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

Archive for the ‘Song sung by three or more singers’ Category


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

Blog Day :

4795 Post No. : 16556

Hullo Atuldom

2015 was the first time I wrote a post for this celebrity’s birthday. I will not say that I am a huge fan of his but I definitely like is work. He is one of the many actors who are in the film industry due to the legendary Pransaab i.e. this celebrity is inspired by or may even be a fan of Pransaab and has enacted a variety of characters on-screen much like the legend Pransaab.

Today’s celebrity began by doing inconsequential roles from 1975 after arriving in MAYANAGARI Bombay from New Delhi where Kirorimal College was his Alma-mater and is also trained from Pune’s FTII. He may have been in blink-and-miss roles in some Dara Singh and Arjun Hingorani films before Sunil Dutt cast him in the role of an antagonist in his son’s (Sanjay Dutt) launch movie ‘Rocky’ and also the named him Shakti Kapoor, his birthname was Sunil Sikanderlal Kapoor. His next two big movies were Feroz Khan’s ‘Qurbani’ (1980) which released before ‘Rocky’ (1981) and Subhash Ghai’s ‘Hero’ (1983). 1983 also had him appear in Sridevi’s Bollywood debut ‘Himmatwala’. 1981 saw him in big and small roles in ‘Naseeb’, ‘Poonam’, ‘Kaatilon Ke kaatil’, ‘Wardaat’, ‘Dhanwaan”, ‘Aapas Ki Baat’ etc. But the standout or big films of his initial days are definitely ‘Rocky’, ‘Qurbani’, ‘Hero’ and ‘Himmatwala’. But even in that period we do recall him as Kadar Khan’s younger son in ‘Naseeb’, the free-loading Portuguese Captain Gomes in ‘Armaan’ (1981), the totla (lisping) Mangal in ‘Satte Pe Satta’ (1982), and then there were more.

Post ‘Himmatwala’ he was a permanent fixture in many South Indian productions which had him team up with Kadar Khan, Asrani and Aruna Irani in movies like ‘Mawaali'(1983), ‘Tohfa’ (1984), ‘Maqsad’ (1984) etc. He was seen in comic characters in ‘Chaalbaaz’ (1989), ‘Andaz Apna Apna’ (1994) etc. He is one of the few actors whose looks could pass him off as a ‘good guy’ before the main characters of the movie realise that he was up to ‘no-good’, he is and was extremely good-looking. He was a decent enough dancer too as we have witnessed in ‘Rocky’, ‘Hero’, ‘Dance Dance’ (alongside Mithun Chakraborty), ‘Inquilaab’ (alongside Amitabh Bachchan in a guest appearance), and all the ‘n’ number of Govinda movies of the early ’90s starting with ‘Raja Babu’ (1994).

The trigger for today’s song is a social media app. There is a group dedicated to (what else) Bollywood music where the host sets some theme and group members post song-links of the songs they remember, the only condition being that particular song should not have been already posted by another member. Bollywood music treasure-pot being what it is, many songs will be common on multiple themes, but that is allowed. The theme over the last two days was songs whose lyrics include words and phrases related to STARS ( तारा, तारे, सितारा, सितारे etc.) One member posted the song which I am presenting here, today. I was looking for the word related to ‘stars’ in the the song, through the song, considering it is one of my all-time loved song. So I asked the person who posted it: “where are the stars in the song?” And he replied “at the absolute beginning”. Silly me!!! forgot the start of the song itself!!Emoji
This song is an all-male chorus by Bhupinder, R D Burman, Sapan Chakravarthy, Gulshan Bawra and The Kishore Kumar. Except for Amitabh Bachchan lip syncing mostly to Kishore Kumar all other singers are used randomly for the various actors with RDB doing all the extra vocals and Gulshan Bawra doing the “Haaye”. It is written by Gulshan Bawra and tuned by R D Burman It is filmed on a set of characters who are called Ravi, Som, Mangal, Budh, Guru, Shukra and Shani (usually addressed in a modern way as Sunny). The characters are all brothers who are living by themselves on a large farm; if the story was set in any part of the US of A then it may have been called a Ranch. An elegant lady enters the life of these bachelors as their Bhabhi (eldest wife’s brother of course) and is shocked to see the condition that the brothers live in. She first transforms their Huliya (appearance), teaches them etiquette ands also how to be good and cordial to ladies. Promptly, all the younger brothers also find beautiful girls and cupid strikes. The result of cupid striking is today’s song. After writing all this do I need to name the movie ?

I shall simply add why I love Shakti Kapoor in this song:- he gives a different expression to each “Haay”. I have heard or read an anecdote by Sachin (Pilgaonkar who played Shani a.k.a Sunny in the movie) that the large jeep used in this song had its bonnet open and Paintal (played Budh sometimes addressed as Buddhu) nearly fell onto the bonnet as shown in the song. I will also identify the other brothers- Ravi was Amitabh Bachchan, Som was Sudhir, Guru was Kanwaljit Singh, and Shukra was Vikram Sahu (also credited as Vimal Sahu in some places, was son of yesteryear actor/producer/director Kishore Sahu).

Let us listen to this lively song and wish Shakti Kapoor on his birthday.

Video

Audio

Song-Pyaar hamen kis mod pe le aaya(Satte Pe Satta)(1982) Singers-Kishore Kumar, Bhupinder Singh, R D Burman, Sapan Chakravarthy, Gulshan Bawra, Lyrics-Gulshan Bawra, MD-R D Burman

Lyrics

hmm
tumne woh kya dekha
jo kaha deewaana aaa aa
hmm
hamko nahin kuchh
samajh zara samjhaana

pyaar mein jab bhi aankh kahin lad jaaye
tab dhadkan aur bechaini badh jaaye
ru ru ooo
jab koi ginta hai raaton ko taare ae ae
ru ru oooo
tab samjho usey pyaar ho gaya pyaare

pyaar tumhen kis mod pe le aaya aaaa aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
ru ru ru ru ru
pyaar humein kis mod pe le aaya aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
ru ru ru ru ru

battiyaan bujha do
arre batti toh bujha de yaar

battiyaan bujha do ke neend nahin aati hai ae
ru ru oo
battiyaan bujhaane se bhi neend nahin aayegi
ru ru ru ru ru ru oo
battiyaan bujhaane waali jaane kab aayegi
ssh ssh ssh
shor na machaao warna bhaabhi jaag jaayegi

pyaar tumhen kis mod pe le aaya aaa a
ke dil kare haaye
haaye
koi to bataye, kya hoga
ru ru ru ru
pyaar hamen kis mod pe le aaya
ke dil kare haaye
haaye
koi toh bataye, kya hogaaa

hai hai hai
pyaar tumhe kis mod pe le aaya aa aaa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
di da da da doo
pyar hume kis mod pe le aaya aa aaa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
haa

aakhir kya hai aisi bhi majboori
arre mil gaye dil phir bhi kyon hai ye doori
arre dam hai toh unse chheen ke le aayenge ae ae
arre di na gharwaalon ne agar manjoori
di ra di ra di
dam hai toh unse cheen ke le aayenge ae ae
arre di na gharwaalon ne agar manjoori
di ra di ra di
pyaar hamen kis mod pe le aaya aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
da ra pa da ra pa da ra pa da ra pa
pyaar hame kis mod pe le aaya aa
ke dil kare haaye
haaye,
koi yeh bataaye kya hoga
aaaa aaaa ha


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

Blog Day :

4792 Post No. : 16552

Hullo Atuldom

Today’s song is from the 1982 release “Raaste Pyaar Ke”. It was directed and produced by V B Rajendra Prasad; essentially meaning it was a South Indian production house. It was a remake of a Telugu hit of the ’70s. It had music by Laxmi-Pyare and songs were written by Anand Bakshi. Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar, Anuradha Paudwal, SP Balasubramanyam, Kishore Kumar were the singers used.

The movie had six songs of which the folllowing two are on the blog:

Song Date of posting
Ye waqt na kho jaaye 4 June 2012
Tedhe medhe oonche neeche lambe laambe raaste pyaar ke 10 October 2020

The cast had Shabana Azmi-Rekha-Jeetendra as the main protagonists and Utpal Dutt, Shaukat Kaifi (mother of Shyama- Shabana Azmi), Parikshit Sahni, Ashalata (bhaiyya and bhabhi to Mohan- Jeetendra), Dr. Shreeram Lagoo, Nadira (uncle and aunt of Mohan and Sohan). Then we had Om Puri (playing a good friend to Gauri- Rekha), Yunus Parvez, Mazhar Khan, Baby Khusboo (niece to Mohan) also in the movie. The post by Nahmji gives a general idea about the film’s story.

The festival season has begun with the arrival of the months of Aashaada, Shraavan and Bhadrapada. We had Raksha Bandhan, Nariyal Purnima and a few other festivals last weekend. This week it is Gokulashtami/ Krishnashtami/ Janmashtami; call it by any name but we are celebrating the birth of Lord Krishna who is said to have been born on the night of Ashtami (eighth day) after the full moon.

Lord Krishna was born when his parents were held captive by his uncle in Mathura. But at the particular hour, when the Lord was born, the guards, miraculously, were fast asleep. This gave time to Vasudev (the lord’s father) time to transport the new-born across the river Yamuna to Gokul to foster parents Nanda and Yashoda. It was raining heavily that night. He is said to have been transported in a wicker basket with the multiheaded serpent- Vasuki shielding the baby from the rain. So the next day after Janmashtami can be described as Gokulashtami. There are many legends of the lord which are related with great relish by generations of devotees. Stories about how he loved to play pranks on the Gopikas of Brindavan and played Raas-Leela with them, ate freshly churned butter with relish, his friendship with Sudama etc. and many more were bed-time stories that grandparents told their grandkids.

Coming back to the celebrations associated with the festival, different regions of the country celebrate it differently. Even the prasad (offerings to the lord) differs region to region. But the offerings will definitely have preparations of Poha (beaten rice), butter and curds. It is said that these three are most loved by the lord. Then there are devotees who keep whole night vigil praying and singing bhajans and distribute prasad around midnight. They bathe and decorate their idols of the lord, dress him up and put the Balgopal in tiny cradles and pull the cradles with ropes of flower garland.

Today’s multi-singer (Asha- Usha- Kishore) song has Mohan playing a KRISHNA with Shyama, Gauri and their friends; there are ropes of flower garland, flute, mor-mukkut etc. That is the reason for me presenting this song today where the words are for lord Krishna and sung for Mohan the bachpan ka friend (childhood friend) of Shyama and Gauri.


Song-Gokul ki galiyon ka gwaalaa (Raaste Pyaar Ke)(1982) Singers-Asha Bhonsle, Usha Mangeshkar, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Asha Bhonsle + Usha Mangeshkar

Lyrics

gokul ki galiyon ka gwaala aaa
natkhat bada nand lala aaa
gore se ho gaya kaala
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

kaale ne sab ko ang lagaake
kaale rang mein rang dala aa aa

gokul ki galiyon ka gwala aaa
natkhat bada nand lala aa
gore se ho gaya kala

lo chandan ka tika lagaa do o o
lo chandan ka tika lagaa do
mohan ko manmohan bana..aa..do
mor mukut iss ko pehna do
haathon mein murli pakda do
murli bana loon
munh se lagaa loon
aa tohe o brij ba..aa..ala aa

gokul ki galiyon ka gwala
natkhat bada nand lala
gore se ho gaya kala

jamna kinaare apna thhikaana
jamna kinaare apna thhikaana
paniya bharan tu pangat pe aana
ghunghat mein phir yeh

ooi
mukhdha chhupaana
ooi
chhedega tujhko saara zamaana
dhamkee deta hai
bilkul/font>
deta hai dhamkee
todke matki
maakhan churaane waala aa
gokul ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala

pakda gaya chhaliya sab dekhe ae ae
bhaagega kaise ye ab dekhen
ho pakda gaya chhaliya sab dekhen
bhaagega kaise ye ab dekhen
mera dhang mera sab dekhen
aaj tamasha sab dekhen
kisi jatan se
nahin kisi ke
haath mein aane wa..aa..la aa

gokol ki galiyon ka gwala
natkhat bada nand laala
gore se ho gaya kaala

hey kaale ne sab ko ang lagaake
kaale rang mein rang daala aa

gokol ki galiyon ka gwaala aa
natkhat bada nand laala aa
gore se ho gaya kaala



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 :

4792 Post No. : 16551 Movie Count :

4506

The name of Chimanlal Trivedi, the producer-director may not ring bell in the minds of most of the admirers of old Hindi films. In Mumbai, he was the contemporary of well-known producer-directors like Chandulal Shah, A R Kardar, Mehboob Khan, V Shantaram etc in the 1940s.

After working as a writer in Sagar Movietone, in 1937, he set up a film production company, CIRCO (Cine Industries and Recording Company Ltd.) with the help of some Bombay-based shareholders as a public limited company in association with New Theatres. He became the Managing Director of CIRCO. The arrangement was that films would be produced by New Theatres’ in Kolkata with their artists and the financing/marketing of the films would be done by CIRCO in Mumbai. Both of them would share the profit. In 1939, CIRCO took upon itself the production of films in Mumbai with ‘Laxmi’ (1940).

Sometime in 1940, Chimanlal Trivedi was under cloud as there was a court case against him for mismanagement of funds of CIRCO. He had resiged as Managing Director of CIRCO in April 1941. I felt that perhaps this court case may have something to do with Chimanlal Trivedi leaving CIRCO to set up a new film production company, Laxmi Productions. After intense searches on the internet, I got a reference to CIRCO court case in indiankanoon. It was an 8-page judgement delivered on November 24, 1941 by Bombay High Court. The gist of the court case is as under:

A shareholder of CIRCO filed a petition in Bombay High Court against Chimanlal Trivedi, the managing director for the mismanagement of funds and to wind up CIRCO as insolvent based on its financial statements for the year ended March 1940. The court did not find any evidence against Chimanlal Trivedi of mismanagement of fund of CIRCO. As regards declaring the CIRCO insolvent, the Company put the arguments that there were 3 films under productions – ‘Apna Ghar’ (1942, directed by Debki Bose), ‘Nai Duniya’ (1942, directed by A R Kardar) and ’Mahatma Vidur’ (1943, directed by P Y Altekar). As per the estimates, CIRCO was expected to earn a profit of Rs. 11 lakhs after the release of these three films taking into account the star value of the main actors and the eminent directors. The petitioner argued that these three films can as well run into losses.

The court held the view that it cannot declare a company insolvent merely based on the speculation that there could be losses after the release of the films. None of the creditors of the CIRCO and a majority of the shareholders have supported the petition for winding up. The court dismissed the petition with cost.

One of the interesting example of the mismanagement of funds of CIRCO was that Shanta Apte was paid Rs,90000/- for working as heroine in a single film which, according to the petitioner, was unreasonably high. The film was not even completed when the matter was under discussion in the court. CIRCO responded by revealing that the amount was paid to Shanta Apte as ‘waiting salary’ for the unexpired period of her contract with Prabhat Film Company. If the CIRCO had not done so, several film producers would have grabbed the opportunity to secure her services for their future film productions.

Another bone of contention between the petitioner and the company was the way the profit was measured in the film industry. CIRCO had drawn the profit and loss account with realizable revenue from film distributors and expected revenue from the films under production for which distribution rights had been contracted. The petitioner found this practice not in keeping with the good accounting principles as this accounting system hides the true financial position of the company.

On the other hand, CIRCO maintained that it followed the convention among the film production companies in drawing its profit and loss account. More often, there were long gap between making of a film and releasing it. During the making of the films, a good amount of money was spent while the income from films would accrue only after their releases and that too, over a period of time. During the intervening period, the company will have to show losses in its profit and loss account. Hence an estimate of revenue of the company was made for the films under production based on the commitment by the film distributors and also the likely response from the film audience based on the star value.

If all the film production companies of that time drew their profit and loss account based on the estimated future profit, it amounts to masking their true financial position. Probably, this type of ‘accounting jugglery’ made some of the producers to float multiple film production companies after closing the earlier ones. Chimanlal Trivedi was no exception as after 1951, he had floated film production companies in different names.

Though the court verdict came in favour of Chimanlal Trivedi and the Company, this was short-lived as CIRCO went into liquidation in 1942. So, the apprehension of a shareholder who had filed the petition in the court about the mismanagement of funds turned out to be correct even though the Bombay High Court had dismissed his petition. It is interesting to note that Chimanlal Trivedil had hired A R Kardar to direct ‘Swami’ (1941) and ‘Nai Duniya’ (1942) under CIRCO banner. After the liquidation of CIRCO, it was A R Kardar who bought CIRCO’s studio at Parel for Kardar Productions.

Chimanlal Trivedi seems to have departed from the usual practice of hiring the actors and crew as per the studio system. It is said that he would first plan the film project and then hire the actors and crew as per the requirements of the new film. Often, he would select the most popular lead actors and directors as per their box office success and pay them in lumpsum for the film which would often work out much higher than what actors would have got under the studio system. It was reported in Filmindia magazine that Chimanlal Trivedi’s ‘highjacking’ of star actors and directors from some of the well known film production companies of that time affected their shooting schedules for the films under productions.

For ‘Tamanna’ (1942), the maiden film under Laxmi Productions, Chimanlal Trivedi hired Leela Desai, one of the successful actresses of New Theatres along with Jairaj with 7 crew members from Bengal which included Phani Majumdar as director, K C Dey as actor-music director, Bibhuti Laha as Cinematographer and Robin Chatterjee as Sound Recordist. It was Leela Desai’s maiden film in Mumbai. It is said that his financial offer to Leela Desai was so attractive vis-à-vis her salary in New Theatre that she accepted the offer.

Chimanlal Trivedi produced around 45 films during 1940-1960. Surprisingly, even with high-end star actors and eminent directors, especially in 1940s when he produced 28 films, there was not a single film which can be tagged as an outstadning film under his banners. In the 1950s, most of his films he produced were of ‘B’ Grade.

‘Sharaafat’ (1943) was third film with Leela Desai-Chimanlal Trivedi combination as actor and producer, respectively under the banner of Laxmi Productions. The star cast included Leela Desai, Pahadi Sanyal, Jagdish Sethi, Agha, Moti, Ghulam Rasool, S L Puri etc. The film had 9 songs which were set to music by Ashok Ghosh. Lyricist for all the songs is unknown.

I am presenting the first song, ‘aayi aayi re maalan singapur se’ from the film to appear on the Blog. HFGK is silent on the singers of the song. But it is apparent that the voices in the song are that of Amirbai Karnataki and Pahadi Sanyal with an unknown female voice in between. At the outset, the song appears to be ‘sales pitch’ but after the completion of the song, a long musical orchestration gives an impression of a stage song.

With this song, ‘Sharaafat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Aayi aayi re maalan Singapur se (Sharaafat)(1943) Singers-Amirbai Karnataki, Pahadi Sanyal, Unknown female voice, MD-Ashok Ghosh
Amirbai Karnataki + Pahadi Sanyal

Lyrics

aayi aayi re
haan aayi aayi re
aayi re maalan Singapur se
haan Singapur se
haan haan Singapur se
oh
aaya aaya re
haan haan aaya aaya re
aaya re maali
haan Rangoon se
haan haan Rangoon se
haan haan Rangoon se

rang birange phool hamaare
rang birange phool hamaare
rang birange gehane
bhaagonwaala le jaayega
bhaagonwaali pehne

gori pehanegi
haan gori pehanegi
dil ke hain naina jaa ke teer se
haan haan jaa ke teer se
haan haan jaa ke teer se

aayi re maalan Singapur se

phoolon se mehka do
more tan ko aaj saja do
phoolon se meha do
more tan ko aaj saja do
bas jaaun aa ke nainon mein
aisa jaal bichhaa do

aao aao ree
haan haan
aao aao ree
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se

raat ki raani kaa gajra
champe ki kaliyon kaa jhoomar
kyun deke phoolon ki maala
nargis ke gunchhon ki jhaanjhar
nikhra waah waah roop tihaara
joban dhoom machaaye
nikhra waah waah roop tihaara
joban dhoom macchaaye
nayi jawaani chhaayi raani
jo dekhe lalchaaye

aao aao ri
haan haan aao aao ri
raah takoon mein teri der se
haan teri der se
haan haan teri der se

aayi re maalan Singapur se


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

Blog Day :

4782 Post No. : 16537

Hullo Atuldom

The song with this post was suitable for 19th August. 19th was the remembrance day of Khayyam the music composer who began his journey in Bollywood in 1947, when he sang a song with Zohrabai Ambalewali. His first as a music director was in 1948 as ‘Sharmaji’ of the ‘Sharmaji-Varmaji’ composer Duo. The statistics page of the blog says that Khayyam saab has given music to 377 songs in 42 movies. That may seem too little when compared with music directors who were active during that period; but each song of his were ‘pure pleasure on the ears’. Songs like ‘shaam-e-gham ki kasam’ (1953) or ‘tum apna ranj-o-gham’ (1964) are still popular as also the hits from the ’70s and ’80s: ‘aa jaa re, aa jaa re o mere dilbar aa jaa’, ‘kabhi kabhi mere dil mein khayal aata hai’, ‘dikhayi diye yun ke bekhud kiya’, and many more that I grew up listening to, of course at that age only the songs used to play in my head, I never knew details about singer, composer, lyricist etc.

The song with this post is also one such song, one that was only heard and details of which I gathered at the time of writing this post. I had heard it in the ’80s at the time “Noorie” released. Possibly not as often as the other popular songs from “Noorie” viz. Aa jaa re and Chori chori koi aaye.

“Noorie” (1979) was a movie directed by Manmohan Krishna (the popular character actor of those times) under Yash Chopra’s production. It had a cast of lesser known actors (at that time) like Poonam Dhillon, Farooque Sheikh, Bharat Kapoor, Iftikhar, Madan Puri, Gita Siddharth, Padma Khanna etc. The movie was a simple love story with the lovers being separated due to the death of the girl and in the final scene the lovers are united when they are buried beside each other. In the interim Bharat Kapoor (who plays a negative character) upturns the love cart of the lovers by killing the girl’s father, sending the boy away on a made-up-errand, raping the girl etc., which has the girl committing suicide. The boy returns, learns the cause of his beloved’s death and in his bid to avenge it, is killed. Here I shall add that the bad-man or villain also doesn’t escape punishment as the girl’s pet dog eventually kills him.

The playback singers used in that movie were Pamela Chopra, Jagjit Kaur, Asha Bhonsle, Anwar, Lata Mangeshkar, Nitin Mukesh and Mahendra Kapoor and S. K. Mahan (the character actor who used to be mostly seen in Yash Chopra movies. He is the one in the orange jacket at the beginning of this song). Of the 6 songs three (one song has two-versions)were written by Jan Nisar Akhtar, 2 by Naqsh Lyallpuri, and one by Majrooh Sultanpuri. Today’s song is written by Jan Nisar Akhtar whose remembrance day also happened to be 19th August.

Jan Nisar Akhtar has penned some memorable songs in a career spanning about 30 years but he was essentially a writer of poems, ghazals and nazms. He was awarded the 1976 Sahitya Academy award for his work ‘Khaak-e-dil’ a collection of poetry. His legacy is being carried forward by his son Jaaved Akhtar and grandchildren Farhan Akhtar and Zoya Akhtar.

The song is in the voices of Pamela Chopra, Mahendra Kapoor, S K Mahan and Jagjit Kaur who died a few days back on 15th August. I am not attempting an tribute to the (recently) departed singer of such wonderful songs as ‘dekh lo aaj hum ko jee bhar ke’; ‘kaahe ko biyaahi bides’; ‘saada chidiyaan da champa ve’ etc. Jagjit Kaur’s end came a few days before her husband Khayyam saab’s anniversary. Must be a measure of the love between the musical couple.


Song-Aashiq ho to aisa ho (Noorie)(1979) Singers-Mahendra Kapoor, S K Mahan, Pamela Chopra, Jagjit Kaur, Lyrics-Jaan Nisaar Akhtar, MD-Khayyam
Mahendra Kapoor + S K Mahan
Pamela Chopra + Jagjit Kaur

Lyrics

kasam hai yaar teri
tere yaaron ko mazaa aaya
yeh tera jazbaa-e-dil thha
ke dilbar khud khincha aaya
sabhi tapte rahe dil mein
sabhi jalte rahe dil mein
jahaan taktaa raha

maashooq baahon mein chala aaya

toh matlab yeh hua
ke aashiq ho toh
ke aashiq ho toh aisa ho
ke aashiq ho toh aisa ho
ke aashiq
ke aashiq
ke aashiq
aashiq aashiq aashiq
aashiq ho toh aisa ho
ke aashiq ho to aisa ho

dil ko dildaar mila
pyaar ko pyaar mila

aankh se aankh mili
taar se taar mila
ishq ko aaj koi
naaz bardar mila
har tawaajon ke liye
husn taiyyar mila

aaa aaa
aa aa aa
aa aa aa
aa aa aa
husn mashoor hai inaam-e-wafaa dene ko
apna sab kuchh kisi aashiq pe luta dene ko

ishq ik gul se sajaa leta hai gulshan apna
sirf ik phool se bhar leta hai daaman apna aa aaa aa
ke aashiq ho toh

haan
ke dilbar ho toh

na na na
ke aashiq ho toh aisa ho
ke dilbar ho toh aisi ho
ke aashiq
ke aashiq
ke aashiq
aashiq aashiq aashiq
aashiq ho to aisa ho

ke dilbar
ke dilbar
ke dilbar
dilbar dilbar dilbar
dilbar ho toh aisi ho
ke dilbar ho toh aisi ho

haay
sirf aahen jo bhare usko aashiq na kaho
door se pyaar kare usko aashiq na kaho

gham mein chup chap marein (huh) usko aashiq na kaho
jo zamaane se darey

usko aashiq na kaho

saamna ismein har ik aan hai bedardon ka
ishq pesha hai meri jaan jawaan mardon ka
ispe marte hain
koi harf na aane paaye
haath se thhaamne mehboob na jaane paaye ae ae ae
ke aashiq ho toh

arre jaa
ke dilbar ho toh

aa aa aa aa aa
ke aashiq ho to aisa ho
ke dilbar ho to aisi ho
jaise majnu
jaise farhaad
jaise mahiwaal raanjhe jaisa
aashiq ho toh aisa ho haan

jaise laila
jaise shireen
jaise sohni heer jaisi
dilbar ho toh aisi ho
ke dilbar ho toh aisi ho

hum toh yeh jaante hain
yaar ke yaar hain hum

aazma humko kabhi
pyaar hi pyaar hain hum

jaan dene ke liye
tujpe taiyaar hain hum

hum koi ghair nahin
tere gumkhaar hain hum

aaaa aaaa aaaaa
aa aa aa aa aa
aa aa aa aa aa

husn waale koi jaadu sa jaga dete hain
yaar do roz mein yaaron ko bhula dete hain
baat jab kehte nasha ishq ka taari bhi rahe
husn se pyaar rahe

yaaron se yaari bhi rahe
yaaron se yaari bhi rahe
yaaron se yaari bhi rahe
yaaron se ae ae
yaaron se yaari bhi rahe ae ae ae
ke aashiq ho toh

ja ja ja
ke dilbar ho toh

ke ke ke ke ke
ke aashiq ho toh aisa ho
ke dilbar ho toh aisi ho
ke aashiq
ke dilbar
ke aashiq
dilbar
ke aashiq
dilbar
aashiq ho toh aisa ho
ke dilbar ho toh aisi ho


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

Blog Day :

4780 Post No. : 16533

#The Decade of Seventies – 1971 – 1980 #
———————————————————–
# Bhoole-Bisre Geet # 149 # Qawwalis – 13 #
———————————————–

Today’s song – a qawwali – is from the 1979 movie “Aatish”. Memories of this qawwaali were revived when I was listening to a daily programme on Vividh Bharati. I had earlier shared another song from the same movie. That song too was a result of memories coming alive when I listened to that song on Vividh Bharati. That was in March-2021, and the song was Main nehlaa thhi bas nehlaa ….

When I listened to this ‘qawwali’ I liked it because of its ‘catchy’ tune. The picturisation of this ‘qawwali’ suggests that it takes place in the movie in the ‘villain’s den’ where Neetu Singh is in double role. One of the two disguised persons trying to help is Jeetendra I guess. Also seen in the picturisation of the song are Mukri, Dheeraj Kumar, Madan Puri, Master Raju, and many others.

“Aatish-1979” was directed by Ambarish Sangal for ‘M.K. Enterprises, Bombay’. It had Jeetendra, Neetu Singh, Rinku, Dheeraj, Leena Das, Om Shivpuri, Mukri, Mumtaz Begam, Master Raju, Nirupa Roy, Madan Puri, Sujit Kumar (in special appearance), Brahm Bharadwaj, Subhash Kanwal, Kamal Deep, Ranveer Raj, Chandru, Kishan, Ashok Saxena, Raj Kumar, Ram Narayan, and others.

This movie was passed by Censor Board on 16.02.1979.

There were six songs in this movie written and composed by Ravindra Jain.

Here is the list of songs of this movie as appearing in HFGK Vol-V (1971-1980).

S.No. Song Title Singer/s Posted On
01 Ladke ke bhes mein ladki hoon Asha Bhonsle, Chorus
02 Main nehlaa thhi bas nehlaa … Asha Bhonsle 28.03.2021
03 O meri laadli pyaari behnaa Mohd Rafi, Hemlata 13.08.2011
04 Sharaab hai, haan, sharaab hai, Mohd Rafi, Chorus
05 Babu manejara ve he babu, manejara ve Lata, Rafi, Chorus
06 Kahin naam na apnaa likh dena … Asha Bhonsle, Hemlata, Bhushan Mehta, Mohd Rafi, chorus Being discussed today

Today’s qawwali song is only the third such song composed by Ravindra Jain. We have as many as 171 qawwali songs already posted in the blog. I have tried to compile some statistics with respect to Lyricists, Composers and Years of the movies of these qawwali songs posted on the blog.

Here are the details of the Composers for 171 qawwali songs excluding the today’s song.

Composer No of Songs
Roshan 12
Kalyanji-Anandji 9
Madan Mohan 8
Ravi 8
Laxmikant-Pyarelal 8
Iqbal Qureshi 7
N. Datta 7
R.D. Burman 7
S. Mohinder 6
C. Ramchandra 5
Jaidev 5
Chitragupt 5
Naushad 5
Ghulam Mohammad 4
Iqbal 4
Hemant Kumar 3
Husnlal Bhagatram 3
S.D. Burman 3
Shyam Sundar 3
Jaani Babu Qawwal 3
Anil Biswas 2
Aziz Nazaan 2
Baabul/Babul 2
Dattaram 2
Hansraj Bahl 2
Jimmy 2
Khayyam 2
Ravindra Jain 2
Shankar Jaikishan 2
Sonik Omi 2
Usha Khanna 2
Nashad 1
A.R. Qureshi 1
A.R. Rehman 1
Aziz Ahmed Khan Warsi 1
B.N. Bali 1
B.T. Singh 1
Babloo Dheeraj 1
Bappi Lahiri 1
Bipin Mehboob 1
Bulo C. Rani 1
C. Arjun 1
Chaand Pardesi 1
Damodar Sharma 1
Hafeez Khan 1
Harbans 1
Jay Kumar 1
Khemchand Prakash 1
Lala Sattar 1
Nirmal Kumar (S.D. Batish) 1
Nisar Bazmi 1
Nusrat Fateh Ali Khan 1
Peter Nawab 1
Rashid Atre 1
Ravindran 1
Robin Bannerji 1
S. Kishan 1
S.N. Tripathi 1
Sajjad Hussain 1
Shankar Ehsaan Loy 1
Shankar Shambhu 1
Snehal Bhatkar 1
Sudipta Bhattacharya 1
Vasant Ramchandra 1
Vinod 1

From the above table we can see that Music director Roshan is at the top in the blog as far as creating the highest number of qawwalis is concerned.

We will have details of lyricist wise number of qawwalis too in a future post in this series.

Let us now move to today’s ‘Qawwali’ and move forward in this series. I hope readers will also find this ‘qawwali’ enjoyable and entertaining.

This song is sung by Mohd Rafi, Asha Bhonsle, Hemlata, Bhushan Mehta and chorus.

Lyrics are written by Ravindra Jain who is also the music director of this movie.

Video

Audio (Longer)

Song-Tere chaahne waale aaye hain ik shor uthha ke jaayenge (Aatish)(1979) Singers-Asha Bhonsle, Rafi, Hemlata, Bhushan Mehta, Lyrics-Ravindra Jain, MD-Ravindra Jain
Male chorus
Female chorus
All chorus

Lyrics

kahin naam naa apnaa likh dena
kisi ulte seedhe kaaghaz par
ham dil ka parchaa laaye hain aen aen
naam us pe likhaa kar jaayenge

tere chaahnewaale aaye hain
aaye hain
tere chaahnewaale aaye hain

ik shor uthhaa ke jaayenge
ik shor utthaa kar jaayenge/font>
yaa dilbar lekar lautenge
lautenge
yaa dilbar lekar lautenge

yaa jaan lutaa kar jaayenge
yaa jaan lutaa kar jaayenge
tere chaahne waale aaye hain

garajte hain jo baadal
baraste nahin
baraste nahin
keh do in logon se jaayen aur kahin
ye to naam ke aashiq aaye hain
aaye hain
ye to naam ke aashiq aaye hain

bas shor machaakar jaayenge
bas shor machaakar jaayenge
hamen qasam hain apni Jawaani ki
haaye re
hamen qasam hain apni Jawaani ki

Mehboob ko paa kar jaayenge
Mehboob ko paa kar jaayenge
tere chaahne waale aaye hain

aye jaan e Wafaa chehre pe naa jaa
nazron se bhi kuchh andaazaa kar
nazron se bhi kuchh andaazaa kar
nigaahen keh rahi hain
mere dil ka fasaanaa
o tere saamne hai
jo hai tera deewaanaa
ham tujhko aankhon hi aankhon mein
ham tujhko aankhon hi aankhon mein
koi raaz bataa kar jaayenge
ye to shor machaa kar jaayenge
tere chaahnewaale aaye hain

ham jaan gaye
pehchaan gaye
kya asli hai
kya naqli hai

kya asli hai
kya naqli hai

haqeeqat hai haqeeqat
kahaani hai kahaani
tumhi se hai mohabbat
tumhi ho zindagaani
koyi kuchh bhi kahe
ham tumko hi

ho koyi kuchh bhi kahe
ham tumko hi

doli mein bithhaakar jaayenge
doli mein bitthaakar jaayenge
tere chaahnewaale aaye hain

doli ke haqdaar hain ham
aap kahaan se aa tapke
ho tapke nahin ham aaye hain
inki hi maalaa jap jap ke

kisika pyaar chheeno
kahaan ki hai sharaafat
saraasar hai dakaitee
oh qayaamat hai qayaamat
zaraa sabr karo haq donon ke
zaraa sabr karo haq donon ke
donon ko dilaa kar jaayenge
ham jaan lutaa kar jaayenge
tere chaahnewaale aaye hain

paar ho jaa
paar ho jaa
dilbar ko leke faraar ho jaa
paar ho jaa
paar ho jaa
dilbar ko leke faraar ho jaa
paar ho ja
paar ho ja
dilbar ko leke faraar ho jaa

ustaad ho tum ustaadon ke
ham chele tumhaare chelon ke

ham chele tumhaare chelon ke
wahi hamne kiyaa hai
ke jo tumne seekhaayaa
jo mantar tum se seekhaa
tumhi pe aajmaayaa

jin guruon ke aise chele hon
jin guruon ke aise chele hon
wo to naam kamaa kar jaayenge
wo to naam kamaa kar jaayenge
tere chaahnewaale aaye hain

ik tum hi ham ko samjhe ho
auron ko to ham bhi
samajhte hain
auron ko to ham bhi
samajhte hain
samajhdaari ka tum ko
chalo inaam de den
nahin jiski tavaqqo
wohi anjaam de den
kuchh hathkande ustaadi ke
ho kuchh hatkande ustaadi ke
tum ko bhi dikhaa kar jaayenge
tum ko bhi dikhaa kar jaayenge

tere chaahnewaale aaye hain
tere chaahnewaale aaye hain


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 :

4772 Post No. : 16521

While we in this blog discuss songs, we also discuss other topics of common interest, like sports (mainly cricket), festivals, history, economy etc.

Tokyo Olympics concluded a few days back. As Indians, we had lots of sporting events to look forward to. Indians were participating in many events. Indians had pinned hopes of medals on quite a few of them, seeing that some of them were actually ranked world number 1, 2, 3 etc in their sports and they were given similar seedings too in the Olympics. But most of these sportspersons disappointed.

On the other hand, there were a few who performed beyond their rankings and managed to win medals. India won a medal (silver) on the very first day of the Olympics. First three medals were won by female athletes. Later, males too joined in winning medals.

Icing on the cake arrived on 7 August 2021, the last day of Olympics. The final medal that India won in these games happened to a track and field medal. It was the very first time that India won a track and field medal. And it turned out to be a GOLD medal, no less !

This gold medal event was in men’s javelin throw. Indians had never taken so much intetest in an atheletics event before this Olympics. I was one of those who followed the event closely. Since India actually won the gold, I dug deep and got all the relevant details of this competition. In this article, I present my findings, which is basically a description of How the Javelin Gold was won in Tokyo Olympics.

There were 32 javelin throwers in the competition. They were divided into two groups, viz Group A and group B, each consisting of 16 athletes.

In the qualification round, each javelin thrower was given three attempts in which to achieve the qualifying marks of 83. 5 meters. Based on the performances, 12 javelin throwers were to qualify for the finals.

In case less than 12 javelin throwers achieved the qualification mark, then the remaining slots were to be filled from those who had hurled the javelin the farthest among the non qualifiers.

Only six javelin throwers (three from group A and three from group B) were able to achieve direct qualification by throwing the javelin beyond 83.5 meters. Here are the details of these six direct qualifiers.

Gr A Gr B Overall qualification round rank
Name (Country) Attempts Result Group rank Name (Country) Attempts Result Group rank
Neeraj Chopra (India) 1 (86.65 m) 86.65 m 1 1
J Vetter (Germany) 3 (82.04 m,82.08m, 85.64 m) 85.64 m 2 2
Arshad Nadeem (Pakistan) 2 (78.50 m, 85.16 m) 85.16 m 1 3
Jakub Vadlejch (Czech) 3 (79.27, 78.96 m, 84.93 m) 84.93 m 2 4
L Etelatalo (Finland) 1 (84.50 m ) 84.50 m (SB) 3 5
Julian Weber (Germany) 1 ( 84.41 m) 84.41 m 3 6

Only six javelin throwers could gain direct qualifications. There were six more slots of finalists to be filled. Those six non qualifiers who threw the javelin the farthest were picked to fill the remaining slots. Following six javelin throwers thus gained indirect qualification for the final:-

Gr A Gr B Overall qualification round rank
Name (Country) Attempts Result Group rank Name (Country) Attempts Result Group rank
A M Novac (Romania) 3 (83.27 m, 80.90 m, x) 83.27 m (SB) 4 7
V Vesely (Czech) 3 (x, 83.04 m, x) 83.04 m (SB) 5 8
Alaksei Katkavets (BLR) 3 (81.08 m, 81.73 m, 82.72 m) 82.72 m 4 9
Andrian Mardare (Moldova) 3 (80.69, 78.95 m, 82.70 m) 82.70 m 5 10
Pavel Mialeshka (BLR) 3 (x, 82.17m, 82.64 m ) 82.64 m 6 11
Kim Amb (Sweden) 3 (82.40 m, 79.87, x ) 82.40 m (SB) 7 12

Thus four javelin throwers from group A and two from group B gained indirect qualification for the final. Remaining 20 javelin throwers (9 from group A and 11 from group B ) were eliminated.

The qualifying mark of 83.50 m does not appear too daunting for the competitors on paper, seeing that the personal best throws of most competitors, including those who failed to qualify was well over 83.5 meters. Some of the non qualifiers in fact had hurled the spear well over 90 m in the past. Some of them were past Olympic medal winners and world champions as well. Those who failed to qualify for the final included Walcott Keshorn (Trinidad and Tobago)-2012 Olympics gold medalist (90.16 m personal best), Julius Yego (Kenya)- 2016 Olympics silver medalist (personal best of 92.72 m), Cheng Chao Tsun (Taipeh)- Asian record holder with 91.36 m throw, Peter Anderson (Grenada)-current world champion (personal best 87.31 m) etc.

But World class sports is played on the field and it depends on performance on the day. Past records and achievements count for little. It is the three throws in the qualifying competition that determine who goes ahead to the finals and who get eliminated. Only six javelin throwers gained direct qualification. The six javelin throwers sneaked in as indirect qualifiers. The last qualifier who qualified could only hurl the spear to a distance of 82.4 meters, more than one meter behind the qualification mark.

Indians were cautiously optimistic about the chances of Neeraj Chopra because his performance during the current season vis a vis the performance of other leading contenders suggested that he was a medal contender.

Many leading contenders were eliminated after the qualifying round. The biggest gold contender was J Vetter of Germany, who had a season’s best of 97. 76 meters achieved in July 2021. But he too was on the verge of elimination in the qualifying stage, before he survived by crossing the qualifying mark on his third and final throw. Neeraj Chopra of India gave Indians a pleasant surprise by easily qualifying on his very first throw, and that throw was the longest throw of the qualifying stage. Thus he qualified as number 1 qualifier among the 12 qualifiers for the final. Vetter qualified as number 2. Pakistan’s Arshad Nadeem qualified at the third place, and Pakistanis suddenly found something to look forward to in the Tokyo Olympics.

The timings of sports telecast of Tokyo Olympics suited India perfectly. The telecast would beging early morning iST and would continue till late evening. Javelin throw finals were scheduled on Saturday 7 August 2021. Unlike the qualifiers, the finals were at night time. It was in the afternoon in India.

The rules for the finals were that all 12 throwers would be given three throws each. The first eight contenders after these three throws would get another three throws each. The throwers would then be ranked based on their best throws.

When the competition began, I took pen and paper and began to note down the throws of the participants. During the first three throws, the sequence of throwers was arbitrary (or so it seemed to me). The number 10 qualifier (Adrian Mardore) threw first followed by Neeraj Chopra (number 1 qualifier), then number 12 qualifier (Kim Amb) followed by number 7 (A M Novak) etc. The first three throws of the twelve throwers in the sequence in which they threw was noted down by me in a table like this :-

S No Thrower (Country) First throw (m) Second throw (m) Third throw (m) Best throw (m) Standing after three throws
1 Adrian Mardare (Moldova) 81.16 81.73 82.84 82.84 Eighth
2 Neeraj Chopra (India) 87.03 87.58 76.79 87.58 First
3 Kim Amb (Sweden) 77.22 78.31 79.69 79.69 Eleventh
4 A M Novac (Romania) 77.03 79.29 x 79.29 Twelfth
5 Vitazlav Vesely (Czech) 79.73 80.30 85.44 85.44 Second
6 Julian Weber (Germany) 85.30 77.90 78.00 85.30 Third
7 Lassi Etelataro (Finland) 78.43 76.59 83.28 83.28 Seventh
8 J Vetter (Germany) 82.52 x x 82.52 Ninth
9 Arshad Nadeem (Pakistan) 82.40 x 84.62 84.62 Fourth
10 Pavel Mialeshka (BLR) 82.28 79.35 78.13 82.28 Tenth
11 Jakub Vadlejch (Czech) 83.98 x x 83.98 Fifth
12 Aliaskei Katkavets (BLR) 82.49 81.03 83.71 83.71 Sixth

After the first three throws, bottom four throwers were eliminated. J Vetter, the world record holder and the overwhelming favourite for the gold, had just one legal throw in his first attempt. That throw of 82.52 m kept him in the fourth position till the second round. But he fouled his third round and as many as five throwers threw longer than his 82.52 m in their third attempts. These five throwers advanced, and Vetter was relegated to the ninth position after third round. Thus he was among those four who were eliminated after round three. It was a big upset. The other three people who were eliminated threw lesser distances than what they had thrown during the qualifying stage, and their elimination was no surprise.

The remaining eight contenders then hurled three more throws in the ascending orders of their standing after three throws, viz the person eighth in the standing threw first and the person standing first threw last.

Here are the throws of the eight javelin throwers in the order in which they took their fourth, fifth and sixth attempts.

S No Thrower (Country) First throw (m) Second throw (m) Third throw (m) Fourth throw Fifth throw Sixth throw Best throw (m) Standing after six throws
1 Adrian Mardare (Moldova) 81.16 81.73 82.84 81.90 83.30 81.09 83.30 Seventh
2 Lassi Etelataro (Finland) 78.43 76.59 83.28 79.20 79.99 83.05 83.28 Eighth
3 Aliaskei Katkavets (BLR) 82.49 81.03 83.71 79.24 x x 83.71 Sixth
4 Jakub Vadlejch (Czech) 83.98 x x 82.86 86.67 (SB) x 86.67 Second (SILVER)
5 Arshad Nadeem (Pakistan) 82.40 x 84.62 82.91 81.98 x 84.62 Fifth
6 Julian Weber (Germany) 85.30 77.90 78.00 83.10 85.15 75.72 85.30 Fourth
7 Vitazlav Vesely (Czech) 79.73 80.30 85.44 (SB) x 84.98 x 85.44 Third (BRONZE)
8 Neeraj Chopra (India) 87.03 87.58 76.79 x x 84.24 87.58 First (GOLD)

One can see that six out of eight throwers who were eligible for three additional throws failed to improve upon their best attempts achieved during the first three attempts. There were just two throwers who achieved their best during the fourth, fifth and sixth attempts. They climbed up the rankings and affected the rankings of those whom they overtook.

Adrian Mardore of Moldova, who was eighth after three throws achieved his best throw of 83.30 m in his fifth attempt. With this throw, which was 2 cm better than the best throw of seventh placed Lassi Etelataro of Norway, climbed up to seventh position, relegating Lassi Etelataro to the eighth position in the final standing.

The other thrower who gave his best during the final three throws changed the higher standings in a major way. Jakub Vadlejch of Czech republic had managed just one legal throw during his first three attempts, but that throw was far enough to keep him in top 8. In his fifth attempt, he hurled the javelin to a distance of 86.67 m. It was season’s best performance for him, just like his throw during the qualification stage was his season’s best. With this throw, he climbed upto the second position. Athletes, who were occupying second, third and fourth position were pushed one place down as a result. So, his compatriot Vitaly Vesely, who too had thrown his season’s best throw in the final, had to be content with the bronze. Julian Weber of Germany, who too had achieved season’s best throw in the final, was fourth. Arshad Nadeem of Pakistan, ended up fifth.

One can see that Neeraj Chopra of India led from the front and he was never threatened for the gold. It all sounds so easy with the benefit of hindsight, but it was obviously not as easy at it looks like. In a country known for missing opportunities, allowing opportunities to slip away, choking at the last moment etc, it was such a refreshing change to see an Indian performing like a seasoned pro, grabbing the contest by the scruff of its neck and not allowing others a sniff of a chance. He qualified for the final in just one throw, ending up at number one among all qualifiers. In the final, his first two throws were longer than the throws of all other competitors and so he had sealed his gold in his first two throws itself. It looks so easy if you have a talented sportsman representing you. In reality, it was the very first time that an Indian was winning a Track and Field medal in an Olympics.

Indians would have settled for medal of any hue, even bronze, as their first track and field atheletics medal. The fact that it was a gold has immense significance. European nations keep winning track and field golds, and that changes nothing, but a solitary track and field Gold won by an India will change the fate of atheletics in India, and elsewhere. Let us not forget, even today India is world’s fifth biggest economy. If Indians take to atheletics with the same vengeance with which they take to cricket, then atheletics worldwide will get more popular than what it already is because one sixth of world population lives in India. We have already seen what happened to cricket in India (and worldwide) when India won ODI world cup in 1983, and later T20 World cup in 2007. I can foresee a situation when an atheletics revolution will take place in India in near future.

Those who think that this medal is one off and the normal service will resume after that, I disagree. THis event has changed Indian sports for ever. I can cite an Indian example to prove my point. India was a very weak chess playing nation till 1970s, that too when Chess was a game that originated in India. It was belived that Indians can never become chess grandmasters. It was in 1988 that India had her first chess grandmaster (Vishwanathan Anand). This event popularised chess in India as never before. Vishwanathan Anand went on to become five times world champion, and India today had 69 grand masters in chess. Chess too has an Olympics, called Chess Olympiad, played every two years. How many of us know that India at present is joint world champion in Chess Olympiad (with Russia)! All this had happened in a matter of three decades. I see a similar thing happening in Athletics. Indian economy and market can easily support and sponsor this forthcoming athletics revolution in India.

If one looks at the medal tally of various nations in Olympics, one will find that the medal tally in a way is a refection on the economic development of a nation. The top ten nations in the medal tally are major economies. Most are high income nations and others are just one rung below, viz Middle income group nations. Sporting prowess in a way has some definite correlation with HDI (Human development Index) of a country. There are some notable exceptions (viz some African nations), but otherwise economical development leads to overall betterment in sporting achievements. Hopefully, India too will join the ranks of top medal winners two to three decades from now, like how India has already become a top chess playing nation, rubbing shoulders with the likes of Russia, USA and other chess superpowers.

What is the medal tally that India achieved in Tokyo Olympics ? One gold, two silvers, four bronze. One two ka four, four two ka one. Hindi movie “Ram Lakhan” had already created a song for this occasion, as far back as in 1989, when Vishwanathan Anand was India’s sole chess grandmaster !

Here is this popular song of its time. It is sung by Md Aziz, Anuradha Paudwal, Nitin Mukesh and chorus. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal. It is picturised on Anil Kapoor, Madhuri Dixit, Jackie Shroff and others as a dance song.

Video

Song-One two ka four four two ka one…My name is Lakhan (Ram Lakhan)(1989) Singer-Md Aziz, Anuradha Paudwal, Nitin Mukesh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Male chorus
Female chorus
All chorus

Lyrics

dhina dhin taak
dhina dhin taak
dhina dhin taak
dhina dhin taak

raam paam paam
raam paam paam
ram pa pam
raam pam
raam paam paam
raam paam paam
ram pa pam
raam pam
ram pam pam pam
ram pam pam pam

ae ji
o ji
ae ji o ji
lo ji suno ji
main hoon manmauji
karta hoon main jo woh tum bhi karo ji
one two ka four
four two ka one
my name is Lakhan
my name is Lakhan
sajnon ka sajan
mera naam hai Lakhan
ae ji o ji
lo ji suno ji
main hoon manmauji
karta hoon main jo woh tum bhi karo ji
one two ka four
four two ka one
my name is Lakhan
my name is Lakhan
sajnon ka sajan
mera naam hai Lakhan

tak tunna tak tunna
dhidhik dhidhik
dhidhik dhidhik
tak tunna tak tunna
dhidhik dhidhik
dhidhik dhidhik

hmm
duniya chakori
duniya chakori
paisa hai chanda
paisa hai chanda
sooli pe latka har ek banda
sabke galey mein
sabke galey mein
maaya ka phanda
maaya ka phanda
seekho o yaaron
inse yeh dhandha
inse yeh dhandha

o
o o o
o
o o o o
do bol meethhe bas bol ke
har maal becho kam taul ke
re baaba kam taul ke
re baaba kam taul ke
tum apni khaali jeben bharo ji
karta hoon main jo woh tum bhi karo ji
one two ka four
four two ka one
my name is Lakhan
my name is Lakhan
sajnon ka sajan
mera naam hai Lakhan

o o o
aa aa aa aa
o o o o
aa aa aa aa
aa aa aa aa
aa aa aa
(sargam)

o
o o o
o o o
o o o
o o o
o o o
main kuchh na jaanoon is’se ziyaada
main kuchh na jaanoon is’se ziyaada
tu mera mohan
main teri raadha

jeevan nahin itna seedha saada
kaise karoon tumse koi vaada
vaade hain jhoothe
sachhe ho tum
jaise bhi ho
bade achche ho tum
bade achche ho tum
kehte ho sabse
main hoon manmauji
manmauji ho toh mauj karo ji

one two ka four
four two ka one
sajnon ke sajan
karo koi jatan
karo koi jatan
jaldi ho milan

dhina dhin dha
dhina dhin dha
dhina dhin dha
dhina dhin dha

hmm
kha pee raha hai
kha pee raha hai/font>
saara zamaana
saara zamaana
jo bhookha pyaasa hai woh deewaana
hai woh deewaana
arre daulat ki jhoothhi
hmm
chamak pe na jaana
hmm
mehnat se roti rozi kamaana
rozi kamaana

hmm
hmm hmm hmm
o o o
kehna badon ka tum maan lo
achcha bura kya hai
jaan lo
kya hai jaan lo

arre kehta hoon main jo
woh tum suno ji

maine suna nahin phir se kaho ji
nahin number two koi
donon ho number one
mere Ram Lakhan jiyo Ram Lakhan
mere Ram Lakhan jiyo Ram Lakhan
sajnon ke sajan jiyo raam Lakhan(o o o o)
sajnon ke sajan jiyo raam Lakhan(o o o o)
sajnon ke sajan jiyo raam Lakhan(o o o o)
sajnon ke sajan jiyo raam Lakhan(o o o o)
sajnon ke sajan jiyo raam Lakhan(o o o o)


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

Blog Day :

4768 Post No. : 16517 Movie Count :

4493

Hullo Atuldom

“Bond 303” (1985) was produced B.C. Devra and directed by Ravi Tandon. It was one of those movies that was in the making for a long time.

It was one of the three movies that had Jeetendra play a Spy- an Indian James Bond. His James Bond act began with his ‘mast bahaaron ka main aashiq’ in “Farz” (1967) continued with “Raksha” (1981) {in both these movies Jeetendra was Agent 116}. “Bond 303” was the third in that list.

This spy-movie had all the ingredients, a movie of this genre, required viz: a hero who looks handsome, can shake a leg, do action sequences with ease, and a bevy of lovely ladies. The lovely ladies of ‘Bond 303’ were headed Parveen Babi (in a double role), Jayshree T. and Helen. The list of supporting actors had Prem Chopra, Deven Verma, Tom Alter, Iftikhar, Satyen Kappu, Shreeram Lagoo, Dev Kumar, Yusuf Khan (a.k.a Zebisco of Amar Akbar Anthony).

The story was very simple:

There are terrorist attacks all over the world. Planes, trains, houses are blown to smithereens by unknown rockets! The one to call is India’s super agent Bond 303! When we first meet him he’s preoccupied with a dozen ladies and they all burst out in an intensive song-and-dance number! Bond 303 befriends a young smart scientist, played by the cool Parveen Babi and they start to gather information about the evil organization behind it all. But someone wants to stop them and sooner than you can say “curry” they are in gravy, oops they are in danger!

This Indian spy movie had five songs that were written by Gulshan Bawra and composed by R D Burman. Amit Kumar, Asha Bhonsle, Kishore Kumar, Suresh Wadkar, R D Burman, were the playback singers used. Today’s song is in the voices of Amit Kumar, Suresh Wadkar and Kalyani Mitra.

(The blog’s statistics page shows a name Kalyani Das Mitra whose 11 songs are there on the blog. I would like some knowledgeable follower to confirm if Kalyani Mitra and Kalyani Das Mitra are one and the same. The title song of ‘Saawan Ko Aane do’, posted on the blog, has Kalyani Mitra listed as playback singer.)
The song is a typical ‘roothna-manana’ song where Jeetendra and Deven Verma are seen trying to appease Parveen Babi and her companion. (I think that is Meenakshi Thakur, but I am not sure. Prakashchandraji, please help) The ladies are of course putting on an act of being upset with the boys.
We are wishing Suresh Wadkar on his 66th birthday. And remembering Gulshan Bawra on his 12th anniversary.


Song-Arre main tera deewaana (Bond 303)(1985) Singers-Amit Kumar, Suresh Wadkar, Kalyani Mitra, Lyrics-Gulshan Baawra, MD-R D Burman

Lyrics

ae ae ae he he he
ae he he he

chal yahaan se
yeh toh deewaane lagte hain

arre main tera deewaana
yeh kaise tune jaana
zara meri jaan yeh bata
suno dil waali
chaahe de tu gaali
chhodoon na peechha tera
ho ho ho
main tera deewaana
yeh kaise tune jaana
zara meri jaan ye bata
suno dil waali
chaahe de tu gaali
chhodoon na peechha tera
ha ha

he he heee
he he heee
awaara loafer
arre dabe dabe honthon mein chhupaati hai hansi
hansegi
arre phansegi
hansegi phansegi
haan dekho toh deewaanon ki udaati hai hansi
hansegi
ai phansegi
arre hansegi phansegi
dabe dabe honthon mein chhupaati hai hansi
arre dekho toh deewaanon ki udaati hai hansi
aise na dil jalaao
o ho ho
main tera deewaana
ye kaise tune jaana
jara meri jaan ye bata
suno dilwaali
chaahe de tu gali
chhodoon na peechha tera

yeh toh gunde hain
badmaash

he he
kisi ko toh degi dil kabhi na kabhi
ai haseen
arre dilnasheen
ai haseen dilnasheen
haan kabhi wali baat kyun na ho jaaye abhi
ai haseen
ai dilnasheen
arre ai haseen
ai dilnasheen
kisi ko to degi dil kabhi na kabhi
kabhi waali baat kyun na ho jaaye abhi
dil hai aashiq tera
o ho ho
main tera deewaana
yeh kaise tune jaana
zara meri jaan yeh bata
suno dil waali
chaahe de tu gali
chhodoon na peechha tera
la la la la
la la la la la
la la la la la
la la la la la
la la la la la


This article is written by Arunkumar Deshmukh, 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 :

4725 Post No. : 16437

Today’s song is from the film Do Raaha-1952, about which not much is known- except whatever is given in the HFGK.The film was made under the banner of ‘Progressive Pictures,Bombay’. It was directed by Bal Chhabra and was produced by his elder brother Sujit Chhabra under their own banner. The cast of the film was Nalini Jayawant, Shekhar, K N Singh, Agha, Dewan Sharara, Jagdish Sethi and many more. The 8 songs of this film were written by Prem Dhawan-6 songs and one each by Sahir Ludhianvi and Josh Malihabadi. It seems, there was one more song ” Sab paise ki hai maya” sung by Shankar Dasgupta, S D Batish and Prem Dhawan. The song was also recorded but not included in the film. The music was by Anil Biswas.

Like the film title ‘Do Raaha’, Anil Biswas was also almost at a Do Raaha point in his life. He was a disturbed person. His relations with wife Ashalata were worsening by the day. At the same time his closeness to Meena Kapoor was increasing. Out of his total 90 films in his career, 60 films were over and he was looking at the last 1/3 part of his career with a pessimistic view. After this film, he gave music to 29 more films, but his old magic seemed to be deserted him on the way somewhere. Only the films Fareb-53, Pardesi-57, Char dil char rahen-59 and Sautela Bhai-62 had songs having his faint old stamp.

Anil Biswas, the Bhishma Pitamaha of HFM, was a respected person in the industry. He started from the mid 30s and for the next 25 years or so, he created many everlasting gems in film songs. In Bombay,the Playback system was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry.

Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in film Hamdard-53 as a barber. He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.

To sustain life, he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now, his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son, broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963, where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

Like many filmi couples, Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep, Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.

However, hardly anything is known about his eldest son Pradeep, anywhere. Here is some information, hitherto not known much, brought specially for our readers.

Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview, with flying colours for entry to NDA college at Poona, to join armed forces. He excelled even in NDA training. Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs, winning all prizes. He was also an NDA Topper.

Shri Gopinath Talwalkar, an A.I.R. Programmer at Delhi, used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording, Pradeep asked Talwalkar, in pure Marathi, whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi, Marathi, English and Gujarati languages.

After completing his NDA training, he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother, and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity as a recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

Here is an interesting incident about the film Girls School-1949, between C Ramchandra, Anil Biswas and Lata Mangeshkar. This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.

Finally when Anil Biswas joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at 2500 pm, when Pradeep was getting 1500 pm. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this background, Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded 3 songs and a solo by Lata , “tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she is “highly Principled” !

Anyway, this was how C Ramchandra became the next MD of Girls school-49, with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.

Today’s song is a very good song and I was surprised to see that it was not yet posted here. Actually, there may still be some more such Gems, waiting to be discovered. This song is sung by Anil Biswas, Meena Kapoor, Shankar Dasgupta and Shamshad. I liked this song. You too will like it.

(Information used in this article is from books Sagar Movietone, Journey down melody lane, Ritu aaye Ritu jaaye, my notes and Marathi book Anil Biswas, with thanks).


Song-Arre na jaane kya samjhen ye moonchhon waale moonchhon waale (Doraha)(1952) Singers- Shankar Das Gupta,Shamshad Begam, Meena Kapoor, Anil Biswas, Lyricist- Prem Dhavan, MD- Anil Biswas
Female chorus
Male chorus

Lyrics

ae jee bach ke chalna aa
paaon mein moch aa na jaaye
ae kamar naazuk kahin bal kha na jaaye

are na jaane kya samjhe ye
moonchho waale
moonchhon waale

khud ko shaane khuda samjhen ye
moonchhon waale
moonchhon waale

ye baanki tagdi moonchho waale
ye ulti seedhhi moonchho waale
ye bin moonchho ke moonchho waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale

degree lene aaye thhe
mister magar
pad gayi jaane kahaan
unki nazar

ishq ke college mein aise
kho gaye
ho o o
ho o o
B A hote hote Majnoo ho gaye
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale
aur humko bhi Laila samjhe
ye moonchho waale
moonchho waale

ye chhoti chhoti moonchhon waale
ye moti moti moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale

saara din to jootiyaan chatkaayen hum
aur tab kahin ye chaar paise paayen hum

aeji laaye saadi
laayen powder surkhiyaan aan
o o o o
o o o o
tum udaao aur kamaate jaayen hum
arre phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale

o phir bhi naaz dikhaayen haay
zulfon waale
zulfon waale

hoy naagan ban das jaayen haay
zulfon waale
zulfon waale

ho naagan ban das jaayen
ho das jaayen
ho das jaayen
haay
naagan ban das jaayen haay
zulfon waale
zulfon waale

ek din mister zara
ghar bhi raho
aur aane jaane waalon se parda karo

maanjo bartan
jhaadoo do
paani bharo
o o o o
o o o
jis tarah marte hain hum
tum bhi maro
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale
phir dekhen khud ko kya samjhen
ye moonchhon waale
moonchhon waale

ye Hitler jaisi moonchhon waale
ye machchar jaisi moonchhon waale
ye bin moonchhon ke moonchhon waale
khud ko shaane khuda samjhen ye
moonchho waale
moonchho waale
humko na jaane kya samjhen
ye moonchhon waale
moonchhon waale


This article is written by nahm, 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 :

4724 Post No. : 16436

———————————–————–
Geeta Dutt – Solos and Duets (06)
———————————–————–

Question:
Kitaaben bahot si
padhi hongi tum ne
magar koyi chehra bhi
tum na padha hai

Answer:
Padha hai meri jaan
Nazar se padha hai

Next Question:
Bata mere chehre pe
Kya kya likha hai

The above is a film song from the film ‘Baazigar” written by Zafar Gorakhpuri. There have been some songs in hindi films which refer to ‘Kitaab’, like
Dil ki kitaab kori hai kori hi rehne do and Haathhon mein kitaab baalon mein gulaab.

The second song above is my own post from 2015. As I read it again today, I found that I referred to the ‘Baazigar’ song in that post as written by Sameer, but that’s incorrect. Another reason why I am talking about books today is, in a recent post I talked about film magazines. That evoked a few comments from regulars, which in turn made me remember a lot of mishaps or near misses, which have happened in my life.

My love for reading has always been an important factor in my life. Not necessarily, useful things or text book learnings, but anything on any topic that catches my fancy and is readable and reasonably understandable to my unscientific mind. Scientific theories are beyond me, and maths was my weakest subject in school. But I was not at all lacking in analytical abilities and general knowledge, which seems to have gotten me through at least one all india level competitive exam, where lakhs of people aspiring for government jobs tried. It could have been sheer luck that I got most of ‘analytical ability’ part objective type answers correct. It certainly cannot have been the mathematical portion of the exams. One portion was of English language, that must have helped. I kept the ‘Maths’ part for the last, and some of the answers I just marked randomly :-). The exam was for undergraduates, but my father still could not believe it, when he saw the merit list.

Reading, reading and more reading, has made me a more balanced person, where I don’t get easily rattled. Never bored under any circumstances. Magazine is ‘risaala’ in urdu language. I have grown up with all kinds of publications, periodicals, weekly, fortnightly, monthly, and of course the daily newspapers. Digests also, in Urdu and ‘Reader’s digest’ in English. I have read many novels in Urdu too, which are difficult to come by now. I know, digital version is available, if I really want to read them now. All my maternal uncles and paternal uncle, would carry some newspaper or magazine with them whenever they came to our place. Now I go to their places, there is no sign of magazine or newspapers in their household. We can blame this on digital media, which has put paid to the printed material’s role, in our daily lives. It comes DTH, appears cheaper, requires no hard-work or maintenance even. Don’t have to save it from small children. That the children should be kept away from things digital, is another matter.

Thus, I was exposed to different type of publications in English, Urdu, Hindi and Marathi, while growing up. I consider myself fortunate to have seen “Blitz” in English and in Urdu, for e.g. All periodicals published in the south also I have read while growing up, be they political, sports or financial. Maybe in 1993 people still referred to books as ‘kitaab’, but now the word is rarely heard, unless I am watching an urdu drama series. There also only the older generation is heard talking of ‘kitaab’. In school textbooks were ‘kitaab’ and notebooks were ‘copy’ or kaapi.

Living and growing up in a metropolitan city has its own advantages. Major ones in my opinion are, the cosmopolitan outlook that one develops in personal and social aspects, plus the opportunities for growth and success in life professionally, are better. A thriving city is like a big machinery, it cannot afford to let any part of it be disrupted. Be it the lowest of slums or the poshest of locality. And overall people are not bothered what others are doing, which augers well in some ways. In terms of personal freedom and mental well-being.

So here I was, growing up in Mumbai, in which good fortune I had no contribution to make. It was destiny. A couple of things, like missed opportunities that have surfaced in the memory, is a job opportunity in a financial magazine. I got a call for some sort of test they were taking, I must have applied for the ‘trainee’ job, right after graduation. I attempted that test, without knowing what to expect there. I may not have fared well there, as I never got a call or any communication.

Another instance of a missed opportunity is one where I attended a walk-in interview somewhere in the Fort area for some trainee post at TCS in 1990-91. Computers were the new in-thing in the late 80’s and in college we had ‘computer science’ as optional subject. TCS was on its way up to the greater things it achieved in later years. There was group discussion also among the candidates who had turned up that day. I remember there were around 15-20 of us. At the end of it all some were shortlisted, then were told to take up the course, which was costing may be 10000/- or so, I don’t exactly remember. They said that the candidates will be absorbed in the company after that course, but the fees had to be paid. I came home and discussed all this with my parents. I was not so keen on computer programming, as it is, so didn’t press the issue. Theory subject were my forte, and I used to do well in subjects like economics. Late 80’s and early 90’s was also a period of great boom in share markets investments. It turned out that my father has shares of TCS, which he obviously got at the time of issue years ago. Lo and behold, if he knew or had an inkling of the company’s prospects and potential, then he could have guided me in that direction. But that was not to be, as it was not destined to be. After all God Almighty is the best of planners, and it is his will and his alone, that can take us in a particular direction.

Nida Fazli has said accurately:
“waqt se pehle qismat se zyada, kisi ko mila hai na kisi ko milegaa”

************************

Lakdi jal koyla bhayee
koyla bhayee raakh
Main baawri aisi jali
koyla bhayee na raakh

This is the actual doha, from which the initial lines of the song are inspired. Lyricist is Anjum and the composer of this truet song is Chitragupt. The singers are Geeta Dutt, Shamshad Begum, and Shanti Sharma. Shanti Sharma is a new name for me, but I see in the stats page that she has 2 songs in the blog.

This is a nice qawwali style song, I had saved the link for featuring in this series of Geeta Dutt. One more variation, in the singer’s repertoire for sure. She has been part of many qawwali’s in the career, as she was capable of singing all types and moods of film songs. She was comfortable in the mischievous songs also, with her strong vocals, with a hint of khanak, like Shamshad Begum. Asha Bhosle has in later years, tried to adopt the strength in voice which was a signature of Shamshad Begum and which Geeta Dutt has demonstrated in many songs.


Song-Dekho to dil hi dil mein jalte hain jalne waale (Hamaara Ghar)(1950) Singers- Geeta Roy, Shamshad Begum , Shanti Sharma, Lyrics-Anjum, MD-Chitragupta
All

Lyrics

Lakdi jal koylaa bhayee
Aur koyla jal bhayaa raakh
baaki dushman yoon jale ae ae
ki koyla bhaye na raakh

dekho to dil hi dil mein ean
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale

aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa

aapas mein mil jul kar hansnaa
khel naseebe waalon ka
haay khel naseebe waalon kaa

ho oo oooo
kaam nahin duniya mein kisi ko
dekh ke jalne waalon ka
haan dekh ke jalne waalon ka
aaa aa aa aa
khoob samjhte hain matlab
in ulti seedhi chaalon kaa

hai dhokhe ki ye duniyaa aa
hai dhokhe ki ye duniyaa
kehte hain kehne waale
haay kehte hain kehne waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale

dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki

dekh ke ham ko jalte ho
kya seekhe chaal zamaane ki
haay seekhe chaal zamaane ki

ho oo o o o
aankhen ho to haalat dekho
deepak ki parwaane ki
haay deepak ki parwaane ki

ooo oooooo
ye baat magar kapti dil ke
nahin samajh mein aane ki

qismat mein jab likkha hai
qismat mein jab likkha hai
rote hain rone waale
haay rote hain rone waale
dekho to dil hi dil mein
jalte hain jalne waale
haay jalte hain jalne waale


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

Blog Day :

4723 Post No. : 16434

Hullo Atuldom

“Ham Paanch” was a movie that released towards the end of 1980. It was presented by S K Films Enterprises and was produced by Surinder Kapoor having Boney Kapoor as executive producer. It was directed by Sattiraju Lakshmi Narayana known professionally as Bapu. It had a huge star cast headed by Sanjeev Kumar, Shabana Azmi, Deepti Naval, Amrish Puri, Naseeruddin Shah, Mithun Chakravarthy, Raj Babbar, Gulshan Grover, Uday Chandra, Aruna Irani, Dulari, Gita Siddharth, Roopesh Kumar, A K Hangal and Kanhaiyalal along with a whole set of known faces that constitute the firmament of Bollywood’s supporting actors.

The movie was a remake of the 1978 Kannada film “Paduvaaralli Pandavaru” which in itself was an adaptation of the Mahabharata. It had music by Laxmi-Pyare and songs were written by Anand Bakshi. Playback singers used were also the gems of Bollywood: – Mohd Rafi, Lata Mangeshkar, Kishore Kumar, Mahendra Kapoor, Shailendra Singh, Amit Kumar, Suresh Wadkar, Anwar and Usha Uthup.

The movie had around 8 songs and made its debut on the blog with this song/ post by Sudhirji in 2016. Its been 5 years since that post and it is high time we have another song, unfortunately I have found links to audios of all the songs. But I have seen these songs and movies eons back and so I can tell that today’s song is being lip synced by Naseer, Mithun, Raj Babbar, Gulshan Grover and Uday Chandra (playback was by Amit Kumar, Shailendra Singh, Anwar and Suresh Wadkar). It has these youngsters protesting the tyrannical ways of the local Zamindar (Amrish Puri) who is helped in his mission of ruling the small region in rural India by his munim (Kanhaiyalal in one of his brilliant acts as Munim). The youngsters are guided in their job by Sanjeev Kumar playing Krishna who incidentally happens to be the brother of the Zamindar. I remember that the little sounds that are off-beat in the song (Amit Kumar’s voice) were lip synced by Mithun. How I wish we had the video, my personal recommendation would be to see the movie to enjoy the full essence of the songs and see actors like Gulshan Grover and Raj Babbar in ‘hatke’ (different) avatars.

We are having this song today to wish Raj Babbar on his 69th birthday; my initial reaction when I discovered his age was “Oh! Is he that old!!!” Next was almost all the actors who played ‘paandavs’ in “Ham Paanch” are in the same age bracket and this man, along with Gulshan Grover I suppose, are the youngest. Raj Babbar, who was born in Agra- UP, made his way to movies through NSD. He was first hated for the character that he played in B R Chopra’s ‘Insaaf Ka Tarazu’ in 1980 which released around the same time as ‘Ham Paanch’. Prior to that he had appeared in ‘Kissa Kursi kaa’.

He had around 7 releases in 1980 with ‘Aap Toh Aise Na the’; Insaaf Ka Tarazu’; ‘Sau Din Saas Ke’ and ‘Ham Paanch’ still being in public memory. He has appeared in a few Punjabi movies too. He is an actor who has played all kinds of characters- positive, negative and grey too. Sometime in the ’90s he switched to playing fatherly characters which could be negative too. He was a three-time member of the Lok Sabha and two-time member of the Rajya Sabha. His children Juhi and Arya from his wife Nadira and Prateik from Smita Patil (to whom he was married till her death due to complications in child-birth) are all actors. He has also produced a few movies.

If we had the video of the songs of this movie we would have also been able to the see the fantastic-large eyed-baritone voiced Amrish Puri in what he was excellent in that period. He would have turned 89 on 22nd June had he been around.

Here is wishing Raj Babbar health and happiness and thank you for entertaining us for close to 45 years.
Editor’s note:- With this song, Laxmikant Pyarelal now have 900 songs in the blog as music directors.


Song-Hum paanch paandav ye shakuni mama (Hum Paanch)(1980) Singers-Shailendra Singh, Amit Kumar, Anwar, Suresh Wadkar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

aage bhaage
peechhe daudo
aage bhaage
arre peechhe daudo
aage bhaage
peechhe daudo
aaj connection iska todo
connection
connection
aaj connection iska todo
o todo
o todo

ghum naakum ghum
ho
ghum naakum ghum
ho
ghum naakum ghum
ho ho
ghum naakum ghum

hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama
shakuni mama ye shakuni mama
hey hum paanch pandav ye shakuni mama
arre dekho
dekho
dekho mahabharat ka darama
hey hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama

ye jabse rangmanch pe aaya
ye jabse rangmanch pe aaya
ye jabse rangmanch pe aaya
issne aisa rang jamaaya
issne aisa rang jamaaya
bhai ko bhai se ladaaya
bhai ko bhai se ladaaya
ladaaya
ladaaya
ladaaya
issne machaaya bada hungaama
hoye hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama

ab aaya hai phir na aaye
ab aaya hai phir na aaye
yaad kare ye bhool na jaaye
yaad kare ye bhool na jaaye
jeevan bhar humre gun gaaye
jeevan bhar humre gun gaaye
isko sikha do re sa re ga ma
hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama

likha padha ye moorakh banda
moorakh banda ye moorakh banda
arre likha padha ye moorakh banda
moorakh banda ye moorakh banda
ye do aankhon waala andha
ye do aankhon waala andha
iski arthhi ko do kandha
iski arthhi ko do kandha
ho kandha
ho kandha
ye to hai zinda rama
ho rama
hoy
hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama
shakuni mama ye shakuni mama
hey hum paanch pandav ye shakuni mama
arre dekho
dekho
dekho mahabharat ka darama
hey hum paanch pandav ye shakuni mama
hum paanch pandav ye shakuni mama
ma ma ma ma ma
ma ma ga re sa
ma ma ma ma ma
pa ma ga re sa
sa re ga ma pa
ma ma ma ma
sa re ga ma pa
ma ma ma ma
ma ma ma ma
ma ma ma ma maaa
900


What is this blog all about

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

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

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

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Total number of songs posts discussed

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Movies with all their songs covered =1280
Total Number of movies covered=4510

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