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

Archive for the ‘Series of articles’ Category


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Blog Day :

3989 Post No. : 15079 Movie Count :

4137

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My Railway related reminiscences- 3
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In my first article in the series, I discussed my first posting at Secunderabad. In my second articles, I went back into the past and discussed my probation days, including my stay at Vadodara.

In this third episode, I go back to the future ! Here I discuss my second posting.

My first posting was perhaps in the best place in the Railway zone of South Central Railway. I was posted in the capital city. I stayed near Secunderabad Railway station and I got a Railway quarter there. A capital city has so many attractions as well as opportunities. Those were the days when “computer” was a big buzz word. We had computer coaching institutes mushrooming all over India. A typical computer course taught DOS, wordstar, Lotus 123 and dbase3 . Does it ring any bells with some readers ? 🙂

A government employee is supposed to take permission if he/she wants to study in any course while in government service, with the undertaking that his study would not affect his performance in his/her job. I duly took this permission and began to attend one such course in evening.

My boss in my work place was an old fashioned conservative man. Same was the case with my bosses at the Headquarter. One standard advise that I would be given by them was – “concentrate on learning your job instead of learning about computers.” They did not share my “vision” that computers are a big productivity tools and they would play an important role in our lives in future.

My HQ bosses decided that the facilities at the capital city were harmful for me and so they decided to post me to a place where such facilities were non existent.

They identified a place that was poles apart when compared with Secunderabad. It was called Purna, in Marathwada region of Maharashtra. I was posted there.

This news was naturally a setback for me. But there was not much one could do about it. This place was a junction station and it had MG lines.I took a night train called Kacheguda Ajmer express (the most prestigious train in the section). The train started at night from Secunderabad and arrived Purna after midnight at around 4 AM or so.

In Secunderabad, I was a small fish in a big ocean as far as Railways set up was concerned, but I was going to be a big fish in a small pond like Purna. There I was being posted as the incharge of all Mechanical Engineering activities of Railways in and around Purna. My beat covered places up to Manmad (360 km to west), Khandwa (405 km to north), Adilabad (242 km to east) and Nizamabad (150 km to South East). All four places were in different directions and were located in three different states. When I think about it, the area under my jurisdiction was larger than the entire Railway system in some small countries. All this was MG section.

I arrived Purna Railway station at the early hours. Since I was going to be the boss of all I surveyed, people had arrived at the station to receive me. People unfamiliar to me always had difficulty identifying me. I got down from the station and stated looking for people who may have arrived to receive me. Likewise those who had arrived to receive me were lookng for someone who should look like a boss to them. Finally we managed to locate each other. They took me to Railway Officers Guest House, a small two room guest house. One room was booked for me and this room was going to be my place of stay till I got my regular accomodation.

Most people travel in style, carrying large number of suitcases which they have great difficulty fitting inside their train berth and they then secure their suitcases under lock and key. I on the other hand would travel with very modest looking luggage, typically a bag, and a jhola, and sometimes a suitcase. I would shove them under my train berth. No securing them under lock. In fact even my suitcase would not be locked if I could help it. I secured my suitcase only to avoid the embarrasment of an unlocked suitcase getting open and all its content falling out. And my luggage never got stolen despite lying all unsecured !

The modestness of my luggage was one of the reasons why unfamiliar people coming to receive me at the station would be unable to locate me at first glance. 🙂 Once my luggage was kept at the rest house, naturally it would remain all unlocked.

The small rest house had very small number of staff. Cleaning and dusting of the rooms was done by a lady. Her small child would accompany her. The door of the room would remain open all the time.

In the morning I went to my work place. This place was a steam loco shed, located towards south of the Purna Railway station. In its prime, this loco shed had over 60 MG steam locomotives. The number had come down a good deal.

The office was located on the first floor of a old fashioned British Style building. My chamber was quite large and spacious vis a vis the small chamber that I had in my previous place of posting. There were hundreds of staff in the office. People there still complained about there being less number of staff. 🙂

A few months later, my top boss (Chief Mechanical Engineer, based at Secunderabad ) paid a visit to Purna. During the course of his “inspection” of the place, he enquired- “how many clerks are there in the shed ?”.

The reply was “The work has reduced drastically, and so has the number of clerks. Now we have ONLY 40 clerks.”

“ONLY 40 clerks. My office at Secunderabad dealing with entire zone only has 39 clerks !”- the Chief Mechanical Engineer exclaimed !

Though I joined at Purna, my heart was still at Secunderabad and I would try to go back to Secunderabad at weekends and holidays, much to the chagrin of my immediate boss. I would leave for Secunderabad on friday and arrive back on Monday morning.

Once I went to Secunderabad on weekend and arrived back on monday morning. While at Secunderabad, I bought sweets, with the intention of consuming them at leisure in Purna. As usual, my luggage remained unlocked in my room.

When I came back to my room in the evening, I found that out of 20 pieces of sweet, only one piece remained in the bag where I had kept the sweet packet. The cleaning lady and her young son were looking very worried. I realised that the small kid had opened the box, and seeing the sweets, he kept eating the pieces and her indulgent mother could not prevent him in time. Now both of them were very worried.

I looked at the matter from the point of view of the kid and decided that it was alright. I behaved as if nothing happened. The mother and child waited till the morning to see my reaction. I showed no reaction and both of them were mightily relieved. It must have been an unexpected big lucky break for them. I could notice that they were silently thankful to me from the core of their hearts.

With time, I stopped going to Secunderabad at weekends. Instead, I would go to the nearly towns in the first half and be back by night. There was Parbhani (30 km to the north) and Nanded (30 km to the south) from Purna. These two district places had may be 4-5 movie halls each. I would visit one of these places during weekends, watch a movie and would come back to Purna by night.

All this journey was by train, of course. On one such occasion, I had gone to Parbhani. I watched some movie and then boarded the evening train coming towards Purna. The middle aged person seated opposite me in the first class coach was a PWD engineer in Maharashtra Government. He was coming back to his Nanded residence after attending some meeting at Aurangabad. I got introduced to him. He told me “kabhi koi kaam ho to bataana. Indian ke Home minister S B Chawhan ka main family friend hoon.” He also gave me his home address of Nanded.

I got down at Purna.

I was a “different” kind of Railway officer. I believed in things like honesty, fairplay etc. My immediate boss (based at Secunderabad), on the other hand was an archtypical Government official who believed in sucking up to the boss as the easy and only way of success. And he expected me to do the same. There were occassions when “failures” would take place and he would ask me to suspend someone. I would carry out my investigation into the failure and would found that the person required to be suspended was innocent. So I would refuse to suspend the innocent man.

This happened on quite a few occasions. He at his level would tell the division boss”(DRM)- “driver was responsible for late start of train. I have asked my Purna officer to suspend the driver.” I would investigate the matter and I would find that the driver was innocent.

The boss looked for opportunity to get his own back. One usual opportunity was to write adversely about my performance in my annual confidential report. I was an unusual kind of person who did not give a damn and I felt that spoiling my ACR was a non issue. He got his opportunity to actually hurt me. I wanted to take leave because my parents were calling me. It is not difficult for people to guess the probable reason. 😉 I foolishly informed my boss of the reason why I wanted leave. So he got a great opportunity to harass me. It is not possible to give you leave right now. But you will be given leave next month. He would tell me. I would believe him and ask for leave the next month. Then also he would say the same thing. This went on for three months and by the time it was clear to one and all that my boss was using this opportunity to harass me.

I felt very low when I was denied leave for the third time. I felt helpless. Then I remembered the Nanded based man. I went to Nanded and met him. I asked him to help. He was of course taken aback. He was no doubt a family friend of Indian home minister and a school mate of his son but what he had told me in the train may have been an exaggeration of his influence. In any case, meeting with him and talking with him served as some balm and gave me some mental relief.

A few weeks later, I received a telegram- “father serious, come home immediately.” I , alongwith my staff were naturally aghast, my supervisor (Loco Foreman) raised hell with the division headquarter and arranged for my leave on urgent basis. I was actually quite worried till I reached home and I was relieved to know that my father was alright. It was the usual time tested way of securing leave if the proper way of obtaining leave failed.

This episode taught me a valuable lesson that I tell everyone to follow. You should never tell others (especially your boss) about your “problems” and expect him to sympathise with you. Your vulnerabilities will be used against you. You should give the impression that you have no problems whatsoever. I have followed this lesson after this experience. I have rarely asked for any leave during the last 20 years of my service. And I tell everyone that I am happy wherever I am posted. And whatever I state happens to be the truth as well.

The movie that I had watched at Parbhani that evening (when I met that PWD Engineer) may have been either “Daamini” (1993) or “Dil Aashna Hai”(1992) or some other movie. I am not sure now. Let me assume that it was “Daamini” (1993).

This movie was directed by Rajkumar Santoshi. It had Rishi Kapoor, Meenakshi Seshadri, Sunny Deol, Amrish Puri, Tinu Anand, Kulbhushan Kharbanda, Anjan Srivastava, Rohini Hattangadi, Aamir Khan, K K Raina, Paresh Rawal, Sulbha Arya, Vijayendra Ghatge, Viju Khote, Achyut Potdar, Asha Sharma etc in it.

The movie had five songs. Here is the first song from the movie to appear in the blog.

This song is sung by Kumar Sanu and Alka Yagnik. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The song is picturised on Rishi Kapoor and Meenakshi Sheshadri.

With this song, “Daamini”(1993) makes its debut in the blog.


Song-Gawaah hain chaand taare gawaah hain (Daamini)(1993) Singers-Kumar Sanu, Alka Yagnik, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain aen
gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain

gawaah hain
chaand taare gawaah hain

tumko rakhoonga dil mein basaa ke
meri dhadkan tum ho
dekhoonga tumko shaam o sahar main
mera darpan tum ho
tumko rakhoonga dil mein basaa ke
meri dhadkan tum ho
dekhoonga tumko shaam o sahar main
mera darpan tum ho
jee na sakoonga main hoke juda aa aa
gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewaanepan ke
nazaare gawaah hain aen

gawaah hain
chaand taare gawaah hain
daamini daamini
daamini
o meri daamini
daamini daamini
daamini
o meri daamini

bhool gayi main is duniya ko
pyaar hua jab se
tere siwa kuchh aur na maangoon
main to mere rab sबe
bhool gayi main is duniya ko
pyaar hua jab se
tere siwa kuchh aur na maangoon
main to mere rab se
seene mein armaan hain
lab pe dua aa aa

gawaah hain
chaand taare gawaah hain
gawaah hain
chaand taare gawaah hain
tere mere milan ke
apne deewanepan ke
nazaare gawaah hain aen
gawaah hain
chaand taare gawaah hain

gawaah hain
chaand taare gawaah hain
daamini daamini
daamini o meri daamini
daamini daamini
daamini o meri daamini
daamini daamini
daamini main teri daamini
daamini daamini
daamini main teri daamini

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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 : 3983 Post No. : 15070

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My Railway related reminiscences- 2
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Couple of days back, I discussed a song of 1991, with my reminiscences of Hyderabad/ Secunderabad, where I was based at that time. Those were the early days of my career and that was my first posting.

That post gave me an idea that I should discuss my experiences of my stays in various places of India during my career. When I began to think about my experiences of those days, many interesting memories came to the fore. So I thought that I should discuss those memories (alongwith movies that I saw at those places) in a series form. I decided to name this series “my reminisces in Railways”. The article accompanyng the 1991 song thus began the fist part of the series.

Secunderabad was my fist posting, but that was preceded by period of probation which was during late 1980s and early 1990s. Those were the days when we would visit various places in Indian Railways located all around the country and undergo “training”. I describe it as “training” and not training because very few people actually trained at these places. It was more like site seeing and getting a first hand experience of how to manage to travel in trains, often without confirmed reservations and often without any confirmed accomodations at the places of our “training.” Those experiences were the real learning experiences for us.

People would form small groups of a few probationers and would travel and “train” together. My group used to be the smallest possible, viz two of us. 🙂

Most of these trainings were of one or two weeks. At the end of the “training”, we would be interviewed by the head of that organisation and then we would get a certificate that we had successfully completed the training. We used to dread the interview and would hope that the head would spare us and give us the certificate without actually interviwing others.

One of these training programmes took us to New Katni junction. We were supposed to undergo training in Diesel shed there. After the end of two weeks, the most dreaded occasion, viz interview with the head of the diesel shed, arrived. The head, one Mr Marcus, a very strict disciplinarian, started to grill the two of us on what we had learnt about diesel locomotives. Both of us were largely clueless on the subject and so I hoped that interviewer would vent his frustration equally on the two of us. My groupmate, Suresh had managed to memorise a few buzz words of Diesel locomotives and I was not familiar with even those words. So, I was singled out by Mr Marcus and he gave me a mouthfull. Learn from Mr Suresh, he at least knows a few terms about Diesel locomotives, I was told.

Suitably chastened, I came out and resolved that I would actually take the training seriously in future. But it was a resolution that I could never keep. 🙂

But that experience gave me an important life and management lesson. When a tiger appears before a herd of deer, the deers need not outrun the tiger. They only need to ensure that they outrun the slowest deer among them. 🙂 The tiger would catch the slowest of the deers and the other deers would escape.

While most trainings were for small durations and they were for probationers in small groups, there were some centralised trainings in large groups and of longer durations in designated locations.

For example, all probationers of all services had to mandatorily undergo two trainings. The first was called “Foundation”” course and it was followed by “Induction” course. These courses would be of one month duration and they would take place at Railway Staff College, Vadodara.

The need for centralised training of Railway officers was first felt in 1920s in pre independence era and a “Railway Staff College” was established in Dehradun in 1930. Within two years, some senior Railway Man decided that training of Railway Officers was a luxury that Railways could ill afford and so that “Railway Staff College” at Dehradun was closed down. Its premises were sold to Army. The present day Indian Military Academy at Dehradun is located where the original “Railway Staff College” stood from 1930 to 1932.

Two decades later, it was once again realised that training of Railway officers was not a luxury but a necessity so Railway Staff College was again established. This time it was set up at Vadodara. Railways took Pratap Vilas Palace of Vadodara on lease in 1949. Subsequently Railways bought this premise outright in 1964.

The magnificent Pratap Villa Palace was designed by Charles Frederick Stevens in 1914. Readers may recall that Bombay VT was built by Frederick Williams Stevens in 1887, who was the father of Charles Frederick Stevens. I find it interesting that Charles Frederick Stevens, though an Englishman was named in Marathi-Gujrati manner, viz. Name of the person, followed by father name, followed by Surname. 🙂

The first principal of Railway Staff College, Vadodara was Mr P C Bahl, from 1952 to 1956. His son Lt Commander Rajnish Bahl of Indian navy married film actress Nutan.

It was in this Railway Staff College that I underwent my Foundation Course. There were around 40 probationers in the batch. They were accomodated in hostel rooms, two probationers in each room.

I had decided that I would take Foundation course seriously, and as a part of my seriousness, I chose a room partner who himself was a serious student. No, not the abovementioned Suresh, but another person named Rahul.

Vadodara was (it still is) a nice place. Classes were held in day time for five days a week. Saturday and Sunday were free.

We would typically go out to watch night show of movies in Vadodara after dinner time. It was on one such night that Rahul suggested that we should go watch a new movie called “Dil”(1990). This movie had two newcomers in lead roles. The hero was one Aamir Khan, who had made a successful debut with “Qayamat Se Qayamat Tak” (1988). The leading lady was Madhuri Dixit, who had become an all India rage after the song “ek do teen” in “Tezaab” (1988).

We went for the night show of “Dil”(1990). We left our hostel at 9 PM and we were worried that we would be late for the show. But when we arrived there, we found that we were well in time. The previous show was still playing. We kept waiting and waiting. The earlier show ended after 10 PM. Our night show began at 10-30 PM, which is too late for a night show to start.

It was well past 1 AM when the show finally ended. In my younger days, I would remain wide awake and aware and would not miss any moment of the movie, not even newsreels and ads. But those days were in the past. I was feeling sleepy throughout the movie. So I missed much of the story and so I was not aware what was going on in the movie.

This movie “Dil” (1990) is not yet covered in the blog. Here is the first song from the movie to appear in the blog. The song is sung by Udit Narayan and Anuradha Paudwal. Sameer is the lyricist. Music is composed by Anand Milind.

The song is picturised on the lead pair of Aamir Khan and Madhuri Dixit, both looking so young and fresh faced vis a vis today. But then this movie had come three decades ago !

The song from the movie under discussion is titled “mujhe neend na aaye” , but it was a case of “mujhe neend hi neend aaye” for me in the movie hall in that show. 🙂


Song-Mujhe neend na aaye (Dil)(1990) Singers-Udit Narayan, Anuradha Paudwal, Lyrics-Sameer, Anand Milind
Chorus

Lyrics

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa
aa aa aa

mujhe neend na aaye
neend na aaye
neend na aaye
mujhe chain na aaye
chain na aaye
chain na aaye

mujhe neend na aaye
ho
mujhe neend na aaye
mujhe chain na aaye
koi jaaye jara dhundh ke laaye
najane kaha dil kho gaya aa
na jane kaha dil kho gaya
najane kaha dil kho gaya aa
na jane kaha dil kho gaya
mujhe neend na aaye
mujhe chain na aaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya aa
na jaane kahaan dil kho gaya

aa aa aa aa aa aa

haalat kya hai
kaise tujhe bataaun main
karvat badal badal ke raat bitaaun main
haalat kya hai kaise tujhe bataaun main
karvat badal badal ke raat bitaaun main

poochho zara poochho kya haal hai
haal mera behaal hai
poochho zara poochho kya haal hai
haal mera behaal hai
koi samajh na paaye kya rog sataaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa

jaan se bhi pyaara mujh ko mera dil hai
uske bina ik pal bhi jeena mushqil hai
jaan se bhi pyaara mujhko mera dil hai
uske bina ik pal bhi jeena mushqil hai
tauba meri tauba kya dard hai
dard bada bedard hai
tauba meri tauba kya dard hai
dard bada bedard hai
kabhi mujhko hansaaye
kabhi mujhko rulaaye
koi jaaye zara dhoondh ke laaye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya

mujhe neend na aaye
neend na aaye
neend na aaye
mujhe chain na aaye
chain na aaye
chain na aaye

aa aa aa aa aa aa

mujhe neend na aaye
mujhe chain na aaye
koi jaaye zara dhoondh ke laye
na jaane kahaan dil kho gaya
na jaane kahaan dil kho gaya


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 : 3980 Post No. : 15068

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Blog 10-Year Challenge (2009-19) – Song No. 35
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My Railway Related Reminiscences – 1
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When I look back into days gone by, I find that my recollections of the past can be divided neatly into decades. I have vague recollections of 1960s as I was quite young in that decade. 1970s is the decade that I recall most vividly as well as most fondly as I was as my precocious best in this decade, being in my teens in this decade.

I find that my recollections of subsequent decades are rather more vague. I can tell you what I was doing in 1975, but I do not have similar vivid recollections of 1985, 1995 or even 2005 !

The above applies to my recollections on Hindi movies and HFM as well. I cannot recall even one Hindi movie song of 2005 or 2015 if my life dwepended on it, but I can readily recollect dozens of songs of 1975.

Since our younger regulars never tire of reminding us that good songs were created in 1990s and later as well, I thought that I should try and discuss some songs from those years even though my recollections of those days are not as vivid as my recollections of 1970s. 🙂

Much of my 1980s was spent in my “higher” education. From 1990s onwards, I found myself posted in various parts of the country.

My initial postings were in South, in what was South Central Railway, with its HQ at Secunderabad. My initial days there were spent in twin cities of Hyderabad and Secunderabad. My first posting was very much in that place. Later, I was posted at a small place in Marathwada called Purna.

I watched quite a few movies in Hyderabad/ Secunderabad. Those were Hindi movies, Telugu movies as well as English movies.

I was a firm believer that one should walk on foot in any new place wherever you wanted to go. That helped you familiarise yourself with various landmarks of the place. I applied my theory rigidly. I would walk six km daily from my residence to my workplace in the morning and then come back by walk in the evening. So I used to walk 12 km daily. 🙂

On weekends, I would plan to watch movies. I used to buy all the three English daily newspapers published in the city, namely Deccan Chronicle, Hindu and Indian Express. The three newspapers together form such a bulk that sometimes people would mistake me for a newspaper vendor. 🙂

I would look at the cinema hall ads to find which movies were playing in which movie halls. After identifying which movie to watch and where to watch, I would decide how to reach there.

It was sometime in 1991 or may be 1992 that I decided to go and watch “Phool Aur Kaante”(1991).

THe movie was playing in a movie hall in old city of Hyderabad. I stayed in Secunderabad near the Secunderabad Railway Stations at a distance of 15 km. How to reach there.

I boarded a local train from Secuderabad and reached Kacheguda Railway station. From there I walked towards old city, in the general direction of Hyderabad(aka Nampally) Railway station. I had a map of the twin city and I would consult it often to find locations of interest to me.

I kept walking on and on and came across old city, full of densely populated areas. I did not have to go Huderabad Railway station. The movie hall was somewhere in between Kacheguda and Hyderabad Railway stations.

I arrived the hall well in time so I had little difficulty buying a ticket for for matinee show. Now, show beginning at 3 PM is matinee show for me, as I was born and brought up in North India, but in Hyderabad, it was called first show there. I think it is still called first show in those parts.

That was not the only difference. What I knew as “cold” drink in north was called “cool” drink there. 🙂

I soon found lots of movie watchers arriving at the movie hall. Now, more than two decades later, I have read about the movie going audience of Hyderabad from our beloved inhouse encylopaedia Mr Arunkumar Deshmukh in many of his articles. Bulk of movie watchers who had gathered belonged to that kind. There were burkha nasheen females accompanied by lots of small kids. It was not as if this movie had a well known hero. This movie had debutants in lead roles. I wondered why all of them had so eagerly gathered to watch the movie where a newcomer was the hero.

The show began after some wait. It goes withot saying that bulk of movie watchers enjoyed the movie thorougly. I would have enjoyed this movie like them if I was two decades younger. But during these two decades, I had learnt thinks like “logical” thinking etc. I was applying logic on the movie and was not able to find much to enjoy. Now, the hero and heroine are college students. But they were hardly seen studying even for one minute. They would be seen singing dancing and romancing for the entire duration of the movie. Come on, how can one even get admitted to a decent college if all one does is teasing the female students and making passes on them. And in which college one finds females falling in love with the eve teaser. In real life India, such male students would get expelled from the college, and here in the movie he is being glorified. Moreover, how can such students even survive the academic rigours of college life ?

Moreover, I believe that one goes to college to study and not to romance. There is plenty of time and opportunity left in life in future for such romantic pursuits once you have successfully completed your studies and have become financially independent.

Conscientious movie watchers like me are in minority and no movie makers do any thing to appease movie goers like me. Movie makers merrily go on to make movies like this which are big hits at the box office and which are happily lapped up by simple minded movie goers.

I have covered one song from this movie in the past. That “past” happened to be 11 june 2009, viz exactly ten years ago. So, this movie becomes an ideal case of blog ten year challenge.

So here is the second song from “Phool Aur Kaante” (1991) on this day viz 11 june 2019, exactly ten years after covering the first song of the movie in the blog. This song is sung by Kumar Sanu and Anuradha Paudwal. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

This movie was produced by Dinesh Patel and directed by Kuku Kohli. This movie had Ajay Devgun, Madhoo, Amrish Puri, Raza Murad, Raghunath, Jagdeep, Goga Kapoor, Suresh Chatwal, Aruna Irani etc in it. The movie was the launch vehicle of Ajay Devgun. His stunt master father Veeru Devgun was behind the production of this movie.

Watch the picturisation of the song. The song is quite enjoyable to listen to and watch to in you can switch off your conscience and sensibilities. But I have great difficulty doing that.

Nevertheless, here is this song from “Phool Aur Kaante” (1991) which was hugely popular those days and continues to remain so till this day.

Video (one stanza missing)

Audio (Full)

Song-Maine pyaar tumhi se kiya hai (Phool Aur Kaante)(1991) Singers-Kumar Sanu, Anuradha Paudwal, Lyrics-Sameer, MD-Nadeem Shrawan
Chorus

Lyrics

maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniyaa se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
tururururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon
maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai

ailaan yahi
karne aaya
main aaj yahaan
marne aaya
ruswa tujhe main
kar jaaunga
khaa ke zahar ab
mar jaaunga
khaa ke zahar ab mar jaaunga
maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
aaa aaa aaa aaa aaa
aaa aaa aaa aaa

dilwaale agar
mil jaayen yahaan
phir neend kise
phir chain kahaan
ye
tere liye aahen
bharta hai dil
teri aisi baaton se
darta hai dil
teri aisi baaton se darta hai dil

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

maine pyaar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai

baahon mein teri
din raat rahoon

jag chhod doon main
o tere saath rahoon
o saanson mein basa loon aaja tujh ko
tere bina jeena nahin mujh ko
tere bina jeena nahni mujh ko
maine pyar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
tururururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyar karoon
main duniya se ab naa daroon
tujhi se main pyar karoon

maine pyar tumhi se kiya hai
turururu
maine dil bhi tumhi ko diya hai
turururu
ab chaahe jo ho jaaye
main duniya se ab naa daroon
tujhi se main pyaar karoon

main duniya se ab naa daroon
tujhi se main pyaar karoon
main duniya se ab naa daroon
tujhi se main pyaar karoon

main duniya se ab naa daroon
tujhi se main pyaar karoon


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

Blog Day :

3895 Post No. : 14936 Movie Count :

4078

Missing Films of 1960s – 96
– – – – – – – – – – – – – – –

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

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

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

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

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

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

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

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

aadam ko di muaafi
shaitaan ko sazaa di

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

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

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

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

takhte se daar ke bhi
isaa ki jaan bacha di

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

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

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

machhli ke pet mein bhi
yunus ki jaan bakhshi

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

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

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

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

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

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

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

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

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

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

toofaan se tu ne yaarab
jab nooh ko bachaaya

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

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

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

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

Lyrics

ae aasmaan waale

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

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

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

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

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

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

ae aasmaan waale. . .

ae aasmaan waale. . .

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

ए आसमान वाले

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

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

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

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

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

ए आसमान वाले॰ ॰ ॰

ए आसमान वाले॰ ॰ ॰


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

Blog Day : 3839 Post No. : 14851

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 33
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘स’ – सुन गोरी खोल ज़रा घूँघट का डोर ॰ ॰ ॰

– – – –

॰ ॰ ॰जिनके मिलन को तरसे
वो तो ना आए
मौसम आए जाये॰ ॰ ॰

It is your words that tell of this predicament. Seasons come and go, as they have, year on year on year. . .  but the one who this heart wants to listen to again, has not returned after going away. . .

– – – –

Rafi Sb has sung playback for a whole range of performers all the way from mid 1940s to early 1980s, and then some. He never declined to sing for any actor, be that a newcomer, a junior artist, or even non-entities who made just one song, one film appearances. On the other hand, the association of Rafi Sb’s voice with some very important and specific performers, has been well discussed and documented. Almost invariably, Rafi Sb was the singing voice for these artists, no matter what.

One name that is very familiar in this context is Johnny Walker. Starting his career as a small time comedian, Johnny Walker went on to command such importance in the film world that his role, and invariably a song lip-synched by him, was part of a formula in the world of Hindi cinema. Pick any Johnny Walker film in 1950s and 1960s – you can be sure there is also a song performed by him, with playback from Rafi Sb. Rafi Sb was able to create that unique and peculiar rendition for Johnny Walker songs, that blended so seamlessly with actor’s dialogue delivery and acting styles. That is the depth of the singing prowess of Rafi Sb. And it applies across all actors. He sang for them, in their own styles, almost completely making himself invisible inside that actor.

Today’s song in this series is a typical Johnny Walker song. The film is ‘Phool Baney Angaarey’ from 1963. The film is produced under the banner of Asiatic Arts Production, and is directed by Suraj Prakash. This is a social drama that weaves a story of a joint family during the period of India’s 1962 war with China. The star cast includes Mala Sinha, Raj Kumar, Johnny Walker, Ashish Kumar, Shammi, Mumtaz Begum, Mukri, Nasreen, Tuntun, Sarita Devi, Lakshmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, and Bhalla amongst others.

Geet Kosh lists six songs for this film. All songs are written by Anand Bakshi, and the music is composed by Kalyanji Anandji. Two songs of this film are already showcased here.

In this duet, Rafi Sb is accompanied by Kamal Barot. On screen, the song is performed by Johnny Walker and Shammi. The scenario is the first night of a newlywed couple. The groom is making efforts and requesting the bride to open her ghunghat and allow him to see her face. The exchange is comical, of course, given that Johnny Walker is the groom. He even mentions that yes, they have met before also, but that he just wants to confirm that he got married to the same person.

Enjoy this fun song, the penultimate in this series. Concluding episode should be coming shortly. 🙂

Song – Sun Gori Khol Zara Ghunghat Ka Door  (Phool Baney Angaarey) (1963) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics 

sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

yaad hai tujhe chaupaati ka wo footpath
hui thi jahaan hamaari pehli mulaqaat
aaa haan
yaad hai tujhe chaupaati ka wo footpath
hui thi jahaan hamaari pehli mulaqaat
dekhoon zara tu hai wahi ya hai koi aur
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

main hoon tera husband
tu hai meri wife
ye hi afsos to rahegi saari life
ain
kya kaha
hee
arey main hoon tera husband
tu hai meri wife
ye hi afsos to rahegi saari life
life pe karenge hum phir kabhi gaur
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
bhaai
four

yaad hai tujhe wo mera taan tod saang
saang tha kaahe ka wo thi murge ki baang
[cock a doodle sounds]
yaad hai tujhe wo mera taan tod saang
sang tha kaahe ka wo thi murge ki baang
tu ne usi baang pe kaha tha once more
o sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

याद है तुझे चौपाटी का वो फूटपाथ
हुई थी जहां हमारी पहली मुलाकात
आ हाँ
याद है तुझे चौपाटी का वो फूटपाथ
हुई थी जहां हमारी पहली मुलाकात
देखूँ ज़रा तू है वही या है कोई और
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

मैं हूँ तेरा हसबेंड
तू है मेरी वाइफ़
ये ही अफसोस तो रहेगा सारी लाइफ
ऐं
क्या कहा
ही
अरे मैं हूँ तेरा हसबेंड
तू है मेरी वाइफ़
ये ही अफसोस तो रहेगा सारी लाइफ
लाइफ पे करेंगे हम फिर कभी गौर
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

याद है तुझे वो मेरा तान तोड़ सांग
सांग था काहे का वो थी मुर्गे की बांग
[मुर्गे की बांग का शब्द]
याद है तुझे वो मेरा तान तोड़ सांग
सांग था काहे का वो थी मुर्गे की बांग
तूने उसी बांग पे कहा था वंस मोर
ओ सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर


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

Blog Day : 3838 Post No. : 14848

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 32
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘श’ – शम्मा पे परवाना जलने से डरता नहीं ॰ ॰ ॰

– – – –

फिर तेरी याद नए गीत सुनाने आई. . .

Yes, everyday. It seems there is a new song that you have sung for us, once again. Remembering you, everyday.

– – – –

Well, if the film name is ‘Shola Jo Bhadke’, it would not be a coincidence that this film is by Bhagwan Dada. Today’s song in this series is from this 1961 film.

The phenomenal success of the film ‘Albela’ (1951) and its songs, prompted Bhagwan Dada to try and replicate that success many times over the next few years. But sadly none of the spin offs really came any close to repeating the success of the original. As I try to trace the career path of Bhagwan Dada as a producer, after the film ‘Albela’ in 1951, he went on to produce and direct the following,

  • ‘Jhamela’ in 1953, with Geeta Bali in female lead and music by C Ramchandra
  • ‘Rengeela’, also in 1953, with Poornima in female lead and music by Jamaal Sen
  • ‘Halla Gulla’ in 1954; Shakila and Sajjan are the lead pair and Bhagwan is playing second lead; music by Nisar
  • ‘Pyaara Dushman’ in 1955; Jairaj and Nadira are the lead pair and Bhagwan is playing second lead; music by Nisar
  • ‘Bhaagam Bhaag’ in 1956; Kishore Kumar and Shashikala are the lead pair and Bhagwan is playing second lead; music by OP Nayyar
  • ‘Kar Bhala’, also in 1956; interestingly this film is also listed as a stunt film; Shashikala and Nasir Khan are the lead pair; music is by Chic Choclate
  • And then, ‘Shola Jo Bhadke’ in 1961; Suresh and Radhika are the lead pair and music is by Nisar.

Starting with ‘Albela’ and up to ‘Shola Jo Bhadke’, all films listed above are produced and directed by Bhagwan Dada. After ‘Shola Jo Bhadke’, we do not find any more films being produced and directed by him. The magic of ‘Albela’, sadly could never be recreated.

I must make a note that Bhagwan Dada had directed his first film way back in 1938 (as a co-director for ‘Bahadur Kisan’), and turned a producer in 1942. He set up Jagruti Pictures as his production company, and produced and directed many stunt films. In 1947, he also set up his own Jagruti Studio. ‘Albela’ was the mega moment of his career. But after that, it was downhill all the way. ‘Shola Jo Bhadke’ was, in a manner of speaking, a last attempt.

The star cast of ‘Shola Jo Bhadke’ is listed as Suresh, Radhika, Anwar, Bhagwan, Poornima, Suryakant, Pratima Devi, Kesri, Prem Sagar, Shyam Lal, Vishwas, Baburao, Ram Bharose, Cukkoo and Helen. Geet Kosh lists seven songs for this film. Names of three songwriters are listed – Shyam Hindi, Saba Afghani and Tavish Mehmood. However, songwriter names are not assigned to individual songs, except one. Songwriter name for this song is not attributed. The person who has uploaded this song on YT has indicated the name as Tavish Mehmood.

Music for all the songs is by Nisar, a name that is same as Nisar Bazmi. The singing voices in this song are of Rafi Sb and Suman Kalyanpur.

Song – Shamma Pe Parwaana Jalne Se Darta Nahin  (Shola Jo Bhadke) (1961) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – [Unattributed], MD – Nisar Bazmi
Mohammed Rafi + Suman Kalyanpur

Lyrics 

shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin
jaan chali jaaye magar bachke guzarta nahin
shamma pe parwaana jalne se darta nahin

yun to garajte hain sabhi kaun barasta hai
kaun barasta hai
baaten banaane ka yahaan bas yahi rasta hai
bas yahi rasta hai
ho oo oo oo oo
marne ka kehte hain magar. . .
marne ka kehte hain magar
koi bhi marta nahin
shamma pe parwaana jalne se darta nahin

jaan mein toofaan ko kahaan laate hain dilwaale
laate hain dilwaale
khelte maujon se guzar jaate hain dilwaale
jaate hain dilwaale
ho oo oo oo oo
darr ke jo ruk jaaye kabhi. . .
darr ke jo ruk jaaye kabhi
paar utarta nahin
shamma pe parwaana jalne se darta nahin

aaj se hum tere huye chaahe koi roke
chaahe koi roke
hum ne jo chaaha tha wohi baat rahi ho ke
baat rahi ho ke
ho oo oo oo oo
dil se agar dil na miley. . .
dil se agar dil na miley
pyaar sanwarta nahin
shamma pe parwaana jalne se darta nahin
shamma pe parwaana jalne se darta nahin

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
जान चली जाये मगर बचके गुजरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

यूं तो गरजते हैं सभी कौन बरसता है
कौन बरसता है
बातें बनाने का यहाँ बस यही रस्ता है
बस यही रस्ता है
हो ओ ओ ओ ओ
मरने का कहते हैं मगर॰ ॰ ॰
मरने का कहते हैं मगर
कोई भी मरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

जान में तूफाँ को कहाँ लाते हैं दिलवाले
लाते हैं दिलवाले
खेलते मौजों से गुज़र जाते हैं दिलवाले
जाते हैं दिलवाले
हो ओ ओ ओ ओ
डर के जो रुक जाये कभी॰ ॰ ॰
डर के जो रुक जाये कभी
पार उतरता नहीं
शम्मा पे परवाना जलने से डरता नहीं

आज से हम तेरे हुये चाहे कोई रोके
चाहे कोई रोके
हमने जो चाहा था वही बात रही हो के
बात रही हो के
हो ओ ओ ओ ओ
दिल से अगर दिल ना मिले॰ ॰ ॰
दिल से अगर दिल ना मिले
प्यार सँवरता नहीं
शम्मा पे परवाना जलने से डरता नहीं
शम्मा पे परवाना जलने से डरता नहीं


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

Blog Day : 3786 Post No. : 14769

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 30
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ल’ – लीजिये दिल का नज़राना, लीजिये आँख का शुक्राना ॰ ॰ ॰

– – – –

आवाज़ दे कर हमें तुम बुलाओ ॰ ॰ ॰ 

Ah yes, that is what the heart desires, but sadly, that will happen no more. . . you are so far away now, that our supplications so sent, do not reach you any more.

– – – –

OK, wow, another gem from the radio listening days. And what a wonderful reminder this song is. The film is ‘Naya Kanoon’ from 1965, and Rafi Sb is accompanied by Asha Bhosle in this song. Given that Madan Mohan is the music director, I am a little surprised that Lata does not figure in this film at all. Eight songs in all, with four female solos, and one duet (this one) – all carry the voice of Asha Bhosle. Possibly this recording may have been done during the time when there was a stand off between Lata ji and Rafi Sb. Still surprising that Madan Mohan did not get Lata to sing even one of the solo songs. Or possibly, other reasons, circumstances may have intervened.

The film is directed by RC Talwar for the banner of Manchanda Productions, Bombay. The main star cast is listed as Ashok Kumar, Vaijayantimala, Bharat Bhushan, Poornima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra, and Om Prakash among others. There are eight songs in this film, or may be seven, because one song is a multi version song sung as a solo by both Rafi Sb and Asha Bhosle. All songs are from the pen of Hasrat Jaipuri, except one, which is written by Saraswati Kumar Deepak.

On screen, this song is filmed a recording studio song. The two singers – Bharat Bhushan and Vijayantimala, are recording this song in a studio. Or maybe the song is being broadcast live.  As we see the three stanzas, there are short visual interludes, and the dresses of the two artistes are different in each stanza. The intervening scenes convey a message as if displaying the rising popularity, as well as prosperity of the singer.

Bharat Bhushan in this 1965 film is a distant call from his heydays of ‘Baiju Baawra’ in 1952. Decidedly not looking any younger, but he is also looking much more morose. As the visual clip starts and the music comes on, the mind gets into position for a fast paced light hearted duet. But the expression on the face of the hero conveys as if he is going to break into “Maayoos To Hoon Waade Se Tere. . .” 🙂 🙂 .

Regardless, a very breezy composition which will tickle a few memories in the minds of radio listeners.  Listen and relive those memories.

 

Song – Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana  (Naya Kanoon) (1965) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Madan Mohan

Lyrics 

lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi

aankh ne dekha to dil ne paa liya
meethi baaton ne hamne behka liya
pyaar mein hum bhi tumhaare ho gaye
tum miley to hum khushi se kho gaye
kadmon mein khada hai deewaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

dil bade armaan se laaya hoon main
ye kali toofaan se laaya hoon main
meri palken jhuk rahi hain laaj se
tum hamaare ho chuke ho aaj se
aaya hai shama ka parwaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

aur bhi duniya mein laakhon chaand hain
aapke aage magar wo maand hain
aur bhi duniya mein laakhon phool hain
aapke aage magar wo dhool hain
haazir hai tumhaara mastaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी

आंख ने देखा तो दिल ने पा लिया
मीठी बातों ने हमने बहका लिया
प्यार में हम भी तुम्हारे हो गए
तुम मिले तो हम खुशी से खो गए
कदमों में खड़ा है दीवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

दिल बड़े अरमान से लाया हूँ मैं
ये काली तूफान से लाया हूँ मैं
मेरी पलकें झुक रही हैं लाज से
तुम हमारे हो चुके हो आज से
आया है शमा का परवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

और भी दुनिया में लाखों चाँद हैं
आपके आगे मगर वो माँद हैं
और भी दुनिया में लाखों फूल हैं
आपके आगे मगर वो धूल हैं
हाजिर है तुम्हारा मस्ताना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना


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

Blog Day : 3773 Post No. : 14751

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 29
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘र’ – रात अंधेरी, गई गई गई ॰ ॰ ॰

– – – –

वो जब याद आए, बहुत याद आए ॰ ॰ ॰ 

Your own words are so prophetic. The memories of your songs, when they descend upon the mind – it is a deluge that covers the mind.

– – – –

Another day, another letter of the alphabet, and another fabulous duet – Rafi Sb and Asha Bhosle.

This song is from the 1960 film ‘Rangeela Raja’. This is a stunt film which was produced under the banner of Diamond Jubilee Films, and was produced and directed by Ismail. The cast of actors in this film is listed as Kumkum, Mahipal, Shashikala, Meenu Mumtaz, Bhagwan, Dhanraj, Jayant, Kammo, Uma Dutt, Chand Burque, Satish, Kesari, Zippy, and Pintu.

Geet Kosh lists eight songs of this film. One song is already showcased here, this is the second song of this film to come on board. All the songs have been penned by Asad Bhopali, and the music director is Pt Shivram. This song sounds like a group dance song which is celebrating some kind of success, emphasized by the opening lines of the song,

raat andheri,    gayi gayi gayi gayi
bhor suhaani,   bhai bhai bhai bhai

Another wonderful memory from the radio listening days. A zippy pace that picks up speed as the song comes to a close. And a quick mixture of singing voices and the chorus. Delectable creation. 🙂

Song – Raat Andheri Gayi Gayi Gayi  (Rangeela Raja) (1960) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Asad Bhopali, MD – Pt Shivram
Asha Bhosle + Mohammed Rafi
Chorus

Lyrics 

raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
raat andheri gayi gayi gayi gayi
bhor suhaani bhai bhai bhai bhai
chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji

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

duniya ka rang badalta hai
koi khush hai koi jalta hai
lall lall lall lall laa ho
lall lall lall lall laa
jalta hai koi to jalne de
tu apni gaadi chalne de
lall lall lall lall laa ho
lall lall lall lall laa
ye hai dhang purana
chhedo khushi ka taraana
aaya apna zamaana ji
hoy raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji

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

aa pyaar karen ji khul kar ke
kyon nain milaayen darr darr ke
lall lall lall lall laa ho
lall lall lall lall laa
darne ka zamaana beet gaya
koi har gaya koi jeet gaya
lall lall lall lall laa ho
lall lall lall lall laa
chhodo darna daraana
chhedo khushi ka taraana
aaya apna zamaana ji
raat andheri
gayi gayi gayi gayi

bhor suhaani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
haa haa haa


raat andheri
gayi gayi gayi gayi

bhor suhani
bhai bhai bhai bhai

chhedo khushi ka taraana
aaya apna zamaana
aaya apna zamaana ji
raat andheri gayi gayi gayi gayi
(aaa haaa haaa haaaa)
bhor suhani bhai bhai bhai bhai
(oho ho ho hooo)
chhedo khushi ka taraana
(aaha haa haa)
aaya apna zamaana
(aaaa aaaa aaaa)
aaya pana zamaana ji

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
रात अंधेरी गई गई गई गई
भोर सुहानी भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी

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

दुनिया का रंग बदलता है
कोई खुश है कोई जलता है
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
जलता है कोई तो जलने दे
तू अपनी गाड़ी चलने दे
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
ये है ढंग पुराना
छेड़ो खुशी का तराना
आया अपना ज़माना जी
होय रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी

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

आ प्यार करें जी खुल कर के
क्यों नैन मिलाएँ डर डर के
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
डरने का ज़माना बीत गया
कोई हार गया कोई जीत गया
लल्ल लल्ल लल्ल लल्ल ला हो
लल्ल लल्ल लल्ल लल्ल ला
छोड़ो डरना डराना
छेड़ो खुशी का तराना
आया अपना ज़माना जी
रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
हा हा हा

रात अंधेरी
गई गई गई गई
भोर सुहानी
भई भई भई भई
छेड़ो खुशी का तराना
आया अपना ज़माना
आया अपना ज़माना जी
रात अंधेरी गई गई गई गई
(आ हा हा)
भोर सुहानी भई भई भई भई
(ओ हो हो हो)
छेड़ो खुशी का तराना
(आ हा हा)
आया अपना ज़माना
(आ आ आ आ)
आया अपना ज़माना जी


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

Blog Day : 3757 Post No. : 14726

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 28
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘य’ – ये भीगी भीगी रात गगन पर तारों की बारात ॰ ॰ ॰

– – – –

हम बेखुदी में तुमको पुकारे चले गए ॰ ॰ ॰ 

Seems to be like another life time, that we have been waiting, and calling out for you, in the wilderness of nowhere. Alas, but it is not to be. . .

– – – –

Really spoilt for choices with the letter ‘य’. And I settle for this delightful twosome of a song – Geeta Dutt with Rafi Sb. The film is an obscure ‘Doctor Z’ from 1959. Produced and directed by Jaal, the films comes from the banner of Baliwala Films, Bombay. The star cast of this film is listed as Shakeela, Mahipal, Heeralal, Helen, Vinod Diwani, Krishna Kumari, Sundar, Mirza Musharraf, Dalpat, Tuntun, Nasreen, Shetty, Bhudo Advani, Homi, Rusi, Bismillah, Baburao Pehalwan, Radheshyam, Rafiq, Hanuman, Bala Ram, Dhondu, MK Hasan, Karandiker, and Sheetal Kumar.

The film has total of eight songs listed, out which, two songs, as per the Geet Kosh, are probably not released on gramophone records. The songs have been written by Akhtar Romani, and the music is by Manohar. This Manohar is the blind music director Manohar Lal Sonik, who was the senior partner in the team of music director duo – Sonik-Omi.

One song of this film is already present on our blog. It was posted on 9th Nov, 2011. And today, after almost full seven years, the second song of this film finds its place here.

The singing voices are of Rafi Sb, accompanied by Geeta Dutt. A delightful duet presented as a conversation between lovers, it is quite a treat to hear to this song. Listen and enjoy.

Song – Ye Bheegi Bheegi Raat Gagan Par Taaron Ki Baraat  (Doctor Z) (1959) Singer – Geeta Dutt, Mohammed Rafi, Lyrics – Akhtar Romani, MD – Manohar
Geeta Dutt + Mohammed Rafi

Lyrics 

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai
ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo

bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
bhatke huye musaafir
manzil ko pa hi gaye
ulfat ke do safeene
saahil pea aa hi gaye
main kaise kahoon ye baat
ke aata sapnon mein har raat
koi dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
jitna haseen hai mausam
utna hi tu bhi haseen
jee chaahe aaj ruk jaaye
saara zamaana yahin
de haat mein mere haath
ke chhoote ab na kabhi ye saath
yahi iqraar hai
ye kitni badi hai baat
ke tujhko pyaar hai mere saath
ke du dildaar hai
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

ye bheegi bheegi raat
gagan par taaron ki baraat
chali kis paar hai
aa haa
zara dil par rakh kar haath
bata de aise mein ye baat
ke kitna pyaar hai

o ho ho ho ho ho
o ho ho ho ho ho
o ho ho ho ho ho
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo
ho ho..oo ho ho..oo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है
ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss

भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
भटके हुये मुसाफिर
मंज़िल को पा ही गए
उल्फ़त के दो सफीने
साहिल पे आ ही गए
मैं कैसे कहूँ ये बात
के आता सपनों में हर रात
कोई दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
जितना हसीं है मौसम
उतना ही तू भी हसीं
जी चाहे आज रुक जाये
सारा ज़माना यहीं
दे हाथ में मेरे हाथ
के छूटे अब ना कभी ये साथ
यही इक़रार है
ये कितनी बड़ी है बात
के तुझको प्यार है मेरे साथ
के तू दिलदार है
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ये भीगी भीगी रात
गगन पर तारों की बारात
चली किस पार है
आ हा
ज़रा दिल पर रख कर हाथ
बता दे ऐसे में ये बात
के कितना प्यार है

ओ हो हो हो हो हो
ओ हो हो हो हो हो
ओ हो हो हो हो हो
हो होsss हो होss
हो होsss हो होss
हो होsss हो होss


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

Blog Day : 3755 Post No. : 14721

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 27
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

’ – महफिल में तेरे हुस्न का दीवाना कौन है ॰ ॰ ॰

– – – –

हम इंतज़ार करेंगे ॰ ॰ ॰ 

Knowing it is futile – no one returns from where you have gone. But still, the heart knows no other emotion. And so we will wait, till whenever we can.

– – – –

This duet song from the 1962 film ‘Rooplekha’ is a real treat. It is vintage Rafi, sung with that signature ‘खुमारी’ and ‘मस्ती’, the inimitable flavors of sounds that only Rafi Sb could render. When I came across this song while searching for a duet of Rafi Sb starting with ‘म’, I was quite excited. The emotion that ran through my mind was the oft represented thought – how come this song is not yet on the blog. Quite a popular favorite from the radio listening days, it is a wonder that this gem has kept away from our blog. And not that this film is new here – already two songs of this film are showcased here. Both solos, one is a wonderful treat from Suman Kalyanpur – “Tu Ne Chura Li Mere Maathe Ki Bindiya” and a bhajan in the voice of Rafi Sb – “Bahjan Bina Baawre”.

Checking out the Geet Kosh, we find that three films with this same title have been released – in 1934, 1939 and 1962. This 1962 film is produced under the banner of Prithvi Pictures, Bombay and is directed by Mohammed Hussain. The six songs in this film are all written by Farooque Kaiser. And the wonderful compositions are from the mind of Nashaad. Regulars will recall that Nashaad is the pseudonym for Shaukat Ali, aka Shaukat Hussain Dehlavi. His first break in Hindi films as a music director was with the film ‘Naghma’ of 1953. And this break came about in very interesting circumstances. Nakshab Jarchvi, the producer director of this film was trying to engage Naushad Sb as the music director for his film. Certain circumstances prevailed and Naushad Sb declined the offer. Somewhat piqued by this response, Nakshab Sb brought in Shaukat Ali, who was working as assistant music director till then, and gave him charge of the music department for his film. And he also suggested to use the pseudonym ‘Nashaad’, in a likely riposte to Naushad Sb’s refusal.

Coming to the star cast of this film, the Geet Kosh lists the following actors Mahipal, Vijaya Chaudhary, Sundar, Raj Adeeb, Shaam Kumar, Krishna Kumari, Amar, Jeevankala, Madhumati, Rafiq, Munshi Munakka, Mohammad Ali, Ghani, Arvind Kumar, Dhondu, Balram, Nazeer Kashmiri, Shri Bhagwan, Pandey Ji, Ravikant, Shamu, Kathana, and Sujata.

On screen, this song is presented as a mujra dance song – a peculiar one – in that the ‘saazinda’ (musician) accompanying the dancer is leading the singing. We see Mahipal playing the sitar and Vijaya Chaudhry doing the dance sequence. There are two other characters in this scenario. One lady, who I guess is Krishna Kumari, and a gentleman I am not able to place a name to the face. I request other knowledgeable readers and friends to please confirm / correct / add the names for these two artists.

The duet is an exchange of queries and responses between the two artists. Very interesting words, and a very dear composition. The renditions, of course, Rafi Sb and Suman Kalyanpur – one of their best duets in my opinion. Listen and enjoy.

 

Song – Mehfil Mein Tere Husn Ka Deewaana Kaun Hai  (Rooplekha) (1962) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – Farooque Kaiser, MD – Nashaad

Lyrics 

aaaaaa aaa aaaaaaaa
aaaaa aaaaa aaa aaaaaaaaa
aaaaaaaaaa aaaa aaaaaaaaa
aaaaaaa aa aaaaaa

mehfil mein tere husn ka
deewaana kaun hai
mehfil mein tere husn ka deewaana kaun hai
mehfil mein tere husn ka deewaana kaun hai
ye shamma jaanti hai ke
parwaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

chhup ke jalna pyaar mein
achha nahin janaab
kis baat ki hai der
ulat dijiye naqaab
aaaaaa aaaaa aaaaaaa
aaaaaaaa aaaaaaaaa
beparda ho ke
pyaar mein jeena fuzool hai
raah e wafa mein shaan se marna qabool hai
aji ab aap hi bataaiye
deewaana kaun hai
ab aap hi bataaiye deewaana kaun hai
deewaana ho ji
parwaana ho ji
mastaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

tum apne dil ka raaz
kahaan tak chhupaaoge
bach ke meri nigaah se
jaane na paaoge
aaaaaaaa aaaaaaaa aaaa
pehchaanti hai meri nazar
sabko meharbaan
sukh chain mera chheen ke
baithe hain wo yahaan
arey dekhenge hum bhi aap ka
mastaana kaun hai
dekhenge hum bhi aap ka mastaana kaun hai
ye shamma jaanti hai ke
parwaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

ye maante hain hum ke
bade badnaseeb hain
oo oo ooo
phir bhi khushi hai hum ko
ke tum se qareeb hain
aaaaaaaa aaaaaaaa aaaa
khul jaaye raaz e dil to
qayaamat na ho kahin
darte hain tum ko hum se
mohabbat na ho kahin
haaye
khul jaaye ye bhi raaz ke
deewaana kaun hai
khul jaaye ye bhi raaz ke deewaana kaun hai
deewaana ho ji
parwaana ho ji
mastaana kaun hai
ye shamma jaanti hai parwaana kaun hai
mehfil mein tere husn ka deewaana kaun hai

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

आsssss आss आssssssss
आssss आssss आss आssssssss
आssssssssss आsss आsssssss
आssssss आs आsssss

महफिल में तेरे हुस्न का
दीवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है
ये शम्मा जानती है के
परवाना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

छुप छुप के जलना प्यार में
अच्छा नहीं जनाब
किस बात की है देर
उलट दीजिये नकाब
आsssss आssss आssssss
आsssssss आssssssss
बेपरदा हो के
प्यार में जीना फ़ुज़ूल है
राहे वफा में शान से मरना कबूल है
अजी अब आप ही बताइये
दीवाना कौन है
अब आप ही बताइये दीवाना कौन है
दीवाना हो जी
परवाना हो जी
मस्ताना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

तुम अपने दिल का राज़
कहाँ तक छुपाओगे
बच के मेरी निगाह से
जाने ना पाओगे
आsssssss आsssssss आsss
पहचानती है मेरी नज़र
सबको मेहरबान
सुख चैन मेरा छीन के
बैठे हैं वो यहाँ
अरे देखेंगे हम भी आपका
मस्ताना कौन है
देखेंगे हम भी आपका मस्ताना कौन है
ये शम्मा जानती है के
परवाना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है

ये मानते हैं हम के
बड़े बदनसीब हैं
ओ ओ ओsss ओssss
फिर भी खुशी है हमको
के तुम से करीब हैं
आsssssss आsssssss आsss
खुल जाये राज़े दिल तो
क़यामत ना हो कहीं
डरते हैं तुमको हमसे
मोहब्बत ना हो कहीं
हाए
खुल जाये ये भी राज़ के
दीवाना कौन है
खुल जाये ये भी राज़ के दीवाना कौन है
दीवाना हो जी
परवाना हो जी
मस्ताना कौन है
ये शम्मा जानती है परवाना कौन है
महफिल में तेरे हुस्न का दीवाना कौन है


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15301

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Movies with all their songs covered =1180
Total Number of movies covered =4215

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