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

Blog Day :

3927 Post No. : 14997

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 7
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The Blog is in the vicinity of reaching a new milestone of 15000 posts and the celebrations are in order. It is in the 11th year of its existence during which time, it has passed through many milestones. Hearty congratulations to Atul ji and his bandwagon for attaining 15000 posts. I am sure that the Blog would pass through many more milestones in the years to come.

To measure a milestone, one needs to have a reference point. For the Blog, the First Post appeared in the Blog on July 19, 2008 is the reference point itself which is the mother of all subsequent milestones.

The second important milestone of the Blog was the first comment on the Blog which was none other than from Raja ji, the numero uno inspirer for Atul ji, as I understand from latter’s special articles, for starting the Blog. By now, the cumulative substantive comments on the posts in the Blog have crossed 60,000 which itself is one of the important milestones for the Blog.

The third important milestone was when for the first time, the daily visitors to the Blog crossed 1000. While I am not able to get the exact date on which this milestone was achieved, I am pretty sure on the basis of some average figures of visitors discussed by Atul ji on ‘About the Blog’ page, that this milestone was achieved within one year from the start of the Blog. Surely, for a new ‘start-up’ Blog, this was great news.
[Ed Note: The date was 23rd January, 2009; visitor count was 1145.]

If I plot a curve on the basis of the yearly average visitors to the Blog, I am sure, the graph would show a secular rising curve in the initial period of the Blog followed by a steep upward sloping curve during the last about 7 years. This is based on the assumption that as the aggregate number of posts as well as songs discussed in the Blog go up arithmetically, the number of visitors would go up geometrically. This is also borne out by the fact that as of now, the Blog has crossed 11 million (1 crore 10 lakhs) visitors in less than 11 years of its existence.
[Ed Note: As this post goes to press, the blog is already 70 thousand plus hits beyond 11.5 million. 🙂 ]

Fourth important milestone of the Blog was hitting 1000th post. On the basis of the statistics of month-wise aggregate posts, I guess the 1000th post was achieved in about 8 months’ time which, as far as I know, is a record for any musical/filmy Blog to achieve in the shortest time-frame. Of course, thereafter every 1000th post was a milestone and every post in multiples of 5000 was ‘Maha Milestone’ (like ‘Maha Kumbh).
[Ed Note: The 1000th post was published on 30th March, 2009, which is the 255th day from the start date of the blog (19th July, 2008), which works out to 7 months and 11 days.]

As I mentioned earlier, the Blog started on July 19, 2008 with a single goal – to post at least one song a day with lyrics and discuss the song. This goal has been met since the inception of the Blog with some very few occasional exceptions. But these exceptions have been overwhelmingly compensated by the fact that on an average, 3 to 4 songs a day have been covered in the Blog up till now.

Over a period of time, the Blog had earmarked some more goals – Artists’ centuries, covering all the songs of films (yippeee’d films), posting songs from those films which had not been represented in the Blog, etc. Recently, Sudhir ji has completed a century of posts representing the songs from those films released in 1960s which were not represented on the Blog. Like-wise Arun ji and myself had posted songs from a number of films released mainly in the 1940s which were not covered in the Blog.

Other important goals that have been achieved during the last 7 years or so are covering all the available songs sung by KL Saigal, and Suraiya. Also, all available songs composed by Sajjad Hussain have also been posted in the Blog. Again, Sudhir ji had contributed a lot in achieving these goals.

The next in line among the singers and music directors whose gap between the songs covered in the Blog and the songs available online have narrowed down are Kanan Devi (49/80), Sulochana Kadam (47/135), Talat Mehmood (378/450), S D Burman (633/666) and Naushad (534/593).

There are a few features which I consider as unique to our Blog among other musical/filmy blogs.

  1. As far as I know, among the current musical/filmy blogs, our Blog is the only one where articles by guest writers are contributed for the Blog not by invitation but largely on voluntary basis. Of Course, on special occasions like the present one, all Atuites are invited to contribute the special articles. But I consider as more as a gestures than the invitation to remind ourselves to be in readiness for the celebration of an important milestone of the Blog.
  2. Our Blog is the repository of profiles of hundreds of lesser known film artists (actors, directors, singers, music directors, lyricists etc) especially of 1930s and 40s. Some of them were well known in their fields at that time but now have been mostly forgotten. The major credit for collating the information on such artists goes to our in-house encyclopedia, Arun ji. In some cases, he had painstakingly collected the information from the siblings and friends of the concerned artists.
  3. The only musical/filmy Blog which has a wealth of statistical data relating to almost all the aspects of the films and the songs. I understand that most of data are manually updated. One can imagine the time and efforts required for Atul ji to update the statistical data more frequently than before with 15K songs. I can understand that Atul ji may be spending more time in updating the statistical data, depriving him of time for posting more songs on day-to-day basis.

On the eve of attaining yet another important milestone of 15000 posts on the Blog, I have selected an inspiring song from a film released in the late 1950s. I was surprised as to how this popular song had missed the attention of the Atulites so far. It appears that this song was destined to be used for special celebrations like the present one.

The song is ‘Do Kadam Aur Ae Saathi Kadamon Pe Zamaana Hoga’ from the film ‘Khoobsurat Dhokha’ (1959) which is rendered by Mohammed Rafi accompanied by chorus. The song is written by Indeevar and is set to music by S Mohinder. It is one of those rare songs of Rafi in which he has attempted yodeling.

When I heard the song, I started visualising a scenario in which at the conclusion of an imaginary Atulites Meet (gangout 🙂 ), Atul ji sings this song in place of Rafi and all other Atulites sing in chorus with some minor changes in the mukhda of the song:

do kadam aur ae Atulites
kadamon mein zamaana hoga
daaman mein hamaare ek din
mauseeqi ka kazaana hoga

 

Song – Do Kadam Aur Ae Saathi (Khoobsurat Dhokha) (1959) Singer – Mohammed Rafi, Lyrics – Indeewar, MD – S Mohinder
Chorus

Lyrics

o hooooooo
o hooooooo
o hooooooo
o hooooooooo

do kadam aur ae saathi
kadamon pe zamaana hoga
daaman mein hamaare ek din
duniya kaa khazaana ho..oga
do kadam aur ae saathi
kadamon pe zamaana hoga
daaman mein hamaare ek din
duniya ka khazaana ho..oga
 
arre sona pighlega
aur chaandi barsegi
chhoone ko kadam apne
khud manzil tarsegi
hai aaj agar auron ka
kal apna zamaana hoga
(aaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaa)

lae lae lae lay dee oo
lae lay dee
lay dee lo
lae lay dee
 
baahon mein chaand hoga
ho o
aur raah mein sitaare
ho o
baahon mein chaand hoga
ho o
aur raah mein sitaare
ho o
ummeedon ki wo duniya
ab door nahin pyaare..ae
khushiyon ki jawaan raaton ka
har khwaab suhaana hoga
(aaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga

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

ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰

दो कदम और ए साथी
कदमों पे ज़माना होगा
दामन में हमारे एक दिन
दुनिया का खजाना हो॰॰गा
दो कदम और ए साथी
कदमों पे ज़माना होगा
दामन में हमारे एक दिन
दुनिया का खजाना हो॰॰गा

अरे सोना पिघलेगा
और चांदी बरसेगी
छूने को कदम अपने
खुद मंज़िल तरसेगी
है आज अगर औरों का
कल अपना ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)

लाय लाय लाय लै डी ओ
लाय लाय डी
लाय डी लो
लाय लाय डी

बाहों में चाँद होगा
हो ओ
और राह में सितारे
हो ओ
बाहों में चाँद होगा
हो ओ
और राह में सितारे
हो ओ
उम्मीदों की वो दुनिया
अब दूर नहीं प्यारे॰॰ए
खुशियों की जवां रातों का
हर ख्वाब सुहाना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा

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This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3918 Post No. : 14981

“Raajput”(1982) was produced by Musheer Riaz and directed by Vijay Anand for M R Productions, Bombay. This “social” movie had Dharmendra,Hema Malini,Rajesh Khanna, Vinod Khanna, Ranjeeta Kaur, Tina Munim,Rehman, Ranjeet, Nazir Hussain, Om Shivpuri, Indrani Mukherjee, Iftekhar, Purnima, Murad, Mohan Sherry, Prem Sagar, Tej Sapru, Brahma Bhardwaj, Harbans Darshan M Arora etc in it.

The movie had six songs in it. Four songs (including one muliple version song) has been covered in the past.

Here is the fifth song from “Raajput”(1982) to appear in the blog. This song is sung by Rafi and female chorus. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is a bacround song which is picturised as a bidaai song. The picturisation shows Hema Malini is a doli, with this song being played in the background. The picturisation shows Rajesh Khanna (the bridegroom), alongwith Tej Sapru (his father) and other members of Barat party. In a distance Dharmendra is seen astride a horse.

Lyrics of this song were sent to me by Prakashchandra. He points out that he audio of this song is longer than the video by one stanza and more. Lyrics are as per the full audio version.

Audio( Full)

video(Partial)

Song-Doli ho doli (Raajput)(1982) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female Chorus

Lyrics(Provided by Prakashchandra)

doli ho doli ee
ho doli
doli ho doli ee
jab jab guzri tu iss dagar se
bichhdaa koyee humjoli ee
doli ho doli
ho doli
doli
ho doli ee

maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee
maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee

tu kyaa jaaney
kaun suhaagan
tu kyaa jaaney
kaun suhaagan
tu kyaa jaaney
kaun abhaagan
jo baithha bas uss ko uthhaayaa
apne raste ho li ee
doli
ho doli
ho doli
doli ho doli ee

ik aangan tu phulwaa baante
ik aangan bikhraaye kaante
tere aagey peechhe dukh sukh
kheley aankh michauli ee
doli ho doli
ho doli
doli ho doli ee

maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee

jag mein aissaa kyun hota hai
ik hanstaa hai
ik rotaa hai
tujh se kitni baar ye poochhaa
tu ik baar na boli ee
doli ho doli
jab jab guzri
tu iss dagar se
bichhdaa koyee humjoli ee
doli ho doli
doli ho doli ee


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3895 Post No. : 14936 Movie Count :

4078

Missing Films of 1960s – 96
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In this series, the film being introduced today is of certain significance in the history of Hindi film music. The film is ‘Ziarat Gahe Hind’. Translating this phrase – it means – “हिन्दोस्तान के दर्शनीय इस्लामिक धार्मिक स्थल” – or important pilgrimage centers of Islamic religion in India. ‘Ziarat’ means to see, to visit – “दर्शन करना”; ‘gahe’ means a dargah (“दरगाह”), a place of religious pilgrimage; and ‘Hind’ refers to “हिन्दोस्तान”, India. In a manner of speaking this film is the Islamic equivalent of films like ‘Sampooran Teerht Yatra’ which presents the travelogue of centers of Hindu pilgrimages.

This film also has an alternate title – ‘Zeenat’. The film is produced under the banner of Roopesh Films, Bombay, and is directed by A Shamsheer. The star cast of this film is listed as Tabassum, Tabrez, Shatrujeet, Johnny Whisky, Baby Guddi, Sadiq, Shukla, Murad, Shakeela Bano Bhopali, Shareen, Husn Bano, Pratap Kumar, Satish, Munshi Munakka, Moosa Kaleem, Dinesh Dubey, Shashi, Bihari, Bamalhari, Meera, Master Zafar, Master Vijay, Master Basheer, Rupendra, and Dalda.

The film is a Muslim social story, depicting the fortunes of a family that is passing through testing times both because of external circumstances and strained relations within. The family turns to the Almighty, and they resolve to go on a pilgrimage to various important centers of worship. Even during their travels, there are difficulties that come in their way, but with prayers to Allah (SWT) [SWT – “Subhanahu Wa Ta’ala,” or “Glory to Him, the Exalted.”], and by his kindness and beneficence, the family is able to overcome all difficulties and comes to see better times in life.

There are four songs listed for this film. All the songs are from the pen of a poet whose name is completely new to this blog – Abdur Rab Chaush.
[Editor’s Note: As per inputs from Sadanand ji, Abdur Rab Chaush is a qawwali singer, who has been active since about 1970. He has also written the lyrics for the film “Dayaar e Medina’ (1975).]

The thing that I mentioned about this film being of certain importance – that is because of the music direction. The name of the music director is listed as Mustafa-Yusuf. Mustafa is the son of the renowned music director Sajjad Husain. This name is for the duo MD, both of whom are sons of the renowned music director Sajjad Husain – Mustafa and Yusuf. In fact the title credits of this film also list Sajjad Sb’s name as the ‘Supervisor’ for music. After troubled times early on in his career, there was literally no work for the temperamental Sajjad Sb in the 1960s. No producer was ready to engage him, on account of his reputation as a brusque and inflexible team player. So for this film, although the prime mover in the music direction department is Sajjad Sb, but his sons’ names are pushed forward, to keep Sajjad Sb away from limelight. Mustafa himself is a musician of certain standing. However, we do not see his or Sajjad Sb’s name appear any more in films beyond this one.

The song is an appeal to the Almighty – “ओ आसमान वाले” – with prayers for His benevolence and help in this journey of life. The words of this song refer to many important names in the history of Islam. All these names are of the historical figures who are acknowledged to be Prophets in Islamic history, who have appeared before Prophet Mohammed (SAW) [SAW – “Sall’Allahu alayhi wasalam”, translates as “The graces of Allah be upon him, and peace,” or “Allah bless him and grant him peace.”].

In the chronicles of Islamic history, Mohammed (SAW) is the last Prophet of this religion. Before him, a list of 24 Prophets is acknowledged. In today’s song, the lyrics contain the names of some of these Prophets. The mention is included in the lyrics, almost as a reminder to Him, that He has helped and rescued, and brought fame, prosperity and privilege to these men of faith. And so, the prayer is that we are seeking similar favors and blessings from Him.

The first name mentioned in the lyrics is that of Adam – “आदम”. I refer to the following lines in the lyrics –

aadam ko di muaafi
shaitaan ko sazaa di

As per the traditions that are common to the Jewish, Islamic and Christian religions, Adam is the first human being created by the Almighty, and the father of all mankind on this earth. Adam is seen as an archetype of humanity and as a symbol for the emergence of humankind. According to the Islamic narrative of Adam, humankind has learnt everything from Adam. He was the first to learn to plant, harvest, and bake as well as the first to be told how to repent and how to properly bury someone. God also revealed the various food restrictions and the alphabet to Adam. He was made the first prophet and he was taught 21 scrolls and was able to write them himself.

As per the scriptures, Allah (SWT) fashioned Adam out of clay of this earth, as also his feminine counterpart – Hawwa “हव्वा”, also known as Eve in the Jewish and Christian traditions. When God created Adam and Eve, He sent them to Eden, the garden of paradise, to enjoy as they would please, with one instruction – not to pluck and partake the fruit of a particular tree (the apple tree). For a time, this instruction was followed. As the narrative goes, Satan, who wanted to take revenge for an earlier insult and punishment, entices and leads astray the primal couple, and induces them to eat the fruit of the apple tree. For this digression, the primal couple seeks forgiveness from God, which is granted, albeit with the condition that they are banished from Eden and put down on the earth. The Islamic tradition does not ascribe mankind’s life on earth as a punishment, rather as part of God’s plan. God had already decided before the creation of Adam that mankind (Adam and his progeny) would be placed on earth.

The narrative of the punishment of “शैतान” goes like this. When God fashioned Adam from clay, and breathed life into him, He announced to His Archangels, the plan for placing Adam and his progeny on earth. The angels expressed doubt whether Adam and his progeny, with their limited knowledge would be able to maintain earth without animosity and bloodshed. God then taught the knowledge to Adam. Then, in a gathering of angels, He commanded Adam to call out each of angels by their names. With this accomplished, God instructed the angels to bow down in front of Adam. All the angels followed this instruction, except for Iblis, who claimed that he, being born of fire, will not bow down in front of one born of clay. At this, God was offended and He punished Iblis by banishing him from paradise, and into hell. After this episode, Iblis is known as Satan or “शैतान”.

The second name mentioned in the verses is that of ‘Isa’, who is known as Jesus in Jewish and Christian traditions.

takhte se daar ke bhi
isaa ki jaan bacha di

Islam acknowledges Yesua or Isa, Ibn e Mariam (Son of Mary) (PBUH) as the penultimate Prophet who came before Prophet Mohammed. In Islam, it is noted that Isa attributed the name Ahmad, to the One who would follow him.

The Islamic tradition does not concur with the Christian view that Jesus died on the cross. The narrative in Qur’an states that Isa, being sentenced to the gallows (daar, “दार”) was rescued by God. The belief in Qur’an is that Isa did not physically die, but was raised alive to heavens. A very interesting thing to note is that in the Qur’an, Isa is the most mentioned personality – his name appears 187 times in the Qur’aanic text, more than any other personality.

The third name mentioned in these lyrics is that of Yunus, who is known as Jonah in Jewish and Christian traditions.

machhli ke pet mein bhi
yunus ki jaan bakhshi

Yunus is one of the Prophets in the Islamic tradition. God commands him to go to the city of Nineveh to prophesy against it for their great wickedness.  Instead, he attempts to flee from “the presence of the Lord” by going to Jaffa and sailing to Tarshish. A huge storm arises and the sailors, realizing that it is no ordinary storm, cast lots and discover that Yunus is to blame. He admits this and states that if he is thrown overboard, the storm will cease. The sailors refuse to do this and continue rowing, but all their efforts fail and they are eventually forced to throw him overboard. As a result, the storm calms and the sailors then offer sacrifices to God. Yunus is miraculously saved by being swallowed by a large fish, in whose belly he spends three days and three nights. While inside the great fish, he prays to God in his affliction and commits to thanksgiving and to paying what he has vowed. God then commands the fish to vomit Yunus out.

The next names mentioned in lyrics are Ayyub, Yusuf and Yaqub. In the Jewish and Christian traditions, they are known as Job, Joseph and Jacob respectively.

ayyub ko shifa di
tujhko taras jo aaya
yusuf ko ek pal mein
yaqoob se milaaya

The name of Ayyub is also present in the list of Prophets in the Qur’an.  He is described as a righteous servant of Allah, who was afflicted by suffering for a lengthy period of time. It is the time when Satan is trying to turn Ayyub away from God. However, Ayyub never lost faith in God and forever called to Him in prayer, asking Him to remove his affliction.  The narrative goes on to state that after many years of suffering, God ordered Job to “Strike with thy foot!”. At once, Job struck the ground with his foot and God caused a cool spring of water to gush forth from the Earth, from which Job could replenish himself. The Qur’an states that it was then that God removed his pain and suffering and He returned Job’s family to him, blessed him with many generations of children and granted him great wealth.

Yusuf (Joseph) is the son of Yaqub (Jacob). Yaqub had twelve sons who are the ancestors of the twelve tribes of Israel. Yusuf was the eleventh son. Of all the siblings, Yusuf was the one given the gift of prophesy. He reveals one prophecy to his father, Yaqub, who recognizes it and understands the gift this child has. He foresees that Yusuf would be one through whom the prophecy of his grandfather, Ibrahim (Abraham), would be fulfilled, in that his offspring would keep the light of Abraham’s house alive and spread God’s message to mankind. In addition for being very handsome, Yusuf was of gentle temperament. He was respectful, kind and considerate. Yusuf becomes the favorite son of Yaqub, much to envy and anger of his other brothers.

One day, the brothers hatch a conspiracy. They ask their father to let them take Joseph out to the desert to play and promise to watch him. Jacob, not thrilled with the idea knowing how much the brothers disliked Joseph, hesitates. But the brothers insist. When they have Joseph alone they throw him into a well and leave him there. They return with a blood stained shirt and lie that he had been attacked by a wolf, but their father does not believe them, as he was a sincere man who loves his son.

A passing caravan stops by the well, to draw water and quench their thirst. They see the boy inside. They retrieve him and sell him into slavery in Egypt, to a rich man, Al-‘Aziz. Yusuf is taken into Azīz’s home. Zulaikha, the wife of Al Aziz, is smitten by this young slave, and tries to seduce him. Yusuf does not succumb to her advances – when they are alone the vision of Yaqub appears to him, biting his fingers, and warning Yusuf not to become involved. Yusuf prays to God and says he would prefer to be in prison, than to face such circumstances. Al Aziz knows that Yusuf is innocent, but under influence from his wife, has Yusuf put into prison.

In course of time, inside the prison, Yusuf becomes known for interpretation of dreams. Based on a dream of a fellow prisoner, he foretells his release, which turns out to be true. The news reaches the king, who is seeking interpretation for his own recurrent dream. Yusuf is summoned to the court, and after listening to the dream, explains that the kingdom will enjoy seven years of plenty and prosperity, which will be followed by seven years of great famine. He adds that if the king ensures that enough is stored during the years of plenty, then the suffering in the years of famine will be avoided. The king is pleased to hear this. He orders release of Yusuf and makes him the keeper of warehouses in his kingdom.

Elsewhere in the region, people are suffering due to the famine. Yusuf’s brothers travel to Egypt in search of relief and food. They come to the kingdom, not knowing that Yusuf is a very important member of the king’s court. More events transpire. Yusuf meets his brothers, who fail to recognize him. After testing their sincerity, he reveals his true identity. The family is once again reunited, with Yusuf getting true respect and adoration from all his brothers.

One more name mentioned in the lyrics is that of Nuh, who is known as Noah in the Jewish and Christian traditions.

toofaan se tu ne yaarab
jab nooh ko bachaaya

Nuh is recognized in Islam as a prophet and apostle of God. According to the Islamic tradition, Nuh’s mission is to warn his people, who were plunged in depravity and sin. God charged Nuh with the duty of preaching to his people, advising them to worship only God and to live good and pure lives. Although he preached the Message of God with zeal, his people refused to mend their ways, leading to the Great Flood and the building of the Ark.

So we see, behind just the names mentioned in the verses, there are complete histories and narrations, which document important historical passages and events. That is just like reading and following the verses in the text ‘Vishnu Sahasranaam’. Each name of the Lord has a very important story behind it, and explains why the Lord is (also) known by this name.

[Acknowledgements: Material for the above write up has been adapted from various sources on the internet, including Wikipedia etc.]

Song – Ae Aasmaan Waale, Is Waqt Tu Kahaan Hai  (Ziarat Gahe Hind) (1970) Singer – Mohammed Rafi, Lyrics – Abdur Rab Chaush, MD – Mustafa-Yusuf

Lyrics

ae aasmaan waale

ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale. . .

aadam ko di muaafi
shaitaan ko sazaa di
takhte se daar ke bhi
isaa ki jaan bacha di
aadam ko di muaafi
shaitaan ko sazaa di
takhte se daar ke bhi
isaa ki jaan bacha di
har cheez pe tu qaadir
mukhtaar e do jahaan
is waqt tu kahaan hai
is waqt tu kahaan hai
ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale. . .

jis ne tujhe pukaara
usko amaan bakhshi
machhli ke pet mein bhi
yunus ki jaan bakhshi
jis ne tujhe pukaara
usko amaan bakhshi
machhli ke pet mein bhi
yunus ki jaan bakhshi
har haal mein tu apne
bandon pe meharbaan hai
is waqt tu kahaan hai
is waqt tu kahaan hai
ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale. . .

ayyub ko shifa di
tujhko taras jo aaya
yusuf ko ek pal mein
yaqoob se milaaya
ayyub ko shifa di
tujhko taras jo aaya
yusuf ko ek pal mein
yaqoob se milaaya
mushqil mein aaj tere
bandon ka karvaan hai
is waqt tu kahaan hai
is waqt tu kahaan hai
ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale. . .

toofaan se tu ne yaarab
jab nooh ko bachaaya
tere siwa hamaara
ab kaun hai khudaaya
toofaan se tu ne yaarab
jab nooh ko bachaaya
tere siwa hamaara
ab kaun hai khudaaya

hum ko bhi paar kar de
ye waqt e imtihaan hai
is waqt tu kahaan hai
is waqt tu kahaan hai
ae aasmaan waale
is waqt tu kahaan hai
ujda hua chaman hai
barbaad aashiaan hai
ae aasmaan waale

ae aasmaan waale. . .

ae aasmaan waale. . .

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

ए आसमान वाले

ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले॰ ॰ ॰

आदम को दी मुआफी
शैतान को सज़ा दी
तख्ते से दार के भी
ईसा की जाँ बचा दी
आदम को दी मुआफी
शैतान को सज़ा दी
तख्ते से दार के भी
ईसा की जाँ बचा दी
हर चीज़ पे तू क़ादिर
मुख्तार ए दो जहाँ है
इस वक़्त तू कहाँ है
इस वक़्त तू कहाँ है
ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले॰ ॰ ॰

जिसने तुझे पुकारा
उसको अमान बख्शी
मछली के पेट में भी
युनूस की जाँ बख्शी
जिसने तुझे पुकारा
उसको अमान बख्शी
मछली के पेट में भी
युनूस की जाँ बख्शी
हर हाल में तू अपने
बंदों पे मेहरबाँ है
इस वक़्त तू कहाँ है
इस वक़्त तू कहाँ है
ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले॰ ॰ ॰

अय्यूब को शिफ़ा दी
तुझको तरस जो आया
युसुफ को एक पल में
याक़ूब से मिलाया
अय्यूब को शिफ़ा दी
तुझको तरस जो आया
युसुफ को एक पल में
याक़ूब से मिलाया
मुश्किल में आज तेरे
बंदों का कारवां है
इस वक़्त तू कहाँ है
इस वक़्त तू कहाँ है
ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले॰ ॰ ॰

तूफ़ान से तूने यारब्ब
जब नूह को बचाया
तेरे सिवा हमारा
अब कौन है खुदाया
तूफ़ान से तूने यारब्ब
जब नूह को बचाया
तेरे सिवा हमारा
अब कौन है खुदाया
हमको भी पार कर दे
ये वक़्त ए इम्तिहान है
इस वक़्त तू कहाँ है
इस वक़्त तू कहाँ है
ए आसमान वाले
इस वक़्त तू कहाँ है
उजड़ा हुआ चमन है
बर्बाद आशियाँ है
ए आसमान वाले

ए आसमान वाले॰ ॰ ॰

ए आसमान वाले॰ ॰ ॰


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3891 Post No. : 14926 Movie Count :

4076

Missing Films of 1960s – 95
– – – – – – – – – – – – – – –

We come to a very interesting episode of this series. The film I pick for today is ‘Koi Ghulam Nahin’ from 1970. The Geet Kosh listings say that the film has 6 songs, and all of them have been released on 78 rpm gramophone records. As I checked my own collection, I find that all the six songs are available. Just to check, I also went online and discovered that two songs are available on the YouTube. And very interestingly, one of them turns out to be a video. And a very interesting video at that. The song is sung by Rafi Sb, and is performed on screen by MG Ramachandran (MGR), the super star of South Indian cinema.

This heightened my curiosity, and I did some more research. It turns out that MGR has appeared in 13 Hindi films (1 unreleased), between 1951 and 1980. On a hunch, I checked out the production banners. It turns out that for all these 13 films, the production houses are/were located in Madras (now Chennai). So one inference that can be drawn is that all these 13 films might well have been bilingual films, or that they are originally films produced in South Indian language and then dubbed into Hindi.

Since we are dealing with the 1960s, I checked out the other MGR films in this decade. And I find that other than ‘Baghdad’ (1961), for the other MGR films in this decade, viz. ‘Hamen Bhi Jeene Do’ (1962), ‘Meri Bahen’ (1962), ‘Raj Mahal’ (1963), and ‘Nartaki Chitra’ (1965), the songs are not traceable and not available. A possible explanation can be that for these bilingual or dubbed films, no songs were released on gramophone records. And that their video prints are not available too.

Today’s film, ‘Koi Ghulam Nahin’, is produced under the banner of MGR Pictures, madras and is directed by K Shankar. The star cast is listed as MG Ramchandran, Ashokan, Manohar, Chandra Babu, Cho, Jaylalita, Pandhari Bai, Jyotilakshmi, and Baby Rani. The songs are written by Saraswati Kumar Deepak and the music is by SN Tripathi.

Today’s song, is an ode in the praise of the ‘mother’. In the video clip, we can see MGR lip syncing this song sung by Rafi Sb. The lip syncing, as well as in some ways, the odd arrangement of Hindi words in the lines of the song, well indicates the possibility of dubbing, and / or force fitting Hindi lyrics to the tune of a song originally in a South Indian language.

In the video clip, we also see a lady dressed in white, as the song progresses. I don’t want to hazard a guess, and I request other knowledgeable friends and readers to help identify this actress.
[Note: Dr Pradeep Shetty has informed that this actress is Pandhari Bai.]

Today, March 14th, also happens to be the birth anniversary of music director SN Tripathi. This song also makes that anniversary connection for today.

Song – Gaa Re Gaa Mann Aaj Yahi  (Koi Ghulam Nahin) (1970) Singer – Mohammed Rafi, Lyrics – Saraswati Kumar Deepak, MD – SN Tripathi

Lyrics

gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi

jeevan deti hai maa
ganga maiyyaa si hai maa
jeevan deti hai maa
ganga maiyyaa si hai maa
wo hi karey pratipal
dharam ki rakhwaar
dharti ki mamta ka hai vishwaas
wo hi karey pratipal
dharma ki rakhwaar
dharti ki mamta ka hai vishwaas
gaa re gaa mann aaj yahi

tu hi amrit hai maa
jag ko nit deti hai vishwaas
tu hi amrit hai maa
jag ko nit deti hai vishwaas
jag mein agar maa
na milti tum
kaun mere mann mein karta niwaas
gaa re gaa mann aaj yahi

prem jyoti hai maa
tu hi pooja ki devi hai maa
prem jyoti hai maa
tu hi pooja ki devi hai maa
miley mujhe baar baar
madhur madhur maa ka pyaar
maa se bujhi hai mere maan ki ye pyaas
miley mujhe baar baar
madhur madhur maa ka pyaar
maa se bujhi hai mere maan ki ye pyaas
gaa re gaa mann aaj yahi

aadi ant mein tu hai
maa nyaye mein neeti mein tu hai
aadi ant mein tu hai
maa nyaye mein neeti mein tu hai
jis ne diya hai pyaar
aas ki jo bahaar
mili aaj aisi mahashakti
jis ne diya hai pyaar
aas ki jo bahaar
mili aaj aisi mahashakti

arre gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi

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

गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश
गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश

जीवन देती है माँ
गंगा मैय्या सी है माँ
जीवन देती है माँ
गंगा मैय्या सी है माँ
वो ही करे प्रतिपाल
धरम की रखवार
धरती की ममता का है विश्वास
वो ही करे प्रतिपाल
धरम की रखवार
धरती की ममता का है विश्वास
गा रे गा मन आज यही

तू ही अमृत है माँ
जग को नित देती है विश्वास
तू ही अमृत है माँ
जग को नित देती है विश्वास
जग में अगर माँ
ना मिलती तुम
कौन मेरे मन में करता निवास
गा रे गा मन आज यही

प्रेम ज्योति है माँ
तू ही पूजा की देवी है माँ
प्रेम ज्योति है माँ
तू ही पूजा की देवी है माँ
मिले मुझे बार बार
मधुर मधुर माँ का प्यार
माँ से बुझी है मेरे मन की प्यास
मिले मुझे बार बार
मधुर मधुर माँ का प्यार
माँ से बुझी है मेरे मन की प्यास
गा रे गा मन आज यही

आदि अंत में तू है
माँ न्याय में नीति में तू है
आदि अंत में तू है
माँ न्याय में नीति में तू है
जिसने दिया है प्यार
आस की जो बहार
मिली आज ऐसी महाशक्ति
जिसने दिया है प्यार
आस की जो बहार
मिली आज ऐसी महाशक्ति

अरे गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश
गा रे गा मन आज यही


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3890 Post No. : 14924 Movie Count :

4075

Missing Films of 1960s – 94
– – – – – – – – – – – – – – –

With every episode, we are closing in on clearing all the pending and available films for representation here on our blog. Today, we bring on the 1969 film ‘Pyaar’.

The word ‘Pyaar’ is likely to be one of those which are probably the most used in film titles. I have not done the search, but yes, it would be very interesting to take out a statistics on how many films have this word in their title. That being an interesting exercise in itself, I would take this to the next level – to check how many films are titled simply ‘Pyaar’. In the first five volumes of Geet Kosh, i.e. 1931 to 1980, there have been three films which are so titled. The years are 1940, 1950 and 1969.

The 1969 ‘Pyaar’ is produced under the banner of Film Makers, Calcutta, and is directed by Prahlad Sharma. The cast of actors includes Soma Salkar, Suraj, Sangeeta, Prem, Kavita, Biren, Shekhar, Alka, Jahar Rai, Baby Samli Rai, and Pandit Natwar etc. Geet Kosh lists 6 songs for this film, all of them from the pen of Prahlad Sharma (the director himself). Music is from the mind of V Balsara.

This particular song is a solo sung by Rafi Sb. The hero is trying impress upon his heart throb, not to walk away alone, but to be together. In the process, he tells her about the difficulties trying the negotiate the life’s passages alone.

With this post, we have now introduced 94 films that were earlier not represented on the blog. A few more films are yet waiting to be posted. 🙂

 

Song – Akad Ke Kahaan Chale Meri Jaan  (Pyaar) (1969) Singer – Mohammed Rafi, Lyrics – Prahlad Sharma, MD – V Balsara

Lyrics

akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

bada lamba jeevan ka safar
nahin manzil ki tumhen khabar
ghiregi toofaan mein kashti
milegi tumko nahin dagar
samjhi
hamen tum le lo apne saath
kinaare se lag jaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

zara aane do mast bahaar
aah haa
khiloge kaliyon se dildaar
aah haa
gulabi hothon ka pee zehar
marenge bhanwre roz hazaar
oh ho ho ho
hiran si aankhon mein le nasha
hamen madhosh banaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna . . . . gumaan

aji sun lo mere hamdam
nahin ye nakhron ka mausam
zamaane se hum do pyaase
badi hai donon or jalan
haaye
hamaare pehlu mein aao
yakeen hai pyaas bujhaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

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

अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान

बड़ा लंबा जीवन का सफर
नहीं मंज़िल की तुम्हें खबर
घिरेगी तूफाँ में कश्ती
मिलेगी तुमको नहीं डगर
समझी
हमें तुम ले लो अपने साथ
किनारे से लग जाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान

ज़रा आने दो मस्त बहार
आ हा
खिलोगे कलियों से दिलदार
आह हा
गुलाबी होठों का पी ज़हर
मरेंगे भँवरे रोज़ हज़ार
ओ हो हो हो
हिरण सी आँखों में ले नशा
हमें मदहोश बनाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना ॰ ॰ ॰ ॰ गुमान

अजी सुन लो मेरे हमदम
नहीं ये नखरों का मौसम
जमाने से हम दो प्यासे
बड़ी हैं दोनों ओर जलन
हाए
हमारे पहलू में आओ
यकीं है प्यास बुझाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3885 Post No. : 14914

Our blog regulars have a whatsapp group. One of major hghlights of this group are the good morning mwessages and thoughts of the day by our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh. Nowadays ourinhouse rocket scientist Gajendra Khanna has also started sharing thoughts of the day in the morning.

I almost invariably find myself wholeheartedly agreeing with these thoughts of the day. I need not not them down for use, because I find that I already practice them. I share some of these messages with my wife that I think she needs.

Like these ones-

“Never stop doing little things for others. Sometimes, those little things occupy the biggest part of their hearts”

“Don’t let anyone’s ignorance, hate, drama or negativity stop you from being the best person you can be”

“Don’t permanently damage someone’s feelings just because you are temporarily upset”

“Leadership is not about ruling others, it is about showing others the right path”

“Motivation is what gets you started. Habit is what keeps you going”

“success also hurts when you do not have a loved one to congratulate you. Failure also looks beautiful when you have a loved one to support you”

“Challenges are what make life interesting and overcoming them is what makes life meaningful”

“Everything you need is already inside you. Do’t wait for others to light your fire. You have your own matches.”

“The real education is our attitude and behaviour with others. It defines our entire personality, no matter how qualified we are.”

“The height of candles may differ but they yield same brigtness. It is not your position but your ability that makes you shine”

“Respect is the most important element of your personality., It is like an investment whatever you give to others it will return to you with profit.”

“Everyone may not be nice. But there is something nice in everyone.Never keep a fixed image for anyone. because people act differently with different people.”

“If you light a lamp for someone else, it will also brighten up your path.”

“Silence is the best answer to someone who does not value your words”

“The pessimist sees difficulty in every opportunity. The optimist sees the opportunity in every difficulty.”

“People understand the true value of the right person only after they suffer from the wrong person”

“Love and kindness are never wasted. They bless the one who receives them, and they bless you (the giver).”

and many others.

Then there is this basic message that is hardwired into me- “Do unto others you would have them do unto you“. In other words, treat others with respect, and help them if you are in a position to. Because that is what I or anyone else expects from others.

It was day before yesterday (6 march 2019) when I was seated in my office chamber, when the door opened and I found a lady hesitantly asking if she could come in. Normally I expect a peon bring in a chit from the visitor where the name of the person is written (along with purpose of visit). But she obviously came in when no peon was at hand to stop her.

I had no idea if she was an employee or some outsider (like say a salesperson) but I allowed her to come in. She tried to explain what she wanted to say but she was not able to as she was unable to stop her from crying. But from the little she was able to speak and the paper she showed me, I was quickly able to find out that she was an employee of my place. She wanted to get herself transferred to another place. All the necessary approvals from competent authorities were obtained a few weeks ago. She needed to be relieved from the workplace so that she could join at her next place. But she was not getting relieved. The dealing clerk was telling her for the last three weeks that her case was “under process”. She wanted to get releved so that she could join her family. Her crying was mainly because of her young child who was away from her.

I tried to console her and asked her to get seated while I called for the dealer. It turned out that the dealer was not available. I asked the personal officer to come.

While I was waiting for the personal officer, I asked the lady how she was posted in this place while her family was elsewhere. She informed me that she had got her appointment here on compassionate ground as her father was an employee here and he had died while he was in service. Her husband was posted in Ranchi and her child was there with him there. Her old mother in law had to take care of the child while her husband went out on his work.

I tried to make her comfortable by telling her that I too had grown up in Ranchi though I have not been to that place for last 25 years. She asked where I studied. I informed her the name of my college and school, and also added that my school has now shifted to another location, whereas I had studied in this school when it was located in a location near Ranchi Railway station. She seemed to be aware of this place because she told me that her residence in Ranchi was in the same area of Ranchi where my school was earlier located.

I was feeling a bit nostalgic about Ranchi and would have talked some more about Ranchi but then the personal officer arrived. Iinformed him that the lady sitting there had applied for transfer to Ranchi and necessary permissions have already come three weeks back. The dealer is harassing her telling her that her case is under “process”. Please make sure that she is relieved within one hour.

I then turned to the lady and assured her that she would get relived and she should plan to leave for Ranchi on the same day.

She was barely able to belive her eyes. She did not belive that her work could get done so fast. She thanked me. I said it was alright. But she kept thanking me again and again. I told her that it was in my nature to help people and that is what I was doing now as well. She sought water. I asked her to walk into the adjacent room where she would get a glass of water. She went to the adjacent room and there I heard voices offering her water and consoling her telling her to get calmed and to compose herself.

After a while the personal officer brought me a file seeking my approval to get her relived. I signed the file silently. I did not remind him to quickly get it done with as that instruction was already given earlier.

In the second half, I wondered if the lady had received her relieving letter. I thought about enquiring from the personal officer. But before I could do that, I found the same lady entering my chamber informing me with glee that she had got her relieving letter. I expressed happiness that she had finally been relieved.

She left the chamber. I began to wonder when she would reach Ranchi. There is one direct train to Ranchi but that takes a very long semicircular route instead of taking a straight route and takes 24 hours. On checking on internet, I found that if one went to Varanasi (six hours journey) then there were lots of direct trains from Varanasi to Ranchi that took around ten hours to reach there. I was sure that people going to Ranchi, including the lady, may already be aware of this route.

I wondered whether I should have asked her for her travel plan, but then told myself that it was not needed. I had done her a good deed. She was quite broken and disconsolate when she had entered my chamber earlier in the morning. In the afternoon, she was a happy and relieved person, who was looking forward to get reunited with her family for all times to come. And I had made it possible for her. I was sure that lots of good words and blessings may have come my way behind my back. She may have phoned her family back home and may have informed them that she met me and she got her papers in a matter of hours. Not only she, even her family members back at Ranchi may have given their blessings to me.

That was two days ago. I am sure she must have arrived Ranchi by now and would have reported at her new place of posting in Ranchi. In a less sombre light, I wondered if she would visit the cricket ground to watch the ODI that is takng place at Ranchi today. Of course not. She would be too overwhelmed at the moment and she would be getting visited by her relatives and friends. And her young child must have felt mightily relieved and happy to see her mother.

In the evening, my wife called me on phone. It is her habit that she tells me daily about whatever happens in her workplace. She too had done some blessing worthy job in her workplace and she told me about that. I in turn informed her about my nek work. She felt happy as well. I was dreading at her next follow up question, but fortunately she did not ask that question. That question would have been- “You helped that lady get united to her spouse. When will you try to do the same for yourself as well ?” As things stand, she keeps reminding me every now and then that I should try and get myself transferred to MP. That is there in the rules as well-“If a spouse in in state service and another one in central service then the spouse in central service will apply to get transferred to the state where the other spouse in posted and the employer of the central government will try his best to post the central government employee to that state.”

My wife feels the need more than me, because she is a working lady herself. She needs my support and advice on his professinal work almost every day. At the same time, she is far more empowered and strong that most working ladies. So she is able to take care of herself in a far better manner that say the lady whom I helped. But the principles remain the same, of course. Now I shudder to think how she almost single handedly raised our daughter alone while I was posted at places different than her place. It helped though that I was posted in the same state while our daughter began to go to school. No matter what the situation, every child needs and deserves to ive with both of his/her parents.

I realised that today (8 march 2019) is women’s day. And in a way, I inadvertently gave a nice Women’s day gift to the lady. Today, I will be attending a Women’s day function in the office. I think that I may have already done something more worthwhile that mouthing a few platitutes in that gathering. And I feel quite satisfied and proud of myself.

On this occasion, here is a suitable song that tells us that we should do good for others because what we do to others comes back to us. The song is from “Khul Ja Sim Sim”(1956). The song is sung by Rafi (an appropriate singer for a song of this genre, if I must add). Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.

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


Song-Ye hai kaanoon uska jisne ye duniya banaai hai(Khul Ja Sim Sim)(1956) Singer-Rafi, Lyrics-Asad Bhopali, MD-Hansraj Bahl

Lyrics

aa aa aa
ye hai kaanoon uska
jisne ye duniya banaai hai
ye hai farmaan uska
jiski ye saari khudaai hai

o o o o
o o o
bhalaai kar bhala hoga
buraai kar bura hoga
bhalaai kar bhala hoga
buraai kar bura hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

isi duniya mein jannat hai
yahi duniya jahannum hai
agar aamaal achche hain
to phir kis baat ka gham hai
tere aamaalnaame se hi tera faisla hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

bhala hoga
aa aa
bhala hoga
aa aa aa

yahaan neki badi do raaste hain
gaur se sun le
tujhe jaana hai kis manzil pe
apna raasta chun le
kadam uthne se pahle soch le
anjaam kya hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga

bhala hoga
aa aa
bhala hoga
aa aa aa

gareebon ki madad kar
bekason ka saath deta ja
ye sauda naqad hai
is haath de is haath leta ja
wahi kaam aayega tere
jo toone de diya hoga
bhalaai kar bhala hoga
buraai kar bura hoga
koi dekhe na dekhe
par khuda to dekhta hoga


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

Blog Day : 3879 Post No. : 14902

Mohammed Rafi : The Incomparable (II) – Song No. 08
—————————————————

While I was writing the previous post of this series few days ago, I was maybe suffering from lack of motivation.  So I could not be very expressive and just tried to put together some random thoughts and to start the series again.

Today I am glad that somehow this series has begun again. Simply because I have spent this week in sharing with all those around me with some musical sense, a link I found on YouTube.  Sharing it because that is the only thing I could do short of shouting on rooftops that look what I have found.

Years ago I was a regular visitor http://www.mohdrafi.com.  I was just visiting and reading the various articles that were posted and sometimes making some comments.  Overtime that passivity was a bit tedious and the writings and articles there felt repetitive and somewhat amateurish.  It never inspired any inclination to be more active, though it is a very good site dedicated to the memory of Rafi Sb and full of information about him.

While being a Rafi fan myself, I have often wondered how can people be so over the top in praise and eulogies of some mortals, so as to call him God, Farishta and what not.  The fans of Rafi Sb are so so much – deewane and parwaane on him as if these words were coined for them only, if the readers know what I mean.

Whatsapp university tells me that a human mind can store or process 1 million billion bits of data in a lifetime.  In this same humble brain there are various tidbits of information stored by me too, some which has come to fore during this momentous week.  I have remembered that during the 70’s Rafi Sb used to go on a lot overseas tours to do stage shows.  And years ago I had/heard an audio cassette of one of these shows.  With the advent of YouTube the things and all type of rare and songs and videos became accessible.  Now I remember myself searching for the video clips of stage shows by Mohammed Rafi Sb.  And I found and saw small clips of these shows.  But I had not found any longish recording links of complete stage shows.  Over the years I stopped looking for those.  I can’t recall now when was the last time I really looked for this lost treasure.  I had may be subconsciously given up on ever finding any such thing. It was as if I had convinced myself that they don’t exist.

So It was while just browsing for more inspiring songs by Rafi Sb in the labyrinth of YouTube, I found this video recording of Rafi Sb’s live concert of 1979 at Montreal, Canada.  I was dumb founded that something like this has existed for the last 38 years without being uploaded anywhere and it has surfaced in July 2018.  It was a heaven sent gift for me and it has triggered all sort of memories of all that was there in the deep recess of my mind.  At first I really thought it just cannot be, a video recording of such significance being uploaded now, it was too good to be true.  It is of 1.15 hours.  Here is the link – Mohammed Rafi Live Concert Video – Montreal 1979

As I said above I just couldn’t believe that finally I am seeing something like this.  This is the first time something so comprehensive video is uploaded on the net.  It was a year before the end of the true Golden era of Hindi film music.  And how the maestro is performing, it is to be seen and heard to be believed.  And the singing gets better and better as song after song are getting rendered from his soul.  I have asked this question to many people I have shared the video with, that what do they think that he is singing from his throat, mouth or heart?  Some say that the throw of voice is phenomenal and someone said that this is just not possible to be so much more than the original soundtrack in live performance.

What can one say?  As some of the comments are surmising that “hamaari auqaat nahi hai ke Rafi sahaab ke baare mein kuch keh saken“.  What we can do is just listen to this incredible performance and thank the uploader of this best of the best generosity on his part.  This is a boon to Rafi fans like me 39 year after the event.  But one thing it creates is a hunger for more such recordings, which have started surfacing now.  Let us hope and pray the other such treasures are safe somewhere in the world and will surface in due course, in our lifetime.  I am truly humbled by the good fortune of being able to experience something like this.

Naushad Sb had this to say about Rafi Sb “aaj mausiqui ko tujh pe naaz hai“.  This has made me see that all this highest of high praises were showered on him by various peers and contemporaries were really heartfelt and never were they too much.  I rather think they felt speechless when contemplating what to say about Rafi Sb and took a short cut and called him God of music.

Someone has commented that Rafi Sb does not need the award of ‘Bharat Ratna’ rather the award needs Rafi Sb to mean something.  Not intending to be political, I can but agree with this.  More so with the history and the civilisation from which such a sur samraat has emerged.  Something else I have understood with this ethereal experience is that those who can deny the truth in the statement that “Rafi ko nahi suna to kya suna?” could do so because of their ignorance of the subject matter.

Today I am presenting a rare song by Rafi Sb from the film ‘Duniya Hai Dilwaalon Ki’ (1966).  Music is by Jimmy (aka James Singh) and the lyricist of this qawwali is Anjum Jaipuri.  As can be expected it is a delightful qawwali containing a repertoire of mumbaiyya terminology.  They could have used this one in ‘Munna Bhai MBBS’ series too.

And there is the ‘whistle sound’ in the middle of singing.  Rafi Sb has done this in the live concert too, i.e. whistled in the middle of the Punjabi song and then continued to sing in the same breath.  Unbelievable, that the microphone is able to capture the bass and the echo in the words that are falling from the mouth like precious jewels in a free fall in a hall full of people watching.  Yes there is that ‘goonj‘ in the words as they are resonating from the mike, and the sound of the end of the earlier word still can be head even as he starts the next word.  This is the only explanation of the sound of the word already sung and the start of the next word at the same time.  May be this happened with others also, I don’t know.

The simplicity, humbleness of the person while acknowledging the applause.  The only concession to any showmanship on Rafi Sb’s part is the formal attire, which has to be more as a form of respect for the audience than anything else.  His God gifted ability is there for all to see.  I can empathise with the people who were part of the recording studio set up, witnessing the phenomenal singing day in and day out for all those years, for being in so much in awe of the personality so as to call him God.

Anyways , all we can do is listen and try not to faint with the awesomeness of it all.  And thank the Almighty God for blessing us with this gift just as he blessed Rafi Sb.


Song – Ye To Qismat Hai, Meri Jaan Varna (Duniya Ha Dilwaalon Ki) (1966) Singer – Mohammed Rafi, Lyrics – Anjum Jaipuri, MD – Jimmy
Chorus
Unidentified Male Voice

Lyrics

koyi kuchh bhi kahe pyaare
magar yeh baat pakki hai..ea..eaaaaaaa
yahaan aata hai wo jis per
koyi ilzaam hotaa hai 
haa aaan 
sabab koyi..ee..eeee
na koyi thhaa 
jo yun khinch kar
chale..ea aaye

yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

yaar apna ik imaamudeen thha
manchala thha aur bahot shauqeen thhaa
haan aaan
saathh choupaati gaye ham ghoomne
arey husnwaalon par lagaa woh jhoomne
to phir
kabhi ladki ko yoon bulaata thha
dheere dheere seeti bajaata thha
(whistle sound)
dheere dheere seeti bajaata thha
ganga jamuna ke gaane gaata thha
raj ki tarha muskuraata thha
ek ladki jo zaraa…
ek ladki jo zara jaadi thhi
pehne huey wo kaali saadi thhi
us ki aankhon mein deep jalte thhe
dekhnewaale aankhen malte thhe
raat soyee thhi us ke baalon mein
chaand hansta thha gore gaalon mein
aayi shaamat usey salaam kiyaa
us ne chappal se apni kaam liyaa
haan aaan
chhed khaani ka mazaa mehenga pada
aur ham ko pyaare
jail mein aana pada
ho ho hoo
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

dhoka diya naseeb ne
ban kar bigad gayaa
haay haay hai
arey kadke ki jeb mein
jo mera haath pad gaya
to phir
khol ke dekha paakit khaali thha
paakit wala bhi khud sawaali thha
band kaaghaz mein dil ki tehreeren
husnwaalon ki chand tasweeren
apni qismat ke rang aise thhe
ek sigret thhi chaar paise thhe
chaar paison mein guzar kab hotee
husnwaalon ki nazar kab hotee
inhen daulat se pyaar hota hai
in ki balaa ke koi rota hai
aaya gussa to paakit phaink diya
paakit waale ne mujh ko dekh liya..aa
haan aan
bhaagnaa chahaa magar main gir pada
jaise uttha muhn pe ek thappad padaa
haan aan 
apne peshe se huyi nafrat mujhe 
jail mein karni padi kasrat mujhe
ho ho 
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai
meri jaan 

aa aaa aaaa aaaa
aa aaaa aaa
haan aan
baap zinda thha
bohat aaraam thha
ghar mein apna ramchander naam thha
aur ab
hamen ab ramu dada kehte hain
chaal mein gangu ki hum rehte hain
tezi mandi ka dhanda hota thha
apni masti mein banda sota thha
yun hi phokat mein kaam chalta thha
kaale ghode tak naam chaltaa thha
dil mein chaahat thhi badi sehre ki
aane waali thhi ghadi sehre ki ee
haan aan 
maa qasam apna yeh dil kaala nahin 
doston ki baat ko talaa nahin
haan aan
laaye ismuggling ka sona chaal mein
raamchander ko phasaaya jaal mein

haa..aan
o yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
yeh to qismat hai 
meri jaan varnaa
kaun apni khushi se aaye yahaan
daane daane pe
naam hota hai
wo hi daane hamen le aaye yahaan
yeh to qismat hai 
meri jaan 

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

कोई कुछ भी कहे प्यारे
मगर ये बात पक्की है॰॰ए॰॰ए॰॰ए
यहाँ आता है वो जिस पर
कोई इल्ज़ाम होता है
हाँ॰॰आं
सबब कोई॰॰ई॰॰ई
ना कोई था
जो यूं खिच कर
चले आए

ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

यार अपना इक इमामुद्दीन था
मनचला और बहोत शौकीन था
हाँ॰॰आं
साथ चौपाटी गए हम घूमने
अरे हुस्न्वालोन पर लगा वो झूमने
तो फिर
कभी लड़की को यूं बुलाता था
धीरे धीरे सीटी बजाता था
(सिटी का स्वर)
धीरे धीरे सीटी बजाता था
गंगा जमुना के गाने गाता था
राज की तरह मुसकुराता था
एक लड़की जो ज़रा॰॰॰
एक लड़की जो ज़रा जाड़ी थी
पहने हुए वो काली साड़ी थी
उसकी आँखों में दीप जलते थे
देखनेवाले आँखें मलते थे
रात सोई थी उसके बालों में
चाँद हँसता था गोरे गालों में
आई शामत उसे सलाम किया
उसने चप्पल से अपनी काम लिया
हाँ॰॰आं
छेड़खानी का मज़ा महंगा पड़ा
और हम को प्यारे
जेल में आना पड़ा
हो हो हो॰॰ओ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

धोखा दिया नसीब ने
बन कर बिगड़ गया
हाय हाय हाय
अरे कड़के की जेब में
जो मेरा हाथ पड़ गया
तो फिर
खोल के देखा पाकिट खाली था
पाकिट वाला भी खुद सवाली था
बंद काग़ज़ में दिल की तहरीरें
हुस्न्वालोन की चंद तस्वीरें
अपनी किस्मत के रंग ऐसे थे
इक सिगरेट थी चार पैसे थे
चार पैसों में गुज़र कब होती
हुस्नवालों की नज़र कब होती
इन्हें दौलत से प्यार होता है
इनकी बला से कोई रोता है
आया गुस्सा तो पाकिट फेंक दिया
पाकिट वाले ने मुझे देख लिया॰॰आ
हाँ॰॰आं
भागना चाहा मगर मैं गिर पड़ा
जैसे उठा मुंह पे एक थप्पड़ पड़ा
हाँ॰॰आं
अपनी पेशे से हुई नफरत मुझे
जेल में करनी पड़ी कसरत मुझे
हो हो
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ

आ आs आss आss
आ आss आs
हाँ॰॰आं
बाप ज़िंदा था
बोहत आराम था
घर में अपना रामचंदर नाम था
और अब
हमें अब रामू दादा कहते हैं
चाल में गंगू की हम रहते हैं
तेज़ी मंडी का धंधा होता था
अपनी मस्ती में बंदा सोता था
यूं ही फोकट में काम चलता था
काले घोड़े तक नाम चलता था
दिल में चाहत थी बड़ी सेहरे की
आने वाली थी घड़ी सेहरे की॰॰ई
हाँ॰॰आं
माँ कसम अपना दिल काला नहीं
दोस्तों की बात को टाला नहीं
हाँ॰॰आं
लाये इस्मग्लिंग का सोना चाल में
रामचंदर को फसाया जाल में

हाँ॰॰आं
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
ये तो किस्मत है
मेरी जाँ वरना
कौन अपनी खुशी से आए यहाँ
दाने दाने पे
नाम होता है
वो ही दाने हमें ले आए यहाँ
ये तो किस्मत है
मेरी जाँ


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

Blog Day : 3875 Post No. : 14896

Hullo to all in Atuldom

I love masala movies as much as I love movies which are close to reality. I am of the opinion that movies should make us forget our daily tensions as much as entertain us. There were a few movie makers during my growing up years whose films were a must-see for my parents as they were entertaining as well as showed middle-class families and their ways. These movies were generally targeted towards family audiences – ‘Khoobsurat’ (1980), ‘Golmaal’ (1979), ‘Baaton Baaton Mein’ (1979), ‘Khatta Meetha’ (1977), ‘Chupke Chupke’ (1975) etc fell in this category and I must thank Hrishikesh Mukherjee, Basu Chaterjee for these gems.

Then there were these absolute entertainers which needed us to keep “logic at home” before going to see them. Else how does one explain the story of a pair of twins one of whom looks much older than the other -‘Dharam Veer’ (1977) and ‘Suhaag’ (1979). How does one explain the jumps in the climax; the heroes begin punching the villains on board a ship – belonging to a Rajput clan- that is anchored at sea but sing romantic songs and songs of friendship in the environs of Kashmir (in ‘Dharam Veer’). Or the heroes are following the villain who has kidnapped their mother through the streets of Mumbai on the way to the Juhu airport (which used to be where people parked their private aircrafts formerly) but strangely the streets look like some foreign land – turns out it was Singapore!! But when the climax scene is getting over, and the villains meet their final fate, all the places that Mumbaikars are familiar with make an appearance on the screen (in ‘Suhaag’).

Now ‘Suhaag’ and ‘Dharam Veer’ are two movies which I must have seen a number of times (have lost count) in spite of all these glaring ‘logic-less-ness’ (I know there is no such word in English language). There are a few other movies which fall under the ‘entertainer without logic’ category- ‘Chacha Bhatija’ (1977), ‘Parvarish’ (1977), ‘Naseeb’ (1981), ‘Desh Premee’ (1982), ‘Coolie’ (1983), ‘Mard’ (1985) – which I have seen about 100 times (not exaggerating). And it seems the maker of these Mr. Manmohan Desai had the confidence that his audience will lap it all up without questions.

In recent times I have been seeing these series of videos on YouTube wherein Amitabh Bachchan (the permanent fixture in most of the above-mentioned Manmohan Desai movies) in company of Rishi Kapoor was relating how they enacted all those scenes, as directed by Manji (Manmohan Desai’s pet name apparently) even if they were not personally convinced that there was any logic in the scene. The duo specially drew attention to the “mother of all logiclessness” scene – three people lying in a row and donating blood to an accident victim. Now there is nothing illogical in three people donating blood; but blood from the three being collected into a single bottle? And a single tube carrying blood to the patient!!! And has anyone heard of the blood group of RH. Also, Amitabh pointed out how Manji thought the villains were brainless as they could not see through the disguise of 3 people who have gate-crashed into a wedding and singing on top of their voices – ‘Amar Akbar Anthony’.

Anyway, such were the movies of Manmohan Desai in the 70s. He started making movies in the 60s with ‘Chhalia’ (1960) being his directorial debut. Which was followed by ‘Bluffmaster’ (1963), ‘Budtameez’ (1966), ‘Sachaa Jhootha’ (1970), ‘Kismat’ (1968) etc. Of the 20 films he made in a career span of 29 years 13 were successful. He had writers like Kadar Khan, KK Shukla, Prayag Raj, Salim Javed, Anand Bakshi, Sahir, Qamar Jalalabadi, Gulshan Bawra and Shailendra pen the stories and songs for these movies. He had also worked with Kalyanji Anandji, Laxmi Pyare, RD Burman and Anu Malik for music direction in his movies.

Today’s post is to remember the magic of Manmohan Desai on his 82nd birth anniversary and what better song than the one that shows his logical thinking. One patient getting blood from three donors all at once. 🙂


Song-Khoon khoon hota hai paani nahin (Amar Akbar anthony)(1977) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

maa sirf nataa nahin
yeh kuch aur bhi hai
maa se bichad ke bhi
ye toot jaata nahin
yeh sach hai koi kahaani nahin
aaa aa aaa aaa aa 
yeh sach hai koi kahaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

aaa aa aaa aa

phoolon ki pehchaan hai rangon boo se
pehchaane jaate hain insaan lahoo se
insaan lahoo se
haan isse badi kuchh nishaani nahin
aaa aa aaa aa
haan isse badi kuch nishaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

aaa aa aaa aaa aaaaa aaa
aaaa aaaa aaa aaa aa 

ye khoon jis ne paida kiya hai
wo doodh maa ka sab ne piya hai,
sab ne piya hai
kya is ki keemat chukaani nahin
aaa aa aaa aa
kya iski keemat chukaani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin
khoon khoon hota hai paani nahin

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

माँ सिर्फ नाता नहीं
ये कुछ और भी है
माँ से बिछड़ के भी
ये टूट जाता नहीं
ये सच हैं कोई कहानी नहीं
आs आ आs आs आ
ये सच हैं कोई कहानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं

आs आ आs आ

फूलों के पहचान है रंग ओ बू से
पहचाने जाते हैं इनसां लहू से
इनसां लहू से
हाँ इससे बड़ी कुछ निशानी नहीं
आs आ आs आ
हाँ इससे बड़ी कुछ निशानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं

आs आ आs आs आsss आs
आss आss आs आs आ

ये खून जिसने पैदा किया है
वो दूध माँ का सबने पिया है
सबने पिया है
क्या इसकी कीमत चुकानी नहीं
आs आ आs आ
क्या इसकी कीमत चुकानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं
खून खून होता है पानी नहीं


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

Blog Day : 3874 Post No. : 14895

Mohammed Rafi : The Incomparable (II) – Song No. 07
—————————————————

I remember during the radio days, whenever a non filmy song programme would start, we would shut down the radio.  Now it was time to play or to do some study seriously or even watch TV.  The time for all of these things was limited.  Entertainment was available only on its time with fixed hours and no more, because even if we were free the friends will be called home and play time was over.  Time spend with friends in the colony playing or just doing gup-shup was precious.

One Doordarshan showed, programs in English, Marathi and Gujarati in variety of topics, kids shows, game & sports, filmy shows, quiz shows, songs etc.  There used to be a program even for farmers called ‘Aamchi Maati Aamchi Manasa” (Our Soil and Our People).  Childrens shows such as ‘Aao Maare Saathe’ and ‘Santa Kukdi’ are there in the memory.  Shows like Sabira Merchants ‘Whats the Good Word’ and Tabassum’s ‘Phool Khile Hain Gulshan Gulshan’ and some shows by Yaqub Saeed are also in the recesses of deep memory.

Now everything is available anytime anywhere, with no fixed hours.  Unlimited everything and I am back to the same theme of technology being good, but too much dependence on it is not so good.  Its advancement are there for the human use, but what is happening all around is the other way round.  The technology of internet /wi-fi is occupying the total collective human waking time and imagination.  In fact there is nothing left to imagination, all of it is on display, so to speak.

Now back to what I was saying in the first paragraph.  So sugam sangeet and anyhting non-filmy was a no-go zone as far as I can remember.  I think it was my older sister who found those geet/songs drama shows like ‘Hawal Mahal’ etc. boring.  So Vividh Bharati and All India Radio Urdu Service, both were only used to … listen to film songs. 🙂  Now I realise that this way I missed out on the non-film songs of various singers including those of Rafi Sb.  Even Radio Ceylon was only for Binaca Geet Mala, and nothing else.  So I had zero exposure of non film songs till those private videos started on television, for popularising the private music albums.  Since my association with the blog I have learnt to appreciate the non-film songs and geets a lot better.

This post is to revive a series on Rafi Sb which I had started in 2016. The last post (no. 6) appeared in the blog on 31.07.2016, which was song No. 06 – Hum To Chale Pardes Hum Pardesi Ho Gaye.

Now his song no. 07 is a non-film ghazal which is written by Mirza Ghalib and composed by Khayyaam Sb.  And rendition is by the one and only Rafi Sb.  This is taken from the LP ‘Ghalib – Portrait of a Genius’, which was released by HMV in 1968 on the occasion of the birth centenary celebrations of this poet genius.

This is a popular ghazal and there are many renditions by other singers too.  They seem to have been circumspect in selecting the ‘asha’ar’ to include in the rendition as have Khayyaam and Rafi Sb.  This ghazal was made popular also by Gulzar Sahab, when he used a sha’ir from this ghazal for the mukhda of the song ‘Dil Dhoondta Hai Phir Wohi‘ in ‘Mausam’ (1975).

About the rendition what can one say that has not been said before.  Words are inadequate as the listeners can listen and realise.


Song – Muddat Hui Hai Yaar Ko Mehmaan Kiye Huye (NFS) (1968) Singer – Mohammed Rafi, Lyrics – Mirza Ghalib, MD – Khayyaam

Lyrics

muddat hui hai yaar ko mehmaan kiye huye..ea
josh-e-qadah se bazm charaghaan kiye huye..ea
muddat hui hai yaar ko. . .

maange hai phir kisi ko lab-e-baam par hawas 
maange hai phir kisi ko lab-e-baam par hawas 
zulf-e-siyaah rukh pe pareshaan kiye huye..ea
zulf-e-siyaah rukh pe. . .

ik nau bahaar-e-naaz ko taake hai phir nigaah
chehra farogh-e-mai se gulistaan kiye huye..ea
chehra farogh-e-mai se. . .

ji dhoondhtaa hai phir wohi fursat ke raat din
ji dhoondhtaa hai phir wohi fursat ke raat din
baitthe rahe tasavvur-e-jaanan kiye huye..ea
baitthe rahe tasavvur-e. . .

‘Ghalib’ hamen na chhed ke phir josh-e-ashk se..ea
baitthe hain ham tahaiyya-e-toofan kiye huye..ea

muddat hui hai yaar ko mehmaan kiye huye..ea..ea

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

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए
जोश ए क़दाह से बज़्म चरागां किए हुये॰॰ए
मुद्दत हुई है यार को॰ ॰ ॰

मांगे है फिर किसी को लब ए बाम पर हवस
मांगे है फिर किसी को लब ए बाम पर हवस
ज़ुल्फ ए सियाह रुख पे परेशान किए हुये॰॰ए
ज़ुल्फ ए सियाह रुख पे॰ ॰ ॰

इक नौबहार ए नाज़ को ताके है फिर निगाह
चेहरा फ़रोग़ ए मय से गुलिस्ताँ किए किए हुये॰॰ए
चेहरा फ़रोग़ ए मय से॰ ॰ ॰

जी ढूँढता है फिर वही फुर्सत के रात दिन
जी ढूँढता है फिर वही फुर्सत के रात दिन
बैठे रहे तसव्वुर ए जानां किए हुये॰॰ए
बैठे रहे तसव्वुर ए॰ ॰ ॰

ग़ालिब हमें ना छेड़ के फिर जोश ए अश्क से॰॰ए
बैठे हैं हम तहइय्या ए तूफाँ किए हुये॰॰ए

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए॰॰ए


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3868 Post No. : 14886

“Chhota Bhai”(1966) was directed by K P Atma for Olympic Pictures. This typical tear jerker movie had Rehman, Nutan, Master Mahesh Kumar, Lalita Pawar, Randhir, Lata Sinha, Sulochana Chatterji, Kammo, Chandrima Bhaduri, Brahm Bhardwaj, Baldev Mehta, Sadhu Singh, Abu Bakar, Ghulam, Master Anwar etc in it.

This movie had six songs in it. One song from this movie has been covered in the blog. That song was the 3000th song for the blog and 1000th song for Lata Mangeshkar in the blog.

That was on 20 september 2010. It comes as a great surprise to me that no other song from this movie has been discussed in the blog for more than eight years.

Here is the second song from “Chhota Bhai”(1966). This song is sung by Rafi. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

This song is picturised as a calamity song on a kid and an elderly man, with the elderly man rowing a boat to safety with the kid with him. I request our knowledgeable readers to help identify the artists seen in the picturisation of this song.

This song is the 400th song from the movies of 1966 in the blog.


Song-Raam tu sab ka rakhwaala (Chhota Bhai)(1966) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

raam
tu sabka rakhwaala
raam
tu sabka rakhwaala
jab jab bhi ye man ghabraaya
jab jab bhi ye man ghabraaya
toone aan sambhaala
ho o raam
tu sabka rakhwaala

soone aangan dwaar sajaa de
soone aangan dwaar sajaa de
hamri bigdi baat banaa de
muskaanen waapas lautaa de
lene waala tu na kehla
lene waala tu na kehla
tu hai dene waala
ho o raam
tu sabka rakhwaala
raam
tu sabka rakhwaala

o o o
o o o o
aa aa aa
aa aa aa

ye vishwaas ki jyot jagaaye
ye vishwaas ki jyot jagaaye
hum tere mandir mein aaye
aas ka deepak toot na jaaye
ye andhiyaari rain churaa ke
ye andhiyaari rain churaa ke
le na jaaye ujaala
ho o raam
tu sabka rakhwaala
jab jab bhi ye man ghabraaya
jab jab bhi ye man ghabraaya
toone aan sambhaala
ho o raam
tu sabka rakhwaala
raam
tu sabka rakhwaala


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14995

Number of movies covered in the blog

Movies with all their songs covered =1167
Total Number of movies covered =4104

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