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 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4505 Post No. : 16046 Movie Count :

4387

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 112 # Debutant movie – Pyaar Ka Rishtaa-1973
——————————————

While discussing this song ‘chhoone na doongi main haath re’ from ‘Zindagi-1964’ Atul ji had given the complete details of filmography(or discography) of Shankar-Jaikishan.

I was looking for a movie where music is composed by Shankar-Jaikishan and the movie was yet to be introduced on the blog. The filmography starts from ‘Barsaat-1949’ and the last movie in this list is ‘Love In Bombay-2013’.
The oldest movie in the list not yet introduced on the blog is ‘Pyaar Ka Rishtaa-1973’. I am presenting a song from this movie today.

‘Pyaar Ka Rishtaa-1973’ was directed by Sultan Ahmed for ‘Golden Films, Bombay’. It was produced by Tony Walker.

It had Mumtaz, Sameer, Vinod Khanna, Shatrughan Sinha, Balraj Sahni, Nirupa Roy, Nadira, with Jayshree T., Malka, Randhir, Yunus Parvez, Master Ripple, Baby Deepali, Moolchand Kapoor, Master Ejaz and Chaman Puri and Johny Walker.

This movie was written by Mushtaq Jalili, and editing of this movie was done by M.S. Shinde.

This movie had total five songs composed by Shankar-Jaikishan. Here are the details of these songs;

Song Lyricist
Dekho dil na kisi ka toote… pyaar ka rishtaa sachchaa rishta, baaki rishte jhoothhe Indeevar
O ho ho ho … aansoo ko paseene mein badlo … mehnat se naseeb badaltaa hai Indeevar
Oye, nakh nakh nakhre waali… de de re dil mera … Shakeel Badayuni
Mera naam hai Flory … Shakeel Badayuni
Haay haay dukhi jaaye mori kamariyaa… Shakeel Badayuni

Mohd Rafi, Kishore Kumar, Asha Bhonlse and Sharda had given their voices to the songs in this movie.

The songs in this movie were penned by Shakeel Badayuni (who by the time of release of this movie had passed away on 20.04.1970) and Indeevar.

For today’s presentation I have selected a motivational song sung by Rafi Saab. Lyrics are by Indeevar. And music is composed by Shankar-Jaikishan.

With today’s song, ‘Pyaar Ka Rishtaa-1973’ makes its debut on the blog …

Let us now listen to this song with a message….

Video

Audio

Song-Aansoo ko paseene mein badlo (Pyaar Ka Rishtaa)(1973) Singer-Rafi, Lyrics-Indeewar, MD-Shankar Jaikishan

Lyrics

o ho ho ho o
o ho o °°°°°°°°

aansoo ko paseene mein badlo
mehnat se naseeb badaltaa hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai
aansoo ko paseene mein badlo
mehnat se naseeb badaltaa hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai

ik pal mein chhupaa hai ik jeewan
ik pal na bitaanaa baaton mein
kismat na sitaaron mein dekho
kismat hai tumhaare haathhon mein
baaton se kuchh bhi nahin hota
haathhon hi se kuchh bantaa hai
mehnat ka naam hai taaj mahal
mehnat ka naam ajanta hai
insaan ka paseena girte hi
patthar se phool nikalta hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai
aansoo ko paseene mein badlo
mehnat se naseeb badaltaa hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai

ik roz to daulat ke badle
mehnat ka sikkaa chalnaa hai
mehnat ka sikkaa chalnaa hai
saara sansaar badalnaa hai
jab mehnat ki qeemat hogi
chaandi na kahin chal paayegi
sikkon mein nahin dhal paayegi
mehnat ko nahin chhal paayegi ee
haathon ki haraarat lagte hi *
pal mein faulaad pighalta hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai

aansoo ko paseene mein badlo
mehnat se naseeb badaltaa hai
ye itna hi sach hai jitna
sooraj har roz nikalta hai

* (in audio link)
(haathon ki taaqat ke aage
parbat ka dil bhi dehaltaa hai)

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————

ओ हो हो हो ओ
ओ हो ओ°°°°°°°°
आँसू को पसीने में बदलो
मेहनत से नसीब बदलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है
आँसू को पसीने में बदलो
मेहनत से नसीब बदलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है

इक पल में छुपा है इक जीवन
इक पल न बिताना बातों में
किस्मत न सितारों में देखो
किस्मत है तुम्हारे हाथों में
बातों से कुछ भी नहीं होता
हाथों ही से कुछ बनता है
मेहनत का नाम है ताज महल
मेहनत का नाम अजंता है
इंसान का पसीना गिरते ही
पत्थर से फूल निकलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है
आँसू को पसीने में बदलो
मेहनत से नसीब बदलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है

इक रोज़ तो दौलत के बदले
मेहनत का सिक्का चलना है
मेहनत का सिक्का चलना है
सारा संसार बदलना है
जब मेहनत की कीमत होगी
चांदी न कहीं चल पाएगी
सिक्कों में नहीं ढल पाएगी
मेहनत को नहीं छल पाएगी ई
हाथों की हरारत लगते ही *
पल में फौलाद पिघलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है
आँसू को पसीने में बदलो
मेहनत से नसीब बदलता है
ये इतना ही सच है जितना
सूरज हर रोज़ निकलता है

*(श्रवण कड़ी में)
(हाथों की ताक़त के आगे
परबत का दिल भी दहलता है )


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4491 Post No. : 16016

Today 3rd November’2020 is the eighty-third birth anniversary (born on 03.11.1937) of Laxmikant Shantaram Kudalkar popularly known as Laxmikant of the music duo of Laxmikant-Pyarelal. He would have been eighty-three today if he was alive and around us. But he passed away on 25.05.1998 at the age of sixty years.

As a tribute to him here is a song from the ‘1970’ movie ‘Himmat’.

‘Himmat-1970’ was directed by Ravi Nagaich for ‘Bharti International, Madras’.

It was a social movie. It had Mumtaz, Jeetendra, Prem Chopra, K.N. Singh, Naaz, Asit Sen, Tun Tun, Parveen Pal, Aruna Irani Jagdeep, Babi, Agra, Prabhakar Reddy and others.

So far, the following three songs from this movie have been posted on the blog.

Song Posted on
Maan jaayiye maan jaayiye 20.06.2013
Jaal bichhe hain nigaahon ke 07.07.2013
Das gayi das gayi das gayi 02.08.2013

As we can see from above all the three songs were posted around the same time in 2013. However one song, whose lyrics were noted down during the same time is still pending. Today I am presenting that song from the movie. This song issung by Rafi Saab.

When I shared the above songs, I was not equipped with HFGK Vol-IV (1961-1970).

When I went through the list of the songs of this movie in HFGK Vol-IV, I discovered that a surprise song was still remaining. Moreover there are two more songs in this movie that are yet to be covered.

So, this movie has seven songs as per the details given below (in their order of appearance in HFGK (which should be in order as per the movie too);

Song Posted on
Hip hip hurray … aao piyo peene ka zamaana aaya
Hai shukr ki tu hai ladka … kya hota meri tauba agar tu
Das gayi das gayi … naagan si zulfen teri 02.08.2013
Jaal bichhe hain nigaahon ke … gaal gulaabi hai 07.07.2013
Maan jaayiye maan jaayiye 20.06.2013
Main akeli badi mushqil ghadi … baat mere dil ki
Himmat karey insaan to kya ho nahin sakta

All the seven songs in this movie were written by Anand Bakshi and they were composed by Laxmikant-Pyarelal.

Today’s song is sung by Mohd Rafi. HFGK mentions this song as the ‘theme song’ of the movie and I guess it is played in parts in the movie.

I came across one partial video of this song. The audio is for the full song and lyrics are noted as per audio version of this song,

Let us now enjoy this wonderful song written by Anand Bakshi. I like this song very much and hope you too will enjoy this motivational song …

Audio (Longer)

Video (Partial- second stanza)

Video (Partial- last stanza)

Song-Himmat karey insaan to kya ho nahin sakta (Himmat)(1970) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

Himmat karey insaan
Aa aa aa aa
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan

Karti hai jise galiyon mein badnaam ye duniya
Kehti hai jise hasrat e naakaam ye duniya
Karti hai jise galiyon mein badnaam ye duniya
Kehti hai jise hasrat e naakaam ye duniya
Ban jaaye wo armaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan

Himmat karey insaan
Aa aa aa aa
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan

Shikwe buri kismat ke hai bujhdil ke bahaane
Tinke ki tarah tujhko udaa daala hawaa ne
Shikwe buri kismat ke hai bujhdil ke bahaane
Tinke ki tarah tujhko udaa daala hawaa ne
Ban jaaye tu chattaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan
Aa aa
Aa aa
Aa aa
Aa aa aa

Jo waqt se dartey hain wo anjaan hain kitne
Wo kaam jo mushkil hai wo aasaan hain kitne
Jo waqt se dartey hai wo anjaan hai kitne
Wo kaam jo mushkil hai wo aasaan hai kitne
Ye raaz tu le jaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan to kya ho nahin sakta
Ye jaan le naadaan to kya ho nahin sakta
Himmat karey insaan
Himmat karey insaan


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4489 Post No. : 16012

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Blog 10-Year Challenge (2010-2020) – Song No. 90
———————————————————————————–

The blog was maintaining a high daily strike rate of nearly 6 songs daily during september 2010, which got reduced to a daily rate of 3 songs per day from October 2010 onwards. This rate was sustained in November 2010 as well.

This date ten years ago (viz 1 November 2010) saw three songs getting discussed. Here are the details:-

Song Movie title-Year Remarks
Kal raat zindagi se mulaaqaat ho gayi Paalki-1967 All songs covered
Sainyya chhod de bainyya Rakhi-1962 All songs covered
Badal rahi hai zameen badal rahaa hai aasmaan Fashionable Wife-1959 02 of 10 songs posted

We can see that only one out of the three movies from the above list can be taken up for Blog Ten Year Challenge today (1 November 2020). This movie, namely “Fashionable Wife”(1959) was produced and directed by B K Adarsh for Adarshlok, Bombay. The movie had Jaymala, Abhi Bhattacharya, Anoop Kumar, Daisy Irani, Nazir Husein, Manorama, Leela Misra, Achla Sachdev, Mirza Musharraf, Iftekhar, Anand Joshi, Vijay Kaul, Mastana Azad, Murlidhar, R.S.Dubey, Nitoo, Jagdish Shrivastava, B.R.Wadia, Radhakishan etc in it.

The movie had ten songs in it. Two songs have been covered in the past. Here are the details of the songs of this movie :-

Song Lyricist Posted On
Badal rahi hai zameen badal rahaa hai aasmaan Bharat Vyas 01.11.2010
Paschhim se aazaadi aayi, fashion ki shehzaadi aayi Bharat Vyas
Ho Shirdi ke Sai Baba hamre gusaayin baba Bharat Vyas
Jhoomon re jhoomne ke din aaye … Bharat Vyas 06.04.2013
Bangal ke baabu … peene ki bhi aadat aisi Anwar Farrukhabaadi
Jeewan path mein kahaan… chaltaa chal tu chaltaa chal Bharat Vyas
Sadak pyaar ki kadak badi hai har kooche bazaar mein Bharat Vyas
Tum thekedaar bane baithhe … ye bhi to insaan (I) Bharat Vyas Being posted today
Saadaa jeewan oonche khayaal… upar se ujley Bharat Vyas
Ye bhi to insaan eesh ki santaan (II) Bharat Vyas Being posted today

Today, as Blog ten year Challenge, here is another song from “Fashionable Wife”(1959). The song is a multiple version song. It is sung by Asha Bhonsle and chorus. Bharat Vyas is the lyricist. Music is composed by Suresh-Talwar.

The is a song with a message, about the evil social practice of untouchability, then quite prevalent and fortunately considerably reduced today, six decades later. The song is lip synced by Jaymala.

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

Video (Part I)

Video (Part II)

Audio (Both parts)

Song-Ye bhi to insaan eesh ki santaan (Fashionable Wife)(1959) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Suresh-Talwar
Chorus

Lyrics (Provided by Avinash Scrapwala)

——————————–
(Part I)
——————————–

tum thekedaar bane baithhe ho
dharm ki in dukaanon par
insaan ko jo samjhe achhoot
laanat aise insaanon par
laanat aise insaanon par

ye bhi to insaan
ye bhi to insaan
eesh ki santaan
phir inse rakhte chhuaachhoot kyun oon
tum pavitra
ye achhoot kyun
ye bhi to insaan
eesh ki santaan

ye pawan agan gagan
sabhi ke waaste ae
phir bhi kyun alag alag
hamaare raaste
inko chhoonaa paap hai
ye kya kamaal hai
inka bhi to apne jaisa
khoon laal hai
inko to pehchaan
inmein wahi jaan
phir inse rakhte chhuaachhoot kyun oon
tum pavitra
ye achhoot kyun
ye bhi to insaan
eesh ki santaan

inki pooja ka tilak
lagaaya shyam ne ae
inke shabri ke chakhe
thhe ber raam ne
inke liye tadap uthhi
gandhi ki aatmaa
inko gale lagaa ke
wo bane mahaatmaa
maan ya na maan
inmein hai bhagwaan
phir inse rakhte chhuaachhoot kyun oon
tum pavitra
ye achhoot kyun
ye bhi to insaan
eesh ki santaan

tum jhooth moothh hi reejh rahe ho
pathhar ke bhagwaanon par
nafrat ke teer chalaate ho tum
in gareeb insaanon par
tum tiraskaar ka namak chhidakte
inke ghaayaal praanon par
inke murde jalne naa dete
tum apne shamshaanon par
jo inhe dalit kahe ghrunaa kare to
thhu aise vidwaanon par
jo inhe shastra se thhukaraaye
dhikkaar hai aise puraanon par

ye hain bezubaan
bhagwaaan ke mehmaan
phir inse rakhte chhuaachhoot kyun oon
tum pavitra
ye achhoot kyun
ye bhi to insaan
eesh ki santaan
phir inse rakhte chhuaachhoot kyun oon
tum pavitra
ye achhoot kyun

—————————-
(Part-II)
—————————–
ye bhi to insaan
eesh ki santaan
phir hamse rakhte chhuaachhoot kyun
tum pavitra
ham achhoot kyun

ye bhi to insaan
eesh ki santaan

oonch neech ka ye bhedbhaav
chhodke ae
ham rahenge aaj ye
deewaar tod ke

jiske dwaar band hai
us raam ki qasam
ab na koyi kar sakegaa
ham pe ye sitam

chal padaa jahaan
gandhi ka le vardaan
phir hamse rakhte chhuaachhoot kyun oon
tum pavitra
ham achhoot kyun

ye bhi to insaan
ish ki santaan

ye bhi to insaan
eesh ki santaan

badal gayi ye kudrat kyun
hamse aisi nafrat kyun
badal gayi ye kudrat kyun
hamse aisi nafrat kyun

chhote bade samajhnewaali
padti jaati aadat kyun
raam ke mandir mein jaa saktaa
choohaa billi kawwaa
par seedhi bhi chhu naa sakta
ye insaan ka hauwaa

ham paapi aur tum dharmi kyun
iskaa hamen jawaab do
ham sewak aur tum swaami kyun
iskaa hamen jawaab do
ham pathhar aur tum moti kyun
iskaa hamen jawaab do
ham achhoot aur
tum pavtira kyun
iskaa hamen jawaab do
jawaab do
jawaab do
jawaab do
jawaab do o o o

ye bhi to insaan
eesh ki santaan
phir hamse rakhte chhuaachhoot kyun oon
tum pavitra
ham achhoot kyun
ham bhi to insaan
eesh ki santaan
phir hamse rakhte chhuaachhoot kyun oon
tum pavitra
ham achhoot kyun

(noise, sound, protest, news headlines)

(achhooton ko nayaa Sandesh denewaala …


This article is written by Raja, 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:

4481 Post No. : 15992

Hello everyone,

My appearances here on the blog are becoming increasingly infrequent, not unlike the cameo visits of an MP/MLA to his constituency post-elections. 🙂

I will not get into reasons for my long absence from here – no excuses. Mea culpa.

As usual, my appearance here marks a special occasion.
This time it has to do with Sahir Ludhianvi’s death anniversary.

The legendary poet & lyricist passed away exactly 40 years ago, on the 25th of October 1980.

What can I write about Sahir that I haven’t already written here in previous posts?

Hardly anything, to be honest.

I’ve written so much about him here, on many of his birth and death anniversaries, that anything I write will be repetitive.

And yet I cannot let the occasion go by without marking it with my small contribution here. It has almost become a ritual for me now. 🙂

One thing though.

I might be a big Sahir fan, but I´m nothing compared to Avinash ji.
As usual, he contacted me a few days ago requesting me to do a post for this occasion.

And, as usual, he sent me a song with lyrics.

That was all the motivation I needed to come out of hibernation. 🙂

Prompted by the lyrics of this song, Avinash ji also shared some of this thoughts with me. Wide-ranging reflections on society, politics, media, polarization and other topics.

I must say I agree with his views – sobering thoughts for these times.

So today, perhaps the best tribute I can give Sahir is not to repeat what I’ve said so often about his poetry and lyrics, but to just reflect on where we are as a society, much as Sahir often did.

So kindly bear with me as I share a few thoughts.

You don’t have to agree with me at all – that’s perfectly fine.
We can disagree – and still be friends. 🙂

So if Sahir were around today, how would he have felt about today’s India?

Indian society, politics, media, justice system. . . everything that touches the common man’s life.

Am specifically talking about the common man, because clearly Sahir used his voice most to speak up for the aam aadmi and underprivileged against the powerful.

I’m not sure Sahir would’ve had many kind things to say.

The religious divide he warned us about, the exploitation of women he lamented, the oppression of labor class that he railed against, the caste inequality that he talked about – all of them exist, and even flourish, to this day.

At least in the early years post-independence, one can argue that India was still struggling to find its feet. It was besieged with a whole lot of baggage, including mass illiteracy and mass poverty, a colonial hangover, lack of institutions and infrastructure.

Not that any of this is an excuse to justify oppression, but India was still a baby then, and had huge challenges to deal with on multiple fronts. It had a history of feudalism that ensured a master-slave mentality between the haves and have-nots.

Today, many decades later, it’s not unfair to expect India to have matured more as a democracy. With more concern for people’s rights and freedoms, a greater regard for the dignity of every individual.

And yet how much have we really matured as a democracy?

We keep thumping our chests, claiming to be the world’s largest democracy. But what should democracy really mean?

Many think it is the right to vote.
But is that all there is to a democracy?
The right to vote?
That’s too narrow and limiting a function of a democracy.

For me, in a democracy (as opposed to a dictatorship), each person has a voice, has a right to express an opinion.

In fact, voting is one way of expressing your opinion.
But it’s just ONE way.

When farmers go on a nationwide protest to draw attention to their issues, they are also exercising their right to express themselves.

When citizens protest on the streets against what they believe to be an unfair law, they are similarly exercising their right to express themselves.

As long as the protests are peaceful, they are legitimate in a democracy.

In fact, even before independence, Gandhi ji and other leaders led peaceful protests against colonial rule. So it is nothing new in India.

Many of Sahir’s songs are actually a protest against exploitation by those in power. Imagine if he were not allowed to express his thoughts!

Do we even want such a society?

Do we want everyone to be a blind conformist, not to have independent thoughts of his own, to be fearful of expressing himself, to kowtow to those in power without a murmur?

Then we might as well just call ourselves a nation of slaves.

There’s no point in a nation being free, if its people aren’t.

A nation is nothing without its people.

And people, whether some of us like it or not, have the power to think.

And when they think, they might not exactly think in our way.

Just because we have power, it doesn’t entitle us to stifle their voice.

That goes against the very grain of a democratic mindset, in which each person has a voice.

Unless the person is inciting violence, no one has the right to shut him up.

Not even the State.

If you disagree, put forth a better argument to make your case.

Don’t use your brute power to threaten, intimidate or (in the case of the State)  arrest those you disagree with.
Just because you can.
That’s sheer abuse of power.

This has nothing to do with any particular political party. Many of them are guilty in their own ways of suppressing people’s voices.

If they get their way, what will we end up with?

A people living in fear, afraid to express an opinion that might be frowned upon by those in power.

Everyone becoming a conformist – whether by choice, or out of sheer fear.
In short, a nation of sheep.

Is that what we want?

Let’s pause, and reflect on this for a moment.

Speaking purely for myself, I like to express my views rather openly, even if they’re not exactly reflecting popular sentiment of the moment.

If I have to check myself every time, out of fear for repercussions, I’d feel extremely stifled.

As Sahir would too.

There are many more topics one can reflect on (and Avinash ji’s thoughts traversed many of them), but I’m limiting myself to just this one topic today because it sort of syncs with the song for today. Need to also leave material for future posts on Sahir, right? 🙂

Today’s song from ‘Naach Ghar’ (1959) is  Sahir’s sarcastic piece of advice to society.  “Just observe things happening, but don’t  speak up. Just let them happen. Don’t upset the apple-cart. Even call the dark of night, “day” if you need to”.

I quite like the rendition by Lata Mangeshkar.

Music is by N. Datta, for whom Sahir wrote excellent lyrics also for ‘Dhool Ka Phool’, also a 1959 film. And for ‘Dharmputra’ (1961). So theirs was quite a fruitful partnership.

In fact, I’ve already written a post for a song from Naach Ghar (1959) on the occasion of Sahir’s 500th song on this blog – “Tere Shehron Se Raja Hamen Ban Hi Bhaley

That is a straightforward lament, today’s song is a sarcastic take on society.

I like both songs a lot, but then I’m biased towards Sahir so my opinion should be taken with a truckload of salt. 🙂

So please listen to the song, and judge for yourself.

In closing, I’d like to say Sahir was one of a kind.  They don’t make his type anymore.

 

Song – Ae Dil Zubaan Na Khol (Naach Ghar) (1959) Singer – Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – N Datta
Chorus

Lyrics

aye dil zubaan na khol sirf dekh le
kisi se kuchh na bol sirf dekh le
hmm hmm hmm hmm
aye dil zubaan na khol sirf dekh le

ye haseen jagmagaahatein ae
hmm hmm hmm
aanchalon ki sarr saraahatein en
hmm hmm hmm
ye haseen jagmagaahatein ae
hmm hmm hmm
aanchalon ki sarr saraahatein en
aanchalon ki sarr saraahatein
ye nashe mein jhoomti zameen
hmm hmm hmm
sabke paanv choomti zameen
hmm hmm hmm
ye nashe mein jhoomti zameen
hmm hmm hmm
sabke paanv choomti zameen
hmm hmm hmm
kis kadar hai gol sirf dekh le
aye dil zubaan na khol sirf dekh le

kitna sach hai kitna jhooth hai ae
kitna haq hai kitni loot hai
rakhh sabhi ki laaj kuchh na keh
kya hai ye samaaj kuchh na keh
dhol ka ye pol sirf dekh le
aye dil zubaan na khol sirf dekh le

maan le jahaan ki baat ko
hmm hmm hmm
din samajh le kaali raat ko o
hmm hmm hmm
maan le jahaan ki baat ko
hmm hmm hmm
din samajh le kaali raat ko o
hmm hmm hmm
din samajh le kaali raat ko
chalne de yoon hi ye silsilaa aa
hmm hmm hmm
ye na bol kisko kya milaa aa aa
hmm hmm hmm
chalne de yoon hi ye silsilaa aa
hmm hmm hmm
ye na bol kisko kya milaa aa
hmm hmm hmm
taraazuon ka jhol sirf dekh le
aye dil zubaan na khol sirf dekh le

————————————————————
Hindi Script Lyrics
(Provided by Avinash Scrapwala)
————————————————————

ए दिल जुबां न खोल सिर्फ देख ले
किसी से कुछ न बोल सिर्फ देख ले
हम्म हम्म हम्म हम्म
ए दिल जुबां न खोल सिर्फ देख ले

ये हसीन जगमगाहटें ए
हम्म हम्म हम्म
आँचलों की सर सराहटें एं
हम्म हम्म हम्म
ये हसीन जगमगाहटें ए
हम्म हम्म हम्म
आँचलों की सर सराहटें एं
आँचलों की सर सराहटें
ये नशे में झूमती ज़मीन
हम्म हम्म हम्म
सब के पाँव चूमती ज़मीन
हम्म हम्म हम्म
ये नशे में झूमती ज़मीन
हम्म हम्म हम्म
सब के पाँव चूमती ज़मीन
हम्म हम्म हम्म
किस कदर है गोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले

कितना सच है कितना झूठ है
कितना हक है कितनी लूट है
रख सभी की लाज कुछ न कह
क्या है ये समाज कुछ न कह
ढोल का ये पोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले

मान ले जहां कि बात को
हम्म हम्म हम्म
दिन समझ ले काली रात को ओ
हम्म हम्म हम्म
मान ले जहां कि बात को
हम्म हम्म हम्म
दिन समझ ले काली रात को ओ
हम्म हम्म हम्म
दिन समझ ले काली रात को
चलने दे यूँही ये सिलसिला आ
हम्म हम्म हम्म
ये न बोल किसी को क्या मिला आ आ
हम्म हम्म हम्म
चलने दे यूँही ये सिलसिला आ
हम्म हम्म हम्म
ये न बोल किसी को क्या मिला आ
हम्म हम्म हम्म
तराजुओं का झोल सिर्फ देख ले
ए दिल जुबां न खोल सिर्फ देख ले


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

Blog Day : 4468 Post No. : 15961

‘Angulimaal’ (1960) was directed by Vijay Bhatt of Prakash Pictures which had been known for producing mythological and historical films among other genres. The film was a presentation of Thai Information Services Co Ltd. It is said that on the occasion of 2500th birth anniversary of Lord Buddha, Thai Government financed the film. I find from the credit title of the film that a Thai sounding name, Viratna Vidyabanich was as one of the production controllers. The star cast consisted of Bharat Bhushan, Nimmi, Anita Guha, Manmohan Krishan, Achala Sachdev, Chandrasekhar, Prem Adib, Ulhas, Kesri, Ram Mohan, Helen, Bimla, Sheila Kashmiri and Master Vinod Kumar (Vinod Mehra). The dialogues were written by a well-known Hindi writer and poet, Bhavani Prasad Mishra, the only film for which he wrote dialogues. Earlier, Bhavani Prasad Mishra had written lyrics for ‘Swayam Siddha’ (1949).

The story of the film is adapted from one of the Buddhist scriptures – ‘Angulimaal Sutta’. The story was said to have been in existence since 5th-4th Century BC which have been passed on to the next generations in the oral traditions until it was recorded in writing in the later centuries. As such, the original story of Angulimaal may have gone through some additions as it passed on to next generation in oral format. It is said that the family background of Angulimaal was not mentioned in the original story. Later on, it got incorporated in the story.

The story depicted in the film is as under:

On a stormy night, a son is born to the Royal Priest (Manmohan Krishan) of a kingdom. The Royal astrologer predicts that the boy would become a dreaded killer in his later years. The royal priest takes his new born son to the King (Prem Adib) for his blessings. The royal astrologer, however, suggests to the King that the boy should be killed to prevent him from becoming a dreaded killer. The King overrules him by saying that it is not right to kill a child when he has not committed a crime. Instead, King names him as ‘Ahinsak’ (Non-Violent) and orders that Ahinsak should be given proper education and the cultural upbringing so that he is prevented from becoming a killer.

During the 8th birthday celebration of King’s daughter, Princess Maya (Nimmi), King finds Ahinsak (Vinod Kumar) the most intelligent among the boys present at the occasion. He orders the Acharya (Ulhas) to take Ahinsak to his Gurukul for further studies. In the Gurukul, Ahinsak is introduced to Maruti, Dhanpal and Krishna among others. In the Gurukul, because of his all-round excellence in studies, sports, horse-riding and behaviour, Ahinsak becomes the darling of Acharya and his wife Gurumata (Anita Guha).

The boys have now grown up. Maruti (Chandrasekhar), Krishna (Kesri) and Dhanpal have become jealous of Ahinsak (Bharat Bhushan) as they cannot compete with him in any field. Another reason for jealousy for Maruti is that Princess Maya likes Ahinsak and Maruti is eyeing on marrying her. So, all three of them conspire to poison the mind of Acharya against Ahinsak by making some false allegations. One of the false allegations made by Dhanpal is that Ahinsak is having illicit relations with Gurumata. In the spur of the moment, Ahinsak kills Dhanpal for making a wild allegation. With this incidence, Acharya thinks that the prediction of the astrologer about Ahinsak becoming a killer may come out to be true. He expels Ahinsak from the Gurukul. His parent and his friends also shun him for life. The king announces a booty on his head. In the circumstances, he had no alternative but to run away in the forest where he makes friendship with animals but hates human beings. He starts the ruthlessly killings of human being whenever he sees them. In this process, he starts collecting a finger each of his killer. He takes a pledge to kill a thousand persons and to make a garland of fingers (Angulimaal) of those killed by him.

Angulimaal is now one short of his target of 1000 killings. He is about to kill a person in the darkness without knowing as to who the person was. The person happens to be his mother who had stepped out in search of her son and has been wandering in the forest for many days. When Angulimaal was about to kill her, he finds his hand holding a sword getting locked. He tries many times but his handis not able to raise the sword to kill the person. Then he sees a divine person appearing in front of him who is none other than Lord Buddha. Angulimaal tries to kill him but he is not able to catch-up with him. In desperation, Angulimaal asks him as to who he is.

After a series of arguments and questions, Angulimaal finds that this divine person still loves him after his horrible killings. He throws his sword and follows the advice of Lord Buddha to become a monk. He goes back to the people in the street of his royal palace, asking for forgiveness. But instead he is attacked by people throwing stones at him. He gets injured but continues to plead for forgiveness. At the right time, Princess Maya, who has become a monk, comes and rescues him from the mad crowd. She takes him to the monastery. The film ends with Angulimaal dressed as a monk, walking through the street for alms. Instead of stones, people now shower him with flowers and seeking his blessing.

There are 7 songs in ‘Angulimaal’ (1960) of which 5 songs have been covered on the Blog. All the songs were written by Bharat Vyas which was set to music by Anil Biswas. I was surprised to note that of the remaining two songs, the theme song and that too the most popular song of the film, ‘Buddham sharanam gachchaami’ is yet to be covered on the Blog. So, here is the theme song of about 10 minutes of duration which I am presenting with this article. The song is majorly rendered by Manna Dey except four lines which is rendered by Asha Bhosle lip syncing for Nimmi.

The song was not a cake walk for presentation as I found that there were many parts of the songs on the video sharing platform – some incomplete also. Fortunately, I found an audio clip of the song containing all the 6 parts of the song. Each stanza of the song has been rendered separately as background song. But video clips of a couple of parts of the song were not available. Also, it was necessary to know the sequence of each part of the song as it appears in the film. Instead of presenting the video clips in driblets, that too incomplete, I have made a new video clip by ripping off all the available parts of the song from the DVD of the film and uploaded the same. Unfortunately, Part-2 of the song is not available on the DVD of the film.

I give below the part-wise sequence of the song as appearing in the filmand the context thereof.

Part-1: As background song while credit titles of the film is displayed on the screen

Part-2: Missing in the DVD of the film. Probably this part was the continuation of Part-1. This part can be heard from the audio clip.

Part-3: The song is played in the background when Gurumata (Anita Guha) was about to commit suicide by jumping from a hill top into the river for tarnishing her name linking with Ahinsak (Bharat Bhushan). A monk’s sermons in the background stops her from committing suicide. She joins a monastery.

Part-4: Princess Maya (Nimmi) after failing to persuade Angulimaal to give up killings and join her, she is distressed that Angulimaal would continue to indulge in his killings. She decides to join monastery.

Part-5: Angulimaal (Bharat Bhushan) is about to kill his mother (Achala Sachdev). But the background song prevents him from using his sword as his hand muscle gets locked.

Part-6: Background song as Angulimaal, as a reformed man and now a monk, walks through the streets.

The lyrics in every line of the song has deep philosophical and inspirational thoughts. This song has as much of relevance today as was 60 years back when it was written by Bharat Vyas.

This is a devotional cum inspirational song which has a soothing effect on the mind.

Video Clip:(All Parts except Part-2)

Audio Clip: (All – Parts 1 to 6)

Song-Buddham sharnam gachhaami (Angulimaal)(1960) Singers-Manna Dey, Asha Bhonsle, Lyrics-Bharat Vyas, MD-Anil Biswas
Chorus
Manna Dey + Chorus

Lyrics(Based on Audio Clip)

—————————–
Part-1
—————————–

buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

ghabaraaye ae ae jab mann anmol
aa aa aa aa aa aa
hriday ho uthhe daanvaadol
aa aa aa aa aa aa

ghabaraaye jab mann anmol
aur hriday ho daanvaadol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————–
Part-2
—————————-
jab ashaanti ka raag uthhe
laal lahu ka phaag uthe
hinsa ki wo aag uthhe
maanav mein pashu jaag uthe…ae ae
upar se muskaate ??
bheetar zahar rahe wo ghol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————
Part-3
—————————-
aa aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa aa aaa
jab dukh ki ghadiyaan aayen
aa aa aa aa
sachh par jhooth vijay paaye
aa aa aa aa
iss nirmal paavan mann par
jab kalank ke ghan chhaayen..en en
anyaayon ki aandhi se
praan uthhe jab tere dol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

——————————–
Part-4
——————————–
roothh gaya jab sun’ne waala
kis’se karoon pukaa…aa aar
pyaar kahaan pahchaan saka ye
ye nirdayi sansaa…r

nirdayata jab lewe jaan
daya huyi ho antardhyaan
jab ye chhota sa insaan
bhool raha apna bhagwaan aan
satya tera jab ghabaraaye
shraddha ho jab daanvaadol
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
tab maanav tu mukh se bol
buddham sharanam gachchhaami ee
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami

—————————————-
Part-5
—————————————-
buddham saranam gachchhaami
jab duniya se pyaar uthhe ae ae ae ae ae
jab duniya se pyaar uthhe
nafrat ki deewaar uthhe
maa ki mamta par jis din
bete ki talwaar uthhe….ae ae ae
aaa aaa aaa aaa
dharti ki kaaya kaanpe
ambar dagmag uthhe dol
tab maanav tu mukh se bol
buddham sharanam gachchhaami
tab maanav tu mukh se bol
buddham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami

——————————–
Part-6
———————————
door kiya jis ne jan-jan ke
vyaakul mann kaa aa andhiyaara aa aa
jiski ek kiran ko chhoo kar
chamak uthha ye jag saara

deep satya kaa sada jale
daya ahinsa sada phale
sukh shaanti ki chhaaya mein
jan-gan-man kaa prem pale ae ae
Bhaarat ke bhagawan Buddha ka
goonje ghar ghar mantra amol
hey maanav nit mukh se bol
buddham sharanam gachchhaami
hey maanav nit mukh se bol
buddham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami
buddham sharanam gachchhaami
dhammam sharanam gachchhaami
sangham sharanam gachchhaami


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

Blog Day :

4456 Post No. : 15934

Hullo Atuldom

Some songs keep playing in our mind as if on loop. This I had said in one of my previous posts. Today’s song is one such.
I saw it consciously a number of times in the last few years. Consciously means I may have seen it in the ’70s or ’80s when these movies were aired on the doordarshan but I was not old enough to appreciate them or the meaning of their lyrics. But now on repeat viewing of the movie I am getting wiser. I had filed away (mentally) that this needs to be on the blog. So here it is.

“Sadhu Aur Shaitaan” a 1968 release had 4 songs all written by Rajinder Krishan and Laxmi-Pyare were the music directors. Asha Bhonsle, Usha Mangeshkar, Manna Dey and Mohd. Rafi were the playback singers.

Only one song has been posted on the blog. That one had Mehmood replaying his “hum kale hain toh kya hua” character. We had Mehmood mouthing the initial part of “Chunia, ari kidhar hai ri tu? Mere dil ki rani. Mere nawaason ki naani. aa gaya hoon main. arre dekh le main aa gaya permission leko”.

Today’s song has him giving gyaan about the importance of knowing one’s mother tongue in addition to learning “A B C D”. We should remember that this was a movie which came at a time when we had enough students opting for schools which were not essentially English medium. We should also remember that all those who trained in non-English medium schools were no less intelligent and we have many pioneers in various fields from those students too. I know I will be stirring a hornet’s nest if I talk about which is a better language for educating the masses of the country.

My personal feeling is that education should be in a language where in the parents also understand what the child is learning so that they are able to clarify doubts that the child has as he is studying. People may feel that my thoughts are very old fashioned but…..

Today happens to be the birth anniversary of Mehmood who would have been 88. He knew how to bring a smile on the viewer’s face, how to tickle their funny bone. He was the son of actor/dancer Mumtaz Ali and brother of dancer Minu Mumtaz (about whom our Sadanandji has written in his this post). His brother Anwar Ali was also an actor who paired with Mehmood in “Bombay To Goa” as Rajesh to Mehmood’s Khanna.

Mehmood took up odd jobs at a rather young age to help look after his large family which had 7 siblings. He decided to try acting to support his family once he married and had his first son and had his first break in “C.I.D” with a small role of the killer. He had other small unnoticed roles in “Do Bigha Zameen” “Pyaasa” etc. His innings in Bollywood was peppered with comic roles that were an essential part of the story and we often saw him drill sense into older characters towards the end of the movie.

I saw a part of “Meri bhabhi” (1969) this morning where he was doing just that as Shambu. But he was a class apart when he turned to movie making and gave us classics like “Bhoot Bungla”, “Padosan”, “Bombay To Goa” and the most poignant, message carrying of them all “Kunwara Baap”. His last movie released in 1996 “Dushman Duniya Ka” which he directed and Jeetendra headed the cast. It is interesting to note that Shahrukh Khan and Salman Khan had special appearances in it.

Remembering the actor, producer, director Mehmood with this song sung by Manna Dey and Asha Bhonsle.


Song-A for apple B for baby (Saadhu aur Shaitaan)(1968) Singers-Asha Bhonsle, Manna Dey, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Chorus
Unidentified child voice 1
Unidentified child voice 2
Asha Bhonsle + Manna Dey

Lyrics

a for apple,
b for baby,
c for camel,
d for daddy
a for apple,
b for baby,
c for camel,
d for daddy
a for apple,
b for baby,
c for camel,
d for daddy

d for daadhi
d for daddy
o d for daadhi
no
d for daddy

a for andha
b for behra,
c for cana
d for duffer

a for apple
b for baby
c for camel
d for daddy

la la laralara roo
la la laralara roo rooroo

aa haa

E se England hai
F se Finland hai
G se kaun land hai
bolo bolo bachchn
G se German hai, H se Holland hai
I se mera india
jaihind jaihind

chhodo bachcho a b c
aao seekho ka kha ga
arre chhodo bachcho a b c
aao seekho ka kha ga
raag videshi bhool ke
pyaaron gaao sa re ga ma pa
gaao sa re ga ma pa

ga ma pa ga ma pa
ga se gay ma se mata aa aa
ga se gay ma se mata,
pa se bolo kya

pita
chhodo bachchon a b c
aao seekho ka kha ga
aao seekho ka kha ga

ka kha ga ka kha ga
sa
sa
re
re
ga
ga
ma
ma
pa dha ni sa

aa aa aa
aa aa aa
aa aa aa

n se naarangi, o se om hari om, p se prem pat’r
yeh mera prem patr padhkar
ke tum naaraaz na hona
ye mera prem patr

p se prem patar toh q se,
q se queen
hukum ki
r se roti besan ki,
s se saag sarson ka

a b c d e f g h i j k
n o p q,
l m n o p q

ka kha ga
a b c
arre ka kha ga
no a b c

chhodo bachchon angrezi hindi urdu ka jhagda
chhodo bachchon angrezi hindi urdu ka jhagda
tamil bolo, bangla bolo
bolo desh ki har bhaasha
seekh sako toh seekho bachchon
seekh sako toh seekho bachchon
saari duniya ki vidya
chhodo bachcho angrezi hindi urdu ka jhagda
tamil bolo, bangla bolo
bolo desh ki har bhaasha

lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa
lala lala lala laa


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4454 Post No. : 15923 Movie Count :

4368

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 103 # In Remembrance – Hasrat Jaipuri & Mahendra Kapoor #
——————————————————————————–

Today’s song is from a debutant movie ‘Dharti Ki God Mein-1971’. I was longing to introduce this movie on the blog since long but was not able to locate its songs and they seem difficult to find. Now they are available uploaded since last year i.e. 2019. Thanks to the uploader.

‘Dharti Ki God Mein-1971’ was directed by Kewal Mishra for ‘Bhagyashri Productions, Bombay’. It was a ‘social movie’. It had Som Dutt, Komal, Kanhaiyalal, Shatrughan Sinha, Chaman Puri, Jayshree T., Renu, Sundar, Dhanraj Pahalwan, Rajnath, Bedi Sindhara, Lakshami Arya, Rajan Haksar, Uma Dutt, Y.N. Kapoor, Gopi Tak, Honey Irani, Master Ratan, Mehrunnisaa, Durga Khote and others.

This movie had six songs written by Hasrat Jaipuri and composed by Sonik-Omi. Asha Bhonsle, Mahendra Kapoor, and Komal had given their voices to the songs in this movie.

This movie was passed by Censor Board on 09.11.1971.

17th September 2020 was the twenty-first Remembrance anniversary of Poet lyricist Hasrat Jaipuri (15.04.1922-17.09.1999). I was looking for a debutant movie then which has lyrics penned by him. However, I could not send my write-up then. Today we are going to introduce this movie ‘Dharti Ki God Mein’ which have all songs penned by Hasrat Jaipuri on the blog.

Today 27th September 2020 is the twelfth Remembrance anniversary of Singer Mahendra Kapoor (09.01.1934-27.09.2008).

‘Dharti Ki God Mein-1971’ has Mahendra Kapoor’s voice in five songs i.e. in all songs except except one song of the movie. He has sung two solo, two duets and one song having voice of three singers.

As a tribute to Hasrat Jaipuri and Mahendra Kapoor today we listen to this song from the movie ‘Dharti Ki God Mein-1971’ composed by Sonik-Omi.

Only audio of this song is available and I hope it is full song. Also, I think this movie must have been an obscure movie of its and its songs were forgotten easily.

I would request knowledgeable readers to throw more light on the movie and its songs.

Let us now enjoy this song.

(As mentioned above with this song ‘Dharti Ki God Mein-1971’ makes its debut on the blog today. (Only ‘one’ movie from alphabet ‘D’ from 1917 remains to be launched now to cover launching of all ‘D’ movies of ‘1971’ on the blog 🙂 )


Song-Desh tera bhagwaan hai tu sun le naujawaan (Dharti Ki God Mein)(1971) Singer-Mahendra Kapoor, Lyrics-Hasrat Jaipuri, MD-Sonik Omi
Chorus

Lyrics

ho o o o o
o o o o o o
ho o o o o
o o o o o o
ho o o o o
o o o o o o
ho o o o o
o o o

desh tera bhagwaan hai
tu sun le naujawaan
is maati mein pyaar bharaa hai
mera Hindustan
o bandhu re ae °° °° °° °° ae
tu pyaar ke beej bichhaa le
arre dharti ki god mein
bhaai re dharti ki god mein
arre dharti ki god mein
bhaai re dharti ki god mein

ho desh tera bhagwaan hai
tu sun le naujawaan
ho is maati mein pyaar bharaa hai
mera Hindustan

o bandhu re ae °° °° °° °° ae
tu pyaar ke beej bichhaa le
arre dharti ki god mein
bhaai re dharti ki god mein ae
arre dharti ki god mein
bhaai re dharti ki god mein

ho desh tera bhagwaan hai
tu sun le naujawaan
ho is maati mein pyaar bharaa hai
mera Hindustan

bolen ae re soone soone
ye khet tujhe bolen ae
tu inmein dhaan ugaa aa
dhaan ugaa aa
dhaan ugaaa aa

ho o o o o o
maange ae
re teri mehnat hi desh teraa maange ae
tu ispe jaan ladaa aa
jaan ladaa aa
jaan ladaa aa

ho o o
kuchh kaam to kar le
ho ho
phir jholi bhar le ae

hey hey
kuchh kaam to kar le
ho ho
phir jholi bhar le ae

o mitwaa re ae °° °° °° °° ae
jeewan ko swarg banaa le
are dharti ki god mein
bhaai re dharti ki god mein ae
arre dharti ki god mein
bhaai re dharti ki god mein

ho desh tera bhagwaan hai
tu sun le naujawaan

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
हो ओ ओ ओ ओ
ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ
ओ ओ ओ ओ ओ
हो ओ ओ ओ ओ
ओ ओ ओ ओ ओ

देश तेरा भगवान् है
तू सुन ले नौजवान
इस माटी में प्यार भरा है
मेरा हिंदुस्तान
ओ बंधू रे ए°° °° °° °° ए
तू प्यार के बीज बिछा ले
अरे धरती की गोद में
भाई रे धरती की गोद में
अरे धरती की गोद में
भाई रे धरती की गोद में

हो देश तेरा भगवान् है
तू सुन ले नौजवान
हो इस माटी में प्यार भरा है
मेरा हिंदुस्तान

ओ बंधू रे ए°° °° °° °° ए
तू प्यार के बीज बिछा ले
अरे धरती की गोद में
भाई रे धरती की गोद में
अरे धरती की गोद में
भाई रे धरती की गोद में

हो देश तेरा भगवान् है
तू सुन ले नौजवान
हो इस माटी में प्यार भरा है
मेरा हिंदुस्तान

बोले ए रे सूने सूने
ये खेत तुझे बोले ए
तू इनमे धान उगा आ
धान उगा आ
धान उगा आ

हो ओ ओ ओ ओ ओ
मांगे ए
रे तेरी मेहनत ही देश तेरा मांगे ए
तू इसपे जान लड़ा आ
जान लड़ा आ
जान लड़ा आ

हो ओ ओ
कुछ काम तो कर ले
हो ओ
फिर झोली भर ले ए

हे हे
कुछ काम तो कर ले
हो ओ
फिर झोली भर ले ए

ओ मितवा रे ए ए°° °° °° °° ए
जीवन को स्वर्ग बना ले
अरे धरती की गोद में
भाई रे धरती की गोद में
अरे धरती की गोद में
भाई रे धरती की गोद में

हो देश तेरा भगवान् है
तू सुन ले नौजवान


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

Blog Day :

4429 Post No. : 15856 Movie Count :

4363

Mukesh and his Composers – 20
—————————————————-

A riddle, wrapped in a mystery, inside an enigma.
This is a quote famously attributed to English politician and statesman Winston Churchill for his views on Russian engagement during World War II. This analogy may be completely irrelevant to the context of today’s post, but then I could not help remembering the above quote when I became cognizant of the total number of Hindi songs sung by Mukesh for the composer being discussed in today’s post.

Well, we are talking about composer Avinash Vyas and Mukesh’s association with him. To sustain the unusual mystery and the context of the first two paras, I would request readers to guess the total Hindi songs sung by Mukesh for Avinash Vyas.

Meanwhile, to reveal Mukesh’s collaboration with him in Gujarati films and non-film songs, here are the details of the same. As usual, I had requested Shri Harish Raghuwanshi, the compiler of Mukesh Geetkosh to confirm the details of the combo. Further, I had requested him to send me only the total number of songs that Mukesh sang in Gujarati under Avinash Vyas.

However, Shri Harish ji despite his poor eyesight and health issues was kind enough to send me the complete details including confirmation of the total songs sung in Hindi films as well. Instead of keeping such invaluable details confined to my inbox, I thought it prudent to include the details in the present post and following are the two tables with the details self-explanatory.

List of Gujarati Film songs sung by Mukesh under the baton of Avinash Vyas
—————————————————————————

S.No Name of Film (Gujarati) No. of.Songs
1 Bhakta Tulsidas 5
2 Kaadu Makraani 1
3 Kanku Ane Kanya 1
4 Ghar Ni Shobha 1
5 Jamaairaaj 1
6 Bhaada Taaraa Vaheta paani 1
7 Santu Rangili 1
8 Sorathi Sinh 1
Total 08 Films Total 12 Songs


List of Gujarati NFS sung by Mukesh under the baton of Avinash Vyas

——————————————————–

S.No NFS (Gujarati)
1 Aaj Kharu Avtarvaanu
2 Aapan Sahuye
3 Ghadi ghoonghat…. Nazar ne kahi doh
4 Chaalyaaj karoon
5 Jaa re Jhanda jaa
6 Priti nu pushp… aavo toy saarun
7 Pankhida ne aa pinjaru
8 Hey tane jaataa joi

Thus, Mukesh sang 12 filmi and 08 non-filmi Gujarati songs under the baton of Avinash Vyas. That’s obviously a total of 20 songs.

So, what could be the total number of Hindi songs sung by Mukesh for Avinash Vyas who scored music in some 52 movies and composed 390+ known songs.
Thirty? Twenty? Ten?

Well, before we proceed to discuss the surprise number, here are two important links for the details of the work done by Avinash Vyas.

  1. https://atulsongaday.me/2020/08/20/aaja-re-dukhiyaa-dharti-tujhe-pukaare/
  2. https://www.songsofyore.com/forgotten-composers-unforgettable-melodies-8-avinash-vyas/

The first link is a recent post by Atul ji, in which he has painstakingly put together the complete known works of Avinash Vyas in Hindi films and the details of his songs covered on the blog.

The second link is a post by Shri Ashok M Vaishnav ji on Songs of Yore blog wherein the life and works of Avinash Vyas is reflected. Some interesting discussion in the comments section reveal the continued lack of clarity on the total number of films scored and the songs composed by the music director.

Now, coming to the total songs sung by Mukesh under Avinash Vyas, finally, here is the complete list.

 

S.No Name of song Movie (Year of release) Lyricist
1 Tim tima tim Har Har Mahadev (1950) Ramesh Shastri
2 Nitya nirantar boley anta Shiv Shakti (1952) Munshi Saagar Hussain
3 Jo ugta hai woh dhalta hai Mata Mahakali (1968) Bharat Vyas

What?
Three songs only?

Well, however much we may debate and discuss, the fact of the matter is that there are only 3 songs of the combo. The composer was known for composing mainly for religious and mythological films. Contrary to popular belief, Mukesh has sung enough devotional songs in films which, as his other genre songs, have also become quite famous. Then, why such a low figure of only 3 songs is simply surprising.

Mukesh has sung only one song each in 3 of the 52 films scored by Avinash Vyas in Hindi.

So, why hardly 3 songs of the combo? As I have contemplated in my earlier posts on such surprises, there could be no reason whatsoever. More occasions simply did not happen. This could be the most plausible reason that one could come up with. As I finish writing this post, I am still under disbelief that there are only 3 songs of the combo.

Anyway, going through the songs, first two have been covered on the blog. The one from ‘Har Har Mahadev’ is in fact a famous duet with Sulochana Kadam. The second one from ‘Shiv Shakti’ is a solo bhajan.

It can be traced easily on the blog that if Mukesh has sung in any film, then that particular song is most likely the first to be featured or debuted on the blog.

Today’s film ‘Mata Mahakali’ (1968) also makes its debut on the blog with this highly philosophical song. The film was released under the banner of Sharad Productions and directed by Dhirubhai Desai. The cast included Ashish Kumar, Jaishree Gadkar, Nalini Chonker, Shahu Modak etc.

Lastly, Shri Harish ji has also confirmed that there are no NFS in Hindi of the combo. I thank him again for all the help he rendered in completing this post.

Song – Jo ugta hai wo dhalta hai (Mata Mahakali)(1968) Singer – Mukesh, Lyrics – Bharat Vyas, MD – Avinash Vyas

Lyrics

jo ugta hai woh dhalta hai
samay ka chakra chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai

jo ugta hai woh dhalta hai
samay ka chakra chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai

jo ugta hai woh dhalta hai

ye dekho surya ka jalwa
subeh ko jo nikalta hai
ye dekho surya ka jalwa
subeh ko jo nikalta hai
chamkta hai
damakta hai
magar sandhya ko dhalta hai
ye uthne aur girne ka
sada hi khel chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai woh dhalta hai

arey insaan akad mat aaj tu apni bulandi par
arey insaan akad mat aaj tu apni bulandi par
na girte der lagti hai
samay ki ek mandi par
vidhaata ne likha jo lekh
taale se na talta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai wo dhalta hai
samay ka chakra chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai wo dhalta hai

jo singhasan par baitha tha
kiya karta tha manmaani
jo singhasan pe baitha tha
kiya karta tha manmaani
wo naukar ban ke teli ka
chalaata hai arey ghaani
samay ke saamne har aadmi ka
kuchh na chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai wo dhalta hai

lagan panchhi ki pinjar se
jise ye tod na sakta
lagan panchhi ki pinjar se
jise ye tod na sakta
ye toota hai
ye phoota hai
basera chhod na sakta
samay ki baat keechad se
yahaan pankaj nikalta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai wo dhalta hai
samay ka chakra chalta hai
arey maanav sambhal ke chal
samay karwat badalta hai
jo ugta hai wo dhalta hai

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

जो उगता है वो ढलता है
समय का चक्र चलता है
अरे मानव संभाल के चल
समय करवट बदलता है

जो उगता है वो ढलता है
समय का चक्र चलता है
अरे मानव संभाल के चल
समय करवट बदलता है

जो उगता है वो ढलता है

ये देखो सूर्य का जलवा
सुबह को को निकलता है
ये देखो सूर्य का जलवा
सुबह को को निकलता है
चमकता है
दमकता है
मगर संध्या को ढलता है
ये उठने और गिरने का
सदा ही खेल चलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है

अरे इंसान अकड़ मत आज तू अपनी बुलंदी पर
अरे इंसान अकड़ मत आज तू अपनी बुलंदी पर
ना गिरते देर लगती है
समय की एक मंदी पर
विधाता ने लिखा जो लेख
टाले से ना टलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है
समय का चक्र चलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है

जो सिंघासन पर बैठा था
किया करता था मनमानी
जो सिंघासन पर बैठा था
किया करता था मनमानी
वो नौकर बन के तेली का
चलाता है अरे घानी
समय के सामने हर आदमी का कुछ ना चलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है

लगन पंछी की पिंजर से
जिसे ये तोड़ ना सकता
लगन पंछी की पिंजर से
जिसे ये तोड़ ना सकता
ये टूटा है
ये फूटा है
बसेरा छोड़ ना सकता
समय की बात कीचड़ से
यहाँ पंकज निकलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है
समय का चक्र चलता है
अरे मानव संभाल के चल
समय करवट बदलता है
जो उगता है वो ढलता है


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

Blog Day :

4417 Post No. : 15825

Today’s song is from a comedy film Halla Gulla-1954. This was a film made by Bhagwan, under his own banner- Bhagwan Art productions, Bombay. He was the producer and the director. He had done a role in the film too. However, Master Bhagwan was not the Hero. The Hero was Sajjan and the Heroine was Shakila. Besides these 3 people, there was a line up of actors in the cast, like Leela Gupte, Leela Gandhi, Baburao pahilwan, Dada Salvi and many more-most of whom are unknown names to me.

Master Bhagwan started directing the films from Bahadur Kisan-38, then came Criminal-39 and Sukhi Jeevan-42. In between, he went to Madras to direct two Tamil films, Jaykodi and Van Mohini. His film Sukhi Jeevan-42 was the Debut film for C.Ramchandra in Hindi films. This film was produced by Harishchandra Rao kadam- the elder of the Kadam brothers (Chandra Rao Kadam being the younger one). The film was a success, with a good run in theatres. His contract for this film had assured him a 20% share in profits, if the film was a success. Since the film was a success and ran long, Bhagwan asked for his 20% share to H.Kadam. However, he flatly refused, claiming that inordinate delay had caused excess expenditure and there was no profit. Bhagwan understood that he was being cheated, but could not do anything except expressing his displeasure.

Bhagwan decided then and there that hereafter he will not work for anybody else. He would have his own production set up and a studio. He started his own company-“Jagriti pictures”and also got a studio- Asha Studio, which was near RK studio. His successful stint as a director had earned him a name and he had no difficulty in getting finances for his first film. The terms were, take 80000/- and return 1 Lakh, when the film gets sold to distributors. Film making was so cheap then ! The first film which Bhagwan made as an independent Producer Director was intentionally titled “Badla-43”, as if he took revenge on Harishchandra Rao Kadam !

This sort of cheating of the gullible,helpless artistes was common in some companies. One such famous company was Minerva of Sohrab Modi. When he made his second film “Saeed E Hawas”-36, he had engaged an actor Chandra Kumar, as a Hero in that film. Chandra Kumar (real name Sardar Gul who changed his name to Anil Kumar again) was promised Rs. 200/- for this role. After the film was released, when he asked for his payment, Modi gave him only Rs. 50/-, claiming that the film was a flop. Chandra Kumar was helpless and he left Minerva for good, immediately.

Master Bhagwan’s first film ‘Badla’-43 was a Hit film. He then started making films after films, in the Stunt Genre. Films like Bahadur, Jalan, Madadgar, Dosti, Shakehand, Matlabi, Bach ke rehna, Bhole Bhale, Jeete Raho, Bhedi Bangla etc etc. His stunt films became popular and he earned lot of money. At his peak, he had 2 Bunglows in Bombay and 6 cars. His films had many admirers in the film line also, like Raj Kapoor, Sanjeev Kumar, Naushad etc.

Today’s film is Halla Gulla-54. The name immediately brings to the mind a popular song “Halla Gulla lailla, khullam khulla gayi la” famous in the 50’s times. However the song is not from this film. It was from film Dholak, for which Shyam Sundar had given the music. Barring very few films, which Bhagwan directed, he never did the role of Hero in his films. In the film Halla Gulla also he was not the Hero. Sajjan was the Hero.

Sajjan was one of the very few people in the film line who were Literature oriented. Some examples were Meena Kumari writing Shayari and Bharat Bhushan with an unusually big library of English books. Sajjan not only wrote poetry and film lyrics, he wrote a research based big book on Nav Ras in the Human Life. He participated in kavi Sammelans and Mushayaras and won laurels. His published poetry book “Jawan”was so popular that Nehru bought 100 copies for Delhi libraries. It was reprinted in several editions.

Born on January 15, 1921 in Jaipur, his full name was Sajjan Lal Purohit, a Pushkarna Bramhin. For many generations in the family, no one was interested in music or acting. He was famous with his first name in the movie world. Sajjan did his graduation from Jawahar college, Jodhpur. He had a desire to be a lawyer but not an actor.

In 1941, he arrived in Calcutta and worked as an apprentice in a laboratory of East India Film Company. His initial breakthrough in films was as an extra in films like Masoom (1941), Chowringhee (1942). Sajjan left Calcutta during World War II and reached Bombay. In Bombay he knew Prithwiraj Kapoor from his Calcutta days. He joined the Prithvi Theatre and worked in dramas like, Shakuntala, Pathan, Deewar, Aahuti, Kalakar, Kisan Paisa etc etc. Here he came into contact with Shammi, Raj, Shashi kapoor, Omprakash, Premnath, Zohra Saigal, B M Vyas, Ram Ganguli, Shankar, jaikishen and others. Afterwards, he started doing dramas separately. In ” Dhola Marwan” his heroine was Snehprabha Pradhan. He did many One Man Shows too.

He was a writer of Poetry. He participated in many gatherings of poets. His poetry book ” Jawan” became so popular that even Nehru had bought 100 copies of it. It was reprinted four times.

In Mumbai he worked as an assistant to famous director Kidar Sharma. At that time great showman Raj Kapoor also worked as an assistant to Kidar Sharma. He also worked as assistant to Gajanan Jagirdar and for film Vakil Sahib-43 and got Rs. 35 as salary.

A poet by heart, Sajjan showed His talent when he wrote dialogues for Meena -1944 and lyrics for Door Chalen -1946, Jail Yatra-47 and Dhanyavad -1948.

His acting debut film was Mera Suhag-47. After that, Bombay Talkies’ Muqaddar was released in 1950. His heroine was Nalini Jayvant. As a Hero, he worked with Geeta Bali, Nutan, Nimmi, Shyama, Shakila, Nalini Jaywant etc etc.

Now Sajjan was well established in the film world. In 1950s- 60s Sajjan acted as hero or side-hero in films like, Sainya, Rail Ka Dibba, Bahana, Sheesha, Malkin, Nirmohi, Kasturi, Mehmaan, Lagan, Girl School, paridhaan, Do Dulhe, Ghar-Ghar Mein Diiwali, Haa-Haa-Hee-Hee-Hoo-Hoo, Poonam, Jhanjhar, Halla- Gulla. As a hero his last film was Kabuliwala-61 and as an artist he last appeared in the 1986 release Shatru.

Artist of more than 150 films Sajjan also worked in TV serials. In Vikram-Betaal he played Betaal. His other serial was Lena-Dena.

Sajjan acted in more than 150 films. Though he was a reasonably good actor, he felt very awkward while singing a song on screen. His Producers and Directors knew this and they gave him minimum songs. Thus he is on record in his 150+ films to have sung around 20 odd songs only, in spite of being a Hero in some films. After retirement, Sajjan was not in good health, but he wrote a book ‘ Ras-Bhav ‘, discussing all the 9 Rasas as enunciated by Bharat Muni’s Treatise on “Natya Shastra”. He also published a book on the Birth Centenary of Prithviraj Kapoor, whom he revered very much. Sajjan died on 17-5-2000. (Based on interview by Sulbha Ternikar, in her book-Chanderi Athavani (चंदेरी आठवणी ), with thanks.)

The Music Director of this film was Nissar Bazmi. I always wondered,how some composers,who were found mediocre here,without much spark,giving music only to B and C grade films,became extremely popular and successful in Pakistan,winning accolades ? one example is Nisar Bazmi. To understand this strange phenomena,one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue,I found on a Pakistani site,filmbirth.com

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khawaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. ”

Due to shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki,there are 7 ages in Pakistan Film music –

1.Independence and growth-1947-1958
2. The Golden Age of Pak Film Music- 59-77
3. The age of Disaster…..77-88 (Onslought of VCR and brain Drain to Bangladesh in 1971)
4. Politics,Islamisation and downfall…..79-87
5. Collapse…..88-2002
6. Decline…..2002-2009
7. New wave and Hopes….2010 onwards.

Anyway, Nisar Bazmi migrated to Pakistan during the Golden Age period and got all the benefits.

Nisar Ahmed was born in 1925,in Naseerabad, Khandesh,Bombay Presidency,in an orthodox family where there was no Musical background. However,Nisar was keen on learning music. By singing Saigal’s songs he won his teacher’s mind,who convinced his father and he was sent to Bombay to live with his Uncle. Due to his singing he soon joined the ‘Yaseen Kawwal Group’ and became famous as ‘Yaseen ka chhokra’. meanwhile he learnt classical music from ustad Amaan ali khan for 4 years. He joined AIR on a temporary basis and started singing. The then music director of AIR Dinkar Rao Amembal made him permanent on a salary of Rs. 45 pm. When his father learnt this he was overjoyed that without studies also he was earning more than educated people ! This was 1940.

Those days a drama ‘Nadir Shah Durrani’ was running on Radio. Nisar composed music for it and also gave background music. Impressed with his work he got his first Film,” Jamna paar”-1946 as a MD. He left AIR,changed his name to Nisar Bazmi and for got his dream of becoming a singer. In the next 15 years,he composed music for about 40 films,but only 27 films were released. Most of these films were C grade stunt films. Though he gave reasonably good music,he remained a C grade composer throughout. For film ‘Khoj’-53,the assistant producer had not much money. For singing a song he could only offer Rs.50/- to Mohd. Rafi (who was charging almost 1000/- per song those days). Rafi liked the song and he magnanimously sang the song ” chand ka dil toot gaya ” by taking just ONE rupee as fees !

For film ‘Bhala Adami’-58, he gave chance to Anand Bakshi as a Lyricist first time. His last film in India was ” Mister Toofan”- released in 63. Nisar migrated to Pakistan in 1962. Producer Fazal Karrem Fazli of Fazli brothers offered him first film ” aisa bhi hota hai “. The music of this film became Hit and very popular and there was no looking back for Nisar Bazmi. He gave music to 57 Pak films. He won Nigar Awards 7 times and also won ‘Pride of performance’ award from the President.

His last film was in 1981. He came back to Karachi and started teaching aspiring singers,but only one of them became a famous singer. He regretted that the younger generation looked for quick money and did not put hard work. None of his 8 sons loved music. They all followed different avocations. In his later life he was famous for learning Quran by heart.

His filmography in India was- Jamna Paar, Jeb katara, Dagabaj Dost, Khoufnak Aankhen, Hamari kismat, Jiyo Raja, Roop lekha, Bade Saheb, Gazab. Baama, Kyun ji, Gorilla, Khoj, Halla gulla, Sitamgar, Adamkhor, Pyara Dushman, Fighting queen, Jungle queen, Kar bhala, Bhala Admi, kal kya hoga, Sachhe ka bolbala, Teer aur Talwar, Shola jo bhadke, Zareena and Mister Toofan.
Bazmi sahib taught music to up-and-coming youngsters, but only Faisal Latif managed to become somewhat popular. When asked why his students like Shafiq-ur-Rehman, Tanveer Afridi, Shabana and Shazia Kausar are unable to reach the top, he said, “My job was to train them, which I did. Now it is up to the musicians to utilize them as I am sure they have the talent to be the best.” When asked if our youth going in the right direction, Bazmi sahib felt that it was because of our youths’ lack of interest that our music is not what it used to be.

“A youngster today doesn’t want to be taught like the legendary singers. His only interest is to become rich and famous in a short time, which is certainly the wrong way.”

He died on 22-3-2007 at Karachi.

(My thanks to Shri Harish Raghuvanshi ji, book Albela by Isak Mujawar and information in Listener’s Bulletin-no. 118)

Today’s song is sung by Asha Bhosle and chorus. There were 9 songs and ALL songs had Asha Bhosle as a singer. 8 songs were duets with Rafi. This is the only song without Rafi.


Song-Hone waali ho ke rahegi himmat haar na jaana (Halla Gulla)(1954) Singer-Asha Bhonsle, Lyrics-Saba Afghani, MD-Nisar Baazmi
Chorus

Lyrics

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
jaaun to naakaami
lautoon to badnaami
dil mera ghabraaye
kuchh na samajh mein aaye
kuchh na samajh mein aaye
o o o
o o o
laa pukaare aage badhhnaa
pyaar kahe ruk jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
kaisi hai majboori ee e
paas bhi rah ke doori
naagan si bal khaaun
haath maloon reh jaaun
haath maloon reh jaaun
o o o
o o o
mujh pe jo kuchh beet rahi hai
haal koi na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke

ho ho o
o o o

ho o o
man hi man mein ro loon oon
apna bhed na kholoon
baat zubaan tak aaye
aur kahin naa jaaye
aur kahin naa jaaye
o o o
o o o
door khadi kismat muskaaye
chhede raag zamaana
gaao ek taraana
jhoom jhoom ke

ho o o
hone waali ho ke rahegi
himmat haar na jaana
gaao ek taraana
jhoom jhoom ke
gaao ek taraana
jhoom jhoom ke


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

Blog Day :

4411 Post No. : 15808

Today is 15th August, 2020 and we are celebrating 74rd Independence day. A national festival in COVID times, when all the festivals and celebrations have been kept low key and confined to own dwellings, very small gatherings or on the modern wonders of 21st century whatsapp and video conferences. But these small mercies have also been marred by the casualties. Most painful is the inability to visit the sick and not go the two steps distance towards the final rites of those who have lost this battle.

This past 6 months, we have all come to realize what really matters. Our family, friends and our inherent capacity to be happy and content, is the takeaway for us at the end of this. Surely, there is light at the end of this tunnel.

It has been 73 years since we have gained or wrested our freedom from a foreign power. A power, which still relishes its successes and spoils from the conquering and subduing of this ancient land of the Rishi Munis and sufi saints and great thinkers and poets. There is a saying “United we stand and divided we fall”. But here we are celebrating the event of the division of an ancient civilization. Over these 73 years and even before with the two world wars, we have seen elsewhere how those superpowers and their brethren create, fight and finish their unholy wars. Be it annihilation of Japan or the systematic destruction of Iraq(twice over), and the dismantling of the ‘khilaafat’ in Turkey, we in the end got free lightly, only with the three way division of the sub-continent and the loss of a few million lives in the cross migration or exchange of population, or whatever. Everything comes at a cost, and we, some would say have paid it. There is a very good reason for the tag of ‘sub-continent’ to this region of Hindustan. These are some things to ponder over.

The song I have chosen to present here is “Desh mein sankat aaya hai” from “Aap ki sewa mein” (1947). The song obviously of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” . Meaning ‘Azaadi chheen lo”. Otherwise the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal.

By and large, our country is free of such fears, at least in matters of food. Initially with the extended lockdown, there were apprehensions everywhere, especially in the elderly. They were not totally unfounded with the transportation and all activity at the standstill, there is always a chance of things going horribly bad. But the bureaucratic vigilance and diligence at every step of the way saved the day for India. Indian bureaucracy, however maligned as “babus” is a fine institution so is the distribution network of resources and essentials, that much has been proved. We take these institutions for granted, until they are threatened, look to be losing significance. Only then we acknowledge what it was and what we lost.

Despite these apprehensions, all was fine at least in Mumbai. But one thing I could not find in my 3 visits to the supermarket, i.e. the humble ‘safed watana’ 🙂 .

Here is a bonus, a poem by Sahir Ludhianvi :

– वीरसा –
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
कितने ज़ेहनों का लहू कितनी निगाहों का अ’रक़
कितने चेहरों की हया कितनी ज़बीनों की शफ़क़
ख़ाक की नज़्र हुई तब ये नज़ारे बिखरे
पत्थरों से ये तराशे हुए असनाम ए जवाँ
ये सदाओं के खंम-ओ-पेच ये रंगों की ज़ुबां
चिमनियों से निकलता हुआ ये पुर पेच धुआँ
तेरी तख़्लीक़ नहीं है मेरी तख़्लीक़ नहीं
हम अगर ज़िद भी करें इस पर तो तसदीक़ नहीं
ई’ल्म सूली पर चढ़ा तब कहीं तख़मीना बना
ज़हर सदियों ने पिया तब कहीं नौशीना बना
सैकड़ों पावों कटे तब कहीं इक ज़ीना बना
तेरे क़दमों के तले या मेरे क़दमों के तले
नौ ए इंसान के शब ओ रोज़ की तक़दीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा ग़म कुछ भी सही मेरा अलम कुछ भी सही
एहल ए सर्वत की सियासत का सितम कुछ भी सही
कल की नस्लें भी कोई चीज़ हैं, हम कुछ भी सही
उन का वरसा हों खंडर ये सितम ईजाद न कर
तेरी तख़्लीक़ नहीं तू उसे बर्बाद न कर
जिस से देहक़ान को रोज़ी नहीं मिलने पाती
मैं न दूंगा तुझे वो खेत जलाने का सबक़
फ़स्ल बाक़ी है तो तक़सीम बदल सकती है
फ़स्ल की ख़ाक से क्या मांगेगा जम्हूर का हक़
पुल सलामत है तो तू पार उतर सकता है
चाहे तबलीग़ बग़ावत के लिए ही उतरे
वरना ग़ालिब की ज़बान में मेरे हमदम मेरे दोस्त
दाम हर मौज में है हल्क़ा ए सद काम ए नेहंग
सोच ले फिर कोई तामीर गिराने जाना
तेरी तामीर से है जंग के तख़रीब से जंग
एहल ए मनसब हैं ग़लत कार तो इन के मनसब
तेरी ताईद से ढाले गए , तू मुजरिम है
मेरी ताईद से ढाले गए मैं मुजरिम हूँ
पटरियाँ रेल की, सड़कों की बसें, फ़ोन के तार
तेरी और मेरी ख़ताओं की सज़ा क्यूँ भुगतें
इन पे क्यूँ ज़ुल्म हो जिन की कोई तक़सीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे

तेरा शिकवा भी बजा मेरी शिकायत भी दुरुस्त
रंग ए माहोल बदलने की ज़रूरत भी दुरुस्त
कौन कहता है के हालात पे तनक़ीद न कर
हुकूमत के ग़लत दाओं की तर्वीद न कर
तुझ को इज़हार ए ख़यालात का हक़ हासिल है
और ये हक़ कोई तारीख़ की ख़ैरात नहीं
तेरे और मेरे रफ़ीक़ो ने लहू दे दे कर
ज़ुल्म की ख़ाक में इस हक़ का शजर बोया था
सालहा साल में जो बर्ग ओ समर लाया है
अपना हक़ मांग मगर इन के ता’आउन से न माँग
जो तेरे हक़ का तसव्वुर ही फ़ना कर डालें
हाथ उठा अपने मगर इन के जिलौ में न उठा
जो तेरे हाथ तेरे तन से जुदा कर डालें
ख़्वाब ए आज़ादी ए इंसान की ये त’अबीर नहीं
ये वतन तेरी मेरी नस्ल की जागीर नहीं
सैकड़ों नस्लों की मेहनत ने सँवारा है इसे
(साहिर लुधियानवी)
*****************

नस्ल – pedigree, ancestry
अरक़ – essence
जबीन – forehead
शफ़क़ – crimson colour of evening sky as the sun sets
असनाम जवाँ – idols of the young/youth
ख़म-ओ-पेच – curves and curls
तख़्लीक़ – creation
तसदीक़ – verifying, authentication
इल्म – knowledge, education
तख़्मीना – estimate or valuation
नौशीना – antidote for poison
ज़ीना – stairs
नौ-ए-इंसाँ – new generation / civilization
अलम – grief, affliction, pain
अहल-ए-सर्वत – The wealthy, well endowed
चीज़ – something or some matter
विर्सा – inheritance or heritage
ईजाद – invention
दहक़ान – farmers
सबक़ – lesson
तक़्सीम – division, distribution
फ़स्ल – harvest, yield
जम्हूर – republic, populace
तब्लीग़ – preaching
बग़ावत – revolt, rebel
दाम – a trap or costs
मौज – a wave or enjoyment/fun
हल्क़ा-ए-सद-काम-ए-नहंग – a circle of perils, chain of events(unwanted) in daily chores.
ता’मीर – construction
तख़रीब – destruction
अहल-ए-मंसब – The powerful
ग़लत-कार – wrong-doer, in the wrong
मंसब – seat of power, good offices
ताईद – consent, favour or encouragement
ख़ताओं – mistakes, faults
तक़्सीर – crime, sin
शिकवा – complaint
रंग-ए-माहौल – the hues in the atmosphere
हालात – conditions, current situations
तन्क़ीद – criticism
हुक्मरानों – the rulers
दा’वों – claims or tall claims
तरदीद – contradict or refuse
इज़हार-ए-ख़यालात – expression of thoughts and ideas
हासिल – available for you, gotten
तारीख़ – history
ख़ैरात – alms, charity
रफ़ीक़ों – friends, dear ones, well wishers
शजर – a tree
सालहा-साल – years after years
बर्ग-ओ-समर – leaves and fruits
तआ’वुन – help or co-operation
तसव्वुर – conception, imagination
फ़ना – destroy, finish
जिलौ – in the company of
ख़्वाब-ए-आज़ादी – The dream of liberty
त’अबीर – completion, realization

______

The song presented is composed by Datta Devjekar. Lyricist is Mahipal and singers are Mohammed Rafi and G. M. Sajan.


Song-Desh mein sankat aaya hai (Aap Ki Sewa Mein)(1947) Singers-Rafi, G M Sajan, Lyrics-Mahipal, MD-Datta Davjekar
Both

Lyrics

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae
Desh mein sankat aaya hai
Desh mein sankat aaya hai
Aaya hai ae

Desh mein sankat aaya hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Desh mein sankat aaya hai
Ab kuchh kar ke dikhlaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
Aadhi thaali chhod chhod kar
budhdhon ko utth jaane do
naujawaanon ko minnat kar ke
sookhe chane chabaane do
naujawaanon ko mehnat kar ke
sookhe chane chabaane do

aage naariyon ooo
bahu betiyon o o

punya loot lo oo
ae punya loot lo
nandan (??) kar ke punya loot lo
Ye mauqa mat jaane do

nandan(??) kar ke punya loot lo
Ye mauqa mat jaane do

Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Yahi sandesaa
gali gali mein
aaj hamen pahunchaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Do roti khaata ho uss ko
Aadhi pe majboor karo
Do roti khaata ho uss ko
Aadhi pe majboor karo
Kam-nase(?) mehmaan aaye
ae ae ae ae

Kam-nase (?) mehmaan aaye
To dhakke maaro door karo
Kam-nase(?) mehmaan aaye
To dhakke maaro door karo
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Nayi roshni se logon ko
Naya sabaq samjhaana hai
Kam khaane ka
sab logon ko
badaa hunar sikhlaana hai
nayaa hunar sikhlaana hai
Desh mein sankat aaya hai

Bade niwaale tum na khaao
Bachchon ko ye seekh do
Bachchon ko ye seekh do
Ghar pe bhookha aaye maangne ae
Ghar pe bhookha aaye maangne
Lekin uss ko bheekh do oo

Ghar pe bhooka aaye maangne
Lekin uss ko bheekh do
Chheen lo
Chheen lo
Chheen lo
Chheen lo
Chheen lo


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16000 song posts by now.

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