Archive for the ‘Songs of 1957’ Category
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.
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Blog Day : |
5133 | Post No. : | 17089 |
Today’s song is from a Costume drama-Jalti Nishani-1957.
There was another film Jalti Nishani made in 1932, by Prabhat Film Company of Poona. It was a bilingual film, made in Hindi and Marathi and the Marathi version was titled ” Agni kankan” ( अग्नी कंकण ). That was the usual story of an honest king, a bad Vazir, a runaway queen with her son and the revenge taken after 20 years. The 1957 film with the same title had almost a similar story with some variations. This film was made by Emsheth productions, produced aptly by a rich person called A.G.Dhanik. It was directed by Tara Harish and the melodious music was provided by the grand old man of Hindi film music – Anil Biswas.
The image of Anil Biswas carved in the minds of Music lovers is that of a smiling person who was respected by one and all in the industry. But few people know that behind that smiling face were many unpleasant events in his life. A failed marriage, loss of all earnings while settling the separation, loss of a dear friend-Mehboob, loss of an young son in Indian Air Force, a failed musician son, a pathetic end of his musical career field in Bombay and a life spent away from Bombay made Anil Biswas a Philosophical person at the end of his life.
I have full respect and liking for him as a person and also as a music melody creator in Hindi films. Today, in this post, we will take a short look at his life and a retelling of some interesting happenings of his life. In his Bio,you will find a less known story of his ambitious but unfortunate son who died untimely. I am not going into the details of his songs and music nor am I going to delve into the details of his interesting early life in Bengal, before coming to the Bombay film world scene. So, here we go….
Anil Biswas,the Bhishma Pitamaha of HFM,was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay,the Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960,he was almost gone from the industry. Initially he did 10-11 films with Sagar,then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.
He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50;Badi Bahu-51,Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954.
To sustain life,he bought a Truck and did a business of transportation. In addition he also took the contract for a canteen in Mehboob Studios. He failed in both ventures. By now,his relations with Ashalata were soured and sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself.According to some reports, they got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.
Like many filmi couples,Anil da’s married life was also a failure. In Bombay,he used to stay in a huge bungalow,called ” Asha-Pradeep “, on Vincent Road. From Ashalata,he got 3 sons-Pradeep,Amit and Utpal and 1 daughter-Shikha. His son Utpal formed a pair as Amar-Utpal and gave music to few films. The other son Amit established the First Digital Recording Studio in Bombay. Daughter Shikha too got married and settled.
However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.
Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.
After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.
This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.
Here is an anecdote about C.Ramchandra and Anil Biswas…
On the day of recording the first ever Hindi film song (a chorus song) of C.Ramchandra, (in 1942) all arrangements were done. Chorus singers were ready, musicians were ready and technicians were ready. Suddenly, a set of visitors arrived at the studio. The visitors were all top composers of the day like Anil Biswas, K.Datta, Naval Chatterjee and some others.They all had heard about C Ramchandra, his tunes and his work. They wanted to see how he operated. C Ramchandra had tremendous respect for Anil Biswas. He knew that the contributions of Anil Biswas to Hindi Film Music was praiseworthy. Anil Biswas was a master of harmonization technique in western and Indian music instruments.
C Ramchandra described this event thus-
” It was my great fortune that a senior composer whom I considered as my Guru was present at my first recording. To my greatest surprise all the visitors joined the Chorus group for singing. I just wanted to check if the final take can be taken. I said one ..two..three and the song and music started, but I felt something was wrong. One singer sounded different. I stopped and ran outside to the singers. To my shock it was Anilda who put a Teevr Nishad which was not in my composition. He smilingly asked, is it Ok ? I said respectfully, No Dada, this is not right. He very magnanimously and without further questions agreed and they all sang on my tune only !. ”
Here is one more anecdote about Anil Biswas and Dilip kumar…
A few interesting lines about the duet –‘Aa mohabbat ki basti basayeinge hum’. One afternoon Anil Da at his residence was in the company of celebrated actors –Dilip Kumar and Ashok Kumar. He played on his harmonium and hummed the serious tune of his forthcoming melody -‘Aa mohabbat ki basti basayeinge hum’. As to who will be the female singer, there was absolutely no doubt about Lata; but who will give the male voice? “Dada it should be Talat”-said Ashok Kumar. Whereas Dilip Kumar suggested –“Anil Da, in any case looking at the serious lyrical notes, male singer should be your favorite Mukesh.” Anil Da had something else in his mind. “How if Kishore sings with Lata”- said the maestro. “Kishore!’ –Dilip was taken aback; “if Kishore will sing such a serious song, then ‘Aapka joota aur mera sar (if Kishore will sing such a serious song, my head is ready for your shoe-beating)’” –added Dilip Kumar. “Mein joota le kar aataa hoon, sar tayyar rakho (Be ready with your head, I am bringing my shoe).”
Kishore Kumar was called, who at the first instance, bluntly refused to sing the said duet with Lata. But, the maestro’s conviction prevailed and eventually a heart-throbbing duet was created!
Film Girls school-49 has a very interesting History. As we know the film had 9 songs and there were 2 MDs-Anil Biswas and C Ramchandra (4 and 5 songs each).
This film was produced by Kavi Pradeep under the banner of Lokmanya Productions,Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit @ 1500 pm and by Bombay Talkies @ 2500 pm. As National studio was winding up, AB wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He ,however , gave music to film Basant-42 and the name of his brother in Law, Pannalal Ghosh was used as its MD.
Finally when AB joined Bombay Talkies, there were already 2 groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok kumar, Gyan Mukherjee, Pradeep etc- a total of 15 artistes. AB was invited by Devika Rani and that too at 2500 pm,when Pradeep was getting 1500 pm. This irritated Pradeep to no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music to film Kismet and then everyone was happy as the film celebrated jubilees everywhere.
With this background,Anil Biswas joined Girls school as a MD, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Bswas’s work and criticising him at every opportunity. AB was fed up. He had already recorded 3 songs and a solo by Lata , ” tum hi kaho,mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though CR was already a popular and well known composer himself, still due to sheer respect for Anil Biswas, he had accepted to be his assistant here. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.
Automatically, C Ramchandra had to take over as MD for the balance songs. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas had left and C Ramchandra had replaced him,she was very angry and said that she would not have recorded the song had she known about AB’s exit. She objected to CR’s taking over and complained to the Artistes association too. (Remember, at that time Lata and CR’s relations had not formed yet, Lata was still with Husnlal.)
Later on in 1954, when O P Nayyar replaced Roshan for Mehbooba-54, Lata took up the issue with the MDs’ association. Anil Biswas was the chairman that time and OPN was boycotted. That time Lata quoted the film Girls school incident to prove that she was ” highly Principled” !
Anyway, this was how C Ramchandra became the next MD of Girls school-49,with 4 duets of Shamshad and 1 solo for Lalita Deulkar. All the 4 duets of this pair are very interesting. However, with all this jhamelas, film Girls school-49 was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just one film.
One peculiar thing with Anil Biswas was that he liked to compose Chorus songs. That is why in almost every film you will find at least one chorus song. Right from his first film to his last film, I checked the song list. Even in his today’s film there are 2 chorus songs. Today’s song also has a chorus in it. It is a good song. Let us enjoy it.
(Information used in this article is from books Sagar Movietone, Mehboob Khan, Journey down melody lane, Ritu aaye Ritu jaaye- Marathi book Anil Biswas, by Sharad Dutt , notes from RMIM with thanks and my notes.)
Song- Aisa jaam pila nazron se hosh rahe na baaqi re (Jalti Nishaani)(1957) Singers- Hemant Kumar, Lata Mangeshkar , Lyrics-Qamar Jalalabadi, MD-Anil Biswas
chorus
Lata + Chorus
Lyrics
o o o saaqi ee re ae ae
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho
hey ae ae
aisa jaam pila nazaron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae ae
aaj lage kyun ujda ujda
bhara hua maikhaana aa aa
aa aa aa aa
aa aa aa aa
jisko nazren dhoondh rahi hain
aen aen aen aen
aen aen aen aen
kaha hain wo deewaana ji
kaha hain wo deewaana
ye kaisi mehfil il il il il
ye kaisi mahfil hai jismein
pyaasaka hai khud saaki re ae ae
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho
hey ae ae aisa jaam pila nazron se
hosh rahe na baaqi re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ae
ek mein din hai raat ek mein
chhalke do paimaane
ae ae ae ae ae
ae ae ae ae ae ae
kiski kismat mein kya likha aa aa aa
aa aa aa
aa aa aa
ye kismat hi jaane he ji
ye kismat hi jaane
koi na jaane is mehfil mein
kaun rahega baaki re ji jee
kaun rahega baaki re
saaqi re ho
saaqi re ho
saaqi re ho
saaqi re ho
he ae ae ae
aisa jaam pila nazron se
hosh rahe na baaqi re
Baaj rahi shehnaayee
Posted on: June 22, 2022
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
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Blog Day : |
5087 | Post No. : | 17012 |
“Janam Janam Ke Phere”(1957) was produced by Subhash Desai and directed by Manmohan Desai for Mukta Films, Bombay. The movie had Nirupa Roy, Manhar Desai,
B.M.Vyas, S.N.Tripathi, Satish Vyas, Amar, Pandey, Kanta Kumari, Malay Sarkar, Champaklala, Krishna Kumari, Mahipal(Guest artiste) etc in it.
The movie had nine songs in it. Eight of these songs have been covered in the blog. Here are the details of the songs:-
| Sr.No. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Janam janam ke phere …saanjh savere sabko ghere, inse na koyi bache re | Rafi, chorus | 16 February 2013 |
| 02 | Tu hai ya nahin bhagwan… kabhi hota bharosa kabhi hota bharam | Lata, Rafi, Manna Dey | 16 June 2012 |
| 03 | Bhadak uthhi hai…aaja naag tohe man mein basaa loon | Lata Mangeshkar | 04 January 2020 |
| 04 | Raah se dharam ki hataanewaala kaun | Lata Mangeshkar | 16 June 2022 |
| 05 | Man ka andhiyaaraa… tan ke tamboore mein do saanson ke taar boley | Manna Dey | 03 June 2012 |
| 06 | Rang birange phoolon ki jhoomein re daaliyaan… kaali kaali ankhiyon ki chhalke re Pyaaliyaan | Geeta Dutt, Manna Dey, chorus | 14 March 2022 |
| 07 | Aatma ki ye … zaraa saamne to aao chhaliye | Mohd Rafi, Lata Mangeshkar | 25 December 2008 |
| 08 | Baaj rahi shehnaayi dekho baaj rahi shenaayi | Lata Mangeshkar | Being discussed today |
| 09 | Ghanan ghanan ghan baaje… aayi mohan milan ki bela | Shamshad Begum, Mohd Rafi, chorus | 05 April 2020 |
Only one song from the movie is left to be covered.
Here is that final song from the movie. The song is sung by Lata Mangeshkar. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.
The song is picturised on Nirupa Roy playing a bride and getting married to the wrong groom. She would not point this out to her elders, rather she would make the most of this opportunity to sing a melancholic song. Singing a melancholic song,(when wronged by fate) was considered the ultimate act of Bhartiya Nari in Hindi movies of those days. Nirupa Roy was one of the leading Bhartiya Naaris of those days. subsequently she graduated to the role of the ultimate Hindi movie maa. 🙂
Amar is also visible in the picturisation.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the nine songs of “Janam Janam Ke Phere”(1957) get covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Audio link:
Video link:
Song-Baaj rahee shehnaayee dekho baaj rahi shehnaayee (Janam Janam Ke Phere)(1957) Singer-Lata, Lyrics-Bharat Vyas, MD-S N Tripathi
Lyrics
baaj rahee shehnaayee…ee..ee
baaj rahee shenaayee
dekho baaj rahee shehnaayee
angnaa mein
baaj rahee shenaayee
ye duniya diwaani dekho
karti hai manmanee rey ae
ye duniya deewaani dekho
karthi hai manmanee
haayye
jaaney na peer paraayee rey
paraayee rey paraayee
dekho baaj rahee shehnaayee
angnaa mein aen
baaj rahee shenaayee
sab sakhiyaan meri maang sajaayein ae..aen..aen
sab sakhiyaan meri maang sajaayen
main ansuwan haar piroun rey ae ae
duniyaa to hansti hai khil khil aur
main jhar jhar roun rey ae
duniya to hansti hai khil khil aur
main jhar jhar roun re
bin bhanwar kalee murjhaayee murjhaayee
murjhaayee..eee
dekho baaj rahee shehnaayee
angnaa mein aen
baaj rahee shenaayee
sakhiyaan meri mehandi se aey ae ae ae ae ae
sakhiyaan meri mehandi se rangti hain haath rey ae ae
woh kyaa jaanen meraa hai suhaag nahin saath rey ae ae
woh kyaa jaanen meraa hai suhaag nahin saath
mere piyaa ne sudh bisraayee
bisraayee bisraayee..eee
dekho baaj rahee shehnaayee
angnaa mein ae
baaj rahee shenaayee..ee..eee
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.
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Blog Day : |
4987 | Post No. : | 16875 |
Today’s song is from a ‘1957’ movie namely ‘Janam Janam Ke Phere’.
I have mentioned it in my earlier articles that I had the good fortune of being able to watch many black and white movies in my childhood. Recalling those days is a source of great nostalgia for me. ‘Janam Janam Ke Phere’ is one of those black and white classics that I watched in one of the weekly screening of movies at our colony club where we resided.
Yesterday I was browsing the blog looking for songs composed by S.N. Tripathi. That is when I came across this movie. I was surprised to note that this movie is yet to be ‘Yippeeee’ed’ on the blog. Three songs from the movie are still not covered on the blog.
“Janam Janam Ke Phere-1957’ (alias ‘Sati Annapurna) was directed by Manoo Desai for ‘Mukti Films, Bombay’. It was produced by Subhash Desai.
Manoo Desai also wrote this movie and editing of this movie was done by Kamlakar.
(This movie was passed by Censor Board on 30.05.1957.)
This movie had Nirupa Roy, Manhar Desai, B.M. Vyas, Krishnakumari, S.N. Tripathi, Amar Pande, Amirbai Karnataki, Satish Vyas, Malay Sarkar, Kantakumari, Champaklal, Santosh Kunwar, and others.
Mahipal made a guest appearance in this movie.
This movie had nine songs written by Bharat Vyas and composed by S.N. Tripathi. Lata Mangeshkar, Mohd Rafi, Geeta Dutt and Manna Dey had given their voices to the songs in this movie.
The list of the songs from this movie is as given below (the earlier posts on the blog do not give this list hence I am giving those details in this post)
| Sr.No. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Janam janam ke phere …saanjh savere sabko ghere, inse na koyi bache re | Rafi, chorus | 16.02.2013 |
| 02 | Tu hai ya nahin bhagwan… kabhi hota bharosa kabhi hota bharam | Lata, Rafi, Manna Dey | 16.06.2012 |
| 03 | Bhadak uthhi hai…aaja naag tohe man mein basaa loon | Lata Mangeshkar | 04.01.2020 |
| 04 | Chaahe raat barsaat ho… raah se dharam ki hataanewaala kaun | Lata Mangeshkar | |
| 05 | Man ka andhiyaaraa… tan ke tamboore mein do saanson ke taar boley | Manna Dey | 03.06.2012 |
| 06 | Rang birangi phoolon ki jhoomein re daaliyaan… kaali kaali ankhiyon ki chhalke re Pyaaliyaan | Geeta Dutt, Manna Dey, chorus | Being presented today |
| 07 | Aatma ki ye … zaraa saamne to aao chhaliye | Mohd Rafi, Lata Mangeshkar | 25.12.2008 |
| 08 | Baaj rahi shehnaayi dekho baaj rahi shenaayi | Lata Mangeshkar | |
| 09 | Ghanan ghanan ghan baaje… aayi mohan milan ki bela | Shamshad Begum, Mohd Rafi, chorus | 05.04.2020 |
From the above table we can see that this movie had made its debut on the blog on 25.12.2008. The next two songs from this movie were discussed in the year ‘2012’, one song was discussed in ‘2013’. After a long gap, two more songs from this movie were discussed in the year ‘2020’. That is how six songs from this movie have been discussed in a span of 14 years.
T most popular song from this movie was ‘zaraa saamne to aao chhaliye’ and this is also the song permanently associated with this movie’s name in my mind. Other songs of the movie fail to bring similar recollections, though I may have listened to them.
Today 14th March’2022 is the one hundred and nineth birth anniversary of S.N. Tripathi or Shri Nath Tripathi (14 March 1913 – 28 March 1988), the music director of this movie.
S.N. Tripathi also an actor, as well as producer and director of several movies.
Today as a tribute on his birth anniversary I am presenting a song from this movie “Janam Janam Ke Phere”.
Today’s song is sung by Geeta Dutt and Manna Dey. On the screen it is Manhar Desai lip-syncing in Manna Dey’s voice. I guess that the actress lip-syncing in Geeta Dutt’s voice is Krishnakumari. Several other woman artists are also present in the picturisation and they lip sync in the voice of the chorus.
I would request knowledgeable readers to throw more light on the songs in this movie.
Let us enjoy today’s beautiful composition now …
Video
Audio
Song-Rang birange phoolon ki jhoome re daaliyaan (Janam Janam Ke Phere)(1957) Singers-Geeta Dutt, Manna Dey, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus
Geeta Dutt + Chorus
Lyrics(Provided by Prakashchandra)
aa aa aa aa
rangbirange phoolon ki
jhoome re daaliyaan
kaali kaali ankhiyon ki
chhalke re pyaaliyaan
rangbirange phoolon ki
jhoome re daaliyaan
kaali kaali ankhiyon ki
chhalke re pyaaliyaan
tu ??
chhode kahaan chalaa re ?
aisi pyaari duniya ko
chhod kahaan chalaa re
rangbirange phoolon ki
jhoomein re daaliyaan
aa aaha aa
aa aaha aa
aa aa aa
haan jeewan hai kaagaz ka tukda
boond pade ghul jaataa
maati ka tan sun mere man
maati mein mil jaataa aa aa
maati mein mil jaataa
rang birange phoolon ko pooja mein daalke
kaali kaali ankhiyon ka deepak ujaar ke
raadha sang kaanha ka raas jahaan
chalaa re
is jhhoothhi duniya ko chhod wahaan chalaa re
rangbirange phoolon ki
jhoomein re daaliyaan
aa aa aa aa aa aa aa aa
jaaoge to jaa naa sakoge
bairaagi chori chori ee
baahon ka bandhan
palkon ka pehraa
chitwan ki hogi dori ee
cham cham cham cham chamke re
kaanon mein baaliyaan
jagamag jagmag damke re
man mein diwaaliyaan
tu pyaare ?? tod kahaan chalaa re
aisi pyaari duniya ko
chhod kahaan chalaa re
rangbirange phoolon ki
jhoome re daaliyaan
aa aa aa aa
ahaa aa
ahaa aa
aa aa aa
aa aa aa aa
jiska prem prabhu se laagaa aa
bhaag hai uskaa jaagaa aa
jisko roop milaa hai uska
usne sab kuchh tyaagaa aa
aa aa aa
usne sab kuchh tyaagaa
chhak chhak piyun main to
raam ras pyaaliyaan
shyam ke bhajan mein
bajaaun main to taaliyaan
raadha sang kaanha ka raas jahaan
chalaa re
is jhhoothhi duniya ko chhod wahaan chalaa re
rangbirange phoolon ki
jhoomein re daaliyaan
kaali kaali ankhiyon ki
chhalke re pyaaliyaan
tu kyun ye kaantaa ?
todke chalaa re ?
aisi pyaari duniya ko
chhod kahaan chalaa re
ho o o raadha sang kaanha ka raas jahaan
chalaa re
is jhhoothhi duniya ko chhod wahaan chalaa re
aisi pyaari duniya ko
chhod kahaan chalaa re
is jhhoothhi duniya ko chhod wahaan chalaa re
ae ae ae ae ae ae ae ae ae ae
o o o o
o o o
Hum ko to mohabbat hai unse
Posted on: February 5, 2022
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.
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Blog Day : |
4950 | Post No. : | 16810 |
Today’s song is from the film Garma Garam-1957.
The film was made by G.M.Pictures, Bombay. The Producer was Navin C Shah and the Director cum story writer cum Screenplay writer cum Lyricist was P.L. Santoshi. The film had music by Vinod. The 11 songs of the film were written by P L Santoshi, D N Madhok and Raja Mehdi Ali Khan. 3 Songs are already on the Blog and this will be its 4th song. Interestingly, this song is written by Santoshi and RMA Khan jointly, as per a note on HFGK.
Of course, this is nothing new. Such things have happened several times in Hindi films. Here are few examples of joint writing the Lyrics of songs….
1.Footpath-53….The famous song by Talat – ” Shyam e gham ki kasam”….Ali Sardar Jafri and Majrooh Sultanpuri.
2.Miss Bombay-57….” Zindagi bhar gham judai ka….Prem Dhawan and Asad Bhopali
3.Buzdil-51….” Rote rote gujar gayi raat re”….Kaifi Azmi and Shailendra
4.Humlog-51….All songs….Vishwamitra Adil and Uddhav Kumar
5.Pardesi-57….” Rimzim barse paani”….Prem Dhawan and Ali Sardar Jafri
This is one of those strange things that happen in Hindi film industry. Of course, such “Mutual Collaboration” are also found in some cases of Film Direction – where two Directors direct a film jointly (those cases are different where a Director dies and another completed his balance work or where the first director left the film and another took over). This has also happened in Music direction where two MDs jointly gave music (cases of established MD pairs are different).
The second notable thing about the film was – the cast consisted of Agha, Gope, Omprakash, Bhagwan, Marutirao, Chhota Gope, Indira Bansal,Nadira, Rajni, Miss Kamal, Maya Das, Krishna kumari and many others. The film was classified as a ” Stunt’ film. I wonder what stunts this band of comedians performed in the film. I saw this film when it was released simultaneously on 5th July 1957 at Lamington Cinema, Bombay as well as in Ashok talkies in Hyderabad. After seeing the film we felt like having got cheated. The film had no stunts and nothing in the film to make the audience ” Garam” either ! In those times while Vinod’s songs of “Ek thi Ladki-1949″ were still echoing in our ears, music of this film made us completely ” Thanda Thanda” and made us wonder if he was the same MD Vinod of Ek thi ladki ? Here is the film’s story which will prove what I have said….
Wealthy Garibdas has no issues, but only 2 Nephews- Banke, a simpleton and Banwari a chaalbaaz, who spends money on dancing girl-Chandni. Knowing this Garibdas makes his will in the name of Banke. While recording his will on camera, he dies without telling location of his wealth halfway.
Banke contacts the photographer-Asha for enquiry. They fall in love. While searching they find that a map and 6 keys hidden in 6 Golden Chairs had the secret. But the chairs are already sold by Banwari to various people in India. They get addresses from the auctioneer who sold these chairs.
Asha and Banke contact all those buyers and get the 6 keys. meanwhile, Banke comes to know all this and catches up with the pair. There is a fight in Banke and Banwari. Banke wins the fight, but magnanimously gives the keys to Banwari. Seeing this generosity, Banwari has a change of heart and both embrace each others.
Finally, they find a Box. Using the keys, they open the Box, only to find only a piece of white paper written ‘ God helps those who help themselves”.
Asha has an idea. She starts pressing the box in different ways and suddenly it opens and the map is found where the wealth is hidden.
The two brothers share the wealth.The End.
In the cast of the film, there is a name Maruti Rao. He was a comedy actor and father of Comedienne Guddi Maruti. Earlier to him there was another actor called Marutirao Pehelwan ( father of Dancer Gopi Krishna), who operated from Silent films to Talkie films till early 40’s. Although same name, these actors did not cause any ” Same Name Confusion”, because they operated one after another – without overlapping their career period. However, I still found that some sites making a mix up of their Filmography.
His full name was Marutirao Ganpatrao Parab. He was born on 12-2-1927 at Ahmednagar, near Poona. After completing his Matriculation, he came to Bombay to try his luck in film acting. His first few films like Pagli Duniya-44, and Gajre-48 were without his name in credits He got his credits firmly from film Albela-51. Then he faeatured in many many films…Footpath-53, Baap re Baap-55, Baghdad ka chor-55, Chori chori-56, Guest House-59, Opera House-61, parasmani-63, Lutera-65, Ustad 420-69, Shor-72, Kunwara Baap-74, Don-78 etc etc. In the 60’s he mainly worked in Dara Singh films.
He acted in total 221 films and featured in 34 songs on screen. He also directed 7 films, namely Baghi Shehzada-64, Hum sab ustad Hai-65, Killers-69, Bank Robbery-69, Mangu Dada-70, Kahin aar kahin paar-71 and Hum sab chor hain-73. His last film as actor was Bandish – 1980. As an actor he was not much satisfied, but film direction gave him joy and satisfaction. After his last film he retired from films. However several films like karate-83 and Naya Bakra-85 got delayed releases. He died peacefully on 12-3-1981.
he had married his co-star Miss kamal, a small time actress who worked in films like Dashehra-56, Tartar ka chor-55, Garma Garam -57, Darbar-55, Riyasat-56 etc. etc. Their daughter Guddi Maruti had a better luck in films than both of them. ( Thanks to a note by Rajni kumar Pandya ji, book ‘Eena, meena deeka’ by Sanjit Narvwekar, HFGK, muVyz and my notes).
Today’s song is a Qawali sung by Mohd.Rafi, S D Batish, Asha Bhosale and Shamshad Begum with Chorus.
Song- Hum ko to mohabbat hai un se (Garma Garam)(1957) Singers- Rafi, S D Batish, Shamshad Begam, Asha Bhonsle, Lyrics-Lyricist- P L Santoshi, Raja Mehdi Ali Khan (Joint ), MD- Vinod
Lyrics
Humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
nazron se jo nazren mil jaatin
ae jee mil jaati mil jaati mil jaati
ae jee mil jaati mil jaati mil jaati
nazron se jo nazren mil jaatin
ye duniya jannat ho jaati
ye duniya jannat ho jaati
haan haan
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
aa aa aa aa
aa aa aa aa
chilman uthi bijli chamki
wo ek jhalak dikhlaa ke gaye
jab nazron ne unki balaayen lin
aa aa aa aa aa
jab nazron ne unki balaayen lin
wo saamne thhe sharmaake gaye
din raat tadapne waalon ko
ek baar wo phir tadpaake gaye ae ae
gar hans ke wo saamne aa jaate
haan aan aan aan aan aan aan
gar hans ke wo saamne aa jaate
aji aa jaate aa jaate aa jaate
gar hans ke wo saamne aa jaate
kooche mein qayaamat ho jaati
kooche mein qayaamat ho jaati
aa aa aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
aa aa aa
aa aa aa
chilman uthhi jooti chamki
ye sab ke sab ghabraake gaye
haaye
aahen na bhari shiqwe na kiye
darbaan ke dande kha ke gaye
sar pe paanv rakh ke bhaage
thhokar khaayi
uhu
sharmaake gaye
gar thhodi si der ye ruk jaate
in sab ki hajaamat ho jaati
aji ho jaati ho jaati ho jaati
in sab ki hajaamat ho jaati
hajaamat hajaamat hajaamat
humko to adaawat hai inse
unko bhi adaawat ho jaati
haha
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
aa aa aa aa aa
din raat tasawwur hai unka
aur chupke chupke rona hai
ae subah ke taare tu hi bata
aa aa aa
aa aa aa
ae subah ke taare tu hi bata
anjaam mera kya hona hai
unki furkat mein mujhe kab tak
kaanton ke sej pe sona hai ae ae ae
gar phool sa chehra dikhlaate
dikhlaate dikhlaate dikhlaate
gar phool sa chehra dikhlaate
kaanto mein bhi raahat ho jaati
aa aa aa
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
aa aa aa aa
takiye mein apna sar deke
tujhe chupke chupke rona hai
o o o o
aa aa aa aa
aashaon ka kambal odhe huye
tujhe tooti si khatiya mein to sona hai
ya tu jaane ya main jaanoon
anjaam tera kya hona hai ae ae ae
wo tujhpe marte to TB ki shiqaayat ho jaati
aji ho jaati ho jaati ho jaati
TB ki shiqaayat ho jaati
humko to adaawat hai unse
unko bhi adaawat ho jaati
humko to mohabbat hai unse
unko bhi mohabbat ho jaati
aa aa aa aa
aa aa aa aa
hum dil ka chain luta baithhe
ab khoone tamanna peete hain
ji lagta nahin hai ae ae
duniya mein
go jeene ko hum jeet hain
o o o
ye dil ka paan to kha baithhe
ab aahon ke cigarette peete hain
ae doctar aakar tu hi bata aa aa
ye mar gaye hain ya jeete hain
quinine agar na kha lete
in sab ko haraarat ho jaati
aji ho jaati ho jaati ho jaati
in sabko haraarat ho jaati
aa aa
humko to adaawat hai unse
unko bhi adaawat ho jaati
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.
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Blog Day : |
4941 | Post No. : | 16796 |
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Blog 10-Year Challenge (2012-2022) – Song No. 13
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This day ten years ago viz 27 January 2012 was a lean day for the blog. Just one song was covered on that day. The song was Chhaaya hai samaa mera dil hai jawaan from “Qaidi”(1957). The movie made its debut in the blog with this song.
“Qaidi”(1957) was produced by F C Mehra and directed by Mohammad Hussain for Eagle Films, Bombay. The movie had Padmini, Suresh, Anwar Hussain, Helen, Agha, Ragini, Leela, Johny Walker, M Kumar, Kamal Mehra, Rajan Kapoor etc.in it. This ‘B’ grade action-oriented film was released in January 1957, exactly 65 years ago.
Today, exactly ten years later after the movie made its debut in the blog, seven out of 8 songs of “Qaidi”(1957)have been represented in the blog. Here are the details:-
| Blog post number | Song | Date of post | Singer (s) |
|---|---|---|---|
| 5349 | Chhaaya hai samaa mera dil hai jawaan | 27 January 2012 | Asha Bhonsle, Rafi |
| 6496 | Yoon muskura ke saamne aaya na keejiye | 22 August 2012 | Rafi, Asha Bhonsle |
| 10777 | Kuchh to aisi baat kar zaalim | 28 January 2015 | Asha Bhonsle |
| 13356 | Hamse bhi aate jaate aankh milaana door se | 22 June 2017 | Asha Bhonsle |
| 13842 | O sainyya ja ja ja ja ja | 26 December 2017 | Asha Bhonsle |
| 14040 | Dekh li teri ada aji bas shukriya | 9 February 2018 | Shamshad Begam |
| 16641 | Bedardi preet nahin jaani | 29 October 2021 | Asha Bhonsle, Usha Mangeshkar |
That leaves us with just one song from “Qaidi”(1957) to be covered in the blog. Here is that song.
This song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed by O P Nayyar (16 January 1926 – 28 January 2007 whose 15th remembrance day falls on 28 January.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the eight songs from “Qaidi”(1957) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
This movie gets the distinction of getting YIPPEED in the blog in exactly ten years (3653 days)!
Song-Chaahe tu na bata (Qaidi)(1957) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar
Lyrics
(Provided by Prakashchandra)
chaahey tu naa bata
mujhe sab hai pataa
dekho morey sanwariyaa
main jaan gayee rey ae
dekho morey sanwariyaa
main jaan gayee rey
chaahey tu naa bata
mujhey sab hai pataa
dekho morey sanwariyaa
main jaan gayee rey..ae
dekho morey sanwariyaa
main jaan gayee rey
teri nazron ne nazron se mil ke
teri nazron ne nazon se mil ke aey ae
keh diye raaz sab tere dil ke aey ae
keh diye raaz sab tere dil ke
ho mujhey sab hai khabar
teri jhoomey rey nazar
teraa machley jiyaa
chaahey tu naa bataa
mujhe sab hai pataa
dekho morey sanwariyaa
main jaan gayee rey ae
dekho morey sanwariyaa
main jaan gayee rey
tere dil ke rangeeley iraade..ae
hho tere dil ke rangeeley iraade
main bataa doon jo sainyyaan to kya dey aey ae
main bataa doon jo sainyyaan to kya dey aey ae
hho mujhey sab hai khabar
teri jhoomey rey nazar
teraa machchley jiyaa
dil ke armaan hain aankhon mein jaage
dil ke armaan hain aankhon mein jaagey aey ae
kuchch kahoongi na main iske aagey aey ae ae
kuchch kahoongi na main iske aagey
ho mujhe sab hai khabar
teri jhoomey rey nazar
teraa machley jeeyaa
chaahey tu naa bataa
mujhe sab hai pataa
dekho morey sanwariyaa
main jaan gayee rey ae
dekho morey sanwariyaa
main jaan gayee rey
Bedardi preet nahin jaani
Posted on: October 29, 2021
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.
This article is his 700th post in the blog.
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Blog Day : |
4851 | Post No. : | 16641 |
O P Nayyar was an odd man out in Hindi film industry as a music director. He did not have the formal or informal training in the music. He did not undergo ‘apprenticeship’ under any music directors. He did not work with Lata Mangeshkar during his entire career as a music director. The top three star-actors of 1950s and 60s – Dilip Kumar, Dev Anand and Raj Kapoor avoided him as a music director after working with him for one or two films. He did not work with Raj Khosla after his spate with him in ‘Ek Musaafir Ek Haseena’ (1962). His egoistic, stubborn, ‘calling spade a spade’ type of nature and some shades of eccentricities should have made him persona non grata in the Hindi film industry. Despite all these odds, he attained the status of one of the top music directors of Hindi films during 1950s and 1960s.
I always felt that O P Nayyar was the ‘Eklavya’ of Hindi film music – a self-trained music director who got inspirations from more than one Dronachaya of music directors – R C Boral, Pankaj Mullick, Ghulam Haider and Anil Biswas. As a teenager, O P Nayyar was fascinated by the films of New Theatres which he watched in Lahore. He was mesmerised by the songs of K L Saigal and Pankaj Mullick which guided him to pursue the singing career. He was a regular singer of bhajans and ghazals on AIR, Lahore in the 1940s until the partition. Two of his Kabir dohas which he used to recite on AIR. Lahore were recorded and released on HMV disc in 1943. He composed his first recorded song – a non-film, ‘preetam aan milo’ in the voice of C H Atma in 1945 which became very popular.
After shifting to Mumbai following the partition, O P Nayyar’s first three films – ‘Aasmaan’ (1952), ‘Cham Chama Cham’ (1952) and ‘Baaz’ (1953) turned out to be the flop films. It was only after a huge box office success of ‘Aar Paar’ (1954) that O P Nayyar established himself as music director and remained one of the top music directors of Hindi films until about end-1960s.
O P Nayyar achieved his musical career progression despite the handicap of his stubbornness and other traits. The same handicap also resulted in his downfall. In 1966, he had a spate with Mohammed Rafi during one of the songs recording of ‘Saawan Ki Ghata’ (1966) after which he did not work with Rafi for a long time. In 1974, Asha Bhosle, his muse of over 15 years, decided to part with him in what appears to be the clash of egos. By this time, Asha Bhosle had also become a force to reckon with in Hindi film music.
O P Nayyar’s musical journey virtually ended by mid-1970 though he did a few sporadic films until 1995. He spent rest of his life in isolation away from film industry and his family until his death in January 2007.
The question that may come to the minds of many Hindi film music enthusiasts as to how O P Nayyar could churn out many beautifully crafted songs based on Hindustani classical raags. In this context, it is worth mentioning the observations of Ustad Ameer Khan when he heard all the 11 songs of ‘Phaagun’ (1958). When O P Nayyar met Ustad Ameer Khan in some context, the latter asked him as to why he had composed all the 11 songs in Raag Pilu. O P Nayyar had no answers except to tell him it was just a coincidence that his compositions matched with Raag Pilu. Incidentally, Ustad Ameer Khan rendered for O P Nayyar, a bandish, jogiya mere ghar aaye in raag Lalit in ‘Raagini’ (1958). In the later years, Ustad Ameer Khan pointed out to him that in akeli hoon main piya aaa from ‘Sambandh’ (1969), he has used about 16 different raagas. Probably, music composition was God’s gift to O P Nayyar.
O P Nayyar has composed many raag-based songs, some of which are semi-classical compositions in the films like ‘Aasmaan’ (1952), ‘Naya Daur’ (1957), ‘Raagini’ (1958), ‘Phaagun’ (1959), ‘Kalpana’ (1960), ‘Phir Wohi Dil Laaya Hoon’ (1963) etc. Almost all of his semi-classical songs have been covered on the Blog. But there is one semi-classical song which did not get as much attention from the Hindi film music lovers as it deserved. The song is from an obscure film ‘Qaidi’ (1957) which is yet to be covered on the Blog.
‘Qaidi (1957) was produced by F C Mehra under his banner, Eagle Films and was directed by Mohammed Hussain. The star cast included Padmini, Suresh, Anwar Hussain, Helen, Agha, Ragini, Leela, Johny Walker, M Kumar, Kamal Mehra, Rajan Kapoor etc. It was a ‘B’ grade action-oriented film. The film was released in January 1957.
The film had 8 songs of which 6 songs have been covered on the Blog. All the songs were written by Jaan Nisaar Akhtar which were set to music by O P Nayyar. I am presenting the 7th song, ‘bedardi preet nahi jaani’ which is a semi-classical song rendered by Asha Bhosle and Usha Mangeshkar. The video clip of the song is not available on any of the video sharing platforms. There is one audio clip which is available with an average sound quality. I have, therefore, made a new video clip from a mp3 clip of the song with me in a better sound quality and have uploaded the same.
From the lyrics as well as taraanas, the song appears to be picturised on two dancers. From the star cast, there are 4 dancers in the film – Padmini, Ragini, Helen and Leela. From the available video clips of the songs, it is observed that Asha Bhosle has sung both for Padmini and Helen in the film. In addition, Shamshad Begum has also sung for Padmini. If the song is used for the dance competition, it is quite likely that the dancers could be Padmini and Ragini as both are trained Bharatnatyam dancers and in the film, Ragini plays the role of Padmini’s friend.
I am not able to tell on which Raag the song has been composed. However, the tune closely resembles that of ae ri jaane na doongi from ‘Chitralekha’ (1964) which, according to Swarganga, is based on Raag Kamod.
Note: In this article, I have taken some inputs from an interview of O P Nayyar which appeared on http://www.cinemasangeet.com. and also from an article on O P Nayyar which was published in millenniumpost.
Audio Clip:
Song-Bedardi preet nahin jaani (Qaidi)(1957) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar
Both
Lyrics
tana naadir dirta ni ta nata taani ee
tana naadir dirta ni ta nata taani ee
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
main to roothhi sajanwaa
jaa tum sang nahin bo….loon
naahi boloo..n
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore
aaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaa
jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore
aaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaa
jaa jaa jaa jaa re sainyyaan more
kaahe hamri bainyyaan marore
ghoonghat ke pat main nahin kholoon
ghoonghat ke pat main nahin kholoon
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee
bedardi preet nahin jaani ee
main to roothhi sajanwaa
jaa tum sang nahin bo…loon
naahi boloo…n
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun
aaaaaaaaaaa
aaaaaaaaaa
aaaaaaaaaaaaa
main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun/font>
aaaaaaaaaa
aaaaaaaaaa
aaaaaa
main na tere bas mein aaun
jaa re jaa nahin ankhiyaan milaaun
kaahe sainyyaan main teri ho loon
kaahe sainyyaan main teri ho loon
bedardi preet nahin jaani ee
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee
main to roothhi sajanwaa
jaa tum sang nahin bo….loon
naahin boloo…n
bedardi preet nahin jaani ee
tana naadir dirta ni ta nata taani ee
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.
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Blog Day : |
4675 | Post No. : | 16351 |
“Jalti Nishaani”(1957) was produced by A G Dhanik and directed by Harish. This “Costume drama”(Veshbhoosha pradhan) movie had Geeta Bali, Kamal Kapoor, Ulhas, Kuldeep Kaur, Sundar, Chaman Puri, Indu Pal, Sheikh, Nazeer Kashmiri, Kamal, Mohan, Fazle Kareem, Patanjali, Nathan Raj, Ajeet, K Dukhiya, Asha, Meena, Najma etc in it.
The movie had eight songs in it. Five songs have been covered in the past.
Here is the sixth song from “Jalti Nishaani”(1957) to appear in the blog. This song is sung by Shamshad Behgam and Meena Kapoor. Qamar Jalalabadi is the lyricist. Music is composed by Anil Biswas.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.
Lyrics of this song were sent to me by Prakashchandra.
Audio link:
Song-Saaf bata de o hajaayee tu dilbar hai kiska (Jalti Nishaani)(1957) Singers-Shamshad Begum, Meena Kapoor, Lyrics-Qamar Jalalabadi, MD-Anil Biswas
Lyrics(Provided by Prakashchandra)
arrey o o o o Teesmaar khaan
saaf bataa dey ae
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae ae
o harjaayee ee
tu dilbar hai kis ka
jaa rey jaa
tujhe dekh liyaa
kahin aankh ladin
aur khiskaa
khiskaa
khiskaa
saaf bataa dey
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae
mast nigaahein
qaafir qaafir
sau raahen aur ek musaafir
qaafir qaafir ek musafir
ek ka ho jaa o deewaaney
ek ka ho jaa o deewaaney
yaa us ka
yaa is ka
ho jaa aa
yaa us ka
yaa is ka
kis kaa
saaf bataa dey ae
o harjaayee ee
tu dilbar hai kis ka
saaf bataa dey ae
duniyaa mein kuchch kaam to kar jaa aa
jeene waaley mujhpe mar ja
hho mar jaa mar jaa..aa
jeene waaley mujhpe mar jaaa
o balle balle balle balle balle ae ae
maar ke na woh
chadh jaa soolee
rastaa dekhey kis ka
chadh jaa soolee
rasta dekhey kis ka
kis kaa
saaf bataa dey ae
o harjaayee eee
tu dilbhar hai kis ka
saaf bataa dey ae
ek nazar qurbaan hai us par
ek nazar kab se hai is par
ek nazar qurbaan hai us par
dil kehta hai is ka us ka
is ka us ka
is ka us ka
khiska
khiskaa
o khiska
khiskaa
khiskaa
saaf bataa dey ae
o harjaayee eee
tu dilbar hai kis ka
jaa rey ja tujhe dekh liya
kahin aankh lade aur
khiskaa
khiskaa
khiskaa aa
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.
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Blog Day : |
4616 | Post No. : | 16251 |
Rafi Sahab’s legendary associations: 02
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Saahir Ludhianvi’s 100th birth anniversary
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It is Sahir Ludhianvi’s 100th birth anniversary on 08/03/2021 and I have the good fortune of writing for the last remaining song/snippet from ‘Pyasa’ 1957 to post on this occassion. There is no better showcase then the musical canvas of this classic film, I could not ask for a better opportunity. Thank you Avinash ji for giving me this gift.
It is arguably the best of Sahir, among the very best of S. D. Burman and most intense music score by him. It was Rafi sahab’s voice that becomes the poet and the poet becomes a Rafi personified because of the voice over in playback, in romance, in confusion, in jest, in irritation, in poetic narration, in bitterness, inebriation, in rebellion, and in cursing. Sahir made the so-called curse words in urdu palpable in poetry.
This is the list of all songs of “Pyaasa(1957)” already posted in the blog:
| Song | Date of posting |
|---|---|
| Jaane wo kaise log the jinke pyaar ko pyaar mila | 21 April 2009 |
| Ham aapki aankhon mein is dil ko basaa den to | 10 september 2009 |
| Aaj sajan mohe ang lagaalo janam safal ho jaaye | 25 October 2009 |
| Ye duniya agar mil bhi jaaye to kyaa hai | 26 September 2009 |
| Sar jo tera chakraaye yaa dil doobaa jaaye | 27 September 2009 |
| Jinhe naaz hai Hind par wo kahaan hain | 16 October 2010 |
| Jaane kyaa toone kahi jaane kyaa maine suni | 5 October 2011 |
| Rut phire par din hamaare phire na | 13 January 2012 |
| Tang aa chuke hain kashmakashe zindagi se ham | 17 January 2012 |
| Ye hanste huye phool ye mehka hua gulshan | 8 June 2017 |
| Peechhe peechhe duniya aage aage hum | 9 July 2017 |
S. D. Burman was never averse to having both Lata and Asha Bhonsle sing for his song, but they are conspicuously absent in this music score. Geeta Dutt is singing for both Waheeda Rehman and Mala Sinha in this film.
My post on Sahir Ludhianvi’s remembrance day in 2020 is for the song where I have highlighted the effect of Iqbal on the Sahir and his poetry. This blog is one of the widely followed and read serious blogs on film music, and I thought, the aficionados of Sahir’s poetry would have some opinion to put forward, regarding my theory which I gave in that post.
I am reproducing a brief intro of Sahir from the book “Yeh un dinon ki baat hai” by Yasir Abbasi :
“Talkhi (bitterness) entered Sahir’s life early when his father chose to name him Abdul Ha’ee purely to spite a nieghbour. With a troubled childhood behind, he was still in his early 20’s when he stormed the literary arena with his first collection of poems, Talkhiyaan(1944). Films beckoned with Aazadi ke rahh par (1948), but it was with Naujawan and Baazi (both in 1951) – that he arrived with a bang. Widely regarded as the finest lyricist to grace Hindi cinema, he scaled dizzying heights with Pyaasa (1957). He was always vociferously critical of any kind of oppression, and in his indictment of social ills, he spared no one – be it the society(Aurat ne janam diya – Sadhna/1958), a bygone emperor (mere mehboob kahin aur – Ghazal/1964) or God (aasman pe hai khuda – Phir subah hogi/1958). Yet the same man could stir up romance like no one else when he wrote Abhi na jaao chhod kar (Hum dono/1961) or kabhi kabhi mere dil mein khayaal aata hai (Kabhie kabhie/1976). Temperamental but absolutely sublime at his craft, Sahir Ludhianvi elevated the lyricist in hindi films and raised the bench mark to a level that a few could touch.”
I have no arguments with the above introduction, but to add a few more dimensions in the expressing the intricacies of human relationship and romantic entanglements, Sahir’s intro is incomplete without these songs:
1. Tum agar mujh ko na chaaho to koyi baat nahin
2. Chalo ek baar phir se ajnabi ban jaayen
3. Zindagi bhar nahi bhulegi wo barsaat ki raat
4. Jo baat tujh mein hai teri tasveer mein nahin
There are many more, but the above should give a fair idea of the term ‘absolutely sublime’ in the above intro.
One more small para in the same book, an absolute gem, is this:
Aisa mehsoos hota hai ki Sahir ne apni shakhsiyat ka saara gudaaz shai’ri mein bhar diya hai aur sha’iri ki saari jaaduiyat apne khat-o-khaal mein jazb kar li hai. Aaine se aaina-gar ka ubharna lateefa hi sahi lekin Talkhiyaan ka mutaal’aa keejiye to uss ke musannif ki rooh bolti dikhaayi degi – musannif se baatein keejiye to ma’aloom hogaa aap us ki nazmein padh rahe hain.
Here is a list compiled by Avinash ji of the songs/films of the team of SDB and Sahir.
| S.no. | Movie | Year | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
|---|---|---|---|---|---|
| 1 | Baazi | 1951 | 8 | 8 | 8 |
| 2 | Naujawan | 1951 | 7 | 7 | 7 |
| 3 | Sazaa | 1951 | 1 | 1 | 1 |
| 4 | Jaal | 1952 | 8 | 8 | 8 |
| 5 | Laal Kunwar | 1952 | 8 | 11 | 11 |
| 6 | Armaan | 1953 | 8 | 8 | 8 |
| 7 | Baabla | 1953 | 6 | 6 | 6 |
| 8 | Jeevan Jyoti | 1953 | 8 | 7 | 7 |
| 9 | Shahenshah | 1953 | 9 | 9 | 9 |
| 10 | Angaarey | 1954 | 10 | 10 | 10 |
| 11 | Radha Krishna | 1954 | 2 | 2 | 2 |
| 12 | Taxi Driver | 1954 | 8 | 8 | 8 |
| 13 | Devdas | 1955 | 10 | 10 | 10 |
| 14 | House No.44 | 1955 | 8 | 8 | 9 |
| 15 | Munimji | 1955 | 7 | 7 | 7 |
| 16 | Society | 1955 | 8 | 8 | 8 |
| 17 | Funtoosh | 1956 | 8 | 8 | 9 |
| 18 | Pyaasa | 1957 | 11 | 8 | 12 |
| Total | 135 | 134 | 140 | ||
The list ends abruptly in 1957, as the association between Sahir and SDB ended soon after the master piece Pyaasa.
Rafi sahab’s association with both these geniuses continued independently till the end of their lives. Here is their tally in the blog:
| Name | No of songs in the blog | No of songs in the career |
|---|---|---|
| S. D. Burman | 641 | 87 movies (666) |
| Sahir Ludhianvi | 652 | 724 |
All the available songs by Rafi sahab under S. D. Burman are already posted in the blog. A few more Rafi songs written by Sahir remain to be posted.
Video
Song-Gham is qadar badhe ke main ghabra ke pi gaya (Pyaasa)(1957) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-S D Burman
Lyrics (Provided by Avinash Scrapwala)
gham is qadar badhe
ke main ghabraa ke pee gayaa
is dil ki bebasi pe taras khaa ke
pee gayaa
thhukraa rahaa thhaa mujhko
badi der se jahaan
thhukraa rahaa thhaa mujhko
badi der se jahaan
main aaj sab jahaan ko
thhukraa ke pee gayaa aa …
main aaj sab jahaan ko
thhukraa ke pee gayaa aa …
——————————————————
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————————
ग़म इस क़दर बढे
के मैं घबरा के पी गया
इस दिल कि बेबसी पे तरस खा के
पी गया
ठुकरा रहा था मुझको
बड़ी देर से जहां
ठुकरा रहा था मुझको
बड़ी देर से जहां
मैं आज सब जहां को
ठुकरा के पी गया…
मैं आज सब जहां को
ठुकरा के पी गया…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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