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

Archive for the ‘Song with a message’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3560 Post No. : 14275

“Maaya Baazaar”(1958) was directed by Babubhai Mistri for Basant Pictures Bombay. The movie had Anita Guha, Rajkumar Pandey, Ulhas, B M Vyas, Ram singh, Ramesh Sinha, Mahipal, Vasant Rao Pahalwan, Babu Raje, Dalpat, shree Bhagwan, Samar roy, Ratnamala, Krishn Kumari, Sulochana, Kanchanmala, Pal Sharma, Uma Dutt, Master Prithvi, Premlat, Geeta < Ratan, Rajni, Neelophar, Manda, Bhumiya, Ajit Kumar, R S Dubey, T N Sinha, Korega etc in it.

It appears the the movie was the story of Ghatotkach, the Raakshas son of Bhim from his Rakshasi wife Hidimba.

The movie had eight songs in it. Five of these songs have been covered in the past.

Here is the sixth song from the movie to appear in the blog. This song is sung by Rafi. Indeewar is the lyricist. Music is composed by Chitragupta.

I have not seen the movie. But a comment in YT suggests that Ghatotkach's great strength and maayaawi powers make him arrogant. the picturisation is about Lord Krishn (in disguise of an old man) singing this song in his bid to bring the arrogant Ghatotkach back to his senses.

I request our knowledgeable readers to help identify the actors seen in the picturisation.


Song-Kuchh bhi nahin hai tera mol (Maaya Baazaar)(1958) Singer-Rafi, Lyrics-Indeewar, MD-Chitragupta

Lyrics

apni baanhon par hai tujhko kyun itna abhimaan
tere jaise laakhon dekhe
bade bade balvaan
kuchh bhi nahin hai teraa mol
boli na badi bol
khilauna tu maati ka
kuchh bhi nahin hai teraa mol
boli na badi bol
khilauna tu maati ka
kuchh bhi nahin hai teraa mol

garaj raha hai
baras raha hai
zidd toone kis baat pe baandhi(?)
garaj raha hai
baras raha hai
zidd toone kis baat pe baandhi(?)
kyun hai paagal moorakh baadal
tujhko udaa le jaayegi aandhi
kyun hai paagal moorakh baadal
tujhko udaa le jaayegi aandhi
ser ko milte sava ser
lage na yahaan der
khilauna tu maati ka
kuchh bhi nahin hai teraa mol
boli na badi bol
khilauna tu maati ka
kuchh bhi nahin hai teraa mol

itna kyun tu itraata hai
hansati hai jab bhaagya ki rekha
itna kyun tu itraata hai
hansati hai jab bhaagya ki rekha
tu chhota sa deepak hai re
toone kabhi sooraj bhi dekha
tu chhota sa deepak hai re
toone kabhi sooraj bhi dekha
jhoothhe nashe mein tu hai choor
tootega ye guroor
khilauna tu maati ka
kuchh bhi nahin hai teraa mol
boli na badi bol
khilauna tu maati ka
kuchh bhi nahin hai teraa mol

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

Blog Day : 3545 Post No. : 14228

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# The Special Voices of the decade – 3 # Jaspal Singh #
———————————————–———————————–

Welcome all to the third article in this series.

So far, we have the following two articles posted earlier on this blog under this series, where we are discussing the ‘special voices of the seventies’ and the nostalgia and memories associated with the songs of these ‘special voices’ from Hindi Movies.

‘Maa ne kahaa thhaa o betaa’
‘Haseen haseen waadiyon o’

When I had decided to start this series, my plan was to post one article per month under this series. However, later I thought it was better to combine it with the anniversaries of the Singers if it too falls in the same month of my writing the article.

The song and the ‘voice’ of today was supposed to be covered to mark the end of this series, however there was a good development in the first week of this month (March’2018) which delayed this post and finally it is here today.

The voice that I am presenting today is a ‘’very very special’ and ‘nostalgic’ voice for me.
I can feel the fragrance of the soil of this great land – our country, the purity of green lush fields, a big river flowing with its natural beauty, a small beautiful remote village in the rural part of our country – India, the diversity of our culture and the sweetness of the dialects spoken in our country. In all of its way this voice takes me back to ‘my roots and my soil’ if I think I am able to correctly mention the feelings otherwise the feelings just cannot be expressed in words.

Just listen to this song ‘dharti meri maata pitaa aasmaan’ .

And for that matter take this another song ‘geet gaata chal o saathi gungunaata chal’ from this same movie ‘Geet Gaata Chal -1975’

And then this beautiful ‘bhajan’ ‘O o o mangal bhawan amangal haari ee ee’, again from the same movie – ‘Geet Gaata Chal-1975’, its so soothing and so divine that I can keep it listening again and again just going on.

I remember these songs were played on loudspeakers continuously in a marriage function in our neighbourhood in the colony we were staying then.

I was seven and half years then when the movie was released in 1975.

Since then this voice and these songs also were growing on me as I keep growing over the years.
And yes, I had not watched this movie till many years since it was released. I get to watch it, may be on a TV channel, in the later years of nineties I think. But its songs were there with me and they keep growing on me and with me in my journey of life.

I had watched ‘Ankhiyon Ke Jharokhon Se-1978’, that too on TV around mid or later eighties if I remember correctly. But the ‘dohawali’ from this movie is as fresh ever and soothing whenever I listened to it even now.

I had also not watched ‘Saawan Ko Aane Do-1979’ when it was released or even after that for many years, but I had not and will never escape its magical title song because of the voice singing it and the range of this voice and its sweetness and its melody.

(after coming into contact with this blog I got an opportunity to share the following song from this movie sung by Jaspal Singh; ‘gagan ye samjhe chaand sukhi hai’ )

Those were the days when we were watching any movie coming our way and we were getting a chance to watch. But so far as I remember I didn’t get to watched all the above-mentioned movies then where this singer had his songs which were very popular during those years. But I did watch them when I was a grown adult and I think that was the right time for me to watch them.

One such movie is the 1982 movie ‘Nadiyaa Ke Paar’ of which the songs were so popular then. Those couple of years were the ‘most study focussed’ years for us the students (though I was still very casual in my approach and could not understand its seriousness then, which I can realize now  )
Well, coming back to the songs from this movie, all the songs from this movie were very popular then and all of them are my favorites too.

‘Saanchi kahen tore aawan se hamre’
‘Kaun disha mein leke chalaa re batohiyaa’

These songs from this movie and one of the voice i.e. the male voice of these songs is our ‘special voice’ of the ‘decade of seventies’ for this article today …

The voice I am talking about is none other than Jaspal Singh.

***

Jaspal Singh was born on 23rd March 1943 in Amritsar, Punjab. We wish him a belated “Happy Birthday” on this blog today and a healthy and peaceful life ahead!!!

However, yours ‘junior’ sincerely had already wished him personally over phone a ‘very very happy birthday’ and good wishes to him.

How I came to know about his birthdate also happens just by chance.

It so happened that, during my stay at Nagpur I came across this song (of today) which when I listened to it I liked it so much and immediately fall in love with it. I did share it then to Atul ji but for a different occasion.
(However, now I feel that this is the perfect song for me to share with this article here when I am presenting this voice under this series).

At that time, I do also search for a detailed biographic information about him and after getting his contact number from sources on internet I do make him a call and express my gratitude to him for giving us the treasure of many ‘unforgettable songs’ and for his voice being part of our (people like me who were in pre-teens and teens then) growing years. I had also expressed my wish to meet him sometime if I get a chance of it, which he appreciated whole heartedly and also assured that he can share all information about him whatever is possible and if one wants to go through it.

This happened immediately after the November’16 Mumbai Gang out, so I enquired with our respected Shishir ji, if he had interviewed this personality for this blog, which he told me that it is in his future plans.

Well, from the information available on internet then (even now) it came to my notice that none of the sources (which I came across) had mentioned the birthdate of this personality so I was curious to know about it.

Recently when Atul ji ‘Yippeeee’d’ this movie ‘Geet Gaaata Chal -1975’ on the blog and posted couple of the songs sung by Jaspal Singh ji, I thought I should also write up and complete my post under this series.

After a gap of almost one year and half I thought I should call Jaspal Singh ji and try to get this information directly from him. He was very happy that somebody from a long distance (now from Kenya) had called him and was interested to know about him. He readily shared the information to me which also had an interesting ‘thing’ associated with it.

As mentioned above he was born on 23rd March 1943 at Amritsar Punjab. However, on all official records his date of birth had been recorded as 28th March 1943.

(for the information of our readers I would like to share once again that yours ‘junior’ sincerely have already wished him personally on phone on his birthday on 23rd March itself – ‘thanks, and so nice of you’ was what he replied to me)

Jaspal Singh came from Amritsar where his father was having the business of Hotel and their Hotel was once situated just opposite to the famous ‘Golden Temple in Amritsar’ (which was later demolished and was compensated by the government, as mentioned by him in his interview on RSTV-Guftagoo).

Among the five siblings they are four brothers and one sister. (I hope I am correct as per what I can learn from his interview on RSTV-Guftagoo).

Jaspal Singh completed his graduation from Amritsar and later on persuaded LLB from Ghaziabad. However, he was neither interested in business nor doing the ‘advocacy’. His only interest was to sing and become a ‘play back singer’ which his mother and sister supported well.

Jaspal Singh, since his childhood was fond of singing and he was singing in his school and college functions and was popular among his circles in Amritsar and was invited for singing in functions.
He too (like other upcoming singers) was a great fan of Rafi Saab whom he admires a lot and later on he got a chance to sing with Rafi Saab in films which was a great day for him.

His journey to movies and becoming a play back singer was full of hard work and struggle and he succeeded only because he had this talent, passion and instinct to become a play back singer for movies.

It so happened that his Sister got married and was settled in Mumbai (Bombay) in those years. This came like a blessing for young Jaspal Singh who thereafter keep visiting Bombay, initially during the ‘summer vacation’ and thereafter very often to fulfil his ‘dream’ of becoming a ‘playback singer’ for movies.

His Sister knowing about his passion and intentions persuaded her husband to try that Jaspal Singh gets an opportunity to sing in movies.
There continued efforts resulted in Usha Khanna ji giving him his first break for playback singing in the movie ‘Bandish-1968’ where his first recorded song was a solo song ‘dekho logo ye kaisa zamaana sambhalo sambhalo tang libaada’ which went un-noticed.
Usha Khanna ji give him another chance in 1969 to sung in the movie ‘Anjaan Hai Koi’, this time a duet with Mahendra Kapoor which due to its tune and words was somewhat noticed and reach a larger audience.

However, he was still far away from the ‘big’ and ‘hit’ …

In the meantime, given to the pressure by his father to join the family business in Amritsar he keeps visiting Amritsar, but since he was not interested in Business he returns back to Mumbai.
Later on, his father also gives up to his wish and allow him to stay in Mumbai and even bought a ‘flat’ for him in Mumbai which he is still staying in.

Jaspal Singh also started taking lessons from his guruji Mahendrajeet Singh ji who always encouraged him a lot and always supported him and insisted that he should not leave Mumbai and ‘singing’.
As his struggle for singing opportunities and a major break continued Jaspal Singh also too on practicing as lawyer ship with a senior lawyer in Mumbai and started attending the court proceedings.

***
‘Geet Gaata Chal’ …

Luckily, he got a chance to meet Ravindra Jain who also staying in the same locality and who was aware of his singing.

A ‘big break’ was already waiting for Jaspal Singh when Rajshri Productions were looking for a ‘new singer’ for their upcoming new movie starring Sachin.
Ravindra Jain was the music director of this movie and he thought to give Jaspal Singh a chance for singing.
And, after going through the ‘tests’ Jaspal Sing was given a chance to sing ‘dharti meri maata pitaa aasmaan’, which also was his first recorded song for the movie.

The main title song of the movie came to him only after lot of consultations between the producer of the movie Rajkamal Barjatya and the music director Ravindra Jain who was initially reluctant to give him this song, which he thought was the main song of the movie and he thought a new singer would not be able to do justice with it and had it been gone a wrong way would have spoiled the movie and the music of this movie.
Finally, he was called to sing this ‘title song’ of the movie and after recording of that he was also offered the remaining songs of the movie to sing. (one song of the movie viz. Shyam abhimaani o Shyam abhimaani was already recorded earlier in Rafi Saab’s voice)

However, the title song ‘geet gaata chal o saathi gungunaata chal ’sung by Jaspal Singh went on to create a ‘magic’ for him and for the movie and for the ‘history of ‘Hindi film music’ and this song even today after so many years is as fresh as it was when the movie was released.

This was the first major break he got and which opened for him many avenues further, though he mainly sung for Ravindra Jain (I think so, till we arrive at the total statistics of songs sung by him.)

Thereafter he got to sing in many movies mainly for actor Sachin and many of his songs went on to become very popular and they are as fresh as they were then in the minds of the movie goers and HFM lovers.

***
Here it will be interesting to know if he got to sing in movies after ‘Bandish-1968’ and ‘Anjaan Hai Koi-1969’, because his next song was in 1975 for ‘Geet Gaata Chal’.

Well, after ‘Geet Gaata Chal-1975’ he left his ‘practice in lawyership’ and went on to singing in around one hundred fifty movies (to be authenticated).
However tragically or unfortunately for the history of ‘HFM’ the so-called ‘big banners’ didn’t offer him to sing in their productions.
Nevertheless, the songs that he got to sung so far cannot be forgotten and some of them will remain immortal in the memories of HFM lovers.

The song ‘jab jab tu mere saamne aaye’ from ‘Shyam Tere Kitne Naam-1977’ sung for Sachin is his personal favourite.

On this blog I got the opportunity to share few of his songs (few I mentioned above) and viz. ‘yaar dagaa de gaya dulhan ko le gaya’

His active years in singing last till 2009-2010 (as mentioned by him in his interview on RSTV).
By then already HFM had gone many changes and seen many new singers making entry into movies and singing, so naturally Jaspal Singh also got forgotten by Music Directors.

However, given the quantity of songs he sung, and his not so frequent appearing in movie songs credit some keep wondering that ‘where did he vanish?’😊.

On our blog we have so far only fifteen of ‘Jaspal Singh Songs’ posted, so all those who wondered where he was vanished can try to search for his songs also can try to get them posted here 😊 sharing them with their memories associated with his beautiful songs.

From his interview on RSTV (which is also the main source for this article) and as mentioned by Jaspal Singh himself he is living a happy and contented life with his family (wife, a daughter and a son) and continuing with his riyaaz and readings.
He had been doing stage shows as per demand and whenever he got opportunities for that. (the interview was done in 2014 i.e. only four years back).

***

That brings us to the today’s song being presented here on the blog and the movie it is from …

“Paayal Ki Jhankaar-1980” was directed by Satyen Bose for Ruchi Films, Bombay.

It had Komal Mahuwakar, Alankar, Surinder Kaur (new discovery), Arun Kumar, Shail Chaturvedi, C.S. Dubey, Virendra Gaud, Shrikant Moghe, Anand Joshi, Brijendra Mohan, Pardesi, Master Abhitabh, Deepak, Sudha Shivpuri, Ranjana Sachdev, Bandini, Namrata, Asha Sharma, Rajraani and Nisha.
Master Mayur and Master Sandeep make a guest appearance in this movie.

Music for this movie was composed by Rajkamal and its songs were written by Maya Govind.

This movie had total eleven songs in it and it was passed by Censor Board on 23.08.1980.
Aarti Mukherjee, Alka Yagnik, Anand Kumar C., Jaspal Singh, Purushottam Das Jalota, Sulakshana Pandit and Yesudas gave their voices to the songs of this movie.

Interestingly the song being presented today is the only song sung by Jaspal Singh in this movie and the only male solo too. The other male voices are appearing in duets song only.

Though I had not watched this movie its name was in my vague memories so I had been waiting for sharing of a song of this movie to introduce it on the blog. And it also serves the purpose of bringing ‘movies having same titles’ on the blog.

There was a movie with the same title “Paayal Ki Jhankaar” in 1968 which has already made an entry on the blog.

Today ‘Paayal Ki Jhankaar-1980’ makes a debut on the blog …

***
Let us now enjoy the today’s song in the unique and amazing voice of Jaspal Singh …
Lyrics are by Maya Govind and music is composed by Raj Kamal ji.


Song-Jin khoja tin paaiyaan gehre paani paithh (Paayal Ki Jhankaar)(1980) Singer-Jaspal Singh, Lyrics-Maya Govind, MD-Rajkamal

Lyrics

Jin khoja tin paayiyaan aa aa
Gehre paani paithh
Jo baawraa dooban daraa aa
Rahaa kinaare baithh
O Shyaama aa
Jin khoja tin paayiyaan aa
Jin khoja tin paayiyaan
Jin khoja tin paayiyaan aa aa
Gehre paani paithh
Jo baawraa dooban daraa aa
Rahaa kinaare baithh
O Shyaama
Jin khoja tin paayiyaan aa
Jin khoja tin paayiyaan

Man ki saanchi lagan hamesha
Manzil tak pahunchaati
Behte behte jaise nadiyaa
Saagar se mil jaati
O Shyaama
Jin khoja tin paayiyaan aa

Tulsi Meera aa Soor ke jaisa
Milaa na khojanhaaraa
Karke tapasya laaye Bhageerath
Ganga ki jal dhaaraa
O Shyaama
Jin khoja tin paayiyaan aa
Jin khoja tin paayiyaan

Baiju ne Guru khoja
Swaami Hari Das ko paaya
Baalak Dhruv ne sach khoja
Ho Shyaama ho o o o o
O o o o
o o o
Baalak Dhruv ne sach khoja
Dhruv taara ban muskaaya
O Shyaama aa
Jin khoja tin paayiyaan aa aa
Jin khoja tin paayiyaan

—————————-
(Lyrics in Devnagri Script) (Provided by Avinash Scrapwala)

जिन खोजा तिन पाईयाँ आ आ आ
गहरे पानी पैठ
जो बौरा डूबन डरा आ आ
रहा किनारे बैठ
ओ श्यामा आ
जिन खोजा तिन पाईयाँ आ
जिन खोजा तिन पाईयाँ

जिन खोजा तिन पाईयाँ आ आ आ
गहरे पानी पैठ
जो बौरा डूबन डरा आ आ
रहा किनारे बैठ
ओ श्यामा आ
जिन खोजा तिन पाईयाँ आ
जिन खोजा तिन पाईयाँ

मन कि सच्ची लगन हमेशा
मंजिल तक पहुंचाती
बहते बहते जैसे नदिया
सागर से मिल जाती
ओ श्यामा
जिन खोजा तिन पाईयाँ आ

तुलसी मीरा आ सुर के जैसा
मिला न खोजन हारा
करके तपस्या लाये भगीरथ
गंगा की जल धारा
ओ श्यामा
जिन खोजा तिन पाईयाँ आ
जिन खोजा तिन पाईयाँ

बैजू ने गुरु खोजा
स्वामी हरिदास को पाया
बालक ध्रुव ने सच खोजा
हो श्यामा हो ओ ओ ओ
ओ ओ ओ
बालक ध्रुव ने सच खोजा
ध्रुव तारा बन मुस्काया
ओ श्यामा आ
जिन खोजा तिन पाईयाँ आ आ आ
जिन खोजा तिन पाईयाँ


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3521 Post No. : 14141

“Aan Baan” (1972) was produced by Malik Chand Kochar and directed by Prakash Mehra. The movie had Rajendra Kumar, Rakhi, David Abraham, Jagdeep, Pran, Sunder, Kumkum, Som Dutt, Kanhaiyalal, Anwar Hussein, Tabassum etc in it.

The movie had six songs in it. Four of these songs have been covered in the blog, with the fourth song being covered in 2014.

Here is the fifth song from “Aan Baan” (1972) to appear in the blog. This song is sung by Rafi. Gulshan Bawra is the lyricist. Music is composed by Shankar Jaikishan.

The song is a philosophical song which is lip synced by Rajendra Kumar who is seen lipsyncing this song in a jail where he is jailed alongwith several others. Or is it a mental asylum ? I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.

Personally, whenever I see a “jail” song, I am automatically reminded of the jail song of “Kaaliya”(1981), which was a philosophical song too and that was also sung by Rafi.


Song-Naam nahin koi dhaam nahin (Aan Baan)(1972) Singer-Rafi, Lyrics-Gulshan Bawra, MD-Shankar Jaikishan

Lyrics

sun lo poorab paschhim uttar dakshin ke ae logon
jeevan sabke liye saza hai
hanste hanste bhogo
naam nahin koi dhaam nahin
hai number se pehchaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin
hai number se pehchaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin

bhaasha ko deewaar banaa ke
kyun tu bair kamaye
bol pyaar ki boli aisi
gair tera ho jaaye
bhaasha ko deewaar banaa ke
kyun tu bair kamaye
bol pyaar ki boli aisi
gair tera ho jaaye
dil ki bhaasha sab ki bhaasha
jaan le o anjaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin
hai number se pehchaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin

bura na dekho
bura na bolo
bura suno na bhai
sab dharmon ka yahi hai maqsad
yahi to hai sachchaayi
bura na dekho
bura na bolo
bura suno na bhai
sab dharmon ka yahi hai maqsad
yahi to hai sachchaayi
chaahe geeta biblw padhlo
chaahe granth kuraan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin
hai number se pehchaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin

josh mein aake bhool gaya kyun
tu hai ek khilauna
kokh se toone janam liya hai
maut ki god mein sona
josh mein aake bhool gaya kyun
tu hai ek khilauna
kokh se toone janam liya hai
maut ki god mein sona
kaandhe chadh ke jaayega
nirbal ho ya balwaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin
hai number se pehchaan
kya raaja kya rank yahaan pe
sab hain ek samaan
naam nahin koi dhaam nahin


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3515 Post No. : 14119

Regulars know that we in this blog are pursuing two new year resolutions with missionary zeal- one is posting a “debutant” movie song and another is posting a “YIPPEE” movie song.

We are into the first week of march 2018, and we have so far stuck to these new year resolutions. This is a proof that we in the blog are far more serious about our new year resulutions that majority of people. 🙂

Posting a “debutant” movie song is a relatively rather straight forward matter. I need to look for movies that are not yet represented. We still have a couple to thousands movies (at least) that are yet to make their debuts in the blog so finding one “debutant” movie song daily is not much of a challenge.

Posting a “YIPPEE” movie song daily is increasingly becoming challenging through. Unlike “debutant” movie song mission, “”YIPPEE” mission requires that all but one song of the movie to be YIPPEED must have been covered. Moreover, we need to have a list of such YIPPIable” movie available with us. Thirdly, that missing song should be available.

Let us leave aise the unavailable final song movies. The movies where the final songs are available also cannot be discussed just like that. Many of these songs turn out to be special songs requiring special treatment on special occasions. For example, I had a few songs waiting to be YIPPEED because their final song was a Holi festival song. Yesterday, on the occasion of Holi, I used up one song song to finally ensure that “Ek Gaaon Ki Kahaani”(1957) got YIPPEED yesterday (on 2 march 2018).

It is very essential for us to keep posting songs to make sure that more and more movies become YIPPIable. For the last few days, I have been unable to devote much time on the blog and I was content covering the “debutant” and “YIPPEE” movie songs and I did not bother making more movies YIPPIable.

So today (3 march 2018), I found myself paying the price. 🙂 I was struggling to pick songs that I could use today. I picked one song, but that song was so special that I decided that it had to be used on a special occasion. then I looked at another song. I listened to it and realised that this song was no less special and it also deserved its special writeup. Then I looked at another YIPPIable movie, but i found the lyrics of the final song almost undecipherable and so that song and movie too had to be discarded from consideration. There were other songs too but they could not have been touched for some special reasons or the other.

It was evening and 7 AM and I began to despair. I resolved that I would not let that situation come if I somehow managed to find a suitable YIPPIABLE for for today.

It was after 7 PM in the evening that a song came to my rescue. This song was sent to me by Avinash Scrapwala in the past and he had reminded me a few days back that this song was the final song from the movie. My record showed that this movie had two songs left to be covered. This song turned out to be a multiple version song ! So this song indeed fitted the bill.

That is not all. Listening to the song made me realise that there are some divine forces at work as far as this blog is concerned. This song is a “song with a message” and it is a message that I was in need of being reminded of. This song tells us that when we feel helpless then we should pray to the Almighty and he will show the way. Now in Hindi movies, we have so many songs where people are seen “remonstrating with the Almighty” where people are seen trying to shame/ abuse the Almighty. We have lots of such songs in Hindi movies as well as in this blog. Personally I regard these songs are songs of people living in denial which is quite common in our parts of the world. We do no work hard enough/ smart enough/ long enough and then we tend to find a scapegoat to blame for our inadequacy. The Almighty is that scapegoat in a large number of such situations.

It is my firm belief that if you work hard enough/ smart enough/ long enough, then, with a little bit of luck in your favour, you will get what you desrve. I like and subscribe to the comparison of our destiny being like a bank locker. This locker has two keys and both keys must be applied simulutaneously for our destiny to get unlocked. The key with us is work, the key with the bank manager (Almighty) is luck. When we remonsrtate the Almighty for our failures, then it is mostly a case where the Almighty is used his key but the remonstrator had not bothered to use his/her key (working hard enough/ smart enough/ long enough). If someone belives that Almighty is responsible for his/ her miseries then I have little sympathy for such people.

Coming to the song under discussion, I find the song quite a nice and soothing song. It is a philosophical song and a song with a message. And it is a song that will give strenght to people who may be feeling low in life at the moment.

In a somewhat lighter vein, I must say that I was feeling low because I was not able to find a YIPPIable song for the day and this song came to my rescue. It was like the Almghty coming to our rescue with just the perfect song ! We are using our key and the almighty used his key just in the nick of time. our thanks goes to the Almighty who hepled us. It proves that the almighty too likes to help people who are silently going about their tasks. 🙂

The song has two versions. One version is sung by Mahendra Kapoor and chorus. This song is lip synced by Om Shivpuri playing a Swami in front of his disciples. Only the audio of the other version is available. it is sung by Mahendra Kapoor, Asha Bhonsle and chorus.

Bharat Vyas is the lyricist. Music is composed by R D Burman.

Lyrics (including the devnagri lyrics) of this song were sent to me by Avinash Scrapwala. The movie, in case I failed to mention it earlier, is “Karm”(1977). This movie was produced and directed by B R Chopra for B R Productins, Bombay. The movie had Rajesh Khanna, Vidya Sinha, Shabana Azmi, Ifthikhar, Asrani, Om Shivpuri, Achla Sachdev, Manmohan Krishn, Pinchoo Kapoor, Nana Palsikar, S N Bannerji, Jagdis Raj, Keshav Rana, Nazeer Kashmiri, Master Bittu, Bobby Grewal, Jankidas, Madhu Chauhan, Sudha Shivpuri, Seema, R S Chopra, Sahgal, Sunil Dhawan, Abhimanyu Sharma, Prem Sagar etc, with guest appearances by Prema Narayan, Roopesh Kumar, Dines Thakur and Naaz.

The movie had seven songs in it. Five songs were covered in the past. Here are the details of the songs covered earlier:-

Song Title

Post No.

Post Date

Samay tu dheere dheere chal Multi part song 5221 29-Dec-11
Karm kaho kismat kaho Multi part song 11222 27-Jun-15
Maine dekha tujhe 13376 27-Jun-17

With this song, “Karm”(1977) joins the list of movies that have all their songs covered in the blog.

Part I (Video)

Part II

Song-Jab dukh se man ghabra jaaye (Karm)(1977) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Bharat Vyas, MD-R D Burman
All chorus
Male chorus
Female chorus
Mahendra Kapoor/Asha Bhonsle + Chorus

Lyrics(Provided by Avinash Scrapwala)

Jab dukh se man ghabraa jaaye
Har oar niraashaa chhaa jaaye
Jab dukh se man ghabraa jaaye
Har oar niraashaa chha jaaye
Jab ek kiran bhi aasha ki
aati ho nahin nazar
Praarthna kar
Praarthna kar
Jagat ke paalan haare se
Praarthna kar
Praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

Tu jaan boojh koi paap na kar
Ho jaaye to pashchaataap na kar
Aa aa aa aa
Aa aa aa aa aa
Tu jaan boojh koi paap na kar
Ho jaaye to pashchaataap na kar
Ye sab leelaa us ishwar ki
Tu dhyaan usi ka dhar
Praarthna kar
praarthna kar
Jagat ke paalan haare se
Praarthna kar
praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

Jisko na kisi ne dekha hai
Wo ek karam ki rekha hai
Jisko na kisi ne dekha hai
Wo ek karam ki rekha hai
Wo sab ka bhaagya vidhaata hai
Sabki hai usey khabar
Praarthna kar
Praarthna kar
Jagat ke paalan haare se
Praarthna kar
Praarthna kar
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

————————————–
PART – II
————————————–
Hari Om
Hari Om
Hari Om

Jab chaaron taraf andhera ho
Jeewan ko mrityu ne ghera ho
Jab chaaron taraf andhera ho
Jeewan ko mrityu ne ghera ho
Tab man mein rakh vishwaas
Shwaas mein aas nayi ek bhar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se
Praarthana kar
Praarthana kar

Hari Om
Hari Om
Hari Om
Hari Om

Karam dharm na jaanoon
na Mujhe paap punya ka bhaan
Aa aa aa aa aa
Aa aa aa aa aa
Karam dharm na jaanoon
na Mujhe paap punya ka bhaan
Kaise karun praarthanaa teri
Iska bhi nahin gyaan
Main bebas dukhiyaari hoon
Bas aayi tere dar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se

Praarthana kar
Praarthana kar
Hari Om

Hari Om
Hari Om
Hari Om

Hari Om
Hari Om

Aa aa aa aa
Aa aa aa aa

Mera jeewan saathi mil ke mujhse
Ho jaaye na door
Kahin chita ki raakh na ban jaaye
Meri maang ka ye sindoor
Man mein shehnaayi goonj rahi
Ankhiyaan ansuan se tar
Praarthna kar
Praarthna kar
Jagat ke jeewan daataa se

Praarthna kar
Praarthana kar
Hari Om

Hari Om
Hari Om

Hari Om
Hari Om

Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om
Hari Om

——————————————-
Devnagri Script lyrics
——————————————-
PART- I
——————————————-
जब दुःख से मन घबरा जाए
हर ओर निराशा छा जाए

जब दुःख से मन घबरा जाए
हर ओर निराशा छा जाए
जब एक कीरण भी आशा की आती हो नहीं नज़र
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

तू जान बुझ कोई पाप न कर
हो जाए तो पश्चाताप न कर
आ आ आ आ
आ आ आ आ आ
तू जान बुझ कोई पाप न कर
हो जाए तो पश्चाताप न कर
ये सब लिला उस इश्वर की
तू ध्यान उसी का धार
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

जिसको न किसी ने देखा है
वो एक करम की रेखा है
जिसको न किसी ने देखा है
वो एक करम की रेखा है
वो सब का भाग्य विधाता है
सब की है उसे खबर
प्रार्थना कर
प्रार्थना कर
जगत के पालन हारे से
प्रार्थना कर
प्रार्थना कर
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम

————————-
PART- II
————————-
हरि ओम
हरि ओम
हरि ओम

जब चारों तरफ अँधेरा हो
जीवन कों मृत्यु ने घेरा हो
जब चारों तरफ अँधेरा हो
जीवन कों मृत्यु ने घेरा हो
तब मन में रख विश्वास
श्वास में आस नयी एक भर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से
प्रार्थना कर
प्रार्थन कर

हरि ओम
हरि ओम
हरि ओम
हरि ओम

कर्म धर्म न जानू
न मुझे पाप पुण्य का भान
आ आ आ आ आ
आ आ आ आ आ
कर्म धर्म न जानू
न मुझे पाप पुण्य का भान
कैसे करूँ प्रार्थना तेरी
इसका भी नहीं ज्ञान
मैं बेबस दुखियारी हूँ
बस आयी तेरे दर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से

प्रार्थना कर
प्रार्थना कर
हरि ओम

हरि ओम
हरि ओम

हरि ओम
हरि ओम
हरि ओम

आ आ आ आ आ
आ आ आ आ आ

मेरा जीवन साथ मिल के मुझसे
हो जाए न दूर
कहीं चिता की राख न बन जाए
मेरी मांग का ये सिन्दूर
मन में शहनाई गूँज रही
अँखियाँ अंसुअन से तर
प्रार्थना कर
प्रार्थना कर
जगत के जीवन दाता से

प्रार्थना कर
प्रार्थना कर
हरि ओम

हरि ओम
हरि ओम
हरि ओम

हरि ओम
हरि ओम

हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम
हरि ओम


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3513 Post No. : 14113

“Miss India”(1957) was directed by I S Johar for Rawal Pictures, Bombay. This movie had Nargis, Pradeep Kumar, Nishi, Shammi, Tuntun, Sheela Vaz, Minoo Mumtaz, I S Johar, Pran etc in it.

Mr. K Satish Shenoy, while writing about an earlier song of this movie had given the story of this song. Here is what he had to say about the movie:-

The movie “Miss India” is not about a beauty contest winner. The movie refers to the leading lady as “Miss India”, because the character is about an educated, self reliant, righteous young lass who fights for her rights, against injustice and comes out a winner.

Nargis graduates as a lawyer. Her father puts out a matrimonial advt asking for a match for the educated lady without expecting dowry. An imposter (Pradeep Kumar) marries her & absconds, abandoning her, & taking away her jewellery. She comes to the city, in search of him, & to reform him & continue her married life (& not to catch him & punish him- –after all she is a Bhararatiya Naari ! 🙂 .

After few fruitless days she finds him, but he is unable to recognise her (since he ran away without lifting her ‘ghoongat’.! –That is typical Bollywood!). At this point she befriends him in the guise of a young lad, so as to buy time to reform him. This disguise also helped her find a job.

To cut a long story short, she manages to make him realise his misdeeds and in the end they unite. In the final scenes there is a court case where all riddles are resolved and judge notes the trouble Nargis has gone through and says she is a role model and should be referred to as “Miss India”!!

“Miss India”(1957) had ten songs in it. Nine of them have been covered in the past. Here are the details of the songs that have already been covered:-

Song Title

Post No.

Post Date

O mere sajnaa aaja re aaja (Miss India) 1785 22-Aug-09
Aaha badla zamaana waah waah badla zamaana (Miss India) 1913 13-Sep-09
Jaise ko taisaa nahle pe dahlaa (Miss India) 2574 2-Jul-10
Jaaun main kahaan ye zameen ye aasmaan chhod ke (Miss India) Multiple version song 3311 9-Dec-10
Baad e saba kuchh to bata (Miss India) 10200 2-Sep-14
Albela main ik dilwaala (Miss India) 11620 1-Dec-15
Thhokar naseeb ki jo khaa kar bhi muskuraaye (Miss India) 13463 23-Jul-17
Gori zara mukhde se ghoonghat hataao na (Miss India) 14107 28-Feb-18

Here is the tenth and final song from “Miss India”(1957). The song is sung by Asha Bhonsle and Manna Dey. Rajinder Krishan is the lyricist. Music is composed by S D Burman.

Only the audio of this song appears to be available. I request our knowledgeable readers to throw light on the picturisation of this song.

Though the singers, lyricist and music director are all legends and they all have had long and distinguished careers, but it may surprise some to know that this is the only Manna Dey-Asha Bhonsle duet created by the lyricist-MD combination of Rajinder Krishan and S D Burman. In fact, Rajinder Krishna and S d Burman worked together only in five movies. This movie was the last occasion when the came toether in a movie.

With this song, “Miss India”(1957) joins the list of movies that have all their songs covered in the blog.


Song-Maalik ne haath kaahe do do diye (Miss India)(1957) Singers-Asha Bhonsle, Manna Dey, Lyrics-Rajinder Krishan, MD-S D Burman
Male chorus
Female chorus
Both
All

Lyrics

maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
malik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

uthhaaye ja o chhokri
ye zindagi ki tokri

uthhaaye ja o chhokri
ye zindagi ki tokri

rozi halaal ki
mehnat ki naukri
rozi halaal ki
mehnat ki naukri

khaana haraam hai jo mile bina kaam kiye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

rookhi sookhi khaayenge
paseena bahaayenge

rookhi sookhi khaayenge
paseena bahaayenge

kaahe kisi ki ghulaami uthhaayenge
kaahe kisi ki ghulaami uthaayenge
banda jo apni kamaai ki khaaye piye
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye

he he he
maalik ne haath kaahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey

zaroorat hai car ki
na resham ke taar ki
zaroorat hai car ki
na resham ke taar ki

pahli bhookh pet ki
dooji hai pyaar ki

pahli bhookh pet ki
dooji hai pyaar ki

mehnat ke baad chalen haathon mein haath liye
hey
haathon mein haath liye

maalik ne haath kahe do do diye
tu kaam kare pet bhare jab tak jiye
hey hey hey
hey hey hey hey hey hey
hey hey hey hey hey hey
hey


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3512 Post No. : 14109

“Intezar” (1973) was produced by Mohan Sehgal and direced by Mohan Singh Kavia for De Luxe Films, Bombay. The movie had Rinku Jaiswal, Baldev Khosa, Padmini Kapila, Vishal, I S Johar, Mohan Choti, Lata Arora, Chandrima Bhaduri, Manhar Desai, Bhushan Tiwari, Kamlakar Date, Bhanumati, Kamal deep, Leela Mishra, Rakesh Pandey (special appearance), Master Rafiq, Baby Reshma, Baby Mumtaz, Narmada Shankar, Radheshyam etc in it.

The movie had five songs in it. Four of these songs have been covered in the past.

Here are the details of the four songs that have been covered in the past.

Song Title

Post No.

Post Date

Chanda ki kirnon se lipti hawaayen 4143 6-Jul-11
Kaahe ko mora bichhua baaje re 11477 17-Oct-15
Idhar intezaar udhar intezaar 12399 24-Sep-16
Mora laage naahin chit 14104 27-Feb-18

Here is the fifth and final song from “Intezaar” (1973) to appear in the blog. This song is arguably the most well known song from the movie. I was aware of this song during its day even though I was not aware about the details of the song vis a vis the movie the song was from.

I was only aware of a few lines from the song. Today, more than 45 years after I firdt heard this song, I actually became aware of the full lyrics of the song while noting them down. The song is supposed to be a light hearted song and a satire of babas. But the lyrics of the song are not as trivial as they are supposed to be. The lyrics, to my mind are quite philosophical. In addition, the light hearted lyrics of the song actually convey messages that I feel are true. The conventional logic is that one should live a life of self denial to secure “moksh”. The message of the lyrics is just the reverse. The song and the picturisation is supposed to be light hearted and not to be taken seriously, but I find myself fully agreeing to the contents of the song. It is perhaps something that the lyricist never intended to, when he penned this song all those years ago. 🙂

The song is sung by Manna Dey and it is lip synced by I S Johar who plays a baba. He preaches indulgence, instead of self denial, and naturally he has a big following compared to those babas who preach boring stuff like leading disciplined spartan lifestyle far from distractions of modern life.

Verma Malik is the lyricist and he inadvertently has penned a great philosophical song with quite a bit of truth in it.

Chitragupta is the music director.

With this song, “Intezaar” (1973) joins the list of movies that have all their songs covered in the blog.


Song-Man ko pinjre mein na daalo (Intezaar)(1973) Singer-Manna Dey, Lyrics-Verma Malik, MD-Chitragupta

Lyrics

hmm
hmm hmm hmm
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo
man ka kahna mat taalo
arre man to hai ek udta panchchi
jitna ude udaa lo
man ko
man ko pinjre mein na daalo
man ka kahna mat taalo

kehte hain ki pyaar na kar
arre pyaar aur na karo

man jo kahe ke pyaar karo
ek baar nahin sau baar karo
kyun
ye pyaar diya usne nibhaane ke liye
aji pyaar diya usne nibhaane ke liye
roop diya sirf dikhaane ke liye
aankhen banaayi hain ladaane ke liye to
dil diya usne milaane ke liye
are pyaar ek punya hai pyaar hai jaap
nahin hota to bhi karo apne aap
pyaar koi paap nahin pyaar hai milaap
pyaar bina jeewan hai total flop
punya paap ke chakkar mein koi
pad ke sake na bach
kyun re chele jhooth kaha
nahin guru ji
sach
thank you very much
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo

to kehte hain ki madira na piyo
arre bhai kyun
kyun na piyo
man kahe gar wishky piyo
phir jiski mile tum uski piyo
arre peene ki cheez hai ye karo mat gham
bhai peene ki cheez hai ye karo mat gham
kabhi nahin sochna ke tharra ya rum
itni piyo ke ukhad jaaye dum
baatli mile to poori baatli khatam
arre jab whisky se man bhar jaayega
bhar jaayega to tauba kar jaayega
man pe jo koi kaabu kar jaayega
bhavsaagar se wo tar jaayega
moti akal waale na samjhen
meri baat baareek hai
kyun chele jee
ghalat kahaan
nahin guru jee
thheek hai
hmm
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo

aur kehte hain
man ko baandh ke rakho
arre bhaai kyun bhaai
kyun baandh ke rakkho

dheeli chhod do man ki lagaam
amar ho jaaye jag mein naam
kaise
jiske man ne kiya fly hai
bhaai
jiske man ne kiya fly hai
usne dekho mukti paayi hai
jaise raadha meera bai hai
donon ko hi mila krishn kanhaai hai
par jis jis ka man atak gaya
wo raahon mein bhatak gaya
agar zara ye khatak gaya
to samjho praani latak gaya
ye to hai ek udan kabootar
iska udna fact hai
kyun jee foreigner
wrong hai
no sir correct hai
very good
man ko pinjre mein na daalo
man ka kahna mat taalo
arre man to hai ek udta panchchi
jitna ude udaa lo
man ko
man ko pinjre mein na daalo
man ka kahna mat taalo


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

Blog Day : 3493 Post No. : 14038

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 4
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ई’/

‘उ’ – उठो बुलबुलों तोड़ दो तीलियाँ

दिल की आवाज़ भी सुन॰ ॰ ॰

वो अगर चे सुन सकते, हम तो सुनाते ही रहते॰ ॰ ॰

But now, the voice has gone to distant lands unknown, where our call will not reach, and his voice will not come back again. It seems like a thing of yesterday that I saw him perform live on Doordarshan; or that I read about another award in the Filmfare magazine, that he had stood up and walked up to receive. The mind simply does not believe that he has not been with us mortals for the past almost four decades. कहाँ से ले के आएँ, अपने बूते की बात नहीं॰ ॰ ॰ दिल को ही समझाना पड़ता है।

Moving forward with the series of duets – I have to skip ‘ई’ because no duet song starting with this vowel is available. So I come to ‘उ’, as the starting letter for today’s song.

As I was searching for such a song, I came across this song from ‘Khaamosh Sipaahi’ of 1950, and I listened to it in complete amazement. And I listened to it again and again, and again. The composition by Hansraj Behl – it is so unique and so different, that I wonder whether such an arrangement has been attempted in any other songs.

The leading voices in this ‘duet’ song are of Rafi Sb and Geeta Roy/Dutt. But the entire song is arranged as a chorus song. The individual voices of the lead singers are not heard separately even once. There are lines by the chorus of male voices, and there lines by the chorus of female voices, and then there are lines by chorus of male plus female voices. The beauty and the redeeming feature of this singing is how the various voices have been arranged. When the male chorus is heard, then Rafi Sb’s voice is very clearly discernible a little above the chorus of male voices. When the female chorus is heard, then Geeta Roy’s voice is clearly discernible a little above the chorus on female voices.

I am not able to immediately recall another song which has been arranged with such meticulous attention to the sound of the lead voices in a chorus of voices. Really beautifully done.

And the words by DN Madhok Sb, they simply take one along with the emotions of an army preparing for battle. Yes, that is right, this song has been designed as a slow paced marching song of the warriors.

I have no information about this film – ‘Khamosh Sipahi’, and I request our more knowledgeable friends and readers to please add more information about this film and the picturization of this song. But the words indicate that it is a song that is exhorting people for a struggle. Given the time period (1950), it would seem that the song is urging the warriors, either for the freedom struggle or maybe the first invasion of Kashmir by Pakistani marauders (in 1948). Maybe it is the freedom struggle – the refrain of the song is

utho bulbulo
tod do teeliaan

The words are urging the timid and frail nightingale birds, to rise and break the ‘teeliaan’. This word ‘teeliaan’ here refers to the wooden twigs or splinters that are used to make cages for small birds.

The song, slow paced as it is, it still has a very exhilarating effect on the mind and the heart. The slow pace is almost a haunting that takes over the mind. And the mind wants to listen to this sound again and again. Such a wonderful creation – and I would lay all the kudos on Hansraj Behl for the composition, the arrangement  of the minimal music, and such a beautiful play of chorus voices entwined around the lead voices – it is simply amazing. There is some leading violin music, but after that when the singing starts, there simply is no music except for a very low rhythm of drum beats. The entire creation is so enchanting.

Just listen to this, and be amazed.

PS: There is one word in the lyrics of the first antaraa, that I am not sure that I have got it correct. Maybe it is, maybe the meaning fits in, or maybe not. I request other readers to please help confirm or correct this word. 🙂

Song – Utho Bulbulo Tod Do Teeliyaan (Khamosh Sipaahi) (1950) Singer – Geeta Roy/Dutt, Mohammed Rafi, Lyrics – DN Madhok, MD – Hansraj Behl
Mohammed Rafi + Male Chorus
Geeta Roy/Dutt + Female Chorus
Rafi + Geeta + All Chorus

Lyrics

utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

tumhaare liye abr ghir ghir ke aaye
abr ghir ghir ke aaye
khushi jholion mein wo bhar bhar ke laaye
wo bhar bhar ke laaye
wo bhoola hua phir banega samaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

himaala ne tum ko pukaara hai aao
pukaara hai aao
meri chotiyon par wohi geet gaao
meri chotiyon par wohi geet gaao
ke sun kar dehal jaaye saara jahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

mujhe khabr hai par kate hain tumhaare
par kate hain tumhaare
utho waqt deta hai tum ko ishaare
ho tum ko ishaare
gaya waqt phir jaa ke aaye kahaan
utho bulbulo
utho bulbulo
utho bulbulo

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

उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

तुम्हारे लिए अब्र घिर घिर के आए
अब्र घिर घिर के आए
खुशी झोलियों में वो भर भर के लाये
वो भर भर के लाये
वो भूला हुआ फिर बनेगा समां
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

हिमाला ने तुमको पुकारा है आओ
पुकारा है आओ
मेरी चोटियों पर वही गीत गाओ
मेरी चोटियों पर वही गीत गाओ
के सुन कर दहल जाये सारा जहान्
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

मुझे खबर है पर कटे हैं तुम्हारे
पर कटे हैं तुम्हारे
उठो वक़्त देता है तुमको इशारे
हो तुमको इशारे
गया वक़्त फिर जा के आए कहाँ
उठो बुलबुलो
उठो बुलबुलो
उठो बुलबुलो


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

Blog Day : 3477 Post No. : 13971

 

Yesterday (23rd Jan) was the passing away anniversary of Shankar Dasgupta. A talented singer of repute in the industry, he may not have been in the same league as the top rung singers. But in the next supporting row, his capabilities and effectiveness has been judged a notch better than contemporaries like GM Durrani, SD Batish and Khan Mastana.

Born in 1927, sadly not too many details are available about his early growing years. He had a deep seated interest in music right from childhood, a trait that his mother recognized and encouraged him to follow his interests. From the age of eight years itself, the young Shankar started formal training and practice of classical music.

As with most singers of his era, his idol also was KL Saigal. In some of his songs, one can feel that he attempting to emulate Saigal Sb. Especially listening to the song “Dil Ki Lagi Ko Koi Na Jaane” from the 1954 film ‘Sheeshe Ki Deewar’, one gets feeling of the presence of Saigal Sb’s voice.

Music director Anil Biswas give him his first break in the film ‘Milan’ in 1946. Over the next approximately two decades, he has sung about 50 songs in thirty one movies. His last song is from the 1968 film ‘Kahin Din Kahin Raat’. His end came unexpectedly, as a result of an unfortunate and freak train accident at the Matunga Road station in Bombay.

Today’s song is from the 1952 film ‘Izzat’. The words are written by Buta Ram Sharma, and the music is composed by Bulo C Rani. The song tells about the realities of life, about how short and ephemeral this human life is. The voice of Shankar Dasgupta sounds so very suitable and effective in rendering this philosophical thought.

Song – Ye Jag Bande Tera Hai Do Roz Ka  (Izzat) (1952) Singer – Shankar Dasgupta, Lyrics – Buta Ram Sharma, MD – Bulo C Rani
Unidentified Female Voice
Shankar Dasgupta + Unidentified Female Voice

Lyrics

ye jag bande tera hai do roz ka
ye jag bande tera hai do roz ka
musafir basera hai
do roz ka
ye jag bande tera hai do roz ka
musafir basera hai
do roz ka

tere baag ki hai ajab dastaan
tere baag ki hai ajab dastaan
kahin shokhiyan hain kahin mastiyaan
magar ye bahaaren hamesha kahaan
jo samjhe to sun keh rahin hain khizaan
ye phoolon ka dera hai do roz ka
ye phoolon ka dera hai do roz ka
musafir basera hai
do roz ka
ye jag bande tera hai do roz ka
musafir basera hai
do roz ka

tadap ke dilon ki duaaen liye ja
tadap ke dilon ki duaaen liye ja
koi kuchh karey tu bhalaai kiye ja
tu neki ke bhar bhar ke saaghar piye ja
subh o shaam tak ki sadaayen liye ja
ye sham o savera hai do roz ka
ye sham o savera hai do roz ka
musafir basera hai
do roz ka
ye jag bande tera hai do roz ka
musafir basera hai
do roz ka

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ये जग बंदे तेरा है दो रोज़ का
ये जग बंदे तेरा है दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का
ये जग बंदे तेरा है दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का

तेरे बाग की है अजब दास्तान
तेरे बाग की है अजब दास्तान
कहीं शोखियाँ हैं कहीं मस्तियाँ
मगर ये बहारें हमेशा कहाँ
जो समझे तो सुन कह रही है ख़िज़ाँ
ये फूलों का डेरा हैं दो रोज़ का
ये फूलों का डेरा हैं दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का
ये जग बंदे तेरा है दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का

तड़प के दिलों की दुआएं लिए जा
तड़प के दिलों की दुआएं लिए जा
कोई कुछ करे तू भलाई किए जा
तू नेकी के भर भर के साग़र पिये जा
सुबह ओ शाम तक की सदाएं लिए जा
ये शाम ओ सवेरा है दो रोज़ का
ये शाम ओ सवेरा है दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का
ये जग बंदे तेरा है दो रोज़ का
मुसाफिर बसेरा है
दो रोज़ का


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3476 Post No. : 13964

Most Indians are well aware about Subhash Chandra Bose, who was easily one of the most charismatic and inspirational figures among the Indian freedom fighting leaders of pre independence era.

Hindi movies too have been impressed enough with him and there have been quite a few movies featuring him,viz. “Netaji Subhash”(1947), “Samaadhi”(1950), “Netaji Subhash Chandra Bose”(1966), “Subhash Chandra”(1978) etc.

The latest movie on Netaji has been “Bose-The Forgotten hero”(2004).

Lyrics of a song from this movie were sent to me by Avinash Scrapwala to be posted today (23 january 2018) on the occasion of the 121st birth anniversary of Netaji.

That got me interested in watching the movie. I have not watched it fully yet, because the story is too well known and moreover I cannot bear to watch the part when the British realise that Subhash Chandra has escaped. I know that all that happened 77 years ago and what I am watching is just a movie but even today I dread thinking about the treatment meted out by the British to Subhash Chandra Bose’s family members to find his whereabouts. There was nothing Gandhian about how policemen interrogated Subhash Chandra Bose’s relatives.

Fortunately, the song under discussion happens before that. And it involves that part of the movie that appeals me the most. That part has to do with Subhash Chandra Bose’s escape from Calcutta to Gomoh by road and from there he catches a train to Peshawar at midnight.

Subhash Chandra Bose was capable of great meticulousness in making his plans and executing them. And this escape was a shining example of that.

Subhash Chandra Bose was kept in Fort William Jail, Calcutta in december 1940. There he staged a fast unto death strike. Unnerved, the British rulers released him and kept him under house arrest in his residence at 38/2 Elgin Road, Calcutta.

While at his residence, Subhash Chandra Bose pulled off a meticulously planned escape from right under the noses of securitymen.

Subhash Chandra Bose made it known to the world (including Britishers) that he was contemplating sanyas. He retreated into a room in the residence where no one was allowed to see him. His meal would be shoved under the door of the room once a day in a thaali and that thaali would be pushed back after consuming the foodstuff.

Subhash Chandra Bose’s extended family had another residence at 1, Woodburn park. where Subhash’s elder brother Sarat Chandra Bose used to live with his family. Subhash picked Sisir Chandra Bose, the son of Sarat Chandra Bose, for his plan.

The Bose family had several cars, viz Studebaker, Opel, Wanderer W24 etc. Subhash Chandra Bose chose Wanderer 24 W for the purpose.

Prima facie, Wanderer was a noisy car rather than a soundless car as befitting a getaway car But it had advantages over the other cars posssessed by the family. Cars those days did not have efficient cooling arrangements for engine and the radiator was required to be re-filled with water and the car was required to be stopped for cooling while on long distance drive. Wanderer had an advanced cooling system and this car did not suffer from that engine overheating problem during long drives.

Sisir Kumar Das, then a medical student (he went on to become a renowned paediatrician) was made to go on a trial run on 25 december 1940 upto Burdwan ( a distance of 100 km) on this car to check if the car as well as he himself were ready to undertake the long journey.

Every day for several days Sisir would drive to Subhas’s house late at night in his car. When policemen stopped him, he would tell them, “My uncle wants to listen to the radio broadcast about the Second World War. He is too ill to tune the radio himself. So, he depends on me to do it for him. The guards would let him pass. He would leave after midnight. So this routine of leaving in that car after midnight was set up several days in advance.

Bose slipped out of his Calcutta residence after midnight on 1:30 AM on 17 january 1941 on this car, with Sisir Kumar Bose driving as usual and the securitymen did not notice anything unusual.

Sisir Bose drove through the night. He was constantly being seved coffee by his uncle who was seated on the left rear side and was carrying a thermos containing coffee. The car arrived Barari near Dhanbad (270 KM), where Ashok Nath Bose, the elder brother of Sisir Bose was posted with “Barari Coke Works” (Now Bharat Central Coalfields Limited) as a chemical Engineer and stayed with his newly married wife Mira. Subhash Chandra Bose, posing as Ziauddin, spent the whole day of 17 January 1941 there. He was supposed to catch 63 UP Howrah-Peshawar train at Asansol, but Ashoknath advised his uncle to board the train at Gomoh. Asansol was an important station and the train arrived there well before midnight so chances of being noticed there were high. Gomoh on the other hand was a smaller station and the train arrived there after midnight, so there would be very few people there and chances of being noticed was low.

Subhash Agreed to this change of plan. Sisir was not famiiar with the road from Barari to Gomoh (50 KM) so Ashoknath and his wife Meera, seated in the rear of the car accompanied Sisir (at the wheel) and Subhash (at the passenger seat) upto Gomoh.

They reached Gomoh railway station at midnight. Subhash asked the others to go back instead of seeing him off at the platform. Sisir insisted on accompanying him to the platform, to see his uncle off. He went to the station, bought the ticket from Gomoh to Peshawar and boarded the train which arrived Gomoh after midnight. Some policemen, rubbing tobacco on their palms were around, while the most sought after revolutionary (though he was not yet known to have escaped) quietly slipped away into the unknown from right under their noses.

Later he reached Peshawar and from there futher plans to escape out of India were chalked out.

The movie does not have scope for many songs, but the song that plays in the background while Subhash’s train runs through the breadth of the nation, hauled by a steam locomotive, is quite evocative and moving. The same song is again played when he is seen going towards the western border of India into Afghanistan.

The song keeps playng in the background at moments like this in parts. The longer and full song is available only in the audio version.

Here is this inspirational and moving song from an inspirational figure from our recent history. The song is sung by Sonu Nigam (hindi part) and Nachiketa Chakraborty (Bangla part), with some chorus singing as well. Jawed Akhtar is the lyricist. Music is composed by A R Rahman.

Audio

Video part I


Video part II

Song-Jodi tor daak shune keu naa aashe..tanha raahi apni raah chalta jaayegaa (Bose The forgotten hero)(2005) Singer-Sonu Nigam, Nachiketa Chakraborty, Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics (Provided by Avinash Scrapwala)

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Ekla cholo
Ekla cholo
Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Aa aa aa aa
Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Aa aa aa aa

Ab to jo bhi hoga dekha jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Tanhaa raahi ee ee apni raah chalta jaayegaa
Tanhaa raahi ee ee apni raah chalta jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Aa aa aa aa

Aa aa aa aa
Aa aa aa aa

Bojh kitnaa ho mushkilon ka magar
Na jhuka hai naa jhuk sakega ye sar
Zinda phir bhi rahega mera zameer
Jism ko maut bhi aa jaaye agar r r
Tanhaa raahi ee ee apni ee raah chalta jaayegaa
Tanhaa raahi ee ee apni raah chalta jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Ekla cholo
Ekla cholo
Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Baazi pe lagaane ki khaatir
Ham jaan hathheli par laaye ae ae
Baazi pe lagaane ki khaatir
Ham jaan hathheli par laaye
Ab chaahe jiyen ab chaahe maren
Jo hona hai wo ho jaaye
Ab chaahe jiyen ab chaahe maren
Jo hona hai wo ho jaaye
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re

Manzilen kabhi kya milegi hamen
Hogi kya sahal kabhi jo raah hai kadi
Aaj har jawaab hamko mil jaayega
Aa gayi hai aaj faisle ki ee ghadi ee ee ee ee

Tanhaa raahi apni raah chalta jaayegaa
Aa aa aa aa aa aa
Tanhaa raahi apni raah chalta jaayegaa
Aa aa aa aa aa aa
Ab to jo bhi hoga dekha jaayegaa
Ab to jo bhi hoga dekha jaayegaa

Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Dekha jaayega
Jodi tor daak shune keu naa aashe
Dekha jaayega
Tobey ekla cholo re
Dekha jaayega
Ekla cholo
Ekla cholo re
Dekha jaayega

Ekla cholo
Ekla cholo re
Jodi tor daak shune keu naa aashe
Tobey ekla cholo re
Dekha jaayega

——————————–
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
——————————–

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो
एकला चोलो
एकला चोलो
एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे

तनहा राही ई ई अपनी ई राह चलता जाएगा
आ आ आ आ
तनहा राही ई ई अपनी राह चलता जाएगा
आ आ आ आ

अब तो जो भी होगा देखा जाएगा
अब तो जो भी होगा देखा जाएगा

तनहा राही ई ई अपनी राह चलता जाएगा
तनहा राही ई ई अपनी राह चलता जाएगा
अब तो जो भी होगा देखा जाएगा
आ आ आ आ
आ आ आ आ
आ आ आ आ

बोझ कितना हो मुश्किलों का मगर
न झुका है ना झुक सकेगा ये सर
जिंदा फिर भी रहेगा मेरा ज़मीर
जिस्म को मौत भी आ जाए अगर ..र ..र
तनहा राही ई ई अपनी राह चलता जाएगा
तनहा राही ई ई अपनी राह चलता जाएगा
अब तो जो भी होगा देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो
एकला चोलो
एकला चोलो
एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे

बाज़ी पे लगाने की खातिर
हम जान हथेली पर लाये ऐ ऐ
बाज़ी पे लगाने की खातिर
हम जान हथेली पर लाये ऐ ऐ
अब चाहे जिए अब चाहे मरें
जो होना है वो हो जाए
अब चाहे जिए अब चाहे मरें
जो होना है वो हो जाए

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
एकला चोलो रे

जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
मंजिलें कभी क्या मिलेगी हमें
होगी क्या सहल कभी जो राह है कड़ी
आज हर जवाब हमको मिल जाएगा
आ गयी है आज फैसले की ई घडी ई ई ई
तनहा राही अपनी राह चलता जाएगा
आ आ आ आ आ आ

तनहा राही अपनी राह चलता जाएगा
आ आ आ आ आ आ
अब तो जो भी होगा देखा जाएगा
अब तो जो भी होगा देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
देखा जाएगा
जोदि तोर डाक शुने केवू ना आशे
देखा जाएगा
तोबे एकला चोलो रे
देखा जाएगा

एकला चोलो
एकला चोलो
देखा जाएगा

एकला चोलो
एकला चोलो रे
जोदि तोर डाक शुने केवू ना आशे
तोबे एकला चोलो रे
देखा जाएगा


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

Blog Day : 3475 Post No. : 13960

“मैं लेखक हूँ, लेखक”।

The year – 1956. The film – that zany, crazy, fun and pathos filled runaway hit titled ‘Funtoosh’. Remembered today for a fantastic portfolio of songs. And a very sensitive and effective performance by Dev Anand.

The film has a noisy opening inside a mental asylum. Dev Anand, one of the inmates, is being released to the outside world. He knows himself, as do others, only as ‘funtoosh’. Apparently he has endeared everyone in that blessed place, for when he leaves, everyone offers him a gift, piling him and his pockets with trinkets, small tokens, a hat, a pair of sunglasses, garlands, rings and what not. From a world that is upside down compared to the outside, ‘funtoosh’ makes a grand exit on a tricycle, smoking a pipe.

Of course his level of awareness and understanding does not include the fact that the outside world is very much the ‘downside up’ version of the world inside the asylum. With inherent goodness and simplicity of a person sans memories, it does not take long for the world outside and its people, to relieve him of all those gifts. Folks will dearly remember the song “Ae Meri Topi Palat Ke Aa”, that is presented during this sequence of events.

In a matter of a few hours, and about 15 minutes into the film, ‘funtoosh’ is bereft of all his possessions, the gifts that were given to him by his friends from another ‘home’ that he had to leave. Evening is descending, and so is his mood – crestfallen. Dejected and doleful, he is sitting on the steps outside an Irani type restaurant, with a pen in his hand, his last worldly possession other than the clothes on his back. He is contemplating to write a letter to his friends back in the asylum, and he is visibly struggling to put down any words.

A bespectacled young man, carrying a couple of books under his arm, and lighting a cigarette, comes out of the restaurant, and pauses next to ‘funtoosh’, watching him trying to articulate something to write. He notices that ‘funtoosh’ has a postal envelop, but he does not have a piece of paper. He draws out a plain sheet from the notebooks he is carrying, and hands over to ‘funtoosh’.

‘funtoosh’ begins writing – “मेरे प्यारे दोस्तो”, (my dear friends) then pauses for a few seconds, then he draws a large question mark on the paper and signs it with a flourish – ‘funtoosh’. The bespectacled young man asks, “बस?” (that’s all?). ‘funtoosh’ replies – “इतना ही काफी है। ज़िंदगी के दो हिस्से होते हैं, एक सवाल, दूसरा जवाब। मैंने सवाल लिख दिया है, वो जवाब लिखेंगे” (I have written the question, they will write an answer).

Immediately the young man opens his notebook again, and starts to note down this philosophical gem. ‘funtoosh’ asks him why is he noting this down. The young man replies – “काम आएगा। मैं लेखक हूं, लेखक” (it will come handy, I am a writer). ‘funtoosh’ asks him so what does he write. The young man say – stories, about people like you. ‘funtoosh’ asks him whether he will write a story about him – ‘funtoosh’. The young man says – yes, why not. ‘funtoosh’, apparently is so moved by this interest and attention on part of the young man, he caps the pen in his hand, and forces it into the shirt pocket of the young man, saying that if he writes about him, then he should write using this pen.

And with that, it is the last of his worldly possession that ‘funtosh’ gives away to this young man.

The name if this young man does not appear anywhere in the credits, not even as a guest artist. At 22 years of age, this, in all probabilities, is Vijay Anand’s very first screen appearance. Not that his name has not appeared in credits before. Two years earlier, in 1954, when ‘Taxi Driver’, another Navketan hit was released, his name was introduced to the viewing public for the first time, in the role of the story and dialogue writer. But in this film, where he makes his first appearance on screen, his presence is not officially acknowledged anywhere.

Remembering Goldie – Vijay Anand – on the 84th anniversary of his birth today – 22nd January. A multi-faceted artist who has been an actor, producer, director, story and dialogue writer, film editor, and even sound editor.

In a manner of speaking, maybe a personal trait for keeping a low profile. For as we see his career develop, we find him making such cameo appearances in his films, completely unannounced. Folks will recall that Alfred Hitchcock used this device to make a fleeting appearance in his own films, and the viewers started to look forward to his films for, amongst other cinematic interests, to locate where does he make his signature cameo appearance.

Same with Vijay Anand – he also makes cameo appearances in his films. And he made another refinement on top of the Hitchcock-ian style of making a physical appearance. In place of making a physical appearance, he would lend his voice to a bit artist in a stray one-off dialogue, where one would least expect him to be. In the song “Pyaar Ka Raag Suno. . .” (‘Tere Ghar Ke Saamne’ – 1963), he is one of folks that Dev Anand and Nutan encounter, as they are serenading in the staircase of Qutab Minar. And then, in film ‘Guide’ (1965), his voice is heard midway through the film, as an absolute non-entity is enquiring about Raju Guide from the attendant at the book stall on the Udaipur railway station platform. I had at one time prepared a brief list of such appearances, but I am not able to locate it right at this moment. I will update this para, as soon as I am able to locate it or re-gather that info.

When we talk of great artists and their creations, we generally wonder – why is it that they did not produce more. Yes, some artists are very prolific. But then, we must also realize that most works of art, especially cinema, takes a fair amount of time to complete one creation. Yes, Vijay Anand’s career seems to be less prolific in comparison. It seems to have its stop and start times. In 1954, he is scripting ‘Taxi Driver’. In 1955, his name appears in the star cast of the film ‘Joru Ka Bhai’, a comedy film made by Chetan Anand, his elder brother. In 1956, he is makes a cameo in ‘Funtoosh’. In 1957, he makes his debut appearance in a lead role – as the hero opposite to Shakila in the film ‘Agra Road’. 1957 also sees the release of ‘Nau Do Gyaarah’, his debut directorial venture. Hmmm. . . quite a watershed year for his career, making debut both as a lead actor and a director in the same year.

Then, a gap of couple of years and we see all the three Anand brother appear together in the 1960 social hit film ‘Kaala Bazaar’. Vijay Anand plays the first love interest of Waheeda Rehman, who has gone to France for higher studies, and returns to India during the second half of the film, when an uncertain relationship is developing between Dev Anand and Waheeda Rehman. And yes, he is also the director of this film.

Next we hear about him in 1963 – as the director of the film ‘Tere Ghar Ke Saamne’. In between, there is  unconfirmed statements that he also was the shadow director of the film ‘Hum Dono’ in 1961.

1964 sees the release of Chetan Anand’s ‘Haqeeqat’ – he makes appearance as one of the soldiers in the army unit that is on the China border, and gets trapped in the winter snow as weather turns belligerent. He is present in the qawwali – “Ho Ke Majboor Mujhe Us Ne Bhulaaya Hoga”.

Come 1965, and we see the zenith of his creative career. Navketan’s ‘Guide’ is released, to a critical acclaim that predicts this film to be the best film Hindi cinema has produced. The prediction stands true today – more than fifty years later. The original author of the story, RK Narayan, was not too happy with the outcome, wherein Dev and Vijay had made some significant modifications to the original storyline. But the outcome of the final product says everything. The film is a grand tour of the human life, of the transformation of a soul from an expert guide, to a conman, to a sinner, and then on to a realization that takes the soul to horizons that are way beyond the mundane existence of this world, this life. The film remains to be seen yet once again, no matter how many times one has seen it. And the one man behind it – Vijay Anand. The performance he extracted from Dev Anand, is a remarkable achievement that even Dev was never able to replicate in his entire career.

And the songs of ‘Guide’ – each one of them deserves to be dealt with in separate individual write ups. The visualization and cinematography of “Aaj Phir Jeene Ki Tamanna Hai” can simply not be bettered. The top shot of the lead pair in the rear of truck full of hay, or the low angle tracking shot of Waheeda Rehman’s feet as she is walking on the walls of the fort. Or the superb capture of the sunset ambience in “Tere Mere Sapne Ab Ek Rang Hain” – a song that was completed in an unbelievable 4 shots. When I read this and then went back to review the video of this song again, it is now even a more staggering experience with this knowledge – just 4 shots. And more than just the songs – that have been viewed and viewed and viewed again and again, and written about and discussed and critiqued to no end – I would like to draw the attention of the readers to another musical piece, which keeps to just being short of a full fledged song. The snake dance in the village of snake charmers. The visualization, the settings, the lighting, everything about this piece is just out of this world – and I dare say, this would be probably the best on screen dance performance of Waheeda Rehman.

In 1966, we see his directorial capabilities reach a plane very different from ‘Guide’. The release is ‘Teesri Manzil’ directed by him. An edge-of-the-seat thriller cum comedy film, one sees Vijay’s song picturization capabilities touch even newer heights of perfection. If the songs of ‘Guide’ were about a traditional view of the life of this sub-continent, the songs of ‘Teesri Manzil’ brought in a rock element that had never been presented before as such. And no, I am not going to discuss the song details here – they are so much a favorite of every music lover, that I may just be holding a candle to what everyone already knows and believes in.

1967 – and another brilliant caper is in the making – ‘Jewel Thief’. Another taut thriller, another musical bonanza, and another set of memorable songs picturized so elegantly that it defies description to do justice. Yesterday I had written about the dance song of Jaishree T (from the film ‘Tere Mere Sapne’), with the comment that it was probably the best on screen performance for her. I make a same kind of statement today – the song “Hothon Mein Aisi Baat. . .” has been acknowledged as the best dance performance of Vijayantimala in her entire career.

1968 – and we don’t know what to say about his film this year. He directed the Dev Anand – Asha Parekh starrer ‘Kahin Aur Chal’, produced under a non-descript banner titled JM Productions. The film seems to have sunk without a trace. The stories that emerged later were that this film was produced with the express requirement to show losses, for some tax manipulations. The producers withdrew the film almost as soon as it was released, to claim losses. The sad part is that the film has completely disappeared. It is known that even Dev Anand himself was searching for it. It was not a Navketan production so he had no control over its ownership. Nothing more is noted anywhere about this film, except that its songs are available. This curious situation kind of makes this Vijay Anand directed film as one of the most sought after cinematic assets in the industry.

After another gap of an unlettered 1969, Vijay is back in 1970, with the news of another blockbuster hit of a comic thriller – ‘Johnny Mera Naam’. Coming on the heels of ‘Teesri Manzil’ and ‘Jewel Thief’, this another taut thriller demonstrated Vijay going from strength to strength, and also continuing to refine his uncanny handling of on screen song presentations. The songs of this film are simply stupendous – the picturization of “Pal Bhar Ke Liye. . .” is unimaginably innovative and yes, very sweet – “Pal Bhar Ke Pyaar Pe Nisaar Saara Jeevan. . .”. And then, yes, the handling of a worried Hema Malini being followed by the police in the song “O Mere Raja. . . Waada To Nibhaaya”.

So far, so good. But then it gets even better in 1971. Moving away from the thriller genre, Vijay Anand directs ‘Tere Mere Sapne’ – which maybe barring ‘Guide’, is probably the most sensitive and a most mature handling of a theme of family sentiments, and human failings and triumphs. I was in school when this film was released. And in my haughtiness of the amateur school time discussions about human psychology and social issues, I thought very well of this film, given of course some ‘critical defects’ that I believed I must communicate to the director, if I could. That haughtiness and the thought of those errors is long past. And, as with a handful of some very excellent films, this is one which has a new learning to give every time one views it. I have seen this film every so often again and again, and simply do not get tired of it. The multi- faceted pushes and pulls that are experienced in real life, are so well depicted in this epitome production about human life.

I clearly remember the discussion I had with my school friends after seeing this film. I commented (quite amateurishly I must add) that seeing the last scene gives the feeling as if having a child was the only objective of this film. Over the years, I have not only regretted that statement, but have progressively revised my understanding as to what this film is trying to portray and achieve.

And then, just about this juncture, it seems as if Vijay has lost the luster and the touch. His personal inclinations seem to be distracting him more into his inside world. And the personal relationships that he went into and came out, did not help either. He was drawn towards Osho (Bhagwan Rajneesh). He got married to Loveleen, one of the followers of Osho. The marriage did not last long, and was dissolved. Some time passes and he confounds the world with his next marital alliance. He stirred a controversy of Himalayan proportions by marrying the daughter of his own sister.

As these personal travails haunt him, he continues to create more films but then how do you write about them after having talked about his creations till the 1971. No, I am not demeaning the value in the films that follow ‘Tere Mere Sapne’. A sampler follows – ‘Blackmail’ and ‘Chhupa Rustom’ in 1973, ‘Bullet’ in 1976, ‘Ek Do Teen Char’ and Ram Balram in 1980, ‘Rajput’ in 1982, ‘Hum Rahe Na Hum’ in 1984, and ‘Main Tere Liye’ in 1986. All these are as a director. As an actor anther list to talk about – ‘Double Cross’ and ‘Hindustan Ki Kasam’ in 1973, ‘Chor Chor’ and ‘Kora Kaagaz’ in 1974, ‘Main Tulsi Tere Aangan Ki’ in 1978, and ‘Ghunghroo Ki Awaaz’ in 1981. We continue to see glimmers of his old self – the song ‘Pal Pal Dil Ke Paas. . .” in ‘Blakcmail’, and “Jo Main Hota Ik Toota Taara. . .” in ‘Chhupa Rustom’, are a throwback reminder of his prowess as a song director. His performances in ‘Kora Kaagaz’, ‘Main Tulsi Tere Aangan Ki’ and ‘Chor Chor’ are impressive and invite kudos. But with all this even, he seemed to have descended into the valleys. The sparkle that was Vijay – seemed to have been snuffed out.

In 2004 when he passed away, he was preparing to direct another Navketan film for Dev Anand – ‘Jaana Nahin Dil Se Door’. Apparently one (or more songs) were recorded. But it seems that the film was shelved when Vijay passed away. There is no mention of this film on Navketan’s web site.

I feel I have so much to write about this enigma that was Vijay Anand, but I will save that for another post. Coming to the song for today. And yes, by the way, we are Yippeee-ing the film ‘Tere Mere Sapne’ with this post. 🙂

Just this film itself evokes such emotions and memories that I wish I had posted all the songs of this film, and written about them. In the post yesterday, I had written about the celebration dance song, and somewhat of the story till that point in the film. Moving forward from there – the humble and grateful Phoolchand (role played by Sapru) gives a personal gift to Dr. Anand for having saved his newborn child’s life. It is a note of one hundred rupees. Mrs. Prasad (role played by Paro, the wife of Dr. Prasad (role played by Mahesh Kaul), the head of the hospital), takes an offense to this, and demands that Anand hands over that gift to her. Anand refuses. He decides to take on another job at another hospital in a village close by, rather than succumb to Mrs. Prasad’s demands for something he, at that point in time, feels very emotionally attached with.

Anand moves to the other hospital. The expected marriage of Nisha and Anand takes place. Nisha is pregnant for the first time. A mishap occurs. While at the market place, she is hit by a car that is recklessly being driven by an inebriated Seth Madhochand (role played by Premnath), the owner of the mining company in the village. Nisha loses the child. The rich Seth prevails over the judicial system, gets acquitted after producing tutored witnesses to establish that the accident was Nisha’s fault. Anand’s world is shattered. He leaves the village and returns to Bombay. In the starting scene of the film, one of his batch mates is pleading with him not to go the village. Now Anand returns to the same friend, who introduces him to others in the profession, and Anand, capable as he is, becomes one of the most sought after doctors in the city.

Affluence follows, no matter that Nisha’s life becomes a depressing bore. But Anand is so busy making money that he even overlooks the personal issues his beloved is going thru. Back in the village, the senior doctor, Dr. Prasad passes away. The hospital is renovated and expanded, and is to be re-inaugurated as a memorial to Dr. Prasad. Jagan (Dr. Jagannath Kothari, role played by Vijay Anand) comes to Bombay, seeking to convince Anand to return to the village hospital. Anand, flying high with the euphoria of financial success, declines the invite. Jagan returns to the village empty handed.

The day of the inauguration arrives. All arrangements are in place. All the village crowd is collected. But the local leader, who has been invited to do the honors at the inauguration ceremony, is late, with no information as to when he may arrive. At this juncture, I introduce Dr. Bhutani (role played by Agha). Bhutani is the village dentist, apparently the only one in the surrounding 20 some villages. And so a person of quite some eminence. Being in-charge of the ceremonies, he is also panicking with the non-arrival of the chief guest. He complains to Jagan, Jagan tells him to improvise. They enter the pandaal, and seat Mrs. Prasad in the chief guest’s chair. And Bhutani breaks into this song. The crowd present joins in, as does Jagan for the third antaraa, later in the song.

The singing voice is that of Manna Dey, which is lip synced both by Jagan and Bhutani on screen.

An important note about the presentation of this song. Originally, in the film, this song is presented as a three antaraa song, two sung by Bhutani, and one by Jagan. As I went back into the online world to search for this song, I am pleasantly surprised to discover a much longer version of this song, which most probably has been taken from the film’s LP. The person who has uploaded this, has put together this entire song as a single video. For the first three antaraas, he has retained the original footage. For the later three antaraas, he has improvised and done an edit / cut / paste to create additional footage from the original footage. So what we see in this clip is three antaraas of the original footage and three additional antaraas of an edited and spliced together footage. The blips are noticeable, but yet the person has done a fair enough job to make is look like a whole single song.

There is enough said, so I will abstain from typing further. Enjoy this song that tells of the ground realities of the social and political woes in our country. Although dated 1971, all the thoughts expressed in this song are still fully representative of what we are going through in current times. The travails are timeless, it seems.

But regardless, enjoy the song. 🙂 And oh yes, a reminder that with this post, ‘Tere Mere Sapne’ is now a part of yippeee-land on our blog. The details of all the songs posted is given below. Close to ten years it took, given that the first song of this film was posted in November of 2008.

 

Hey Mein Ne Kasam Li 227 8-Nov-08
Jaise Radha Ne Mala Japi 559 16-Jan-09
Jeewan Ki Bagiya Mahkegi 571 18-Jan-09
Mera Antar Ek Mandir Hai Tera 7387 22-Jan-13
Ta Thai Tat Thai Ata That Thai Tat 8274 2-Jul-13
Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar 13870 4-Jan-18
Mera Saajan Phool Kamal Ka, Kali Main Raat Rani Ki 13953 21-Jan-18
Andhi Parja Andha Raja, Takey Ser Bhaaji Takey Ser Khaaja 13960 22-Jan-18

 

Song – Andhi Parja Andha Raja Takey Ser Bhaaji Takey Ser Khaaja  (Tere Mere Sapne) (1971) Singer – Manna Dey, Lyrics – Neeraj, MD – SD Burman
Unidentified Male Voice
Chorus

Lyrics

hey..ey..ey..ey..ey
suno re
suno re
suno re. . . sajjano

andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki
arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
hey..ey desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
arey dharam ko kha gaye pandit mulla
karam hoi gaya bhoosa
karam hoi gaya bhoosa
hey..ey..ey
kauwwe khaayen. . . hey
kya bhaiya
kauwwe khaayen doodh malaai
hans marey haaye bhookha
jamaane dhatt tere ki
jamaane dhatt tere ki

hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
oy reh gaye kewal jhande
hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
reh gaye kewal jhande
arey jhandon ko bhi le kar bhaiya
chalen sadak par. . .
dande
chalen sadak par dande
arey kaun desh ka dhyaan karey..ey..ey
kya baat hai
kaun desh ka dhyaan karey
kyaaa
sab hain kursi ke pandey
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

oo oo oo oo
oo oo
oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
arey ban kar yahaan bhikhaari
ho oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
ban kar yahaan bhikhaari
are raaj karey mehlon mein baithi
daghabaaj makkaari
daghabaaj makkaari
ey jitney daktar badhe..ey..ey..ey hey
jitney daktar badhe desh mein
utni badhi beemaari
haaye re haaye
utni badhi beemaari
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

———————-
stanzas not in film
———————-

dus dus saal jo tax nahin de
woh ban jaaye leader
arey wo ban jaaye leader
aaa aaa
dus dus saal jo tax nahin de
woh ban jaaye leader
wo ban jaaye leader
arey khoon pasina ek karey jo
wo ho jaaye phateechar
wo ho jaaye phateechar
kaun akal ki baat karey..ey..ey..ey
kaun akal ki baat karey
bhai sab par chadha shanichar
jamaane dhatt tere ki
jamaane dhatt tere ki

raat mein tha wo
kyaa
raat mein tha wo leegi bhaiya
subeh bana kangressi
arey subeh bana kangressi
arey raat mein tha wo leegi bhaiya
subeh bana kangressi
subeh bana kangressi
dal badlu ne neeti niyam ki
kar di aisi ki taisi
kar di aisi ki taisi
aey jiski laathi..ee
bhains usi ki
jiski laathi bhains usi ki
kya hai democracy
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

hey..ey..ey..ey
hawaa chali pashchim ki aisi
kala hui bedhangi
arey kala hui bedhangi
oo oo oo
hawaa chali pashchim ki aisi
kala hui bedhangi
kala hui bedhangi
arey angreji ka raag alaape
hindi ki saarangi
hindi ki saarangi
azaadi ke baal sanwaare
waah bhaiyaa
azaadi ke baal sanwaare
haaye karze ki kanghi
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
dhatt tere ki
hatt tere ki
dhatt tere ki
arey hatt tere ki
dhatt tere ki
arey hatt tere ki..ee..ee..ee

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे॰॰ए॰॰ए॰॰ए॰॰ए
सुनो रे
सुनो रे
सुनो रे ॰ ॰ ॰ सज्जनों

अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की
अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

देश को खा गई नेतागीरी
खेत को खा गया सूखा
अरे खेत को खा गया सूखा
हे॰॰ए देश को खा गई नेतागीरी
खेत को खा गया सूखा
खेत को खा गया सूखा
अरे धरम को खा गए पंडित मुल्ला
करम होई गया भूसा
करम होई गया भूसा
हे॰॰
कौव्वे खाएं॰॰॰ हे
क्या भइय्या
कौव्वे खाएं दूध मलाई
हंस मरे हाए भूखा
जमाने धत्त तेरे की
जमाने धत्त तेरे की

हे राम राज के घाट पे अब तो
रह गए केवल झंडे
ओय रह गए केवल झंडे
हे राम राज के घाट पे अब तो
रह गए केवल झंडे
रह गए केवल झंडे
अरे झंडों को भी ले कर भइय्या
चलें सड़क पर॰॰॰
डंडे
चलें सड़क पर डंडे
अरे कौन देश का ध्यान करे॰॰ए॰॰ए
क्या बात है
कौन देश का ध्यान करे
क्या
सब हैं कुर्सी के पंडे
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

ओ ओ ओ
ओ ओ
ओ ओ
दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
अरे बन कर यहाँ भिखारी
हो॰॰ओ दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
बन कर यहाँ भिखारी
अरे राज करे महलों में बैठी
दग़iबाज मक्कारी
दग़iबाज मक्कारी
ए जितने डक्टर बढ़े॰॰ए॰॰ए॰॰ए हे
जितने डक्टर बढ़े देश में
उतनी बढ़ी बीमारी
हाय रे हाय
उतनी बढ़ी बीमारी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

———————-
अंतरे जो फिल्म में नहीं हैं
———————-

दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
are वो बन जाये लीडर
आ आ
दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
वो बन जाये लीडर
अरे खून पसीना एक करे जो
वो हो जाये फटीचर
वो हो जाये फटीचर
कौन अकल की बात करे॰॰ए॰॰ए॰॰ए
कौन अकल की बात करे भई
सब पर चढ़ा शनीचर
जमाने धत्त तेरे की
जमाने धत्त तेरे की

रात में था वो
क्या
रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
अरे सुबह बना कांग्रेसी
अरे रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
सुबह बना कांग्रेसी
दल बदलू ने नीति नियम की
कर दी ऐसी की तैसी
कर दी ऐसी की तैसी
ए जिसकी लाठी॰॰ई
भैंस उसी की
जिसकी लाठी भैंस उसी की
क्या है डेमो क्रेसी
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

हे॰॰ए॰॰ए॰॰ए
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
अरे कला हुई बेढंगी
ओ ओ ओ
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
कला हुई बेढंगी
अरे अंगरेजी का राग अलापे
हिन्दी की सारंगी
हिन्दी की सारंगी
आज़ादी के बाल सँवारे
वाह  भइय्या
अरे आज़ादी के बाल सँवारे
हाए करजे की कंघी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
धत्त तेरे की
हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की॰॰ई॰॰ई॰॰ई॰॰ई


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(© 2008 - 2018) 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.

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 more than nine years. This blog has over 14300 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14344

Number of movies covered in the blog

Movies with all their songs covered =1146
Total Number of movies covered =3914

Total visits so far

  • 10,363,755 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

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