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

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.

Today (10 may 2017) is the third anniversary of passing away of character actor Sudhir (10 May, 2014).

Now the last I had seen him in a movie was in ‘Jhoom Barabar Jhoom’ in 2007 in a blink and miss role. Then we had also seen him in movies like ‘Dulhe Raja’ (1998) in a slightly less brief role with some comic timing thrown in. Prior to this I can remember him in Shahrukh Khan’s ‘Baadshah’ (1999) where also he had some comedy in the situation of his character. In the interim he was also seen in a few television serials. But of course if someone asked me who Sudhir was I can say that he was the smart guy (smarter than Dev Anand if I am allowed to say) in ‘Gambler’ (1971) who sits besides the heroine, Zahida, in the song “Dil Aaj Shaayar Hai Gham Aaj Naghma Hai“. But I had no material at hand to write about Sudhir. For example, I didn’t know where he was from etc. He played characters that were always behind the scenes in many of his movies like ‘Shareef Badmash’ (1973) etc. I checked online and found that his real name was Bhagwandas Mulchand Luthria. I also learnt that he is uncle to Milan Luthria who has made a few movies in recent times. Then on further googling I also saw that he had produced a movie or two (according to IMDB.com). It seems he was also an assistant director.  But nothing more that would stand out so I am leaving it to our experts in Atuldom to fill about this character artiste.

[Ed Note: Please see the post for the song “Na Maano To Koi Shikaayat Nahin” from film ‘Ustad 420’ (1969), as well as the comments therein. The comments plus the post provide a fairly detailed bio sketch of the character actor Sudhir.]

Today’s song is from the film ‘Poonam’ (1981), directed by Harmesh Malhotra, starring Raj Babbar & Poonam Dhillon with Shakti Kapoor, Madan Puri, Pinchoo Kapoor, Kalpana Iyer and all the required mother, friends and grey characters that family drama movies need to stop the lovers from getting married the minute they fall in love. The song is in the divine voice of Mohd. Rafi. It is written by Anjaan and Anu Malik was the music director. (This was one of Anu Malik’s first movies.)

[Full Song]

[Short Reprise]

Song – Laagi Lag Jaaye Logo, Lagaai Nahin Jaaye (Poonam) (1981) Singer – Mohammed Rafi, Lyrics – Anjaan, MD – Anu Malik
Chorus

Lyrics

laagi lag jaaye..e..e logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

laagi lag jaye logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

jab ye bachpan kahin door jaane lagey
rut jawaani ki ye paas aane lagey
dil ki dhadkan naye geet gaane lagey
saans nagme naye gungunaane lagey
bin piye ye kadam dagmagane lagey
bin piyeyeh kadam dagmagane lagey
phir kisi din kahin aankh aise ladey
aankh aise ladey
saath dil le udey
jab mile dil jawaan
to shuru dastaan
do diwaane baney jism do ek jaan
yun mile dil to mil ke juda ho kahaan
yun mile dil to mil ke juda ho kahaan
ye mohabbat dilon se
mitaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

pyaar ke rang se phir haseen ho jahaan
phoolon ki ho zameen
taron ka ho aasman
ho sharabi hawa
ho gulabi ghata
muskuraye nazar dagmagaye adaa
har kadam pe khushi har kadam pe nasha
har kadam pe khushi har kadam pe nasha
aate aate kabhi aaye phir ye ghadi
zindagi se jude
zindagi ki kadi
preet dulhan bane
lal joda saje
pyar dulha bane sar pe sehra bandhe
hath mehandi rache aur piya thaam le
hath mehandi rache aur piya thaam le
jodi ban jaaye..e..e logo
banaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

aa aaaa aaaaa
aa aaa aaaaaa
aa aaaa aaaaa
aa aaaa aaaaa aaaa

beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya

par hamesha yahaan aisa hota nahin
sunte aaye hain jo waisa hota nahin
ishq ki raah mein baarhaa ye hua
ishq ki ye dua ban gayi bad-dua
pyaar bichada kahin yaar maara gaya
pyaar bichada kahin yaar maara gaya
yaar bichade jahaan
leke tanhaaiyaan
dil se lipti hui
jalti parchhaaiyaan
phir sulagne lagey
jism ke sang jaan
aag aisi lagey
chhaaye aisa dhuaan
khaak ho jaayen jal jal ke dono jahaan
khaak ho jaayen jal jal ke dono jahaan
dil ki basti lutey to

basaayi nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re
beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

laagi lag jaaye..e..e logo
lagaayi nahin jaye re
ye agan lag jaayea to
bujhaai nahin jaaye re

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

जब बचपन कहीं दूर जाने लगे
रुत जवानी की ये पास आने लगे
दिल की धड़कन नए गीत गाने लगे
सांस नगमे नए गुनगुनाने लगे
बिन पिये ये कदम डगमगाने लगे
बिन पिये ये कदम डगमगाने लगे
फिर किसी दिन कहीं आँख ऐसे लड़े
आँख ऐसे लड़े
साथ दिल ले उड़े
जब मिले दिल जवान
तो शुरू दास्तान
दी दीवाने बने
जिस्म दो एक जां
यूं मिले दिल तो मिल के जुदा हो कहाँ
यूं मिले दिल तो मिल के जुदा हो कहाँ
ये मोहब्बत दिलों से
मिटाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

प्यार के रंग से फिर हसीं हो जहां
फूलों की हो ज़मीन
तारों का आसमां
हो शराबी हवा
हो गुलाबी घटा
मुस्कुराए नज़र डगमगाये अदा
हर कदम पे खुशी
हर कदम पे नशा
हर कदम पे खुशी
हर कदम पे नशा
आते आते कभी आए फिर ये घड़ी
ज़िंदगी से जुड़े
ज़िंदगी की कड़ी
प्रीत दुल्हन बने
लाल जोड़ा सजे
प्यार दूल्हा बने सर पे सेहरा बंधे
हाथ मेहंदी रचे और पिया थाम ले
हाथ मेहंदी रचे और पिया थाम ले
जोड़ी बन जाये॰॰ए॰॰ए लोगो
बनाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

आ आss आsss
आ आs आssss
आ आss आsss
आ आss आss आss

बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया

पर हमेशा यहाँ ऐसा होता नहीं
सुनते आए हैं जो
वैसा होता नहीं
इश्क़ की राह में बारहा ये हुआ
इश्क़ की ये दुआ बन गई बददुआ
प्यार बिछड़ा कहीं यार मारा गया
प्यार बिछड़ा कहीं यार मारा गया
यार बिछड़े जहां
लेके तनहाइयाँ
दिल से लिपटी हुई
जलती परछाइयाँ
फिर सुलगने लगे
जिस्म के संग जां
आग ऐसी लगे
छाए ऐसा धुआँ
खाक हो जाये जल जल के दोनों जहां
खाक हो जाये जल जल के दोनों जहां
दिल की बस्ती लुटे तो
बसाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे
बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

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

Atul ji’s 10K Song Milestone Celebrations – 13
———————————————————————-

गाता जाये बंजारा

That is the image that forms in the mind. A distant, unfamiliar scenario. A solitary person trudging along a dusty road that leads through farms and fields, passing through towns big and small.

There is a purpose in the pace. There is a steadiness in the tread. There seems to be an unhurried and patient urgency in the forward movement.

Is he searching for someone, for something? Is he expecting a certain destination? I don’t know. The landmarks, they come and go, the milestones pass by. But he appears not to halt anywhere, never seems to take rest. Just a pause at a milestone, sees it with a searching eye, takes another breath, and then presses on.

He seems to be carrying something, slung on the shoulders. Is that an instrument of music? Or is it something else? What is it, I am not able to make out.

The vision is distant. I cannot see clearly what he does with his hands, or with the thing he carries. All I can make out is the unyielding, the constant and lasting forward move. And the ears continue to pick up things – words, notes, wafts of melodies, strains of music. Some are familiar, have been heard before. Others are unfamiliar, new. And the mind scrambles to capture and become familiar. But before I can assimilate these distant new sounds, he takes another step and the ears hear yet another pleasing tune.

And on and on he moves, not faltering, not stopping, playing out a new song with every stride he puts forward.

I follow him, trying to keep pace, trying to catch up. His constant unrelenting march – I am not able to match.

It is a distant vision – a vision that is now a placeholder in life. Every time I get my personal breather, and am able to raise up my head and look ahead on that dusty road, he is there.

He is always there. The same figure, the same appearance, the same movement – with an ever new refrain of enchanting strains, with an always new refreshing canticle. As if a gift divine – दिने दिने नवम् नवम् । And I sense a rising emotion that I am not able to identify. A pleasing emotion that feels superlative, all encompassing.

Sometimes, I try to call out to him. Sometimes, he will respond. Sometimes, he turns his neck and looks back, where the sound is coming from. I am still far behind to make out his face. The smile that I encounter is more felt than seen. I feel he is smiling, though I cannot see that far clearly. He seems to recognize me, my voice. I can make out – he waves his hand at me, as if beckoning me to follow him. And then, he turns the head, looking forward, and continues his march unabated, undisturbed.

I try to speed up. I try to catch up and be with him. But my pace is not as energetic. I try to speed up. But he always remains ahead, remains distant in front. And then another emotion starts to take shape within. A feeling emerges. The feeling slowly forms into belief. And the belief begets assurance – and a sensation of confidence begins to grow. His momentary wave to me is a connect – his acknowledgement to me that we are together. And that he knows we are. And that he knows that now I know that he knows. And a relief washes down into my being. Maybe distant, but the journey has found an accomplice.

The hours and days now have passed into ages. The beat does not falter. The milestones of amazement have been left far behind now. And yet there is a new amazement at every step. The unexpected is the expected; and the expected is always startling.

That superlative emotion continues to linger in back alleys of the mind. The landscape keeps changing. We have passed the oceans by the beach, with their exuberant waves reaching out to the land, and the faint strains carried in the winds “तू प्यार का सागर है॰ ॰ ॰”. We have passed the mountains, full of trees and flowers. Wafting fragrances please the aroma buds singing “वादियाँ मेरा दामन॰ ॰ ॰”. We have passed the snow laden mountains, lovely shining white scenarios, with a set of footprint tracks in snow, as we walk past the peaks and valleys where the echoes tell us “ये पर्वतों के दायरे॰ ॰ ॰”. We have passed the farmers in their fields, joyful at the sight of “हरियाला सावन॰ ॰ ॰”, and proud of their bounty. Sometimes familiar faces will turn towards us and wave, their feet “नाच रे धरती के प्यारे॰ ॰ ॰”. We have passed the divinity of rivers and the boatmen humming “गंगा आए कहाँ से॰ ॰ ॰”. We have trekked along the dusty roads on and on with a horse carriage going by us, the coachman telling us “आई बहार आज आई बहार॰ ॰ ॰”. Across the fields and the waving produce, sometimes we have seen the steaming plume of a train going by, and the ears catch the faint words “पल दो पल का साथ हमारा॰ ॰ ॰”. At times a powered cycle will pass by, and the rider whizzes away singing “इक रास्ता है ज़िंदगी॰ ॰ ॰”. Sometimes a heavy truck chugs along, and the bearded driver gives a smiling wave and tells us “ले चला जिधर ये दिल निकाल पड़े॰ ॰ ॰”. Sometimes there is a celebration in the village beyond the farmlands; there is color and lights and a group of ladies singing “मनभावन के घर जाये गोरी॰ ॰ ॰”. Sometimes there is a fair; a big crowd is seen in the grounds across the river, and the beating drums announce “आई झूम के बसंत॰ ॰ ॰”. Sometimes under the shade of a tree, a ruffled mendicant is waiting for alms, intoning “सबकी हो खैर बाबा॰ ॰ ॰”. Passing a damaged bridge, there is group of workers singing “साथी हाथ बढ़ाना॰ ॰ ॰”. In the grassland next to the road, children play, and they teach – “नानी तेरी मोरनी को॰ ॰ ॰”. At another place, there is cluster of young ladies, teasing a belle “अखियाँ भूल गई हैं सोना ॰ ॰ ॰”. A jeep passes by, and the rider is humming “यारो नीलाम करो ॰ ॰ ॰”. On a parallel path, a convoy of soldiers marches on, and they are singing “चलते ही जाना ॰ ॰ ॰”. A multitude of such simple to life encounters.

The dusks descend at their usual time every day, and a smattering of lights will start burning across the landscape. The trek continues unabated. There is a lonely figure somewhere nearby, lost in the darkness of trees; is slowly singing, probably to himself “रुक जाना नहीं ॰ ॰ ॰”. Sometimes, in the falling darkness of the night, a flute is heard, that pulls the mind. And from a nearby dwelling, the voice of a belle is softly telling “ये बंसी क्यों गाये ॰ ॰ ॰”. The sky is littered with stars and the ways of the milky clouds. The trudge is incessant, and continues to move ahead unrelenting. Passing by another home, a mother is putting a child to sleep “टिम टिम करते तारे ॰ ॰ ॰”.  A lantern is seen waving in space, and I close in on a bullock cart, plodding along the road; and as I pass by, I catch the straining words “जीवन से लंबे हैं ॰ ॰ ॰”. The night carries on. The darkness goes and comes again. The wind is rustling the leaves, making the sounds of “ओ रात के मुसाफिर॰ ॰ ॰”.

And then on the eastern edge the stars begin to fade slowly. The greying skies tell of the advent of yet another day. That figure ahead of me is still at the same place in sight. In the darkness of night he would have crossed one, maybe two more milestones. The day begins to gather strength, the movement of farms and animals begins, the birds are out of nests and out to gather breakfast. A village belle walks by with a ‘गागर’ of fresh water from the well. She is humming “ज्योति कलश छलके ॰ ॰ ॰”. On a distant hill a temple bell is heard – “॰ ॰ ॰भगवान का घर है॰ ॰ ॰”. A fresh new day is here. There are new melodies that he has taught me over the previous day. The music is still lingering, playing in the mind. He looks back and waves, yet again. And then, as before, he faces ahead and continues to move.

The sounds that were prancing around in the bylanes of the mind all of the previous evening, form themselves into words, and the lips start to hum a familiar aria.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

And with that also arises again that unnamed superlative emotion that has been playing hide and seek in the mind since many a day. Who are you, I ask of it. All I get to feel as if there is a smile behind a cloud of smoke. A smile that is beckoning me, a smile that is urging me to follow and find out more, and to know. The words are not heard but are felt inside the heart. Who is it, what is it, I am not able to pin point. A young village lad goes past riding a bullock cart, and he is singing “॰ ॰ ॰ पूर्वा के झोंकवा में आइओ रे संदेसवा॰ ॰ ॰”. I turn and face ahead once again – that figure walking ahead of me, looks back and I can feel the same smile once again. Yes, he is there, he continues to move ahead, and continues to share the music. The path crosses a patch of blooming flowers. I strain and in the winds I can pick up the words “फूलों से दोस्ती है॰ ॰ ॰ कैसे मज़े की प्यारे ज़िंदगी हमारी है॰ ॰ ॰”. With every sound, with every ditty, there is a bump in the heart and a lump in the throat. I look up ahead. He is not looking back at me now. But I know. He is smiling. And he is enjoying.

The emotion swirling inside seems to take a diffused shape, and momentarily diffuses again. Eyes espy a young man and a belle, walking along the hedges of the wheat fields. They are seen at distance, and the words carry through “गुम है किसी के प्यार में॰ ॰ ॰”. Something familiar stirs inside. And a bevy of thoughts gather, vying with each other to fly the open skies. The feminine voice goes by prancing “अर्र रर पायल मोरी खनके हो॰ ॰ ॰”. And the young male voice presses for a tryst by the river “गोरी मिलना हो मिलना हो नदिया के पार॰ ॰ ॰”. Momentarily, the voices team up and the winds carry the words “॰ ॰ ॰मैंने दिल तुझको दिया॰ ॰ ॰”. The pathway skirts a shallow ravine. A row of young lasses is walking by, singing. I can decipher the strains faintly “चले जा चले जा चले जा, जहां प्यार मिले॰ ॰ ॰”. It all appears to be pulling together. The emotion rises again, and washes my being with a very pleasant fragrance.

I call out to him again. Loudly this time. For once, he turns his head and looks at me. “कहाँ ले चले हो॰ ॰ ॰”, the question forms on my lips. A big smile appears to cover all of his face. The words travel back to me “॰ ॰ ॰ जहां तक घटा चले॰ ॰ ॰”. He turns, and continues on, this time with a vigorous wave of his hand, pressing me to keep following.

I look up ahead. He is in the same mood, in the same mode. And I see him drop something. I quicken my pace, just to see. I try to call him. He continues moving, but responds with a wave of his hand. I reach that thing he has dropped. I pick it up. It is a piece of paper. On it are scribbled some words. It is a short and a simple message that is probably for me. The paper has the words “प्यार बांटते चलो॰ ॰ ॰”. I read. The swirling effusion rises to realization – oh yes, this is the purpose he walks on and on. I look up ahead. He is facing forward and moving on. In my mind’s eye, that smile appears once again.

The elation almost lifts me off my feet. It is love. It is that feeling of affection that rises and spreads to cover the world. The mind is free, the heart is joyous, and this world is the most beautiful place to be. The memories of all the thousands of milestones passed, suddenly appear and pass through the mind like a storm. Every melody that we shared across time and space. Every emotion that was spawned by the melodies. Every little molecule of joy and happiness that came with these emotions. Every stop of the journey flashes by in the portals of the mind. Ah, this journey, this detachment from the desires of reaching a destination, this freedom to keep going till we reach the “घटा” at the edge of the horizon. The ecstasy is so rejuvenating. And the mind remembers – “ये हंसता हुआ कारवां॰ ॰ ॰ तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर॰ ॰ ॰”. It seems all that is life, is here and now with us. I look up again towards him. And this time, again, he turns his head, gives a big smile and, as if reading my mind, nods in the affirmative.

We continue moving forward. We pass many, many more stops and the melodies are acknowledged. The heart is in delight, the steps are springy and light, and the only desire is “॰ ॰ ॰ ना बीते कभी ये सफर॰ ॰ ॰”. After so many more milestones, he drops me another note. I quicken my pace to pick it up again. The words, they bring a thrill into my being. His note says “॰ ॰ ॰ ये प्यार हमारा हमेशा रहेगा॰ ॰ ॰”. A feeling of love with a touch of divinity, steals through the labyrinths of the mind. And the heart knows, this is one promise that is forever. The journey, the companionship, the melody – nothing much more remains to be desired in life. The ‘Fiddler’ is walking ahead of me. All I know now is that I follow him. He has this thing slung on his shoulder. There is music and there is a song, wafting in from practically everything, every person we meet and see on this trek. And the images in the mind only get stronger.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

गाता जाये बंजारा

[SK – The words of this song say it all, I will add no more. Except that, Atul ji, I have run out of hats to doff at your achievements.]

Song – Aap Ka Shukriya Aap Ki Meharbaani (Anokhi Pehchaan) (1972) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

aap ka..
shukriyaa
aap ki.. meharbaani
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
kya suhaana samaa hai
ye mausam jawaan hai
aaj har cheez pe hai jawaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap ki yaad aaye
to dil behal jaaye
dijiye aisi koi nishaani
aap ka..
shukriyaa
aap ki.. meharbaani

pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
yaad rakhna ye baaten
nai hain mulaqaaten
ye mohabbat magar hai puraani
aap ka..
shukriyaa
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
क्या सुहाना समा है
ये मौसम जवां है
आज हर चीज़ पे है जवानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप की याद आए
तो दिल बहल जाये
दीजिये ऐसी कोई निशानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
याद रखना ये बातें
नई हैं मुलाकातें
ये मोहब्बत मगर है पुरानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी


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.

“Agra Road” (1957) was produced and directed by Ravindra Dave for Nagina Films, Bombay. This crime movie had Shakila, Vijay Anand, Nanda, Bhagwan, Satish Vyas, Amarnath, Krishnkant, Dhumal, Nazi etc in it.

The movie had nine songs in it. Eight songs from the movie have been discussed in the past.

Here is the ninth and final song from “Agra Road” (1957) to appear in the blog. This song is sung by Rafi. Bharat Vyas is the lyricist. Music is composed by Roshan.

This is a rare song. Only its audio is available and that too just the first stanza. One uploader of this song has joined this first stanza with portions of other songs from the movie and attempted to pass it off as a full song.

I have only provide lyrics of the first stanza. The joined up portions are part of other songs that have already been covered in the blog.

This is the best we can do at present till we come across the full version of the song. Till then we ahve to remain satisfied with just this small portion of the song.

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

And with this fun song, Bharat Vyas has slowly and un-noticeably has completed 300 songs as a lyricist in the blog.


Song-Pocket mein botal haathon mein pyaala (Agra Road)(1957) Rafi, Lyrics-Bharat Vyas, MD-Roshan

Pocket mein botal
haathon mein pyaala
main hoon bairam ji daaroowaala
daaroowaala

duniya mere khilaaf
ghar ke mere khilaaf
?? mere khilaaf
aur bachche mere khilaaf
ye bhi khilaaf
wo bhi khilaaf
tum bhi khilaaf
sabhi khilaaf
arre waah waah
phir bhi
sunday ke sunday jaaun khandaala
sunday ke sunday jaaun khandaala
main hoon bairam ji daaroowaala
daaroowaala


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.

“Naagin aur Sapera” (1966) was directed by Balwant Bhatt for Pramila Productions Bombay. The movie had Manhar Desai, Bela Bose, Padma Chavhan, Sapru, Paro, Rajan Haksar, Raja Nene, Mirza Musharraf, Leela, Shammi, Bhagwan etc in it.

There were five obscure songs in this little heard movie.

Here is the first song from “Naagin aur Sapera” (1966) to appear in the blog. This song is sung by Rafi. Satyapal Verma is the lyricist. Music is composed by Harbans.

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

With this song, “Naagin aur Sapera” (1966), the lyricist as well as the music director, make their respective debuts in the blog.


Song-Laut bhi aao o giridhaari (Naagin Aur Sapera)(1966) Singer-Rafi, Lyrics-Satyapal Verma, MD-Harbans

Lyrics

laut bhi aao
o giridhaari
radha neer bahaaye ae ae
laut bhi aao
o giridhaari
radha neer bahaaye
raadha tihaari phir na milegi
raadha tihaari phir na milegi
jo tum der se aaye ae
laut bhi aao o giridhaari
raadha neer bahaaye

pal pal baawri panth nihaare
pal pal baawri panth nihaare
aas ki jyot jalaaye
deepak jal gaya
jal gayi baati
deepak jal gaya
jal gayi baati
paagal manva gaaye
kya bigdega aa aa aa
kya bigdega tera o chhaliye
aake jo dheer bandhaaye ae
laut bhi aao o giridhaari
raadha neer bahaaye

prem deewaani khoj mein phirti ee
prem deewaani khoj mein phirti
apne piya ko paane
pawan se poochhe
poochhe gagan se
pawan se poochhe
poochhe gagan se
paapi ji na maane
o nirmohi ee ee
o nirmohi patthar dil
kahin raadha na mar jaaye ae
laut bhi aao
o giridhaari
radha neer bahaaye
laut bhi aao
laut bhi aao
laut bhi aao


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

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

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

It was not to be.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Coming to the song for today.

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

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

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

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

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

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

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

Go well, Sir – and rest in peace.


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

Lyrics

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

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

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

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


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

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

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

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


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

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

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

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


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

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


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

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

“शम्मा बुझने को चली

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


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

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 34
– – – – – – – – – – – – – – – – – – – – – – – – – –

“वो चाँद सा चेहरा लिए, छत पर तेरा आना

tu raat khadi thi chhat pe
nee main samjha ke chaand nikla

There is something so uniquely desi about this romantic element – ‘chhat pe’ – ‘on the rooftop’ scenario. If it were the western milieu, the thought would be to go as far as the balcony; the scenario being Juliet present at the balcony and Romeo serenading her from the garden below. No where the western writer has thought of ascending to the terrace, bring in the soubriquet of the moon, and then let the verse take over from there. On the subcontinent, so much romance seems to have happened on the terrace, in the pages of prose and in the lines of verse.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

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

Total number of songs posts discussed

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Movies with all their songs covered =1003 Total Number of movies covered =3703

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