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 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 :

4575 Post No. : 16182

Today is 26th january (2021), which is republic day for India. Arguably, this is the most important day for independent India, more important than even the independence day, in my opinion.

71 years have passed since India was declared a republic on 26 January 1950. During the past 71 years, we have been through lots and lots of changes, upheavels, trials and tribulations, calamities etc. Thankfully today we find ourselves in a better position than what we were at in 1950. In fact, we find ourselves in a much better position vis a vis 1990.

I was born when the first Prime Minister and first President of India were still around. So I have lived through the eras of all the Prime Ministers and Presidents of India that we had !

During all these decades, some good practices have taken root. On the other hand, we still have some bad practices that we need to get rid of.

Instead of talking about what the government should do, here I will largely discuss what we need to do. Since we are a democratic republic, our behaviour decides what the government does, rather than the other way round.

Here are some of my observations.

1. Someone else will do it:- This attitude, which is basically passing the buck, has harmed India a great deal over the decades. Instead of doing the work ourselves, we wait for someone else to do the job. As a result, that job remains pending. Worst still, that creates a long lasting problem for the nation.

2. Chalta hai attitude– We expect others to be perfect, but we ourselves are far too lax in our on dealings. We can find fault in the batting technique of Virat Kohli, but we rarely judge our own performance in our workplace with the same high standards.

3. Putting self interest before national interest– Look at the demands of any unions, be it staff union or officers union. All the ten points of their memorandum would contain demands about betterment of their perks, not a single demand would be about the betterment of the organisation.

4. Very few people, typically 1 % of the people are supposed to bear the burden of the entire population. For instance, only 1 % population of India pays income tax, and that money is then squandered in giving subsidy to “poor” people instead of helping them train to come out of “poverty”.

5. Wealth creation and wealth creators have been demonised in India. Poor people and Poverty get glorified. This state of affairs should change immediately.

6. Many indians suffer from inferiority complex vis a vis western countries. This inferiority complex is misplaced and is a result of systematic brainwashing.

The above are some of the points that one can think of without much effort.

What do I have to suggest to improve matters ?

I will make a one point suggestion, instead of making too many suggestions. My one point suggestion is, we have to overhaul our education system. The present education system churns our zombies, who lack the ability to think for themselves and are easily brainwashed. It serves the purpose of the self seeking politicians but it has harmed the country a great deal in all fields. Our education system encourages rote memory, rather than application of knowledge. No wonder our manpower cannot even do basic works, forget doing cutting edge technical works. Whatever competent manpower we have are not because of our education system but inspite of this education system.

We have framed our constitutution based on the British Constitution. But we have not framed our education system based on British education system. British (namely Lord Macauley) gave us an education system in India. Britain herself has an entirely different kind of education system, one that does not seek to produce semi literate babus, unlike the case in India. As soon as India had our constitution, we needed to have our own education system. It has become too late now. Seven decades too late, but better late than never. we can still try and ensure better education system for the future generations.

Instead of insisting on same degrees for everyone, we need to insist on vocational training based on the aptitude of students, instead of imposing the same kind of education on everyone.

Failing an elephant because it cannot climb a tree, failing a monkey because it cannot fly, comdemning a goat because it cannot uproot a tree, that is how our Macaulean education system judges its students.

India has requirements of qualified people in all fields. What is happening now is that all people take the same education.Those who score higher marks become engineers, doctors. Those who score lower marks become civil servants. Those who score even lower become clerks. People scoring even lower become peons, guards etc. Those who cannot get any jobs become freelancers. Those who are not good enough for any jobs become politicians. And all these people are not trained properly for their jobs ! A clerk is not trained to be a clerk. A security guard is not trained to be a security guard. When a civil contractor hires workers to execute his contract, the workers like say masons, or welders are not properly trained for their jobs. They have mostly learnt their work from other workers. In my proposed education system, a mason or a welder will need to be trained by a recognised welding trainer, a plumber by a recognised plumbing trainer etc. This is because continuous imporovemnt takes place in all fields of activities. Our workers whether in organised sector or unorganised sector are far far behind in their knowledge and mastery about latest advancements in their fields. Even security guards should have training.

The above discussion is largely for workers in manufacturing and services sector. The same is needed for the agriculture sector where Indian productivity is among the lowest in the world. One reason is that majority of farmers are not educated. Farmers too need to be well educated in their area of activity, instead of trying to earn the same meaningless degree as others.

In summary, our education system should ensure the supply of highly skilled manpower in all the fields. Even cleanliness, which is considered a menial work, is a specialised work, and people who are tasked with this work need to be well trained for this work.

As I have mentioned earlier, we need to identify the aptitude of individuals and give them vocational training based on his attitude. This is what happens in advanced nations. They do not encourage mindless enrolment in colleges for taking meaningless degrees.

We need not reinvent the wheel. The kind of education system that I have suggested in already available in advanced nations. I suggest that we adopt the German education system. It is a tried and tested education system and we all are aware of German products and their quality that this education system helps produce.

Any country can have two kinds of resources- one is natural resources (mineral ores etc) and other is human resources. One will notice that a country can develop only when its human resources are developed, even if they lack natural resources. For instance, Japan, Israel, Singapore are three nations that have negligible natural resources but they are highly advanced nations thanks to their sell trained human resource. On the other hand we have examples of countries (for example African countries) that are under developed despite possessing vast mineral resources.

India fortunately is very well blessed by nature. But we have failed to make the most of our nature given resources because we have not made the most of our human resources. If we harness our human resources, we sill not only utilise them produtively, we will also be able to take advantage of what the expetts describe as our potential demographic advantage (vast majority of population of India being in working ager group, unlike most other countries).

Today (26 January 2021) we are celebrating our 71st Republic day. We have quite a few things to feel proud about on this occasion. American and British media had predicted millions of covid 19 deaths in India. India has proved them wrong. It appears that these media were watching their own countries in mirror. As on today USA and Britain continue to reel under COVID 19 epidemic, ith Britain even “pioneering” a more dangerous strain of this virus. Unlike these countries, India is even offering low cost and safer vacceines to many countries of the nation.
See this thank you message by Brazil. Makes every Indian proud.

On this occasion, here is a song from “Anjaan”(1941). “Anjaan”(1941) was directed by Amiya Chakraborty for Bombay Talkies Limited, Bombay. The movie had Devika Rani, Ashok Kumar, V H Desai, Girish, Suresh, P F Pithawala, Gulab, Fatty Prasad, Yusuf Suleman, Saiyyad Mukhtar, David, Reva, baby Madhuri, Arun Kumar, Ibnul Hasan, Bachan Lal Dixit, Om Prakash, Tarun Kumar, Bhargavi etc in it.

One will notice that the song is from an era when India was not even independent, forget being a republic. But still this song is an appropriate song for the occasion. This song is penned by Kavi Pradeep who sore patriotism on his sleeves, that too in an era when it was very risky to do so. In this song, sung by Ashok Kumar and others, they exhort the naujaaan of Bharat (viz the human resource of India) to make the most of the opportunity that has presented itself to them. And the song advises them not to miss this opportunity unlike the missed opportunities of the past.

Pannalal Ghosh is the music director.

Lyrics of this song were sent to me by Avinash Scrapwala many years ago. This happens to be the 500th lyrics contribution by Avinash Scrapwala in the blog. A befitting achievement for him on the occasion of the Indian Republic day, seeing that he too, like Kavi Pradeep, wears his partiotism on his sleeve.

On this occasion, I ish a happy republic day to one and all. Jai Hind.


Song-Kheencho kamaan kheencho (Anjaan)(1941) Singers-Ashok Kumar, Suresh, Revashankar, Lyrics-Kavi Pradeep, MD-Pannalal Ghosh

Lyrics(Provided by Avinash Scrapwala)

Kheencho o
Kheencho o
Kheencho kamaan kheencho o
Kheencho o
Kheencho o
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho

Aaj nishaana aa chook na jaana
Pichhli galti mat dohraana
Aaj nishaana aa aa
Aaj nishaana chook na jaana
Pichhli galti mat dohraana
Warnaa phir hoga pachhtaana aa
Warnaa phir hoga pachhtaana
Jagah jagah toofaan bawandar r
Aankhen mat meenchon o
Kheencho kamaan kheencho o
Kheencho kamaan kheencho

Jo bheekh maangne se dar dar
Aazaadi milti ho ghar ghar
Jo bheekh maangne se dar dar
Aazaadi milti ho ghar ghar
Laanat aisi aazaadi par
Laanat aisi aazaadi par
O veeron ke santaan
Desh ko teeron se seencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho

O Bharat maa ke naujawaan
Kheencho kamaan kheencho
O Bharat maa ke naujawaan
Kheencho kamaan kheencho
Kheencho kamaan kheencho o
Kheencho kamaan kheencho
Kheencho o
Kheencho o
Kheencho kamaan kheencho

———————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————-

खींचो ओ
खींचो ओ
खींचो कमान खींचो ओ
खींचो ओ
खींचो ओ
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
ओ भारत माँ के नौजवान
खींचो कमान खींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो
आज निशाना आ चूक न जाना
पिछली गलती मत दोहराना
आज निशाना आ आ
आज निशाना चूक न जाना
पिछली गलती मत दोहराना
वरना फिर होगा पछताना आ
वरना फिर होगा पछताना
जगह जगह तूफ़ान बवंडर र
आँखें मत मीचो ओ
खींचो कमान खींचो ओ
खींचो कमान खींचो

जो भीख मांगने से दर दर
आज़ादी मिलती हो घर घर
जो भीख मांगने से दर दर
आज़ादी मिलती हो घर घर
लानत ऐसी आज़ादी पर
लानत ऐसी आज़ादी पर
ओ वीरों के संतान
देश को
तीरों से सींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो

ओ भारत माँ के नौजवान
खींचो कमान खींचो

ओ भारत माँ के नौजवान
खींचो कमान खींचो
खींचो कमान खींचो ओ
खींचो कमान खींचो
खींचो ओ
खींचो ओ
खींचो कमान खींचो


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 :

4575 Post No. : 16181

Hullo Atuldom

A very Happy Republic day to one and all.

“India is my country
And all Indians are my brothers and sisters.
I love my country, and I am proud of its rich and varied heritage.
I shall always strive to be worthy of it.
I shall give respect to my parents, teachers, and all elders and treat everyone with courtesy.
To my country and my people, I pledge my devotion.
In their well being and prosperity alone, lies my happiness
Jai Hind!.”

This is the national pledge which is commonly found printed in the opening pages of the school text books and calendars. It is recited in the morning assembly of most Indian schools. It is part of the Indian Constitution. It is commonly recited by Indians in unison at public events, Independence day, Republic day etc. At least it used be so when I was a student, don’t know if this is still in practice. We all know who wrote the National Anthem or the National song but the author of the National Pledge is largely unknown. His name is P.V. Subba Rao who was a Telugu author and bureaucrat who composed the pledge when he was serving as District Treasury Officer in Vishakapatnam district in 1962/63. It was subsequently translated into other languages. Apparently Subba Rao himself was unaware of the Pledge having been adopted as National Pledge till he heard his grand daughter reading it from a textbook.

Hope we all get back to taking the pledge today on our 71st Republic day.
“Diljale” (1996) had music by Anu Malik and Javed Akhtar was the lyricist. It was produced by Paramjeet Baweja and directed by Harry Baweja; Karan Razdan (of the popular Doordarshan serial “Rajani” fame) was its story-screenplay-dialogue writer. It had a cast headed by Sonali Bendre- Ajay Devgan- Madhoo- Parmeet Sethi and Amrish Puri, Shakti Kapoor, Himani Shivpuri, Farida Jalal, Akash Khurana, Master Raju (as Raju Shrivastav), Rakesh Bedi, Tinnu Anand, Aroon Bakshi, Gulshan Grover etc in the supporting cast.

It was the story of Shyam (Ajay Devgan) who is the son of a patriotic village leader (Akash Khurana) who is in love with Radhika (Sonali Bendre) daughter of the local politician and an erstwhile Rajasaheb. The Raja cannot digest the love between the college students because of economic and class differences. He also cannot tolerate the village leader who is an obstacle in his aim to usurp the land of the villagers. The Raja, with the help of the local corrupt cop Gulshan Grover manages to frame the village leader and brand Shyam a terrorist when the latter goes to question the Raja’s actions. This causes a rift between the lovers.

Shyam manages to escape and finds refuge with Dara (Amrish Puri) and his gang who are basically pawns at the hand of India’s enemies. Shyam as Shaka tries to settle scores with Rajasaheb, and in process a few of his associates are captured by the army. Dara and his gang then hijack a bus of Vaishnodevi pilgrims so that they can pressurize the army into releasing their gang members. Radhika and her aunt are also part of the hostages. This provides the ex-lovers opportunity to clarify misunderstandings. The movie then proceeds to the climax with Shaka/ Shyam managing to avenge his father’s humiliation etc. He also manages to bring a change in the thinking of Dara and his gang who surrender to the army when they see that Shaka steps on a landmine that was meant to blow them up. All-in-all it was an entertaining movie but IMHO the solution to the terrorist problem, as shown in the movie, was rather lame.

“Diljale” had Alka Yagnik, Kavita Krishnamurthy, Poornima, Kumar Sanu, Udit Narayan and Master Aditya Narayan who has now grown into an adult and is a singer, composer and television host now. We have one song already in the blog out of the eight or nine songs that the movie had.

Today’s song is a two-version song. In the first version we have Akash Khurana lip-syncing to Kumar Sanu and tutoring his son about the motherland. The son lip-syncs to Aditya Narayan. This version has all the trappings of a National Day song with flag unfurling, releasing doves and Hindu Muslim bhaichara or unity as one may choose to view it. The second version starts as an antakshari played by the captives of Dara and gang and culminates as the patriotic song sung by Radhika in Kavita Krishnamurthy’s voice.

Incidentally 25th January happened to be Kavita Krishnamurthy’s 63rd birthday. She was born in Delhi as Sharada Krishnamurthy. She is married to Dr. L. Subramaniam a renowned composer, violinist, and conductor who is trained in Carnatic classical music as well as Western Classical music. Kavita got an opportunity to sing under the auspices of Hemant Kumar for a Bengali film in 1971 when she was still in college and Lata Mangeshkar was her co-singer. Hemantda’s daughter was instrumental in reintroducing Kavita to Hemantda and he began using her for his live performances. Manna Dey spotted her in one of these shows and then she sang a few advertisement jingles. Until 1985, when “Pyar Jhukta Nahin” happened, Kavita was a dubbing artist for many composers. “tumse milkar, na jaane kyun” and “Pyar Jhukta Nahin” was the turning point of her career. Here is wishing Kavita Krishnamurthy a life filled with happiness and music and good health.

Happy Republic Day once again.

Part I

Part II

Song-Mera mulk mera desh mera ye watan (Diljale)(1996) Singers-Kumar Sanu, Aditya Narayan, Kavita Krishnamurthy, Lyrics-Javed Akhtar, MD-Anu Malik
Chorus

Lyrics

—————
Part I
—————

mera mulk mera desh
mera ye watan
shaanti ka unnati ka pyaar ka chaman
iss ke waaste nisaar hai
mera tan
mera mann
ae watan ae watan ae watan
jaaneman jaaneman jaaneman
mera mulk mera desh mera ye watan
shaanti ka unnati ka pyar ka chaman

aaa aahaha ha
aaa aahaha ha
aaaaaa a aaaaaa
aaaaaaaa

apne is chaman ko swarag hum banaayenge
kona kona apne desh ka sajaayenge
jashn hoga zindagi ka
honge sab magan
honge sab magan
iske waaste nisaar hai mera tan mera man
ae watan ae watan ae watan
jaaneman jaaneman jaaneman

mera mulk mera desh
mera ye watan
shaanti ka unnati ka
pyaar ka chaman
mera mulk mera desh mera ye watan
shaanti ka unnati ka pyaar ka chaman
mera mulk mera desh mera ye watan
shaanti ka unnati ka pyaar ka chaman
iske waaste nisaar hai
mera tan
mera man
ae watan ae watan ae watan
jaaneman jaaneman jaaneman
ae watan ae watan ae watan
jaaneman jaaneman jaaneman

———————-
Part II
———————-

hai na bolo bolo,
hai na bolo bolo
papa bolo bolo,
mummy bolo bolo
papa ko mummy se
mummy ko papa se
pyaar hai
pyaar hai
pyaar hai

hum tum
ek kamre mein band hon
aur chaabhi kho jaaye
nainon ki bhool bhulaiya mein
bobby kho jaye
hum tum, ek kamre me band ho
aur chabhi kho jaaye

ek do teen char panch chhe
saat aath nau das gyarah barah terah
ek do teen
char panch chhe
sat aath nau das gyarah barah terah
tera karoon din gin gin ke intzaar
aaja piya aayi bahaar
tera karoon din gin gin ke intzar
aaja piya aayi bahaar

roop tera mastana, pyaar mera deewaana
roop tera mastana, pyaar mera diwana
bhool koi hamse na ho jaaye
roop tera mastana, pyaar mera deewaana
bhool koi hamse na ho jaaye
raat nasheeli mast samaa hai
aaj nashe mein saara jahaan hai
haaye sharaabi mausam bahkaaye ae ae
roop tera mastana, pyaar mera diwana
bhool koi hamse na ho jaaye

ae bhai
ae bhai zara dekh ke chalo
aage hi nahin peechhe bhi
daayen hi nahi, baye bhi
upar hi nahi, neeche bhi
ae bhai, ae bhai zara dekh ke chalo
aage hi nahin pichhe bhi
daye hi nahin baye bhi
upar hi nahin neeche bhi ae bhai

eena meena deeka
eena meena deeka, daaye dama deeka
maka naka naka
cheeka peeka reeka
hey
eena meena deeka, daye dama dika
maka naka maka naka
peeka peeka rola rika
rampam posh saramm posh
rampam posh saramm posh
rampam posh saramm posh
rampam posh saramm posh
eena meena deeka

kya karen kya na karen ye kaisi mushkil haye
kya kare, kya na kare, ye kaisi mushkil haye
koi to bata de, iska hal o mere bhai
ke ek taraf isse pyar kare
aur usko hi, ye kahne se daren hum

mera mulk, mera desh, mera ye watan
shaanti ka, unnati ka, pyaar ka chaman

mera mulk
mera desh
mera ye watan
shaanti ka
unnati ka, pyaar ka chaman
iske waaste nisaar hai
mera tan
mera man
ae watan
ae watan
ae watan
jaaneman
jaaneman
jaaneman

kal ke saare waade aaj tootne lage
haath mein jo haath thhe wo chhootne lage
kaash laut aaye pahle jaisa apna man

ae watan, ae watan, ae watan
jaaneman, jaaneman, jaaneman

mera mulk mera desh mera ye watan
shaanti ka unnati ka pyaar ka chaman
mera mulk mera desh mera ye watan
shaanti ka


This article is written by nahm, 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 :

4555 Post No. : 16148

A.R. Rehman’s 54th Birthday on 06.01.2021
———————————————————-

Jo pehle din hi se dil ka kaha na kartey ham
To ab yeh logon ki baatien sunaana kartey ham

Agar na haath hmein uss dilrubaa ke dil detey
To dil par haathh sadaa dhar liya na kartey ham

Wo aafat-e-dil-o-jaan pe agar na martey
To apne marney ki duaa har dam duaa kiya na karte ham

Na hosh khotey agar uss pari ki baaton par
To aap hi aap aisi baatien kiya na kartey ham

Na lagti aankh to din raat sotey hi rehtey
Kisi ki chaah na karte to kya na karte ham

Jo ghambuton ka na hotaa teri tarah ‘Momin’
To dekhcharkh` ko hai, hai kh`udaa na kartey ham

– Momin Kh`anMomin –

I heard this above ghazal recital and liked the simplicity of expressions. It was credited to Momin Khan Momin(1800–14 May 1852), so I thought there has to be more to this ghazal. I found a ‘Deewan-e-Momin’ on Rekhta and confirmed that there are few more ash’aarin the complete ghazal. He was a contemporary of Mirza Ghalib.A most famous sha’ir by MomimKh`an Momin is this:

Tum mere paas hotey ho goyaa
Jab koyi dusraa nahin hotaa

It is said that Mirza Ghalib was so impressed by this sha’ir, that he had offerred his whole “Deewan-e-Ghalib” in exchange of this one sha’ir. Of course, in true legend’s style, the exchange did not happen. Even if there was no organised law for protection of intellectual property than, the exchange would have been redundant. Because Ghalib’s work is Ghalib’s and Momin’s kalaam remains Momin’s, after all.

Here is the famous sha’ir by the underrated poet which inspired this song:

Woh jo ham mein tum mein qaraar thha, tumhen yaad ho ke na yaad ho
Wohi, ya’ani wa’adaa nibaah ka,tumhen yaad ho ke nayaad ho

I felt compelled to give some details to emphasis the significance of Momin Kh`an Momin, as there is not much written about him on this blog.

Wikipedia says

“Momin was something of a polymath, with several interests apart from medicine and poetry. He was also competent inmathematics, geomancy, astrology, chess and Hindustani music.” And that his grave is located in Delhi, near the parking lot of Maulana Azad Medical college. What I have learned is that this medical college is India’s top medical college, second only to AIIMS, Delhi, I am yet to come across a doctor who has studied there. So now I am resolving to ask him/her whenever I encounter an alumnus, about the grave of Momin Kh’an Momin.

**********

Now to the real subject of this post, i.e A. R. Rehman. Though I grew up on the average, good, very good, fabulous and fantastic hindi film music of the golden era of hindi film music, A R Rehman still came as a breath of exotic air in 1992 with his debut film ‘Roja’. The translated lyrics from Tamil was a huge drawback of the songs of that film, but the touching melody and the brand new sounds of A R Rehman’s orchestration more than overpowered it. He has come a long way from those days, as has hindi film music. He has travelled through the waves of adulations, via his music school, his acumen in being the first musician to actually own the music he creates, through Sufiana, to fusion, Western classical, via the oscars etc., he is a global celebrity. A big celebrity in a hugely populated country like india is bound to be recognised at global level, that is the power of a big market.

The song I am presenting here is from the film “Jaane tu ya jaane na” (2008), with A R Rehman’s music and lyrics by Abbas Tyrewala. Seven singers are singing this song namely Benny Dayal, Satish Chakravarthy, Sayonara, Philips, Darshana, Svetha, Bhargavi, and Anupama Deshpande.

Only one song Pappu Can’t dance saala (Jaane Tu Ya Jaane Na), is so far posted, making this the second song from the film. This is an outdoorsy song filmed on very pristine locations, near the river, where Imran Khan and Genelia D’souza with friends are picnicking, and having fun. The location of shooting is a bit away from the usual Panchgani and Mahabaleshwar, but nearby, with the long road, which goes along Krishna River. This is the other route for travelling to Mahabaleshwar.

This film is produced by A’amir Khan and his cousin Mansoor Khan. The lyricist A’bbas Tyrewala is also the director of the film for launch of A’amir Khan’s nephew, I’mran khan. Quite the family affair this is, so my assessment of locations this song is filmed is bang on target. More so, as I have recently travelled the route, remembered this song and looked up to confirm that the mountains haven’t changed much in 12 years 🙂 :-).


SongNazren milaana nazren churaana (Jaane Tu Yaa Jaane Naa)(2008) Singers-Benny Dayal, Satish Chakravarthy, Sayonara, Philips, Darshana, Svetha, Bhargavi, Anupama Deshpande Lyrics-Abbas Tyrewala, MD-A R Rahman

Lyrics

Dil kabhi gandaa
kabhi hai nek bandaa
dil ka bharosa
kaise koyi kare
dil kabhi thhanda
kabhi hai atom bomb sa
yeh dhamaaka
kaise koyi sahe
dil ki ee
yehi kh`ata hai
dil ko o o
nahin pata hai
dil ki yehi kh`ata hai
dil ko nahin pata hai
ke dil chaahta hai kya
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milaana
nazrein churana
kahin pe nigaahein
kahin pe nishaana

aayi aa
aa aa aa aa
aayi ee ee
o o o
aayi yeah
o o o
aayi yeah
o o o

neeyyat
to dil ki
hamesha hi sahi thhi
dil ka iraada
bhi samjho nek thha
fitrat awaarah
to kya kare bechaara
us ka ho jaaye
jo jisko dekhta
din mein ae ae
to dil sataaye
raaton on
mein dil jagaaye
din mein to dil sataaye
raaton mein dil jagaaye
arey chaahta hai kya
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milaana
nazrein churaana
kahi pe nigaahein
kahin pe nishaana

aankhon mein koyi hai basaa
jaane kyun lage
yeh dil khaali
jaane na kyun
yeh dil bajaa raha
ek haath se taali
honthon se jaane
kya kahaa phir bhi
dil ki baat hai dil mein
yeh raah tera hamsafar
kis ko dhoonde
dilki mehfil mein
jaan hai phansi
kaise na hansi
aaye haale dil pe
hey
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milana
nazrein churana
kahin pe nigaahein
kahin pe nishaana

Love rap

Posted on: January 1, 2021


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 :

4550 Post No. : 16136 Movie Count :

4398

Hullo Atuldom

A very Happy New Year to the followers of the blog who go by the name Atulites. Here is wishing everyone a year different from the last.

This post is not an attempt at “This day that year” or for the “blog ten year challenge” category. Out of curiosity I just checked out the closing posts of December 2010 and opening of the year 2011. Was surprised that the last post of 2010 was on 29th December. Avinashji’s post gives details of that date. The next post was on January 1st. Saajna din bahure hamaare and Mere barbaad hone ka nazaara dekhne aale were the two songs posted. Going by the lyrics of the two songs it is obvious that they were not dedicated New Year songs or even feel good or party style songs. (I am not complaining because they are melodious). I would love to know which was the first dedicated New Year song ever, posted on the blog. My guess is it could be Saal mubaarak saahib jee by Sudhirji.

My first post for this year is a dance number. It features Bindu- the brilliant dancer from my growing up years, Atul Agnihotri, Mamta Kulkarni and Nana Patekar. It is sung by Amit Kumar, Sapna Mukherjee, Sudesh Bhonsle and Poornima (who sang as Sushma Shrestha in her childhood). It is from the 1994 released Mehul Kumar directed “Krantiveer”.

The movie was the story of a young boy who runs away from home after his doting but strict mother catches him going wayward. The boy lands up in Mumbai, and ends up saving the life of a young boy (Atul Agnihotri). The boy’s father (Paresh Rawal) takes a liking towards the child and takes him under his care . The two kids grow up, the runaway lad turns out to be Pratap (Nana Patekar). From here the story meanders through the usual masala of basti, landlord, corrupt police- judges, rich girl-middle class lad love story, killers revenge etc. There is an added character of a journalist (Dimple) who is trying to expose all things wrong in the area, through her writings. There is a at times serious and sympathetic at other times relation between Pratap and Megha (Dimple).

There have been songs in Rap style in the past too but the ’90s saw a surge in their numbersand a few regular artists followed the footsteps of singers like Bally Sagoo, Bali Brahmabhatt etc. who introduced it to music lovers with songs like “amma dekh tera munda bigda jaaye”, “aaja meri gaadi mein baith jaa” etc which were patronised by some newly formed music recording companies. Today’s “Love Rap” is written by Sameer and Anand-Milind are the music composers. This type was popular on dance floors then and the turn of the century has seen bhangda style songs ruling the air waves. Let us see what the new decade holds for music lovers.

Incidentally, January 1st happens to be Nana Patekars’ date of birth. He turns 70!!!! He has been around in the entertainment business since the ’70s with “Gaman” being his Hindi debut. Nana, along with Irrfan Khan (whom we lost last year, may his soul rest in peace) is the only actor to have won the Filmfare award in the categories of Best Actor, Best Supporting Actor and Best Villain. He has won 3 National Awards and is a Padma Shri too. He does a lot of charity without tom-toming about it. Here is wishing him health and happiness in future too.


Song-Love Rap (Krantiveer) (1994) Singer-Amit Kumar, Poornima , Sudesh Bhonsle, Sapna Mukherjee, Lyrics-Sameer, MD-Anand Milind
Male chorus
Female chorus
Amit Kumar + Male chorus
Sushma Shreshtha + Female chorus
All chorus

Lyrics

love rap
love rap
love rap
aaaaaaaa

o maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jaao doctor ko bulao
oye
nabz dikhao mera haal bataao
oye
jaao jaao jaldi jaao doctor ko bulao
oye
nabz dikhaao mera haal batao
oye

oooo
aaaa

(wow!)
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyar ka bukhaar
dhak dhak

my heart is beating
dhak dhak
my pulse is missing
dhak dhak
i think I am collapsing
dhak dhak
haaye re haaye re haaye main gaya
maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jaao doctor ko bulao

oye
nabz dikhaao mera haal batao
oye
jaao jaao jaldi jao doctor ko bulao
oye
nabz dikhaao mera haal bataao
oye

kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyaar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyaar ka bukhaar
dhak dhak
dhak dhak

dhak dhak
dhak dhak

we don’t want palace we don’t want name
we don’t want money we don’t want fame
we don’t want bungalow we don’t want car
we want only love
we want only pyaar

balle balle balle balle balle
oye kudiye

mehekti jawaani
gulaabi tere gaal
nigaahon mein nasha hai
sharaabi teri chaal
mujhe toh dil jaani
hai tera hi khayaal
na pooch bekaraari
na pooch mera haal
haal haal haal
haal haal haal

(hullo
hullo
mere saath dance karoge
nahin
ae
zara meri aankhon mein aankhen dalke baat karo
hmm
ab tum wahi karoge jo main chaahoongi
)

mi paahilya tujha dolencha through
kadhi shambhar ek kadhi shambhar two
tya diwshi zaala fever suru
kadhi shambhar ek kadhi shambbhar two

you know my age
I am thirty plus nine

oh that means you are old wine
koi jaane na kahaan lad jaaye nazar
dekho dekho dil
dekho na umar

na dekh mujhe jaadugar machhali
teri baat lage mujhko nakli

tujhpe mera jadoo chal jaayega
ek din dil tera bhi machal jaayega
aaja aaja aaja aaja aaja aaja aa

chal hat baazu hat
na kar khatpat
mat lapat jhapat natkhat
na kar khatpat
mat lapat jhapat
chal hat baazu hat natkhat hat ja

o maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jao doctor ko bulaao
oye
nabz dikhao mera haal batao
oye
jao jao jaldi jao doctor ko bulao
oye
nabz dikhaao mera haal batao
oye
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin nyeh hai pyaar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin nyeh hai pyaar ka bukhaar
na ishk mein ho generation gap
hum milke karenge aaj
love rap
aaaa
love rap
aaaa
love rap
aaaaaaa


This article is written by nahm, 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 :

4549 Post No. : 16133

Welcome 2021♫•*¨*•.¸¸♪

I wanted to embellish the heading of this post “Welcome 2021” with some emoticons, but since the keyboard has no such facility, dropped the idea. Google has the copy past option somewhere, but it seems like too much hassle. Obviously, everyone at google is working from home. Me thinks, all those big, huge, luxurious complexes hosting those multinational and national corporate offices, are soon to be converted into ‘khandar’ facilities, aka Mukesh Mills for shooting of films outdoorsy songs :-), fountains, glass panels, pillars and all. Not to mention funky cafe’s and state of the art gym and sports facilities.

Recently, I have been looking at a lot of outdoorsy, going places kind of songs, shot in different locations. Could not avoid the outdoor songs of “Dil Chahta hai”. But since the party song in the film is not posted, I decided on it. The song is “Koyi kahe kehta rahe kitna bhi ham ko deewaana”, by Shankar Mahadevan, Shaan and KK. In the party, Aamir Khan, Saif Ali Khan and Akshaye Khanna are dancing and singing with Suchitra Pillai and Priety Zinta. It is so fast paced and all three voices are so in tune with each other, that I thought the colour coding is going to be a headache. But once I had figured out that it was Shaan’s voice for Saif Ali Khan, it was smooth sailing from then on. Javed Akhtar’s lyrics are as always inspiring and upbeat, and the music compositions by Shankar-Ehsaan-Loy were outstanding and were so fresh sounding back then. The whole movie, characterization, presentation, direction, cinematography and overall look was a novelty in 2001. Some call it a path breaking film, ahead of its time. But no, the time for such a fun, adventurous, neat, humorous and colorful look, had come. I read in the trivia that the songs of this film were created in 3 days, when Javed Akhtar & Farhan Akhtar headed to Lonavala along with Shankar-Ehsaan-Loy for the duration and all the songs were ready for recording. Now I am able to see that quarter, if not half of Mumbai party goer’s crowd, has already left for Lonavala for the New Year Eve, and roads leading to it are clogged since last two days.

Let us talk about the music score of this film. These two songs are posted:

Song Date of posting
Dil Chaahta Hai 8 August 2018
Kaisi hai ye rut 2 December 2019

1. The first song is the title song of the movie, a background song sung by Shankar Mahadevan. The phrase “chamkeele din” describes the mood and theme of the song. It is picturized as a holiday theme song on the road trip to Goa, by the three friends, Aamir Khan, Saif Ali Khan and Akshaye Khanna.
2. Second song is a dreamy concoction, with Akshaye, the artist, painting a portrait of Dimple Kapadia, while he falls in love with her.
3. Jaane kyun log pyar karte hain – This song is reminisce of the “Mehboob ki Mehendi”, jaane kyun log muhobbat kiya karte hain song. It is picturized on Aamir Khan and Priety Zinta. This one has nice, to and fro banter between the two characters.
4. Woh ladki hai kahan – This song started a trend of retro songs in hindi films. Really funky take off of older movie songs, in black and white canvas, with Saif Ali Khan and Sonali Kulkarni.
5. Tanhaayee – This is a sad song, where Aamir Khan is lonely as Priety Zinta is leaving Australia. Coming to terms that he, who never let any girl close has finally fallen in love.
6. Koyikahe – The party song of the current post.

I have heard accounts of how many times people have seen this film in theatre’s when it was released in 2001, and during the first weekend of its release. I must have seen it a little later, having heard it being praised no end, by my then immediate boss who saw it the first weekend it released.

So this is a party song for the New Year party all are advised to give a miss. Not that I go anywhere on New Year’s Eve, we are more of a stay at home kind of people and family.

No matter, we will go places in the New Year, through some fabulous songs. In sha Allah.

I am sharing this beautiful ‘nazm’ which is a prayer too, received from a friend:

Aao december ko rukhsat Karen

Kuchh khushiyon ko sambhalkar
Kuchh aansuon ko taalkar
Jo lamhe guzre chaahton mein
Jo pal beete rafaaqaton mein
Kabhi waqt ke saathh chalte chalte
Jo thak ke ruke raaston mein
Kabhi khushiyon ki umeed mili
Kabhi bichhde huuon ki deed mili
Kabhi be-panah muskuraa diye
Kabhi hanste hanste ro diye
In saare lamhon ko mukhtasar Karen
Aao disamber ko rukhsat Karen

Koyi haar gayaa koyi jeet gayaa
Yeh saal bhi aakhir beet gayaa

Kabhi sapne sajaaye aankhon mein
Kabhi beet gaye pal baton mein

Kuchh talkh se lamhaat bhi thhe
Kuchh haadse aur sadmaat bhi thhe

Kuchh be-rukhi kuchh be-chaini
Kuchh man mein simti veeraani

Par ab ke baras aye dost mere
Allah se duaa ye maangi hai
Koyi pal na teraa udaas guzre
Koyi rog na tujhe raas guzre

Koyi shakhs na tujh se gilaa kare
Tu khush rahe aabaad rahe

Tu jo chahe wo ho jaaye
Tu jo maange woh mil jaaye

Teri mu’aaf wo har khataa kare
Tujhe aise hi rab ‘ataa kare

(Aameen)

Video:

Audio:

Song-Koyi kahe kehta rahe kitna bhi hum ko deewaana (Dil Chaahta Hai)(2001) Singer-Shankar Mahavedan, Shaan, KK, Lyrics-Jawed Akhtar, MD-Shankar-Ehsaan-Loy
all three together,
Male+female chorus

Lyrics

Koyi kahe ae
kehta rahe ae
kitna bhi ham ko deewaana
Koyi kahe
kehta rahe ae
kitna bhi ham ko deewaana
ham logon ki
thhokar mein hai ye zamaana

jab saaz hai
aawaaz hai
phir kis liye hichkichaana
jab saaz hai
aawaaz hai
phir kis liye hichkichaana

ho o o
gaayenge ham
apne dilon ka taraanaa aa

bigde duniyaa
bigadne bhi do
jhagde duniyaa
jhagadne bhi do
lade jo duniyaa
ladne bhi do
ham apni dhun mein gaayo

duniya roothhe
roothhne do
bandhan toote
tootne do
koyi chhoote

chhootne do
na ghabraao
ham hain naye
andaaz kyun ho puraanaa
ham hain naye
andaaz kyun ho puraana

aankhon mein hain
bijliyaan aa
saanson mein
toofaan hai
dar kya hai aur haar kya aa
ham iss se anjaan hain

hamaare liye hi to hai
aasmaan aur zameeeen

sitaare bhi ham tod lenge
hamen hai yaqeeeen
ambar se hai
aage hamaara thhikaanaa aa

ham hain naye
andaaz kyun ho puraana

sapnon ka jo des hai ae
haan ham wahin hain paley

thhode se dilphenk hain aen
thhode se hain manchale

jahaan bhi gaye
apnaa jadoo dikhaate rahe ae ae
muhobbat haseenon ko
aksar sikhaate raheye ae
aaye hamen
dil aur neenden churaanaa aa

ham hain naye
andaaz kyun ho puraana

Koyi kahe
kehta rahe
kitna bhi ham ko deewaana

Koyi
kehta
kitna bhi ham ko deewaana

ho
ham logon ki
thokar mein hai ye zamaana

ho jab saaz hai
aawaaz hai
phir kis liye hichkichaana

Huuu
jab saaz hai
aawaaz hai
phir kis liye hichkichaana

ho
gaayenge ham
apne dilon ka taraanaa aa
bigde duniyaa
bigadne bhi do
jhagde duniyaa
jhagadne bhi do
lade jo duniyaa
ladne bhi do
tum apni dhun mein gaao

duniya roothhe
roothhne do
bandhan toote
tootne do
koyi chhoote
chhootne do
na ghabraao
ham hain naye
andaaz kyun ho puraanaa
ho ham hain naye
andaaz kyun ho puraana
ham hain naye
andaaz kyun ho puraanaa
ho ham hain naye
andaaz kyun ho puraana


This article is written by nahm, 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.

This article marks the 3100th song post of Mohammad Rafi in the blog. This aticle is the 300th writeup of nahm in the blog

Blog Day :

4542 Post No. : 16115

Mohammed Rafi – 96th birth anniversary

—– Waqt ——-

Yeh waqt kya hai
yeh kya hai aakhir ke jo musalsal guzar raha hai
yeh jab na guzra thha
tab kahan thha
guzar gayaa hai to ab kahan hai
kahin to hogaa
kahan se aaya kidhar gayaa hai
yeh kab se kab tak ka silsilaa hai
yeh waqt kya hai
yeh waqi’ye
haadse
tasaadum
harek gham
aur har ek masarrat
har ek azziyat
har ek lazzat
har ik tabassum
har ek aansoo
har ek naghma
har ek khushboo
woh zakhm ka dard ho
ko ho lams ka jaadoo
khud apni awaaz ho ki mahaul ki sadaayen
yeh zehan mein banti aur bigadti hui fazaayen
woh fikr mein aaye zalzale hon ki dil ki halchal
tamaam ehsaas
saare jazbe
ye jaise patte hain
behte paani ki sateh par
jaise tayrte hain
abhi yehaan hain
abhi wahaan hain
aur ab hain ojhal
dikhaayi detaa nahin hai lekin
yeh kuchh to hai
jo ki beh rahaa hai
yeh kaisa dariya hai
kin pahaadon se aa rahaa hai
yeh kis samandar ko jaa rahaa hai

yeh waqt kya hai
kabhi kabhi main yeh sochtaa hoon
ki chalti gaadi se ped dekho
to aisa lagtaa hai
doosri simt jaa rahe hain
magar haqueeqat mein
ped apni jagah khade hain
to kya yeh mumkin hai
saarisadiyaan
qataar-andar-qataar apni jagah khadi hon
yeh waqt saakit ho
aur ham hi guzar rahe hon
is ek lamhe mein
saare lamhe
tamaam sadiyaan chhupi hui hon
na koyi ‘aayinda
na guzishtaa
jo ho chukaa hai
jo ho rahaa hai
jo hone waala hai
ho rahaa hai
main sochtaa hoon
ki kya yeh mumkin hai
sach ye ho
ki safar mein ham hain
guzarte ham hain
jise samajhte hain ham
guzarta hai
wo thhamaa hai
guzarta hai ye thhamaa huaa hai
ik aayi hai ye bataa huaa hai
hai munjamid
yaa pighal rahaa hai
kise khabar hai
kise pataa hai
yeh waqt kya hai

yeh kaaynaat-e-azeem
lagtaa hai
apni azmat se
aaj bhi mutma’een nahin hai
ki lamha lamha woh
wasee’a-tar aur wasee’a-tar hoti jaa rahi hai
yeh apni baahen pasaarti hai
yeh kehkashaaon ki ungliyon se
nayi khalaaon ko chhoo rahi hai
agar yeh sach hai
to har tasavvur ki had se baahar
magar kahin par
yaqeenan aisa koyi khalaa hai
ki jis ko
in kehkashaaon ki ungliyon ne
ab tak chhuaa nahin hai
khalaa
jahaan kuchh huaa nahin hai
khalaa
ki jis ne kisi se bhi ‘kun’ sunaa nahin hai
jahaan abhi tak khudaa nahinhai
wahan
koyi waqt bhi na hogaa
ye kaayenaat-e-azeem
ik din
chhuegi
is an-chhuye khalaa ko
aur apne saare wajood se
jab pukaaregi
‘kun’
to waqt ko bhi janam milegaa
agar janam hai to maut bhi hai

main sochtaa hoon
yeh sach nahin hai
ki waqt ki koyi ibtidaa hai na intehaa hai
yeh dor lambi bahot hai
lekin
kahin to is dor ka siraa hai
abhi yeh insaan ulajh rahaa hai
ki waqt ke is qafas mein
paida huaa
yahin woh palaa badhaa hai
magar use ‘ilm ho gayaa hai
ke waqt ke iss qafas se baahar bhi ik fazaa hai
to sochtaa hai
vo puchhtaa hai
yeh waqt kya hai

– Javed Akhtar –

I had heard a part of the above poem and just decided to reproduce it in a post. But while typing the whole saga, it lost me on the way to the end. I am able to understand it word to word, but to understand what exactly Javedsahab is trying to say or ‘in ke kehne ka tatparya kya hai’, I will have to go deep. Or maybe not so deep and what he says is what he means.
______________________________________________

This terrible year is coming to an end. Human kind has endured a test of psychological strength this year. And has learned (hopefully) that even if places of worship are not open, the Almighty is reachable from anywhere, for the universe, the world and its occupants, owners and tenants, wheelers and dealers, the powerful and the poor, the destitute and the able bodied, are all His creations. The ‘khalaa’ that Javed Akhtar refers to in the poem above, is also the creation of the Almighty creator. So is the concept if ‘waqt’. Whether it is running away from you or towards you. The time is allotted to us, to live on this earth peacefully with other creations. Before I move on, ‘khalaa’ is space, in worldly terms is means ‘empty space’ and in celestial terms it is infinite.

Its Mohammed Rafi Sahab’s 96th birth anniversary on 24/12/2020. Usually for Rafi sahab’s anniversary posts, or for the century posts, Raja ji is invited to do the honors of writing a special post. But I am seizing the opportunity, this time round. It is Rafi Sahab birth anniversary post as well as the 3100th songs post by Rafi sahib on the blog. This post is also my 300th song post, so a special Rafi song is called for this occasion.

Two months ago, I was looking for a song by Usha Timothy to post for her birthday on 8th October. I found a song by her, but it turned out to be a group song. The audio clip was 11 minutes long. The song itself is more than 9 minutes. Myswar.com listed this as a two part song one by Suman Kalyanpur and Usha Timothy and another by Mohammad Rafi and Manna Dey. It is from the 1966 film “Sunehre Kadam” and is composed by Bulo C. Rani. The lyricist is Nyay Sharma.

This is a very special song I have come to realize it while writing the lyrics. I will have to list them so that I don’t miss any points:

1. It has the longest solo rally, for a group song by Rafi sahab and large part of this rally is with minimal music.
2. This must be the only song with these four singers together.
3. The way the repetition of lines is done throughout the song, with singing of the same line in a different way. This is especially true of Rafi sahab’s repeated lines and also Manna De’s. In Rafi sahab’s songs, invariably it can be taken for granted, that the repetition of lines will have variations.
4. The song is a like a relay race, and the one starting it is doing the winner’s lap, with the trophy.

Actually Manna De has a small part to sing but Usha Timothy is having very few lines to sing. Seeing the video was a surprise again. It is a competition sort of song with two artists performing on stage and singing is done by Agha in Rafi’s voice and Shashi Kala in Suman Kalyanpur’s voice. Rehman is seen standing next to Agha and enjoying his singing, so is a female standing next to Shashi Kala similarly amused by the song. The expressions of quite enjoyment on Rehman’s face can be described perfectly in one word, i. e. “Mehzooz”.

A comment on youtube said that this song based on raag zhinjhoti/maanjhkhamaj. Whether it is true or not, the song does sound unique and stand out as a song to be savoured.

These are the songs from the movie already posted in the blog :

Song Date of posting Remarks
Na baaz aayaa muqadaar mujhe mitaane se 24 June 2011 MD-Bulo C Rani
Naazuk hoon albeli hoon 2 August 2011 MD- S Mohinder
Maangne se jo maut mil jaati 5 October 2011 MD-Bulo C Rani
Ye ghar aapkaa hai chale aayiye jee 25 October 2011 MD-Bulo C Rani
Na to inkaar kiya na to iqraar kiya 29 October 2020 MD-Bulo C Rani

The song is like a gorgeous long meal, a smorgasbord. Mohammed Rafi sahab is singing different portions of this song, with relish. And we listeners are mesmerised. The bass of Manna Dey’s parts is in tune with Rafi sahab’s sometimes sweet, sometimes mischievous, nasheeli, some with smooth softness. We can’t actually eat this, but we consume it and our senses absorb the nuances of the song. I just wish the parts where Suman Kalyanpure and Usha Timothy are singing, could be softened a little. They bring a mesmerised person back to earth, but Rafi sahab is back again in the last part of the song, in tandem with Manna Dey and they both bring it to a level field so we are not too sorry the song has ended, and there is no more of it to be heard for the first time.

I actually looked far and wide, to find if there is still more left to be found of this song. Lyrics by Nyay Sharma are equally good and make the most of the tune of the song. But for the large parts of the song, the words were redundant I felt, it was the raag and the rhythm and soft vocal voice singing the words which became paramount. This is a rarity, as it happens only with classical raagaa’s. The only other time I can recall this happening with me, was when I heard Kumar Gandharv here .
Is this what is known as a sum total greater than its parts?

Video :

Audio:

Song-Taqdeer ne kya angdaai li (Sunahre Qadam)(1966) Singers-Rafi, Manna Dey, Suman Kalyanpur, Usha Timothy, Lyrics-Nyay Sharma, MD-Bulo C Rani

Lyrics

Maah e nau ki ee
naav par
nikli sawaari raat ki
neel ke dariyaa mein basti
dhundh ki
jazbaat ki
husnwaalon ke ae
saron par
phool barsaati hui
gudgudaati
muskuraati
chhedti ee ee
gaati hui
jab kabhi patwaar se ae
yoonhi
ishaare ho gaye
kuchh ude
qatre hawaaa aa aa aa aa aa
mein
aur sitaare ho gaye

waqt ko taareeki – ye –shab ne
meherbaan kar diyaa
do jawaan roohon
ke mil jaane ka
saamaan kar diya
re taqdeer ne kya angdaai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa
aur dil ki duniyaa aa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

sitaaron dhale
ek khandar ke tale
do dil yoon mile
yoon mile
yoon mile
taare lehraa gaye
har kali khil gayi
bekali dhul gayi
apne hi aap par
apne hi aap par
apne hi aap par
phool sharmaa gaye
waqt ke saaz par
husn ke naaz par
ehl e dil mar mite
o o o
aarzuen to kya aa
aahen tak phoonk din
aarzuen to kya
aahen tak phoonk din
manzil e husn par
qaafile yoon lute
qaafile yoon lute ae
o o
qaafile yoon lute ae
qaafile yoon lute ae ae
jab khoon bahaa apne dil se
jab khoon bahaa apne dil se
mehfil unn ki rangeen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa
kuchh husn badhaa

aur dil ki duniyaa
o o o
o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui

taqdeer ne kyaa angdaai li
jeene ki fizaa sangeen hui

jab pyaar ki baaten ishq ne ki
jab pyaar ki baaten ishq ne ki

tab husn ki rooh
ho o ho o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi ee
tab husn ki rooh
ghamgeen huyi

ik ?? gul jabeen
shaakh par ho haseen
iss ko chhedo
haan chhedo
haan chhedo
nahin ee
maili ho jaayegi

gird to ghoom lo
dekhkar jhoom lo
nigaah se choom lo
warna kho jaayegi
ham vashinde nahin
apnaa saahil nahin
jis ka ye dil nahin
rooh so jaayegi

ho o o o
ari jadoo gayaa

o o o o o
jism keqadardaan

are jadoo gayaa
jism ke qadardaan
pyaar ki daastaan
pyaar ki daastaan
ruswaa ho jaayegi

pyaar ki daastaan
aa aa aa
ruswaa ho jaayegi
ruswaa ho jaayegi ee ee
tum aag ko raag samajh baithhe
tum aag ko raag samajh baithhe
angaaron se hi taskeen huyi

jab pyaar ki baaten
ishq ne ki
jab pyaar ki baaten
ishq ne ki

tab husn ki rooh
o o o o
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi
tab husn ki rooh
ghamgeen huyi

taqdeer ne kya angdai li
jeene ki fizaa namkeen hui
kuchh ishq badhaa
kuchh husn badhaa aa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
o o o o
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui

ho ooo
o o o o o o
o o o o o o
o o o o o o
ho o o o
o o o o

shaakh par ki kali
ho wo kitni bhali
jo na dil se lagi
jo na dil se lagi
umr dhal jaayegi

hawas aur pyaar ka
qissa takraar ka
farq bekaar ka
farq bekaar ka
jawaani
dhal jaayegi
ho ooo
jadoo ye dam ba dam

ho oo o
oooooo
naghmon ke taal o samm
jadoo ye dam ba dam
naghmon ke taal o samm

ye sunehre qadam
ye sunehre qadam
mai ubal jaayegi ee
khud ko awaaz do
waqt ko saaz do

ishq ka naaz do
raat tal jaayegi

o jaaneman
yoon na ghabraayiye
paas to aayiye
har adaaa apki
dil nasheen huyi
kuchh ishq badhaa
kuchh husn badhaa
kuchh ishq badhaa aa
kuchh husn badhaa

aur dil ki duniyaa
ooooo
oooooo
aur dil ki duniyaa
haseen hui
aur dil ki duniyaa
haseen hui ee
aur dil ki duniyaa
haseen hui


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 :

4535 Post No. : 16102

“Dil Daulat Duniya”(1972) was directed by Prem Narayan Arora for All India Pictures, Bombay. The movie had Ashok Kumar, Sadhana, Rajesh Khanna, Helen, Om Prakash, Sulochana, Jagdeep, Agha, Bela Bose, Shyam Kumar, Ram Avtar, Keshav Rana, Tuntun, Indira Bansal, Polson, Satish, Gurnam, Kabeer Kumar, Parasram, Altaf (child artist, Prince (dog) etc in it.

“Dil Daulat Duniya”(1972) had five songs in it. Four songs have been covered in the past.

Here are the details of the songs:-

S.No. Song Title Lyricist Posted on
01 Saath mein pyaara saathi hai Shaily Shailendra 28.08.2010
02 Masti aur jawaani ho Verma Malik 18.07.2013
03 Ruk ruk … ruk meri raani Hasrat Jaipuri+Neeraj 18.07.2017
04 Deep jaley dekho Verma Malik Being covered today
05 O meri laaraa loo Hasrat Jaipuri+Neeraj 28.08.2020

The fifth and final song from “Dil Daulat Duniya”(1972) is sung by Asha Bhonsle, Usha Khanna and Rekha Jaikar. Verma Malik is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a family get together song where Sulochana, Rajesh Khanna etc are seen watching a dance performance by Sadhana, Helen and Bela Bose.

Lyrics of the song were sent to me by Avinash Scrapwala.

With this song, all the five songs from “Dil Daulat Duniya”(1972) are now covered in the blog and the movie thus joins the list of movies that have been YIPPEED in the blog.

Video

Audio

Song-Deep jaley dekho (Dil Daulat Duniya)(1972) Singers-Asha Bhonsle, Usha Khanna, Rekha Jaikar, Lyrics-Verma Malik, MD-Shankar Jaikishan
All

Lyrics(Provided by Avinash Scrapwala)

deep jaley dekho o
deep jaley dekho
kaise karte hain hamko ishaare ae ae
deep nahin gori ee
deep nahin gori
dil ki dhadkan hain
dil ko pukaare ae ae
deep nahin gori
dil ki dhadkan hain
dil ko pukaare ae ae
deep nahin gori ee

raat ko jaagte din ko soyi
raat ko jaagte din ko soyi
ye na jaane mujhe kya huaa hai
ye na jaane mujhe kya huaa hai ae
jo jawaani mein hota hain aksar
ho jo jawaani mein hota hain aksar
aaj tujhko wahi ho gaya hai
o aaj tujhko wahi ho gaya hai

yahi to hai pyaar
yahi to hai pyaar
koyi aaya hai dil main tumhaare ae
deep nahin gori
dil ki dhadkan hai dil ko pukaare ae ae
deep nahin gori ee

chor hamne bhi dekhe sune hain
chor hamne bhi dekhe sune hain
par ye dil chor to hain niraale
par ye dil chor to hain niraale ae ae
dil gaya hain to jaane de gori
o dil gaya hain to jaane de gori
bach sake to jawaani bachaale ae
bach sake to jawaani bachaale

bach ke raho jee ee
bach ke raho jee
koyi peechhe padaa hain tumhaare ae
deep nahin gori
dil ki dhadkan hai dil ko pukaare ae
deep nahin gori ee

unko dil mein chhupaa loon umar bhar
unko dil mein chhupaa loon umar bhar
aisa jaadu koyi ab sikhaa do o
aisa jaadu koi ab sikhaa do naa
na unko aanhkon ke andar bithha kar
unko aanhkon ke andar bithha kar
apni palkon ke aanchal giraa do
apni palkon ke aanchal giraa do o
tum unko dekho o
tum unko dekho
wo dekhen tumhaare nazaare ae ae
deep nahin gori
dil ki dhadkan hai dil ko pukaare ae ae

deep jaley dekho
kaise karte hain hamko ishaare ae ae
la la la laa laa laa aa
aa aa aa aa aa aa
la la la laa laa laa aa
aa aa aa aa aa aa
la la la laa laa laa aa
aa aa aa aa aa aa
la la la laa laa laa aa
aa aa aa aa aa 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 :

4509 Post No. : 16053

Today’s song is a multi-singer song. It is from the 1976 released Madan Mohla produced and directed “Dus Numbri”. It had Hema Malini {who seemed to be favourite of all the heroes of the 50s & 60s and wanted a lease in their career ;-)} Manoj Kumar and a whole lot of Manoj Kumar-movie-regulars viz Premnath, Pran, Kamini Kaushal and Bindu. The movie was a musical with six songs.

I have very vague memories of what the movie was all about. Something to do with Manoj Kumar and Hema’s families being friends at the start of the movie. Then Premnath gets into a group that has interests in printing fake currency, which Om Shivpuri or Pinchoo Kapoor (Hema’s father) accidentally discovers and so is promptly bumped off, which drives her mother crazy due to shock (mother is also played by Hema, that is shown in Kamini Kaushal’s flashback). Some twist in the story leads Hema to a local Aunty’s adda (tavern) and Manoj Kumar becomes a “Dus Numbri” who is out to expose the evil doers of society. He has Pran (a constable) shadowing him for most of the movie and who is later revealed to be a SP or Commissioner. Then we have Bindu, a dancer, who has some clue to the gang of currency-fakers and that gives us a situation for a song where we have Premnath, Manoj Kumar and Pran (in disguise of course) trying to outwit Bindu into parting with the die of the currency printer. Simple 🙂 . It is later that we come to know that even Bindu is also a cop-in-disguise. Here I must add that only Manoj Kumar’s horrible getup doesn’t give him away but all the other two actors can easily be recognized.

Two songs from the movie is already present on the blog. One was contribution by Avinashji –Ye duniya ek numberi to main dus numberi and other by Maheshji- Na tum ho yaar aaloo na hum hain yaar gobhi.
.
Here is the third song with Asha Bhonsle, Manna Dey and Mukesh as playback singers. Let us enjoy it and wish Prem Nath Malhotra on his birthday today. He would have been 94 today.

He started his journey in Bollywood with “Ajit” in 1948 (of which we don’t have any songs on the blog). The same year we had Premnath in “Aag” his first association with Raj Kapoor and was RK’s debut as producer- director.

Incidentally Raj Kapoor’s wife Krishna was Premnath’s sister and his other sister Uma is Prem Chopra’s wife. Premnath’s brothers Narendranath and Rajendranath were also actors. He married Bina Rai, also an actress, in 1953 and his son’s Prem Kishen and Kailashnath (was called Monty in films) were actors. Prem Kishen’s daughter Akanksha is an actress and son Siddharth Malhotra is a director. (Even in these modern times there is a case of same-name confusion:- there is a Sidharth Malhotra who made his acting debut in Karan Johar’s “Student Of the Year” in 2012 who has no connection to the Premnath family).

We have many movies where Premnath has had his brothers-in-law as co-actors. We have seen him as father of Dimple Kapadia in “Bobby” which was his nephew Rishi Kapoor’s debut as an adult. That is also the first role of Premnath that I recollect. Can’t get enough of the head of a fishing community Braganza who had a peculiar way of speaking.

It was later when some black-n-white were telecast by doordarshan that I learnt that Premnath the actor first began as a hero to the likes of Madhubala, Bina Rai, Nimmi etc.I loved his acting in “Johny Mera Naam”. As also the lovable mama of Hema Malini in “Aap Beeti”, sardaar of “Roti Kapda aur Makaan”, etc. His was the central character of “Dharmatma”. He turned producer director after his marriage to Bina Rai. His last screen appearance was in 1985 in “Hum Dono” after which he reitred from acting. He passed away in 1992- 18 days before his 66th birthhday.

Remembering Premnath !


Song-Dilruba Dilli waali (Dus Numberi)(1976) Singers-Asha Bhonsle, Manna Dey, Mukesh, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Chorus

Lyrics

baadab
baamulahija
hoshiyaar
mehfil mein lutne waala hai pyaar
aa gayi zulfon waali
aankhon mein surma
honthon pe laali

dilruba dilli waali
dilruba dilli waali
dilwaalon mein
aa gayi
nasha ban kar uthhi
jhoom kar chha gayi
dilruba dilli waali
ha
dilruba dilli waali
dilwaalon mein aa gayi
nasha ban kar uthhi
jhoom kar chha gayi
dilruba dilli waali

subhaan allah
subhaan allah
jaisa suna thha
waisa hi paaya
aapko dekha toh yaqeen aaya
agar firdaus bar roo-e zameen ast
Hameen ast-o hameen ast-o hameen ast

aap aaye
haan
aap aaye
mil gayi daulat
humein zamaane ki
ki aap hi se
haan aap hi se
aap hi se hai raunak gareebkhaane ki
gareebkhaane ki
aap kya aaye
ghar mein bahaar aa gayi
dilruba dilli waali
ha
dilruba dilli waali
dilwaalon mein aa gayi
nasha ban kar uthhi
jhoom kar chha gayi
dilruba dilli waali

Baadab
baamulaahija
hoshiyaar
aa rahe hain aashiqon ke sardaar

tauba tauba
yeh aaj meri chashme aawaara
kya dekh rahi hai nazaara
ke mera rafeek tere kareeb
arre phoote naseeb

aapki tareef
ek aashiq gareeb
haan yeh gairon se ulfat
ye kadardaani teri
haan yeh gairon se ulfat
ye kadardaani teri
mujhko darr hai
le na doobe tujhko
naadaani teri
haan yeh gairon se ulfat
ye kadardaani teri
mujhko darr hai
le na doobe tujhko naadaani teri

banaa ke husn ko naata(?) naa yoon sitam todo
banaa ke husn ko naata(?) naa yoon sitam todo
bas apne dil hi ko samjhaao
mera gham chhodo
mera gham chhodo
ki main pee kar ye jaam
hosh mein aa gayi
dilruba dilli waali
dilruba dilli waali
ab hosh mein aa gayi

nasha ban kar uthhi
jhoom kar chha gayi
dilruba dilli waali

jo chheda maine taraana
suna aur samajh liya
samajh liya
samajh liya
sunaaya maine jo gaana
woh dil pe likh bhi liya
likh liya
like liya
aur mere dil ki baat
woh bhi yaad aa gayi
aa gayi
aa gayi
aa gayi
aa gayi
toh phir bujhaa kar chiraag
aa bhi ja
tu dil mein
dil mein
ke jalne waalon ka kya kaam mehfil mein

u u
u u u
u u
u
u u
u u u

dilruba dilli waali
dilruba dilli waali
dilwaalon mein aa gayi

nasha ban kar uthhi
jhoom kar chha gayi
dilruba dilli waali


This article is written by nahm, 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 :

4495 Post No. : 16025

Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).

Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai

I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.

I am giving a part of a story here:

A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.

The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.

In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.

I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.

So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.

Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.

Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.

The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.

The following three songs of Ghazab 1951 are posted:

Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda

This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.

Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.


Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus

Lyrics

Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa


This article is written by nahm, 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:

4488 Post No. : 16010

Tanvir Naqvi – 48th Death Anniversary on 01/11/2020
——————————————————————

Geet
————
Kahaan tak sunoge kahan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Huzoor aap par ek jahaan ki nazar hai
Nigaah-e-karam se bhi mujh ko ye dar hai
Jahaan ki nazar mein kahin aa na jaaun
Kahaan tak sunoge kahaan tak sunaaun

Zamaana huaa hai muhe muskuraaye
Muhobbat mein kya kya hain sadme utthaaye
Kise yaad rakkhoon kise bhool jaaun
Kahaan tak sunoge kahaan tak sunaaun

Duaa hai yahi kuchh zabaan tak na aaye
Muhobbat ka shikwa bayaan tak na aaye
Jalen zakhm dil ke magar muskuraaun
Kahaan tak sunoge kahaan tak sunaaun
Kahaan tak sunoge kahaan tak sunaaun
Hazaaron hi shikwe hain kya kya sunaaun

Tanvir Naqvi
Courtesy: rekhta.org

This is the profile reproduced from Rekhta.org :

Tanveer Naqvi’s lineage traces back to a family of poets who originally came from Iran. With a family immersed in poetry, literature and arts, Naqvi came to be influenced by the poetry of dissent against the British Empire.

Naqvi started as a lyricist in the Hindi film industry in the 1940s, starting his career with Swami (1941). He wrote the lyrics for close to 200 films before moving to Pakistan. He was married to renowned singer and actress Noor Jahan’s sister, Eidan Bai. The big hits of his career include Mehboob Khan’s musical hit Anmol Ghadi (1946) and Jugnu (1947) which were each the highest grossing Indian films of the respective years. Anmol Ghadi (1946) has some of the most memorable melodies in Hindi Cinema. Few people know that Mohammad Rafi was introduced to the Hindi film industry by Naqvi. He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricists of Urdu and Punjabi films. His patriotic number sung by Noor Jahan during the 1965 war “Rang Laayega Shaheedon ka Lahoo” became extremely popular.
A collection of his poetry has been published under the title ‘Sunahre Sapne.’
He died on November 1, 1972 in Lahore.

If Tanvir Naqvi wrote songs for 200 films in India before migrating to Pakistan , at a guess his songs tally should be around 400, again guessing at an average of 2 songs per film. 85 songs are so far posted in the blog. So here is one more person who we need to thank for introducing Mohammad Rafi to the hindi film industry.

Shri. Shalin Bhatt Sir has commented on the youtube link of this song that there are 3 singers in this song, Khan Mastana, G. M. Durrani and Mohammed Rafi with Chorus. I agree with this, because I thought there are two different voices singing the second and third portion of the song. Rafi sahab has only two lines to sing independently and in another line in mukhda, he is accompanied by G. M. Durrani(?).

At the time of writing this post in 2018, I was hard at work trying to confirm the details of credits. That when I remembered that one of my cousin who has been in UAE for 3 decades now, once mentioned that Tanvir Naqvi’s son was his colleague, once upon a time, but it has been years since he shifted back to Pakistan. I asked my cousin at the time, if he could get in touch with the son, perhaps to confirm about the song. But it seems, the contact is lost, with no common friends/colleagues links.

This is the third song from Laila Majnu (1945) to be posted in the blog. All songs of this film are written by Tanvir Naqvi and music composer in Govind Ram. So this is one more of the many songs from 1940’s by Rafi sahab which are yet to be posted, as a tribute post for Tanvir Naqvi on his remembrance day.


Song-Sakhi ki khair maayi babaa ki khair teraa Allah nigehbaan ho (Laila Majnu)(1945) Singers-Mohammed Rafi, Khan Mastana, G. M. Durrani, Lyrics-Tanveer Naqvi, Music Director- Pt Govind Ram

Lyrics

Sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan
ho o o
Allah nigehban ho
sakhi teraa maula nigehbaan ho
ho oo
Allah nigehban ho
sakhi teraa maula nigehbaan ho
Allah nigehban ho
sakhi teraa maula nigehbaan ho
sakhi ki khair
maayii babaa ki khair
teraa Allah nigehbaan ho oo

chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
chaar dinon ki hai yeh duniyaa
aakhir ko mar jaanaa hai
samajh samajh kar chalna bande
duniya musaafirkhaana hai
ye duniyaa musaafirkhaana hai
ye duniyaa musaafirkhaana hai
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo

haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan aa
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho
de de maula naam (? ?)
teraa Allah nigehbaan ho oo
de de maula naam (? ?)
teraa Allah nigehbaan ho oo

dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
dar par tere aaya sawaali
khairaat de de naa aa
khairaat de de naa aa
bhar de pyaala apne karam se
meri duaa lenaa aa aa
bhar de pyaala apne karam se
meri duaa lenaa
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
sakhi ki khair
maayi babaa ki khair
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
haan de de maula naam (? ?)
teraa Allah nigehbaan ho oo
Allah nigehbaan ho
sakhi teraa maula nigehbaan ho


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 TWELVE years. This blog has more than 16100 song posts by now.

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

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(© 2008 - 2021) 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

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Total Number of movies covered =4403

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