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

Archive for the ‘Title song’ Category


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

Blog Day :

4788 Post No. : 16545

Mukesh and his Composers – 22
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We pay tributes to legendary singer Mukesh on his Remembrance Day today (22 July 1923 – 27 August 1976). His voice, songs, and the rich legacy left behind continues to be remembered and cherished by fans across the globe.

February 12, 1982, Music Director’s Association had organized a programme at Mumbai’s Shanmukhananda Auditorium to celebrate 50 years of sound in Indian Cinema. Off course, the mega event is now also fondly remembered for Noor Jahan’s only travel from across the border after partition and her active participation in it.

In the programme, anchor Shabana Azmi, while introducing the life and singing career of Mukesh says that for having such pathos and honestly in the voice, it is necessary that apart from being a good singer, the person himself has to be a noble soul. I liked her description of Mukesh immensely and hence including it in his special post for the day. This nobility of Mukesh and his good deeds for society and his co-workers, has been mentioned in quite a few of my previous posts.
For adherent Mukesh fans, it very easy to pick a sample of their most favorite songs for the simple reason that there exists no sample and his entire body of thousand odd songs can be counted as best loved.

Continuing the series on Mukesh and his composers, I take up his association with composer Dattaram.
We all know that Dattaram was one of the main pillars on which the empire of Shanker Jaikishen stood and flourished. He worked for SJ camp almost all of his career but also had several opportunities to compose on his own name in many of the films. It is now an established fact that he could not come out of the shadows of SJ completely in spite of being immensely talented and hard working.

The curious cases of Dattaram and another favourite of mine Ghulam Mohammed intrigues me to no end. They had everything in them to create name and fame for themselves, but it appears they were too reluctant to venture out on their own to a far extent.

There are many videos, interviews, articles and blogs available on the web for the works of Datttaram and I am skipping referring the same.
Below is the table of collaboration of works of Mukesh with the composer.

An interesting fact on initial glance reveals that two prominent names of SJ camp are missing. Lyricist Shailendra and singer Lata. Off course, both have worked for Dattaram but when we filter Mukesh songs, we find them missing.

Again, what should I write about the songs enlisted below. Its signature Mukesh all the way starting with the immortal “aansoo bhari hain”. This song will forever remain an indisputable proof of the wonders the voice could create in lower tones of pathos songs with or without instruments. It was 1958 and Mukesh had just come out the clutches of his failed experiments and he grasped the year with all his might and went on to become Mighty Mukesh.

A cursory glance through the second column in the table below brings to the mind several memories of humming these songs. And, for obvious reasons, I again skip describing each of the songs.

Needless to say, I have again relied on the highly reliable Mukesh Geetkosh by Shri Harish Raghuvanshi ji and thank him for the same.

S.No Name of the song Movie (Year of release) Co-singer if any Lyricist
1 Aansoo bhari hain Parwarish (1958) Hasrat Jaipuri
2 Dil ne usey maan liya (Happy and Sad version) Santaan (1959) Hasrat Jaipuri
3 Dil dhoondhtaa hai Kaala Aadmi (1960) Hasrat Jaipuri
4 Ae dil dekhe hain humne Shreemaan Satyawaadi (1960) Hasrat Jaipuri
5 Ik baat kahoon wallaah Shreemaan Satyawaadi (1960) Mahendra Kapoor, Suman Kalyanpur Gulzar
6 Haal e dil hamaara Shreemaan Satyawaadi (1960) Hasrat Jaipuri
7 Rut albeli mast samaan Shreemaan Satyawaadi (1960) Gulzar
8 Maano ya na maano First Love (1961) Suman Kalyanpur Gulshan Baawra
9 Mere pyaar mein ya wafa First Love (1961) Gulshan Baawra
10 Mujhe mil gayi hai First Love (1961) Gulshan Baawra
11 Kabhi kisi ki khushiyaan Zindagi aur Khwaab (1961) Kavi Pradeep
12 Ae meri jaane wafaa Neeli Aankhen (1962) Gulshan Baawra
13 More Mann Mitwa Suna Morey Man Mitwaa (1965) Suman Kalyanpur Harishchandra Priyadarshi
14 Dekhi teri duniyaa arre Farishta (1968) Asad Bhopali

The duo worked together for 14 songs of which 13 are already represented on the blog and is yet another proof regarding their popularity. One duet with Suman Kalyanpur remains to be covered and is the song under consideration for the post. This duet is from a 1965 movie, Morey Man Mitwa, a Magadhi language film. The producer and director of the film are R. D. Bansal and Girish Ranjan respectively.

A chirpy and hummable love song, I am sure readers will like it on first listening.


Song-Morey man mitwa (Morey man mitwa)(Magadhi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-Harishchandra Priyadarshi, MD-Dattaram

Lyrics

morey man mitwa
suna de o geetwa
suna de o geetwa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa

sun goriya kaise sunaiha o geetwaa
sun gori kaise sunaiha o geetwaa
sajaniya hey
sajaniya hey
geetwa jagawai tor man maa
sajaniya hey
geetwa jagawai tor man maa

man ma ??
milan ma ke galema
milan ma ke galma
nainwa ke korwa sajaawaa na sapan maa
sajaawaa na sapan maa

man ma ??
milan ma ke galma
milan ma ke galma
lalki ?? kiraniya aitai
hamre anganma
hamre singaar toohi
hamre sajanma
hamre sajanma
balam ho
balam ho
chhun chhun boley kanganwa
balam ho
chhun chhun boley kanganwa

ban ke baawariya
rachaawa na laganma
rachaawa na laganma

torey bin chain naahin
paawe more man maa
na paawe more manwaa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
dilwa se door karde
man ke bharam ma
na ham singaar tohre
na hi sajanma
ho na hi sajanma
sajaniya hey
sajaniya hey
jud le judaito na paranma
sajaniya hey
jud le judaito na paranma

more man mitwa
suna de o geetwaa
suna de o geetwaa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa


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

Blog Day :

4776 Post No. : 16527

Celebrating 75th year of India’s independence
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I was just talking to a friend, who is very much involved with charity work and NGO’s. I said to her that it is very important for us to be charitable in all walks of life, for the health and prosperity of our soul. Doing a small thing for someone else’s benefit, however small that thing may be, which might not require any great effort on our part, gives immense satisfaction to us. This is to be experienced and not imparted. Giving and sharing of knowledge, makes the job of a teacher and guide the most charitable one in my opinion. Giving of advice or offering verbal guidance is sometimes ridiculed. But if an experience is shared, helps someone reach a correct decision or destination, there is nothing like it, as an act of charity free of cost.

But I find in myself, a hesitancy is directly offering to help. If I come across someone in need, then I would do so in whatever capacity I can, I told the friend, but I don’t go out of my way to find if someone requires some help. This is where I lack, and the charity organisations and NGO’s do the maximum output this way. The final conclusion of this discussion was that if everyone of us is involved in small acts of charity, in whatever way and in whatever capacity we can, the world will be a much better place.

Not that it is a very bad place to live, there is good and there is evil. Most of humanity is a charitable mass. Here devilry exists, that’s how we can know and value the goodness around us. One day I found a very good friend of mine reading a so called, non-fiction book titled “There is no devil”, or some such similar thing. My instant reaction was “Hey don’t read fiction posing as non-fiction”. She is not normally into reading books and this one was a thick paperback. This incident happened some years ago. I reminded her of it recently when our conversation turned to evil doers and evil people.

I believe that the world survives because of people who mean good and are trusting.

On my own part, if I need some help or favour, I will usually directly ask for it, no beating about the bush and hinting, nor waiting for that person to offer help. This habit of mine sometimes embarrasses people, which I realise belatedly. And then I have to do damage control, by saying it is alright if you can’t do it, or if you can do only this much, that will also be a great help.

This, I am told is because I have a very trusting nature. I also find it very easy to share my problems. If I am having some difficulty, or something is not getting done and I am stuck somewhere, I will share it with someone who is on hand, or standing in front of me. Of course, not to strangers, only with people I know well, I behave in this impulsive manner. Some may thing that “yeh achha hai, apne problem doosron ko de do aur khud free ho jaao” 🙂 :-).

Often, I have found that sharing of problems and issues, lessens the worry and sometimes results in help from unexpected and unknown sources. Any which way resolution of the problem is the end result. Such help from unexpected quarters is what is called divine help.

The world as it is, is running on trust. If trust on the laws of nature and the essential goodness, correct faculties and abilities of fellow human beings was not part of the DNA of humans then there would be nothing happening here on this earth. If this was not so, no one will be able to drive a vehicle on the road, to give an example of a small routine act.

And this is the same invincible trust which makes me type these random thoughts and experiences of life and send them for posting in the blog. I have known it that I have been in the correct place and deservedly the best possible blog, with the aim of categorising the hindi film songs. Eleven years ago, when I discovered this blog, I was under the impression that film music is my favourite pass time activity(after reading). But after all these years of writing for the blog, I am not very sure that it is the film songs or the writing, which I took up in earnest only with this blog, is my favourite activity. May be listening old hindi film songs is my passion and writing about them and other things is my calling.

Where I am going with all this? Not towards any particular destination as such. Only to express the conviction that being charitable and trusting is the natural way of life for human beings. If we are living any other way than it is somewhat an unnatural state to be in. There are people around us who feel insecure at some minor/major level and they behave in a less charitable manner, maybe in some aspect of their lives. Also, there are certain paranoia’s visible around us, which don’t really amount to abnormal behaviour, but they cause a handicap to the personal growth of affected person. Not to say that I have never been uncharitable or less trusting in my life. We all the susceptible to insecurities and paranoias of different kind.

But there is certainly a way to victory out of all this, with the strength of character, belief, trust and faith. These are the things that are required to succeed in any field. Sporting activity is no different, and as we celebrate the excellent performance of Indian athletes in the recently concluded Tokyo Olympics, and a first Gold Medal in athletics, won by Neeraj Chopra, we also celebrate the victory of the individual excellence, collectively with the joy of celebrating the 74 years of independence.

A song befitting the sporting triumph and the assertion of national pride is being presented, from the film ‘Chak de India’ (2007). The song is composed by Salim-Sulieman, written by Jaideep Sahani and the singers are Sukhwinder Singh, Salim Merchant and Marianna D’cruz.

This is a background song in the movie as the women hockey team is readied to participate in the world cup. The character building, confidence instilling and disciplining steps taken by the coach are what pays eventually as each player excels personally, toughens mentally, disciplines psychologically and grows up with the team and then succeeds. True success belongs to the whole team, not to the individual players, not to the captain, nor to the coach. In this years Olympics, eerily, the reel incident replicated in real life, with the Indian hockey team defeating the touted Australian team, in a shocking upset to reach the semi-final.

One song from this film is already posted in the blog:

This blog is an important and valued place on the internet and it is an honour to be a part of it. I dread to be a cause of any mis-happening or demeaning of the integrity of the blog. This space is my karambhoomi, dear diary, sounding board and much more, and I have been open to corrections/suggestions regarding my posts, by Atul ji and Sudhir ji.

While wishing Happy Independence Day to all the readers, I also wish to thank Atul ji and Sudhir Sir, for allowing me to write to my heart’s content. I will be forever grateful and indebted to this blog and all people associated with it, my fellow guest writers, Deshmukh Sir, Kamath Sir, Peevisie’s Mom and Satyajeet Rajurkar Sir (to name a few), and all the visitors and regular commenters. The confidence expressed by these senior historians and accomplished persons in different fields, means the world to me. It humbles me and encourages me to write more and better posts in future.

Audio:

Video:

Song-Chak de chak de India (Chak De India)(2007) Singers-Sukhwinder Singh, Salim Merchant, Marianne D’Cruz, Lyrics-Jaideep Sahni, MD-Salim Sulemaan

Lyrics

Chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India

kuchh kariye
kuchh kariye
nas nas meri khaule
hoy kuchh kariye
hoy kuchh kariye
kuchh kariye(hoy)
kuchh kariye(hoy)
kuchh kariye
kuchh kariye
bas bas badaa bo de
ab kuchh kariye
ab kuchh kariye
kuch kariye(hoy)
kuch kariye(hoy)

ho koyi to chal zid phadiye
doobe tariye ya mariye
ho koyi to chal zid phadiye
doobe tariye ya mariye ea
he ae ae
Chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India

no where to run
no where to hide
let’s take the time
until we drop
no where to run
no where to hide
let’s take the time
until we drop

koochon mein galiyon mein
raashan ki phaliyon mein
bailon mein, beejon mein
Eedon mein, teejon mein
raiton ke daanon mein
filmon ke gaanon mein
sadkon ke gaddhon mein
baaton ke addon mein
hunkaara aaj bhar le
das baarah baar kar le
rehna na yaar peechhe
kitna bhi koi kheenche
tas hai na, mas hai ji
zid hai to, zid hai ji
ghisna yunhi, ghisna yunhi
ghisna yunhi paththar yeh ae
yea ae ae
koyi to chal zid phadiye
doobe tariye ya mariye
haaay koyi to chal zid phadiye
doobe tariye ya mariye
hey ae ae
Chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India

no where to run
no where to hide
let’s take the time
until we drop
no where to run
no where to hide
let’s take the time
until we drop
chak de ea ea ea
chak de ea ea ea
chak de ea ea ea

da da da dan
da da da dan
da da da da da da da
da da da dan
da da da dan
da da da da da da da
da da da dan
da da da dan
da da da da da da da

ladti patangon mein
bhidti umangon mein
khelon ke melon mein
balkhaati railon mein ea
gannon ke meethhe mein
khaddar mein chheente mein
dhoondo to mil jaave ae
pakka wo eenton mein ae
dam hai to aaj dikh re ae
aur khul ke aag bikhre
man jaaye asi holi
rag rag mein chal ke boli ee
tas hai na
mas hai jee ee
zid hai to
zid hai ji
pisna yunhi pisna yunhi
pisna yunhi paththar yeh ae
ae ae ae
ho koyi to chal zid phadiye
doobe tariye ya mariye
ho koyi to chal zid phadiye
doobe tariye ya mariye ae
Chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India

kuchh kariye
kuchh kariye
ab kuchh kariye
ab kuchh kariye
kuchh kariye(hoy)
kuchh kariye(hoy)

kuchh kariye
kuchh kariye
nas nas meri khaule
hoy kuchh kariye
hoy kuchh kariye
kuchh kariye(hoy)
kuchh kariye(hoy)
kuchh kariye
kuchh kariye
bas bas badaa bo de
ab kuchh kariye
ab kuchh kariye
kuchh kariye(hoy)
kuchh kariye(hoy)

ho koyi to chal zid phadiye
doobe tariye ya mariye
ho koyi to chal zid phadiye
doobe tariye ya mariye ae
he ae ae
Chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India
chak de ae
ho chak de India


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

Blog Day :

4765 Post No. : 16512

Hullo Atuldom

Choosing a song for today’s post was not so easy. We are celebrating our beloved Kishore Kumar’s 92nd birthday and seem to have run out of all popular songs. Songs that are played on the repeat on music channels and FM radio are not for us. We, a tribe that is called Atulites, living in Atulsongaday.me kingdom (Atuldom for short) are not satisfied with oft-repeated songs.

Not that we don’t love a ‘jeewan ke safar mein raahi’; ‘zindagi ke safar mein’; ‘zindagi ka safar’ or ‘zindagi ek safar’ (some songs that say ‘life is a journey’) as much as ‘munna bada pyaara’; ‘chanda o chanda’; ‘soyi ja taara’; or ‘aa ri aa jaa’ and ‘ankhiyon mein chhote chhote sapne sajaay ke’. Atulites also savor ‘ye raatein ye mausam nadi ka kinaara’ along with ‘main hoon jhum jhum jhum jhum jhumroo’.

There are some Atulites for whom the Kishore Kumar era began with ‘mere sapnon ki rani’ and the songs of ‘Padosan’ and all songs of Rajesh Khanna movies of the ’70s (like yours truly).

There are other Atulites who have seen the growth of this actor/singer/composer/ lyricist/ producer/ director from the ’40s. He was a K L Saigal fan (and from what I have read at various places, most singers of that period were Saigal fans) and his first song in Bollywood “marne ki duaayen kyun mangoon” has a rather “Saigal feel” to it. That didn’t stop him from ‘yodelling’ once he discovered that aspect of singing, inspired by Jimmie Rodgers and Tex Morton.

He was equally comfortable singing ‘aake seedhi lagi dil pe jaise katariya’ and ‘mere naina saawan bhadon’. Singing madcap songs like ‘ek chatur naar’ and ‘rafta rafta dekho aankh meri ladi hai’ was as natural as ‘panthhi hoon mein uss path ka’ and ‘aa chal ke tujhe main leke chaloon’.

I am sure any follower of the blog will say ‘there she goes on her worship Kishore Kumar journey’. But that is the male sound I heard maximum in my growing up years. Of course he came to that level after a long and arduous struggle.

He was mentored by SD Burman in his initial years of singing in movies after he got a break in ‘Ziddi’ under Khemchand Prakash’s music direction. Salil Chaudhary, OP Nayyar, Kalyanji Anandji, C. Ramachandra, Madan Mohan and all the music directors of that period have songs of Kishore Kumar that are still in public memory. That doesn’t mean he didn’t sing for the next generation of music directors. Can’t forget ‘inteha ho gayi intezaar ki’ – Bappi Lahiri, ‘Kya mausam hai’ -Rajesh Roshan, ‘tera chehera mujhe gulaab lage’- Anu Malik (oh yes! he has sung for Anu Malik too); and the biggest of the next generation music directors – R D Burman and Laxmi-Pyare- we cannot even list all the wonderful songs that he had sung under their music direction.

He has duets with male as well as female singers and also multi-singer songs best example of multi-singer song being Hum ko tumse ho gaya hai pyaar kya karen.

But why did I write ‘we have run out of popular songs’. Out of a possible 2709 songs (that the blog’s stats page says that we have of Kishore Kumar in Bollywood), 1245 have been posted in the blog. Of these 577 are solo songs of Kishore Kumar. That leaves us with 1464 songs to choose from. If I think of songs from the ’70s, we have many non- Dev Anand, Rajesh Khanna and Amitabh Bachchan songs to choose from which were regularly played on Vividh Bharati.

Seeing Randhir Kapoor on Indian Idol over the weekend reminded me of today’s song.
This post from last year gives the story of “Lafange” (1975) in brief. Today’s song helps to establish the character of Gopal played by Randhir Kapoor. It shows how heroes, who play con-men in movies, have gold-plated conscience. They rob the haves and help the have-nots. All heroes are Robinhoods when they play con-men and undergo a character change when they fall in love with the beautiful heroines. Predictable, correct?

Missing singer/actor/producer/director/ composer Kishoreda on his birth anniversary.


Song-Log kehte hain ke hum lafange hain (Lafange)(1975) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

hmm
hmmmhmmhmmm
lo..ooo..g kehte hain
ke hum lafange hain
log kehte hain ke hum lafange hain
hum lafange nahin hain patange hain
hum lafange nahin hain patange hain
lafange nahin hum patange hain aen
log kehte hain ke hum lafange hain

apne kai roop hain isliye
apne kai roop hain isliye
log humko kehte hain bahroopiye
chehre se humko na pehchaaniye
hum kitne rangon mein rangein hain aen aen
lo…o o..g kehte hain ke hum lafange hain

apne khayaalon mein jo hai haseen
apne khayaalon mein jo hai haseen
ek din milegi kahin na kahin
kismat buri hai bure hum nahin
hum insaan dil ke changey hain aen
lo..oo..g kehte hain ke hum lafange hain

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

yaaron ki khaali dua chaahiye
yaaron ki khaali dua chaahiye
apne liye humko kya chaahiye
unke dukhon ki dawaa chaahiye
pyaase hain jo bhookhe nange hain aen
lo..o o.g kehte hain ke hum lafange hain
log kehte hain ke hum lafange hain
hum lafange nahin hain patange hain
hum lafange nahin hain patange hain
lafange nahin hum patange hain aen
log kahte hain ke hum lafange hain


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

Blog Day :

4758 Post No. : 16502 Movie Count :

4483

India is a Multi racial, multilingual and Multi religions country. It is not only the largest Democracy in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Indian spiritual Gurus set themselves as Role models for the masses. Whether it was Ramkrishna Paramhansa or Shankaracharya or all the others have guided their followers to achieve peace of mind through spirituality. Religion is a way of life in India and most Gurus teach their followers how to follow the right path even while looking after their families.

Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Among such saints, Sant Tulsidas tops the list, according to me. He sets an example of how a person can educate himself and how a person can change himself for his Goals in life.

The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them,there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .

The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. The Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.

Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.

With a view to bring some of these saints in limelight, I ran a series of 10 Bhajans from films which were made on the lives or incidents of some Saints of India. The title of this series was ” The Great Souls of India” and it ran from 1-11-2013 to 15-11-2013. It was one of the very popular series from my 26 series which I had run on this Blog. Many readers wrote their comments and conveyed that they liked the series.

In that series, I had purposely not included Meerabai, as my purpose, as always, was to highlight less known Saints into the limelight. Meerabai is a character on whom a maximum number of films were made….

Meerabai-1932

Raajrani Meera-1933

Matwali Meera-1940

Meera-1947

Meerabai-1947

Raajrani Meera-1956

Meera Shyam-1976

Meera-1979

Meera ka Mohan-1991 and

Meera ke Giridhar-1993

There was also one film ” Meerabai Not Out”-2008, but I believe it had nothing to do with Saint Meerabai. In the Silent era also I find a film Meerabai-1921 made by Kohinoor film co. and Sant Meerabai-1929 made by Hindustan Cinema Film co., Nashik.

Today’s song is from the film Matwali Meera-1940. This film was made in Calcutta by Bharat Lakshmi Pictures. It was directed by Prafulla Roy and the music was by Master Brijlal Verma. Lyricist was Pt. Bhushan. There were 15 songs, out of which only 5 were Meera Bhajans. The main lead was Mukhtar Begum who sang 3 Bhajans, Fida HGussain and Kamla Jharia one Bhajan each.

The cast had 17 names, out of which 11 were Muslim actors in this Bhakti Pradhan film. I have heard all the available songs-7 and frankly I was disappointed. Mukhtar Begum has sung the Bhajan in Mujra or Ghazal style. As it is in those times the music was very slow, making it further an outrage. I have selected, therefore, a song-not a bhajan- by Kamala Jharia.

With this song, the film Matwali Meera-1940 makes its Debut on this Blog.


Song-Sun ri sakhi ek Gope-suta ki sundar katha sunaaun (Matwaali Meera)(1940) Singer- Kamla Jharia, Lyricist-Pandit Bhushan, MD- Master Brijlal Verma

Lyrics

Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun
jiske atal prem par main bhi
waari waari jaaun
Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun

Dwaapar yug thhaa jis vasant ki
Dwaapar yug thhaa jis vasant ki
ras ke jharne jharte
raas rachaate Krishn Kanhaiyya
raas rachaate Krishn Kanhaiyya
man ki peeda harte
mast raag se kal-kal karti
bahti nadi toofaani ee ee
mast raag se kal-kal karti
bahti nadi toofaani
kho gayi jismein bahte bahte
kho gayi jismein bahte bahte
ik gopi deewaani
ik gopi deewaani
prem viyog mein jogan ban kar
is duniya mein raazi (?)
prem viyog mein jogan ban kar
is duniya mein raazi (?)
raaj ?? kul ki shobha
raaj ?? kul ki shobha
matwaali Meera bai
matwaali Meera bai
matwaali Meera bai


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 :

4756 Post No. : 16497

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XLIV: Year 1990
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1990.

In 1990, 116 Hindi movies containing 501 songs were released. Lata Mangeshkar got to sing in 9 of these movies and she sang 12 songs in these movies. So Lata Mangeshkar’s voice was heard in 8 % of the movies released in 1990. Her voice was heard in 2.4 % of the songs appearing in the movies of 1990.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1990 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aag Ka Daryaa Laxmikant Pyarelal 0 1 0 1 0 0 Rajinder Krishan
2 Aaj Ka Arjun Bappi Lahiri 2 2 1 1 0 0 Anjaan
3 Awaaragi Anu Malik 0 2 0 2 0 0 Anand Bakshi
4 Ghayal Bappi Lahiri 0 2 1 1 0 0 Anjaan
5 Jeene Do R D Burman 0 1 1 0 0 0 Anand Bakshi
6 Kishen Kanhaiyya Rajesh Roshan 0 1 0 1 0 0 Indeewar
7 Mera Pati Sirf Mera Hai Anand Milind 0 1 0 1 0 0 Unknown
8 Police Public Ram Laxman 1 1 0 1 0 0 Asad Bhopali
9 Thhaanedaar Bappi Lahiri 0 1 0 1 0 0 Indeewar
Total 9 movies 7 MDs 3 12 3 9 0 0 5 lyricists

Lata Mangeshkar worked with 7 music directors and 5 lyricists in these 9 movies released in 1990. Laxmikant Pyarelal were the most prolific music directors with Lata, with 650 songs in HFM with Lata Mangeshkar by the end of 1989. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 331 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (145), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Salil Chaudhary (108), Vasant Desai (104) and Rajesh Roshan (104). Together these sixteen music directors composed 3592 songs out of 4953 songs that Lata Mangeshkar had sung in Hindi movies till end of 1990. Anand Bakshi with 661 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (405), Shailendra (361), Hasrat Jaipuri (298), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (153). These ten lyricists had penned 3177 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1990 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 138 157 103 35 12 7
1950 36 movies 115 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 171 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 189 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 99 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 61 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 59 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 3 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 9 38 20 16 1 1
1990 9 movies 3 12 3 9 0 0
Total upto 1990 1782 movies 3707 4952 3265 1371 205 111

It can be seen from the table of 1990 that Lata Mangeshkar sang just 12 songs in 9 movies released in 1990.
3 songs sung by Lata Mangeshkar in movies of 1990 have been covered in the blog. All Lata songs from two movies (two songs each from “Aaj Ka Arjun” and one song from “Jeene Do”) have been covered. That leaves us with 9 songs from 7 movies of 1990 that are yet to be covered.

Alphabetically “Aag Ka Darya”(1990) is the first movie of 1990 that offers us a Lata Mangeshkar song to be covered in the blog.

“Aag Ka Darya”(1990) was produced by Produced by R Venkatraman and directed by S V Rajendra Singh. The movie had Dilip Kumar, Rekha, Amrita Singh, Avtar Gill, Padmini Kolhapure etc in it.

“Aag Ka Darya”(1990)had six songs in it. One song has been covered in the past.

Out of the remaining three songs, one song is a Lata Shabbir Kumar duet.

Here is that song. It is penned by Rajinder Krishan. Music is composed by Laxmikant Pyarelal.

This song is the last song that Rajinder Krishan penned for Lata Mangeshkar. As mentioned earlier, Rajinder Krishan penned 555 songs (in 157 movies) in all for Lata Mangeshkar. These songs were released between 1949 and 1990.

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


Song-Rishta ye mohabbat ka donon ko nibhaana hai(Aag Ka Darya)(1990) Singers-Lata, Shabbir Kumar, Lyrics- Rajinder Krishan, MD-Laxmikant Pyarelal
Both

Lyrics

rishta ye mohabbat ka donon ko nibhaana hai
rishta ye mohabbat ka donon ko nibhana hai
ek aag ka dariya hai aur paar bhi jaana hai
rishta ye mohabbat ka donon ko nibhaana hai
ik aag ka dariya hai aur paar bhi jaana hai ae
rishta ye mohabbat ka donon ko nibhaana hai

jis raat chandaniya se ye chaand khafa hoga aa
jis raat chandaniya se ye chaand khafa hoga
us raat ke raahi ka socha bhi hai kya hoga
raste mein andhera hai aur door thhikaana hai ae
rishta ye mohabbat ka donon ko nibhaana hai

vo ghar bhi koi ghar hai deevaar na ho jismein
vo ghar bhi koi ghar hai deevaar na ho jismein
us pyaar ki kya keemat takraar na ho jismein
gussa to manaane ka bas ek bahaana hai ae
rishta ye mohabbat ka donon ko nibhaana hai

bhoole se koi aansu aankhon mein agar aaye ae
bhoole se koi aansu aankhon mein agar aaye
vo dil ki amaanat hai mitti mein na mil jaaye
ulfat ka vo moti hai palkon mein chhupaaaa hai ae
rishta ye mohabbat ka donon ko nibhaana hai
rishta ye mohabbat ka donon ko nibhaana hai
ik aag ka dariya hai aur paar bhi jaana hai ae
ik aag ka dariya hai aur paar bhi jaana hai ae
rishta ye mohabbat ka donon ko nibhaana hai
donon ko nibhaana hai
donon ko nibhaana hai


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

Blog Day :

4746 Post No. : 16473

Sixty-five years have passed since ‘Jhanak Jhanak Paayal Baaje’ (1955) -JJPB for short – was released. I had seen the film in a theatre in South Mumbai either in 1955 or 1956 (this film had run for nearly 2 years in a single theatre in Mumbai). But I had no recollection of much of the film. It was only after I watched some parts of the film on the video sharing platforms over a period of time, I could connect some scenes from the film I saw in my childhood. The film still evokes interest of the cinema lovers especially of those who relish the classical dance/music.

I am now in a better position the appreciate a bold and somewhat adventurous decision Shantaram took to produce and direct JJPB with the classical dance as a theme. If not handled properly, the theme could have turned the film into a documentary rather than a feature film. It was a high budget film in a technicolour extravaganza. Shantaram’s bold and daring decision to make JJPB has be admired in the backdrop of the following handicaps he faced:

(1) The successive failures at the box office of ‘Surang’ (1953) and ‘Subah Ka Taara’ (1954), both directed by V Shantaram had already put a financial strain on his banner, Rajkamal Kala Mandir. Under the circumstances, producing a film with a classical dance theme which Shantaram had never handled in the past, that too in technicolour was fraught with a huge financial risk.

(2) There were examples in the 1940s when Sagar Movietone made ‘Kumkum The Dancer’ (1940) and Wadia Movietone made ‘Court Dancer/Raj Nartaki’ (1941) with classical dance theme. The results were not encouraging. Both these films failed at the box office putting the financial strains on the respective banners. Eventually, Sagar Movietone had to be merged with National Studio and Wadia Movietone got split between Wadia Brothers and the Wadia Studio was sold to V Shantaram.

(3) It was a high budget film but the lead actors in the film were non-stars – a handicap for the box office collections. The lead actor, Gopi Krishna was just emerging as a choreographer in a couple of films while the lead actress, Sandhya had acted in two Hindi films prior to getting the lead role of a dancer in JJPB. Moreover, she was not a trained classical dancer like Vyjayantimala who had already became a star actor-dancer and had the capacity to attract the crowd in the theatres much higher than that of Sandhya.

Despite these handicaps, going ahead with JJPB showed the confidence level of Shantaram as a director and a master craftsman of the cinema medium. Probably, Shantaram may have felt that with his technicolour film, he was in a better postion to present the classical dance theme than what Sagar Movietone and Wadia Movietone had made in 1940-41. He put Sandhya under Gopikrishna for the intensive dance training for over a year which included training during the shooting of the film as well.

Shantaram was very successful in winning over the audience who had rejected his previous two films. He made the Indian classical dances visually appealing to the audience by presenting them in a hybrid choreography, coupled with the lavish settings. The visuals in Technicolour appealed to the audience. The film became Shantaram’s most successful films on the box office front. More than the commercial success of the film, it was personal satisfaction for Shantaram as a producer-director when JJPB won the National Award and the Filmfare Award for the Best Film for 1955.

Since JJPB was all about Indian classical dances, it was apparent that the songs need to be based on the Hindustani classical music. It is said that some well-wishers of Shantaram including Vasant Desai had suggested him to entrust the music direction of the film to Naushad who had emerged as a star music director in the classical genre after the phenomenal success of his songs in ‘Baiju Bawra’ (1952). But Shantaram entrusted the music direction to Vasant Desai. It is interesting to note that after ‘Dahej’ (1950), as a music director, Vasant Desai was not associated with Shantaram’s subsequent films, ‘Parchhaain’ (1952), ‘Surang’ (1953), ‘Teen Batti Chaar Raasta’ (1953) and ‘Subah Ka Taara’ (1954).

In his zeal to prove the confidence reposed on him by his mentor, Vasant Desai travelled all over India to pick up the best musicians for his music team for JJPB. In Jammu, he picked up Shiv Kumar Sharma, an upcoming Santoor player who was still in his teen at that time. From Banaras, he picked up Pandit Samta Prasad, the renowned Tabla player. Ustad Abdul Halim Jaffer Khan of Indore played sitar for Vasant Desai. In JJPB, Santoor as a musical instrument was used for the first time which later became a part of many Hindi film songs and background music.

After almost all the songs had been recorded, Vasant Desai had composed the title song in raga ‘Darbari’ for which he persuaded Ustad Amir Khan to sing. Ustad Amir Khan arrived at the recording studio for the final rehearsal and recording. At the last moment, Vasant Desai felt that he should get consent of Shantaram before the recording. So, he invited him to the recording studio to listen to the final rehearsal. Upon listening to the rehearsal, Shantaram was unhappy. He called Vasant Desai to an adjoining room and advised him to cancel the recording and suggested to either change the tune or the singer or both. Somehow Vasant Desai, on some pretext, persuaded Ustad Amir Khan to come for the recording the next day.

A nervous Vasant Desai reached home and sat down quietly. He did not know what was wrong with the composition and could not sleep that night. Early morning, it dawned to him that all the dances in the film had very fast tempo and rhythm whereas his tune was in very slow tempo and so were the aalaaps. Vasant Desai composed the same song in Raga Adana in very fast tempo and aalaaps. He rehearsed the new tune with Ustad Amir Khan in the presence of Shantaram who was pleased with the new composition. [Source of this triva on title song -”Journal of SIRC”, Annual 2012].

I am presenting here the much talked about title song, ‘jhanak jhanak paayal baaje’ rendered by Ustad Amir Khan. The words are of Hasrat Jaipuri and the music composition is of Vasant Desai.

The title song became so popular that Ustad Amir Khan used to get ‘farmaish’ in his public concerts to sing the title song. Later, Ustad Amir Khan started singing a much-elongated version of this song (nearly 9 minutes) in his concerts and the gramophone record for the same was released. Ustad Amir Khan sang live the title song of the film on the occasion of the diamond jubilee (60th week) celebration of the film in the presence of the distinguished guests at the Liberty cinema in Mumbai.

Audio Clip:

Video Clip:

Audio Clip (Concert Verson):

Song-Jhanak jhanak paayal baaje (Jhanak Jhanak Paayal Baaje)(1955) Singer-Ustad Amir Khan, Lyrics-Hasrat Jaipuri, MD-Vasant Desai

Chorus

Lyrics: (Based on Audio Clip)

jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

paayaliya ki runak jhunak par
paayaliya ki runak jhunak par
chham chham manwa naa..che
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

neel gagan bhi sunkar jhoome
madhur madhur jhanka…ar
madhur madhur jhankaar
soyi dharti jaag uthhi hai
soyi dharti jaag uthhi hai
goonj uthha sansaar
raag rang bhi saa…je
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

jhanak jhanak paa…yal baaje
jhanak jhanak paayal baaje

[sargam]
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje

(aaaaaaaaaaaa)

jhanak jhanak paayal baaje
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
paayal baa..je
jhanak jhanak paayal baaje
paayal baa….je
jhanak jhanak paayal baaje
aaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
paayal aaa baa..je ae
jhanak jhanak paayal baaje
aaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaaa
paayal baa…je
jhanak jhanak paayal baaje
jhanak jhanak paayal baaje
(aaaaaaaaaaaaaa)
jhanak-jhanak paayal baaje
(aaaaaaaaaaaaaa)
jhanak-jhanak paayal baaje


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

Blog Day :

4723 Post No. : 16434

Hullo Atuldom

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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


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 :

4721 Post No. : 16432

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXXIX: Year 1985
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1985.

In 1985, 185 Hindi movies containing 905 songs were released. Lata Mangeshkar got to sing in 40 of these movies and she sang 72 songs in these movies. So Lata Mangeshkar’s voice was heard in 21.6 % of the movies released in 1985. Her voice was heard in 8 % of the songs appearing in the movies of 1985.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1985 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aakhir Kyon Rajesh Roshan 2 2 1 1 0 0 Indeevar
2 Alag Alag R D Burman 3 4 1 3 0 0 Anand Bakshi
3 Ameer Aadmi Ghareeb Aadmi R D Burman 0 1 1 0 0 0 Nida Fazli
4 Arjun R D Burman 1 1 1 0 0 0 Javed Akhtar
5 Bewafaai Bappi Lahiri 0 1 1 0 0 0 Hasan Kamaal
6 Dekha Pyaar Tumhaara Laxmikant Pyarelal 0 1 0 1 0 0 Anjaan
7 Dil Tujhko Diya Rajesh Roshan 0 2 2 0 0 0 Rajesh Roshan
8 Ek Aur Sikandar Rajesh Roshan 0 2 1 1 0 0 Majrooh Sultanpuri
9 Ek Daaku Shahar Mein Rajesh Roshan 0 1 0 1 0 0 Unknown
10 Ek Pal Bhupen Hazarika 0 3 2 1 0 0 Gulzar
11 Ek Se Bhale Do R D Burman 0 1 0 0 0 1 Anjaan
12 Faasle Shiv Hari 1 6 2 4 0 0 Shaharyaar
13 Ghulaami Laxmikant Pyarelal 2 2 1 1 0 0 Gulzar
14 Haqeeqat Bappi Lahiri 0 1 1 0 0 0 Indeevar
15 Jhoothhi Bappi Lahiri 1 1 0 1 0 0 Maya Govind
16 Lava R D Burman 0 2 1 1 0 0 Anand Bakshi
17 Locket Bappi Lahiri 0 2 0 1 0 1 Gauhar Kanpuri
18 Masterjee Bappi Lahiri 0 1 0 1 0 0 Indeevar
19 Mera Ghar Mere Bachche Laxmikant Pyarelal 0 1 1 0 0 0 Anand Bakshi
20 Mera Saathi Bappi Lahiri 0 1 0 1 0 0 Indeevar
21 Meri Jung Laxmikant Pyarelal 2 2 0 2 0 0 Anand Bakshi
22 Mohabbat Bappi Lahiri 0 1 1 0 0 0 Indeevar
23 Paataal Bhairavi Bappi Lahiri 0 1 0 1 0 0 Indeevar
24 Paisa Ye Paisa Usha Khanna 0 1 1 0 0 0 Verma Malik
25 Pighalta Aasmaan Kalyanji Anandji 1 1 1 0 0 0 Indeevar
26 Pyaari Bhabhi Hridaynath Mangeshkar 0 5 4 1 0 0 Indeevar
27 Raahi Badal Gaye R D Burman 1 1 0 1 0 0 Gulshan Baavra
28 Raam Tere Kitne Naam R D Burman 0 2 2 0 0 0 Gulshan Baavra
29 Raam Teri Ganga Maili Ravindra Jain 1/td> 6 3 3 0 0 Ravindra Jain (5) Hasrat Jaipuri (1)
30 Ricky Jagdish Uttam 0 3 1 2 0 0 Manoj Kumar
31 Rusvaai R D Burman 0 1 1 0 0 0 Kavi Pradeep
32 Saagar R D Burman 3 3 2 1 0 0 Javed Akhtar
33 Sanjog Laxmikant Pyarelal 0 1 1 0 0 0 Anjaan
34 Saverewaali Gaadi R D Burman 1 1 1 0 0 0 Majrooh Sultanpuri
35 Sitamgar R D Burman 0 1 0 1 0 0 Majrooh Sultanpuri
36 Sur Sangam Laxmikant Pyarelal 1 1 0 1 0 0 Vasant Dev
37 Triveni Laxmikant Pyarelal 0 1 1 0 0 0 Anjaan
38 Vishaal Usha Khanna 0 2 2 0 0 0 Nida Fazli (1) Indeevar (1)
39 Yaadon Ki Kasam Laxmikant Pyarelal 1 1 1 0 0 0 Anand Bakshi
40 Yudhh Kalyanji Anandji 0 1 1 0 0 0 Anand Bakshi
Total 40 movies 11 MDs 21 72 39 31 0 2 19 lyricists

Lata Mangeshkar worked with 11 music directors and 19 lyricists in these 40 movies released in 1985. Laxmikant Pyarelal were the most prolific music directors with Lata, with 619 songs in HFM with Lata Mangeshkar by the end of 1984. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 311 Lata Mangeshkar song left Kalyanji Anandji behind st fourth podition with 303 songs. C Ramchandra had 274 songs ith Lata. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179), Roshan (144), Naushad (140), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Salil Chaudhary (108) and Vasant Desai (104). Together these fifteen music directors composed 3428 songs out of 4797 songs that Lata Mangeshkar had sung in Hindi movies till end of 1985. Anand Bakshi with 620 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (554), Majrooh Sultanpuri (405), Shailendra (361), Hasrat Jaipuri (298), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (138). These ten lyricists had penned 3120 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar collaborated with Lyricists Rajesh Roshan (better known as a music director) and Shaharyaar for the first time in movies released this year.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1985 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 136 157 103 35 12 7
1950 36 movies 114 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 170 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 189 211 130 68 12 1
1960 48 movies 141 166 102 50 12 1
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 93 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 90 130 84 39 3 4
1971 52 movies 106 126 71 52 3 0
1972 62 movies 97 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 61 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 46 96 59 27 8 2
1978 46 movies 59 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 39 88 48 34 2 4
1982 45 movies 27 82 41 37 1 3
1983 33 movies 26 73 36 37 0 0
1984 39 movies 10 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
Total upto 1985 1694 movies 3663 4797 3183 1304 203 107

It can be seen from the table of 1985 that Lata Mangeshkar sang 72 songs in 40 movies released in 1985.

21 songs sung by Lata Mangeshkar in movies of 1985 have been covered in the blog. That leaves us with 51 songs from movies of 1985 that are yet to be covered.

All Lata Mangeshkar songs from 11 movies of 1985 are already covered in the blog. So 51 Lata Mangeshkar songs from 29 movies of 1985 are still available to be discussed.

Alphabetically “Alag Alag”(1985) is the first movie of 1985 that offers us a Lata Mangeshkar song to cover in the blog.

“Alag Alag”(1985) was produced by Rajesh Khanna and Kusum Nirula for Aasheerwaad Films International, Bombay. It was directed by Shakti Samanta. The movie had Shashi Kapoor, Rajesh Khanna, Tina Munim, Devan Varma, Sushma Seth, Geeta Siddharth, Urmila Bhatt, Bharat Bhushan, Bhagwan, Satyen Kappu, Subiraj, Gurbachan, Rajesh Puri, Asit Sen, Mohan Choti, Anjana Mumtaz, Raj rani, Birbal, Manmauji, Vikas Anand, Manik Dutt, Sunil Dhawan etc.Bindu made a special appearance, while Om Prakash and Om Shivpuri made friendly appearances.

The movie had seven songs in it. Four songs out of these seven had the voice of Lata Mangeshkar in them. Five songs from the movie, including three Lata Mangeshkar songs have been covered in the blog.

Here is the one remaining Lata Mangeshkar song from “Alag Alag”(1985). The song is penned by Anand Bakshi. Music is composed by R D Burman. The song is picturised on Rajesh Khanna and Tina Munim.

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

Audio link:

Video link:

Song-Kuchh hamko kuchh tumko kehna to hai (Alag Alag)(1985) Singers-Kishore Kumar, Lata, Lyrics-Anand Bakshi, MD-R D Burman
Both

Lyrics(Provided by Prakashchandra)

hmmm hmmmm
kuchch hamko
kyaa
hmm…mmmm…hmm
kuchch tumko
haan..huuhh
hmm…mmm….mm
kuchch hamko
kuchch tumko
kuchch hamko tumse kehnaa to hai ae
kuchch tumko hamse kehnaa to hai ae
alag alag kuchch bhi kehnaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko
kuchch tumko
kuchch hamko tumse kehnaa to hai
kuchch tumko hamse kehnaa to hai
alag alag kuchch bhi kehnaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko

ho o kuchch tumko
kuchch hamko tumse kehnaa to hai

aao chalo baithho milke sochein
aao chalo baithho milke sochein
hal koyee apni mushqil ka khojein
samjho ke hum do saagar ki maujein
ho o o saagar mein tumko behnaa to hai
saagar mein hamko behnaa to hai
alag alag ho kar behnaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko

ho ho kuchch tumko
kuchch hamko tumse kehnaa to hai

jhonkaa pawan kaa paani ka relaa
jhonkaa pawan kaa paani ka relaa
preetam binaa mann panchchi akelaa
jeevan hai kya
ek sukh dukh ka melaa aa

ho o hamko ye sukh dukh sehnaa to hai
tumko ye sukh dukh sehnaa to hai
alag alag magar kuchch sehnaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko
kuchch tumko
kuchch hamko tumse kehnaa to hai

chandaa ka deepak sooraj ki baati
chandaa ka deepak sooraj ki baati
ye raushni to hai aati jaati
din raat ke hum donon hain saathi
ho o
logon kaa aisa kehnaa to hai
din se judaa ye rainaa to hai
alag alag din aur rainaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko

ho ho kuchch tumko
kuchch hamko tumse kehnaa to hai
kuchch tumko hamse kehnaa to hai
alag alag kuchch bhi kehnaa naheen een
alag alag ab hamko rehnaa naheen een
kuchch hamko
kuchch tumko
kuchch hamko
kuchch tumko
kuchch hamko
kuchch tumko
kuchch hamko


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 :

4681 Post No. : 16361

We all are witnessing a once in a century pandemic that is taking a heavy toll of precious human lives. There is information overload on this topic. Much of the “information” that we are being bombarded with is not useful, and may even be harmful.

I have been observing all this. I have tried to figure out what is going on. I have tried to piece together useful information about this virus. Here I would present my take on this pandemic and how I think we should deal with the situation.

It seems that very few people actually have an idea how covid infection takes place and how it spreads. Awareness about how to protect oneself against this virus also seems low among people. The outcome of low awareness about this virus has led to disastrous consequences as we all have seen.

In a situation where most people are pressing the panic button and losing their heads, we need to take a calm look at things so that we know how to deal with this situation. I will try to keep it as simple and easy to understand as is possible.

covid 19 virus can be likened to a well trained terrorist group. It is trained and armed and indoctinated outside our borders. Then they are sent across the border to create terrorist acts within our border. Here terrorists are equivalent to covid 19 virus, whereas our country is like our body.

How do these terrorists cross the border ? If they find no security across the border, then they just sneak in unchallenged. If security is tight then they try to sneak in while their army resort to shelling across the border to divert the attention of our security forces. These terrorists then try to sneak in.

These terrorists, if they sneak in, try to create terror attacks wherever they can. If security is tight, then their attempts are foiled most of the time. If security is slack or the terrorists get local support then they are able to create serious damage.

If the terrorists are able to fan out inside the whole country then they can create terror attacks all over the country. All this happened in India with regularity not too far back. This is the most severe kind of terror attacks that India has seen.

With this background, that all Indians can readily identify with, I will try to explain how covid 19 virus acts in a similar way.

Covid 19 virus tries to gain entry into human body. It is a respiratory virus, so it can only enter our body through the external respiratory parts, viz nose and mouth, and also through eyes. So if our body is a country then nose and mouth and eyes are our border posts through which this virus tries to gain entry. When this virus was unknown, it had a free passage into the human body through nose and mouth of unsuspecting victims. When its existence became known then people began wearing masks. It is as if earlier the borders were unmanned but now they need tight security. Face masks are the border security force that that guard our entrances (nose and mouth).

If nose and mouth are guarded then still the virus may lurk in, seeking to enter when the guard is down, viz when the face mark is removed. People do remove face masks when they feel that there is no virus around. Virus lurks in the air, on the person, on clothes, exposed part of the body etc. If a person touches something (on his person or any object containing virus) and then touches his nose or mouth, this is the opening that the virus needed. It then enters the respiratory tract of the body. Now you know why there is so much stress on sanitising objects, hands etc. This also shows us what is the importance of six feet distance. If people stand far off, then the chances of virus getting transmitted from one person to another reduces considerably.

If despite all precautions, some virus enters the respiratory system, its quantity (viral load) will be low. If we are outright careless (no mask, no social distancing) then our respiratory system may receive a heavy viral load.

What happens when the virus manages to enter the respiratory system dodging the mask? It depends on the preparedness near the border.

Masks at the nose are like BSF who guard the border. If the terrorists cross the border, then they have to face the army, who are stationed near the border. In case of covid infection, the army that confronts the virus is known as body’ immunity system. It is basically white blood cells of blood. These WBC are the army soldiers to deal with the infiltrators. These WBCs are trained to tackle known viruses that they have tackled in the past. As soon as they come across a previously known virus, they are immediately able to mobilise anti bodies to tackle that virus. The antibodies can be readily and rapidly deployed. On the other hand, when a new virus, viz covid 19 virus enters about which the WBCs have no previous information, then WBCs take some time to get prepared. As WBCs gather more information about the new virus, they begin to create anti bodies to tackle the virus. But for a new virus, especially if a heavy viral load had entered the respiratory system, the WBCs response may turn out to be slow and inadequate. In the meanwhile the virus is able to do considerable damage to the respiratory system. By the time the WBCs begin to create antibodies, it may be too late.

So, If the viral load is less, then the virus is stopped there itself. If viral load is heavy and the person is not vaccinated then the virus may overwhelm the immunity system and enter further into the body, namely the lungs. Lungs are like the different states of the country. The terrorists have now spread throughout the country, and now they can wreak severe damage. The security in the interior of the country is in the hands of police, which is far too ill equipped to deal with such security threats than the army. Same is the case with the immunity system of the body, which is helpless if the virus gains access to the lungs.

Let us say that the person was already vaccinated. In that case, the immunity system was familiar with this virus. So as soon as the virus entered the respiratory system, the WBCs, being already aware about the nature of the virus, will be able to deploy antibodies immediately. So a vaccinated body is like a country with a strong well trained and well prepared army near the border. In that case most of the infiltrating virus would get neutralised there itself.

If the immunity is weak and person is not vaccinated, then the virus overwhelms the resistance at the entrance and invades the lungs. In that situation, the virus starts rapidly infecting the lungs that are unprotected and are now at their mercy. The virus damages the alveoli (tiny air sacs). The function of the alveolus is to transfer oxygen to the blood vessels. These blood vessels or capillaries carry the oxygen to the RBCs (Red blood cells). It is the RBCs that finally deliver the oxygen to all the internal organs in the body.

The virus works by damaging the wall and the lining of the alveolus and capillaries. The debris from the damage(exudate) , which is plasma protein accumulates on the alveolus wall and thickens the lining. As the walls’ thicken, the transfer of oxygen to the red blood cells is impaired. The thicker the wall gets, the more difficult it gets to transfer oxygen to the red blood cells, which causes difficulty in breathing as the body is running short of oxygen. And the lack of oxygen to the internal organs results in a deficit in the body and impairs the functioning of the organs. At this juncture, the body fights to increase oxygen intake.

And the first response of the body is to destroy the virus and prevent its replication, but if the individual has weaker immunity then the body is unable to stop the virus, and this aggravates the crisis.

As the air sacs are damaged, there is an influx of liquid which is mostly inflamed cells and protein and this fluid build-up leads to pneumonia. This further impairs the oxygen intake by the lungs and hinders the oxygen exchange. Due to the novelty of the Covid 19 strain, there is no immediate treatment to directly cure pneumonia in Covid 19 patients and they are mostly given supportive care.

There are some key indicators that the doctors use to judge the onset and severity of this severe condition called Acute Respiratory Distress Syndrome (ARDS) in infected individuals:

(1)Hypoxia – Low oxygen levels in the blood, due to damage to the alveolus

(2)Breathing difficulties and shortness of breath

(3)Chest x-rays of the lungs exhibit an opaque and glassy look against the black background

(4)Worsening symptoms over the course of time, from the day of detection of the virus

Is there no hope if the virus reach the lungs ? There is ! And it is this fact which is the most important thing to understand about this virus. The ammunition of the virus gets exhausted in nine days and so the virus gets ineffective nine days after it enters the body. If the damage to the body can be kept as low as possible though medication and other means then after nine days the recovery process begins. So the patient must be kept alive for nine days. If it can be achieved then he or she will survive. Forget low damage, even patients who suffered over 80% damage to their lungs have survived !

Virus may have become ineffective but it may have taken a heavy toll on the lungs by that time. The patient must lie prone on his/ her tummy and try to clear the contents of the lungs by coughing them out. Coughed up exudate (phlegm) would be variously coloured when the infection is severe. After a few days the colour would keep changing, from catechu colour (most severe) to black color (less severe)and finally as the infection reduces, the phlegm would become white. Finally phlegm would stop.

As the phlegm comes out, space is created in the lung and that makes breathing easier. Patients who are hospitalised and they have oxygen fitted on them mistakenly believe that they only have to keep lying down passively without doing anything. Not taking any proactive action to clear up the phlegm in their lungs is a mistake because in that case the situation will keep getting worse because the oxygen being pumped into their lungs will have no place to go in the lungs. If oxygen cannot reach the lungs then naturally they cannot be sent to RBC and from there to various parts of the body, and that would lead to serious complications.

It is seen that not just patients, even medical practitioners are often not very helpful (mainly because of their lack of experience). For instance, when a patient goes for chest x ray or HRCT, the report just states the facts, without any expert and helpful comments. A typical (and actual) HRCT report stated- “CT severity score of -36/40”

What will a normal patient do on reading the above ! He/ she will most probably die of shock if not covid because it indicates that the damage to the lung is over 80 %. Fortunately, the above patient happened to be the sister of my wife. My wife told her sister that she did not have to worry. The virus had done all it could and now the lung condition was only going to improve. To make space in the lungs, she advised her sister to do exercises that would expel the phlegm (technical term for this substance is exudate) stuck in her lungs. My wife’s sister followed the advice scrupulously. There was noticeable improvement in her condition. After a couple of weeks, her scan showed perfectly clear lung condition !

It was not the first case where my wife helped save a life. Last year, her brother too had suffered from covid and he too had delayed getting himself checked and treated, leading to a lung condition that was even worse. Even there, correct and timely advice by my wife helped save the life of her brother.

In my wife’s opinion, Rohit Sardana, the news anchor faced a similar situation as faced by her brother and sister and he could have been saved if he had received correct medical advice of the kind that she gave to her brother and sister. In Rohit Sardana’s case, he was in home isolation and he was making good recovery and was feeling better. It was on the advice of some well meaning colleague that he got his HRCT done. The HRCT showed similar severity as in case of my sister in law. But Rohit Sardana did not have the advantage of a good doctor’s advice who would tell him that the worst was over for him. Looking at the severity of his lung report, he went into shock and got himself admitted to a hospital, where he died soon thereafter.

So, to summarise all the above discussion, it can be said that the best protection against covid 19 is a properly worn mask. Do all in your ability to ensure that the virus cannot enter your respiratory system. The virus can enter your respiratory system only through nose and mouth (and in exceptional cases through eyes). Protect these entrances to your respiratory system with your life. If in rare cases virus does get in, only a light load of virus gets in if you have taken precautions, so that your present immunity system can deal with it. Do not be foolhardy to offer a free passage to the virus by going around without mask. Allowing a huge viral load to enter your respiratory system believing that you have a great immunity system is nothing but suicide. Such people will be mercilessly shown their mortality by the virus. Once the virus attacks your lung, then you will be forced to run around from pillar to post, but all these efforts will largely be fruitless. A mask costing a few rupees, and a disciplined lifestyle is more effective in preventing covid than all that desperate scramble clamouring for hospital beds, oxygen, remdesivir etc, and all that at black market prices.

And please get yourself vaccinated at the first opportunity available. India is one of the few countries that can produce its own vaccines and so India is not dependent on foreign supplies (which are difficult to come by). Most people are getting it for free in government facilities. but if some private hospitals are offering it against payment, then pay for it, avoid long waiting lists of government hospitals and get yourself vaccinated. Paying a few hundreds, or even a couple of thousands of rupees for the doses of this vaccine is fully worth it as will protect you from this deadly virus.

While discussing this deadly respiratory disease, I had decided that this article should be accompanied by a song dealing with “Saans”. The first “saans” song that I was reminded of was this song of “Aashiqui”(1990) but I thought that this song was already covered. On checking up, I heaved a sigh of relief (pun unintended) because this song was not yet covered in the blog.

Produced by Gulshan Kumar and Mukesh Bhatt and directed by Mahesh Bhatt, “Aashiqui”(1990) had Rahul Roy, Anu Agarwal, Reema Lagoo, Deepak Tijori, Avtar Gill, Tom Alter, Mushtaq Khan, Javed Khan, Sunil Rege, Homi Wadia, Anang Desai etc in it. Two songs from the movie have been covered in the past.

This movie turned out to be a musical blockbuster. The story of the movie was quite run of the mill and no great shakes, but the music made the movie a super duper hit.

The song under discussion has two versions. THe movie begins with the male version sung by Kumar Sanu. This song is picturised as a hotel/ club song. Rahul Roy lip syncs the song. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The female version song is sung by Anuradha Paudwal. Its video does not seem to be available. I had watched this movie in New Delhi and I vaguely recall having seen the female version also. But its video does not seem to be available now. In any case, it was the male version which was the more popular.

The song likens the need for a “sanam” to the need for “saans”. We take “saans” for granted, but not any longer, seeing the clamour of medical oxygen in these times. One never imagined that a time may come when one would be willing to pay money to be able to breath oxygen artificially. God has given us the ability to breathe this air for free. Let us hope that we will continue to be able to avail of this gift of being able to breathe naturally.

Today (12 May 2021) is also International Nurses’ day. On this occasion, let us all hail and appreciate the great service that they and other medical personnel are rendering in combating this pandemic.

Male version (Video)

Female (Audio)

Song-Saanson ki zaroorat hai jaise zindagi ke liye(Aashiqui)(1990) Kumar Sanu/ Anuradha Paudwal, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

—————————
Male version
—————————

ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise
zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
jaam ki zaroorat hai jaise
jaam ki zaroorat hai jaise
bekhudi ke liye
haan ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye

waqt ke haathhon mein sabki taqdeeren hain
waqt ke haathhon mein sabki taqdeeren hain
aaina jhoothha hai
sachchi tasveeren hain
jahaan dard hai wahin geet hai
jahaan pyaas hai wahin meet hai
koi na jaane magar r
jeene ki yahi reet hai
saaz ki zaroorat hai jaise
saaz ki zaroorat hai jaise mausiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye ae
haan ek sanam chaahiye ae ae aashiqui ke liye

Dialogues
————————————-
ladies and gentlemen
aaj hamaare beech mister and mrs Peston jee
apni shaadi ki pachcheesvin saalgirah mana rahe hain
let us give them a big hand

—————————————
ho ho ho ho
ho ho ho
ho ho ho ho
ho ho ho

manzilen haasilen hain
phir bhi ek doori hai
manzilen haasilen hain
phir bhi ik doori hai
bina humraahi ke
zindagi adhhoori hai
milegi kahin koi rehguzar
tanha katega
kaise ye safar
mere sapne ho jahaaan aan
dhhoondhhoon main aisi nazar
chaand ki zaroorat hai jaise
chaand ki zaroorat hai jaise chaandni ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
bas ek sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye

——————————-
Female version
——————————–
hmm hmm hmm hmm
hmm hmm hmm
aa aa aa aa
aa aa aa

saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
shama ki zaroorat hai jaise
shama ki zaroorat hai jaise raushni ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

baaghbaan ke dil mein har kali khilti hai
baaghbaan ke dil mein har kali khilti hai
har lahar saahil se ik din milti hai
jahaan chain hai wahin bebasi
jahaan ashq hai wahin hai hansi
gham ke kaanton se chune ae usiko milti khushi
honthon ki zaroorat hai jaise
honthon ki zaroorat hai jaise baansuri ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye

hmm hmm hmm hmm
hmm hmm hmm
laa laa laa laa
laa laa laa

har haseen dhadkan mein pyaar ki baaten hain
har haseen dhadkan mein pyaar ki baaten hain
har jawaan mehfil mein yaar ki baaten hain
jahaan nazm hai wahin hai ghazal
jahaan dhoop hai wahin hai kanwal
seene se lipte rahe ae kisi ke yaadon ke pal
dost ki zaroorat hai jaise
dost ki zaroorat hai jaise dosti ke liye
haan ik sanam chaahiye ae ae aashiqui ke liye
saanson ki zaroorat hai jaise
saanson ki zaroorat hai jaise zindagi ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
bas ik sanam chaahiye ae ae aashiqui ke liye
aashiqui ke liye
aashiqui ke liye
aashiqui ke liye


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 :

4669 Post No. : 16344

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 136 # A tribute to lyricist Verma Malik & Rishi Kapoor#
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Today 30th April’2021 is the first ‘Remembrance Day’ of actor Rishi Kapoor. He was born 04th September 1952 and passed away on 30th April 2020 at the age of sixty-seven only.

When I was a growing child in the seventies Rishi Kapoor was a rising star and had started his film career with the 1973 movie ‘Bobby’. I must be five years old then. And as I have mentioned in one of my earlier articles, I had not watched this movie. Maybe I have watched few songs of this movie on TV. Then there were movies like ‘Rafoo Chakkar’, ‘Badalte Rishtey’, ‘Raajaa’, ‘Amar Akbar Anthony’, ‘Ham Kisise Kam Nahin’, ‘Jhoothha Kahin Ka’, ‘Aap Ke Deewaane’ etc, then ‘Naseeb’’ ‘Ye Waadaa Rahaa’, ‘Karz’, ‘Zamaane Ko Dikhaanaa Hai’ and others which are a part of nostalgia of my growing years. I am not going to list all of them here. But I would like to mention few of his movies which I watched as a grown-up boy, ‘Saagar’, ‘Chaandni’, ‘Bol Radha Bol’, ‘Deewaanaa’, ‘Heena’ etc which I watched during my stay at Kota (Rajasthan).

In the recent years I watched his ‘102 not out’ on TV after his death.

As I mentioned above his movies are part of my growing years and will always be remembered whenever Hindi movies of the seventies-eighties’ are discussed.

He was very active in his personal life too and he spoke his mind on many issues on social media like twitter.

He was smiling even on the day he was hospitalized as we have seen in a video in circulation in media after his hospitalization or just before the night that he left us.

He lived his life to the fullest and his smiling face can never be forgotten.

For today’s occasion I am presenting a song which is a background song from the movie ‘Zindaa Dil-1975’. If we see the types of roles Rishi Kapoor played on screen and his personal life, he was always a ‘Zindaa Dil’ person.

Let us have a look on the list of movies released in ‘1975’ having actor Rishi Kapoor acted in them.

S. No Name of the movie Actress Passed by Censor Board
01 Khel Khel Mein Neetu Singh 13.05.1975
02 Raajaa Sulakshana Pandit 17.11.1975
03 Rafoo Chakkar Neetu Singh 02.01.1975
04 Zindaa Dil Neetu Singh 15.10.1975

(I sincerely hope that I have not missed any movie in above list)

Today’s song is written by lyricist Verma Malik. We remember him too and pay our homage to him. His ninety-sixth birth anniversary passed on 13th April’2021.
He was born on 13th April 1925 and left this world on 15 March 2009.

Today’s wonderful song also serves as our tribute to him.

Coming back to the today’s movie ‘Zindaa Dil-1975’, it was directed by Sikander Khanna for ‘S.B. Films International, Bombay’.

It had Rishi Kapoor, Neetu Singh, Zahira, Pran, I.S. Johar, Roopesh Kumar, Rajesh Lahar, Pinchoo Kapoor, Raj Mehra, C.S. Dubey, Krishan Dhawan, Padma Chauhan, Rajrani, Uma Khosla, Master Shailesh, Master Rocky, Baby Fatima, Meenakshi, Goga, Dham Mota, Ghanshyam, Manohar Azad, and K.D. Shorey, Raja Duggal and Sikander Khanna in special appearance.

This was passed by Censor Board on 15.10.1975.

This movie had five songs penned by Verma Malik and composed by Laxmikant-Pyarelal.

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

Today’s song is the third song from this movie to be posted on the blog. It is sung by Mohd Rafi. I guess that this song appears in the movie in parts. HFGK Vol-V mentions this song as one song only. Video for all the parts of this song seems to be un-available.

In the year ‘1975’ Verma Malik wrote lyrics for the following movies.

S. No Name of the movie Music Director
01 Aandolan Jaidev
02 Apne Dushman Kalyanji-Anandji
03 Chori Mera Kaam Kalyanji-Anandji
04 Do Jhooth Shankar-Jaikishan
05 Monto Kalyanji-Anandji
06 Raftaar Sonik-Omi
07 Sanyaasi Shankar-Jaikishan
08 Zindaa Dil Laxmikant-Pyarelal
09 Zorro Kalyanji-Anandji

From the songs penned by him in the above movies, only one song made it to the final of Binaca geetmala 1975. It was a song from ‘Sanyaasi-1975’ and it was was at number thirty-two. However, the top two songs of the ‘annual list of Binaca Geetmala’ 1975 were written by Verma Malik. They were from the ‘1974’ movie ‘Roti Kapda Aur Makaan’.

Let us now listen to today’s song (a philosophical song) and pay our tributes to lyricist Verma Malik and actor Rishi Kapoor…

Today’s song, which I guess is played in parts in the movie, are available in audio in several versions. I have selected a version that contains all stanzas .

Audio (containing all stanzas)

Video

Song-Zindagi zindaadili ka naam hai (Zinda Dil)(1975)Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Chorus

Lyrics

Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Aa aa aa
Aa aa aa
aa aaaa aa

Hanskar har mushkil apnaa
Duniyaa kaa yahi asool
Khilkar jab tak kali hanse naa
Tab tak bane naa phool
Hanste chehre ke sab saathi
Rone ko saath naa koyee
Hansne waalaa bane sitaaraa
Roye to paanv ki dhool
Kyun ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Aa aa aa
Aa aa aa
aa aa aa
aa aa aa

Ik din maut aayegi sabko
Aaj nahin to kal hai
Kisi ki khaatir mar jaana
Ye baat badi mushkil hai
Sadiyon tak wo rahegaa amar
Jo auron pe huaa nichhaawar
Mar kar bhi zindaa rahtaa hai
Wo hi to zindaa dil hai
Kyun ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Aa aa aa
Aa aa aa

Pee jaa aankh ke aansu inko
Palkon pe naa tol
Tapak pade jo dharti pe to
Jayegi dharti dol
Jis jeewan mein dukh naa aaye
Wo jeewan bhi kyaa hai
Kabhi nahin Zindaa dil hotey
Gham se daanwaadol
Kyun ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Phoolon se bhi chaand hai sundar
Chaand se sundar preet
Preet se sundar man apnaa
Man se sundar man ki jeet
Man ki jeet jalaa ke tu kar de
Raushan yaar kaa ghar
Preet mein jeena
Preet mein marnaa
Yahi hai prem ki reet
Kyun ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Aa aa aa aa aa
Aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

————————————-
(as per video link)
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Pee jaa aankh ke aansu inko
Palkon pe naa tol
Tapak pade jo dharti pe to
Jayegi dharti dol
Jis jeewan mein dukh naa aaye
Wo jeewan bhi kyaa hai
Kabhi nahin Zindaa dil hotey
Gam se daawaan dol
Kyon ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Phoolon se bhi chaand hai sundar
Chaand se sundar preet
Preet se sundar man apnaa
Man se sundar man ki jeet
Man ki jeet jalaake tu kar de
Roshan yaar kaa ghar
Preet mein jeena
Preet mein marnaa
Yahi hai prem ki reet
Kyon ke
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai
Zindagi zindaa dili kaa naam hai

Aa aa aa aa aa
Aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa


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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 THIRTEEN years. This blog has over 16600 song posts by now.

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

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