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 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 :

4373 Post No. : 15712 Movie Count :

4331

Hullo Atuldom

I don’t remember when was the last birthday post that I wrote for the sweet, chulbuli, very bright, charming and ever smiling Neetu Singh who made her debut in Bollywood as Baby Sonia in the double role of twin sisters, in ‘Do Kaliyan’ (1968).

But my thoughts and appreciation about her are there in the post for the song “Phoolon Ki Duniya Se Taaron Ki Duniya Mein“.

In there I had mentioned that she had appeared in 2013 in a movie called ‘Besharam’ which was directed by Abhinav Kashyap. She played a constable of the Delhi Police going by the name ‘Bulbul Chautala’ who is shown assisting Inspector ‘Chulbul Chautala’ (Rishi Kapoor) in tracking down a car thief Babli (Ranbir Kapoor). I saw this movie recently and realized that I still adore this pyari jodi  who had been a craze till Neetu Singh got married and settled to look after her family.

Today’s song plays with the end credits of the movie and is sung by Mika Singh, Daler Mehndi and Sunidhi Chauhan where we have the young couple Rishi and Neetu dancing along with Ranbir and Pallavi Sharda. The song is written by Kumaar which is the mononym for Rakesh Kumar- a lyricist who has been active in Bollywood for a few years now. The music director is Lalit Pandit who used to form a team with his brother Jatin Pandit and gave us some chart-buster songs in movies like ‘Yes Boss’ (1997), ‘DDLJ’ (1995) etc.

The song has the evergreen pair shaking a leg to the beats of a very modern song which is neither a bhangra nor a disco. I must admit that it must have taken lots of guts to take to the dance floor after a gap of thirty years. The last movie where she had danced had come in 1983 ‘Ganga Meri Maa’ which if my guess is right would have been one that released long after it was completed.

Wishing this sweet charming and smiling on her 62nd birthday though I feel she may not celebrate this year. But I think we can still wish her health and happiness.

Song – Chal Hand Utha Ke Nachchen  (Besharam) (2013) Singer – Mika Singh, Daler Mehndi, Sunidhi Chauhan, Lyrics – Kumaar, MD – Lalit Pandit

Lyrics 

nau baj gaye 
hum saj gaye
do peg lagey angrei
ho nau baj gaye 
hum saj gaye 
do peg lagey angreji
jo chadh gayi 
to addh gayi
yeh cheez badi hai creji
aaja thumkon ki.. limit badha le
hain jeb mein jitne.. note udaa de
hum dheet hain jitne
sweet hain utne
to bachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen 
chal hand uthaa ke nachchen
tu hoga
bada hero 
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen 
chal hand uthaa ke nachchen

ab rukne ka time nahin hai
khul ke nachna crime nahin hai
mike pakad ke aaj macha de halla halla
ho o ab rukne ka time nahin hai
khul ke nachna crime nahi hai
mike pakad ke aaj machha de halla halla
dil vil apne phenk huye hain
rahu-ketu theek huye hain
pakad ke finger tu pehna de chhalla chhalla
nainon se zara tu
neat pila de
phir badan soniye
beat hila de
hum desi jitne dude bhi utne hain sachche
chal hand uthaa ke nachchen 
chal band bajaa ke nachchen
chal hand uthaa ke nachchen 
chal hand uthaa ke nachchen
tu hoga
bada hero 
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen 
chal hand uthaa ke nachchen

chal back hila ke
nachchen
chal taang utha ke
nachchen
chal aag laga ke
nachchen
chal feet badha ke
nachchen
chal pila pila ke
nachchen
chal hila hila ke
nachchen
oye fikr chhod ke sharam faad ke nachchen
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen 
chal hand uthaa ke nachchen

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

नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
हो नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
जो चढ़ गई
तो अढ़ गई
ये चीज़ बड़ी है क्रेजी
आजा ठुमकों की॰॰ लिमिट बढ़ा दे
हैं जेब मैं जीतने॰॰ नोट उड़ा दे
हम ढीठ हैं जीतने
स्वीट हैं उतने
तो बच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें

अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
हो ओ अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
दिल विल अपने फेंक हुये हैं
राहू केतू ठीक हुये हैं
पकड़ के फिंगर तू पहना दे छल्ला छल्ला
नैनों से ज़रा तू
नीट पिला दे
फिर बदन सोनिए
बीट हिला दे
हम देसी जीतने ड्यूड भी उतने हैं सच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें

चल बैक हिला के
नच्चें
चल टांग उठा के
नच्चें
चल आग लगा के
नच्चें
चल फीट बढ़ा के
नच्चें
चल पिला पिला के
नच्चें
चल हिला हिला के
नच्चें
ओय फिकर छोड़ के शरम फाड़ के नच्चें
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें


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 :

4364 Post No. : 15690 Movie Count :

4323

“Jaan e Bahaar”(1979) was produced by Prakash Agrawal and directed by Prakash Kapoor for Nav Chitra Bombay. This movie had Sachin,Sarika, Jagdeep,Paintal, Indrani Mukherjee, Pinchoo Kapoor, Madan Puri, Kanhaiya Lal, Lalita Pawar, Manju Bansal, Rajguru, Bhagwan Dada, Mushtaq merchant, Manhar Desai, Viju Khote, Renu, Ram Avtar, Bhagwan Sinha, Munshi Munnaka, Satyabhan Sinha, Pappu, Rasool, Sheikh, Ramesh Goel, Anu Dhavan, Sangeeta Bhosle, Deependra, Ashok.L.,Sattar Bhai, Manohar, Subhash Ohri, Baijnath, Masterjee, Ashat Kapoor, Vinod Sharma, B.C.Mahor, Sitaram, Aslam Khan, Satya Devi, Khushal, Raaj Anand, Rustum-e-Hind, Suresh Jain, Ashok Bhatia, with friendly appearances by Padma Khanna, Junior Mehmood, Asrani and Dheeraj Kumar.

Today (29 june 2020) is the 18th remembrance day of Gauhar Kanpuri.

I associate the name of Gauhar Kanpuri with the “Zakhmi”(1975) songs Abhi abhi thi dushmani and Jalta hai jiya mera. He also penned some other well known songs such as Jhoomta saawan dekho aaya (Do Khilaadi)(1976) , Allah karam karna Maula tu reham karna (Dada)(1978), Tumhe geeton mein dhaaloongaa (Saawan Ko Aane Do)(1979) etc. He continued to write lyrics for movies well into 1980 and even 1990s, but I remember him mostly for his songs of 1970s mentioned earlier.

As a tribute to Gauhar Kanpuri, here is the first (out of 5 songs) song from “Jaan e Bahaar”(1979). This song is sung by Rafi, Runa Laila and Anand Kumar Chitragupta. Gauhar Kanpuri is the lyricist. Music is composed by Bappi Lahiri. The song is picturised on Sachin, Sarika, Jagdeep and Kanhaiyalal. Sachin and Jagdeep share Rafi’s voice while Kaanhaiyalal lip syncs in Anand Kumar Chitragupta’s voice.

The picturisation is supposed to be a romantic cum comedy song, but I find the picturisation a big let down. Moviegoers of those days (inlcuding I myself) had wisely kept away from patronising this movie and the movie deservedly flopped at the box office.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Jaan e Bahaar”(1979) makes its debut in the blog.

Audio link:

Video link:

Song-Maar gayo re rasgulla ghumaaiy ke (Jaan e Bahaar)(1979) Singers-Rafi, Runa Laila, Anand Kumar Chitragupta, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Rafi + Runa Laila
Rafi + Anand Kumar Chitragupta
All

Lyrics(Provided by Prakashchandra)

hha hha hhhaa hhaa
hha hha hhhaa hhaa

maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey

hho maar gayo rey
hhaa maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey hey ehhey hey ehhey ehhey hey ae ae

suno dilrubaa
mujhe kya huaa
nashe mein khataa ho to
gusshaa na karnaa..aaa

suno to sanam
tumhein hai qasam
zamanaa buraa hai
tum aisshaa na karnaa
to phir main kya karoon dildaar
intezaar
hha maar gayo rey
hho maar gayo rey

rasgullaaa…aaaa…aaaa
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhey ehhey hhey ehhey hhey hey

na chaman mein aen
sukhoon miltaa hai
na veerane mein aen aen aen aen
chaain mil jaayega Baby tere
mil jaane mein aen

mere honewaale sasurjee
mehnat gayi bekaar
intezaar

hhey maar gayo rey
hhey maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hhey maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey
ehhey hhey ehhey ehhey hey

na gaane aaye hain
na bajaane aaye hain
yahaan apni bigdi banaane aaye hain
qawwali mein lorie sunaane aaye hain aen
muqaddar hai soyaa jagaane aaye hain
mere honewaale sasurjee
mehanat gayi bekaar
intezaar
ahha maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey

hho maar gayo rey
hhaa maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey ehhey hhey ehhey ehhey ehhey hey

rasgullaa
pehlaa doojaa
jo baapji ne maaraa to
seh gaye hain hum
rasgulla
prem bharaa
jo aap jee ne

jo aap jee ne
nahin nahin nahin nahin
jo aap jee maara to
reh gaye hain hum

to phir main kyaa karoon jaan-e-bahaar
pyaar
hho maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgullaa ghumaayike
maar gayo rey

hho maar gayo rey ehhy hhey ehhey ehhey ehhey hey ae
hho maar gayo rey ehhey ehhey ehhey ae ehhey hey ae
hho maar gayo rey he ehhey ehhey ehhey ehhey hey ae
hhaa maar gayo rey ehhey ehhey ehhey ehhey hey ae


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 :

4360 Post No. : 15683 Movie Count :

4321

There are a few dates that every Indian knows by heart. For instance. Independence day (15 august), Republic day (26 january) and Mahatma Gandhi birth anniversary (2 october). India observes official holidays on these days.

There are some more important days in the history of India and most of them have to do with birth / death anniversaries of eminent persons. These dates are mostly associated with Indian freedom struggle followed by birth pangs of Independence.

The newly independent India was a desperately poor, undernourised, illiterate nation, lying in utter disarray and confusion. There were a few famous foreigners who were convnced that India as a nation was going to be shortlived.

The first few decades of independent India were very difficult. Indians had low self esteem and they had little to show for at the world level in any sphere.

Sports was considered a luxury that the poor nation could not afford. It was popularly believed that one who studied moved ahead in life whereas one who devoted time to sports was a slacker who would be a failure in his future life. -“Padhoge likhoge banoge nawaab Kheloge koodoge hoge kharaab”- it was a very popular saying in Hindi. There is even a song in a Hindi movie containing his idiom.

India had very few sporting achievements. Indians celebrated those few and far between sporting achievements quite hard. India was a powerhouse in Hockey and they used to win gold medals in Olympics continuously till 1956 Olympics. After that they began to get challenged, first by newly independent Pakistan (who won the gold in 1960 Olympics defeating India) and then by Europe and the downfall of Indian hockey began. 1964 Olympics gold and 1975 World cup title were exceptions rather than rule. After 1975, India never won any major international Hockey tournament.

India was no good in any other sports.

Cricket was very popular in India though this popularity did not translate into excellence. Cricket was popular among the “middle” class Indians. Majority of Indians considered themselves as “Middle” class those days. The reason why cricket was popular among “middle” class public had to to with its dress. While one needed to wear shorts to play other games which was considered infra dig by “middle” class Indians, cricket was played while wearing full pants, and so one felt like a sahab rather than a lowly individual while playing cricket. It was a “saala main to saahab ban gaya” kind of feeling for Indians who took to cricket.

Till mid 1970s, longer version of cricket, played in white dress, was the only form of cricket. Despite the popularity of cricket in India, Indian cricketers, with some honourable exceptions, were by and large quite mediocre at international level. The top players of England would not even tour India, and that gave India the opportunity to defeat a depleted English team in 1951-52, which was the first test win for India in test cricket. For next two decades, Indian registered some infrequent test wins, mostly against weak and / or new comer teams, viz Pakistan and new Zealand.

1971 to 1973 was a surprising purple patch for India when they managed to win three test series in a row, against West Indies in 1971, against England in 1971, and in home series against England during 1972-73. But this freak run against depleted sides was too good to last and India got soundly thrashed in their next test series against England in England during 1974.

During that disastrous tour, India played two limited overs match against England and lost tamely.

The first Limited overs world cup was played in England in 1975. Indian public as well as cricketers had no clue about the rules of the game. That was demonstrated rather dramatically during the opening match of that world cup. England piled on 334/ 4 in 60 overs. India in reply, crawled to 132/ 3. Gavaskar, opening the innings, scored 36 runs and remained not out ! He was perhaps trying to play out the overs and draw the match ! The fact that playing out overs and not scoring runs did not avoid defeat, unlike in test matches was not known to many.

In that world cup, India lost every match, except one which they played against a rag tag team of expatriates who represented a team called “East Africa”. East Africa was a collection of club level players from various African nations. India was able to record their only victory of the world cup against this team.

India did even worse in the next world cup in 1979. this time they lost all the matches. Their most humiliating defeat was against Sri Lanka, who at that time were an associate team, they were not yet a test team.

When the third world cup was held in England in 1983, then it was being considered yet another cakewalk for West indies, who had won both the world cups and whose team boasted of strong batting line up and a fearsome pace bowling quartet. They were so strong that other teams would write off their chances against West Indies and would concentrate on winning other matches.

Indian public as well as players were sure that it would be yet another forgettable world cup for them. Some cricketers had already planned to go visit USA on a sight seeing tour after the group stage matches.

This world cup had two groups of four teams each. In each group, the teams played each other twice. The top two teams qualified for the semi finals.

The first group match that India played was against West Indies ! Because of rain interruptions, this match was played over two days. India batting first scored a so so total of 262/8. Yashpal Sharma, with 89 runs, held the innings together where the second highest score was only 36 runs by Sandip Patil. West Indies, after a decent start, suddenly had a middle order collapse against the dibbly dobbly military medium bowling attack of Sandhu, Madanlal and Roger Binny who claimed 5 wickets among themselves. At 130/8 , West Indies were in big trouble, but their tail then began to wag valiantly. Just when it appeared like the tail were taking West Indies to a famous fighting win, Ravi Shashtri struck to claim the two vital tailender wickets. West Indies were bowled out for 228 ! It was a major upset. It was the first ever world cup defeat for West Indies, It was the first ever win for India against a test side (only the second win for them in world cup).

The next match for India was against Zimbabwe, an associate team, and India won comfortably.

Then normal world cup service seemed to resume for India. They lost their next two matches tamely, by 162 runs (against Australia) and 66 runs (against West Indies).

After two wins and two losses, India played Zimbabwe again. While batting first, India were in dire straights at 17/5. Overconfidence by the entire batting line up plus good use of swinging and bouncy conditions by Zimbabwean bowlers had brought India on its knees. The entire top order, viz Gavaskar (0) , Srikkanth (0) , Mohinder Amarnath (5), Sandeep Patil (1) and Yashpal Sharma (9) were blown away. Only bowlers and wicktkeeper were left, who were not known for any great batting feats at international level.

Kapildev (the captain) and Roger Binny took the score to 77, when Binny fell for a gritty 22. Next man Shashtri fell for one, and India was 78/ 7 ! Next man in was Madanlal, he scored 17 and fell when the score was 140.

At 140/8, it appeared as if India was going to maintain its past record of losing to an associate team in the world cup. Incidentally, Zimbabwe had already defeated Australia in this world cup in their very first world cup match.

Kirmani, the wicket keeper was definitely the last hope because Sandhu after him was a perfect rabbit with the bat. Kirmani held his end intact and concentrated on protecting his wicket. He faced 56 balls and scored 24 not out.

All this while, Kapildev was going alone sedately. Coming in at 9/4, he saw off the rampaging opening bowers Rawson and Curran, who bowled bulk of their quota of overs in their opening spell.

After initial jitters, Kapildev began to open up. He had already reached into late 70s when the eighth wicket fell for 140. The eight batsmen who fell had contributed just 55 runs among themselves.

After the fall of eighth wicket, Kapildev started to throw his bat around. The boundary was short on one side and longer on the other, but most Kapildev sixes (six of them) were straight sixes over long on boundary where the boundary was long. Kapildev struck six sixes and 16 fours. When Rawson and Curran returned to finish off their balance quota of overs, they were pulverised, being struck at over ten runs per over.

Kapildev did not give any real chances. He chanced his arms and his hits fell on no man’s land. It was Kapildev’s day out on that day of 18 june 1983.

India reached a respectable looking 266/ 8, a total that looked impossible for most parts of the innings.

While chasing, Zimbabwe were off to a decent start. their first wicket fell at 44, but after that, Indian dibbly dobbly trundlers (Sandhu, Madanlal, Binny and Mohinder Amarnath) did all the damage, with Kapildev taking the final wicket. India had won by 31 runs. It was not a case of India getting out of jail, rather it was like India escaping from the gallows !

Suddenly, India, who looked like going home, were in the reckoning for a semi final spot. They were second in the group with 12 points behind West Indies. Final group match of India was with Australia who were third in the group with 8 points and they too had a chance to pip Indians to the post by defeating india by a decent margin and going through on equal points but better run rate.

This India vs Australia match was a virtual quarter final. India batting first scored what looked like a poorish total of 247 all out in 55. 5 overs.

While chasing, Australia lost their first wicket cheaply with the score on 3. It was the prized wicket of Trevor Chappel who was man of the match in their previous encounter in the tournament. But the second wicket began to score runs and started to look threatening. Just when I and my hostel mates began to despair, the second wicket fell at 46, then the third at 48, fourth at 52, fifth at 52, sixth at 67 etc etc. The trundling trio of Sandhu (2 wickets), Madanlal (4 wickets) and Binny (4 wickets) skittled Australia out for 129 and took India to semifinal. It was something that was looking out of question just two days back.

The day when India stormed into the semi final was 20 june 1983. I was in my hostel where it was a tradition that birthday boy of the day would treat entire hostel with Mithai. That day happened to be my birthday, and the mithai celebration turned out to be quite sweet and memorable for all concerned.

The memory of semi final was a blur. Most Indian wins (except one) came when India batted first. But this time India bowled first and restricted England to 213. India concentrated to keeping wickets in hand. India emerged a comfortable winner in the end in a chase that they executed well, though they gave anxious moments to Indian fans, apparently showing no urgency to score quickly in the middle overs.

Three matches in five days, and three wins. India were in the final of the world cup !

Three days later, it was another sunday. The date was 25 june 1983. The day of the final.

Those were the days when only Delhi and perhaps Bombay had TV. Most part of India only had Radio. Listening to cricket match commentary in a hostel with lots of like minded hostelmates was quite an experience. Everyone had radios, but majority of people would throng together to listen to the commentary on one single radio. If I recall correctly, that used to be the radio of a person who was a cricket enthusiast and claimed to be related to Sharmila Tagore based on the resemblance of his teeth with that of Sharmila Tagore. 🙂

We listened to the commentary of Indian batting, but there was not much to cheer about. India kept losing wickets at regular intervals and India was bowled out for a paltry 183. Chasing 183 was no big deal for West Indies. They were set a similar target in the semifinal against Pakistan and they had romped home with ease, winning by eight wickets with 11.2 overs to spare.

The innings break coincided with our dinner break in the hostel. After dinner, people would traditionally go on an after dinner walk towards the golf course located in front of the hostel some half a km away. West Indies innings had started by then. India claimed an early wicket, but that only brought Viv Richards to the crease. He was going hammer and tongs at the Indian bowling. All of us were reconciled to the fact that it was going to be a one sided match, with west indies winning comfortably.

Then, against the run of play, we gathered that a wicket had fallen, and it was the wicket of Richards ! A big sigh of relief. But West Indies was not a one batsman team. they has a long and strong batting line up. Even their wicket keeper and tailenders could score runs. Moreover he target was not much. A few hefty blows from some batsman, and the match would be decided.

While listening to the commentary, more in hope than real expectation, we found the fourth and fifth wickets falling at the same score, and the wickets were that of Larry Gomes and Clive Lloyd. At 76/6 , Bacchus, another thorn in Indian flesh was gone. Both of the had scored big double centuries against india in India.

Dujon and Marshal gave anxious moments to Indian bowlers. Then Dujon fell to Mohinder Amarnath . 119 for 7 ! Then 8 for 124. Marshal gone, he too to Mohinder Amarnath.

Finally, West Indies resistance came to an end at 140. A 43 run victory for India. So the world had a new champion, an out rightly unexpected champion. If West Indies was to be dethroned, one would expect any team other than India to achieve it. But it turns out that it was the Indian David that slayed the West Indian Goliath.

West Indies had won the earlier two world cups. Their title wins did nothing much for world cricket. But this unexpected fluke win of India against all odds changed the game of cricket ! Indian interest in the game suddenly moved on to the next higher gear. So much so that Indians began to invest far more in cricket. The Indian industry, far smaller and modest then than what it is now, began to take much more interest in cricket. So much so that the world cup which was always held in England and always sponsored by Prudential Bank of England,, was held the next time in Indian subcontinent. This time it was sponsored by an up and coming Indian business house called Reliance ! In 1983, India was considered an also ran, but by 1987, India was a strong title contender ! It is another matter than India lost in the semifinal itself.

1983 win was a fluke no doubt. But he future results showed that Indian cricket had arrived at world stage after this fluke world cup win. Two years later, there was a World Championship of cricket in Australia. India, because of its defeat at home to England in 1984-85 was being considered as a no hoper. Kapildev, the world cup winner in 1983, had lost his captaincy and Gavaskar was made the captain for this WCC. Once again, defying all predictions, India won all their matches, remained undefeated and lifted the WCC title. So it was like Fluke title won 1983 was followed by its sequel, fluke title win II ! Later there would be some ODI tournament wins for India. India began to be counted among favourites in all subsequent world cups.

That is not all. Indians began to take interest in running the administration of ICC (international cricket council) which was till then a preserve of British stiff upper lip Lords who were running it in a manner that was hardly helping popularise the game. Indian businessman, such as Jagmohan Dalmia, took over the running of ICC, and improved the financial condition of ICC beyond all recognition. Today ICC is one of the richest sporting body. It is richer than most sporting bodies where Indians do not take interest. For instance, Rugby is a sport in which cricket playing nations like England, Australia and New Zealand take interest, but India does not. Resul ! International body of Rugby earns far less than ICC.

Much of ICC riches (around 70 % of it) today comes from India. That is how much money Indian market contributes to world cricket. It is this Indian market that has made BCCI one of the richest sporting body of a cuntry, richer than ICC in fact. Seeds of all these giant Oak trees were sown on this day 37 years ago, thanks to that miraculous fluke title win on 25 june 1983 !

25 june 1983 gave Indians immense self confidence that they too can do it. And as mentioned above, they used this win to advance their cricket. Cricket academies sprung up all over India, and some of them were by private companies. For instance, a pace academy came up in Madras, called MRF pace academy. Fans of other countries mocked it, but if today Indian pace attack is considered one of the best pace attacks, then remember, it is the result of three decades of investment on training of pace bowlers in different academies spread all over India. And that started only after this great fluke event that took place on 25 june 198.

This win inspired not just India, but its neighbours too, who may not admit it openly but they look up to India and get inspired. Interest in cricket picked up in these nations too. Pakistan won the world cup in 1992 and Sri Lanka announced its arrival in cricket scene by unexpectedly winning the world cup in 1996. Three world cup title wins out of four between 1983 and 1996 ! All this was made possible because of that first title win in 1983 ! Even Bangladesh became a cricket crazy nation and started to play international cricket from 2000.

Other sports too benefited in India. Indian Sportsmen in other sports too began to have more self belief. One great example is that of Indian chess. Just like India was supposedly considered incapable to producing fast bowlers till 1970s, India was also considerd incapable of producing Chess grandmasters. Those days, India had just two international masters, that was all. AICF (All India Chess Federation) began to invest more in organising chess tournaments inviting strong chess players from abroad. India saw its first Grand master in 1987 in the form of Vishwanathan Anand in 1987. Later on, he became World Champon as well. He inspired whole lot of Indians to take up Chess. Today India has some 60 off Chess Grandmasters and based on average ELO raking of the top ten chess players in the world, India is among top four strongest chess playing nation in the world !

Likewise one can add the example of Indian Badminton too.

To mark this major major achievement of Indian sport in general and Indian cricket inparticular, here is a cricket song from “Ferrari Ki Sawaari”(2012). This film was produced by Vidhu Vinod Chopra and directed by Rajesh Mapuskar for ‘Vinod Chopra films’. This movie had Sharman Joshi, Boman Irani, Ritvik Sahore, Seema Pahwa, Aakash Dabhade, Deepak Shirke, Paresh Rawal, Satyadeep Mishra, Achyut Potdar, Bhalchandra Kadam, Vijay Nikam, Nilesh Diwekar and others, with a special appearance by Vidhya Balan.

Lyrics of this song were sent to me by Avinash Scrapwala. He not only discovered this cricket song, he sent its lyrics to me specially tomark the occasion of Indian world cup win on 25 june 1983 ! He certainly keeps an eagle eye on important days in the annals of Indian history !

The song is sung by Sonu Nigam, Aishwarya Nigam, Rana Mujumdar and Ashish. Satyanshu Singh is the lyricist. Music is composed by Preetam. Video is partial. One needs to listen to the audio to savour the full song.

Here it is ! Let us once again savour the great moment in the history of India that took place this day 37 years ago.

Video (Partial)

Audio (Full)

Song-Maara re sixer maara re four (Ferrari Ki Sawaari)(2012) Singers-Sonu Nigam, Aishwarya Nigam, Rana Mujumdar, Ashish, Lyrics – Satyanshu Singh, Music– Pritam

Lyrics(Provided by Avinash Scrapwala)(audio version)

hey maaraa
hey maaraa
hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

hey maaraa
hey maaraa
hey maaraa
hey maaraa aa

aa haa
o ho
ae ae ae ae …
aa haa
o ho

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
arey public to public hai
run maange more
more
more
more
more
more ……
ye maaraa
hey maaraa
o maaraa
hey maaraa aa
aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae
umpire ke haath thhakne lage hain
fielder bhi saare tapakne lage hain
hook maar aisaa tu oo
hook maar aisaa tu
rocket ke jaisaa tu
bouncer pahunchaa de Laahore
o…… r…e

more
more
more
more ….
hey maaraa
hey maaraa
hey maaraa
o maaraa
hey maaraa aa

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
public to public hai
run maange more
more
more
more
more
more …..

aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae

ham sab ki aankhen tujhpe lagi hain
har dil mein phir se ummeeden jagi hai
public hai sang tere ae
oye oye oye oye ae
public hai sang tere ae
barsaa de rang tere
dikhlaa de balle ka zor
more
more
more
more ……

hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

maaraa re sixer
maaraa re four
are dekho dekho
dekho to dekho to
apnaa ye score

maaraa maara re sixer
maaraa maara re four
are dekho to dekho to
apnaa ye score
maaraa maaraa maaraa sixer
maaraa maaraa maaraa four
dekho to dekho to
apnaa ye score
aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae

——————————-
Lyrics(Provided by Avinash Scrapwala)(video short version)
——————————-
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

hey maaraa
hey maaraa aa

aa haa
o ho
hey ae ae ae

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
public to public hai
run maange more
more
more
more
more
more …..
hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa aa

aa haa
o ho
hey ae ae ae

ham sab ki aankhen tujhpe lagi hain
har dil mein phir se ummeeden jagi hai
public hai sang tere ae
oye oye oye oye ae
public hai sang tere ae
barsaa de rang tere
dikhlaa de balle ka zor
more
more
more
more ……

hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa aa


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

Blog Day :

4355 Post No. : 15675 Movie Count :

4318

Hullo Atuldom

In one of his recent posts our Avinash ji has suggested that there should be a category of posts – ‘Post inspired by fellow Atulite’ or ‘Post inspired by Atulite WA group chat’. I would like to borrow a phrase from Sudhir ji ‘thank you for the nudge’ and direct it towards Avinash ji. If not for Avinash ji I would have written this post a month later. Don’t know how I mixed up dates. And there have been posts wherein Atul ji has credited me with being good at remembering dates. It is not so Atul ji, calendars also need reminders.

I am 100% sure that the followers of this blog and non-followers too will be aware of a movie that released in the 70s. 1975 to be exact. It went by the name ‘Sholay’. It was a multi-star-cast movie that ran for years in a single cinema hall in Mumbai. This blog has already covered each and every song possible from that movie with detailed posts accompanying them. I am sure, the readers are wondering, why I am revisiting the movie then? Well ‘Sholay’ is something like an ‘Amar Akbar Anthony’ (1977) or any other formula movie. ‘AAA’ had a lost-and-found formula which was repeated in many movies after it. ‘AAA’ itself was a copy of numerous movies preceding it with the lost-and-found theme. It can be safely said that Indian movies thrive as much on the stories of the Ramayan and Mahabharata as they do on the lost-and-found theme.

So, where does ‘Sholay’ fit, in the scheme of things? Well, the ‘Thakur-Dacoit-Hired help’ formula has been repeated in a few movies too. Personally I have seen three movies on that story-line, there may be more. Two of them had a female for Thakur. That is, someone out to avenge the injustice meted out to her assisted by guys – ladies were SUPPOSED to be naajuk, bebas, etc. and a widow to add masala to the story. I am sure a woman of the new millennium will protest at the description of bebas, naajuk – even I will protest. There were Basanti and Radha as love interests in ‘Sholay’ – all the remakes also had ladies to distract the Veeru and Jai of the remakes.

Yesterday I saw ‘Army’ which had released on 28th June 1996 i.e. exactly 8 days short of 24 years ago. It was directed by Raam Shetty, produced by Nitin Manmohan and Mukul Anand and had music by Anand Milind. This is one of the ‘Sholay’ remakes that I spoke of in the previous paragraph. It has Sridevi playing a pregnant widow out to avenge her husband’s death for which she takes the help of five prisoners who are on the death-row. I hope the ‘Sholay’-connect has been explained. Explaining further- there it is two prisoners, here it is five. There the prisoners escape hoodwinking the ‘Angrezon ke zaamane ka Jailor‘; here Sridevi helps the prisoners get out of prison using sleep-inducing sweets. In ‘Sholay’; the thakur’s house was on a hillock overlooking the village, even that was replicated in ‘Army’. The prisoner’s are holed up in a secluded house that overlooks the area adjoining the palace of Sridevi’s tormentor. This was then the background of the movie from which I am presenting a song to our today’s birthday boy.

Coming back to the thoughts expressed in the opening paragraph, I asked Avinash ji if he was aware of the favourites of our today’s birthday boy. Favourite actor, singer, music director etc. Both of us thought hard and found that we don’t know much about his favourites but he knows all of us fairly well. What I do know, he has a ‘more than’ good knowledge about cricket and movies. He loves his pets and they are the family that live with him as his wife is working in a different town and daughter is a student elsewhere. Of late I have discovered that he has a love for the progresses that the country has made in the various sectors post the ’98 Pokharan tests. He is proud to be employed in the biggest service provider of the nation.

In addition to all that he has a unique sense of humor, which surfaces often on the blog in his posts and is given the title “Atulism” by our very own Rajaji.

Its is the birthday of the brain behind this blog, our Ranchiwala Gaanewala (Sudhir ji’s title for him). Wish you a very Happy Birthday Atul ji from your Army of contributors. We wish you all the best with lots of fun and music.

Today’s song is a lively song where the prisoners are having a party-like song and dance before escaping from the prison. It is sung by Alka Yagnik, Abhijeet and Vinod rathod. The two male singers are playback for Ravi Kishan. Ronit Roy, Sudesh Berry, Mohnish Behl and Harish who feed the jailor Kiran Kumar a laddo during the song and the favour is returned by the jailor. So when the song ends the rest of Sridevi’s Army have to bodily carry him out of the prison. It was an entertaining movie but becomes too violent towards the end. Whatever gory violence was snipped out of ‘Sholay’ found itself here.

Once again wishing our leader Atul ji a very Happy Birthday

Song – De Taali, De De De De Taali  (Army) (1996) Singer – Alka Yagnik, Abhijeet, Vinod Rathod, Lyrics – Sameer, MD – Anand Milind
Chorus

Lyrics 

hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho
hae haa ho

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharabaa yahaan nahin
khoon kharaba yahaan nahin
kehne wale jail kahein
par yahaan badi khush haali
de taali de de de de taali
de taali de de de de taali

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharaba yahan nahin
khoon kharaba yahan nahin
kehne wale jail kahein
par yahan badi khush haali
de taali de de de de taali
de taali de de de de taali

aaaa aaaa aaaa

hansi udaaye yaar hamaari
baat koi na maane
hum kaise andar aayein hain
koi bhi na jaane
baahar jeena hai to yaaro paisa chaahiye
khaana peena hai to yaaro paisa chaahiye
naukri maangoon to sarkaar paisa maange
khaali ghoomoon to dost yaar paisa maange
taxi chalaoon hawaldaar paisa maange
ghar jo jaoon to parivaar paisa maange
kisi bank mein mera koi khata nahin
koi fokat mein khaana khilaata nahin
apna to yeh kehna hai
humko andar rehna hai
apna toh yeh kehna hai
humko andar rehna hai
yahan toh apni zindagi hai tension se khaali
de taali de de de de taali
de taali de de de de taali
hae haa ho
hae haa ho

bina degree ke kaam yahaan sab ko mile
kaam karte hi daam yahaan sab ko mile
yahaan time se roti sab ko mile
dal chaawal boti sab ko mile
bina bhaade ke kholi sab ko mile
arre yaar humjoli sab ko mile

haan haa haa haaa
hoo hoo oo
aaj ka din bhi achha din hai
sundar bada muhoorat hai
tum jaise logon ki pyaare
baahar bahut zaroorat hai
baahar jao
jaa ke duniya walon ko samjhao
subah shaam marne waalon ko tum jeena sikhlaao
jo bhi baahar jayega woh jeevan bhar pachhtayega
jo bhi baahar jaayega
woh jeevan bhar pachhtayega
baahar jaake milegi humko nafrat gurbat gaali
de taali de de de de taali
de taali de de de de taali

chaudi chaudi sadak nahin
koi tadak ya bhadak nahin
oonche oonche ghar nahin
lafda jhagda darr nahin
shor sharaba yahaan nahin
khoon kharaba yahaan nahin
kehne wale jail kahein
par yahaan badi khush haali
de taali de de de de taali
de taali de de de de taali
hae haa ho
hae haa ho
hae haa ho
hae haa ho


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4346 Post No. : 15656 Movie Count :

4311

So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“,  ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.

According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.

Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.

After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms.  She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.

After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.

With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.

The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:

Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.

Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.

Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.

After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village  with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.

After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.

In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.

At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.

The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.

Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.

From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.

The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.

The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations  in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.

Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors  According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.

The song is picturised in a gala where about 40 mill workers stay. Except for about  10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.

This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.

Acknowledgements:

Some of the information about the background for making the film ‘Disha’ (1990) is based on

  1. An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus

Lyrics

dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham

arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai 
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
 
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
 
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
 
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam


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

Blog Day: 4338 Post No.: 15636

Today’s song is from film Raaj Tilak-1958.

This was a S.S.Vasan film from his Gemini Pictures, Madras. Film Raaj Tilak was a remake of the original popular film in Tamil-“Vanji Kottai Valiban”( The youth from Vanji Fort). It was loosely based on the famous adventure novel, “The Count of Monte Cristo”, written by Alexander Dumas and first published in 1844. Its Telugu version was titled “Vijay Kota Veerudu”and the Hindi version was Raaj Tilak.

AVM and Gemini, the two giants from Madras were keen on making Bi-Lingual (Tamil-Hindi/Tamil-Telugu,Telugu-Hindi) or Tri-lingual (Tamil-Telugu-Hindi) films to capture all the three big markets. Southern bosses took pleasure in engaging artistes from Bombay and in return Bombay artistes were happy to work in southern films, because they were disciplined, punctual and worked methodically. Their payments, staying arrangements and the treatment to Hindi artistes was very satisfying.

From the time Vasan’s multilingual Blockbuster, Chandralekha’s success in 1948, it dawned on south producers that a huge market in Hindi belt was available for their successful south films. One after another hit films started from South, like Nishan-49, Mangala-50,Bahar-51, Mr. Sampat-52, Miss Mary-57, Asha-57 and such other films, which were either remakes of Tamil/Telugu hit films or films made in Madras.

During this period, C Ramchandra and his songs were very popular in south. At the same time, his favourite Lyricist Rajendra krishna also had a great demand in south. Rajendra Krishna worked for both AVM and Gemini films. Vasan wanted that Rajendra krishna should work only for Gemini and not AVM. However, Rajendra Krishna continued working for AVM, so Vasan decided not to take Rajendra krishna for Gemini films anymore.

In 1957, AVM’s film Bhabhi became a Hit film. Rajendra krishna had written all the songs for Bhabhi. In 1958, when Vasan Planned to make Raaj Tilak in Hindi and its Tamil and Telugu versions, at the same time, he selected C Ramchandra as its Music Director. That time C Ramchandra was working for film Amardeep-58 in Bombay and Rajendra krishna was the Lyricist. C Ramchandra knew that Vasan will not take Rajendra krishna as a Lyricist for Gemini films anymore. At that time only, P L Santoshi met C Ramchandra. He had fallen on bad days and requested C Ramchandra for his help.

With consideration for past successful association with Santoshi, C Ramchandra recommended Santoshi’s name to Vasan. He also agreed. When Rajendra Krishna came to know this, he did not like it and he severed ties with C Ramchandra. The two never worked together again. The year 1958 was not a good year for C Ramchandra anyway. Lata had given indications that after Raaj Tilak, she would not sing for C Ramchandra. She did only one solo and one duet in this film. After Rajendra krishna split with C Ramchandra, he started recommending Chitragupta, Madan Mohan and others to South producers. C Ramchnadra stopped getting their offers. In addition film Raaj Tilak also did not do so well.

The cast of film Raaj Tilak-58 was Vaijayanti Mala, Padmini, Gemini Ganeshan, Pran, Jagirdar, Bipin Gupta, Lalita Pawar, Durga Khote etc etc. Gemini Ganeshan (17-11-1920 to 22-3-2005), better known in Hindi belt as actress Rekha’s father, started his Hindi films with Devta-56. Then came Miss Mary-57 and his third film was Raaj Tilak-58. He acted in 24 Hindi films. His last film was Allauddin and wonderful Lamp-82. After his death in 2005, two films were released in 2009, namely Shivdoot and Devi Saraswati, both dubbed films.

When I saw actor Pran’s name in the cast of this film, I remembered that Pran had also acted in another same titled film Raaj Tilak-84, featuring Dharmendra, Hema etc. Pran’s first Hindi film – as a Hero – was Khandan-42 in Lahore. he again acted in another same name film Khandan-in 1965. In the 42 film he was the Hero, but in the 1965 film he was a Villain. He did exactly opposite in another same name film. In film Aan Baan-56 ( Ajit-N.Jaywant), he was a Villain, but in the 1972 film Aan Baan (Rajendra kumar-Rakhi) he did a benevolent person’s sober role in this film ! Pran acted as a Villain in film Chingari-55(Shekhar-N.Jayawant) and also in film Chingari-89 (Sanjay Khan-Leena Cghandavarkar).

Pran did role in many remakes of his films. When he came to Bombay from Lahore in 1948, he got roles in films Grihasthi, Ziddi and Chunaria. In 1948, two of his Lahore made films – Birhan and Barsat ki ek raat – released in India. In both these films, he was the Hero, but in India, he started as a villain in his first 3 films. Kishore Sahu remade film Grihasthi-48 as Film “Ghar Basaa ke Dekho”-1963. In this film Pran did the same role as in the 48 film. Comedian Gope had made a film “Malkin” in 1951 (Gope and Yakub). His brother Ram Kamlani remade this film as “Biradari’ in 1966 (Mehmood and Kanhaiyalal). Pran was villain in both the films.

In his 66 years of career, Pran did variety of roles. Besides acting in remakes and same title films, he also worked in 2-3 generations of actor families. In film Rajkumar-1964, he worked with Prithviraj Kapoor. With Raj Kapoor, he did films like Aah, Chori chori, Jis desh mein Ganga behti hai etc etc. He worked with Shammi Kapoor and Shashi Kapoor also. In 1973, he worked in film Rikshawala, with Randhir Kapoor and in film Bobby, with Rishi Kapoor. Thus he worked in 3 generations of Kapoor family.

Pran worked with Naseem Bano in film Sindbad the sailor-52 and worked in many films with Saira Bano-her daughter. He worked with Mumtaz Ali and Mehmood. Pran acted with Sunil Dutt and Sanjay Dutt. He also worked with Dharmendra and Sunny Deol.

There was no other actor like him in Hindi film industry ever again.

Coming back to film Raaj Tilak-58, the story of the film was….

The loyal Diwan of the kingdom accuses the Senapathi to have planned the killing of the young prince. The king ,as a punishment banishes him to another country, but Senapati hides in the kingdom itself. One day he kills the king and becomes the ruler. Before dying, the king asks his loyal Diwan to save the prince and the princess. Diwan takes them and runs away, leaving his own wife and children.

Senapati captures Diwan’s wife, keeps her in prison on an island and leaves his son and daughter in the flowing river. Some kind person saves the children and they grow up as Chander ( G.Ganesan) and sister Gowri ( Vijaya kumari). Senapati comes to know about them and abducts Gowri and arrests Chander and keeps him in a prison on the same island as his mother. Gowri dies while attempting to run away.

Chander meets his mother and learns everything. He vows to kill the Senapathi. He tries to escape from the island with his mother, but mother dies on way and Chander is thrown into the raging sea. He survives and reaches Ratna island. The Rajkumari Mandakini of Ratna island loves him. He narrates every thing to her and she allows him to go his kingdom to kill Senapathi. He comes to the kingdom where he meets his father and also princes Padma who loves him. Meanwhile Mandakini also reaches the kingdom. Padma and Mandakini meet and Padma allows them their love, sacrificing her love.

However during the final battle, in an attempt to save Chander, Mandakini dies. Senapathi is killed and peace returns to kingdom. Padma and Chandar marry and he gets the Raj Tilak !

Today’s song from film Raaj Tilak-58 is sung by Asha, Rafi, Vinod and chorus. In the video, one can see Agha, Jagirdar, Shammi and Padmini. This will be the 4th song from this film to feature here.


Song-Chalna sambha sambhal ke jee (Raaj Tilak)(1958) Singers-Rafi, Asha Bhonsle, Vinod, Lyrics-P L Santoshi, MD-C Ramchandra
All

Lyrics

ha ha
sambhal ke bhai
chalna sambhal ke ji sambhal sambhal ke chalna
chalna sambhal ke ji sambhal sambhal ke chalna
ho o raahi ho
ho o raahi ho
chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

ho gaadi waale
dekh gali ke khadke gaali re chalaaye
naazuk naazuk dil hai mera
gachke na khaaye
piya gachke na khaaye

atak datak kyun tu bole
ye to meethhe methhe hichkole laage halke halke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

manzil hai kitni door oor
manzil hai kitni door
jaanoon na haaye re ae
soch ke yahi mera aa aa
jiya ghabraaye re
jiya ghabraaye re
hone aayi shaam
hone aayi shaam
ek na taara jhhalke

hoy chalna sambhal sambhal ke ji chalna sambhal ke

meelon ki koson ki tu dekh na doori
tu dekh na doori
man mein jo aasha teri hogi wo poori
hogi wo poori
sooraj niklega phir
ek baar dhhal ke

hoy chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

hoshiyaar
khabardaar


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

Blog Day :

4329 Post No. : 15622 Movie Count :

4303

Hullo Atuldom

This is an attempt to remember two legends of Bollywood with one post.

On reviewing the “anniversaries page” of the blog I found an opportunity to introduce the qawwali song from a 1982 released (exact date being 27/05/1982 meaning the movie is 38 years old), Raj Kumar Kohli produced and directed, multi starrer “Badle Ki Aag” (Flames of Revenge).

The recent stay-at-home gave me the time to sit through this movie. It is a very typical, simple, regular story with a slight twist.

There is a family of father (Kadar Khan), mother (Nirupa Roy), two sons and a daughter. The father in his greed for wealth wipes out his partner’s family but the children of this family escape the mass-murder. Nirupa Roy gets separated from her sons in the course of walking out on her cruel greedy husband. She has her daughter with her. The sons grow up to be dacoits Shera (Dharmendra) and Lakhan (Sunil Dutt) and daughter (Sarika) an aspiring lawyer whose education is funded by Lakhan who has kept in touch with the mother and sister. Lakhan is a do-gooder daku where as Shera is ruthless.

Meanwhile the daughter (Reena Roy) of the affected family has been brought up in a kotha and nurses a desire to revenge her families misfortune. Her brother (Rajeev Anand who was seen in about 5 movies after which he turned producer) grows up to be a cop. There is one more important character in the whole setup- Inspector Amar Verma (Jeetendra) who is the son of Mohanlal Verma (Madan Puri) who is constantly tormented by Shera and Lakhan. Now here is the promised twist- at different times Geeta (Reena Roy) the dancer has had interaction with the three heroes and all of them have developed feelings for her. But she loves the Inspector who has seen her at different times with the other two and misunderstands her. Isn’t that a different kind of love-story. Here I should mention the existence of Bijli (Smita Patil) who loves Shera. Hope the readers have got confused about the very regular story that this movie had. The movie was a success at the Box-Office what with so many stars.

Today’s songs has the three heroes disguised as Qawwals at Janakidas’s son’s wedding. We have Smita Patil dancing around. Here I must admit that this post reminded me of this Qawwali sung by Kishore Kumar, Mahendra Kapoor and Suresh Wadkar. It had music by Laxmikant- Pyarelal and had lyrics by Verma Malik.

Small thoughts after seeing the song on repeat for writing this post- (1) Sunil Dutt and Jeetendra are jumping around and Dharmendra stays put on his mat. (2) Looks like this is the only time when Smita Patil has shared screen time with Jeetendra.

With this song we remember Sunil Dutt and Laxmikant Shantaram Kudalkar on their anniversaries.

Video

Audio

Song-Main jis mehfil mein aata hoon (Badle Ki Aag)(1982) singers-Kishore Kumar, Mahendra Kapoor, Suresh Wadkar, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
All

Lyrics

ho ho ho
ho o ho
ho ho ho ho
ho o ho
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
aata hoon aata hoon aata hoon
jo chaahta hoon
le jaata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main woh bala hoon
main woh bala hoon
jis se khudaayi darr gayi
main woh bala hoon
jis se khudaayi darr gayi
maut se takkar huyi toh maut tauba kar gayi
tauba tauba tauba
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

duniya ka iss mutthi mein aaghaaz hai anjaam hai
duniya ka iss mutthi mein aaghaaz hai anjaam hai
aur khuda ke baad har ek
leta mera naam hai
naam hai naam hai
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main kya hoooon
main kya hoon
aur kaun hoon tum jaante nahin
main kya hoon aur kaun hoon
tum jaante nahin
donon ka malkul(?) maut hoon pehchaante nahin
main maut se bhi lad jaata hoon

main maut se bhi lad jata hoon
main maut se bhi lad jsata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

main woh azeem hasti hoon
jise waqt na mita sake
arre main woh azeem hasti hoon
jise waqt na mita sake
na aandhi hi uda sake
na shola hi jalaa sake

bandook se jo baat kare
main us nasal ka khoon hoon
jo dushmanon ko kuchal de
main aisa ek janoon hoon
zaalimon aur baaghiyon qaatil luteron ke liye ae
zaalimon aur baaghiyon qaatil luteron ke liye ae
main khud hi toh insaaf hoon
main khud hi ek kaanoon hoon
kanoon se main takraata hoon

kanoon se main takraata hoon
kanoon se main takrata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

zulm hoon aur andher hoon main haan
aur jangal ka sher hoon main haan
ser pe sawa ser hoon main haan haan
tujh mein itna josh nahin
arre tujh ko apna hosh nahin
main bhi toh khaamosh nahin
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
haan haan haan haan
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 :

4306 Post No. : 15578

Another wonderful discovery, another song that I had never heard before. The film is ‘Zindagi’ from 1956. The music composition is by Mohammed Shafi.

Mohammed Shafi is the name I was trying to get to also, on 30th April, which is the remembrance day for him. After getting the post in place for C Arjun that evening, I was not able to pull together this post, for remembering Mohammed Shafi Sb.

Once again, another very talented music director about whom, not much information is available. After much searching, I am able to locate a very brief article by a gentleman named Qaseem Abbaasi on the web site ‘Apnaarchives.org’. I am including some details from that article in this post.

He was born sometimes in 1920s. His father’s name was Majid Khan, who passed away when Shafi was very young. Majid Khan was the grandson of the renowned beenkar Bande Ali Khan. Bande Ali was also a master of swar-pradhan gayaki and was the brother of Abdul Karim Khan Sb’s father. As I searched for more details about Bande Ali Khan, I reached the website Swarganga Music Foundation, and a somewhat detailed article on Bande Ali Khan. Browsing through this article, I discover that one of the more famous disciples of Bande Ali Khan is Imdaad Khan of Etawah, who is none other than the grandfather of Ustad Vilayat Khan (28 Aug, 1928 – 13 Mar, 2004), the renowned Sitar maestro of India.

A little clue about his early years can be surmised from a family connection that is mentioned. Mohammed Shafi’s wife, Zeenat, was the sister of Ustad Vilayat Khan. Vilayat Khan Sb’s family came originally from Etawah (close to Agra in UP). Apparently, Vilayat Khan Sb’s grandfather, Imdaad Khan, moved from Etawah to Gouripur in Mymenshingh district in undivided Bengal (now in Bangladesh). Vilayat Khan Sb was born in Gouripur. Sitar and classical music was a family tradition with them, and the family and their music tradition is known as Etawah gharana.

It can be surmised that Mohammed Shafi Sb was also based in Bengal in his early years. One, being married to the sister of Ustad Vilayat Khan, a family based in Mymensingh at that time. Second, Mohammed Shafi started his career at New Theatres, Calcutta (now Kolkata), working as a musician and assisting RC Boral, Pankaj Mullick and KC Dey. It is suggested that he contributed as a musician to films like ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940).

In early 1940s, along with the migration of many artists from Calcutta to Bombay (now Mumbai), Mohammed Shafi also moved to Bombay. Although not listed in Geet Kosh, Qaseem Abbaasi Sb has written that he assisted music director Bashir Dehlavi in the 1942 film ‘Ujaala’. In this film, Prithviraj Kapoor played the role of a sitar player, and apparently, some special pieces were composed by Mohammed Shafi for this film.

Later on, he had a long association with Naushad as an assistant music director. For the film ‘Mughal e Azam’, the sitar pieces were prepared/played by both Abdul Haleem Jafar Khan Sb and Mohammed Shafi. It’s said that K Asif used to send a car to pick both of them for playing Sitar for the background music.

He got his first break as independent music director 1946 with the film ‘Haqdaar’. He continued to work till mid 1970s, but has only about 22 24 films to his credit. The number maybe 23, if we consider ‘Badi Maa’ (1974) as a re-release of ‘Tanhaai’ (1961). In parallel, he continued to assist many directors as a musician and music arranger.  Following is the list of films for which has composed music,

  • 1946  Haqdaar
  • 1946  Kaango
  • 1947  Do Naina
  • 1947  Rishta (unreleased)
  • 1947  Shikaarpuri
  • 1949  Anokhi Sewa – along with Dhoomi Khan
  • 1949  Bedard – along with BN Bali and Ram Prasad
  • 1949  Gharaana
  • 1951  Hulchul – along with Sajjad Hussain
  • 1952  Annadaata
  • 1952  Krishna Kanhaiya – along with BS Kalla
  • 1953  Aabshaar – along with Ghulam Haider & Bhola Shreshtha
  • 1953  Daara
  • 1954  Baazooband
  • 1954  Mangu – 2 songs, rest by OP Nayyar
  • 1956  Zindagi
  • 1960  Mohabbat Ki Jeet
  • 1960  Shriman Balasaheb (Marathi)
  • 1961  Tanhaai – later released as Badi Maa in 1974
  • 1965  Kite Fight (Wo Kata)
  • 1967  Shrimant Mehuna Pahije (Marathi)
  • 1971  Iraada – along with Vitthal-Mumtaz
  • 1974  Bari Maa – same as Tanhai (1961)
  • 1975  Dayaar-e-Madina

To his credit – Suman Hemadi Kalyanpur sang her debut song in the film ‘Mangu’ (1954), a wonderfully soft lorie “Koi Pukaare Dheere Se Tujhe” under his music direction. And again, singer Hemlata made her debut under his music direction in the film ‘Iraada’ (1971) – the songs “Main Ankahi Kahaani, Sadiyon Ki Hoon Nishaani” and “Main Jaan Ke Badle Mein Le Loongi Dhadakta Dil”.

A connected piece of information is that he also gave music under different names – Shafi M Nagri / Shafi Nagri / Shafi. All the films that he composed under these pseudonyms are stunt / fantasy type films. The list is,

  • 1953  Shamsheerbaaz
  • 1954  Sher Dil
  • 1955  Carnival Queen
  • 1956  Baghdad Ka Jaadu
  • 1957  Diler Daaku
  • 1959  Chini Jaadugar
  • 1959  Circus Queen
  • 1966  Tarzan Aur Jaadui Chirag – along with Shaukat

[Author’s Note: The name Shaukat for the above listed film ‘Tarzan Aur Jaadui Chirag’ (1966) is most probably Shaukat Dehlavi.]
[Author’s Note: I thank dear Arun ji. His comment on two missing films by Mohammad Shafi prompted me to re check and update the list of films above.]

Adding the above listed eight films, the total films by Mohammad Shafi comes to 32.

In the latter half of 1970s, Mohammed Shafi’s health deteriorated, and his last years were very difficult. He suffered a stroke, which resulted in partial amnesia. It is said that he did not receive any help or friendly hand, from the industry, except from Rafi Sb who would visit him occasionally and quietly leave money under his pillow without telling him.

He passed away after long years of illness on 30th April, 1980.

‘Zindagi’ (1956) is produced under the banner of Kesar Films, Bombay and is directed by CL Dheer. The star cast is listed as Geeta Bali, Vijaylakshmi, Jaswant, Baby Naaz, Gulab, Rasheed, Sudarshan, Krishnakant, Tuntun, and Jagdish Sethi.

There are 8 songs listed for this film. Seven songs are written by Kaifi Azmi, and one song is by Raja Mehdi Ali Khan. Today’s song is that solitary song from the pen of Raja Mehdi Ali Khan.

The singing voices are of Sudha Malhotra, S Balbir and Jagmohan Bakshi. The song is beautifully structured around a very clever use of chorus lines, with clear demarcation of male and female chorus lines. The pace and the rhythm of the song is quite energetic. It seems to be a picnic song, from the manner of singing and the words being said. I request other knowledgeable readers to please add information about this song and the film.

Listen and enjoy.

[Editor’s Note – This song is the 300th song of Raja Mehdi Ali Khan in the blog as a lyricist.]

[Acknowledgements: Sources referred to for compiling the above article are – (1) ‘Dhunon Ki Yatra’ by Pankaj Raag; (2) Article on Mohammed Shafi by Qaseem Abbaasi on Apnaarchives.org; (3) Wikipedia article on Ustad Vilayat Khan; (4) Article on Ustad Bande Ali Khan on Swarganga Music Foundation website.]

 


Song – Kaali Kaali Ye Ghata, Thandi Thandi Ye Hawa (Zindagi) (1956) Singer – Balbir, Jagmohan Bakshi, Sudha Malhotra, Lyrics – Raja Mehdi Ali Khan, MD – Mohammed Shafi
Male Chorus
Female Chorus

Lyrics

kaali kaali
ye ghata
o thandi thandi
ye hawa
kahe pyaar karo ji
kahe pyaar karo

o kaali kaali
laa laal laal
ye ghata
laa laal laal
o thandi thandi
laa laal laal
ye hawa
la la laa
kahe pyaar karo ji
kahe pyaar karo

kaali kaali
la lallall laa
ye ghata
la lallal laa
o thandi thandi
la lallall laa
ye hawa
la lallall laa
kahe pyaar karo ji
kahe pyaar karo

aankhen aankhon si mila ke
zara dekho muskura ke
aankhen aankhon si mila ke
zara dekho muskura ke
koi teer jigar ke paar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

aise ghoor ghoor ke
dekha na kar mere ko
sharam mohe laage
dekh maarungi tere ko
teer e nazar chala ke
maar daalo muskura ke
teer e nazar chala ke
maar daalo muskura ke
hum par na daya sarkaar karo
kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

tera chehra phoola phoola omlet ki taraah
o teri gaaliyaan kha loonga chaklet ki taraah
mere saamne na chal ghaaslet ki taraah
o mere dil ko na tal poplet (?) ki taraah
teri surat tutti futti..ee..ee
pyaar kare meri jutti..ee..ee
teri surat tutti futti
pyaar kare meri jutti
kisi aur se naina chaar karo
o kaali kaali
la lallal laa
ye ghata
la lallal laa
o thandi thandi
la lallal laa
ye hawa
la lallal laa
kahe pyaar karo ji
kahe pyaar karo

laaaa
lall laaa lee laaa
lall laaa lee laaa
lee da da ri da da rum
da da ri da da rum

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

काली काली
ये घटा
ओ ठंडी ठंडी
ये हवा
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ला लाल लाल
ये घटा
ला लाल लाल
ओ ठंडी ठंडी
ला लाल लाल
ये हवा
ला लाल लाल
कहे प्यार करो जी
कहे प्यार करो

ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
आँखें आँखों से मिला के
ज़रा देखो मुस्कुरा के
कोई तीर जिगर के पार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ऐसे घूर घूर कर
देखा ना कर मेरे को
शरम मोहे लागे
देख मारूँगी तेरे को
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
तीर ए नज़र चला के
मार डालो हमें मुस्कुरा के
हम पर ना दया सरकार करो
काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

तेरा चेहरा फूला फूला आमलेट की तरह
ओ तेरी गालियां खा लूँगा चाकलेट कि तरह
मेरे सामने ना चल घासलेट की तरह
ओ मेरे दिल को ना तल पापलेट(?) की तरह
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
तेरी सूरत टूटी फूटी॰॰ई॰॰ई
प्यार करे मेरी जूती॰॰ई॰॰ई
किसी और से नैना चार करो
ओ काली काली
ल लल्लल ला
ये घटा
ल लल्लल ला
ओ ठंडी ठंडी
ल लल्लल ला
ये हवा
ल लल्लल ला
कहे प्यार करो जी
कहे प्यार करो

ला॰॰॰
ल लल्लल ला ली ला
ल लल्लल ला ली ला
ली डा डा ली डा डा रम
डा डा री डा डा रम


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

Blog Day :

4305 Post No. : 15574 Movie Count :

4288

WHAAATTT!!! is my first reaction. I am shattered by the flash news.
God can’t be so heartless.

The tributes are flowing in the various news channels.

Amitabh has twittered: He is gone…! Rishi Kapoor…. Gone…just passed away! .. I am destroyed!

Juhi has said: I am shocked beyond words.

Shakti Kapoor is saying: I can’t digest that he is not there. This shouldn’t have happened (is what is Shakti has been telling).

These were the first reactions. In his telephonic talk with the news channels Shakti Kapoor was telling that he looked fine and on the road to be being ‘fit and fine’ when he last met him before the lock-down. But of course it is a known fact the big C is a deceiver. I have gone through the feeling that Shakti was talking of.

Rishi “Chintu” Kapoor has left us in shock. We are yet to come out of the shock that Irfan Khan pushed us into. Both great performers. We don’t know who we should send condolences to in this hour of grief – their families, best friends, colleagues or we his fans.

I began this post as soon as I saw the news item. Now it is four in the afternoon.

Then I let myself cool down, very difficult. There are too many thoughts running through the head. He was very cute as the tiny boy walking in the rain with his siblings. He was a National award winner for his role in ‘Mera Naam Joker’ (1970) and best actor award for his debut in adults roles in ‘Bobby’ (1973).

I don’t know how to pay a tribute to my favourite actor/s Irfan and Chintu. So I tried to look for movies where the two have acted together – cannot be possible that these two have not done a movie together, considering that Rishi was very active playing so many diverse characters in recent years. I remembered a movie which I have seen on TV a few years back where Chintu played a character inspired by Dawood Ibrahim and Irfan played Wali Khan an Indian intelligence operative whose mission was to keep an eye on the activities of the don and his gang. I vaguely remember that the movie had a long climax where Wali (Irfan Khan) and Arjun Rampal (also playing an Indian intelligence operative) stage the exchange of the captured don, bring him into Indian territory, and shoot the don when the don mocks the Indian judicial system etc. and how he will be back into his underworld activities. One thing that stayed with me after the movie was both the don’s character and Wali have a bloody end. But the movie itself was a gripping tale.

Shankar-Ehsaan-Loy were the music directors and Niranjan Iyengar the lyricist. The qawwali as picturized in the film gives us a look of almost the entire star cast headed by Rishi Kapoor alongwith Irfan Khan, Shruti Hassan, Arjun Rampal, Huma Qureshi, Shriswara, Nassar, KK Raina etc. Rishi Kapoor looked deadly in that getup.
[Note: A second longer version of the song is also available, but apparently it is the longer audio version that has been quiet randomly overlaid with video clips from the film. The editing and lip syncing is jarring, but it gives one extra antraa of the song.]

And now he is not there. Even when we know that everyone has to go one day we don’t want people we like to go. But then that is the way of life and as I always say and what my mother believed in “Kal Kya Hoga Kis Ko Pata. . .”.

Thinking of two super actors, from different genres and eras May their soul be at peace now, at least they are eased of their pain

 

Song as Picturized

Remix – Longer Audio Version Overlaid with Video Clips

Song – Mera Murshid Khele Hori  (D Day) (2013) Singer – Munnawar Masoom, Javed Ali, Shankar Mahadevan, Gaurav Gupta, Rajiv Sundaresan, Mani Mahadevan, Raman Mahadevan, Lyrics – Niranjan Iyengar, MD -Shankar Ehsan Loy
Chorus

Lyrics 

Based on the Picturized Version

ho oo oo
saawa te suha rang sab ke naseeb da
ho oo oo oo oo
saawa te suha rang naseeb da
khele dukh sukh aankh micholi
ho oo oo
khele dukh sukh aankh micho..oli

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
ho oo oo
saawa te suha rang sab ke naseeb da
khele dukh sukh aankh micholi
mera murshid khele hori
mera murshid khele hori

[dialogue]

yaara rang hai uska nyaa..aara
mera murshid khele hori
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaa..aa..aara
mera murshid khele hori
mera murshid khele hori

[dialogue]

pyala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansara
ho oo oo
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai. . .

[dialogue]

ho oo oo oo oo
uski rangat meri aadat
uski chaahat ek ibaadat
aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa
uski rangat
meri aadat hai
uski chaahat
ek ibaadat hai
uske hone se
sab salaamat hai
uski nazron se sab ki barkat hai
sabki..ee..ee..ee barkat hai
naache naseeba taar pe jiske
haath hai jiske do..o..ori
mera murshid khele hori
ho pyaala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansaara
ho oo oo

[chanting – “Allah Ho Akbar”]

ishq da rang hai nyaara
tere ishq da rang hai nyaara
rang hai nyaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara

[chanting – “Allah Ho Akbar”]

Additional Antraaa from the Longer Audio Version

uske reham se sab kuchh rangiya
rangeya..aa..aa
uski nemat se jag sajiya
ga ma pa ni sa
ni pa
ma re
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin palkon pe
khwaab sajaaye
kahin raaton se
neend udaaye
kahin baadal
kahin barkha
kahin vakhra
kahi sarkha
roop se roop pe na ja uske
shabad anek hai
ek hai boli
mera murshid khele ho..o..ori
mera murshid khele ho..o..ori
yaara rang hai uska nyaara..aa
mera murshid khele ho..o..ori

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu

aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa

jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu

ho oo oo
pyaala chhidke apne karam ka..aa
rang de sab sansa..aa..aara
mera
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara

jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu
(jee mein jaan mein saare jahaa..aan mein tu)
jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu


This article is written by Raja, a fellow enthusaist 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 :

4270 Post No. : 15500 Movie Count :

4271

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂

Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂

And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.

Audio

Video


Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai

Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai

ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil

chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil

mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai

kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja

oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai


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 ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,615,939 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,869 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: