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

Archive for the ‘Sentimental song’ Category


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

Blog Day :

4806 Post No. : 16574 Movie Count :

4515

Pancham’s Music – Eighties (1981-1990) -3 (1983)
——————————————————————

In today’s post we move on to Pancham’s music in 1983.

If we talk actor wise the year ‘1983’ belonged to Rajesh Khanna. He delivered hits like Avtaar, Sautan, and Agar Tum Naa Hote. That readily brings to our mind his favourite music director and lyricist viz. Rahul Dev Burman and Anand Bakshi respectively.

In the annual list of ‘Binaca Geetmala’ of that year the song that was a ‘topper’ was a song from Rajesh Khanna movie, but it was composed by Usha Khanna and not Rahul Dev Burman. The song was ‘shaayad meri shaadi ka khayaal’. On the 2nd and 3rd spot of this list, were the songs of ‘Nikaah’ composed by Ravi.

There was only one Rajesh Khanna movie that year where Pancham had composed the music. This movie was ‘Agar Tum Naa Hote’. Its popular title song ranked twenty-third in the annual list of ‘Binaca Geetmala’.

The other Rajesh Khanna movie that found representation in the annual list of ‘Binaca Geetmala’ was ‘Avtaar’ (its song ‘zindagi mauj udaane ka naam hai’ was at 25th position). (I have not included ‘Disco Dancer-1982 where Kaka had special appearance).

Following movies which were released in 1983 had their music composed by R.D. Burman.

Sno Movie Title Director Lyricist Date of Censor Certificate Status on the Blog
1 Aan Aur Shaan Ravi Tandon Majrooh Sultanpuri 14.11.1983 1 of 4 songs posted
2 Agar Tum Na Hote Lekh Tandon Gulshan Bawra 27.10.1983 3 of 8 songs posted
3 Bade Dilwaalaa Bappie Soni Majrooh Sultanpuri 24.09.1983 5 of 7 songs posted
4 Betaab Rahul Rawail Anand Bakshi 30.07.1983 2 of 5 songs posted
5 Bindiyaa Chamkegi Tarun Dutt Anjaan 20.10.1983 0 of 5 songs posted
6 Boxer Raj N Sippy Gulshan Bawra 31.12.1983 1 of 4 songs posted
7 Chor Police Amjad Khan Nida Fazli 11.04.1983 1 of 5 songs posted
8 Farishtaa Sunil Sikand Anand Bakshi 13.10.1983 1 of 6 songs posted
9 Jaan E Jaan / Nikamma Ramesh Behl Gulshan Bawra 06.04.1983 2 of 5 songs posted
10 Kaun? Kaise? Anil Ganguly Gulshan Bawra 06.05.1983 1 of 5 songs posted
11 Lovers Bharathi Raja Anand Bakshi 07.05.1983 1 of 6 songs posted
12 Mahaan S. Ramnathan Anjaan 08.04.1983 2 of 7 songs posted
13 Main Aawaaraa Hoon Aseem Samanta Anand Bakshi 25.11.1983 0 of 5 songs posted
14 Mazdoor Ravi Chopra Hasan Kamaal 06.10.1983 2 of 7 songs posted
15 Pukaar Ramesh Behl Gulshan Bawra 01.11.1983 1 of 6 songs posted
16 Qayaamat Raj N Sippy Majrooh Sultanpuri 01.10.1983 1 of 5 songs posted
17 Rang Birangi Hrishikesh Mukherjee Kaka Hathrasi, Yogesh, Maya Govind 23.04.1983 2 of 4 songs posted
18 Romance Ramanand Sagar Anand Bakshi 12.10.1983 1 of 6 songs posted
19 Shubh Kaamnaa K. Vishwanath Anjaan 23.07.1983 1 of 5 songs posted

From the above list one song each of ‘Betaab’, ‘Lovers’ and ‘Pukaar’ appeared at spot no.4, 16 and 31 respectively in the annual list of ‘Geetmala – 1983’.

In addition to this one song each from the movies ‘Maasoom’ and ‘Shakti’ ranked at number 11 and 22 respectively. But these were the movies released in 1982.

Two songs – one each from ‘Betaab’ and ‘Maasoom’ appeared in the shadow list of that year’s annual list of Binaca Geetmala.

For today’s presentation I have chosen a song from ‘Main Aawaaraa Hoon-1983’. Two movies from the year 1983, where Pancham composed music, have not debuted on the blog out of nineteen movies. One is ‘Main Aawaaraa Hoon’ and other is ‘Bindiyaa Chamkegi’.

I am not aware of the songs from ‘Bindiyaa Chamkegi’ and songs of ‘Main Aawaaraa Hoon’. But except the one song that is the today’s song from ‘Main Aawaaraa Hoon’. I was aware of this song, but I was not aware the name of the movie it was from.

It is nice sentimental-hummable song ‘kisi ki bewafaai ka sabab ban jaaya karti hai’. I remember this song was played frequently on Radio and cassette recorders in Restaurants and Hotels.
(I was staying at Akola (Maharashtra) then for my 11-12th standard studies 😊)

“Main Aawaaraa Hoon-1983” was directed by Aseem Samanta for his father’s productions ‘Shakti Films, Bombay’. It was produced by Shakti Samanta. It had Sanjay Dutt, Rati Agnihotri, Jayaprada, Raj Babbar, Shakti Kapoor, Madan Puri, Iftekhar, Satyen Kappu, Shubha Khote, Ramesh Deo, Rashmi Chauhan, Raj Bharati, Dinesh Hingoo, Asit Sen, Madhumalini, Tarun Ghosh, Rajendra Nath, Krishnakant, Birbal, Jugnu, Robin Kar, Manorama and others.

This movie was passed by Censor Board on 25.11.1983.

“Main Aawaaraa Hoon-1983” had five songs, all written by Anand Bakshi. Music was composed by Rahul Dev Burman.

Following is the list of songs this movie had.

SNo Song Title Singer/s
01 O mera rastaa meri manzil …main aawaaraa hoon Kishore Kumar, chorus
02 Jaane ya na jaane koyi …bolo ji kaisi kahi Kishore Kumar, Alka Yagnik
03 Suna hai tumhe hamse koi shikaayat hai … Asha Bhonsle
04 Kisi ki bewafaai ka sabab ban jaaya karti hai Kishore Kumar
05 Pyaar kise kehte hain ae ae … Kishore Kumar, Asha Bhonsle

Let us now listen to today’s song which on screen is lip-synced by Sanjay Dutt in the voice of Kishore Kumar who has sung this song with his special touch. The song grows up on us if we listen to it more than once…

Other than Sanjay Dutt we can see Raj Babbar, Rati Agnihotri, Shubha Khote, Rajendra Nath, Iftekhar, Asit Sen and others in the picturisation of this song.

Video

Audio

Song-Kisi ki bewafaai ka sabab ban jaaya karti hai(Main Aawaara Hoon)(1983) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics(Based on Audio link)

kisi ki bewafaai ka
sabab ban jaaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai
mohobbat hi judaai ka
mohobbat hi judaai ka
sabab ban jaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai

puraane log chehre par
nayaa chehraa lagaaye
puraane log chehre par
nayaa chehraa lagaaye
miley gairon se hanske
apnon se milte hain aaye
hayaa bhi behayaai ka
hayaa bhi behayaai ka
sabab ban jaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai

bachaaya hai hamaari muflisi ne
ham fakeeron ko
bachaaya hai hamaari muflisi ne
ham fakeeron ko
bahot nazdeek se dekha hai hamne
kuchh ameeron ko
ye daulat har buraayi ka
ye daulat har buraayi ka
sabab ban jaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai

bane na baat jab koi
to koyi kuchh kahe kaise
bane na baat jab koi
to koyi kuchh kahe kaise
jo kuchh kehna zaroori ho to
insaan chup rahe kaise
ye chup dil ki duhaayi ka
ye chup dil ki duhaayi ka
sabab ban jaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai
mohobbat hi judaai ka
mohobbat hi judaai ka
sabab ban jaya karti hai
kisi ki bewafaai ka
sabab ban jaaya karti hai

———————————–
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————–
किसी की बेवफाई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है
मोहोब्बत ही जुदाई का
मोहोब्बत ही जुदाई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है

पुराने लोग चेहरे पर
नया चेहरा लगाए
पुराने लोग चेहरे पर
नया चेहरा लगाए
मिले गैरों से हंसके
अपनों से मिलते हैं आये
हया भी बेहयाई का
हया भी बेहयाई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है

बचाया है हमारी मुफलिसी ने
हम फकीरों को
बचाया है हमारी मुफलिसी ने
हम फकीरों को
बहोत नजदीक से देखा है हमने
कुछ अमीरों को
ये दौलत हर बुराई का
ये दौलत हर बुराई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है

बने ना बात जब कोई
तो कोई कुछ कहे जैसे
बने ना बात जब कोई
तो कोई कुछ कहे जैसे
जो कुछ कहना ज़रूरी हो तो
इंसान चुप रहे कैसे
ये चुप दिल की दुहाई का
ये चुप दिल की दुहाई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है
मोहोब्बत ही जुदाई का
मोहोब्बत ही जुदाई का
सबब बन जाया करती है
किसी की बेवफाई का
सबब बन जाया करती है


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

Blog Day :

4759 Post No. : 16503

Hullo Atuldom

This post by Avinashji reminded me of today’s song.

“Naam” (1986) had a cast headed by Nutan, Poonam Dhillon, Amrita Singh, Kumar Gaurav and Sanjay Dutt along with a few familiar faces forming the supporting cast. Pankaj Udhas had a guest appearance in the iconic song “Chitthi aayi hai aayi hai chitthi aayi hai“.

Avinashji’s post gives the technical details, censor certificate date, and the complete star cast. All the trivia that I had in mind before commencing this post viz: how the cast of “Mother India” became related post the marriage of Kumar Gaurav (Rajendra Kumar’s son) to Namrata Dutt (daughter of Nargis and Sunil Dutt). Atulji’s post for Chitthi aayi hai aayi hai chitthi aayi hai also mentions how the movie was meant to help Kumar Gaurav’s career but Sanjay Dutt benefited from the movie.

The basic story of the movie was- Nutan is the mother of Ravi (Kumar Gaurav) and Vicky (Sanjay Dutt). Both the sons love each other immensely and but are contrasting characters. Ravi is the more responsible and straight-forward of the two and is forever helping Vicky out of tricky situations. Vicky decides to go to Dubai to earn enough to keep his brother and mother happy and bring the family out of financial problems. Ravi helps him with the documents needed to go to Dubai but unfortunately Vicky finds himself in all kinds of problems on landing in Dubai- fraud visa, entangling with a ruthless underworld led by Rana (Paresh Rawal) etc. The story shifts to Malaysia, as Vicky is sent on an errand by Rana and Ravi ends up following Vicky there to try and bail him out of the mess. But only ends up loosing his beloved brother and bringing back his pregnant widow (Amrita Singh) to India.

Today’s emotional song is sung by Mohammad Aziz and Manhar Udhas. Anand Bakshi is the lyricist and Laxmi-Pyare the music directors. This song may not have been popular in its time but deserved to be. THe song has both the brothers getting drunk at the farewell that Ravi has arranged for Vicky.

Let us wish Sanju Baba a very Happy Birthday and lots of health and happiness with this post. I recall having read a news, same time last year, that he was undergoing treatment for lung cancer. Hope he is fit and fine and will be back to what he does best- entertain his fans.

Drunk version

Sad version

Song-Tu kal chala jaayega to main kya karoonga (Naam)(1986) Singer-Md Aziz Manhar Udhas Lyrics-Anand Bakshi MD-Laxmikant Pyarelal

Lyrics
——————–
Drunk version
——————–

tere jaane ki khushi
aur dil udaas hai
door hum huye toh kya
dil toh dil ke paas hai

tu kal chala jayega toh main kya karoonga
tu kal chala jayega toh main kya karoonga
tu ya.aa.ad bahut aayega
tu yaad bahut aayega toh main kya karoonga aa
tu kal bichhad jaayega toh main kya karoonga
tu kal bichhad jaayega toh main kya karoonga aa
tu muhjko bhool jaayega toh main kya karoonga
tu kal chala jaayega

teri yaad ko kahin
door chhod aaoon main
teri yaad ko kahin
door chhod aaoon main
iss kadar pila mujhe
tujhko bhool jaoon main
iss kadar pila mujhe
tujhko bhool jaaoon main
tujhko bhool jaaoon main
hosh magar aayega toh main kya karoonga
arre hosh magar aayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jaayega

tere jaisa kaun hai
aur kiska naam loon
tere jaisa kaun hai
aur kiska naam loon
la main issi baat par aur ek jaam loon
la main issi baat par aur ek jaam loon
aur ek jaam loon
jaam chhalak jaayega toh main kya karoonga
jaam chhalak jaayega toh main kya karoonga
tu muhjko bhool jaayega toh main kya karoonga aa
tu kal chala jaayega

bhool jaana tu mujhe
zindagi sanwaarna
bhool jaana tu mujhe
zindagi sanwaarna
yaad na karna mujhe
hanske din guzaarna
yaad na karna mujhe
hanske din guzaarna
hanske din guzaarna
tera gham rulaayega toh main kya karoonga
arre tera gham rulayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal bichhad jaayega toh mai kya karoonga
tu muhjko bhool jayega toh main kya karoonga aaa
tu kal chala jaayega

—————————————-
Sad version
—————————————-

tu kal chala jaayega toh main kya karoonga
tu kal chala jaayega toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga
tu kal chala jaayega

chhod jaayega yahaan
tu kayi kahaaniyaan
chhod jaayega yahaan
tu kayi kahaaniyaan
umr bhar rulaayegi
yeh teri nishaaniyaan
umr bhar rulaayegi
yeh teri nishaaniyaan
yeh teri nishaaniyaan
tu laut ke na aaya toh main kya karoonga
tu laut ke na aaya toh main kya karoonga
tu yaad bahut aayega toh main kya karoonga aa
tu kal chala jaayega


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 :

4604 Post No. : 16233 Movie Count :

4416

Today’s song is from a film which hardly anyone knows. The name was unknown, the director was unknown and the 3 Music Directors who composed 8 songs by two lyricists, did not become famous. The film is Bedard-1949. It was directed by B.N.Chouhan, who is credited with two more films for direction, namely Ret mahal-49 and Jungle ki Duniya-59.

There were 3 Music Directorss – Ramprasad Sharma, B.N.Bali and Mohd. Shafi. In the HFGK, out of 8 songs of the film only 2 are credited to Ramprasad. Other songs are uncredited. Luckily, today’s song is credited to Ramprasad Sharma.

Film Industry is one industry which grew very fast. Firstly, there was no competition (except from AIR for entertainment) and secondly, joining this industry needed no special qualifications. Moreover, from the beginning, the ROI (Returns On the Investment) ratio was quite high, once you took care of few parameters like, good actors, good songs and a mix of Romance and Comedy !

Thousands of aspirants, the Good looking, the Bad looking and the Ugly looking rushed to Bombay, Lahore and Calcutta to try their luck. Tawaifs and stage artists had an easy entry, so was for the Handsome and Muscular bodied males.

The studio system took care of grooming its employees. Most people were hired without any specific job description. When needed, the script writer or the Lyricist had to act in the film, and Choreographer-Dance Master in those days-had to take up Direction- if needed. Artists graduated from menial jobs to important positions. That is how Choreographer Guru Dutt became a Director and a Hero, Lyricist and writer J.S.Casshyap became actor/singer, or Amiya Chakrawarty became famous Director from being the Canteen Manager in Bombay Talkies, Ashok kumar became Hero from being a Technician in Camera Department and an Extra working as one of the 40 thieves in ” Alibaba and 40 Thieves”-1929, became the Movie Mughal, Director Mehboob Khan.

Those times were different. Industry needed people in all departments. Heads of Studios were like expert jewellers. They knew how to nurture talents. Successful strugglers had empathy towards existing strugglers and gave them an opportunity to showcase their skills. Studios got the right people for the right jobs. Real Talents survived, rest disappeared.

There were many One timers, who acted in only 1-2 films, directed just 1 film, produced 1 movie, sung only a few songs or gave music to only 1 or 2 films. Luck also played an important role. Artistes seeking opportunities in Music Departments like singing and composing were many. Most got chances, few prospered.

But it is important to note that every ‘One timer’ was contributing towards Industry’s growth. Like every drop makes an ocean, these one timers or short distance runners also gave their might to the industry. Those who disappeared after a short performance remained alive through their contribution on record. Hundreds of aspirants came to become Music Directors, only few made the grade, survived and the rest simply vanished. These short time passengers or composers had their time of glory too. Their songs were cherished but their names were forgotten.

Before I proceed further, can you tell me what is the common link in the following names ?

Pyarelal-Ganesh-Naresh-Mahesh-Anand-Gorakh.

They are all brothers and sons of Pandit RAMPRASAD SHARMA. He was a Music Director.
.
Pt. Ramprasad Sharma, born in 1900, belonged to Gorakhpur in the United provinces (today’s U.P.). Seeing his love for music, he was brought to Bharatpur State by the king’s bandmaster. He played Trumpet here, then played in Agra Military Band and ended up joining a Circus as a Band Master himself. He toured Delhi, Lahore and Calcutta ,where he settled for some time. He married a local Post Master’s daughter and also worked for Columbia and New Theatres. By now he was an expert in 10 instruments and knew all Ragas.

He came to Bombay in 1938 and played in many studios. His first film as MD was Nayi Baat-1947, then Taqdeerwale-48, Shakti-48, Bedard-49, Banu- 49, Anyay-49, Dolti Naiyya-50 and finally Magic Carpet-64.

His knowledge of Music was so deep that many Composers like Kalyan ji, Roshan, Uttamsingh, Hridaynath Mangeshkar etc came to him to learn notations in which he was a Master. Probably, having played as a Band Master helped him. Those days, very few musicians knew how to write music in Notations. This art was carried further by his another son Ganesh.

Despite his knowledge of music, he failed as a composer himself and worked/played for other Music Directors like Naushad, K. Dutta, C. Ramchandra etc. His trumpet playing in the famous song of Rafi ” Suhani raat dhal chuki” (film Dulari-1949) is unforgettable.

Pt. Ramprasad will be remembered by many composers as their teacher. Though his music was melodious and good, his Luck was not so good.

His 2 sons Pyarelal and Ganesh became famous composers.

Pt.Ramprasad died on 22-8-1995 at Mumbai.

The cast of the film was Majnu, Sudha Rao, Shanta kunwar, Ameenabai, Abu Bakar etc.etc. Majnu (real name Harold Lewis) came to Bombay after Partition. Bedard-49 was among the few films in which he was the Hero. 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. Majnu was introduced as a leading man opposite Shyama Zutshi by producer/director Roop K. Shorey in film Majnu (1935) — a musical comedy satirizing the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu trapped on the railway tracks by the villain.

The film was a success and R. K. Shorey repeated Majnu as the leading man in his next film, Tarzan ki Beti (1938). Tarzan Ki Beti was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placed Punjab on the entertainment map of India and the world.

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, as an actor. Later they made a comedy pair in 10 films, including the hit 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 year 1949 was the beginning of the “Golden Era” of HFM. Let us take a quick look at some nteresting movies this year.

In the film Aiye, Mubarak Begum debuted as a singer.

Pushpa Hans debuted as an actress and a singer in the film Apna Desh.

Barsat introduced Shankar-Jaikishen and Shailendra.

Bhedi Bungla was the first Horror film by Master Bhagwan.

Chandni Raat- Lata sang her first song for Naushad.

Ek Teri Nishani was the last released film of Pt.Amarnath.

Ek thi ladki saw the debut of I.S.Johar as an actor. The song ‘ Lara Lappa’ made Meena Shorey immortal as the ‘Lara Lappa’ girl.

Darogaji had all 12 songs sung by Geeta Roy.

Dillagi- evergreen song ‘ Main tera chand tu meri chandni’.

Dulari- ‘Suhani Raat dhal chuki’ Rafi’s famous song.

Girls school- Debut of actress krishna Kumari

Kaneez – last film of Ghulam Haider in India.

Lahore – Shyamsundar excels in music.

Last message – Debut of Sudha Malhotra and Johnny Walker(uncredited)

Mahal – Film that made Lata famous. Khemchand Prakash died before the film released.

Main Abla Nahin Hoon – Shanta Apte tries at Music Direction.

Namoona – First solo song of Lata for C.Ramchandra.

Neki aur Badi – Debut of Roshan as MD.

Patanga – All songs Hits. ‘Mere piya gaye Rangoon’ becomes an iconic song.

Rangila Rajasthan – Poet Bharat Vyas tries to become MD.

Rimjhim – Mohana Cabral sings her only Hindi song.

Samapti – Talat Mehmood’s last film in Calcutta.

Some more noteworthy films were Shair, Manzoor, Naach, Parda, Jeet, Kinara, Laadli,Andaz, Badi Bahen,Duniya, etc etc. Compettition of Naushad (3 Hits out of 4 films) and C.Ramchandra (1 Hit out of 9 films) was won this year hands down by Naushad ! Geeta Bali worked in 9 films and Suraiya in 11 films. All in all, the biggest beneficiary was the Indian HFM lovers. The next few years provided enough good music to last a lifetime !

Today’s song, sung by Lalita Deulkar is an excellent one, composed by Ram Prasad Sharma. Enjoy…
With this song, film Bedard-49 makes its Debut on the Blog.


Song –Kya sach hai qasam woh bhulaane lage hain (Bedard)(1949) Singer- Lalita Deolkar, Lyricist – Abdul Gaffar Badar, MD – Ram Prasad

Lyrics

kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain

kasam wo jo haathhon ko haathhon mein lekar
mujhe waasta apni ulfat ka de kar
nibhaane ka waada bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain

kasam wo jo aankhon ko aankhon mein daale
kasam wo jo aankhon ko aankhon mein daale
ye kahte thhe rah rah ke apna bana le
ye kahte thhe rah rah ke apna bana le
mujhe mere saathhi mitaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain


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.

Blog Day:

4487 Post No. : 16008

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 109 # Tribute to actor Vinod Mehra #
————————————————————————————

30th October’2020 is the thirtieth ‘Rememberance Day’ of one of the much loved and handsome actors of Hindi Film Industry – Vinod Mehra. He was born on 13th February’1945 and passed away at the young age of forty-five only. The news of his death shocked everybody at that time. He started his career in Hindi movies as a child artist in the late fifties and his career as an adult began in 1971.

‘Seventies’ saw many actors who may not have worked more or given many hits but somehow they have left their indelible impression in the mind of movie-goers and children grown in ‘seventies’ like me.

I think I can include names like Vinod Mehra, Navin Nischol, Vijay Arora, Anil Dhawan, Mahendra Sandhu, Vishal Anand etc. in this list. (I may be forgetting some and not recollecting at this moment).

That was a time when we were watching movies without being a ‘fan’ of anyone. The ‘thrill’ of watching movie in the ‘theatre’ and the whole atmosphere, the big ‘posters’ , the ‘ticket windows’, the different color tickets of various ‘classes’, the ‘namkeen moongfalli, or chanaa and ‘sharbat’ was other main attraction in the intervals and coming out of the theatre after the show ends was like landing back from ‘another planet’ to our own 😊

Vinod Mehra is one such name from those years which immediately reminfds us of his ever ‘smiling face’. His hair style and his looks, his physique and appearance on the screen always give a ‘warm’ feeling. His ‘emotional roles’ make our eyes misty and gave our hearts a stir. Such was his impact. And when I am writing about him, first time here on the blog, I feel like missing a friend or like familiar person very much and my mind constantly asking me – why is that people like him passed at so early? at the age of forty-five?
I think these lines from the today’s song best explain my thoughts for him today ‘tumse nahin pehchaan meri, phir bhi aise lagtaa hai pehle bhi kisi yug mein apna saath rahaa ho jaise’…

It was like he was around in one special corner of our heart always there in the midst of so many stars around.

I remember his photo with his signature sent to my Father in reply to his fan mail which was in his possession along with other ‘star’s’ letters.

Well, going back to the movies of Vinod Mehra which I remember to have watched …

If I try to recollect now the movies of his that comes to my mind as an oldest memory of him, of course, start with ‘tere nainon ke main deep jalaaungaa’ i.e. Anuraag-1972 which I must have watched with my parents. But the song continued to haunt me as a flashback all over the years and the other song and movie permanently embedded on my impressionable mind was ‘Do Khilaadi-1976’ – its song – ‘jhoomtaa saawan dekho aaya’ – never got erased from my memory.

In between I must have watched his ‘Do Phool-1973’, ‘Kunwaara Baap-1974’, ‘Raftaar-1975’, ‘Do Jhooth-1975’,’Naagin-1976’, ‘Ghar-1978’, ‘Chakravyuha-1978’, ‘Swarg Narak-1978’, ‘Dada-1979’, ‘The Burning Train-1980’, ‘Pyaasa Saawan-1981’, ‘Khuddaar-1982’. I watched these movies either with my parents or my uncle.

For ‘Jaani Dushman-1979’ I was permitted to go alone and not take my younger brothers with me so that they don’t get scared watching and after watching the movie 😊

I watched his ‘Naukar Biwi Ka-1983’, ‘Dharam Aur Qanoon-1984’, ‘Jeene Nahin Doonga-1984’, ‘Locket-1986’, ‘Aag Hi Aag-1987’ with my brothers and cousins.

And I watched ‘Eeshwar-1989’ during my stay at Kota.

I watched his ‘Amardeep-1979’ in 2012 when Rajesh Khanna passed away and movies of Kaka were screened specially on a tv channel.

I watched his ‘Anurodh-1977’ on VCD, much later when I was in Nagpur in 2016 and liked his role very much.
The latest of his movie that I watch was ‘Aarop-1974’ which I watched on my laptop in Sep’2019 during my stay at Kenya (during my preparation for a post for BTYC).

I may have also watched his other movies but I am forgetting them like I think I had watched ‘Sabse Bada Rupaiyya-1976’ and later ‘Amarprem-1971’ may be on tv channels.

However, when I see his filmography now, I realized that I have yet to watch many of his movies from the seventies as well as of eighties till he was doing acting.

Coming back to today’s song now, it is from the movie ‘Ek Hi Raasta-1977’ wherein Vinod Mehra is lip syncing for Rafi Saab’s voice and music is composed by Rajesh Roshan. Lyrics are by Verma Malik.

Shabana Azmi and a child artist (Master Inderjeet/Master Asif/Master Babu?) are also seen in the picturization of this song.

One song from the movie was introduced by me here where in I have given the details of this movie – ‘Ek Hi Raasta-1977’. So, I will not repeat the same here, and instead I will give the details of songs from this movie in the following table (our new practice, so that whenever the movies are Yippeeee’ed on the blog we need to ‘insert’ the links of the respective songs only and update the table for grand ‘finale’ 😊

List of songs – ‘Ek Hi Raasta-1977’ as per HFGK (1971-1980) Vol-V; (in order of appearance there)

S.No. Song Title Singer/s Posted on
01 Akalmand ko ishaara… itni jaldi kahaan jaate ho Asha Bhonsle, Kishore Kumar
02 Dil ko mila lo dil ko takra lo… I like what you are saying Asha Bhonsle, Amit Kumar, chorus
03 Dheere dheere sun more sajna… piya piya boley more kangnaa Lata Mangeshkar
04 Tumse nahin pehchaan meri … Mohd Rafi Being posted today
05 Bin saathi ke jeewan kya Kishore Kumar, Anuradha Paudwal 17.08.2015

Let us now enjoy today’s song and pay our tributes to the ever ‘smiling’ ‘charming’ Vinod Mehra.

I hope you will like the song too …

Video

Audio

Song-Tumse nahin pehchaan meri lekin aisa lagta hai (Ek Hi Raasta)(1977) Singer-Rafi, Lyrics-Verma Malik, MD-Rajesh Roshan

Lyrics

(dialogues not included)

(Child’s laughing sound)

Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae

Tumse nahin pehchaan meri
Lekin aise lagta hai
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise

Tujhe dekh ke bhooli bisri
Tasveer ubhar aati hai
Yaad ki dhundhli si parchhaayee
Dil mein utar jaati hai
Donon ko naa yaad rahaa ho
Ho sakta hai aise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae

Tujhse mera kya naata
Jab samajh nahin paata hoon
Doob ke main gehraayiyon mein
Ye sochke reh jaata hoon
Kisi janam mein toone koi
vachan liya ho jaise
Pehle bhi kisi yug mein apna
Saath rahaa ho jaise ae
Tumse nahin pehchaan meri
Lekin aise ae lagta hai
Pehle bhi kisi yug me apna
Saath rahaa ho jaise ae

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
(गीत के शुरुवात में दिए गए संवाद शामिल नहीं किये गए हैं)

(बच्चे के हंसने की आवाज़)

तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए

तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए

तुझे देख के भूली बिसरी
तस्वीर उभर आती है
याद की धुंधली सी परछाई
दिल में उतर जाती है
दोनों को ना याद रहा हो
हो सकता है ऐसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए

तुझसे मेरा क्या नाता आ
जब समझ नहीं पाता हूँ
डूब के मैं गहराईयों में
ये सोचके रह जाता हूँ
किसी जनम में तूने कोई
वचन लिया हो जैसे
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए

तुमसे नहीं पहचान मेरी
लेकिन ऐसे लगता है
पहले भी किसी युग में अपना
साथ रहा हो जैसे ए


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 :

4425 Post No. : 15843

Today’s song is from the film Hill Station-1957.

The peak of the Golden Era of HFM was in the decade of the 50’s. In this decade, probably all operating MDs gave their best songs and the ordinary, common music loving film goer did not know how much good music he could digest. For some, it was almost an indigestion with excessive indulgence in good, Divine music and this condition had no medicine. The music lovers had to endure and enjoy the excess provision of his choicest music.

1957 – what an year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came in this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daaman, Pawanputra Hanuman, Ustad, Zamana, Garma Garam had equally melodious songs like other films mentioned, albeit may not be so famous. Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.

Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).

With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb. This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.

A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the national award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.

Compared to all these musical giants. today’s film Hill Station-57 was not at all comparable. MD Hemant Kumar gave music to 9 films in 1957 alone- must be his maximum for any year. Music Aficionados still debate vehemently whether Hemant Kumar was a better singer or a better MD. As MD, he gave music to 55 films, composing 423 songs. As a singer he sang 320 songs in 173 films. In 1957, while he gave music to 9 films, he actually sang songs in 12 films.

I have not seen this film – that time or even at a later time, because I was not a fan of Bina Rai or Pradeep Kumar. Produced by A A Nadiadwala, for the banner- Pushpa Pictures, this Social film was directed by Shakti Samant. In the cast were also, K N Singh, Maruti, Prtotima Devi, Krishnakant, Shyama,Sheela Vaz and many others, including a Dog named Tiger. I always wondered, how can anybody name a Dog as Tiger, when Tigers are never known to be named as Dog. And then, what’s the role of a Dog in a Social film ? Of course in some films, trained dogs do some story turning acts, as in film ” Hum aapke hain Kaun-94″

In Hindi films, there are some senior actors ( I mean, those who have been in films for more than 25-30 years), who remained quiet, without attracting much comments or getting even few lines in the film reviews. They came, stayed and went as quietly as they remained in films. Actors like Sankatha Prasad, Niranjan Sharma,Habib, Anwar, Shaikh, Shivraj etc etc. One such name was Krishna Kant.

The name of krishna kant or K K is known to many people. Krishnakant ( 15-9-1922 to 24-10-2016) was a noted character actor of long standing. His career spanned from 1943 to 1989, a whopping 46 years. After retirement he had settled in Surat, Gujarat. His life story has been made into a Gujarati book ” Guzra hua zamana” written by the famous author Shri Biren Kothari ji. He has gifted me a copy of this book. Reading this book takes you into those times.KK had a knack of telling the history in an interesting way, with a lot many photographs. Till the last day (94 years) his memory was excellent. During my visit to Surat in early 2016, I could not meet him, due to paucity of time. This will pinch me forever. Our Sudhir ji and Bakshish Singh ji met him, when they went to Surat to meet Harsh Raghuwanshi ji.

Krishnakant acted in 109 Hindi, 16 Gujarati, 2 Bangla and 2 English movies. He has also directed 2 Hindi and 13 Gujarati films. In addition, he was active on TV in his later years. He acted in 8 Hindi and 6 Gujarati serials and directed 3 Hindi serials. He also acted in 1 Hindi and 7 Gujarati stage dramas. Here is a short Bio data of him-

Krishnakant (15-9-1922 to 24-10-2016)
————————————-
Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Arvind Sen on Muqaddar (also acting in it) and with Subodh Mukherjee (Paying Guest, 1957). First major acting role in Phani Majumdar’s Andolan; other notable roles are a paralytic in Amiya Chakravarty’s Patita and the villain in Shakti Samanta’s Detective. Left films in the late 50s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo is based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.

FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar; Mashaal; 1951: Andolan; 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954: Baadbaan; Dhobi Doctor; Naukri; 1955: Faraar; Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab; Jagte Raho; Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi; Begunah; Hum Panchhi Ek Dal Ke; Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar; Detective; Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar; Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivno Jugari; Vanraj Chavdo; 1969: Do Raaste; Kanku; 1971: Duniya Kya Jaane; Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee; Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor; Annadata; Gunsundari No Ghar Sansar; 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay; Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee; Koi Jeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar; Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*; Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.

(adapted from Encyclopaedia of Indian Cinema).

Today’s song is a very good, typical Lover’s song by Hemant Kumar. The song had its own share of popularity for some time in those days. Now enjoy the song, with Nostalgia…..


Song-Wo khushnaseeb hain jinko yahaan qaraar mila (Hill Station)(1957) Singer-Hemant Kumar, lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain

mili hain pyaar mein dar dar ki thokaren hamko
mili hain pyaar mein dar dar ki thokaren hamko
lagaaye rakhte hain seene se har ghadi gham ko
jo khatm ho na kabhi aisa intazaar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain

sitam hai gham ke samandar mein har khushi doobi
sitam hai gham ke samandar mein har khushi doobi
hamaare ashq mein khud apni zindagi doobi
sahaara de koi aisa na ek baar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain


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.

Blog Day :

4371 Post No. : 15707

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 40
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Ten years back on 06.07.2010 three songs from three movies were represented on the blog:-

Song Movie title-Year Remarks
Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan Aaj Ka Arjun-1990 02 songs posted
Sajna mera dil tera dil gayaa mil Jhoola-1962 All songs covered
Piyaa piyaa naa laage moraa jiyaa Phagun-1958 All songs covered

Two movies ‘Jhoola-1962’ and ‘Phagun-1958’ have already been YIPPEED, so we have only one movie viz. ‘Aaj Ka Arjun-1990’ which is eligible for ‘blog ten-year challenge’ today (6 july 2020).

I remember that I was staying at Kota (Rajasthan) when this movie ‘Aaj Ka Arjun’ was released. Two of its songs had become very much popular. The song ‘chali aana tu paan ki dukaan pe’ was played on cassette-recorder in every ‘paan-shop’ in the ‘gali’ and ‘nukkad’ 😊 while the other song ‘gori hain kalaayiyaan’ was also played and could be heard everywhere (specially in Rajasthan).

Befittingly these two songs have already been covered on the blog. It proves that the same two songs were considered the most popular by the editor of the blog as well. 🙂

Song Posted On
Chali aana tu paan ki dukaan pe saadhe teen baje 26.05.2009
Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan 06.07.2010

I had never watched this movie (for me it was a ‘No Amitabh movie’ years those days), so when our Prakash ji sent the lyrics of the today’s song, I had no recollections of having listening to this song. Other than the above mentioned two songs of this movie I was not aware of remember any other songs of this movie. However, when I listened to today’s song, I liked it. I may have heard this song in the past but the song may have failed to register with me in the past.

This song is in two versions- one is sung by Amit Kumar and the other by Lata Mangeshkar.

“Aaj Ka Arjun-1990” was directed by K.C. Bokadia for BMB Productions. K.C. Bokadia was also the producer of this movie. It had Amitabh Bachchan, Jaya Prada, Radhika, Suresh Oberoi, Kiran Kumar and Amrish Puri. The movie introduced Rishabh Shukla on the big screen.

Asrani and Anupam Kher make special appearance in this movie. The above cast was supported by Preeti Sapru, Baby Guddu, Bramhachari, Praveen Kumar, Anirudh Agarwal, Junior Mehmood, Ram Kumar and Vikas Anand.

Story of this movie was written by P. Vasu and screenplay was written by Santosh Saroj. Dialogues of this movie were written by Anirudh Tiwari. Saroj Khan and Chinni Prakash were the choreographers for this movie. Editing of this movie was done by M.S. Shinde.

Lata Mangeshkar, Kavita Krishnamurthy, Alka Yagnik, Shabbir Kumar, Mohd Aziz and Amit Kumar had given their voices to the songs in this movie. Anjaan was the lyricist for the songs in this movie and music was composed by Bappi Lahiri.

This movie was passed by Censor Board on 03.08.1990.

Let us now listen to today’s multiple version song. It is sung by Amit Kumar and Lata Mangeshkar. Lyrics are by Anjaan and music is composed by Bappi Lahiri.

Lyrics of this song were sent by Prakashchandra.

Audio (Male version)

Audio full (Female version)

Video (Female version)

Song-Naa jaa re naa jaa re (Aaj Ka Arjun)(1990) Singers-Amit Kumar/ Lata, Lyrics-Anjaan, MD-Bappi Lahiri

——————————
Lyrics (Provided by Prakashchandra)

—————————
Male version
————————–

naa jaa re ae ae ae ae
naa jaa re ae ae ae ae

naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae ae
naa jaa re
na jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re
na jaa re ae

munne mere dekh ke tujhko
ab tak zindaa hoon
bhool huyi to
maaf bhi kar de
main sharmindaa hoon
tu jo mujhse rooth gayaa to
main mar jaaungaa aa
mar kar bhi main
behna ko kya munh dikhlaaungaa aa
toot jaaungaa main
naa jaa yoon rooth ke ae ae
naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa aa jaa re

———————————————–
Female version:
———————————————–

naa aa jaa re ae
naa a a a a aa aa aaa
naa jaa re ae
naa aa jaa..aaa

naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke ae ae
naa jaa re ae
na jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke ae ae
naa jaa re ae
naa jaa re ae

tujhse bichhad ke
tere bina to
jee na sakoongi main ae
aayegaa tu
laut ke phir to
phir na miloongi main
tujhse bichhad ke
tere bina to
jee naa sakoongi main aen
aayegaa tu
laut ke phir to
phir naa miloongi main
o o o o o o
o o o o o o
o o o
o o o o
ho o o o
yoon nazar mod ke
gham se dil jod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae

saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa aa
saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa
o o
o o o o o o o o o
o o o o
o o o o
tujhko meri qasam
ye qadam rok le ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae ae chhod ke ae
naa jaa re ae
naa jaa re
naa jaa re ae
naa jaa re ae

————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————-
(पुरुष स्वर)
————————————————
ना जा रे ए ए ए ए
ना जा रे ए ए ए ए
ना जा रे ए ना जा रे ए
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे ए
मुन्ने मेरे देख के तुझको
अब तक ज़िंदा हूँ
भूल हुयी तो
माफ़ भी कर दे
मैं शर्मिन्दा हूँ
तू जो मुझसे रूठ गया तो
मैं मर जाऊँगा आ
मर कर भी मैं
बहना को क्या मुंह दिखलाऊंगा आ
टूट जाऊँगा मैं
ना जा यूं रूठ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
———————–
(महिला स्वर)
———————–
ना जा रे ए
ना आ आ आ आ आ आ °°°°°
ना जा रे ए
ना जा°°°°°आ°°°°°
ना जा रे
ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे

तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं ए
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं एं
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
यूं नज़र मोड़ के
ग़म से दिल जोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे

सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा आ
सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
तुझको मेरी क़सम
ये क़दम रोक ले ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए ए छोड़ के ए
ना जा रे ना जा रे
ना जा रे ना जा रे ए …


This article is meant to be posted in atulsongaday.me.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 : 4201 Post No. : 15386

I wonder if regulars of this blog notice the contents of the box that appears at the beginning of each writeup. It shows the day number of the blog as well as the post number. In case the movie makes its debut with the song then the movie number of this movie in the blog is also mentioned.

Yesterday (17 january 2020) was the 4200th day for the blog. It would seem that this occasion (described by me as artificial landmark 🙂 ) passed off unnoticed.

I began to take notice of this kind of century sometime in 2017. From then onwards I have been noticing it regularly. Noticing this event has been made easier because the day number accompanies each post now a days. this practice was started from 1 january 2018 at the initiative of Sudhir Jee and it has become a regular practice since then.

At the end of 4200th day, the blog had 15385 writeups ! It means that the blog has been going on at an average of 3.66 posts a day for last 4200 days, beginning from 19 july 2008 (day ONE).

At some time in the past, the blog was going on at 4.66 posts in a day !

Out of these 4200 days, there were 223 days when there were no posts. We describe such days as DOT days for the blog, like how there are DOT balls in cricket. Apart from these DOT days, all other days have seen at least ONE post, and often many more. During the more productive days of the blog (2010 to 2013) The highest number of posts in a day has been THIRTEEN !

Here is the breakup of these 4200 days.

Songs in a day Number of occurrences Remarks
NIL Songs posted in a day 223 61 Dot days in 2010
One Song posted in a day 704 221 such occurrences in 2019
Two Songs posted in a day 647 109 such occurrences in 2019
Three Songs posted in a day 558 100 such occurrences in 2017
Four Songs posted in a day 544 89 such occurrences in 2017
Five Songs posted in a day 377 60 such occurrences in 2012
Six Songs posted in a day 681 166 such occurrences in 2009
Seven Songs posted in a day 278 56 such occurrences in 2013
Eight Songs posted in a day 119 39 such occurrences in 2012
Nine Songs posted in a day 42 18 such occurrences in 2012
Ten Songs posted in a day 18 8 such occurrences in 2012
Eleven Songs posted in a day 1 1 such occurrence in 16 august 2012
Twelve Songs posted in a day 6 4 such occurrences in 2011
Thirteen Songs posted in a day 2 on 25 october 2011 and 6 september 2012

On this occasion, when the blog has just completed a special landmark, here is a landmark song. Like the landmark of 4200 days for the blog, this song too marks a special landmark in the history of HFM.

Before I reveal what is that special landmark, let us see the details of this song. This song is from “Paayal Ki Jhankaar”(1968). This movie was directed by M V Raman for Filmistan. The movie had Kishore Kumar, Jyoti Laxmi, Rajshree (South), Dhumal, Moppet Raja, Baby Farida, Master Shahid, P Kailash, Rajendra, Sulochana Chatterjee, Rehman etc in it.

The movie had six songs in it. One song has been covered in the blog.

One song from the movie was penned by Qamar Jalalabadi and the remaining five songs were penned by Rajinder Krishan. Rajinder Krishan had also written the story, screenplay and dialogue of this movie.

This movie had music by C Ramchandra. It was the 33rd and last movie when Rajinder Krishan and C Ramchandra came together to create songs in HFM. They came together for the first time in 1949 when they created some magical numbers in “Patanga”. Later, they worked together in such musical blockbusters as “Samadhi”(1950), “Albela”(1951), “Anarkali”(1953), “Jhaanjhar”(1953), “Jhamela”(1953), “Pahli Jhalak”(1954), “Azaad”(1955), “Shatranj”(1956), “Asha”(1957), “Baarish”(1957), “Amardeep”(1958) etc.

All the 33 movies where C Ramchandra and Rajinder Krishan worked together, there were a few songs that were sung by Lata Mangeshkar.

This movie “Paayal Ki Jhankaar” (1968) had ONE song by Lata Mangeshkar. It was the last occasion when Lata Mangeshkar sang for C Ramchandra.

So one can say that “Paayal Ki Jhankaar”(1968) was the last time when Lata, Rajinder Krishan and C Ramchandra came together.

Here is this “special” song from “Paayal Ki Jhankaar”(1968). Lyrics for this song are provided by Nitin ji.

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


Song-Tu aaye na aaye magar jaanewaale (Paayal Ki Jhankaar)(1968) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics (Provided by Nitin Shah)

tu aaye na aaye
magar jaane waale
aaye na aaye
magar jaane waale
teri yaad aake rulaaya karegi
rulaaya karegi
jo dekhegi rota hai koi akela
dekhegi rota hai koi akela
to khud bhi wo aansu bahaaya karegi
bahaya karegi
aaye na aaye

jidhar se gaya tu wo raahen hamesha
jidhar se gaya tu wo raahen hamesha
tarasti rahengi teri vaapsi ko
tarasti rahengi teri vaapsi ko
udhar se hava bhi jo aaya karegi
udhar se hava bhi jo aaya karegi
tera naam leke sataaya karegi
sataaya karegi
tu aaye na aaye
magar jaane waale
aaye na aaye
magar jaane waale
teri yaad aake rulaaya karegi
rulaaya karegi
aaye na aaye

jo raaton ko taare poochhenge mujhse
raato ko taare poochhenge mujhse
bata tu bhi kyo raat bhar jaagti hai
bata tu bhi kyo raat bhar jaagti hai
kahoongi meri neend bas mein nahin hai
ye birhan bahaane banaya karegi
banaya karegi
aaye na aaye
magar jaane waale
aaye na aaye
magar jaane waale
teri yaad aake rulaaya karegi
rulaaya karegi
aaye na aaye

jahaan meri aankhon ka paani girega
jaha meri aankhon ka paani girega
teri yaad ke phool khilte rahenge
teri yaad ke phool khilte rahenge
savere savere jo aayegi shabnam
savere savere jo aayegi shabnam
to dil thhaam kar laut jaaya karegi
jaaya karegi
tu aaye na aaye
magar jaane waale
aaye na aaye
magar jaane waale
teri yaad aake rulaaya karegi
rulaaya karegi
aaye na aaye


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 : 4148 Post No. : 15314

“Qaatil”(1960) was produced by N N Sippy and D R Chandra and directed by Muhammad Hussain for Prithvi Pictures Bombay. This “crime” movie had Premnath, Chitra, Heeralal, Lalita Pawar, Kamal Mehra, Renu Makad, Shaam Kumar, Madhumati, Meena Parel, Dhondu, Kamal Mohan, Balaram, Najma, Nazeer Kashmiri etc in it.

The movie had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Qaatil”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Khumar Barabankwi is the lyricist. Music is composed by Naashaad.

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


Song-Bewafa deke daga jaata hai (Qaatil)(1960) Singer-Asha Bhonsle, Lyrics-Khumar Barabankwi, MD-Naashaad

Lyrics

o bewafa aa
bewafa aa
bewafa

bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

o mujhe chhod ke jaane waale
o mujhe chhod ke jaane waale
dil ke dushman hai zamaane waale
phool kaanton mein ghira jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai

gham ki ghanghor ghata chhaayi hai ae ae ae
gham ki ghanghor ghata chhaayi hai
chaand taaron ko bhi neend aayi hai
dam andhere mein ghuta jaata hai
pyaar badnaam hua jaata hai

dil hi mein rah gaye armaan dil ke
dil hi mein rah gaye armaan dil ke
jo diya hamne jalaaya mil ke
wo diya aaj bujha jaata hai
pyaar badnaam hua jaata hai
bewafa
bewafa
bewafa de ke daga jaata hai
pyaar badnaam hua jaata hai


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3724 Post No. : 14660 Movie Count :

4006

Today’s song is from a resoundingly flop film of its time, Rambaan-48. The film was made by Prakash Pictures of Bhatt Brothers, known for quality films of different Genres. During the early 40s, their Mythological films like Bharat Milap-42 and Ramrajya-43 were extraordinarily successful. Film Rambaan was also directed by Vijay Bhatt-as usual- and the Music Director was Shankar rao Vyas, their favourite. The film story and dialogues were by Mohanlal Dave and Pt. Girish. Lyricists were Pt. Indra, Neelkanth Tiwari and Moti,B.A.( who was actually M.A.). The cast of the film was Prem Adib, Shobhana Samarth, Umakant, Ramsingh, Chandramohan, Amirbai, Leela Mishra and many others.

The lead pair of Prem Adib and Shobhana Samarth had become extremely popular all over the country as Ram and Seeta, after their two films Bharat Milap and Ram Rajya. These two actors came together for the first time in film Industrial India-1938. After this they worked in 11 more films plus one more film Ramayan-54, which was concocted by joining parts of 3 films made by Prakash Pictures on Ram and Seeta. After this film-Rambaan- Prakash films focused on social and musical films and made memorable films like Baiju Bawra-52 and Gunj Uthi Shehnai-59.

The stories of Rama and offshoots of Ramayana have always inspired film makers. Mahabharat too did the same. In Hindi language alone, films on Rama stories are around 25 ( not counting obvious other films like Ram aur Shyam, Ram Lakhan or Ram Balram etc.). Practically, in every Indian language and dialects, Nepalese and Sinhalese, Ram films are made. However, the kind of fame, popularity and the Box office returns, that the Film Ram Rajya-43 earned is beyond imagination. Calendars from 1944 to 1950 featured Shobhana and Prem as Ram and Seeta. Wherever these stars went they were mobbed and people used to touch their feet, treating them as Ram and Seeta.

Enthused with this fabulous response, Prakash were planning a third film on Ram and Seeta as a last film in the Trilogy of Ramayan Stories. They waited for a good five years and made Rambaan-48.

Ramayan and Mahabharata are the two major Religious Epics for Indians. Ramayana has been popular and widesread all over the Eastern World. There are in all 301 versions of Ramayana. These include the original Valmiki Ramayan and few other major Indian language Versions like Kamban’s Ramavataram in Tamil and Rangnathan’s Ramayana in Telugu. Then there is Ramayan Manjiri in NE and Bengal version. There is a Jain version too.Besides Ramayana in every Indian language and many dialects with scripts, there are Ramayana Versions in Burma, Indonesia, Cambodia, Laos, Phillipines, Sri Lanka, Nepal, Thialand, Malaysia, Japan, Mongolia, Vietnam and China. All these versions total upto 300 in number. Then what is the 301st version ?

301st is the version of the fertile imagination of the authors of the ” Story Departments” of Indian film companies. Even Prakash Pictures had its own department. The first two films Bharat Milap and Ram Rajya were mostly based on the original Valmiki Ramayan. For film Rambaan-48, however, the Bhatt brothers gave free hand to the story and dialogue writers, in order to include something new, for which the same audience will come to the theatres. This is where things went wrong. The novel changes and additions that Mohanlal Dave and Pt. Girish brought into the Ramayana story were ridiculous, which were rejected out right and were resented by the Indian viewers. The Cinematic liberty taken for a film is one thing and twisting and distorting an accepted historical story by the millions over centuries of generations is another thing.

I am sure, if only Valmiki was to watch this film, he would have jumped from Everest or taken a Samadhi immediately ! Let us see what happened in the film, after all.

First and foremost, Shobhana Samarth was 8 month’s pregnant during the shooting of this film ( with her third daughter Chatura ) and it showed everytime she came on the screen. Could they not wait for another 6 months ? As such she was nearing her middle age-at 33 years- and it was obvious to everyone. Secondly, Prem Adib-two years younger than Shobhana, as it is- had put on lot of fat and seeing his open body with loose muscles, almost double chin and a face without freshness was a punishment for the senses.

The blue eyed handsome Chandramohan did the role of Ravan in this film. His characterisation of the role was made very ridiculous. Every now and then and in every scene, his ‘Taqia kalam” was rolling eyes like a drunken person and shouting ” Main Kaun “. Then giving the reply himself ” Main Ravan “. Actually, according to Valmiki and everyone else, Ravan was a very learned Brahmin, a peerless scientist, Veena player, a scholar on Vedas and a staunch devotee of lord Shiv. To make him look like a clown was very sad and disappointing indeed.

Shoorpnakha was actually married early, but her husband was killed by Ravan, in a battle. Ravan had made her a queen of Dandkaranya. In the film, her Swayamwar is shown. She rejects everyone and remains unmarried. This was undigestible to moviegoers who were familiar with the story of Ramayan.

Shabari katha is similarly distorted. In Valmiki Ramayana, after meeting Ram,Seeta and laxmana and giving them half eaten fruit, Shabri self immolates and goes to Heaven. In the film she first meets the three and after Seeta is abducted meets Ram again to inform him that she saw Ravan carrying Seeta in his plane. She also introduces Ram to all the Vanar leaders-Sugreev, Hanuman, Jambuwant etc.

There were many such New Discoveries, thanks to the writers, in this film. I remember in 1950, when this film came to Hyderabad, I had accompanied some old relatives and my Grandfather to this film. After coming back all were very angry. I don’t remember what exactly they had said, but I wrote in my diary ” the film was boring”.

Baburao Patel of Film India was not one to miss such an opportunity to pull up the director and producer. In the February 1949 issue, he had devoted three pages to the film, mostly tearing it apart, accusing the producers of tarnishing the Hindu religion. He only appreciated actor Umakant, who traditionally did the role of Laxman ( He did this role in 7 films in all) as a good and suitable actor. he even suggested him to be promoted as Ram, in their next film.

There is a name Ramsingh, in the film’s cast. The actor Ramsingh’s name is not very famous or well known, but in his times, he did Hero’s and Villain’s role in many films. Information about him was not available anywhere on the Internet till today. For the first time his information is appearing here today.His entry in films and life story is very interesting.

During the 1942 ‘Quit India’ movement, there was a riot in Allahabad. Police opened fire and along with several other people, Secretary of All University Students Union also was killed. Fearing a backlash from college students, the Government closed down all colleges and vacated Hostels. Two persons became homeless. One was Ramchandra Dwivedi- who later on became well known as Kavi Pradeep- and the other was Ramsingh- who became an actor.

After the riots, instead of informing his family about his welfare, Ramsingh left for Bombay and then to Poona, to become an actor. He was tall,fair and handsome. V.Shantaram hired him as an assistant in the studio. His family thought that he must have been killed in the riots and grieved, when he never returned.

One day one of the villagers came to their house and told excitedly, that he had seen a Hindi film and in that film, an actor looked exactly like Ramsingh. The family went to the town and saw the film. Lo and behold ! there he was. Looking just like Ramsingh. Anxiously a group of elders reached Prabhat Studio in Poona and inquired. The officials brought out their own son- Ramsingh before them !! Everyone was happy. It seems he did not contact his household just to avoid the Police investigations, as he too was an active participant in the agitation.

Ramsingh was born into a rich Zamindar family of village Ishanpur in Pratapgarh (U.P.), in 1920. After graduating, while doing his M.A. he joined films. His first film was Ramshastri-44, then came Chand-44, Lakhrani-45 and Hum ek hain-46….all Prabhat films. While in Prabhat, he became friendly with Dev Anand and Guru Dutt. In his later years, they gave him roles in their almost every film..

In his other films, Ramsingh worked with Heroine Ranjit Kumari ( real name Ranjit Kaur), to whom he got married later on. He was already married while in school and also had 3 children from his first wife. From the second marriage he got 4 children.

Ramsingh played Hero, Villain and character roles in 69 films. Some of his notable films were, besides 4 Prabhat films, Gaon-47, Shaheed-48, Khidki-49, Aparadhi-50 ( He was the Hero, opposite Madhubala), Sargam-50, Sangram-50, Shrimati ji-52, Jaal-52, Baaz-53 etc etc. In his later career, he only got insignificant roles in B and C grade films and Mythologicals. His last film was Sati Sulochana-69. ( 2 more films Veer Chhatrasaal-71 and Mere Bhaiya-72 were released after he left films).

Ramsingh returned to his native place with Ranjit Kumari and children in 1970 and started doing Agriculture. The U.P. Chief Minister H.N.Bahuguna was his classmate and a very good friend. Ramsingh approached him. Bahuguna, to help him, immediately established ” U.P. Film Corporation ” and made Ramsingh its Chairman. However, due to political turmoil in the country, Bahuguna left congress and joined Congress For Democracy, against Indira Gandhi. As a result the film corporation was wound up and Ramsingh returned to the fields again.

Ramsingh started drinking, against medical advise and died in 1984, in his village.

Shankar Rao Vyas gave a very sweet and melodious music. Today’s song, particularly, is the best of the 3 songs which I have heard. This song is sung by Shankar Dasgupta.

Born in 1927 in Bengal, Shankar Dasgupta started singing from childhood. He was a trained singer. In 1946,he got a break with Anil Biswas in his film Milan-46. His first song itself became very popular.

Then he sang in films like Anjana, Didi, Girl’s school, Jeet, Aahuti,Izzat, Do Raha etc. He sang about 63 songs in 39 films. he gave music to 4 films, Sadma, Sheeshe ki deewar, Hotel and Pehli mulaaqaat.

He assisted Anil Biswas and Jaidev for many years. He did work on TV and in News reviews too. He settled in England after retirement,but was active on TV there too.

On one of his routine visits to India in 1992, he met with a tragic accident on a Railway station in Bombay, on 23-1-1992 and died on the spot.

With this song, the film Rambaan (1948) makes its Debut on the Blog.

(Credits- thespeakingtree.com, bollymusings.com/cradle, kuch kalakar by Jawed Hamid, Filmindia-Feb-49, Prof. Yadav’s book, wiki and my notes)


Song-Uth Lakhan lal priya bhai (Raambaan)(1948) Singer-Shankar Dasgupta, Lyrics-Moti B A, MD-Shankar Rao Vyas

Lyrics

Uthh Lakhan lal priya bhai
Uthh Lakhan lal priya bhai
dasha tumhaari dekh Raam ki
ankhiyaan bhar bhar aayin
Uth Lakhan lal priya bhai

Maat Pita Patni ki maaya
bhai ke kaaran sab bisraaya
chhod Ayodhya ka sukh tumne
jogi roop banaaya
jis bhai ke liye yudhh mein
praan ki baazi lagaayi
Uth Lakhan lal priya bhai

pahle mujhe khila phir khaate
aur sulaa kar sote
?? tumhaare kaun kabhi to
baad raam ke hote
swarg puri ke ?? se
pahle pahunchu(?) jaai
Uth Lakhan lal priya bhai

Maat Kaushalya aur Sumitra
juwat(?) baantat waari
panthh herti haay Urmila
ki ankhiyaan bechaari
aankh moond ke huye tumhi kya
tanik daya na aayi
Uth Lakhan lal priya bhai

Seeta Raavan ke ghar bandi
Meghnath chadh aayo
jagat kahega naari ke kaaran
Raam ne bandhu ganwaayo
dheeraj chhooto jaat sabhi ka
kab se ter lagaayi
Uth Lakhan lal priya bhai
Uth Lakhan lal priya bhai


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

Blog Day : 3665 Post No. : 14535

Here is that day again.

Yes, it is the 31st of July (2018) today – which for HFM lovers, wherever they are in the world, signifies just one thing.

The death anniversary of Mohammad Rafi – respectfully referred to as Rafisaab, by one and all.

I am sure there will be events around the country to solemnly mark the occasion. Why just in the country, probably even across the world, considering how distributed India’s diaspora around the world is.

Millions of people will be remembering today as Rafisaab’s Remembrance Day – a term we also often use on this blog.

Truth is, at least for me (and I’m sure it’s true for many), every single day of the year is Rafisaab’s Remembrance Day. For there isn’t a single day in the year that I do not remember Rafisaab in some way or the other. It is usually in the form of a song I’m listening to – or sometimes singing (thankfully only to myself). 🙂

Of course, the 31st of July adds a huge extra layer of remembrance because it brings with it a sense of loss. Although it is 38 years now, this sense of loss remains. And for me, it will remain all my life.

As I sit to write this post, I’m not sure what I should write about Rafisaab that I haven’t already written here.

The thing is, I’ve written a lot about Rafisaab here. My posts here might be relatively infrequent now but I make it a point to always write a post on Rafisaab’s birth and death anniversaries. These are two dates I never miss. It is just my very small way of paying tribute to Rafisaab, and thanking him for enriching my life in a way, and to an extent, that I just cannot describe.

And I’d like to think, he is up there, smiling as always, reading these tributes.

There isn’t much I can think of writing now that I haven’t already written before. And although I don’t mind repeating myself, I don’t want to bore the readers. Having said that, I never tire of repeatedly watching the same tributes to Rafisaab on youtube. I’ve listened to Jeetendra’s story of Deedaar-e-Yaar multiple times, SP Balasubramaniam’s story about “deewaana hua baadal” multiple times. 🙂 And each time, it feels good to listen to it.

But that’s different from my repeating stories, that too in text, not video. Besides, they speak about their personal experiences involving interaction with Rafisaab – mine are just my personal thoughts.

So I will refrain from repeating myself.

One thing I will say – I’ve often felt lucky that Rafisaab’s era was before mine. Imagine somebody living in the 1920s/30s and passing away before 1947. He or she would never have had the opportunity of listening to Rafisaab. Of course there were greats even then – like Saigal saab and Pankaj Mallick, but we now have the good fortune of being able to listen to them AND to Rafisaab, Talat Mahmood, Lataji and others.

Future generations will have even more music available to them, in addition to what is available today.

That’s the greatness of a legacy. Every individual has to die sometime – nobody can do anything about that. Yes, one can delay the inevitable – but it is still inevitable. No one has yet invented the elixir of immortality – and that might not be such a bad thing.

Coming to Rafisaab, I’ve spent hours and hours listening to him. I’ve spent all night listening to his songs. It starts with one song, then I think “ok, one more”, then “one more” and so it goes on. On youtube, you keep getting prompted anyway – so it’s just one click after another. You start with “chaudvin ka chand ho”, then, as if on cue, you’re prompted “abhi na jao chhod kar”, which then takes you to “deewana hua baadal”, which takes you to “pukaarta chala hoon main” and so on. You know the drill – you’re hooked. This has happened to me many times.

Not that I’m complaining. It has always been a thoroughly enjoyable experience. I often don’t even watch the video – I just close my eyes and let Rafisaab’s voice take over. And suddenly everything seems to either fall in place, or become inconsequential. For that period at least. When SPB says that at the end of a long day in the recording studios he would come home and listen to Rafisaab to relax, I think I can understand where he’s coming from. Rafisaab’s voice can be extremely relaxing, if you listen to the right songs. I don’t know how often I’ve listened to “ab kya misaal doon” (Aarti-1962) or “maine shaayad tumhe pehle bhi kahin dekha hai” (Barsaat Ki Raat – 1960). And think of songs like “husnwaale tera jawaab nahin” (Gharana–1961) or “ek haseen shaam ko” (Dulhan Ek Raat Ki – 1967) or “mujhe dekh kar aapka muskuraana” (Ek Musafir Ek Haseena – 1962). And if you’re looking for duets, how about “theheriye hosh mein aa loon” with Suman Kalyanpur (Mohabbat Isko Kehte Hain – 1965) or “dil pukaare” with Lata (Jewel Thief – 1967) or “phir miloge kabhi is baat ka vaada kar lo” with Asha (Ye Raat Phir Na Aayegi – 1966). And of course, one of my all-time favourites – which is why I keep coming back to it – “abhi na jao chhod kar” with Asha (Hum Dono – 1961). 🙂

And so many more. I just realized that all the songs I’ve mentioned above, which came randomly to my mind, are all 1960s songs – but this is purely a coincidence. One can find a treasure of songs from the 1950s or even 1970s. Yes, even the 1970s, when Rafisaab was supposed to be going through a lean patch for the first half of the decade. The half in which he still gave us songs like “tum jo mil gaye ho” (Hanste Zakhm – 1973) and “aaj mausam bada beimaan hai” (Loafer – 1973). And my favourite Rafisaab duet song of the 1970s – “teri bindiya re” (Abhimaan – 1973) with Lata, which I have listened to a zillion times, and can never have enough of.

Rafisaab sang practically every genre, from qawwali and devotional songs to rock-n-roll and romantic songs, adjusting his singing style and voice for every actor, depending on the needs of the situation. He was always conscious that he was the playback voice – and that the actor on screen was bringing that song to the audience in “his” (the actor’s) voice. This elevated not just the song, but often even the film, for the viewers, because very often the songs of the film carried the film. 🙂

And, to add to all this, as if his divine voice wasn’t enough, he was also one of the most gentle souls the industry has ever seen. In an industry where ego clashes and tempers were not uncommon, he was ever-smiling, ever accommodating of others, never throwing his weight around – which he could very easily have done. He had a very big heart, ever generous and helpful to those in need. And he did a lot of it without publicity. It was only after he died, that a number of his charitable actions came to light.

So SUCH is the person Rafisaab was. Will we ever see another like him in the industry? Hard enough to imagine another singer like him – add to that his nature, and I think it’s safe to rule out the chance of another Rafisaab. No, Rafisaab was one of a very special kind – like SPB says, we were just very lucky he came in our midst before he was called back.

Indeed, he was 100% right when he sang “mujh ko mere baad zamaana dhoondhega”.

I will now move on to today’s song.

As it is the 31st of July, I have selected a song, sung by Rafisaab of course, about the inevitability of passing away. It is a very short song from the film Amardeep (1979) – but it suits the occasion perfectly. Lyrics have been provided to me, as usual, by Avinashji.

The song’s lyrics, written by Anand Bakshi, talk about how death is inevitable. And yet how sudden and shocking an unexpected death can be. “Tum aise gaye, aise bhi jaata nahin koi”. Everyone knows how sudden Rafisaab’s death was. That was just no way to go. Everyone was in shock – and he was just 55.

The song also refers to having a smile on one’s face even while dead. “Kyon mar ke bhi honthon pe hansi khel rahi hai”- this could also be said of Rafisaab. He was ever-smiling, reportedly even in death.

This song brought a lump to my throat.

Also, listening to his voice only further made me realize how wonderful his voice was even just a year before he passed away. It left me with a loss of what might have been. I felt he had so much more singing in him.

Anyway, one cannot control these things. One can only be thankful for what one has got. And we have got a LOT from Rafisaab. A price can never be put on his legacy – it is just priceless. He will be in our hearts for ever, and remembered for ever.

Rafisaab is truly “amar” in this sense – and lighting amardeep in all our hearts.

Thank you, Rafisaab.

Thank you for everything.

bahut shukriya, badi meherbaani,
hum sab ki zindagi mein huzoor aap aaye

Audio

Video


Song-Duniya mein sada rehne ko aata nahin koi (Amardeep)(1979) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Duniya mein sadaa rehne ko
Aata nahin koyi
Tum jaise gaye aise bhi
Jaata nahin koyi

Kyun mar ke bhi honthhon pe hansi
Khel rahi hai ae
Sab jaante hain aur
Bataata nahin koyi ee

Dil pehle hi dartaa thaa
Ke jal jaayega daaman
Daaman se amardeep
Bujhaataa nahin koyi
Bujhaataa nahin koyi ee
Bujhaataa nahin koyi

—————————————–
(Devnagri Script lyrics) Provided by Avinash Scrapwala)
—————————————–
दुनिया में सदा रहने को
आता नहीं कोई
तुम जैसे गए ऐसे भी
जाता आ नहीं कोई

क्यूँ मर के भी होंठों पे हंसी
खेल रही है ए
सब जानते हैं और
बताता नहीं कोई ई

दिल पहले ही डरता था
के जल जाएगा दामन
दामन से अमरदीप
बुझाता नहीं कोई
बुझाता नहीं कोई ई
बुझाता नहीं कोई


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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