018) was Johnny Lever’s birthday and later, yesterday, around seven in the evening I remembered that 14th august is also Shammi Kapoor’s anniversary. He passed away this date in 2011. Its been seven years.
Shammi Kapoor the man with “Neeli aankhen” (bade hai dil ke kale haan yehi neeli si aankhon waale) were his eyes actually blue or were they light? The gora-chitta-banka naujawan. The dancer who, I am sure, made a number of choreographers cry by doing his own stuff to the rhythm of the songs and had audiences lapping it up. And IMHO Helen was one dancer who managed to follow the choreographer when Shammi did his own stuff on his cue during dance numbers – the last part of “ai ai ya karoon main kya suku suku”is the best example for this. He would have continued in this manner but for the death of his beloved wife Geeta Bali, post which he lost interest for a few years, and then when he returned to the screen he began looking older than his age. He played Vinod Khanna’s older brother in 1971 in “Preetam” and father two years later in “Zameer”. Leena Chandavarkar, his heroine in Preetam, looks very tiny in front of him.
His movies all had memorable songs, mostly sung by Mohd. Rafi in the 60s and later in the 70s & 80s Kishore Kumar sang a few songs filmed on Shammi. There is video on YouTube wherein Shammi talks of his friendship with Kishore Kumar which possibly began at the time of “Mem Sahib” (1956/57) but (in Shammi’s words) he got a chance to lip-sync to Kishore only in the late 70s and 80s. when I heard Shammi mention “Mem Sahib” I decided to see it on YouTube. First thing that struck me was all the actors played characters that we later generation audiences are not familiar with. Meena Kumari played a mod-girl, Shammi Kapoor a negative character and Kishore Kumar a brahmachari who is confused about the ways of the world.
Yesterday when I realised the significance of 14th august with regard to Shammi Kapoor I had a chat with our Atulji to find out if there were any Shammi song left, are we at the bottom of the barrel? He gave me a list of post 1970 movies and also mentioned “Preetam”. I remember having seen this movie made by Bhappi Sonie in the times when doordarshan was the sole source of entertainment. I remember Leena Chandavarkar was paired opposite Shammi and Helen was for Vinod Khanna. I remembered the songs were also decently good.
Today’s song is a typical Shammi Kapoor song in the sense it is sung by Mohd. Rafi with music by Shankar Jaikishan. Only odd man out here is the lyricist -Rajinder Krishan.
Remembering Shammi Kapoor with this song from 1971.
Song-Sher se ladne aayi dekho shahar ki ik billi (Preetam)(1971) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Chorus
Lyrics
sher se ladne aayi dekho
shahar ki ik billi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
maasha allaah
aankhen dekho
masha allah aankhen dekho
bilkul makdi jaisi hain
allah allaah
taangen dekho
allaah allaah taangen dekho
sookhi lakdi jaisi hai
daal ke choohe daani mein
daal ke choohe daani mein
phenk aate hain paani mein
nahin nahin
dilli thheek rahegi
sher se ladne aayi dekho shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
doodh malaai
chori ka ye
doodh malaai chori ka ye
kha kha ke gurraati hai
kad hai poore dedh haath ka
kad hai poore dedh haath ka
meri kamar tak aati hai
bilti iski karwaa den
bilti iski karwaa den
baans bareilli pahuncha den
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ek billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
yeah
dilli thheek rahegi
sher se ladne aayi dekho
aahaa
naazuk naazuk bhoore bhoore
naazuk naazuk poore bhoore
tan par haath phiraayenge
gale mein iske baandh ke ghanti
gale mein iske baandh ke ghanti
isko dance karaayenge
sabko naach dikhaayegi
sabko naach dikhaayegi
paise chaar kamaayegi
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
Bishan chaacha kuchh gaao
Posted on: July 31, 2018
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 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 : | 3665 | Post No. : | 14537 |
“Yaarana” was a movie that was released in 1981. It was produced by H A Nadiadwala and directed by Rakesh Kumar. It had Amitabh Bachchan and Amjad Khan playing friends whose friendship was rooted in childhood. The story showed the love and affection between the two who were from different financial backgrounds. They would go to any extent to make each other’s lives comfortable.
Todays’ song comes at a point where the rich friend Bishan (Amjad) has just discovered that he has been swindled by his uncle (mama) Jeevan and he has had to mortgage his favourite cruise liner “Kishan” so that he can put up his friend’s debut stage show. And further to make ends-meet he has begun working on the liner as a captain.
The song is when a group of school kids under the guidance of Farida Jalal request him for a song. As the song progresses the mama and his son (Jeevan and Ranjeet) slowly take over the running of the liner and at the end of the song take the children as hostage too and demand a ransom from the parents of the kids. This and other tortures that Jeevan and Ranjeet subject him to causes Bishan to lose his mental balance. Then the movie proceeds towards the climax where Kishan (Amitabh Bachchan) comes to rescue Bishan and all the kids.
The movie released was about a year or so after Mohd. Rafi’s death in 1980 (release date October 23rd. 1981). It had music by Rajesh Roshan and lyrics by Anjaan. Amidst all the popular songs that were sung by Kishore Kumar for Amitabh was this song which was Rafi for Amjad Khan. Isn’t that a rarity?
It is not a coincidence that I chose a song featuring Amjad Khan- it was his 26th death anniversary three days back. An actor who sent shivers down our spine as Gabbar Singh but also did a lot of positive characters. He was an all-rounder- in a career spanning 19 years he made us experience the full range of emotions. He went very early.
Thinking of the smooth voiced singer Mohd. Rafi on his 38th death anniversary. Thinking of all the gems he has left behind for us, gems that we are still discovering.
“dil ka soona saaz taraana dhoondega
Teer-e-nigaah-e-naaz nishaana dhoondega
Mujhko mere baad zamaana dhoondega”
This song was posted by Atulji on this date exactly 10 years ago. It is true about both Rafisaab and Amjad Khan. We are still missing them and will always remember them fondly.
Song-Bishan chaacha kuchh gaao (Yaaraana)(1981) Singer-Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus
Lyrics
Bishan chacha kuchh gaao
are re re
aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chacha
yeh umar nayi
dagar naya
safar hai pyaare
door
abhi hai door
kahin jaane kahaan kinaare
ye umar nayi
dagar naya
safar hai pyaare
door
abhi hai door
kahin jaane kahaan kinaare
tu ruk nahin jaana
tu dar nahin jaana
tu thak nahin jaana mere pyaare
Bishan chaacha
kuchh gaao
are re re aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chaacha
zindagi jo hai mili hansi khushi guzaaro
tum jiyo to yoon
jiyo ke saara jahaan sanwaaro
zindagi jo hai mili hansi khushi guzaaro
tum jiyo to yoon
jiyo ke saara jahaan sanwaaro
pyaar lutaayen
auron ke kaam aayen
yahi to zindagi hai mere pyaare
Bishan chaacha
kuchh gaao
are re re aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chaacha
Ye sitaare hain motiye ke phool
Posted on: July 31, 2018
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 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 : | 3665 | Post No. : | 14536 |
do hi lafzon ka thha ye afsaana
jo sunaa kar khaamosh ho baitthaa aa
And thus he sang in 1949, with no conception that his voice and words are going to resonate around the globe into the 21st century or the next millennia. If he had known how famous and well known one day he was destined to be, I wonder how much more conscious and eager to reach the heights a performer of his class would have been. Or if he could have excelled himself in what way. As it is, he was in a class of his own. The thing about this whole saga called Mohammed Rafi ‘s songs, is that there is/was simply no competition.
Here was me, literally stumbling in front of the street where he lived the last part of his life. It happened this saturday, I was visiting a fashion house on Turner Road, Bandra(W), and right there on the intersection there was this blue coloured sign board indicating the direction of Mohammed Rafi Marg.
Normally western suburbs are not my choice of places to visit. Having lived all my life in Mumbai, I have also had my fair share of queries like ” Have you seen Shah Rukh Khan’s house ?” or some such things mainly from those who have never visited Mumbai. Long ago some Bollywood savvy driver had driven us around the Bandra area showing us the Bunglows and houses of Dilip Kumar, Meena Kumari etc. with some visiting relatives while we all were on a sight seeing trip.
This time I was with my sister, mother and cousins doing some sort of research in current trends and fashions. Others call this same activity as window shopping 🙂 . I was gobsmacked to unexpectedly find that I can see Rafi Mansion. I told the elderly chacha from who driving the car, who is actually a Kishore and Rajesh Khanna fan, to just go and see if he can find Rafi Sahab’s home in the street, by the time we could finish the job in hand. Afterwards I asked chacha if he found the house. He replied that he couldnt find it. Having seen the road sign I was not about to give up. I said “Chalo dekhte hain kasie nahin milta” .
I knew this has to be a small street and Rafi Mansion shouldnt be so difficult to find. And Lo and Behold, there it was the gate marked “Rafi Mansion” on one side and “Bait-ur-Rafi” on the other side. The whole area, I realised must have changed over the decades. Of course the house that Rafi Sahab lived is no longer there and in its place is a building containing flats. A passerby told us, that Rafi Sahab’s daughter stays in the building but currently she is abroad.
Fortunately, I wasnt too overwhelmed and remembered that I can take photos of the place as a memory of the moment. I did take the photos of the gate and the Memorial Plaque marking the street “Padmashree Mohammed Rafi Marg”.
I have photographs to prove it, that I did visit the place and not making this story up just to write something in this post 🙂 🙂 . Photos are attached to accompany the post. Someone sure is taking care of both the plaque’s (On both corners of the road) and the gate with its silver paint and glaze.
As we came away from there, we all were discussing inane things. I could’nt even ponder over what all info I have imbibed in all these years about Rafi Sahab’s house. I only realised today that, this was a momentous occassion and could be recorded here on this blog honouring the great nourishing and enriching value addition i.e. Rafi Sahab’s legacy, is to Hindi film music.
The moment here is the 38th death anniversary, to be commemorated. A beautiful solo song that I found on youtube some months ago, with two versions, is worthy of the event. Its so touchingly rendered in the typical Rafi tones of the 40’s, that I longed to do this post. When I saw a post of a song from Shohrat (1949) a while back, I thought this song also will be posted soon. But than luckily it has been left alone, may be due to the fact that it deos not appear in the Geet Kosh.
Whether this song was recorded for the film “Shohrat”(1949) or otherwise, the fact remains that this is a authentic Rafi rendition. Both the versions have the word”Tanvir” featuring in a sher, as a poets takhallus maybe. As per the information given with the link on youtube, it is from Shohrat(1949) composed by Aziz Hindi. The poet, as per the uploader is Tanvir Naqvi.
Part-1
Part II
Song-Ye sitaare hain motiye ke phool (Shohrat)(1949) Singer-Rafi, Lyrics-Tanveer Naqvi, MD-Aziz Hindi
Lyrics
————————————–
PART – I
———————————–
ye sitaare hain
motiye ke phoo ool
kis ki maala toot gayi ee ee ee
chaand teeka hai
kis ke maathhe ka
raat kis ka suhaag loot gayee
shaamil-e-bazm hain kayee ehbaab
ye na samjho koyi akelaa hai ae ae
lab pe naatik hai muskuraahat kaa
aankh mein aansuon ka melaa hai
wo jo bikhri hai
tere honthon par rr rr rr
surkhiyaan hain mere
fasaane ki ee
teri aankhen haseen raaten hain
mere guzre huye zamaane ki ee
jis ko tum hi salaab(?) kehte ho
ik warq hai mere fasaane kaa aa aa
main to khud hi badal gayaa tanveer
rang badla nahin zamaane ka
—————————————
PART – II
—————————————-
tera paighaam le ke seene mein ae ae ae
koyi ruswaa huaa sar-e-bazaar
koi vastu mein ban gayaa gautam
koi gukul mein saanwala avtaar
aag mein ? ? nahi hote ae
sholay utthhte nahin hain paani se ae
raakh mein phool khil nahin sakte
kuchh na paaoge iss jawaani se
kis ne bargad ki chhaaon mein tanveer eer
door se bansuri bajaayi hai ea
aag si lag rahi hai seene mein
saanwle krishn ki duhaayi hai
do hi lafzon ka thha ye afsaana aa
jo sunaa kar khaamosh ho baitthaa aa aa
ibtedaa ye ke tum ko paayaa thha
intehaa ye ke khud ko kho baitthaa
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lyrics contributed by readers | Movie ending song | Post by Raja | Rafi solo | Rafi songs | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Sentimental song | Songs of 1970s (1971 to 1980) | Songs of 1979 | Yearwise breakup of songs
- 4 Comments
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.
| Blog Day : | 3665 | Post No. : | 14535 |
Here is that day again.
Yes, it is the 31st of July (2018) today – which for HFM lovers, wherever they are in the world, signifies just one thing.
The death anniversary of Mohammad Rafi – respectfully referred to as Rafisaab, by one and all.
I am sure there will be events around the country to solemnly mark the occasion. Why just in the country, probably even across the world, considering how distributed India’s diaspora around the world is.
Millions of people will be remembering today as Rafisaab’s Remembrance Day – a term we also often use on this blog.
Truth is, at least for me (and I’m sure it’s true for many), every single day of the year is Rafisaab’s Remembrance Day. For there isn’t a single day in the year that I do not remember Rafisaab in some way or the other. It is usually in the form of a song I’m listening to – or sometimes singing (thankfully only to myself). 🙂
Of course, the 31st of July adds a huge extra layer of remembrance because it brings with it a sense of loss. Although it is 38 years now, this sense of loss remains. And for me, it will remain all my life.
As I sit to write this post, I’m not sure what I should write about Rafisaab that I haven’t already written here.
The thing is, I’ve written a lot about Rafisaab here. My posts here might be relatively infrequent now but I make it a point to always write a post on Rafisaab’s birth and death anniversaries. These are two dates I never miss. It is just my very small way of paying tribute to Rafisaab, and thanking him for enriching my life in a way, and to an extent, that I just cannot describe.
And I’d like to think, he is up there, smiling as always, reading these tributes.
There isn’t much I can think of writing now that I haven’t already written before. And although I don’t mind repeating myself, I don’t want to bore the readers. Having said that, I never tire of repeatedly watching the same tributes to Rafisaab on youtube. I’ve listened to Jeetendra’s story of Deedaar-e-Yaar multiple times, SP Balasubramaniam’s story about “deewaana hua baadal” multiple times. 🙂 And each time, it feels good to listen to it.
But that’s different from my repeating stories, that too in text, not video. Besides, they speak about their personal experiences involving interaction with Rafisaab – mine are just my personal thoughts.
So I will refrain from repeating myself.
One thing I will say – I’ve often felt lucky that Rafisaab’s era was before mine. Imagine somebody living in the 1920s/30s and passing away before 1947. He or she would never have had the opportunity of listening to Rafisaab. Of course there were greats even then – like Saigal saab and Pankaj Mallick, but we now have the good fortune of being able to listen to them AND to Rafisaab, Talat Mahmood, Lataji and others.
Future generations will have even more music available to them, in addition to what is available today.
That’s the greatness of a legacy. Every individual has to die sometime – nobody can do anything about that. Yes, one can delay the inevitable – but it is still inevitable. No one has yet invented the elixir of immortality – and that might not be such a bad thing.
Coming to Rafisaab, I’ve spent hours and hours listening to him. I’ve spent all night listening to his songs. It starts with one song, then I think “ok, one more”, then “one more” and so it goes on. On youtube, you keep getting prompted anyway – so it’s just one click after another. You start with “chaudvin ka chand ho”, then, as if on cue, you’re prompted “abhi na jao chhod kar”, which then takes you to “deewana hua baadal”, which takes you to “pukaarta chala hoon main” and so on. You know the drill – you’re hooked. This has happened to me many times.
Not that I’m complaining. It has always been a thoroughly enjoyable experience. I often don’t even watch the video – I just close my eyes and let Rafisaab’s voice take over. And suddenly everything seems to either fall in place, or become inconsequential. For that period at least. When SPB says that at the end of a long day in the recording studios he would come home and listen to Rafisaab to relax, I think I can understand where he’s coming from. Rafisaab’s voice can be extremely relaxing, if you listen to the right songs. I don’t know how often I’ve listened to “ab kya misaal doon” (Aarti-1962) or “maine shaayad tumhe pehle bhi kahin dekha hai” (Barsaat Ki Raat – 1960). And think of songs like “husnwaale tera jawaab nahin” (Gharana–1961) or “ek haseen shaam ko” (Dulhan Ek Raat Ki – 1967) or “mujhe dekh kar aapka muskuraana” (Ek Musafir Ek Haseena – 1962). And if you’re looking for duets, how about “theheriye hosh mein aa loon” with Suman Kalyanpur (Mohabbat Isko Kehte Hain – 1965) or “dil pukaare” with Lata (Jewel Thief – 1967) or “phir miloge kabhi is baat ka vaada kar lo” with Asha (Ye Raat Phir Na Aayegi – 1966). And of course, one of my all-time favourites – which is why I keep coming back to it – “abhi na jao chhod kar” with Asha (Hum Dono – 1961). 🙂
And so many more. I just realized that all the songs I’ve mentioned above, which came randomly to my mind, are all 1960s songs – but this is purely a coincidence. One can find a treasure of songs from the 1950s or even 1970s. Yes, even the 1970s, when Rafisaab was supposed to be going through a lean patch for the first half of the decade. The half in which he still gave us songs like “tum jo mil gaye ho” (Hanste Zakhm – 1973) and “aaj mausam bada beimaan hai” (Loafer – 1973). And my favourite Rafisaab duet song of the 1970s – “teri bindiya re” (Abhimaan – 1973) with Lata, which I have listened to a zillion times, and can never have enough of.
Rafisaab sang practically every genre, from qawwali and devotional songs to rock-n-roll and romantic songs, adjusting his singing style and voice for every actor, depending on the needs of the situation. He was always conscious that he was the playback voice – and that the actor on screen was bringing that song to the audience in “his” (the actor’s) voice. This elevated not just the song, but often even the film, for the viewers, because very often the songs of the film carried the film. 🙂
And, to add to all this, as if his divine voice wasn’t enough, he was also one of the most gentle souls the industry has ever seen. In an industry where ego clashes and tempers were not uncommon, he was ever-smiling, ever accommodating of others, never throwing his weight around – which he could very easily have done. He had a very big heart, ever generous and helpful to those in need. And he did a lot of it without publicity. It was only after he died, that a number of his charitable actions came to light.
So SUCH is the person Rafisaab was. Will we ever see another like him in the industry? Hard enough to imagine another singer like him – add to that his nature, and I think it’s safe to rule out the chance of another Rafisaab. No, Rafisaab was one of a very special kind – like SPB says, we were just very lucky he came in our midst before he was called back.
Indeed, he was 100% right when he sang “mujh ko mere baad zamaana dhoondhega”.
I will now move on to today’s song.
As it is the 31st of July, I have selected a song, sung by Rafisaab of course, about the inevitability of passing away. It is a very short song from the film Amardeep (1979) – but it suits the occasion perfectly. Lyrics have been provided to me, as usual, by Avinashji.
The song’s lyrics, written by Anand Bakshi, talk about how death is inevitable. And yet how sudden and shocking an unexpected death can be. “Tum aise gaye, aise bhi jaata nahin koi”. Everyone knows how sudden Rafisaab’s death was. That was just no way to go. Everyone was in shock – and he was just 55.
The song also refers to having a smile on one’s face even while dead. “Kyon mar ke bhi honthon pe hansi khel rahi hai”- this could also be said of Rafisaab. He was ever-smiling, reportedly even in death.
This song brought a lump to my throat.
Also, listening to his voice only further made me realize how wonderful his voice was even just a year before he passed away. It left me with a loss of what might have been. I felt he had so much more singing in him.
Anyway, one cannot control these things. One can only be thankful for what one has got. And we have got a LOT from Rafisaab. A price can never be put on his legacy – it is just priceless. He will be in our hearts for ever, and remembered for ever.
Rafisaab is truly “amar” in this sense – and lighting amardeep in all our hearts.
Thank you, Rafisaab.
Thank you for everything.
bahut shukriya, badi meherbaani,
hum sab ki zindagi mein huzoor aap aaye
Audio
Video
Song-Duniya mein sada rehne ko aata nahin koi (Amardeep)(1979) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
Duniya mein sadaa rehne ko
Aata nahin koyi
Tum jaise gaye aise bhi
Jaata nahin koyi
Kyun mar ke bhi honthhon pe hansi
Khel rahi hai ae
Sab jaante hain aur
Bataata nahin koyi ee
Dil pehle hi dartaa thaa
Ke jal jaayega daaman
Daaman se amardeep
Bujhaataa nahin koyi
Bujhaataa nahin koyi ee
Bujhaataa nahin koyi
—————————————–
(Devnagri Script lyrics) Provided by Avinash Scrapwala)
—————————————–
दुनिया में सदा रहने को
आता नहीं कोई
तुम जैसे गए ऐसे भी
जाता आ नहीं कोई
क्यूँ मर के भी होंठों पे हंसी
खेल रही है ए
सब जानते हैं और
बताता नहीं कोई ई
दिल पहले ही डरता था
के जल जाएगा दामन
दामन से अमरदीप
बुझाता नहीं कोई
बुझाता नहीं कोई ई
बुझाता नहीं कोई
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 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 : | 3657 | Post No. : | 14520 |
Hullo Atulites
“Sadhu Aur Shaitaan” (1968) was directed by A. Bhimsingh and starred Mehmood, Om Prakash and Pran in important roles. It also had south star Bharathi, Kishore Kumar and Nasir Hussain in the cast.
Om Prakash played an honest bank employee where Nasir Hussain is the manager. Pran played Sher Khan alias Dilawar Khan a dacoit who seeks out his old friend Om Prakash and cheats him into accepting him into his household. His main intention is to rob the bank where Om Prakash is employed for which he manages to make duplicate locker keys and also achieves his goal. Nasir Hussain suspects Om Prakash and calls the police.
The rest of the movie goes in showing how Om Prakash proves his innocence with Mehmood and Bharathi’s help. In the course of this Pran is killed and the body is dumped under the back seat of Mehmood’s taxi. A considerable length of the movie is taken up in showing how the various passengers who hire the cab react when they see the body under the seat. And the list of passengers contains names of the who’s who of the film industry of that time- Sunil Dutt, Ashok Kumar, Dilip Kumar, Mumtaz, Lalitha Pawar, Jeewan, Nirupa Roy, Tun Tun, Mukri, etc. etc.
Today(23 july 2018) on the occasion of the death anniversary of Mehmood let us have a song from this movie which shows him in his elements. He replays his “hum kale hain toh kya hua” character with Bharathi as the person he is trying to woo. It is sung by Mehmood and Mohd Rafi. Rajinder Krishan is the lyricist and the Shankar Jaikishan like music is by Laxmikant Pyarelal.
Song-Mehbooba mehbooba bana leo mijhe dulha (Saadhu Aur Shaitaan)(1968) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Mehmood
Lyrics
??
ari kidhar hai ri tu
mere dil ki raani
mere nawaason ki naani
aa gaya hoon main
arre dekh le main aa gaya
permisson le ko
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chaar meenar chhoda
bech ko taanga ghoda
aaya main dauda dauda
kha bhi leo raham thoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
dhatt tere gesoo
uff teri aankhiyaan
haaye teri baataan
pi jaaun ghol ko
uff teri masti
uff tera jalwa
mar ga mar ga main
bika bin mol ko
bika bina mol ko
abke jo munh ko moda
abke jo dil ko toda
amma ki khasam khaa ko
kha loonga zahar thhoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
o mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
aa haa
kya achchi lag rahi tumen
jo ooper kaun sa dance master aa gaya
kis’se seek liya tumen
daantaan kya dikha rayin
arre nazdeek aao jee
nakhre kar rayin
thapak loonga
na tumain aatain
na hamko bulaatain
aji ji ko jalatain
thapak loonga dekh na
aisa kyun kartayin
zulm kyun dhaatayin
kya nakhre dikhaatayin
thapak loonga dekhna
thapak loonga dekhna
kaaike ye latka
kaaike ye jhatka
kaaike ye matka
kar leo dil chauda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chaar meenar chhoda
bech ko taanga ghoda
aaya main dauda dauda
kha bhi leo raham thhoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chulha jala do jee
aji ghaaslet daal ko phoonk daalo na
nichhe se maachis ki kaandi laaun kya
apne haath se khaana bana ko mujhe khilaao na
arre meri raani
arre ??
kahaan jaa ri tu
arri ??
arri ??
arri waapas aa
arri palat
palat
palat
palat
palat
palat
palat
palat
palat
palat
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 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 : | 3654 | Post No. : | 14511 |
ruke nahin koi yahaan naami ho ki anaam
koi jaaye subah ko koi jaaye shaam
— Gopal Das Saxena ‘Neeraj’
With the passing away of Gopal Das Saxena ‘Neeraj’ in the evening of July 19, 2018, the country has lost the last doyen of the progressive school of Hindi poetry. And with this, we have lost another ‘Sahir Ludhianvi’ of Hindi film songs. His association with Hindi film industry especially during 1970-75 had taken the Hindi film music to a new height. I would say that Neeraj has elongated the golden period of Hindi film music.
At a time when Hindi poetry were majorly influenced by ‘Chhaayawadi’ (Romanticism) poets like Jaishankar Prasad, Sumitranandan Pant, Suryakant Tripathi ‘Niraala’ and Mahadevi Verma, it was first Harivansh Rai Bachchan followed by Neeraj who departed from the genre of Chhaayawad poetry and started writing in a language understandable to the common man encompassing all the facades of human life. Neeraj was always a people’s poet.
I first became aware of Neeraj as a poet when I was in 9th standard. Our Hindi teacher spoke about him in the context of one of his poems in our syllabus. I do not remember now as to which was the poem. But I distinctly remember to have heard our teacher saying that he was one of the emerging Hindi poets of post-chhaayawad period. After having moulded with the poems of chaayawadi poets during our early high school days, I personally found Neeraj’s poems at that time a bit ordinary as compared with poems of chhaayawadi poets.
In my early college days (first year and intermediate), I came to know more about Neeraj thanks to our Hindi lecturer who was an admirer of his poems. Although I had heard on radio the popular songs from ‘Nai Umar Ki Nai Fasal’ (1965), it was from our Hindi lecturer I came to know that these popular songs were written by none other than Neeraj. At that time, I was not deep into the lyrics of the Hindi film songs. My reaction to this news was one of the surprises – how a Hindi poet could downgrade himself as a lyricist!
It took me another 5 years to appreciate the work of Neeraj as a lyricist by which time I was majorly engrossed in Hindi film music. His popular songs like kaarwaan guzar gaya gubaar dekhte rahe, dekhti hi raho aaj darpan na tum, wo ham na thhe wo tum na thhe made me to go through the lyrics afresh. All these songs looked more poetic than the lyrics which we were used to listen. Yet they were simple to understand.
By now, I had become an ardent admirer of Neeraj. There was a time in the early 70s, when I used to watch films which had Neeraj as lyricist.I recall a few films like ‘Prem Pujari’ (1970), ‘Pehchaan’ (1970), ‘Sharmilee’ (1971), ‘Gambler’ (1971), ‘Tere Mere Sapne’ (1971) etc which I saw in the theatres. I realised that here was a poet who used imageries and metaphors in a novel way to add freshness to the songs. Examples: Shokhiyon mein gholaa jaye phoolon ka shabaab, phoolon ke rang se dil ki kalam se, bas yahi apraadh main har baar karta hoon, khilte hain gul yahaan khil ke bikharne ko, megha chhaaye aadhi raat, jeewan ki bagiya mahkegi, dil aaj shaayar hai gham aaj naghma hai.
After my retirement in 2006, I started reading Neeraj’s non-filmy poetic works and appreciating his poetry. He was really a people’s poet. I can now say that just as popularity of ‘Madhushala’ written by Harivash Rai Bachchan had put his other higher literary works in the background, the popularity of ‘kharwaan guzar gaya gubaar dekhte rahen’ and other hindi film songs of Neeraj have relegated into background. With his more than 5 decades of poetic work, the article would become too long. So I will confine myself mostly to Neeraj’s filmy career in this article.
Gopaldas Neeraj was born on January 4, 1925 in the Purwali village of Etawah district of Uttar Pradesh. At the age of 6, his father passed away. He was sent to his aunt’s house in Etawah for schooling. However, due to the precarious financial condition, Neeraj had to discontinue his studies after 10th standard did some odd jobs at Etawah and later in Delhi in the 1940s to earn for the family. While working, he completed his graduation and in 1953, he passed MA in Hindi literature with first class. He was associated with Dharma Samaj College, Aligarh as Lecturer and retired as a Professor of Hindi literature from the same college.
Neeraj’s inspiration for writing Hindi poems came from a collection of poems titled ‘Nisha Nimantran’ (Invitation to Night) written by Harivansh Rai Bachchan which he had read when he was in 9th class. Thereafter, he started writing poems and attended Kavi Sammelan in which among others, Harivansh Rai Bachchan was the main attractions. By 1960, Neeraj had become one of the most sought after poets for Kavi Sammelan held all over India.
Sometime in 1960, Neeraj visited Bombay (Mumbai) to recite his poems in a Kavi Sammelan. Music director Roshan was one of those from the film industry who was impressed by his poems. Roshan offered him to write lyrics for the film ‘Nai Umar Ki Nai Fasal’ (1965) which Neeraj politely declined stating that he could not leave his job. He however suggested to Roshan that if found suitable, he could select a few of his published poems for the films. So, most of the songs from the film was based on Neeraj’s published poems.
Chandrashekhar, who was producing and directing his maiden film ‘Cha Cha Cha’ (1964) wanted Neeraj to write lyrics for the film. Neeraj obliged him by writing two songs for the film – ‘wo hum na thhe wo tum na thhe’ and ‘subha na aayi shaam na aayi’ which became very popular. He also wrote songs for films like ‘Sati Naari’ (1965), ‘Tu Hi Meri Zindagi’ (1965), Majli Didi’ (1967), Kanyadaan’ (1968) etc. But uptil now, Neeraj had done the song writing as a part time work without leaving his full time job as Lecturer in Dharma Samaj College, Aligarh.
Sometime in early 1960s, Dev Anand had met Neeraj at a mushiara in Mumbai. At that time, Dev Anand had told him that he liked the language in his poems and hope to work with him some day.
One day, Neeraj saw an advertisement of the announcement of the film ‘Prem Pujari’ (1971) in which he saw the name of Dev Anand as director and S D Burman as music director. However, there was no name of song writer. So Neeraj wrote to Dev Anand recalling his conversation at the mushiara in Mumbai and offered to write songs for the film. Within a week, Neeraj got a hand written reply from Dev Anand requesting him to come to Mumbai and meet S D Burman, the music director. In an interview which appeared in May 21, 2015 issue of ‘The Hindu’, Neeraj revealed:
He put me in luxurious hotel in Santa Cruz and paid me Rs.1000 even before signing me. Next day, he took me to S.D. Burman, who showed apprehensions about a poet’s ability to write to tunes and a given situation. Dev Anand said that he should not worry. He should give the tune and if Neeraj failed, he would remain his guest for six days and enjoy Bombay. Burman Da gave me a tune and said the song should start with ‘Rangeela Re’ and it is about a girl who sees her beloved coming to a party with another girl. It should have elements of frustration in love, jealousy and satire. I worked the whole night and came up with ‘rangeela re tere rang mein youn ranga hai mera mann’.
Next day, he went to Dev Anand’s office and showed what he had written. After reading it, he embraced Neeraj and exclaimed how he could do it in one night. He immediately took me to Burman Da’s home and proudly presented me to him and said: See, I told you, Neeraj has done it. When Burman Da listened to it, he said ‘Dev you go now. We will sit together. After Dev Anand left, Burman Da admitted that he gave me this complex situation to make me give up. After that, we three began to bond. …… I wrote my best songs for him and the biggest royalty I get is from the songs that I wrote for Dev Anand, adding that he never signed a contract with him.
After the success of his songs in ‘Prem Pujaari’ (1970), Neeraj left his job at Dharma Samaj College, Aligarh and shifted his base to Mumbai to become a full time lyricist in Mumbai film industry. The success of his songs in films like ‘Pehchan’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), ‘Gambler’ (1971) etc gave further boost to his career.
During his active career (1970-75) in Hindi film industry, Neeraj mainly worked with S D Burman and Shankar-Jaikishan with whom he had developed good rapport. With the death of Jai Kishan in 1971 and S D Burman in 1975 Neeraj, on record, considered himself as an unlucky poet in Hindi film industry. Sometime after the death of S D Burman, Neeraj bid adieu to Hindi film industry and rejoined as Professor of Hindi literature in Dharma Samaj College, Aligarh. My own gut feeling says that being a sensitive poet, Neeraj may have felt uncomfortable to work with new music directors with whom he might have creative differences.
Neeraj did occasionally write lyrics for some films by sitting at Aligarh in post-1975 period. The last film for which he wrote songs was ‘Chargesheet’ (2011) which happened to be the last film produced and directed by Dev Anand.
As our homage to Neeraj, I have selected a lesser known song from the film ‘Nai Umar Ki Nai Fasal’ (1965) which seems to have become a ‘back-bencher’by his other popular songs from the film. The song is ‘isko bhi apnaata chal’ sung by Mohmmed Rafi and composed by Roshan. The scene in the film is that of Kavi Sammelan where poets are reciting their poems. But the hero Rajeev recites his poem by singing.
The song is of nearly 6 minutes’ duration in the audio clip. However, in the film, it is reduced to about 3 minutes duration by skipping two antaras of the song.
Video Clip:
Audio Clip:
Song-Isko bhi apnaata chal usko bhi apnaata chal(Nai Umar Ki Nai Fasal)(1965) Singer-Rafi, Lyrics-Neeraj, MD-Roshan
Lyrics(Based on audio)
hmm hmm hmm
hmm hmm
isko bhi apnaata chal
usko bhi apnaata chal
raahi hain sab ek dagar ke
sab par pyaar lutaata chal
isko bhi apnaata chal
idhar kafan tak nahin laash par
udhar numaayish resham ki
yahaan swayamvar kare chaandni
wahaan na raat kate gham ki
dharti kankad patthar maare
ambar ugle angaare
koi poochhe baat na is bagiya mein dukhiyaa shabnam ki
sukh ki umr badhaata chal
dukh ko kafan odhaata chal
miley jahaan bhi mahal usey
kutiya ke paas bulaata chal
isko bhi apnaata chal
bikaa biki sab oar machi hai
aane au do aanon par
asmat bikey doraahon par to
pyaar bikey dukaanon par
dagar dagar par mandir masjid
qadam qadam par gurudwaare
bhagwaanon ki basti mein hai
zulm bahut insaanon par
khidki har khulwaata chal
saankal har katwaata chal
is par bhi raushni na ho to
dil kaa diyaa jalaata chal
isko bhi apnaata chal
usko bhi apnaata chal
raahi hain sab ek dagar ke
sab par pyaar lutaata chal
isko bhi apnaata chal
hriday hriday ke beech khaaiyaan
lahu bichhaa maidaanon mein
ghoom rahe hain yuddh sadak par
shaanti chhipi shamshaanon mein
zanjeeren kat gayin magar
aazaad nahin insaan abhi
duniya bhar ki khushi qaid hai
chaandi jade makaanon mein
tat tat raas rachaataa chal
panghat panghat gaataa chal
pyaasaa hai har praan nayan kaa
gangaa-jal chhalkaata chal
isko bhi apnaata chal
nayan nayan tarsen sapnon ko
aanchal tarsen phoolon ko
aangan tarsen tyohaaron ko
galiyaan tarsen jhoolon ko
kisi honth par baje na bansi
kisi haath mein been nahin
umar samadar ki de daali
kis ne chand baboolon ko
soyi kiran jagaata chal
roothi subahen manaata chal
pyaar naqaabon mein na band ho
har ghoonghat khulwaata chal
isko bhi apnaata chal
usko bhi apnaata chal
Aaj is nagri kal us nagri
Posted on: July 20, 2018
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 : | 3654 | Post No. : | 14510 |
ASAD 10th Anniversary Celebrations – 16
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Discussion of Railway related matters-1
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There are songs that bring back memories. Then there are songs that trigger emotions. The song under discussion is one such song. This song causes so many different kinds of emotions that one hopes that these emotions would occur in slow motion so that one could understand them. Unfortunately such ultra slow motion technology has not yet been invented and so one needs to deal with them in the usual old fashioned way- viz. by taking a breather, collecting oneself and then trying to understand and analyse the things that run through one’s mind when one listens to this song.
So many different kinds of emotional stuff have been packaged in the three stanzas of this song that one is amazed at the ability of the lyricist to express such complex feelings in so few words.
This song was created in 1957, more that sixty years ago. The country was devoid of any development after systematic loot of her resources by the foreign rulers. People were moving to various places all over India in search of new abodes (for people uprooted as a result of partition) as well as employment (lots of new establishments were coming up, many in remote locations). Train was the only option to reach to far off places.
Going away from one’s native place often meant leaving one’s near and dear one’s behind. In other words, hopes and aspirations of a better future were tempered by the feelings of separation and missing the beloved. Those who are left behind by the train traveller would have no way of knowing the whereabout of the train traveller and vice versa.
hey kaisa ghazab ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
hoy dhuyen ki gaadi udaaye liye jaaye
bairan gaadi udti jaaye
man ko chain na aaye
saajan ke man ko chain na aaye
hai apne piyaa se door sajaniyaa
chham chham neer bahaaye
sajaniya chham chham neer bahaaye
arre ho o o o
nainan ka kajra
haathan ka gazraa
sab kuchh ye bairan churaaye liye jaaye
ho
sab kuchh ye bairan churaaye liye jaaye
A train contained hundreds of passengers. Each one of them was going somewhere and each one of them had some urgent business to attend to. Just imagine, hundreds of people, all strangers travelling together for different destinations in the same train. Staying together for a few hours and sometimes longer, people from different backgrounds would get introduced to each other and they would strike friendship. They would soon start discussing issues of common interest with each other.
Trains, by carrying people to far off places from their original places of residence, would not just relocate them geographically, it would also help in the development of the nation by bringing in skilled personnel to less developed places. These people, migrants to new places far off from their original places would need to undergo enormous changes in their earlier habits and attitudes in order to get used to their new environments. It would involve, among other things, learning an entirely new language, which, after initial struggle, would be achieved by people with aplomb. That is how erstwhile small towns in India have grown to become larger and more prosperous cities, by attracting skilled people from various other places.
Interaction with people coming from different backgrounds and geographical locations enabled cross pollination of ideas, viz food habits, dressing habits, attitudes etc. When I went to Madras in 1989, I was pleasantly surprised to find Lassi(an out and out Punjabi drink) being sold in Madras Railway station by a native shop owner and doing a roaring business among the local customers in that hot weather.
People travelled in trains not just for their careers. People travelled on it to meet their relatives located in far off areas. Children boarding a train with their parents to meet their grandparents would be a great occasion for the children as well as the grandparents. Also think of those who received telegrams (telegrams were dreaded, as they often meant some bad news like someone passing away) and as a result had to urgently rush back to their native places, without any time for prepatations including booking their tickets, which was a tough proposition in pre internet days.
Like most people in India, I too have been exposed to Indian Railways from childhood. I in fact was a born Railwayman because my father was a Railway employee. 🙂 So I saw Railway right from the time I was a child.
I stayed in Railway colony of Ranchi, not far from Ranchi Railway station. I studied in two schools and later one college in Ranchi. All of them were located on the other side of the Railway line. So it was mandatory to cross the railway line while commuting between home and school/ college. Even otherwise I would often go to the Railway station and observe how trains operated. Ranchi had broadguage lines going towards Howrah as well as Patna, and there were only two express trains daily- one for Howrah and one for Patna. Present day Ranchi inhabitants may be amused by this account but that is how it was during 1960s and 1970s.
Ranchi also had a narrow guage line upto Lohardaga. Passenger trains would ply between Ranchi-Lohardaga, but the main traffic in this narrow guage line was goods traffic. Bauxite (ore of Aluminium) would be brought by narrow guage goods train. This narrow gauge train would be taken to an elevated line. Under that line, there would be Broad guage line and empty broadguage wagons would be kept just under the narrow guage wagons. valves of NG wagons (called hopper wagons) would open and their Bauxite ore content would fall down from their bottom discharge opening into the open broad guage wagons. It all looked very elegant. I as a child would stop there and watch how the bauxite ore got transferred from NG wagons into BG wagons within minutes. After that, the BG goods wagons would be taken to the Hindalco Aluminium factories for further processing.
Those were the days of steam locomotives. Ranchi Railway station had a steam loco shed. Steam locomotive pistons used to have piston rings outside them. These piston rings were replaced in the steam shed during their repair and old piston rings were discarded. These discarded piston rings, when welded at the gap made excellent hoop that kids so loved to drive.
Kids whose fathers were in loco department (viz locomotive drivers) would get their fathers to get such hoops for them. I was not so privileged as my father was in Engineering department, so I only had hoops made of rods bent into a circle. I would request my privileged friends to let me drive their piston ring hoop. After driving my hoop, driving that piston ring hoop seemed like one was driving a Ferrari or Rolls Royce. 🙂
Later, when I myself joined Railways, I found myself undergoing training, among other things, in steam locomotives at Jamalpur. What enormous sized parts a steam locomotive contained ! People who maintained steam locomotives and people who drove them needed to be extremely strong and rough and tough. It was not for people who were weak in body and mind.
One needed to pass in practicals as well as Interview. Interviews were conducted by the head of the Workshop (now called Chief Workshop Manager, then called Additional Chief Mechanical Engineer). A book “steam loco guide” by H C Ratta was a much sought after book for passing the interview. It appears that only one edition of this book was published in 1958 despite its enormous popularity. Only a few copies of the book were available and those who had them would guard their copies with their lives and would allow them to be shared to others only on hourly basis. 🙂
Very few people would be able to give satisfactory replies in the interview. Thankfully, the additional Chief Mechanical Engineer, who himself might have been in the shoes of the interviewees some two to three decades ago would take a sympathetic view towards them. 🙂
When I joined Railway service after managing to scrape through various examinations and interviews etc, I was hoping that I would not have to deal with steam locomotives much. I was initially posted in a MG Diesel locomotive shed so I felt safe. But my next posting was in a MG steam loco shed in a place called Purna in Maharashtra and that too as the incharge. 🙂 I somehow managed, all the while hoping that the steam locomotives would soon get phased out and thankfully that is what happened.
Sometime later, I was posted in Hubli, and guess what ! That place too had a MG steam loco shed ! Thankfully, the entire division, which was MG when I joined, became BG within four months of my joining there and so that steam loco shed got phased out too.
A few years later, I was transferred to N F Railways and posted at Lumding. A few months later,a new General Manager joined who was a steam locomotive romantic (even though ignorant about technical matters of steam locomotives), ordered that one of the several condemned MG steam locomotives lying at Badarpur (near Bangladesh Border) must be revived. As incharge of mechanical engineering activities, this task was entrusted on me. Despite lacking infrastructure for steam locomotives, one steam locomotive was revived and it was used to haul a few coaches in MG section between Lower Haflong and Maibong in may 2001, with BBC TV crew on board. BBC shot the steam train running and later telecast it on their world service TV. Taking inspiration from this, other zones too then revived a few steam locomotives lying in their territories and ran them, mainly for the benefit of camera opportunity.
Thankfully, that was my last tryst with Steam locomotives. Subsequently I had to deal only with Diesel locomotives. Diesel locomotives are maintained in Diesel loco sheds. The incharge of Diesel loco shed is called Senior Divisional Mechanical Engineer (Diesel), or Sr DME (D) in short. I have the unique distinction of being Sr DME (D) in diesel sheds of all the three guages, viz Broad guage, Meter Guage and Narrow Guage. My guess is that I am the only such officer in the entire 165 year old history of Indian Railways. 🙂 The fact that I have been transferred a lot all over India helped me achieve this feat. 🙂
I have worked in all wings of mechanical department that a zonal Railway can have. I have worked in Steam and Diesel (as mentioned above), power (which meant being incharge of Diesel locomotive drivers), Zonal HQ and also Railway Workshop.
I had joined Jabalpur one week before it became the headquarters of newly formed West Central Railway on 1 april 2003. So I was one of the founders of WCRly. It was while I was at Jabalpur that this blog was started on 19 july 2008.
As for train travels, I have obviously travelled a lot on Indian Railways. There are a few travels that stand out in memory. One was a train travel from Nagpur to Secunderabad in june 1998. I, my wife and our three months old daughter were travelling. We had got just one berth in AC2 and that too upper berth. My wife and daughter occupied the upper berth. It was extremely cold at the upper berth and the daughter, who was travelling by train for the first time was naturally quite uncomfortable and she cried a lot. My wife got mad at me for my inability to arrange for a lower berth. I looked around and found that a lower berth would get vacant after several hours, and the person (a collegue of mine) who was allotted that berth on vacation agreed to exchange that lower berth with our upper berth when he got that berth. Meanwhile my wife had managed to calm the daughter and had managed to make her fall asleep. Today, 20 years later, whenever I think of that train journey, I still shudder how our three months daughter , on her first train journey had had a harrowing time. And I still feel extremely grateful to my colleage, called Piyush Mathur (now posted in Jabalpur) who agreed to offer his side lower berth in exchange of inside upper berth.
Then there was another train travel between Jamalpur to Jabalpur that I undertook in january 2010. I had got a lower berth through EQ (emergency quota). As soon as I occupied by berth, all the passengers with upper berths began eyeing my lower berth and tried to exchange their upper berth with my lower berth. A mother and her grown up daughter had got the upper berth, the berth above me. The man on the opposite lower berth had his alibi ready. He had every physical ailments known to mankind so no one dare ask him to exchange his lower berth.
The two ladies tried all the tricks in the book and outside the book and I finally relented and exchanged my lower berth with their upper berth. As soon as I occupied the upper berth, the two ladies as well as the gentleman on the opposite lower berth made me a persona non grata and began to treat me as an unwanted intruder. “keep your purse in my custody, I will take care of them”, the gentleman would tell the ladies, indicating that the fellow on the upper berth was not to be trusted. Needless to say that I was not allowed to sit in the lower berth which was actually mine. I kept fuming throughout the journey. By the time the train arrived in WCR and the TTE of WCR joined the train, I told him my story and he fully empathised with me. “In future, never exchange your liower berth with anyone, whether it is a lady or a child or a saint”- he advised. “Yes, I will never do that again.” -I vowed. From that time onwards, I never exchange my lower berth with any passenger. and in case they look like people who do not deserve to be helped then I become uncharacteristically aggressive as well and tell them that I have suffered in the past for my generosity which was regarded as my foolishness and I will not allow myself to be taken for a ride again. The only exception to this rule is of course when I find a lady with a young child needing a lower berth, which was the case with me 20 years ago.
When I look back to my association with Railways, I have lots and lots of tales to tell. Some of our regulars are quite interested in matters related to Railways and I, during my interactions with them had said that I would discuss some railway related matters from an insider’s point of view in the blog. This article could be treated as the first article in that series. 🙂
More than the first article in my series of Railway related discussion, this article is about ten years of this blog. I have mentioned it many a times that the journey of this blog can be likened to a train journey and so a train related song is quite a suitable song for an occasion like this.
I had discovered this song may years ago and I was floored by this song. I had decided to use this song on some very special occasion. Lots of special occasions have arrived in the blog but somehow I felt the need to still hang on to this song. I think that this song is just the perfect song for the occasion.
So here is this song from “Naya Zamaana”(1957). This movie was directed by Lekhraj Bhakri for Link Films, Bombay. The movie had Pradeep Kumar, Mala Sinha, Veena, Kammo, Leela Mishra, Badri Prasad, Gope, Shukla, Poonam Kapoor, Shakuntala, Brahmdatt, Daizy Irani, Baby Naaz, Al Nasir etc in it. Pradeep Kumar and Al Nasir were guest artists in this movie.
The movie had ten songs in it. One song was covered in the blog in the past.
This song, the second from the movie, is sung by Rafi and chorus. Prem Dhawan is the lyricist. Music is composed by Kanu Ghosh.
Video of the first song covered from the movie was available. But only the audio of this rail song seems to be available. I request our knowledgeable readers to throw light on the picturisation of this song.
The blog has completed ten years of its existence. It appears as if this blog was started just a few months ago. I can barely believe that ten years have passed. But indeed that is the case. My daughter was just ten years old and in school at that time. Now she is an young adult and she is studying in a medical college. The youngest contributor of this blog eight years ago is now in show business. 🙂 We have people from various walks in like- Banking, Rocket science, film industry, government sector, private sector etc etc as our regular contributors and visitors. Just like people from all walks of lives used Railways to travel and enrich the nation, people of various walks have used the online media available to us to enrich the blog. When one looks at the variety that has been served in the form of guest articles in the run up to this event, one can only be amazed at the power of online collaboration. This blog is an example of what can be achieved when about a score of like minded individuals decide to collaborate on a topic of their choice. We never collaborated with the aim that we had to last for a certain period of time say ten years. We collaborated because we enjoyed what we were doing. When one enjoys doing something and works with a missionary zeal, one can keep doing it for long periods without feeling fatigued or disillusioned. The musical bandwagon had hardly lost any steam. In fact, I feel that we can pick up speed again. We still have lots and lots more of great music still left to be covered. So let us take a fresh guard again and let us star afresh once more. Here is hoping that this bandwagon will keep rolling on and on for the foreseeable future.
I take this opportunity to thank one and all. Without the support of encouragement, this labour of love could not have seen this day. The fact that we have seen this day shows how much goodwill the blog has received from music lovers. I request more on the same. Let us fasten our seat belts and move on. We still have a long way to go.
Song-Aaj iss nagri kal us nagri dhuyen ki gaadi udaaye liye jaaye (Nayaa Zamaanaa) (1957) Singer-Rafi, Lyrics-Prem Dhawan, MD-Kanu Ghosh
All chorus
Male chorus
Lyrics
Aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
hey kaisa ghazab ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
hoy dhuyen ki gaadi udaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
bairan gaadi udti jaaye
man ko chain na aaye
sajan ke man ko chain na aaye
hai apne piyaa se door sajaniyaa
chham chham neer bahaaye
sajaniya chham chham neer bahaaye
arre ho o o o
nainan ka kajra
haathan ka gazraa
sab kuchh ye bairan churaaye liye jaaye
ho
sab kuchh ye bairan churaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
phir kab milihen
raam hi jaane
aaj ke bichhde saathi
ho raama
aaj ke bichhde saathi
he
kab lag yaad
piyaa ki nit din rahegi man tadpaati
ho raama
rahegi man tadpaati
arre ho o o o o
kitne hi aansoon kitni hi aahen
dhuyen mein zaalim chhupaaye liye jaaye
ho
dhuyen mein zaalim chhupaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
he kaisa ghazab
ye dhaaye more raama
sajni se saajan chhudaaye liye jaaye
ho dhuyen ki gaadi udaaye liye jaaye
(ho raama ho raama
ho raama ho raama)
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
aaj is nagri kal us nagri
dhuyen ki gaadi udaaye liye jaaye
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 : | 3628 | Post No. : | 14451 |
“Baanoo”(1949) was directed by C M Amla for Marina Pictures, Bombay. This obscure “social” movie had Maya devi, Amar, Sheriff, Leela Kumari, Basu, Vaskar, Gulzar, Gulzar (junior), Anil, Suren Kumar, Mirza Sheriff, Agha, Shanti Madhok etc in it.
The movie had ten songs in it. One song has been covered in the past.
Here is the second song from “Baanoo”(1949) to appear in the blog. Singers of this movie are not mentioned in HFGK. But listening to this song leaves no doubt in mind that this song is sung by Rafi.
There were two lyricists in the movie viz Kamil Rashid and Nizami but distribution of songs among the two is not known.
Music is composed by Pram Prasad, aka Ram Prasah Sharma, who was the father of music directors Pyarelal and Ganesh.
I may have erred at a few places in noting down the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Lo rukh badal raha hai..purdard ye nazaara (Baanoo)(1949) Singer-Rafi, MD-Ram Prasad
Lyrics
lo rukh badal raha hai ae
phir zindagi ka dhaara
lo kar chali hai bewa aa
allaah ka sahaara
purdard ye nazaara
ae do jahaan ke waali ee
de de zara sahaara
haule haule jhuk jhuk
tere saamne pukaara
dikhla de ab kinaara aa aa aa
purdard ye nazaara
barbaad raaste par r
phir zindagi gawaah hain
hansti hai naamuraadi,
ghar hai na aasra hai
gardish mein hai sitaara
purdard ye nazaara
manzil hain door phir bhi ee ee
ummeed chal rahi hai
majboor hai jawaani ee ee
kaanton mein pal rahi hai
aahon pe hai guzaara
purdard ye nazaara
kya dekhti hain aankhen aen
ghar hai na ab wo dar hai ae
khela jahaan ladakpan
ab wo jagah khandhar hai
dekhe koi khudaara aa aa aa aa
purdard ye nazaara
kab tak yoon hi phiregi ee
taqdeer ki sataayi
bewa ki kul kamaayi ee
le de ke ek bhaai
dil ka wahi sahaara aa aa aa
purdard ye nazaara
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