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

Archive for the ‘Song of Memories’ Category


This article is written by Sadanand Kamath, 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 :

5149 Post No. : 17112 Movie Count :

4618

The years 1980s and 90s were the golden period of TV serials which used to be telecast on National Doordarshan Channel.  The TV Serials of these period might have been lacking in technical specs as compared with that of the current TV serials. But what made these Doordarshan serials very popular was that they were mostly based on down to earth story lines, the good directions, the good performances of the lead and supporting actors and above all the absence of the present TRP dominated TV industry. These factors have made the TV serials of yore unforgettable for most of the the viewers including me. And the proof is that most of these serials had repeat telecasts on a number of times keeping in view the response from the viewers.

Apart from ‘Ramayan’ and ‘Mahabharat’ TV serials which I had watched in my middle-aged years, I had, more or less, regularly watched TV serials like ‘Hum Log’ (1984), ‘Ye Jo Hai Zindagi’ (1984), ‘Karamchand’ (1985), ‘Buniyaad’ (1986), ‘Nukkad’ (1986), ‘Wagle Ki Duniya’ (1988), ‘Gul Gulshan Gulfaam’ (1991), ‘Dekh Bhai Dekh’ (1993), ‘Byomkesh Bakshi’ (1993), ‘Farmaan’ (1994) and ‘Shriman Shrimati’ (1994) etc. For me, watching these serials now on the video sharing platforms, is like reliving my old memories. Those were the days when almost entire family members would sit together in a single room to watch their favorite TV Serials.

‘Farmaan’ (1994) was one of the TV serials of the golden period which I had watched on the TV without missing any of the 14 episodes. The story of the serial was based on the Urdu novel ‘Alampanah’ written by the well-known Urdu writer-poet, Rafia Manzoorul Amin (1930-2008) on the Nawabi culture of Hyderabad which has changed after 1947 and the financial challenges they faced. The serial was produced by Gul Anand for Doordarshan who, apart from producing mainstream Bollywood films, had also produced some off-beat Hindi films such as ‘Khatta-Meetha’ (1978), ‘Chasm-e-Buddoor’ (1981) and ‘Chatran’ (1988). Lekh Tandon who had directed box office successful films like ‘Professor’ (1962), ‘Amrapali’ (1966), ‘Jhuk Gaya Aasmaan’ (1968), ‘Prince’ (1969), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Agar Tum Na Hote’ (1983) among others, directed this TV serial. This was Lekh Tandon’s 4th TV Serials for Doordarshan, the first being ‘Dil Dariya’ (1988) in which he gave Shahrukh Khan his first break as an actor.

Recently, I watched 11 of the 14 episodes of ‘Farmaan’ on a video sharing platform which were uploaded by Prasaar Bharati after re-mastering the VHS tapes of the serial. I watched the remaining 3 episodes in an old video format with less than average audio and video quality. The main cast of ‘Farmaan’ includes Kanwaljit Singh, Deepika Deshpande, Vineeta Malik, Raja Bundela, Navin Nischol, Kalpana Iyer, Neha Sharad, Savita Bajaj etc. In addition, there were about a dozen actors from Hyderabad who played the subsidiary roles in the serial.

The story starts with 23-year old Aiman Shahab (Deepika Deshpande) getting down from the train at Begumpet railway station and proceeding to a Nawabi Palace in a cycle-rickshaw for an interview with Badi Sarkar (Vineeta Malik), a widow and the  matriarch of the royal family who is looking for an English knowing Assistant to help her in day-to-day work. She is selected and provided accommodation in the Palace. Azar Nawab (Kanwaljit Singh), the only son of Badi Sarkar looks after the business interest of the family. Other occupants of the Palace Estate are – Tasneem Pasha (Kalpana Iyer), the step sister of Badi Sarkar and a widow; Shahana (Neha Sharad), daughter of Tanseem Pasha; and Basharat Nawab (Raja Bundela). They are financially dependent on Badi Sarkar and mostly while away their time in a care-free manner. Both Tasneem Pasha and her daughter, Shahana have a close friend, Mukhtar Nawab who is disliked by Badi Sarkar because he was the person who induced her husband, Bade Nawab to gambling and lost a lot of money. Waqar Chand (Navin Nischol), the younger brother of Bade Nawab stays in a separate cottage within the Palace Estate. Waqar had been ordered by Bade Nawab not to visit the Palace because he had chosen the profession as an artist. But the actual reason is quite different – he was in love with Badi Sarkar before she got married to Bade Nawab. Waqar Chand also does not want any one to visit his cottage and stays as a recluse bachelor doing painting as his hobby, away from the family of Badi Sarkar.

Over a period of time, Aiman Shahab who was looking timid and unsure of her self confidence in an alien atmosphere, develops friendship with the care-free Basharat Nawab who become her informal guide for the city tour. Everyone in the Palace and in the office like her. Aiman has become indispensable for Badi Sarkar. However, she has problems with Azar Nawab. Her very first encounter with him in a wedding function where he behaves as a predator by forcefully embracing her, develops hatred for him. Her second encounter with him is also not good when he objects and pushes her out for using his estate for her hobby of doing some paintings which she was encouraged to pursue by none other than Waqar Chand. This trend continues for most of the part of the serial whenever they meet each other – professionally or personally. In fact, the aim of Azar Nawab in finding faults with Aiman and passing sarcastic comments seems to reminds her that after all she is sub-servient to Badi Sarkar and to him. But Aiman also gives back her responses to Azar in the same tone to keep him in check.

But behind the façade of the egoism, ruthlessness and sarcasm, Azar Nawab has developed a soft corner for Aiman without she being aware of it. Over a period of time, she also gets impression that inwardly, he is a good human being based on a couple of incidents. For instance, Azar takes out his jeep to follow Aiman to pick her up when he comes to know that she has gone for a walk to the forest area which is infested with wild animals. The second time, when she gets a surprise gift from Azar in which she finds a photo frame of her childhood picture with her deceased parents when he comes to know that  Aiman had lost her mother when she was a child and her father when she was in college. Azar had made an all out efforts to get that picture for her from Bengaluru where she was staying with her aunt before taking the present assignment in Hyderabad. Their confrontational attitudes develop into a subtle romance.

After the death of Waqar Chand, Aiman visits Azar Nawab’s office and hands over her resignation from the employment as she did not wish to work in the palace which is embroiled with some unpleasant happenings in the past. As usual, Azar Nawab gets rude with her but later cools down when he comes to know that she has no man in her life including Basharat Nawab. He embraces her not as a predator but as a genuine lover. He asks  her whether she loves him too for which she nods in agreement. And the serial ends with this scene.

In line with the story and the time period (post-independence period), director Lekh Tandon chose Hyderabad for major shootings and selected the actual royal palace and the cottage without much of grandeur to lend the reality of the situation for royal families in the post-1947 scenario. Some shooting was also done at Dandeli in Karnataka to cover Azar Nawab’s business interest in timber.  The costumes for the main actors were designed by Rafia Manzoorul Amin, the author of the novel, ‘Alampanah’ who kept them very simple. All the main actors had only the light make-up. This simplicity lent credence to the characters in the serial. All the main actors gave fine performances. The sleek direction which avoided overdoing romance and melodrama and the tight editing gave the serial the repeat value for viewers.

‘Farmaan’ (1994) has 6 songs including the title song, details of which are as under:

  1. Har dil ko sunaate hain farmaan muhabbat kaa – Bhupendar Singh, L: K Razdan, MD: Kishore Desai
  2. Piya baaz pyaala piya jaaye na – Khan Ather, L: Quli Qutab Shah, MD: Khan Ather
  3. Rehte rehte chup jhagadna haay re – Khan Ather, L: Unknown, MD: Khan Ather
  4. Yaad bole to takiye mein gajre ki baas – Khan Ather, L: Sulaiman Khateeb, MD: Khan Ather
  5. Bujh gaya dil mera – Khan Ather, L: Unknown. MD: Khan Ather
  6. Iss bazm ki thhodi si mehak – Warsi Brothers, L: Unknown, MD: Khan Ather

I liked all the songs of ‘Farmaan’ which fit very well in the story situations. Since I have to choose only one song for the presentation,  I have selected  the song, “Yaad Bole ToTakiye Mein Gajre Ki Baas”. It is written by a well-known Dakkhini shayar, Sulaiman Khateeb (1942-1978) who has used some beautiful metaphors for ‘yaad’ (memory) in simple words.

The song is rendered by Amir Mohammed Khan Ather (1953 -13/12/2020), popularly known as Khan Ather) who had also composed music for the song. He was a well-known Hyderabad-based ghazal singer and a die-hard fan of Mohammed Rafi. Since Rafi’s death on July 31, 1980, Khan Ather would pay tributes to the him every year on July 31st by organizing ‘Yaad-E-Rafi’ concerts in which he would sing songs rendered by Rafi Sahab.

 

Song – Yaad Bole To Takiye Mein Gajre Ki Baas (Farmaan)(TV) (1994) Singer – Amir Mohammed Khan Ather, Lyrics – Sulaiman Khateeb, MD – Amir Mohammed Khan Ather

Lyrics

yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
jaise kewade ka kaanta kaleje ke paas
yaad bole to
yaad bole to

yaad bole to bachpan mein chhode so gaaon
jaise panghat ke paani mein Radha ki chhaaon
yaad bole to khaali diwaane ka khwaab
ek bachche kaa jaise adhoora jawaab

yaad bole to palkaan po aansoo ki loat
kaale baadal po chaandi ki chamkili goat
yaad rote so aankhiaan mein gori ka roop
jaise padte so paani mein halki si dhoop

yaad bole to aansoo ki tooti ladi
ghup andhaare mein chhooti huyi phooljhadi
yaad bole to juhi ki khilti kali
sote baalak ke honthon po jaise hansi

yaad bole to akhiyaan jhukaane ka naam
ek naqsha bana ko mitaane kaa naam
yaad bole to dil mein chhupaane ki baat
chup zara soch ko muskuraane ki baat
chup zara soch ko muskuraane ki baat

yaad bole to
yaad bole to
yaad bole to
yaad bole to

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

याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
जैसे केवड़े का काँटा कलेजे के पास
याद बोले तो
याद बोले तो

याद बोले तो बचपन में छोड़े सो गौं
जैसे पनघट के पानी में राधा की छौं
याद बोले तो खाली दीवाने का ख़्वाब
एक बच्चे का जैसे अधूरा जवाब

याद बोले तो पलकां पो आँसू की लोट
काले बादल पो चांदी की चमकीली गोट
याद रोते सो आँखों में गोरी का रूप
जैसे पड़ते सो पानी में हल्की सी धूप

याद बोले तो आँसू की टूटी लड़ी
घुप अंधारे में छूटी हुई फुलझड़ी
याद बोले तो जुही की खिलती काली
सोते बालक के होंठों पे जैसे हंसी

याद बोले तो अखियाँ झुकाने का नाम
एक नक़्शा बना को मिटाने का नाम
याद बोले तो दिल में छुपाने की बात
चुप ज़रा सोच को मुस्कुराने की बात
चुप ज़रा सोच को मुस्कुराने की बात

याद बोले तो
याद बोले तो
याद बोले तो
याद बोले तो

Translation of some Dakkhini words used in the song

baas – बास : Fragrance

khaali – खाली : Only

loat – लोट : Stream

goat – गोट : Embroidery

padte so paani – पड़ते सो पानी : Falling water (Rain)

ghup – घुप : dark


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 : 3949 Post No. : 15025

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 31
——————————————————————————————

Aah, the heady days of a decade before. Posting six songs was quite the norm. On 11th May, the following films got represented on the blog.

Mashaal

1950
Hamraaz 1967
Aankhen 1968
Parichay 1972
Ghar 1978
Nikaah

1982

Believe it or not, except for ‘Ghar’, all the remaining films made their debut on the blog that day. As I check the record of the films over the intervening years, five of the films have completed their tenure, and all their songs are now showcased here. Just one of these films has not yet been yippeee’d. And that is ‘Nikaah’ from 1982.

When ‘Nikaah’ hit the theatres in 1982, it did create a popular flutter. The doe eyed Salma Agha caught the fancy of the audiences early on. For a brief time, she was quite a rage. Then, the second quality of this film, that drew crowds and appreciation, was the music and the songs. Practically all the songs were hits, and have enjoyed lasting popularity and appeal.

The film has six songs, and four of them have already occupied their places on the blog. Browsing the list, one is once again struck with wonderment and praise, for the songs are –

Beete Huye Lamhon Ki Kasak Saath To Hogi
Dil Ke Armaan Aansuon Mein Beh Gaye
Fazaa Bhi Hai Jawaan Jawaan
Dil Ki Ye Aarzoo Thhi Koi Dilruba Miley

Fabulous songs, each one of them. Now about the remaining songs of this film. There is one qawwaali song, which is more or less incidental in the film. It is the other remaining song that is notable, unique and having its own claim to fame.

Ghulam Ali does not need any introduction to the readers. This phenomenal singer, was quite a rage in India during the 1980s and 90s. Even today, his performances are enthralling and much awaited. It is quite sad that his performance trips to India have become a victim of politics.

When this film was released, it was acknowledged that BR Chopra had accomplished almost a coup, in being successful to have a song, a ghazal actually, sung by this popular and legendary singer, included in the film. I am not sure, but perhaps this is the only instance of Ghulam Ali’s voice being a part of a Hindi film.
[Ed Note: Based on the inputs received from Anekant ji and Sadanand ji, in the comments section below – certainly this song is not the only instance of Ghulam Ali singing for Hindi films. Thanks to both for this important update. 🙂 ]

And so, as I was checking the details, I was quite taken by surprise that this song is not yet posted here on our blog. Well, today, it comes on board.

For its times, this film was a bold statement addressing social issues relating to marriage and divorce in the Muslim community. The predicament of the lady getting a raw deal in life at the hands of a whimsical male partner, whose bizarre behavior and fanciful decisions are quite supported by the norms of the society, completely unmindful of the traumatizing consequences on the mind and the psyche of the lady – and all that, for no fault of hers.

This famous ghazal, which has been one of the all time favorites outside of the film domain, is penned by Maulaana Hasrat Mohaani.
[Ed Note: Sadanand ji further informs us that this ghazal as a non-filmi creation, is also sung by Jagjit Singh for the the TV Serial ‘Kahkashaan’ (1992) produced by Ali Sardar Jaffrey. That version is already posted on our blog at “Chupke Chupke Raat Din. . .“, by Sadanand ji himself. That post also includes a detailed bio-sketch of the poet, Maulaana Hasrat Mohaani – a very interesting read. Thanks Sadanand ji.]

The music composition is by Ghulam Ali himself. The complete ghazal is of course much longer, and there are various variations in different live performances and other recordings. In the film, only two she’rs are included. There are versions of this ghazal as being in the film, which are apparently longer with more couplets, but those are the handiwork of technology only. Some folks have uploaded longer versions, which are copy-paste extensions of the visual clips, overlaid with additional audio, giving an impression of a longer song in the film. But watching with little attention, one can make out that it is a fake.

On screen, this rendition is performed by the gramophone player. Deepak Prashar, having dismissed and divorced his wife, Salma Agha, is having bouts of depressive regrets, and he misses her. If I recall rightly, it is his birthday celebration, and he invites Salma. In this clip it is cake that we encounter first. Then we see a weepy Deepak listening to this ghazal, as it plays on a gramophone in the room. Salma makes an entry, unnoticed by Deepak, and she witnesses the pain of loss and regret that Deepak is exhibiting. Rest, as part of the story, to be discussed another time.

A salute to this legendary singer from across the border, who has a very solid grounding and training in the Hindustani classical music. And this post brings this popular film to being one short of having all its songs posted here. So the yippee-dom announcement should not be too far off now. 🙂

Audio

Video

Song – Chupke Chupke Raat Din Aansoo Bahaana Yaad Hai (Nikaah) (1982) Singer – Ghulam Ali, Lyrics – Maulaana Hasrat Mohaani, MD – Ghulam Ali
Chorus

Lyrics

hmmm mmmm mmmm mmmmmm
aaa aaaa aaaaaa
hmmm mmmm mmmm mmmmmm

chupke chupke raat din
aansoo bahaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

khench lena wo mera
parde ka kona daf-attan
khench lena wo mera
parde ka kona daf-attan
aur dupatte se wo tera
munh chhupaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

dopehar ki dhoop mein
mere bulaane ke liye
dopehar ki dhoop mein
mere bulaane ke liye
wo tera kothe pe
nange paanv aana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

hmmmmm hmmmmmm hmmm hmmm hmmm
aaaa aaaa aaaa
hmmmmm hmmmmmm
hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
hmmmm hmmmm hmmm
hmmmm hmmmm hmmm

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

हम्मम म्ममम म्ममम म्मममममम
आs आsss आsssss
हम्मम म्ममम म्ममम म्मममममम

चुपके चुपके रात दिन
आँसू बहाना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
और दुपट्टे से वो तेरा
मुंह छुपाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

दोपहर की धूप में
मेरे बुलाने के लिए
दोपहर की धूप में
मेरे बुलाने के लिए
वो तेरा कोठे पे
नंगे पाँव आना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

हम्मममम हम्ममममम हम्मम हम्मम हम्मम
आss आss आsss
हम्मममम हम्ममममम
हम्मम हम्ममम हम्ममम
हम्मम हम्ममम हम्ममम
हम्मममम हम्ममम हम्मम
हम्मममम हम्ममम हम्मम


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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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total Number of movies covered=4609

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