Archive for the ‘Sadhna Sargam Songs’ Category
Jhin min jhini
Posted on: March 16, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5354 | Post No. : | 17558 | Movie Count : |
4719 |
Vishal Bhardwaj’s Trilogy of Shakespeare plays – 1: ‘Maqbool’ (2004).
Williams Shakespeare’s plays have been very popular with the Indian theatres since the theatre movement started sometime in the later 18th century. It was in the late 19th century that some of the famous Shakespeare’s plays were adapted in the Indian theatres in Hindi, Urdu and other prominent regional languages like Bengali, Marathi, Gujarati, Tamil etc. The plays were molded into Indian socio-economic and political background. With the advent of silent films in India in 1913 and later the sound films from 1931, the film producers also adapted some of the popular Shakespeare’s plays for their films.
The earliest Hindi sound film based on Shakespeare play was ‘Hathili Dulhan’ (1932) which was adapted from a comedy play ‘The Taming of the Shrew’. Some other Hindi sound films adapted from Shakespeare plays (mentioned in the brackets) included ‘Kaafir-e-Ishq’, 1936 (Anthony and Cleopatra), ‘Jwala’. 1938 (Macbeth), ‘Pak Daman’, 1940 (Measure for Measure), ‘Aan’, 1952 (Taming of the Shrew), ‘Hamlet’. 1954 (Hamlet), ‘Do Dooni Chaar’, 1968 (The Comedy of Errors), ‘Angoor’, 1982 (The Comedy of Errors), ‘Qayamat Se Qayamat Tak, 1988 (Romeo & Juliet) and many more. About 40 Hindi films released between 1932 and 2014, based on Shakespeare plays have been listed here. This list is not exhaustive.
Shakespeare’s plays were also adapted into some Hindi films made in the 2000s. Of these, Vishal Bhardwaj’s Shakespeare trilogy, ‘Maqbool’ 2004 (Macbeth), ‘Omkara’ 2006 (Othello) and ‘Haider’ 2014 (Hamlet) are regarded as the best adaptation. These three films have received high critical acclaim. There are many published research papers on his trilogy on national and international forums, besides a PhD thesis on his trilogy by Dr Fatimah Javed. The uniqueness in Vishal Bhardwaj’s adaptations is that he has brought out the relevance of Shakespeare’s plays in the contemporary Indian socio-political background.
I intend to write one article each for these three films listed above. In this article, I will take up ‘Maqbool’ (2004), the first film in Vishal Bhardwaj’s trilogy of Shakespeare’s tragedy plays. The film was produced jointly by Vishal Bhardwaj and Bobby Bedi and was directed by Vishal Bhardwaj. The film has a strong cast which includes Irrfan Khan, Tabu, Pankaj Kapur, Naseeruddin Shah, Om Puri, Piyush Mishra, Deepak Dobriyal, Ankur Vikal, Ajay Gehi, Vivek Mushran, Rakesh Pandit, Shammi Narang, Masumeh Makhija, Mohini Mathur, Shweta Menon etc. Vishal Bhardwaj shifts the centre of struggle for power from the court of King Duncan of Scotland in ‘Macbeth’ to Mumbai’s Mafia Don, Jahangir (Abba) Khan’s house.
Probably, it may be for first time in the history of Hindi films that the screenplay of a film was published with English translation in a book form – ‘Maqbool: The Original Screenplay (with English Translation) by Vishal Bhardwaj and Abbas Tyrewala (2014)’. In this book, the rationale for some changes in the main characters of ‘Macbeth’ in ‘Maqbool’ (2004) have been spelt out. I thought, it was better to present these changes in a tabular form for easy understanding:
| In ‘Macbeth’ | In ‘Maqbool’ | Remarks |
|---|---|---|
| King Duncan of Scotland | Mafia Don Abbaji (Pankaj Kapur) of Mumbai underworld. | – |
| Macbeth, the General, who is the distant cousin of King Duncan | Maqbool (Irrfan Khan), the foster son and the right-hand man of Abbaji. | – |
| Lady Macbeth (wife of Macbeth) | Nimmi (Tabu) the mistress of Abbaji who is in illicit relationship with Maqbool. | There is a marked departure from the original characters just to give one more reason for Nimmi to instigate Maqbool to kill Abbaji, so that she becomes the legitimate wife of Maqbool. For him also, this becomes an additional motive to kill Abbaji, apart from becoming a mafia don. |
| Three Witches | Purohit (Naseeruddin Shah) and ‘Pandit (Om Puri) are cops who predict the rise of Maqbool as a Don as per the horoscope drawn by Pandit. | It was felt that after about 500 years from the staging of ‘Macbeth’, the witches with their prophecies and supernatural powers may not be believable for the current generation. In mafia world, cops fit well in place of witches. Additionally, one of the cops was shown as an astrologer who also makes predictions. |
| Braquo, the close friend of Macbeth | Kaka (Piyush Mishra), a close friend of Maqbool. | – |
| Fleance, Banquo’s son who is projected by witches to be the future king of Scotland | Guddu (Ajay Gehi), the son of Kaka. | From the end scene of the film, it can be inferred from the action of Guddu and his wife Sameera who takes the custody of Nimmi’s son that he may become the future Mafia Don of Mumbai. |
The gist of the story of the film is as under:
After the killing of the Lalji, right-hand man of mafia don Abbaji (Pankaj Kapur), by a rival gang, Maqbool (Irrfan Khan), the foster son of Abbaji becomes the de facto his right-hand man. He is also made in-charge of the Abbaji’s connection with Bollywood films. Abbaji has absolute faith in Maqbool and this is demonstrated in the film on a number of occasions. Nimmi (Tabu), the mistress of Abbaji who is half his age is not happy with her status. She and Maqbool are passionate about each other and are in illicit relationship.
Purohit (Naseeruddin Shah) and Pandit (Om Puri) are the corrupt cops who are on the payroll of Abbaji. Pandit is also an astrologer who had predicted the death of Abbaji’s right-hand man. Now, he predicts that Maqbool would be the future mafia don of Mumbai. His oft repeated dialogue in the film is that there should be balance of power in the universe. Fire should be afraid of water.
Nimmi sees a possibility of both of being sidelined after the marriage of Sameera (Mausami Makhija), daughter of Abbaji with Guddu (Ajay Gehi), the son of Kaka (Piyush Mishra), the close associate of both Abbaji and Maqbool. She instigates Maqbool by saying that he would remain like a loyal dog in the don’s hierarchy, if he does not kill Abbaji and grab the power to be a mafia don. Maqbool is caught between his loyalty to Abbaji and his love for Nimmi. Finally, his love for Nimmi wins over the loyalty to Abbaji. Maqbool kills Abbaji in his bedroom in sleep.
Maqbool thinks that with Abbaji out of his way, the next man has to be his close friend, Kakaji who suspects Maqbool in killing Abbaji. To whom the power will pass – Guddu, the son-in-law or Maqbool, the foster son. So, Kakaji becomes his number one enemy in his succession. Maqbool gets him killed while his son, Guddu narrowly escapes death. With almost whole gang turning against him now, Maqbool has to handle his enemies, within and outside his gang single handedly. He has no help from Nimmi as she, beside her pregnancy, has lost her balance of mind.
After the killing of Abbaji, Maqbool suffers from guilt conscious which has affected him in taking a balanced view of his problem. He starts thinking that all are his enemies, and they need to be eliminated. His guilt consciousness makes him devote more time to saving the baby in Nimmi’s womb than his safety. He takes Nimmi to hospital for delivery. With the arrival of cops surrounding the hospital, Maqbool runs away. He comes back to hospital the next day to meet Nimmi and the newly born son when he sees Guddu in the hospital. Maqbool takes out his gun to shoot him. But before that he finds the newly born son has been handed over to Guddu and his wife Sameera by the hospital authority. He comes to know from a hospital staff that Nimmi has died, and Guddu and his wife has taken the custody of the newly born son. His grim face turns into a happy one as he sees that there is someone to look after the newly born son. Maqbool throws his gun and walks out of the hospital in a happy state of mind only to be shot dead by Boti (Ankur Vikal), a member of a rival gang who has recently joined Abbaji’s gang.
I watched this movie for the first time before writing this article and regretted not having watched this film on the big screen. It is a fantastic film, more of human relation story than the underworld. I do not think that any one among the actors can replace Pankaj Kapur in the role of Mumbai’s mafia don, Abbaji. Irrfan Khan in the role of Maqbool has portrayed his character in such a way that at the end of the film, despite his wrongdoings, the audience would feel sorry for him. Naseeruddin Shah and Om Puri in the comparatively smaller role of corrupt cops are very good in their satirical punches. All other actors, some with minor roles, performed very well. This film also proves that cinema is the director’s medium.
As per Box Office report, despite the high critical acclaim, the film was not commercially successful. Probably the use of techniques like imagery, expressions, and body language in the film was beyond the understanding of the general cine audience. There is nothing for the front benchers and the film lovers from the mofussil region of India, like titillating dances they would expect in a mafia den. Even six murders are shown in the film in a subtle way without much of fight scenes. I think, Vishal Bhardwaj knew beforehand that the film was meant for the niche audience. He did not charge any fee as a screenplay writer, director and the music director for the film (as per the preface of the book referred to above).
There are 5 songs in the film, all written by Gulzar and set to music by Vishal Bhardwaj. I have found only 3 songs which appeared in the film. However, ‘excluded’ songs are available on audio albums. I am presenting the first song from the film ‘jhin min jhin min jhini’ to appear on the Blog. The song is sung by Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit and chorus.
The background of the song is that Ajay Gehi (Guddu), son of Kaka (Piyush Mishra) who is a close associate of Abbaji (Pankaj Kapur) is to get married to Sameera (Mausami Makhija), daughter of Abbaji. The song is played on the eve of the engagement ceremony. The song is prominently picturised on Tabu and Mausami Makhija as a part of sangeet ceremony for females.
In the soundtrack of the film, the prelude of the song is a couplet (doha) of Amir Khusro recited by a dancer (Shwetha Menon) which is not included in the song on the audio album. The song is interspersed by Sufi Qawwali which is again picturised on Shwetha Menon as a part of her mujra dance for the males during which Pankaj Kapur, Irrfan Khan, Om Puri, Naseeruddin Shah, Piyush Mishra, Shammi Narang etc can also be seen.
While the song is being played, the camera captures some other details such as conversation between Irrfan Khan and Om Puri, the conversation between Tabu and Irrfan Khan and Tabu’s expression on the dance between Pankaj Kapur and Shwetha Menon whom Tabu thinks as the potential mistress of Abbaji.
Video Clip:
Audio Clip:
Song- Jhin min jhini (Maqbool)(2004) Singers-Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit, Lyrics-Gulzar, MD-Vishal Bhardwaj
Female Chorus,
Male Chorus,
Sadhana Sargam and Anuradha Sriram,
Ustad Sultan Khan and Rakesh Pandit
Lyrics:(The opening doha from Video Clip)
aa aa aa aa aaa
Khusro rain suhaag ki
jaagi pi ke sang
tan mero mann piu ko
dono bhaye ek rang
[Tabla Theka]
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jaaun
na jaaun
jaaun na jaaun piya ki gali
range paaon pakdi gayi jo chali..ee
chikne chikne aangan hain
sainyaan ke ghar ke
main chalna bhool gayi re
sainyaan se dar ke
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun jaaun piya ki gali
range paaon pakdi gayi jo chali..ee..eeee
aaj rang hai
aye maa rang hai re…ae…ae
(ae ae ae ae ae ae)
aaj rang hai
aye maa rang hai re…ae…ae
mere mehboobi ke ghar
rang hai re …ee
desi bidesi mein dhoondhe phiri hoon ho to
jab dekhu more sang hai ri
aaj rang hai
aaj rang hai…ai…ai
aaj rang hai
(rang hai)
aye maa rangi hai
mere mehboob ke ghar rang hai ri
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhno ki kamini
henna mein chhupa ke
jiya rakh diya..aa
hatheli pe jal tu diya rakh diya
roshan roshan pairon se
khud hi sharmaaun
main iss pag uss pag doloon
jaaun na jaaun
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun piya ki gali
range paaon pakadi gayi jo chali
chikne chikne aangan hai
saiyaan ke ghar ke
main chalna bhool gayi re
saiyaan se dar ke
pagli kar dini
o o o o o o…..ooo
aa aa aa aa aaa
aa aa aa aa aaa
more..ae ae piri paayo
(piri paayo)
more..ae ae piri paayo
nizamuddin auliya
qutubuddin auliya
karimuddin auliya
allahuddin auliya
naseeruddin auliya
aa aa aa aa aaa
Allah ka pyaara wo to
jag ujiyaara wo to
jag ujiyaara
aaj rang hai
aye maa rang hai ri..ee
mere mahboob ke ghar rang hai ri
Nainaa neer bahaaye
Posted on: February 27, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5337 | Post No. : | 17503 | Movie Count : |
4710 |
Amritsar born Canadian Indian, Deepa Mehta has been known for making feature films on social issues. Her most passionate film making project has been the ‘Element Trilogy’ – ‘Fire’ (1996), ‘1947 Earth’ (1998) and ‘Water’ (2005) for which she had received critical acclaim worldwide and also won her many awards. The themes of her films are progressive for some and controversial for others. So, controversies surrounded her most of the time when film’s shooting was to commence or at the time of the release of the films.
I have not yet watched ‘Fire’ (1996) and ‘1947 Earth’ (1998). But I have watched ‘Water’ (2005) for which there were a lot of controversies as soon as the film’s unit landed in Varanasi for shooting in 2000. I remember to have read the news in those days that film’s set in Varanasi was destroyed by the miscreants even though the film units had received approvals from both the Central and State governments for shooting. There was also the death threat to Deepa Mehta. She cancelled the shooting of the film and went back to her home city, Toronto.
After waiting for about 4 years, Deepa Mehta shifted her shooting location from Varanasi to Sri Lanka in 2004. The art director created a set of Varanasi with its ghats and ashrams at the shore of Bolgoda Lake, near Colombo. The inordinate delay in resumption of shooting resulted in taking a new set of actors including those from Sri Lanka. Earlier actors included Shabana Azmi, Nandita Das and Akshay Kumar. They were replaced by Seema Biswas, Lisa Ray, and John Abraham respectively. The role of 8-year young widow, one of the main actors was performed by Sarala Kariyawasam, a class 7th student from Galle, Sri Lanka.
‘Water’ (2005) takes the film audience back to 1938 when the widowed women (child, young or even old) were shifted to shelter homes (ashram) specially created for them. The film brings to the notice of the modern society the poverty, deprivation and exploitation of widows as prevailed in pre-independent India. This practice is not completely eradicated in some places in the post-independent India.
The film was produced by Deepa Mehta’s Canada based home production company, David Hamilton Production. The star cast included John Abraham, Lisa Ray, Seema Biswas, Sarala Kariyawasam, Manorama, Kulbhushan Kharbanda, Raghuveer Yadav, Vinay Pathak, Vidula Javalgekar Waheeda Rehman (special appearance), Garson D’Cunha etc. The gist of the film’s story is as under:
Chuyia (Sarala), the 8-year old widow is shifted to a ashram in Varanasi after the death of her husband. It is a traumatic experience for her to be separated from the parents in such a young age and live in a state of poverty among the widows. But her arrival in the ashram results in an atmosphere of activities in otherwise quiet life. Her energetic activities in the ashram get her noticed from two other widows – a young Kalyani (Lisa Ray) and a middle-aged Shakuntala (Seema Biswas). They become the protector of Chuyia.
Kalyani had become widow at age of 7 and is the most beautiful of the widows in the Ashram. Madhumati (Manorama), the ‘boss’ of the ashram has allowed Kalyani to grow her hairs because Madhumati has an arrangement with the pimp Gulabi (Raghuvir Yadav) to take Kalyani to wealthy clients, as a source of income for the ashram.
Shakuntala is only among the widows who can read and write. She is sharp and short tempered. Hence, Madhumati, despite being a ‘boss’ of the ashram, avoids bossing her. Shakuntala is God fearing and follow the dictates of the widowhood as explained to her by a priest (Kulbhushan Kharbanda). At the same time, she feels unjust to be a widow. When she asks the priest whether there is any other way to avoid the stigma of being widow, he says that there is a law which now allows widows to remarry. She is surprised as to why this was not brought to their notice. The priest cooly says that “we do not always follow the law when it is inconvenient”.
Narayan (John Abraham) returns to his home in Varanasi after becoming a lawyer in Kolkata. He has become the follower of Mahatma Gandhi who has been campaigning, among other things, for breaking social and religious barriers for widow remarriage. Narayan’s father, Dwarkanath (Gerson D’Cunha) has an aristocratic lifestyle and is liberal in his views. His mother (Waheeda Rehman) on the other hand is conservative and tradition bound.
One day Chuyia, while trying to catch her puppy who ran away from her, gets lost on her way back to ashram. She meets Narayan who drops her on the doorstep of Kalyani’s room in the ashram. He is shocked to see a young Kalyani who will be spending rest of her life in austerity and deprived of her rights. Narayan wants to marry Kalyani but she is not ready because she is God-fearing and tradition bound. With much persuasion by Narayan, Kalyani agrees to the marriage. Despite facing obstacles from Madhumati, Kalyani reaches the shore of River Ganga where Narayan is waiting to take her to his house across the river to meet his parents. When Kalyani sees the house from the boat, she at once tells Narayan to turn the boat back as she gets to know that Narayan’s father is also one of Madhumati’s clients on whom she was forced upon.
Kalyani returns to ashram and in the night, she commits suicide by drowning herself in the River Ganga. Narayan is shocked to know his father’s views on widows despite being liberal in views. He blames his father for Kalyani’s tragic end. He leaves the house to join Mahatma Gandhi. He meets Shankutala on the way at the shore of River Ganga. Both are at loss for words after the death of Kalyani. At last, Shakuntala asked Narayan a pertinent question. ‘Why are widows sent to ashram’? Narayan gives a practical explanation for this ancient practice: “One less mouth to feed, four less saris in a year, and a free corner in the house. Disguised as customs and traditions, it’s just about money”.
In the absence of Kalyani, Madhumati sends Chuyia as a replacement for the client in the guise of telling her that she is going back to her own house. When Shakuntala comes to know about this, she rushes to rescue Chuyia only to know that she was too late. She takes the traumatized Chuyia in her arms, confused as to what to do now to make her safe from Madhumati. She learns that Mahatma Gandhi would be arriving at the railway station to proceed to Allahabad. She rushes to the railway station. In the midst of crowded platform, Shakuntala runs to hand over Chuyia to any one of the passengers in the already slow moving train, pleading to take her with them. She finds to her surprise that it is Narayan who takes Chuyia from her in the overcrowded train.
There are some poignant moments in the film. For instance, in a few minutes after the opening scene, Chuyia who is in her deep sleep in the house is woken up by her father to tell her that her husband is no more, and she has become a widow now. She asks her father innocently “how long, father”? In one scene, she innocently asks ‘is there man-widow ashram also’? In spite of some poignant moments in the film, Deepa Mehta has successfully avoided the film turning into an intense melodrama. The subtle message from the film is that even if one goes by customs and traditions of widowhood, the ashram is at the shore of River Ganga whose water is the symbol of purification. The widows in the ashram have to remain self-restrained and chaste. But in reality, ashram has become a place for exploitation of widows. The other message is that widows have rights as a human beings.
‘Water’ (2005) became the official Oscar entry from Canada which made into the final five in the category of the best foreign language films. The film could be released in India only in 2007 which received lukewarm responses from the film audience. The film was meant for the niche audience most of whom may have probably watched the film on DVD released in 2005.
‘Water’ (2005) had 6 songs of which 5 songs were written by Sukhwinder Singh and one was the devotional song of Narsinh Mehta. A R Rahman has composed all the songs in raagdari music with some shades of folk music. In a long interview with Arjit Singh about Hindi film music, A R Rahman had said that ‘Water’ (2005) has been his most satisfying work as a music director. He said that he had composed all the six songs before the film’s shooting was stalled in 2000.
I am presenting the first song, ‘naina neer bahaaye’ from the film to appear on the Blog. The song is written by Sukhwinder Singh and is rendered by Sadhana Sargam. In the interview quoted above, A R Rahman revealed that he got inspired from a one-minute advertisement jingle in Hindi rendered by Kavita Krishnamurthy. Rahman could not recall the name of the composer of the jingle but remembered him as one of the most talented composers. He further said that he composed the tune of the song based on Raag Bhatiyari (the same raag which was used in the jingle).
When my extensive surfing on the internet did not get me anywhere about the jingle referred to by A R Rahman, a comment on the video clip of the song under discussion led me to this jingle:
purab se surya uga phaila ujiyaara
jaage har disha disha jaaga jag saara.
The video clip of the jingle is here.
This jingle was composed by Ashok Patki, the music director of Marathi films, plays and T V Serials. I have watched this advertisement many times on Doordarshan in early 90s. Kavita Krishnamurthy revealed in an interview that when she met A R Rahman for the first time for a song recording, he specifically pointed out this jingle and appreciated it for its musical composition. This indicates that this jingle remained in the mind of A R Rahman for a long time.
In the film, only the mukhda of the song is picturised. The background of the song is that after meeting Narayan who clears Kalyani’s misconception about widow remarriage, she decides to get married with him. This news gets leaked to Madhumati, the ‘boss’ of the ashram who cuts Kalyani’s hair and locks her in the room. The mukhda of the song plays in the background as she prays to Lord Krishna. The Director has compared Kalyani’s situation as that of Meerabai whose desire was to be with Giridhar despite many obstacles. Here Kalyani believes that her Giridhar (Narayan) would come and rescue her.
The song under discussion is pure Hindustani classical music, which is beautifully rendered by Sadhana Sargam, bringing out the underlying intense pathos. Unfortunately, this song ( as also other songs from the film) remained on the back burner due to delay in film’s released in India and after the release, its quick eclipse from the theatres.
Audio Clip:
Video Clip (Partial):
Song-Nainaa neer bahaaye (Water)(2005) Singer-Sadhana Sargam, Lyrics-Sukhwinder Singh, MD-A R Rahman
Lyrics (based on Audio Clip)
naina…aaaaaaa
naina neer bahaaye…ae ae
naina…aaaaaaa
naina neer bahaye..aae
mujh birhan kaa dil sajaan sang
mujh birhan kaa dil saajan sang
jhoom jhoom ke gaaye…ae ae
naina…aaaaaaa
naina neer bahaye…ae ae
naina…aaa
naina neer bahaaye ae
mujh birhan ka dil saajan sang
mujh birhan ka dil saajan sang
jhoom jhoom ke gaaye…ae ae
naina…aaa
naina neer bahaaye ae
ha aa aa aa
aa aa aa aa
vish kaa pyaala kaam na aaya
meera ne pee ke dikhlaaya..aa
vish ka pyaala kaam na aaya
meera ne pee ke dikhlaaya..aa
prem to hai gangajal ismein
prem to hai gangajal ismein
prem to hai gangajal ismein
vish amrit ban jaaye..ae ae
naina…aaaaaaa
naina neer bahaaye.. ae ae
prem hai Giridhar ki baansuriya..aa aa
prem hai Giridhar ki baansuriya
prem hai Radha ki saanwariya aa
ye hai saat suron kaa dariya
ye yai saat suron kaa dariya
jhar jhar bahta jaaye..ae ae
naina…aaaaaaa
naina neer bahaaye..ae ae
naina…aaaaaaa
naina neer bahaaye..ae ae
Chupke se raat ki chaadar taley
Posted on: February 21, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5331 | Post No. : | 17478 | Movie Count : |
4703 |
‘Saathiya’ (2002) was produced jointly by Yash Raj Films and Madras Talkies (of Mani Ratnam). It was a remake of Mani Ratnam’s super hit Tamil film,’Alai Payuthey’ (2000) with Madhavan and Shalini in lead roles. ‘Saathiya’ (2002) was directed by Shad Ali (son of the new wave film maker, Muzaffar Ali and his ex-wife Subhashini Ali), his first film as a director. Before getting the independent assignment as a director, Shad Ali had done apprenticeship under Mani Ratnam for 4 years. He was Assistant Director to Mani Ratnam in ‘Dil Se’ (1998) and the Associate Director for ‘Alai Payuthey’ (2000).
In an interview with rediff.com which appeared on December 17, 2002, Shad Ali had said that when Mani Ratnam offered him to direct ‘Saathiya’ (2002), it was a challenge for him as people were bound to compare the original Tamil film with Hindi remake. Hence, he changed the location of the story from Chennai to Mumbai and converted the story into Hindi culture. He asked Gulzar to write the new script for his dialogue writing, and write songs independent of the original film keeping the mood and essence of the original story intact. As per Box Office report, ‘Saathiya’ (2002) became a box office hit.
The film had Rani Mukherjee and Vivek Oberoi in lead roles with the supporting cast of Sandhya Mridul, Tanuja, Satish Shah, Swaroop Sampat, Sharat Saxena, Shamita Shetty etc. Shahrukh Khan and Taboo did cameo roles. The film is a romantic drama but there is some difference with usual Bollywood romantic films in which marriage is the culmination of falling in love after facing lots of obstacles. But in this film, the obstacles starts after the marriage – from parents, difficulties they face to adjust to each other, the cultural differences, tiffs etc. But at the end, the husband and wife feel that they love each other more than they did during their courtship. The gist of the story of the film is as under:
Aditya (Vivek Oberoi) and Suhani (Rani Mukherjee) meet at a marriage where he, after initial fun talks, starts following her. At first, she thinks that he is only flirting with her. But after some more meetings, both feels that they love each other. Suhani belongs to a middle-class family doing her medical while Aditya has been brought up in a luxurious lifestyle. So, parents of both are against their marriage. Nonetheless, Aditya and Suhani get married in in a temple in the presence of Marriage Registrar without the knowledge of their parents and continue to live in their respective home. Their marriage secret is out when Suhani’s elder sister’s marriage is being finalised. Aditya and Suhani leave their parents’ house and start leaving in a rented house together.
After the initial euphoria, the problems of adjustments between Aditya and Suhani arises leading to some tiffs and rifts in their married life. Some misunderstanding on the part of Suhani that Aditya is having an affair makes her life miserable. Worried about these developments, one day, while crossing the road on her way to hospital, Suhani is hit by a car driven by Savitri (Taboo) and injured. Suhani admitted to a hospital. Savitri runs away from the accident spot and telephones her husband, Yashwant (Shahrukh Khan) about the accident who visit the hospital and signs operations paper as her husband, only to hasten the surgery. In the hospital, to save Taboo, Shahrukh Khan takes the blame on himself for the accident. In the meanwhile, Aditya is waiting for Suhani to return home so that he can patch up with her.
After a lot of searches and enquiries, Aditya gets to know about the accident and visit the hospital where he finds that Suhani is in coma. Savitri with a guilty feeling, tells Aditya that it was she who was driving. When Suhani regains consciousness, the emotionally charged Aditya tells Suhani how much he felt her absence for few hours. Suhani also reciprocates the same. The film ends with Aditya hugging Suhani in the hospital.
‘Saathiya’ (2002) has nine songs written by Gulzar and set to music by A R Rahman. I am presenting the first song from the film to appear on the Blog. The song is ‘chupke se raat ki chaadar tale’ sung by Sadhana Sargam, Murtaza Khan and Qadir Khan. The refrains (first and third stanzas) are rendered jointly by Murtaza Khan and Qadir Khan. Murtaza and Qadir are the sons of Padma Vibhushan Ustad Ghulam Mustafa Khan of Rampur-Sahaswan Gharana.
The situation of the song is that Vivek Oberoi and Rani Mukherjee are married. But they are staying in their respective houses because they got married without disclosing it to their parents. This is a song about a separated couple longing for spending time together.
Two interesting observations about this song:
The line in the song, haule haule marwa ke raag mein Meer ki baat ho, Gulzar has used the metaphors of Raag Marwa and the Classical Urdu Poet, Meer Taqi Meer’s name. Raag Marwa in Hindustani classical music is an evening raag (dusk) which is generally used in composing songs of longing for reunion. There are many ‘bandishes’ on separation in raag Marwa. Meer Taqi Meer was known for his ghazals seeking reunion with his beloved but unsuccessful. One of his popular ghazals in this category is ‘faqeerana aaye sada kar chale’ in which there is a couplet, dikhaayi diye yoon ke bekhud kiya. When Gulzar talked about ‘Meer ki baat ho’, he did not mean to ‘talk about Meer’. I guess, he meant reciting Meer’s couplets with Raag Marwa playing in the background.
The second observation in this song is about the refrain sung by Murtuza Khan and Qadir Khan in the Sufi style of music. A R Rahman seems to be fond of this type of addition in the song as he again did in ‘tere bina beswaadi beswaadi ratiyaan’ in the film, ‘Guru’ (2007) by adding refrain ‘dum dara dum dara mast mast dara’. Incidentally, this is also a song of a separated couple longing for reunion, written by Gulzar and refrains rendered by Murtaza Khan and Qadir Khan.
The somber mood of the song under discussion is well captured in the Sarangi interlude by Ustad Sultan Khan. The orchestration has been kept on a low key throughout the song resulting in more emphasis on the melody.
Video Clip:
Audio Clip:
Song-Chupke se raat ki chaadar taley(Saathhiya)(2002) Singers-Murtaza Khan, Qadir Khan, Sadhana Sargam , Lyrics-Gulzar, MD-A R Rahman
Lyrics (Based on Audio Clip)
doston se jhoothi-moothi
doosron kaa naam leke
phir meri baaten karna
yaara
raat se din karna..aa
lambi judaai teri
bada mushkil hai
aahon se dil bharna
yaara
raat se din karna..aa
kab ye poori hogi
door ye doori hogi
kab ye poori hogi
door ye doori hogi
roz safar karna
yaara
raat se din karna
chupke se
chupke se
raat ki chaadar tale ae ae
chaand ki bhi aahat naa ho
baadal ke peechhe chalen
jale katra katra
gale katra katra
raat bhi naa hile aadhi aadhi
raat bhi naa hile aadhi aadhi ye
chupke se lag jaa gale
raat ki chaadar tale
farvari ki sardiyon ki dhoop mein
moondi moondi ankhiyon se dekhna
haath ki aad se ae
nimmi nimmi thhand aur aag mein
haule haule marwa ke raag mein
Meer ki baat ho..o o
din bhi naa doobe
raat naa aaye
shaam kabhi naa dhale..ae ae
shaam dhale to subah na aaye
raat hi raat chale..ae ae
chupke se
chupke se
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chale
doston se jhoothi moothi
doosron kaa naam leke
phir meri baaten karna
yaara
raat se din karna..aa
lambi judaai teri bada mushkil hai
aahon se dil bharna
yaara
raat se din karna..aa
kab ye poori hogi
door ye doori hogi
kab ye poori hogi
door ye doori hogi
roz safar karna
yaara
raat se din karna
tujh bina pagli purwaai…..ee ee ee
tujh bina pagli ye purwaai
aake meri chunari mein bhar gayi
tu kabhi aise hi
gale lag jaise ye purwaai
aa gale lag jaise ye purwaai
saathiya sun tu…uu
kal jo mujhko neend naa aaye
paas bula lena..aa
god mein apni sar rakh lena
lori suna dena..aa
chupke se
lag jaa gale
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chale
jale katra katra
gale katra katra
raat bhi naa hile aadhi aadhi
raat bhi naa hile aadhi aadhi ye
chupke se
lag jaa gale
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chalen
Hanste hanste kat jaayen raste
Posted on: October 10, 2022
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.
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Blog Day : |
5197 | Post No. : | 17178 | Movie Count : |
4625 |
Hullo Atuldom
Getting straight to the point.
There is an actress who made her debut in Hindi Films in 1970, though she signed her first film in 1968 itself. That first movie released much later in 1979 and promptly tanked. But we are not here to speak about the tanked film.
This actress had her initiation into the film-world as a child itself when she played a small role in a Telugu language drama as a one-year old (that movie released in 1958). At her mother’s behest, she dropped out of school (when in class 9) to start a full-time career in acting to support her family. Her first released film as lead actress was in Kannada (in 1969) opposite the Kannada superstar Dr. Rajkumar.
Coming back to her career in Hindi films, her first release was accepted by the audiences though she herself looked a little clumsy. It was revealed in later years that the clumsiness was because of not being fluent in Hindi (language) and not being able to express her discomfort in the outfits and accessories that she was made to wear. But she sportingly sported any outfit she was made to wear in her initial years even if it earned her the tag of “ugly duckling” etc. (I recall reading this in one of the magazines in my growing up years) But then she mastered the art of makeup and looked amazing, gorgeously beautiful and became a style icon for subsequent generations – of course all this happened post 1978.
In the early ’70s, she was cast in movies opposite actors who were in the waning phase of their careers. Possibly the only actors of her times (I would not say age-group) were people like Vinod Mehra, Rakesh Roshan, Jeetendra, Navin Nischol, Randhir Kapoor etc. She was accepted with whichever hero she was cast opposite. Movies with Rajesh Khanna, Sanjeev Kumar, Shatrughan Sinha, Vinod Khanna and Amitabh Bachchan came a few years later. Still later in her career, after she became a name to reckon with, we have seen her opposite even Kabir Bedi, Naseeruddin Shah, Om Puri, Amol Palekar, Farooq Sheikh, Raj Babbar and Mithun Chakravarthy. (I am sure I am missing the names of a few male actors). Aaah! I missed Shashi Kapoor and Dharmendra- she looked good with all of them. And finally in the ’90s, even Akshay Kumar, Anil Kapoor, and Southern superstars Kamal Hassan (in a Tamil film) and Rajnikanth played her male leads.
In her initial years as an actress (I have seen some of those movies thanks to satellite television) we could actually see her mimicking actress of her times and those before her times. I have felt that she has aped Jaya Bhadhuri, Mumtaz, Meena Kumari and even Yogita Bali (who was her co-star in some films) and was fairly good at it.
She has been nominated for the Filmfare Award 13 times and has won it 3 times – once as best actress and twice as best supporting actress. She was awarded the Filmfare Lifetime Achievement award in 2003. In addition to awards from the film fraternity she has been a National Award for Best Actress winner in 1982. Plus, she is a Padma Shri winner. She was a nominated member of India’s Rajya Sabha from 2012 to 2018.
She was a favourite of many of her co-stars too and when they ventured into film making she readily accepted whatever role they offered her- remember Shashi Kapoor’s ‘Vijeta’ (1982), ‘Utsav’ (1984), ‘Kalyug’ (1981); Jeetendra’s home production’s ‘Deedaar-e-Yaar’ (1982), Rakesh Roshan’s productions ‘Khoon Bhari Maang’ (1988), the first two editions of the ‘Krrish’ series i.e. ‘Koi Mil Gaya’ & ‘Krrish’.
When it comes to writing a post on this favourite I can write reams & reams. And I kept googling for so many combinations, songs etc and landed up on an interesting article. That article reminds us of the fact that she was the go-to actress when it came to playing a Kothewali-Courtesan-Dancer in a bar/restaurant (called item girl in modern parlance). In the run up to this post I saw a few songs showing her dance and I fell in love with all of them all over again. ‘Kamar-lachkaana’ was something that she excelled in and that particular dance step was taken to another level by Madhuri & Sridevi from the next set of actresses.
For today’s post, let us see her in a song from “Khoon Bhari Maang” (1988) which was produced and directed by Rakesh Roshan. It starred Rekha (today’s birthday girl), Shatrughan Sinha (I think this was a special appearance), Kadar Khan, Kabir Bedi, Sonu Walia, Saeed Jaffery, Satyajeet (who was a child actor once upon a time), Sulabha Deshpande, & Rakesh Roshan (for just one song). The movie had music by Rajesh Roshan, and Indeevar was the lyricist. Asha Bhonsle, Sadhana Sargam, Sonal Bhatwadekar, and Nitin Mukesh were the playback singers used. The movie had Rekha playing a wealthy widow who is almost killed by her wealth-crazy second husband (Sanjay played by Kabir Bedi). She survives the attempt, comes back looking dazzlingly beautiful and Sanjay is instantly attracted to her giving her a chance to lure him to his death thereby avenging atrocities meted out on her family. Rekha won a Best Actress award for this Plain Jane turning Avenging Angel act at the 34th Filmfare awards.
This movie resurrected Rekha’s career and she acted in a few more movies which had her playing similar characters.
Today’s song features Rekha as Rakesh Roshan’s wife in one version and a mother of two children in the second version. Then there is a third sad version of the song as well.Nitin Mukesh, Sadhana Sargam and Sonal Bhatwadekar are the voices used.
With Rakesh Roshan
With kids
Sad version
Song-Hanste hanste kat jaayen raste (Khoon Bhari Maang)(1988) Singers-Sadhana Sargam, Nitin Mukesh, Sonali Bhatwadekar, Lyrics- Indeewar, MD-Rajesh Roshan
——————————
Part I (Sadhana Sargam, Nitin Mukesh)
——————————
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
honthon se bijli chamke ae jab
jab tu muskaati hai
aa aa aa aa aa aa
saari haseenaaon se ae
haseen tu ho jaati hai
teri inhi baaton se ae ae
jaan mein jaan aati hai
hanste hanste kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
chamka mera chehra aa aa
saamne jab tu aaya
o o o o o o
tujhe laga jo haseen een
wo hai tera hi saaya
teri isi ada ne ae ae
aashiq mujhe banaaya
hanste hanste kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
———————————
Part II (Sadhana Sargam, Sonali Bhatwadekar)
———————————
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
tode jaane par bhi ee ee
phool hansa karte hain
tapte sehraaon mein aen aen
jharne mila karte hain
toofaan aane par bhi ee ee
deep jala karte hain
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
ik din samjhe na par
pyaar mein chain se jeena
dil ka chain milaa to o o
phir kya koi na lena
sab auron jise aaya
jeena kaa ye kareena
hanste hanste kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
maana jaane waale ae ae
laut ke kab aate hain
doob ke sooraj taare ae ae
phir se nikal aate hain
pyaar agar sacha ho o o
bichhde mil jaate hain
hanste hanste
kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
————————————–
Part III (Sad version) Sonali Bhatwadekar
————————————-
hanste hanste kat jaayen raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
maana jaane waale ae ae
laut ke kab aate hain
doob ke sooraj taare ae ae
phir se nikal aate hain
pyaar agar sacha ho o o
bichhde mil jaate hain
hanste hanste kat jaye raste
zindagi yoonhi chalti rahe
khushi mile ya gham
badlenge na hum
duniya chaahe badalti rahe
Gajar ne kiya hai ishaara
Posted on: June 22, 2022
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.
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Blog Day : |
5087 | Post No. : | 17013 | Movie Count : |
4609 |
Hullo Atuldom
Introducing “Tridev” (1989) on the blog with a song that was lost in the shadow of a more popular song of this movie. Both the songs have similar sounds at the beginning but the tune, the setting, words all are different. In fact “Tridev” had three songs that started with “oye oye”. Then the popular song went on as “Tirchhi topiwaale” and it had a version which was slower in tempo and can be labelled ‘sad version’. The song with this post went on as “gajar ne kiya hai ishaara” which was the song just before the climax. It had the three heroines doing a “jab tak hai jaan, jaane jahaan” kind of dance.
“Tridev” had Sonam-Naseeruddin Shah, Sangeeta Bijlani-Jackie Shroff, Madhuri Dixit-Sunny Deol playing the romantic pairs; and Amrish Puri leading the pack of baddies Tej Sapru, Dan Dhanoa, Dalip Tahil, Rajesh Vivek, etc. Subbiraj, Anupam Kher played fathers of Sunny and Madhuri respectively. Then we also had Raza Murad, Sharat Saxena, Chandrashekhar (whose anniversary was on 16th June), Sulabha Deshpande, Tom Alter, Ram Mohan, etc in the supporting cast.
The movie was given an ‘Adults only’ certificate by the CBFC. It was produced by Gulshan Rai and directed by Rajiv Rai. Anand Bakshi was the lyricist of the songs which were tuned by Kalyanji- Anandji. Viju Shah was the arranger and if I am not wrong “Tirchhi Topiwaale” was his handiwork. Sapna Mukherjee, Sadhana Sargam, Alka Yagnik, Amit Kumar, Manhar Udhas, Mohd Aziz, were the playback singers used. Naseeruddin Shah’s voice was used in the titles along with a great musical piece.The same is used later in the movie too, towards the interval. “Tridev” was an out-n-out entertainer though I don’t know of its fate at the box-office, I have seen it on VCR back then and a few times later on Television too.
We are having this song today to celebrate the 90th birthday of ‘Bhujang’ (in Tridev) a.k.a ‘Balwant Rai’ a.k.a ‘Thakral’ and most famous as “MOGAMBO”. Now I can see the readers telling “Oh! Amrish Puri’s birth anniversary??!!” He would have been 90 this year. Thinking of this actor who could scare you, make you laugh as also look endearing in the role of a strict father as he says:- “Jaa Simran Jaa, Iss ladke se zyada koi aur tujhe pyaar nahi kar sakta”
Video
Song-Gajar ne kiya hai ishaara (Tridev)(1989) Singers- Alka Yagnik, Sadhana Sargam, Sapna Mukherjee, Lyrics-Anand Bakshi, MD-Kalyanji Anandji
Lyrics
oye oye
oye o o vaa
oye oye
oye oye
oye o o vaa
oye o o vaa
oye oye
oye oye
oye o o vaa
oye o vaa
gajar ne kiya hai ishaara
ghadi bhar ka hai khel saara
gajar ne kiya hai ishaara
ghadi bhar ka hai khel saara
tamashaayee ban jaayenge khud tamaasha
badal jaayega ye nazaara
haan badal jaayega ye nazaara
gajar ne kiya hai ishaara
oye oye
oye oye
oye o o va
oye o o va
oye oye
oye oye
oye o o va
oye o o va
ishaaron pe humko na taalo
chalo jashn tum ye manaa lo
ke jee bhar ke humko sata lo
ishaaron pe humko na taalo
chalo jashn tum ye manaa lo
ke jee bhar ke humko sata lo
nahin kuch kahenge
ke hans kar sahenge
sitamgar sitam hum tumhaara
haan sitamgar sitam hum tumhaara
gajar ne kiya hai ishara
ghadi bhar ka hai khel saara
tamashaye ban jaayenge khud tamaasha
badal jayega ye nazaara
haan badal jayega ye nazaara
gajar ne kiya hai ishaara
oye oye
oye oye
oye o o va
oye o o va
oye oye
oye oye
oye o o va
oye o o va
khayaalon mein tum kho na jaana
mere dushmanon so na jaana
ke madhosh tum ho na jaana
khayaalon mein tum kho na jaana
mere dushmano so na jaana
ke madhosh tum ho na jaana
zara aaj ki raat bhaari hai tumpe
ke toota hai koi sitaara
haan ke toota hai koi sitaara
gajar ne kiya hai ishaara
oye oye
oye oye
oye o o va
oye o o va
oye oye
oye oye
oye o o va
oye o o va
zamaane ka dastoor kya hai
muqaddar ko manzoor kya hai
bhala paas kya door kya hai
zamaane ka dastoor kya hai
muqaddar ko manzoor kya hai
bhala paas kya door kya hai
nahin kuchh pata humko
bas ye pata hai
ye din aakhri hai tumhaara
haan ye din aakhri hai tumhaara
gajar ne kiya hai ishaara
ghadi bhar ka hai khel saara
tamashaayee ban jaayenge khud tamaasha
badal jaayega ye nazaara
haan badal jaayega ye nazaara
gajar ne kiya hai ishaara
oye oye
oye oye
oye o o va
oye o o va
oye oye
oye oye
oye o o va
oye o o va
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4757 | Post No. : | 16500 | Movie Count : |
4483 |
Slowly, steadily, and unnoticeably, the blog reaches yet another blog century. This post is post number 16500 for the blog. In other words, this song is the 165th century post for the blog.
When I thought about writing an article to go with post, I considered going through all the previous century posts. I kept going backwards from 164th century post, 163rd century post. After ten such posts, I gave up. If someone thinks that 164 songs and 164 song articles is a small number, then please try to do that exercise yourself. If one has to make a playlist of these century songs, the entire playlist will play for more than eight hours !
If that is the case for 164 of the choicest songs in the blog, then just imgine how many hours of music the entire blog contains. The blog has been going on at the rate of 3.5 songs a day for 4756 days. Assuming that these three and half songs a day are 12 minutes long then 12 minutes equals 0.2 hours of song every day. Multiply it with 4756. We get 951 hours of song in the blog. 951 hours means 40 days of non stop music if one plays it 24 hours a day without a break.
No normal human being will be able to do it, of course. If a normal music lover decides to savour music from the blog for just one hour a day, then he will have enough masala in the blog to last 951 days, viz 2 years and 8 months. During these 951 days, the blog would add another 195 hours of music, of course. 🙂
I think, some of our regulars have tried it. They should share their experiences with us. Since I post the articles and listen to the song myself, and that too more than once, I must have heard these songs for say 2000 hours already, but in a manner that did not burden me. Rather I must have enjoyed the experience, seeing that I am still at it, after more than 13 years.
The blog completed its 13th birthday recently, on 19 July 2021. Four articles were posted on the occasions. One was a Lata Mangeshkar yearwise songs series, which has been appearing every monday in the blog for the last 45 mondays. Other three articles, by three different regulars, were blog birthday celebration posts. My Lata Mangeshkar song series takes so much time out of me that it does not leave me time for any other article on mondays from me. That is why I could not post any special blog birthday articles. So I decisded to use this century post as century post cum belated blog birthday celebrating writeup. 🙂
As is usual now a days, our century posts are low key affairs. Our regulars do not seem to wait eagerly for them unlike in the past. Even the post writer leaves it till the last moment before he wakes up and starts to look desperately for a song appropriate for the occasion. Surprisingly, despite of such negligence, we always manage to find songs that are eminently suitable for the occasion.
Most of the blog century posts are from the golden era. The blog itself mainly covers songs from that era. But we have songs (including blog century songs) from pre golden era (before 1949) and also songs from post golden era (songs released after 1980).
It is popularly believed that the golden era of HFM was over after 1980. Even then, we continued to get some wonderful songs in HFM. Quite a few songs after 1980 have figured in the blog as blog century songs. Here are their details:
| Blog post number | Date (Blog day number) | Song | Movie (Year) | Remarks |
|---|---|---|---|---|
| 4100 | 30 june 2011 (1077) | Aisa lage kahin door se | Trishaagni (1988) | |
| 9800 | 1 May 2014(2113) | Maine tumse kuchh nahin maanga | Katha (1983) | |
| 13500 | 3 August 2017(3303) | Ye paisa bolta hai | Kaala Baazaar (1989) | |
| 15200 | 4 September 2019 (4065) | Dil mein Mars hai | Mission Mangal (2019) | Newest century song in the blog |
| 15500 | 27 March 2020(4270) | Uljhan ho chaahe koi | Chambal Ke Daaku (1982) | One of the rarest songs |
| 15600 | 11 May 2020 (4315) | Goriya uski deewaani | Aag Ka Darya (1990) | |
| 16100 | 15 December 2020 (4533) | Hai ye kaisa nasha | Chorni (1981) |
One can see that as many as six songs from the decade of 1980s have figured i the blog as Blog century posts. But the newest song that has figured as the blog century post is from 2019. This song from Mission Mangal”(2019) became a century post in 2019, viz in the same year when this movie and its songs were released. That is one big surprise for most blog regulars. Even I , who presented the article, was surprised. I had myself forgoten about the fact that I had done something like this, and that too less than two years ago. 🙂
Songs that figure in the blog as blog century songs are special songs in one way or the other. And the speciality varies from one song to another.
The song under discussion is a song that was reasonably popular when the movie was released. The movie was forgotten with time and even this song seemingly went away. There are some songs, that get a second wind for some reasons and this time they become far far popular than what they were the first time round.
I can give quite a few such examples. Here are some examples:
April fool banaya(April fool) was a reasonably popular song of its time that got forgotten with time. In 1983 this song got reived when it was used in an important scene in “Andha Kaanoon”(1983).
Ek chatur naar(Padosan)(1968) was hardly popular during the first run of the movie. It is only after 1980s that this song has become an extremely popular song and it seems to have become more popular and this popularity is here to stay.
Main teri dushman dushman tu meri main naagan to sapera (Nagina) had run its course and had been forgotten. The song earned huge popularity in march 2018, thanks to reasons that had nothing to do be music and Indians. Non Indians popularised this song thanks to their childish pranks on the field of cricket. My writeup on this song described the funny episode leading to the revival of this song in this article.
The song under discussion got its second wind thanks to dance competion shows that have become popular on Indian TV. On these dance songs, ordinary folks dance on some olf Hindi film dance songs. In one episode one middle aged man, Sanjeev Sriastava (a ka Dabbu Uncle) performed dance on stage on this song alongwith his wife and took the TV audience by storm. Even Govinda, who originally danced on this song found Dabbu Uncle’s dance cute. This song was performed on screen by Govinda and Neelam. On a dance show, both of them were invited as judges. This song had earned such popularity by then that the two of then were asked to come on stage and dance on the song, three decades after they had originally danced on this song on screen. And they obliged.
And here is Dabbu uncle getting to perform with Govinda himself.
It goes without saying that this is one song that has been repopularised by an ordinary man. That is the power of an ordinar man. 🙂
The movie the song belonged to was “Khudgarz”(1987). The movie was produced and directed by Rakesh Roshan for Fimkraft, Bombay. The movie had Jeetendra, Shatrughan Sinha, Govinda, Bhanupriya, Amrita Singh, Neelam Kothari, Kadar Khan, Kiran Kumar, Saeed Jaffrey, Sudhir Dalvi,Sushma Seth, Praveen Kumar, Sangeeta Naik, Ghanshyam, Dinesh Hingoo, Satyen Kapoo, Mac Mohan, Master Javed Hyder etc in it. Rishi Kapoor and Abhi Bhattacharya had figured in guest appearances in the movie.
The movie was based on the story “Kane and Abel” penned by Jeffrey Archer without acknowedgement. Jeffrey Archer accused the maker of plagiarising his intellectual right without paying for it. It was the first time that a movie produced by Rakesh Roshan hit the jackpot at the box office. The movie was subsequently made in Tamil, Telugu, Kannada, Odia etc as well.
Here is this song from “Khudgarz”(1987). It is sung by Md Aziz and Sadhana Sargam. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
Since it is the dance on the song that has repopularised the song, I was curous to know who was the dance master. I had to watch the movie for a few mintes, till the first song appeared on screen, accompanied by credits. According to credits Dances are choreographed by Suresh Bhatt. His assistants were Aruna and Sujata.
Here is this fantastic song. It is a song that has to be savoured by watching its video. The song, and its picturisation has earned enormous popularity on YT channels which was hardly the case a few years ago.
The movie makes its debut in the blog with this song.
With this song, the blog now had 16500 song posts in it. I take this opportunity to thank one and all whose continuous support and encouragement keeps fuelling this labour of love musical bandwagon. Like the lyrics of this song, eve for us in the blog “dil bahalta hai mera aapke (is blog pe) aa jaane se”. Keep visiting, keep commenting, and keep supporting us with your encouragement. We still have lots and lots of musical gems to discover and savour.
Audio
Video
Song-Mai se meena se na saaqi se na paimaane se(Khudgarz)(1987) Singers-Md Aziz, Sadhana Sargam, Lyrics-Indeewar, MD-Rajesh Roshan
Chorus
Lyrics
Mai se meena se na saaqi se
Mai se meena se na saaqi se
Na paimaane se
Dil behalta hai mera
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Gul se gunchon se na bulbul ke
Gul se gunchon se na bulbul ke
gungunaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Khwaab mein jannat ka naqsha
Aa gaya jab saamne
ru ru ru ru ru ru
ru ru
ru ru
ru ru ru ru ru ru
ru ru
Khwaab mein jannat ka naqsha
Aa gaya jab saamne
Hooron se bhi dil na behla aa aa
Hum lage tujhe dhoondhne
Jannat ki bahaaron se na pariyon ke
Jannat ki bahaaron se na pariyon ke
muskuraane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Ek din main bhi gayi thhi
Jauhari bazaar mein
ru ru ru ru ru ru
ru ru
ru ru ru
ru ru ru ru ru ru
ru ru
Ek din main bhi gayi thi
Jauhari bazaar mein
Teri aankhein yaad aayin
Heeron ke bhi haar mein
Moti se na heeron se na jewar se
Moti se na heeron se na jewar se
Na kisi khazaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Mai se meena se na saaqi se
Mai se meena se na saaqi se
Na paimaane se
Dil behalta hai mera
aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
Aapke aa jaane se
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4666 | Post No. : | 16340 |
Today’s song is from the 1993 movie – ‘Ham Hain Raahi Pyaar Ke’. Music for this movie was composed by Nadeem-Sharvan.
Shravan Rathod of this music duo team passed away recently on 22nd April’2021 (13.11.1954 – 22.04.2021), and as a tribute to him we remember this movie and its songs on the blog.
This movie had six songs composed by Nadeem-Shravan. Five songs have been posted on the blog earlier.
The name of music director duo Nadeem-Shravan will always be remembered for composing some of the scintillating music of the nineties for HFM.
Music of the movie ‘Aashiqui-1990/91’ had created a sensation among HFM fans. It was followed by movies like ‘Saajan-1991’, ‘Sadak-1991’, ‘Deewaanaa-1992’, ‘Dil Hai Ke Maanta Nahin-1992’, ‘Ham Hain Raahi Pyaar Ke-1993’, ‘Raja Hindustani-1996’,‘Pardes-1997’, ‘Dil Ka Rishta-2003’ and others where this duo composed the music.
I am not a big fan of their music, but I cannot say that I do not their music totally. I like some of their compositions from the movies mentioned above.
However very soon music director Nadeem of the duo had to leave the industry and later made a comeback (giving music virtually, I think).
I had watched some of the movies mentioned above during my stay at Kota (Rajasthan).
‘Ham Hain Raahi Pyaar Ke-1993’ is one such movie which I watched then. I remember I liked this movie very much and I watched it twice or thrice. I also liked the songs of this movie very much.
‘Ham Hain Raahi Pyaar Ke-1993’ was directed by Mahesh Bhatt for ‘Tahir Hussain Enterprises’ & T.V. Films Pvt Ltd. It was produced by Tahir Hussain.
It had Amir Khan, Juhi Chawala, Dilip Tahil, Navneet Nishan, K.D. Chandran, Veeru Krishnan, Tiku Talsania, Mushtaq Khan, Javed Khan, Baby Ashrafa, Sharokh Bharucha, Master Kunal Khemu and others.
Story, screenplay, and dialogues for this movie were written by Robin Bhatt. (Amir Khan is also credited in writing screenplay with Robin Bhatt?).
Editing of this movie was done by Sanjay Sankla.
This movie had six songs written by Sameer and composed by Nadeem-Shravan.
Here are the details of songs of this movie and their date of posting on the blog;
| S.No. | Song Title | Posted On |
|---|---|---|
| 01 | Bambai se gayi Poona Poona se gayi Dilli | 10.09.2015 |
| 02 | Yoonhi kat jaayega safar saath chalne se | 04.10.2016 |
| 03 | Ghoonghat ki aad se dilbar ka | 13.11.2017 |
| 04 | Mujhse mohabbat ka izhaar karta | 13.11.2019 |
| 05 | Chikni surat tu kahaan thha ab talak ye bataa | 20.09.2020 |
| 06 | Wo meri neend mera chain mujhe lautaa do | Final song being posted today |
As we can see from the above table five songs of this movie have already been posted on the blog.
Today’s song is the sixth and final song from this movie ‘Ham Hain Raahi Pyaar Ke-1993’. It is sung by Sadhana Sargam. Sameer is the lyricist and music is composed by Nadeem-Shravan.
With today’s song all songs of this movie ‘Ham Hain Raahi Pyaar Ke-1993’ have been posted on the blog and the movie stands ‘Yippeeee’ed 😊
Let us listen to today’s song now ….
Audio
Video
Song-Wo meri neend mera chain mujhe lautaa do (Ham Hain Raahi Pyaar Ke)(1993) Singer-Sadhana Sargam, Lyrics-Sameer, MD-Nadeem Shravan
Lyrics
wo meri neend mera chain
mujhe lautaa do o
wo meri neend mera chain
mujhe lautaa do
wo mera pyaar mera dard
mujhe lautaa do
neend jitni bhi maine khoyi hai
chain jitnaa bhi maine khoya hai
wo meri neend mera chain
mujhe lautaa do
wo mera pyaar mera dard
mujhe lautaa do o
ek maasoom dil hai aur
sitam hain kitne ae
ek maasoom dil hai aur
sitam hain kitne
is muhabbat ke siwa
aur bhi gham hain kitne ae
is muhabbat ke siwa
aur bhi gham hain kitne ae
mere ishq ka imtehaan yoon naa lo
tumhen hai qasam meri jaan yoon naa lo
khwaab jitney bhi maine dekhe hain
yaad jitnaa kiya hai maine tujhe
wo mere khwaab
meri yaad mujhe lautaa do
wo meri neend mera chain
mujhe lautaa do
wo mera pyaar mera dard
mujhe lautaa do o
ye meri bhool thhi
jo maine tujhe pyaar kiya
ye meri bhool thhi
jo maine tujhe pyaar kiya
na milne waali mohabbat ka
intezaar kiya
na milne waali mohabbat ka
intezaar kiya
ye kya rang laayi hai meri wafaa
mili hai mujhe kisliye ye sazaa
teri chaahat ki pyaas thhi mujhko
isko paane ki thhi ummeed mujhe
wo meri pyaas wo ummeed
mujhe lautaa do
wo meri neend mera chain
mujhe lautaa do
neend jitni bhi maine khoyi hai
chain jitnaa bhi maine khoya hai
wo meri neend mera chain
mujhe lautaa do
wo mera pyaar mera dard
mujhe lautaa do o
wo mere khwaab
meri yaad mujhe lautaa do
wo meri pyaas wo ummeed
mujhe lautaa do o
This article is written by Pevesie’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.
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Blog Day : |
4622 | Post No. : | 16270 |
Hullo Atuldom
I must admit at the outset that I have very limited understanding of some words that appear in today’s song. I know it is not possible to call the lyricist and ask for meanings. I know for sure that there are followers to this blog who will explain what “Jaanejaan” and “Janejana” actually mean. All along I have been thinking that both mean “beloved”, am I right? I hope it is not too late to learn, considering these words have been used in umpteen songs of Bollywood, since god knows when!!!
This song has been penned by Majrooh Sultanpuri who is known for meaningful songs from the ’40s. It has been tuned by Anu Malik and sung by Udit Narayan and Sadhana Sargam. Onscreen pair is Aamir Khan with Mamta Kulkarni. It is from the Ashutosh Gowarikar directed “Baazi” (1995). If I am not wrong this was his directorial debut. It was a cop story where Aamir Khan (the cop) is on the trail of people involved in a multi-crore rupee international scandal. The movie was slammed by critics as an ambitious mish-mash of many Hollywood movies like ‘Rambo’, ‘Die-hard’ etc. put together with ample doses of desi masala. But the masses seemed to have liked it as it was a moderate success at the box-office.
With this song we are wishing Aamir Khan on turning an year older.
Some sites on the internet say that Sadhana Sargam, the female playback of this song, had her birthday on 7th March; though the anniversary page of our blog gives the date as 14th March. Whatever be the date here is wishing this singer, with a sweet voice, all the best for a music-filled life. She has been around since she was barely 9 when she sang in the chorus for the song from “Trishna” with Kishore Kumar as the lead singer.
Her mother was a classical singer and music teacher who knew Anil Mohile, who was then arranger for Kalyanji-Anandji. He introduced baby Sadhana to the music composers and she was part of their troupe on many stage shows. She is a trained classical singer too as is evident in her control over sur and taal at any pitch. It is a small wonder that she was a much sought after singer through the ’90s. She has sung in many Indian languages and has nearly 150 Tamil songs to her credit. She has been nominated a few times at the Filmfare awards but they have eluded her so far. The National Award that she has won was for a Tamil song.
Let us wish Sadhana Sargam a very Happy Birthday with this post.
Audio
Video
Song-Dheere dheere aap mere dil ke mehmaan ho gaye (Baazi)(1995) Singers-Udit Narayan, Sadhana Sargam, Lyrics-Majrooh Sultanpuri, MD-Anu Malik
Lyrics
dheere dheere aap mere
dil ke mehmaan ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
pehle jaan
phir jaane jaan
phir jaanejaana ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
ho o o dheere dheere aap mere
dil ke mehmaan ho gaye
pehle jaan
phir jaane jaan
phir jaane jaana ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
yeh hai karam aapka aa
tumne mujhe chun liya aa
ab chaahe kuchh na kaho
humne sab sun liya
pehle jaan
phir jaanejaan
phir jaanejaana ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
paagal jawaani teri ee
qaatil tumhaari ada aa
aisa chadha donon pe ae ae
aashiqui ka nasha
pehle jaan
phir jaane jaan
phir jaane jaana ho gaye
dheere dheere aap mere
dil ke mehmaan ho gaye
ho o dheere dheere aap mere
dil ke mehmaan ho gaye
Ek Musafir Hoon Main
Posted on: June 1, 2020
- In: "Guitar"song | Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Manhar Udhas - Sadhna Sargam Duet | Manhar Udhas songs | One singer singing for two actors | Party song | philosophical song | Post by Peevesie's mom | Sadhna Sargam Songs | Songs of 1990s (1991 to 2000) | Songs of 1993 | Yearwise breakup of songs
- 13 Comments
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.
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Blog Day : |
4336 | Post No. : | 15634 | Movie Count : |
4307 |
Hullo Atuldom
I know of a few people who have two birthdays each year. This can be explained as an adjustment for the sake of getting admission in schools which have a condition that the child should have completed 3½ when getting admitted to pre-school, and/or 5½ when the child starts class one in June. June is the time when the academic sessions begin in India and this rule has been in place for ages. So I have two cases for this in my family – my mother’s birth year was changed to comply with admission requirements.
June 1st is a special date for an Atulite who loves to travel. He has traveled to places which offer a lot of adventure and camping attractions. He has chronicled his travel experiences in www.sadanandsafar.blogspot.com.
It is our Sadanand ji’s birthday, a special birthday today. I shall not mention his age as I know him to be rather young at heart – his travels and treks are a testimony to that.
Currently his journey is discovering songs which we have hitherto not heard, Hindi songs which are from Bengali films. This series has given us some great songs. He has a lot of patience to dig out authentic and accurate information from varied sources like past issues of the magazine ‘Film India’ and other sites. He is painstakingly trying to find links. All the best to him in this – may we get more of the same. Here I will admit that his series has made me look out for songs in south Indian movies and a link that our In-house encyclopedia sent me has started that journey for me. I hope that I am able to sustain myself for as long as Sadanandji who has crossed 600 posts on the blog of which 28 posts were of Hindi songs in Bangla films. That is indeed a lot of rummaging through available online and offline material.
He has one more love – pointed out to me by our Avinash ji, whom I brain-stormed with before I sat to write this post. He loves poetry or shaayari as it is called. Avinash ji drew my attention towards Sadanandji’s love for Gopal Das Neeraj. So today we will have a song penned by Neeraj.
I just realized that I should explain my opening paragraph.
Since morning we have been wishing Sadanand ji through WhatsApp and he graciously thanked everyone but added “Thanks for wishing me on my official birthday. My actual birthday is **/07/****” . So that means we get to wish him one more time – ‘duguna wishes’. I am sure that this change in date of birth may have happened at the point of school admissions, am I right Sadanand ji ? As one of my many acquaintances loves to say – “same case as my mother”.
Now I shall move to the song for which I must thank Avinash ji; he has provided me the lyrics in both English and Devanagari (his forte). He also provided me the link to the audio and video and I realized why he suggested this song from “Gunaah” (1993).
I think I have seen this movie ages ago on television and this movie had Sunny Deol, Dimple Kapadia, Sumeet Saigal, Anjana Mumtaz, Shammi, Manohar Singh, Akash Khurana, Raza Murad, Avtar Gill etc. It was the story of a young journalist (Sunny Deol) who is found wounded on the shores of Goa, treated by Dr. Joe D’Costa (Manohar Singh). He suffers from amnesia and then remembers details about himself, his life etc after five long years. He recollects that he was instrumental in the downfall of an upright politician and had a girl friend etc. Then the movie makes its way through the usual lanes of finding the real-culprits. The movie was directed by Mahesh Bhatt had songs written by Neeraj and Payam Saeedi (don’t know anything about this person) and Rajesh Roshan was the music director.
Today’s song starts on the seashore, in a Goan village setting with choreographer Ganesh Acharya (don’t know if he was the choreographer for this movie) lip-syncing to Manhar Udhas and we see Manohar Singh urging Sunny Deol to join the fun. I am unable to identify the girl (she looks very familiar) who is lip syncing to Sadhana Sargam.
Wishing Sadanand ji once again a musical day with family and remember your fellow Atulites when you cut the cake. 😉
Video
Audio
Song – Ek Musafir Hoon Main (Gunaah) (1993) Singer – Manhar Udhas, Sadhna Sargam, Lyrics – Neeraj, MD – Rajesh Roshan
Manhar Udhas + Sdhna Sargam
Chorus
Lyrics (Provided by Avinash Scrapwala)
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
ek musaafir hoon main ae
ek musaafir hai tu
apna ghar hai kahaan
ham ko jaana kahaan
kaun jaane yahaan
ham ko jaana kahaan
kaun jaane yahaan
ek musaafir hoon main ae
ek musaafir hai tu
apna ghar hai kahaan
ham ko jaana kahaan
kaun jaane yahaan
ham ko jaana kahaan
kaun jaane yahaan
la la la laa la laa
la la la laa la laa
la la la laa la laa
la la laa la laa la laa
sa sa re re
sa sa saa re re
sa sa re re sa aa
aaj to geet gaa le
aa aa aa aa aa
kal ki kis ko khabar
aaj to geet gaa le ae
aa aa aa aa aa
kal ki kis ko khabar
kuchh bhi maaloom nahin
khatm ho kab safar
ek parinda hoon main
ek parinda hai tu
hai basera kahaan
hai savera kahaan
kaun jaane yahaan
hai savera kahaan
kaun jaane yahaan
ye madhur chaandni ee
aa aa aa aa
aa ke pi le zara aa
ye madhur chaandni ee
aa aa aa aa
aa ke pi le zara aa
roop ke gaaon mein ae
aa ke jee le zara aa
ek dhaaraa hoon main
ek dhaaraa hai tu
apna udgam kahaan
apna sangam kahaan
kaun jaane yahaan
apna sangam kahaan
kaun jaane yahaan
kal mile thhe yahin
aa aa aa aa
aaj ham kho gaye ae ae
kal mile thhe yahin
aa aa aa aa
aaj ham kho gaye ae ae
haadse yoon huye ae
kya se kya ho gaye ae
ek khilauna hoon main
ek khilauna hai tu
tootna hai kahaan
hai bikharna kahaan
kaun jaane yahaan
hai bikharna kahaan
kaun jaane yahaan
ek musaafir hoon main ae
ek musaafir hai tu
apna ghar hai kahaan
ham ko jaana kahaan
kaun jaane yahaan
ham ko jaana kahaan
kaun jaane yahaan
aa aa aa aa aa
aa aa aa aa aa
—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
एक मुसाफिर हूँ मैं ए
एक मुसाफिर है तू
अपना घर है कहाँ
हम को जाना कहाँ
कौन जाने यहाँ
हम को जाना कहाँ
कौन जाने यहाँ
एक मुसाफिर हूँ मैं ए
एक मुसाफिर है तू
अपना घर है कहाँ
हम को जाना कहाँ
कौन जाने यहाँ
हम को जाना कहाँ
कौन जाने यहाँ
ल ल ल ला ल ला
ल ल ल ला ल ला
ल ल ल ला ल ला
ल ल ला ल ला ल ला
सा सा रे रे
स स सा रे रे
सा सा रे रे सा आ
आज तो गीत गा ले
आ आ आ आ आ
कल कि किस को खबर
आज तो गीत गा ले ए
आ आ आ आ आ
कल कि किस को खबर
कुछ भी मालूम नहीं
ख़त्म हो कब सफ़र
एक परिंदा हूँ मैं
एक परिंदा है तू
है बसेरा कहाँ
है सवेरा कहाँ
कौन जाने यहाँ
है सवेरा कहाँ
कौन जाने यहाँ
ये मधुर चांदनी ई
आ आ आ आ आ
आ के पी ले ज़रा आ
ये मधुर चांदनी ई
आ आ आ आ आ
आ के पी ले ज़रा आ
रूप के गाँव में ए
आ के जी ले ज़रा आ
एक धारा हूँ मैं
एक धारा है तू
अपना उद्गम कहाँ
अपना संगम कहाँ
कौन जाने यहाँ
अपना संगम कहाँ
कौन जाने यहाँ
कल मिले थे यहीं
आ आ आ आ
आज हम खो गए ए ए
कल मिले थे यहीं
आ आ आ आ
आज हम खो गए ए ए
हादसे यूं हुए ए
क्या से क्या हो गए ए
एक खिलौना हूँ मैं
एक खिलौना है तू
टूटना है कहाँ
है बिखरना कहाँ
कौन जाने यहाँ
है बिखरना कहाँ
कौन जाने यहाँ
एक मुसाफिर हूँ मैं ए
एक मुसाफिर है तू
अपना घर है कहाँ
हम को जाना कहाँ
कौन जाने यहाँ
हम को जाना कहाँ
कौन जाने यहाँ
आ आ आ आ आ
आ आ आ आ आ
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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