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

Archive for the ‘Remonstrating with the Almighty’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4454 Post No. : 15922

Today’s song is from the film Dost-54. There were films made with this title in 1944, 1954,1974,1989 and 1990. There were 17 films with the word Dost in their titles. Film Dost had 7 songs. 6 songs are already discussed here, but one song was not available for a long time. Now that is available and today’s song will qualify the film to become YIPPEED !

This is a Male-Male duet, sung by S.Balbir and S.Kapoor. Balbir is a known singer, but I do not know anything about this S Kapoor. He also acted in this film. The cast of the film was Usha Kiran, Suresh, Majnu, Randhir, Uma Dutt, Kammo, Mohana, S Kapoor, S Nazir and others. Actually actor Om prakash is also acting in this film. The film poster shows his name as well as photo. However, HFGK does not show his name in the cast. Such instances are not uncommon. Even in the film “1857” of 1946, the hero was Surendra, but his name was missing from the cast. Surendra had also sung one solo and one duet in the film.

Of course, the task of compiling HFGK was a mammoth one, so such small errors were seen sometimes. I find that only the HFGK volume II covering the 40’s decade has such instances and also in this volume, the cast names of films are few, giving a feeling that it is an incomplete cast detail. In all other volumes the cast is given almost fully. But these matters are understandable. The 40’s decade was a highly disturbed one. What with the second world war, independence, migration of artistes and the Partition. No wonder, material from this decade must have been difficult to gather.

Majnu was one of the actors in the cast. Majnu was not his real name. His real name was Harold Lewis-a Punjabi Christian. He was a close friend of producer Director Roop K Shorey. Shorey made a film “Majnu-1935″ and Harold was the Hero. The film was a Parody of the Laila – Majnu story. There were many fighting scenes in it and in one scene, Majnu is tied up to Railway Tracks. This film became very popular and the people started calling him majnu. He too liked it and continued with this name for life. In Hindi films, this is the only case where the actor is permanently named after his first role.

In the South film industry, I know of at least two Prominent actors, who were named forever, based on their first role or the company they worked for. First was actor Villupuram Chinnaiah Manrayar Ganesamoorthy, who started his career by acting in stage dramas. His first drama ” Shivaji kanda Hindu Rajyam”, featuring him in the role of Shivaji, became a Hit and so popular that the great social reformer E V Ramsamy conferred on him the name ” Sivaji “. He became SIVAJI GANESAN.

The second case was that of actor Ganapati Subramanian Sarma. He was a graduate in those early days of cinema. He joined Gemini Studiosas a Production Executive and from here he did a small role in Gemini’s film ” Miss Malini”-1947. Since there was already another ganesan in south films, this actor was called GEMINI GANESAN, as he was working in Gemini’s film.

Coming back to Majnu – MAJNU-Harold Lewis was a Punjabi Christian. He was born on 2-11-1913. He was the childhood friend of Roop K.Shorey. When Shorey wanted to make his second film,he chose Harold as a Hero.The film was MAJNU-1935,which was a satirical spoof on the old Laila-Majnu story.There were many stunts and in one scene Majnu is tied up on railway track by the villain.The film became a hit and Harold was renamed MANJU for his film career.

He appeared in almost all of Shorey’s films.He was also doing films with other producers.In 1942 he did a double role in Nishani and in 1943 he directed his first film Paapi. Shorey also gave him a film Badnami-1946 for direction and it was here that Majnu met I.S.Johar who wrote the story and Dialogues of Badnami.

Majnu paired with I.S.Johar in EK THI LADKI-1949,the debut film of Johar. Later they made a comedy pair in 10 films, including the hit film HUM SAB CHOR HAIN-1956. His last film with Johar was Akalmand-66.

Majnu acted in 77 films. His first film was Majnu-35 and his much delayed and released last film was Shri Krishna Bhakti-73.
Majnu directed 8 films including,Paapi-43, Badnami-46, Son of Alibaba-55, Tatar ka chor-55, Malika-56, Basre ki Hoor-56, Baghi sardar-56, and his last film – Chandu-58.

Harold Lewis aka Majnu died on 26-3-1974.

The music director of the film Dost-54 was Hansraj Behl. Hansraj Behl, in my opinion,is one of those composers in the film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for. He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.

Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.

Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 19 November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.

After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwaari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Aazadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Aazadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.

In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.

In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwaana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.

He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhoondhu To Dhoondhu Kahaan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.

After all these successful films he continued to give music till 1969 but failed to give any hit because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Azam in 1965.

Hansraj Behl died of Cancer in Bombay on 20-5-1984.

With today’s song, all the eight songs of the film Dost-54 get covered and the movie gets YIPPEED in the blog


Song-Ham phiren kanwaare rab jee (Dost)(1954) Singers-Balbir, S Kapoor, Lyrics-Om Prakash, MD-Hansraj Bahl

Lyrics

Hum phiren kanwaare Rab ji
Hum phiren kunware
Hum phiren kanware Rab ji
Hum phire kanware
is duniya mein bhookhe nange jiyen tere sahaare
kya karen bechaare rab jee
hum phiren kunwaare

shahar mein aa kar hamne daata
dekha ajab tamaasha
shahar mein aa kar hamne daata
dekha ajab tamaasha
koi na poochhe paani kisi ko
beshaq mare pyaasa
koi na poochhe paani kisi ko
beshaq mare pyaasa
o rab jee beshaq mare pyaasa
isi liye main dikhe hain
lemon sode saare
qurbaan tumhaare
rab jee
hum phiren kunwaare

sare aam phirte hain yahaan par
mard aurat ke jode
sare aam phirte hain yahaan par
mard aurat ke jode
dekh ke in jodon ko
mere dil par paden hathauden
dekh ke in jodon ko
mere dil par paden hathauden
o rab jee
dil par paden hathauden
kaisa ye insaaf hai tera
ham bhi rahen kanwaare
ab badal chuka re
rab jee
ham phiren kanwaare

dhanwaalon ki naiyya maalik
bin chappoo hai chalti
dhanwaalon ki naiyya maalik
bin chappoo hai chalti
ham bhookhon ki is duniya mein
daal nahin hai galti
ham bhookhon ki is duniya mein
daal nahin hai galti
o rab jee
daal nahin hai galti
na ghar baar na paise palle
ro ro karen gujaare
phaakon ke maare
rab jee
ham phiren kanwaare

chalte phirte din guzren
footpath pe kati raat
o neeli chhatri waale
ab bigad gayi sab baat
main to bhola bhaala hoon
o main to bhola bhaala hoon
tu meri laaj bachaa le
ya to ik se do kar de
ya apne paas bulaa le
apne paas bulaa le
o rab jee
apne paas bulaa le
gaya waqt nahin aayegaa
kuchh soch le mere baare
kuchh soch le mere baare
sun jag ke ke pyaare
rab jee
ham phiren kanwaare
is duniya mein bhookhe nange
jiyen kare sahaare
kya karen bechaare
rab jee
ham phiren kanwaare


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 :

4416 Post No. : 15824 Movie Count :

4361

Today (20 August 2020) happens to be 36th remembrance day of Avinash Vyas (21 july 1912- 20 August 1984).

As a tribute to him, two songs composed by him have been covered in the blog. Incidentally, his tally of songs in the blog stands at 99. So today is an appropriate occasion to cover the 100th song of Avinash Vyas in the blog.

Avinash Vyas was active in Hindi movies from early 1940s till late 1970s. Overall, he composed music in 52 movies as far as my research goes. Here are the details:-

S No. Movie Name Year Songs in the blog Songs in the movie Remarks
1 Laheri Badmaash 1944 0 9
2 Gunsundari 1948 1 1
3 Bheemsen 1950 3 9
4 Har Har Mahadev 1950 6 10
5 Dashaavtaar 1951 2 12
6 Jai Mahalaxmi 1951 1 9
7 Ram Janm 1951 2 6
8 Shri Vishnu Bhagwan 1951 1 11
9 Rajrani Damyanti 1952 3 9
10 Shiv Shakti 1952 1 7
11 Veer Arjun 1952 3 7
12 Bhaagyawaan 1953 2 5
13 Adhikaar 1954 8 8 YIPPEED
14 Chakradhaari 1954 13 13 YIPPEED
15 Mahapooja 1954 2 4
16 Malka e Alam Noorjahaan 1954 1 8
17 Andher Nagri Chaupat Raja 1955 2 7
18 Ekaadashi 1955 2 8
19 Jagadguru Shankaracharya 1955 3 9
20 Riyaasat 1955 2 7
21 Waaman Avtaar 1955 5 9
22 Dwaarikadheesh 1956 0 9
23 Sudarshan Chakra 1956 1 8
24 Aadhi Roti 1957 4 8
25 Laxmi 1957 3 8
26 Naag Mani 1957 3 10
27 Neelophar 1957 3 5
28 Shesh Naag 1957 1 7
29 Raam Laxman 1957 2 8
30 Sant Raghu 1957 2 8
31 Gopichand 1958 1 8
32 Great Show of India 1958 1 7
33 Jang Bahadur 1958 0 8
34 Pati Parmeshwar 1958 1 10
35 Charnon Ki Daasi 1959 0 6
36 Grihlaxmi 1959 2 9
37 Bhakt Raj 1960 2 8
38 Bapu Ne Kaha Thha 1962 1 Not known
39 Hawa Mahal 1962 1 6
40 Kailashpati 1962 3 16
41 Royal Mail 1963 1 6
42 Bhakt Dhruv Kumar 1964 1 9
43 Mata Mahakali 1968 0 8
44 Badmaash 1969 1 4
45 Beti Tumhaare Jaisi 1969 0 Not known
46 Soorya Devta 1969 1 6
47 Takht Aur Talwaar 1970 1 5
48 Mahasati Savitri 1973 0 8
49 Daaku Aur Bhagwaan 1975 0 8
50 Chhoti Bahan 1977 0 6
51 Maa Baap 1979 0 Not known
52 Bhakt Gora Kumbhaar 1980 0 Not known
Total 52 movies 99 377* Number of songs unknown in some movies

As can be seen from the table, Avinash Vyas has composed a little under 400 songs in 52 Hindi movies. Most of these movies have been mythological movies. But “Adhikaar”(1954) is a glorious exception. In this movie, which was a “social” movie and which is already YIPPEED in the blog, Avinash Vyas created some evergreen classics, viz. BA MA PhD , Dil mein hamaare kaun samaaya khud hi samajh lo , Ek dharti hai ek hai gagan ,
Kamaata hoon bahut kuchh and
Maati kahe kumhaar se…maati mein mil jaanaa etc.

Majority of Hindi movies that Avinash Vyas got in Hindi were mythological movies of course. And in these movies, his songs would typically e penned by Bharat Vyas (no relation), Kavi Pradeep etc. “Chakrdhaari”(1954), an archtypically mythological movie had 13 songs in it. This movie too is YIPPEED in the blog. And what songs this movie has ! Baadal ki paalki pe hoke sawaar and Bolo he zameen bolo aasmaan are two of these songs.

As a tribute to Avinash Vyas, here is a song from “Charnon Ki Daasi”(1959). This song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by Avinash Vyas, of course.

“Charnon Ki Daasi”(1959) was produced by Beni Talwar and directed by Ramesh Vyas for Chandra Prakash Pictures, Bombay. This movie had Nirupa Roy, Manhar Desai, Madan Puri, Jagdeesh Sethi, Leela Mishra, Jayshree Gadkar, Nand Kishore, Rooplaxmi, Amirbai Karnataki, Heera, Suryakant, Poonam, Narbada Shankar, Jagdeesh Kanwal etc in it.

This movie had six rare songs in it. It is in the fitness of things that the 100th song of Avinash Vyas in the blog as a music director should be a special song. Only the audio of this “remonstating with the Almighty” genre of 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, “Charnon Ki Daasi”(1959) makes its debut in the blog while Avinash Vyas joins the select band of artists who have 100 or more songs in the blog. He becomes the 38th music director and 92nd artist overall to achieve this distinction in the blog.

Knowledgeable readers are requested to point our errors and omissions etc if any in the filmography presented above.


Song-Aaja Re…Dukhiya dharti tujhe pukaare (Charnon Ki Daasi)(1959) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Avinash Vyas

Lyrics

Aajaa re ae ae
dukhiya dharti tujhe pukaare
o paataal ke waasi
sheshnaag ki shaiyya chhod ke
aaja re ae
aaja re Avinaashi

tum bin meri pooja adhoori
o o
o o o o o o
tum bin meri pooja adhoori
ankhiyaan neer bahaatin
tum bin phool mere murjhaaye
bujhi deep ki baati
rahi adhoori meri aarti
teri ban gayi daasi
aaja o Ghanshyaam tumhaare
pathh mein palak bichhaati
jee na sakegi darshan bin
tere charan kamal ki daasi
sheshnaag ki shaiyya chhod ke
aaja re ae
aaja re Avinaashi

ik din toone Drupad suta ki
laaj ka cheer badhaaya
ik din toone maiyya Ahilya ka
sab paap chhudaaya
jab bhakton ne tujhe bulaaya
nange paaon tu aayaa
aaj meri baari aayi to
kahaan wo roop chhupaaya
jal bin machhli si tadpoon main
log udaayen haansi
sheshnaag ki shaiyya chhod ke
aaja re ae
aaja re Avinaashi

aaj is pukaar pe
jo tu na aayegaa aa
mera kuchh nahin tera naam jaayegaa
aaj bigdi baat jo na tu banaayegaa aa
phir na koi bhakt tere geet gaayegaa aa
aaja re ae
aaja re ae
aaja re ae
aaja re ae
aaja re ae ae ae


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 :

4390 Post No. : 15753

“Laxmi Pooja”(1957) was produced and directed by Jayant Desai for Hemlata Pictures, Bombay. This “bhakti pradhan” (devotional) movie had Nirupa Roy, shahu Modak, Jeewan, Niranjan sharma, Anand Kumar, Babu Raje, Praveen Pal, Indira, Manju, Shree Bhagwan, Sukumar, Rajrani etc in it, with Minu Mumtaz in guest appearance.

The movie had nine songs in it. One song has been covered in the past.

Here is the second song from “Laxmi Pooja”(1957) to appear in the past. The song is sung by Shamshad Begam and Rafi. The song is penned by Bharat Vyas. Music is composed by Chitragupta.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the “remonstrating with the Almighty” genre of song.


Song-Itni si meri hai pukaar prabhu (Laxmi Pooja)(1957) Singers-Shamshad Begam, Rafi, Lyrica-Bharat Vyas, MD-Chitragupta

Lyrics

itni si meri hai pukaar prabhu
itna sa mera kehna
bhagwaan tere bhakton ko jagat mein
padta hai dukh sahna aa aa
itni si meri hai pukaar
sukh dukh se bhara sansaar
yahaan sab hanste huye sahna
jis haal mein raakhe gopal humen
usmein hi magan rehna aa aa
sukh dukh se bhara sansaar

dekh muraari tera pujaari
haare kahin na baazi
dekh muraari tera pujaari
haare kahin na baazi
jismein hai raazi maalik hamaara aa aa
jismein hai raazi maalik hamaara
hum sab usi mein raazi
humen kiska hai darr
humne to teri bhakti ka mukut pahna aa
jis haal mein raakhe gopal
humen usmein hi magan rahna aa aa
sukh dukh se bhara sansaar

duniya ke daata
o re vidhaata
tera vidhaan anoothha
aisa hamaare man ko laga re
tu aaj humse roothha

tera bharosa bhagwan agar kahin satiyon ke man se toota
pooja karega na koi teri
tu jag mein padega jhoothha
aaj koi abla ke bhaag ka
loot raha gehna
jis haal mein raakhe gopal
humen usmein hi magan rahna

bhagwaan tere bhakton ko jagat mein
padta hai dukh sehna


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 :

4304 Post No. : 15570

“Anaarbaala”(1961) was directed by Raja Yagnik for Unity Productions, Bombay. This costume drama movie had Daljeet,, Krishna Kumari, Tiwari, Maruti, Neelofar, Pal Sharma, Babu Raje, Pandit Iqbal, Moni Chatterjee, Kesari, Shree Bhagwan, Jeewan Kala etc in it.

The movie had eight songs in it. One song from the movie has been covered in the past.

Here is the second song from “Anaarbaala”(1961) to appear in the blog. The song is sung by Sudha Malhotra. Ramesh Chandra Pandey is the lyricist. Music is composed by Bulo C Rani.

Only the audio of this “remonstrating with the Almighty” genre of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Duniya banaane waale achcha yahi hota (Anaarbala)(1961) Singer-Sudha Malhotra, Lyrics-Ramesh Chandra Pandey, MD-Bulo C Rani

Lyrics

duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
ham poochhte hain tera kya
hamne bigaadaa
baste huye is ghar ko kyun
toone ujaada
gar jaante hum tujhko
bhi daulat se pyaar hai
to pyaar ka sansaar humne
sajaaya nahin hota
duniya banaane waale achcha yahi hota
agar ham gareebon ko banaaya nahin hota
duniya banaane waale ae ae

putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
putli bana hai tu hi
dhaniyon ke haath ki
ummeed kya karen hum
ab tere saath ki
Bhagwaan tujhe aaj bhi
hargiz na bulaate
aawaaz pe dukhiyon ke
jo aaya nahin hota
duniya banaane waale ae ae
duniya banaane waale
ab raham gareebon ko
banaaya nahin hota
achcha yahi hota


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4278 Post No. : 15515 Movie Count :

4277

Today’s song is from film ‘Yaadgaar’ (1947). There were two more films with the same title made in 1970 and 1984. Today’s film was made by Hind Pictures, owned by actor, director and producer Nazir Ahmed Khan – also known to be the nth husband of actress Sitara Devi and actress Swarnalata. The film was directed by Nazir himself, who had also acted in it. The other cast was Jyoti, M Ismail, P Kailash, Agha, Tasneem, Cuckoo and many others. Tanvir Naqvi was the lyricist and music director was AR Qureshi.

I started writing on songs and films of yore, since almost end of 2012. Initially, my posts were based on information I had jotted down in my several diaries and notebooks. However, later I realised that I needed more information. After visiting some well known sites, I understood that either their information was incomplete or unreliable. So I decided to add more books to my existing library. At the same time research and thesis papers on old Hindi cinemas and related matters, articles in newspapers like The Hindu, Indian Express, Times of India, regional cine magazines in Hindi, Marathi, English and Telugu also came very handy. From the beginning, I made two rules. One, write only what can be defended, if challenged, and two, mention and thank the source if referred to, at the end of the post – if it is something special or unique.

Not only this, but I started preserving useful articles and bits of information on my laptop, divided into two different accounts. In few cases, I just jotted down the relevant URL details and description of type of information that it gives. By now their number has crossed almost 1000. Despite my age, I remember where is what information and I can put my hand on the required information in a few minutes. Sometimes, I find that there is no mention of any source for some information, as that is from an old book without author’s name. In the last 8 years, due to my extensive writings on this and other blogs and sites, I became known and friendly with many like minded scholars and writers. My library started bulging and friendly authors sent copies of their books as gifts to me.

This made my resources rich and luckily I have a knack of picking up the right information from the crowd of my resources at my disposal. Likewise, knowledgeable personalities like Harish Raghuwanshi ji, Rajnikumar Pandya ji, Biren Kothari ji, Shishir Krishna Sharma ji, Yasir Abbasi ji, Harmandir ji, Sanjit Narvekar ji, Amrit Gangar ji and many others on Facebook groups like MN Sardana ji etc help me from time to time. These names are only as examples, but there are many more actually. All this and friendly pressures led me to go for publishing my first book in 2018.

While writing more that 850 articles on old films and related matters, I concentrated only on the prose side of films, i.e. writing mainly about persons involved in films and not so much on the poetry side, i.e. music and songs. However, they can not be separated easily, so while emphasis was on people, but music and song too was base of my writing articles.

During these years, I have come across few personalities in films, who devoted half of their time on films, but achieved peaks in totally different fields too. Such cases are not many, but such people must get highlighted. Some people first shine in other fields and then come to films, but leaving this alluring magic of film life after a successful stint and then following a different life is surely worth praise.

Off hand, I can name a few such persons. One is Shashi Kapoor Sr. He worked as a very successful child artiste in 21 films from 1944 to 1955. While still in great demand, he left films and continued education. He did MSc and LLB here in India, and PhD in USA. He worked as a Professor of Maths in Michigan University for many years. Retired in 1997 and now lives in USA. Another person was SD Batish. After singing 115 songs in 70 films and giving music in 20 films, composing 154 songs, he left films, went to USA. He wrote many books on music and started a music institute to teach hundreds of students.

Similarly, singer Laxmi Shankar sang 27 songs in 18 films, shifted to USA and started a music school. She won many awards there. Lyricist Moti, BA (who was actually an MA) left films after writing 60 songs in 18 films, still in great demand, left films, went to his village in UP and taught in a College.

Ashraf Khan’s case is unique. After a successful career in Hindi films, he left everything and became a Sufi saint. His dargah is situated on Mumbai-Ahmedabad highway, where every year an Urs is held, to which many artistes from Bollywood go.

Similarly music director GA Chishti aka Babaji, became a faqir after leaving films. Actress of the 1940s, Renuka Devi migrated to Pakistan. She left films and became a social worker for women’s uplift and education in Pakistan. She worked for this, on Radio and TV of Pakistan for 20 years. She also wrote her autobiography,’A Woman of Substance’, which was published by her daughter after Renuka’s death.

Lastly Mukund Rai Trivedi aka Roy of the Roy-Frank pair who gave music to film ‘Gogola’ (1966), left films and returned to family business of mining in MP. He became a billionaire and later an MP in Lok Sabha.

The reason for remembering all this is because the music director of today’s film is AR Qureshi, who too is one who left films after giving music to 42 films, from 1943 to 1958, and became an internationally recognised tabla maestro, winning several awards. Just read his biodata. . .

Ustad Allah Rakha, born as Allah Rakha Khan Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player, who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.

Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the performing arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He trained to be a singer under Ustad Ashiq Hussain.

Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at the radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.

After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was ‘Mahasati Anusuya’ (1943) and the last released film was ‘Idd Ka Chaand’ (1964). He even sang 14 songs in 7 films between 1942 to 1949. He worked mostly in films made by Hind Pictures, Magnet Films, Sunrise Films and Mohan Studios of Dave brothers. Barring 1 or 2 films like ‘Bewafa’ (1952), he got only C grade stunt films or Muslim ibaadati films. He gave music in 3 Punjabi Films ‘Madari’ (1950), ‘Fumman’ (1951), and ‘Jagga’ (1964). He gave background music in ‘Pyar Ki Baatein’ (1951). He acted in ‘Aabida’ (1947). Uma Devi (Tuntun) first sang in ‘Wamiq Azra’ (1946) under AR Qureshi.

Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.

Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in a lot many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.

Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”

Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a concert for Bangladesh in 1971. Mickey Hart also collaborated with him for the famous album ‘Rolling Thunder’ in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.

While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, ‘Rich à la Rakha’ in 1968. Some of his greatest works have been in the form of albums Improvisations – ‘West Meets East – Album 3’ (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), (on Angel records) (1976), ‘Master Drummers’ with Zakir Hussain (1991), ‘Tabla Duet, Chhanda Dhara’ (1994), ‘Ultimate in Taal-vidya’, (Magnasound/OMI) (1996).

Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000. Zakir Hussain is one of the most renowned tabla players of India.

Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on this art-form.

Today’s song is sung by AR Qureshi himself. No information is available on this film. With this song, film ‘Yaadgaar’ of 1947, makes its debut on the Blog.

(Thanks to Harish Raghuwanshi ji for information on AR Qureshi, some time back)


Song-Kaahe door khada muskaaye (Yaadgaar)(1947) Singer- Alla Rakha Qureshi, Lyricist- Tanvir Naqvi, MD- AR Qureshi

Lyrics

kaahe door khada muskaaye
kaahe door khada muskaaye ae
kaliyon mein sharmaane waale
kaliyon mein sharmaane waale
phoolon ko mahkaane waale
phoolon ko mahkaane waale
kis kaaran ye phool tumhaare
kis kaaran ye phool tumhaare
bina khile murjhaaye
kaahe door khada muskaaye
door khada muskaaye
kaahe door khada muskaaye

kuchh kah le kuchh sun le daata
kuchh kah le kuchh sun le daata
hamre bahre goonge daata
hamre bahre goonge daata
jag mein tere baalak tadpen
jag mein tere baalak tadpen
tujh ko daya na aaye
kaahe tujh ko daya na aaye
kaahe ae ae


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Blog Day: 4262 Post No.: 15487

“Badnaam”(1952) was produced by D D Kashyap for Filmistan Limited Bombay. This “social” movie had Shyama, Balraj Sahni, Ulhas, Murad, Prabhu Dayal, Pappu, Narendra Kumar, Sheela, Jankidas, D S panchotiya, Bhujbal singh, Talwar, Shakeel, Mishra, Munna, Helen etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Badnaam”(1952) to o appear in the blog. The song is sung by Geeta Dutt. Shailendra is the lyricist. Music is composed by Basant Prakash.

Only the audio of the song is available. I request our knowleadgeable readers to throw light on the picturisation of this melancholic “dukhiyaari naari” song.


Song-O dene waale ye kya diya toone (Badnaam)(1952) Singer-Geeta Dutt, Lyrics-Shailendra, MD-Basant Prakash

Lyrics

o o o
o o o
o o o
o o o
o o o
o o o
o o o

o o o
o o o
o dene waale ye kya diya toone
do chaar aansu do chaar aahen
o o o o
dene waale

hoke rahi barbaad jawaani
haaye
hoke rahi barbaad jawaani
dil ko mili ik dard nishaani
dil ko mili ik dard nishaani
loot liya taqdeer ne sab kuchh a a
loot liya taqdeer ne sab kuchh
dena chaahe to kyun chaahe
o o o o
o dene waale ye kya diya toone
do chaar aansoo do chaar aahen
o o o o
dene waale

meri mohabbat adhoori kahaani ee
haaye
meri mohabbat adhoori kahaani
khil ki dhhali phool si zindgani
khil ki dhhali phool si zindgani
dukhdon ki nagri gham ka andhera aa aa
dukhdon ki nagri gham ka andhera
laayi kahaan mujhe pyaar ki raahen
o o o o
o dene waale ye kya diya toone
do chaar aansoo do chaar aahen
o o o dene waale
o o o
o o o
o o o


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 : 4221 Post No. : 15425

“Aanchal Ke Phool”(1968) was directed by Karunesh Thakur for MRS Film production, Bombay. The movie had Sajjan, Kamini Kaushal, Jeevan, Chand Usmani, Sunder, Mohan Choti,Namrata, Jayant, Ulhas, Jagdish Raj etc. in it.

This movie was so dull and boring that it flopped badly at the box office. Little information was available on this movie. Our beloved inhouse encyclopeadia Mr Arunkumar Deshmukh had watched the movie during that time. Here is what he has to say about this movie:

It was a MRS Film production, directed by Karunesh Thakur,with music from Ved Sethi.

Ved Sethi is a Punjabi Music Director and the above film seems to be the only film in Hindi for which he gave music.There are only 4 songs in the movie.

The cast consisted of Sajjan and Kamini Kaushal as the lead pair, supported by Jeevan, Chand Usmani, Sunder, Mohan Choti, Namrata, Jayant, Ulhas, Jagdish Raj etc.

The story is Shankar(Sajjan) is a Mill worker in Bombay and stays with his 5 sons and a daughter.When he gets his 7th child,his childless neighbours Sunderlal(Sunder) and Ranu(Chand Usmani) volunteer to adopt the new born, but Shanker and Maya(K.K.) refuse. The expenses of the delivery are so much that when his only daughter Radha(Baby Poonam) ij injured in her leg, he has to go to the charitable hospital. When he learns that her leg has to be amputed, he is devastated and abandones the daughter and tells his wife that Radha has died.
The entire story is a boring,lengthy tear jerker which tries to emphasise that children are God’s gifts etc…..

The movie had four songs in it. Three songs have been covered in the blog.

Here are the details of these three songs :

S N Song Song number in blog Date of posting
1 Ek nanhi si kali roye daali ke liye 4788 12-Oct-2011
2 More man mein hai kaisi chubhan haay raam kaa se kahoon 14920 12-Mar-2019
3 Soyi hai dulhan raat ki 15418 3-Feb-2020

Here is the fourth and final song from “Aanchal Ke Phool”(1968). This song is sung by Manna Dey. Naqsh Llayalpuri is the lyricist. Music is composed by Ved Sethi. The melancholic song plays in the baackground while we watch Kamini Kaushal, Sajjan and their children suffering and marking the movie going public suffer with them.

With this song, all the songs of “Aanchal Ke Phool”(1968)are covered in the blog. With this remonstrating with the Almighty genre of song, “Aanchal Ke Phool”(1968) joins the list of movies that have been YIPPEED in the blog.


Song-Jaago brij ke vaasi (Aanchal Ke Phool)(1968) Singer-Manna Dey, Lyrics-Naqsh Llayalpuri, MD-Ved Sethi

Lyrics

jaago o o
brij ke ae vaasi
jaago ghanshyaam
jaago o o brij ke ae vaasi
jaago ghanshyaa aam

ban upwan mrig pakshi jaage
jaagin pushp lataayen aen
swar murli ke abhun na jaage
abhilaashi kit jaaye
nainan ke pat kholo muraari
bahut keeno vishram
jaago o brij ke ae vaasi
jaago ghanshyaa aam

vaayu ne sur mandal chheda
meethhe swar lahraaye ae
usha ke sundar nainan mein ek aasha muskaaye
jin sapnon ki maaya jhoothhi
wo sapne kis kaa aam
jaago o brij ke ae vaasi
jaago ghanshyaa aam

gwaal baal sab dwaar hain thhaare
chhod ke sagre kaa aaj
maakhan leke khadi hai maata
uthh baitho brij raaj
ravi kirnen prithvi ko choomen
le tumhro hi naa aam
jaago brij ke vaasi
jaago ghanshyaa aam
jaago o o o o o o


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Blog Day : 3987 Post No. : 15076

“Kisaan Aur Bhagwaan”(1974) was produced by Dara Singh and directed by Chandrakant. The movie had Dara Singh, Yogita Bali, Abhi Bhattacharya, Feroz Khan (special appearance), Asit Sen, Jayashree Gadkar, Jankidas, Shani Malik, Lalita Kumari, Padma Khanna, Parduman Singh, Saudagar Singh, Praveen Kumar, Harbans Papa, Dhanraj, Ved Prakash, Balbeer Vird, Ved Gandhi, Daljeet, Rajkumar, Rajkumari, Amita, Sant Dharmdas, Sheru, Suresh, Shammi, Gopal Saini, Master Veerendra, Amreek Randhava etc in it.

The movie had seven songs in it. One song has been covered in the past.

Here is the second song from “Kisaan Aur Bhagwaan”(1974) to appear in the blog. The song is sung by Rafi. Kavi Pradeep is the lyricist. music is composed by Prem Dhawan.

The song is a devotional song cum “summoning the Almighty” genre of song. The picturisation shows Dara Singh lp syncing and leading a group of devotees while marching in a religious procession. The lady looking on at him appeared looks like a young Anjana Manjrekar (Mumtaz) though her name does not figure in the star cast. I request our knowledgeable readers to help identfy her as well as others in the picurisation.


Song-Bhagwan pyaare apne bhagat ki laaja bachaana re (Kisaan aur Bhagwaan)(1974) Singer-Rafi, Lyrics-Pradeep, MD-Prem Dhawan
Chorus

Lyrics

Bhagwan pyaare ae ae
Bhagwan pyaare
apne bhagat ki laaja bachaana re
aaj apne bhagat ki laaja bachaana re
ho mera kinaare jahaaz lagaana re
Bhagwan pyaare
jai ramkrishn jai hari hari
hari hari
jai ramkrishn jai hari hari
hari hari

karne chali hai dorangi duniya aa
aaj kasauti meri ee
karne chali hai dorangi duniya aa aa
aaj kasauti meri
mere bahaane asal mein ho rahi ee
prabhu pareeksha teri
prabhu pareeksha teri
ho kapti duniya pe gaaj giraana re
Bhagwan pyaare
jai ramkrishn jai hari hari
hari hari
jai ramkrishn jai hari hari
hari hari

tere bharose daanv lagaaya aa aa
kheli maine baazee ee
tere bharose daanv lagaaya aa aa
kheli maine baazee ee
apne daas pe kirpa karna aa
mat rakhnaa naaraazi
mat rakhnaa naaraazi
ho apna pyaar na aaj bhulaana re
Bhagwan pyaare
apne bhagat ki laaja bachaana re
aaj apne bhagat ki laaja bachaana re
Bhagwan pyaare
jai ramkrishn jai hari hari
hari hari
jai ramkrishn jai hari hari
hari hari

jab jab bhakton pe bheer pari
hari hari
tab tab toone hi peer hari
hari hari
toone taare ajaamil aur shabri
hari har hari hari
hari hari

sankat mein sada ki madad kari
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari

Bhagwan pyaare
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari

bhagwan pyaare
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari
ramkrishn jai hari hari

bhagwan pyaare


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Blog Day : 3960 Post No. : 15038

“Jallaad”(1956) was produced and directed by J B Lulla for Filmdom, Bombay. This B grade movie had Munawwar Sultana, Veena, Nasir, Tiwari, S Nazeer, Heera Sawant, Dabboo, Nagpal, Dhanraj, Sheila Vaz, Gope etc in it.

This fantasy movie had seven songs in it that were penned by four lyricists.

One song from the movie has been covered in the past.

Here is the second song from “Jallaad”(1956) to appear in the blog. This song is sung by Shamshad Begam. Khumar Barabankwi is the lyricist. Music is composed by Naashaad.

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


Song-Duniya banaane waale utar aasmaan se(Jallaad)(1956) Singer-Shamshad Begam, Lyrics-Khumar Barabankwi, MD-Naashaad

Lyrics

?? ek tamaashaaayi ee ee ee
?? ke nigehbaan
duniya mein khilaunon ki tarah aa
bikte hain insaan

duniya banaane waale ae
duniya banaane waale
utar aasmaan se
apna jahaan badal le
hamaare jahaan se ae
duniya banaane waale

do chaar din ke waaste ae ae ae
do chaar din ke waaste
duniya mein aa ke dekh
zulmo sitam hamaari tarah
khud uthhaa ke dekh
jo kuchh guzar rahi hai
kahe(?) ik zabaan pe
duniya banaane waale

mar mar ke zinda rahna aa aa
mar mar ke zinda rahna
koi dillagi nahin
shaayad teri nigaah mein ham
aadmi nahin
shiqwa nikal na jaaye
kahin ab zabaan se ae
duniya banaane waale
utar aasmaan se
apna jahaan badal le
hamaare jahaan se ae
duniya banaane waale


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
– – – – – – – – – – – – – – –

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॰ ॰ ॰


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

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