Archive for the ‘Songs of 1970’ Category
Taare toota karte hain
Posted on: October 16, 2020
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 : |
4473 | Post No. : | 15974 |
When I checked up the list of movies introduced in the blog chronologically (from the first day of the blog), I found that the first 17 movies which were introduced on the blog on the first 17 days (at the rate of one song a day) have been YIPPEED by now.
But the 18th movie which was introduced in the blog on 5 August 2008 is still unYIPPEED. This movie, “Aansoo Aur Muskaan”(1970) made a rollicking debut in the blog with a fantastically entertaining song, Guni janon bhakt janon, sung and enacted by Kishore Kumar. Back then this song was a rare and forgotten song for most music lovers and it was specially uploaded on YT by me.
“Aansoo Aur Muskaan”(1970) was directed by P Madhwan for Screen Gems, Madras. This “social” movie had Hema Malini, Ajay Sahni, Om Prakash, Bobby, Jagdeep, Suresh, Maruti, David, Bindu, Shabnam, Tuntun, Birbal, Padmini, Manmohan, Kishore Kumar etc in it.
The movie had six songs in it. Apart from the above mentioned song, only one more song has been covered in the blog.
The Kishore Kumar song of the movie seems to have stolen the march over other aspects of the movie. I was not even aware who were the lead actors of the movie. When I noticed that “Aansoo Aur Muskaan”(1970) was the oldest UNYIPPEED movies in the blog, I decided to something about it. While planning to discuss other songs, I realised that Hema Malini was the leading lady in this movie and that today (16 october 2020) happens to be her birthday, I decided to use this opportunity to discuss a song from “Aansoo Aur Muskaan”(1970) which is oicturised on her.
I just realised that this movie is exactly 50 years old ! And I also realised that Hema Malini (DoB 16 october 1948), who was then 22 years old. She is still active in Public life. She is a member of Parliament from Mathura (UP) and she still gived Dance performances. She is seen in several TV ads. Looking at her, it is impossible to believe that she is 72 years old ! She is easily the best example of agelessness.
On the occasion of her birthday, here is this song from “Aansoo Aur Muskaan”(1970). It is sung by Lata. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised on Hema Malini and a child artist. I request our knowledgeable readers to help identify the child artist.
PS-Our inhouse artist recognition expert Prakashchandra tells us that the chilfd artist is “wonder child” Bobby.
We in the blog take this opportunity to with Hema Malini a very happy birthday and wish her many happy returns of the day.
Audio
Video
Song-Taare toota karte hain (Aansoo aur Muskaan)(1970) Singer-Lata, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics
ho o o o o
o o o
taare toota karte hain
sahaare chhoota karte hain
taare toota karte hain
sahaare chhoota karte hain
kabhi na tootenge
mamta ka naate pyaare
taare toota karte hain
sahaare chhoota karte hain
o o o
o o o
o o o
o o o
o o o
aankh michauli khelen andhiyaare ujiyaale
aankh michauli khelen andhiyaare ujiyaale
apnon se chhupte hain saari duniya waale
aanchal ke phoolon se
maata aankh na phere
aanchal ke phoolon se
maata aankh na phere
sab kuchh apna hai
jab tu hai paas hamaare
taare toota karte hain
sahaare chhoota karte hain
jeevan dhan hai mera
tera sundar mukhda
jeevan dhan hai mera
tera sundar mukhda
dekh ke mukhda tera
bhooloon main har dukhda
tu hi to laayegi
meri khoyi bahaaren
tu hi to laayegi
meri khoyi bahaaren
pyaar ka bandhan tu
do dil na rahenge nyaare
taare toota karte hain
sahaare chhoota karte hain
kabhi na tootenge
mamta ke naate pyaare
taare toota karte hain
sahaare chhoota karte hain
o o o
o o o
o o o
o o o
o o o
o o o
hmm mm mm
hmm mm mm
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 : |
4426 | Post No. : | 15847 |
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Blog 10-Year Challenge (2010-2020) – Song No. 65
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Ten years ago on this day (30 august 2010), six songs from six different movies were covered in the blog. Here are the details:-
| Movie title-Year | Remarks | |
|---|---|---|
| Aaj apni mehnaton ka mujhko samra mil | Doctor-1941 | All songs covered |
| Ham unke paas aate hain | Nayaa Ghar-1953 | All songs covered |
| Kismat banaane waale zaraa saamne to aa | Pardes-1950 | All songs covered |
| Arre taubaa ye teri adaa | 12’ O Clock -1958 | All songs covered |
| Aaya re khilaune waalaa | Bachpan-1970 | 02 songs posted |
| Muhabbat bade kaam ki cheez hai | Trishul-1978 | All songs covered |
We can observe that five out of six movies that figured on the blog have been YIPPEED by now. Only “Bachpan”(1970) still has a few songs left to be covered.
Only two songs from “Bachpan”(1970) have been covered on far. First song was discussed ten years ago, and the next song in 2016. Here are the details:-
| Song | Posted On |
|---|---|
| Aaya re khilaune waalaa | 30.08.2010 |
| Mother Mary maa ham tere dulaare hain | 25.12.2016 |
The song under discussion today is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal. The song is picturised on Aruna Irani as a desi UP-Bihar version of cabarat song. Joginder Shelly and Anwar Hussain are als visible.
Lyrics of this song were sent by Prakashchandra while BTYC details were sent by Avinash Scrapwala.
audio link:
video link:
Song-Prem ka rog lagaa loon kaise jee ko main saanwariya(Bachpan)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics(Provided by Prakashchandra)
prem ka rog lagaa loon kaisey
jee ko main sanwariya
hho balma chhoti si
chhoti si meri baali umariyaa
balma chhoti si
chhoti si meri baali umariya
kaahey ko najariya se tu giraaye bijuriya
hho balma chhoti si
chhoti si meri baali umariya
balma chhoti si
chhoti si meri baali umariyaa
kaliyon si bholi bhali
piya phoolon ki main hoon daali
kaliyon si bholi bhali..ee
piya phoolon ki main hoon daali
arrey mitti ki main hoon gudiyaa
ahhaa mitti ki main hoon gudiyaa
naajuk sheeshey ki main hoon pyaali
panghat se utthaa ke laaoon
kaisey main gagariya
hho balma patli si
patli si meri naajuk kamariya
balma patli si
patli si meri naajuk kamariya
prem ka rog lagaa loon kaisey
jee ko main sanwariya
hho balma chhoti si
chhoti si meri baali umariya
balma chhoti si
chhoti si meri baali umariyaa
nanhi si ek kiran hoon
abhi itni si main sajan hoon
nanhi si ek kiran hoon oon
abhi itni si main sajan hoon
chaloon tham tham ke dar se aissey ae
chaloon
tham tham ke dar se aissey jaissey
main chaahoon main pawan hoon
rimjhim rimjhim barsoon kaisey
bann ke main badariya
hho balma pyaasi si
pyaasi si meri vyaakul najariyaa
balma pyaasi si
pyaasi si meri vyaakul najariyaa
prem ka rog lagaa loon kaisey
jee ko main sanwariya
hho balma chhoti si
chhoti si meri baali umariyaa
balma chhoti si
chhoti si meri baali umariyaa
Twinkle twinkle little star
Posted on: August 24, 2020
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4420 | Post No. : | 15830 |
Hullo Atuldom
23rd August was the birthday of the beautiful Saira Banu. She was born to yesteryear actress Naseem Banu and producer Mian Ehsan-Ul-Haq in 1944.
She made her debut opposite Shammi Kapoor in 1961 as the OH! so gorgeous Kashmiri ‘Kali’ with her introduction song being “Kaashmir ki kali hoon main mujhse na rootho babuji”. In all the years, since then she has remained gorgeous and aged gracefully. In between then and now, she was an active star in the Hindi film firmament till about 1976 when Prakash Mehra directed “Hera Pheri” released. She appeared in a cameo with her husband Dilip Kumar in Yash Johar produced and Ramesh Talwar directed “Duniya” (1984) as parents of Rishi Kapoor.
One of the movies-Faisla- that she acted in the 70s released in 1988; this was her last official release. But this beauty had the best costars in the 15-16 years that she was active with ‘Padosan’ opposite Sunil Dutt catapulting her to the top league after which “Victoria No 203” opposite Navin Nischol was a big hit. We have seen her opposite Dharmendra in ‘Jwar Bhata’, ‘Aadmi Aur Insaan’, ‘Resham Ki Dori’, ‘Pocketmaar’, ‘Chaitali’, and ‘International Crook’. She was in ‘Purab Aur Paschim’, ‘Balidaan’, and ‘Shaadi’ with Manoj Kumar as her hero. But her pairing with Dilip Kumar in ‘Gopi’, ‘Sagina’ and ‘Bairaag’ was after her marriage to her childhood crush.
As I was preparing the post for wishing the beautiful Saira Banu I looked for possible songs and made a discovery. I always thought that the 1970 releases ‘Purab Aur Paschim’ and ‘Gopi’ would have been Yyippeeeed by now. A thought that came because we have 15800+ songs on our blog and we have been active for 12+ years. I find we have four songs of “Purab Aur Paschim” out a possible eight or nine songs. We have
(1) dulhan chali o pahan chali
(2) Hai preet jahaan ki reet sada, a post that has 51 comments, must be a record. The last comment was on 6th August 2018.
(3) koyi jab tumhaara hriday tod de
(4) purwa suhaani aayi re purwa was the last to be posted.
That too eight years ago. How have we missed posting songs from this movie. Chalo let us take it a step forward.
Here is a song that is sung by Mahendra Kapoor and Asha Bhonsle. It is written by Prem Dhawan and set to music by the brothers Kalyanji- Anandji. The song begins with some dialogue between puppets that are dressed as a Jat and Videshi Mem. The whole event is meant to belittle the westernized character played Saira Banu as Preethi the daughter of an Indian brought up in London. It ends when she realizes that she is being made fun of. (Personally I felt that we take this ‘west is bad east is best’ a little too far)
Incidentally, 24th August happens to mark 20 years since Kalyanji Virji Shah (30 June 1928-24 August 2000) said good bye to this world. He was the music director of such hits as “mera jeevan kora kaagaz kora hi reh gaya”, “rote hue aate hai sab hasta hua jo jaayega”, “jiska koi nahi uska toh khuda hai yaaron” (as Kishore Kumar and Manna Dey solos) and the still-so-popular “Yaari hai imaan mera yaar meri zindagi”. Of course, the songs I have mentioned were all in the 70s and 80s, years when I was growing up and learning to appreciate songs.
But Kalyanji, of the duo, began as a musician in the early 50s. He was the one who played the Clavioline for the songs of ‘Nagin” that were essentially Hemant Kumar scores. Remember the “Nagin-been” from 1954 which has become the signature tune used in all serpent-related songs, scenes and movies? He formed an orchestra group with his brother Anandji, all those years ago, which performed in and around Bombay (as Mumbai used to be called). His arrival in the industry was in, what is called, the golden period of Hindi Film Music when SD Burman, OP Nayyar, Madan Mohan etc were the compeetition. He still managed to get a foothold “Samrat Chandragupt” was his first film. He was officially joined by his brother Anandji, to form the duo, with movies like Satta Bazaar, Chhalia etc. The long journey of the duo gave us many gems and we treasure all of them lovingly. Thank You Kalyanjibhai- Anandjibhai.
Coming back to today’s song- wishing Saira Banu all health and happiness even if a day late & remembering Kalyanjibhai. Here is that song for which the farmaish/ reminder was made on 6th August 2018.
Song-Twinkle twinkle little star (Purab Aur Paschim)(1970) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Prem Dhawan, MD-Kalyanji Anandji
Chorus
Lyrics
twinke twinkle little star
how I wonder what you are
how I wonder what you are
gaao
aaho
oye twinkle twinkle little star
how I wonder what you are
how I wonder what you are
o twinkle twinkle little sta aa aaa aa aa aaar
you fool
everybody is a fool baby
everybody is a fool baby
sabhi se jawaani mein ae ae ae
ae ae ae
ae ae
hoti pyar ki bhool baby
o hoti pyar ki bhool baby
oye twinke twinkle little star
how I wonder what you are
how I wonder what you are
samjhe madam
what?
o seedha kar doonga what baby
o seedha kar doonga what baby
you mem paschim ki ee eee ee ee
te main purab ka jat baby
o te main purab ka jat baby
alright I teach you something else
sikhaao ji
singing aa yaa yipee yipee ya
singing aa yaa yipee yipee ya
yeh changa hai
jack and jill went up the hill
to fetch a pail of water
jack and jill went up the hill
to fetch a pail of water
gaao
aaho
oye jack and jill went up the hill
to fetch a pail of water
to fetch a pail of water
oye jack and jill went up the hill
ee ee ee ee
you idiot
main nahin
tu hai idiot baby
main nahin
tu hai idiot baby
naari hoke piye whisky
ee ee ee ee ee
aur piye cigarette baby
aur piye cigarette baby
oye twinkle twinkle little star
how I wonder what you are
how I wonder what you are
oh what do you want
i want a chance baby
i want a chance baby
phir dekh meri taal pe
ae ae ae ae
ae ae ae
kaise karegi tu dance baby
o kaise karegi tu dance baby
oye twinkle twinkle little star
how I wonder what you are
how i wonder what you are
up above the world so high
ee ee ee ee
aa aa ee ee
like a diamond in the sky
like a diamond in the sky
twinkle twinkle little star<
how I wonder what you are
jack and jill went up the hill
ee ee ee ee ee
jack and jill went up the hill
to fetch up pail of water
twinkle twinkle little star
how I wonder what you are
twinkle twinkle little
Ye Kaisa Aaya Zamaana Ye Kaisa
Posted on: July 22, 2020
This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4387 | Post No. : | 15746 |
Mukesh and his co-singers – 6
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Continuing with the series of the collaboration of Mukesh with his co-singers, I bring forth today his songs with Kishore Kumar. We started this series with Rafi saab and have covered only Talat saab as far as male co-singers are concerned. Kishore Kumar would have been an obvious next choice and in continuation I present this post.
Both singers began their career imitating the great KL Saigal. Mukesh sang the iconic song “Dil Jalta Hai To Jalne De” from ‘Pehli Nazar’ in 1945 but had begun his singing career in 1940 itself. Kishore Kumar began his singing career much later in 1948, with the song “Marne Ki Duayein Kyun Maangoon” under Kemchand Prakash .
While Mukesh with his failed forays in various departments, settled seriously for playback from 1958, Kishore Kumar tasted fair success in his many inroads of films other than playback. Mukesh and Kishore Kumar in spite of being contemporaries had quite different trajectories. As such it is difficult to write in tandem about the two singers.
They collaborated for a total of only 10 songs. That’s about one song in three years. For this reason, I was again under the impression that all songs of the duo must have been covered. However, two songs are yet to be posted and today I present one of them here.
I missed my table formation on Mukesh songs for these several months and am happy to reproduce below the collection of the songs wherein the two singers have sung together in duets, triads and chorus songs.
| S.No | Name of the Song | Movie (Year of release) | Other co-singers if any | Music Director | Lyricist |
| 1 | Lo mil gayi degree pyar ki | Maalkin (1953) | Ram Kamlani | Roshan | Rajendra Krishan |
| 2 | Zindagi hai kyaa | Satyakaam (1969) | Mahendra Kapoor | Laxmikant Pyarelal | Kaifi Azmi |
| 3 | Yeh kaisa aaya zamana | Humjoli (1970) | Mehmood | Laxmikant Pyarelal | Anand Bakshi |
| 4 | Tik tik tik tik | Kal Aaj aur Kal (1971) | Asha Bhonsle | Shankar Jaikishan | Neeraj |
| 5 | Haal chaal theek thaak | Mere Apne (1971) | Salil Chaudhary | Gulzar | |
| 6 | Tere hamsafar geet hain tere | Dharam Karam (1975) | Asha Bhonsle | RD Burman | Majrooh Sultanpuri |
| 7 | Na ho bas mein tere kuch | Dharam Karam (1975) | Poornima | RD Burman | Majrooh Sultanpuri |
| 8 | Arre phenk do jam ko | Kabeela (1976) | Kalyanji Anandji | Farooque Kaiser | |
| 9 | Hum ko tumse ho gaya hai pyar | Amar Akbar Anthony (1977) | Rafi, Lata | Laxmikant Pyarelal | Anand Bakshi |
| 10 | Jaaneman jaane jaan | Chor Mandali (1983) (UR) | Dilraj Kaur | Kalyanji Anandji | GL Rawal |
Going through the above list quickly,
- Literally a Kishore Kumar solo was off course hijacked by self to represent the last song of Roshan-Mukesh collaboration to be featured on the blog. It was an opportunity I would never have let go and will remain one of my favourite posts on the blog.
- Is what Atul ji rightly says in the post is a light-hearted yet philosophical song. Again, he is right in saying that it’s a rare occasion when the 3 renowned singers came together. Going though the list above, we can safely conclude that it is in fact the only occasion.
- Featured in this post will be elaborated below and is probably the only one of its kind in HFM.
- Was again represented by self to remember composer Jaikishan on his 44th death anniversary. Here Mukesh and Kishore Kumar are singing for an older and younger generation respectively. More on this later.
- Has as many as 30 comments in the post and I would like to reproduce a part of Sadananad ji’s interesting observation. I always felt that whenever Kishore Kumar had sung with one or more other male singers, it was his voice which predominated the song. This song is an exception. It is Mukesh who has dominated with his voice lock, stock and barrel.
- Has Atul ji writing a befitting post on the many contributions of Sudhir ji to the blog. Another important feature of the post is the introduction of his program telecast on DD on 27 August 2012 on the occasion of Mukesh’s 36th death anniversary. I request readers to read the post again and watch the telecast in which Sudhir ji was invited to share his views.
- Of course is the iconic “Ik Din Bik Jaayega Maati Ke Mol which people usually associate with the solo sung by Mukesh. However as rightly pointed out in the post by our Sadanand ji, there are no less than 4 versions of this song in the film and in this particular triad Mukesh is joined by Kishore Kumar and Poornima also known as Sushma Shrestha. This is the only film in which Mukesh and Kishore Kumar have come together for two songs.
- This one is yet to be showcased on the blog and will remain the last of the combo to be featured after this post.
- Needs no introduction and is a rare and only one of its kind in HFM but also a landmark song to be posted on the blog on the occasion of representation of 11, 111th song on the blog. Again, the efforts, tricks and circumstances that the bosses engaged to bring forth the celebrations is to be read again to be felt, understood, enjoyed and appreciated.
- Was presented by Arunkumar ji in his Lost and Found – Gems from unreleased films series. In this unreleased film which took inordinate time for filming, we have an elderly Raj Kapoor and Ashok Kumar cajoling Bindu in the picturization of the song. This was probably the last film that RK acted.
To write about today’s song – we have Mehmood singing/taking for himself in his own voice, we have Kishore Kumar singing for Mehmood and Mukesh again singing for Mehmood. Have I mixed up the actors? 🙂
No. Mehmood played a triple role in this film ‘Humjoli‘ (1970), playing the roles of three generations of a family. But I must correct myself. It is not three, but 4 – a quartet role, probably the only one of its kind in Hindi films. In the last scene of this film, a new born baby makes an appearance on screen, being the son of the third generation Mehmood. And the face of the baby, as shown in the scene – it is again Mehmood himself.
It will be interesting to know if there are any such songs in which different singers have sung for the same actor in the same song. I personally feel it’s quite a rarity.
This film had multi-lingual make, remake, dubbings etc. I suppose, our Dr. Pradeep will have a feast on the issue in the comments section. I leave the stage open for him.
It’s easy to notice in the featured song, Mehmood of the mid-generation enacting Raj Kapoor’s acting, dialogue delivery and even the looks. I suppose it’s from the film JDMGBH.
The other songs from this film are well known. However only 3 out of the 6 songs have been represented as on date and this post covers the fourth featuring the singers under discussion. In this song as well as song no 4 in the list above, Mukesh sings for a mid-generation whereas Kishore sings for the younger one. From these examples, it is sort of evident that film makers and composers preferred Kishore Kumar to sing for newcomers and younger actors. In many of the songs of the 70s, Mukesh was usually resigned to giving playback for boatman, title songs etc. Off course there were huge exceptions such as the film ‘Kabhie Kabhi’ (1976) and the songs sung for Manoj Kumar.
There are quite a few films in which both Mukesh and Kishore Kumar were playback singers though not necessarily singing a duet or a triad in the same song. One such film is off course ‘Kati Patang’ (1971) in which Kishore Kumar has 3 glorious solos. Surprisingly RD Burman roped in Mukesh for another solo playback on Rajesh Khanna. Mukesh very much stands his ground in this solo “Jis Gali Mein Tera Ghar Na Ho Baalmaa“. This song as we all are aware is filmed on the famous Nainital lake. I am discussing this particular song as I have always wondered under what category this song would feature.
I have seen the film and have some fair idea of the plot. However, in this particular song, the look on Asha Parekh is more blank so to say. Rajesh Khanna is more composed than in his other songs sung by Kishore Kumar. The lyrics are somewhat cryptic. And, then Mukesh singing in a rather unusual high pitch. All these aspects put together; I am sure there can be various interpretations as to which genre this song belongs.
Can we have inputs from more knowledgeable readers of more such films in which the two singers sang for the same actor under different circumstances.
Shri Harish Raghuwanshi ji of Surat has been kind enough to check the correctness and completeness of the songs in the table and I shall remain indebted to him for the invaluable help rendered.
So, to conclude the rare combination of Mukesh and Kishore Kumar has a total of 10 songs.
Audio
Video
Song – Ye Kaisa Aaya Zamaana Ye Kaisa (Humjoli) (1970) Singer – Mukesh, Kishore Kumar, Mehmood, Lyrics – Anand Bakshi, MD – Lakshmikant Pyaarelal
Mehmood + Mukesh
Lyrics (Provided by Sudhir)
hari om
beti
ye bharat hai
ya rome
hari om
jis ghar mein aisa hota hai
aur prem ka naatak
ha ha
hota hai
us ghar ko bas ram bachaaye
ghar ka bhedi lanka dhaaye
hari om
o o o o
balra..aam
ye kaisa
ye kaisa aaya zamaana
ye kaisa
ye kaisa
ye kaisa aaya zamaana
ye kaisa aaya zamaana
ye kaisa
bete ne baap ki na maani
na maani
na maani
buddhe ki qadar naa jaani
haaye
na jaani
na jaani
bete ne baap ki na maani
buddhe ki qadar naa jaani
ye meri aap beeti hai
kisi film ki nahin kahaani
ye kaisa
prabhu
ye kaisa aaya zamaana
(mere bete ki muraaden poori kar do prabhu)
ye kaisa
(prabhu)
ye kaisa aaya zamaana
ye kaisa
(us ke bete ko akal do)
ye kaisa aaya zamaana
ye kaisa
kaisi hai ulti khopdi dekho
baap
jaise hi mili naukri dekho
daada ji
shaadi shuda
shaadi shuda ho ke besharam
ghar mein le aaya chhokri dekho
ye kaisa
ye kaisa aaya zamaana ye kaisa
ye kaisa
khaa..aamosh
arre main bechara ja raha tha
raste pe wo thi khadi
haa..een
arre main bechara ja raha tha
raste pe wo thi khadi
pita ji
na main raja
na wo rani
wo mere peechhe padi
you tell me what to do
i don’t know
you tell me what to do
main kya bolun ji
you tell me what to do
i don’t know
you tell me what to do
what to do
what to do
heh heh
heh heh
heh heh he he
heh heh
heh heh
heh heh he he
chaand pe duniya pahunchi hai
tum abhi tak ho neeche
subah savere jaag kar
pad gaye mere peeche
maaf karo
nahin
saaf karo
nahin ji
mushkil badi aa padi
arre na main raja
na wo rani
wo mere peechhe padi
you
i don’t know
you
main kya bolun ji
you tell me
i don’t know
you tell me
main kya kahun ji
o baap
allaah
o daada ji
pita ji
o meri baat to suno
shobha
allaah
bete
daada ji
bete meri baat to suno
shobha
o daada ji
balra..am
shaant
shaa..aant
- In: "Aankh" song | "Naughty" song | "neend na aaye" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | playful song | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4374 | Post No. : | 15716 |
Saga Of Sleepless Nights – 9
– – – – – – – – – – – – – – –
aaj ki raat, ye kaisi raat
ke hum ko neend nahin aati. . .
If the previous song in the series was a lament about lonely nights and the longing that accompanies them, this song today is expressing the opposite emotion. The lovers are together, and the lady is now complaining that her lover does not have an iota of sleep in his eyes, and that she is worried for that.
The gamut of human emotions is spread out wide and far. And whatever be the emotional flavor one may select, one is sure to locate a song from Hindi films that expresses that emotion fairly accurately. Continuing with the saga of sleepless nights, here today we have a flavor of sleeplessness that is expressing a complaint against the lack of sleep on the part of the gentleman. The lady is cajoling and chiding him, trying to induce sleep in his eyes. She is asking him what toy he would like to have, and that she may bring to him that which he desires. But the imploring thread intertwined is that the lack of sleep in his eyes worries her.
Word are crafty. They are a double edge sword that say one thing and mean another. The scenario being played out on screen appears to be one of deception. Apparently Ranjeet is pursuing Navin Nischol, who in turn seems to have taken refuge at Rekha’s home. Now both Rekha and Navin Nischol are inside a room, with Ranjeet sitting outside. And the scenario being played out is as if Rekha is putting a baby to sleep inside the bolted room. The song is telling in words that a mother is trying to put a baby to sleep. That is what a person outside the room would surmise, as one listens to the words of the song emanating from the room. However, the scene, as is being played out inside, there is no baby being put to sleep. Rather, the lovers have been thrown together by themselves in the room. The lady is trying to fend off the advances of the gentleman, and is singing a complaint that there is no sleep in his eyes, and that she would rather that he would take shelter in sleep.
The word and the scenario present an interesting juxtaposition. The film is ‘Saawan Bhaadon’ from 1970. Memory serving right, I remember this film being promoted as the debut film for the lead pair of Navin Nischol and Rekha. As later inputs would clarify, technically this is not the debut film for Rekha, and that her first film ‘Do Shikari’ (1978) was eventually released after a delay of many years. I remember seeing the posters and hoardings for this film as a school going kid. And I also remember that a few songs of this film became very popular and were often played on the radio waves.
The film is produced under the banner of Deluxe Films, Bombay and is directed by Mohan Sehgal, a director of certain repute from that era. The list of actors is presented as Navin Nischal, Rekha, Shyama, Jaishri Talpade, Agha, Narendra Nath, Iftikhar, Krishan Dhawan, Ranjeet, Chandrima Bhaduri, Sushma, Madhukar, Devi Chand, Pardesi, OP Kohli, Dhruv Kumar, Ajeet Bengali, Mamaji, and Darpan Nille etc.
The films has seven songs, all from the pen of Verma Malik. The music is composed by the duo of Sonik Omi. Two songs of this film are already showcased on our blog. This is the third song to find its place here.
Today also is the remembrance day for Manohar Lal Sonik, the senior partner in this duo team of music directors. He had passed away this day (9th July) in the year 1993. This is the reminder nudge from our dear Prakashchandra ji, who has sent in the lyrics for this song.
So this was one of the lesser heard songs in its time, being overshadowed by its more popular siblings like “Sun Sun O Gulabi Kali”, “Kaan Mein Jhumka Chaal Mein Thumka” and “Aankhen Meri Maikhaana, Maikhaana, Maikhaana”. On screen the song is performed by a pre-makeover Rekha, chiding a naughty Navin Nischol, while Ranjeet is seated outside the door of the room.
Listen, view and enjoy.
Video
Audio
Song – Mera Mann Ghabraaye Teri Aankhon Mein Neend Na Aaye (Saawan Bhaadon) (1970) Singer – Asha Bhosle, Lyrics – Verma Malik, MD – Sonik Omi
Lyrics (Provided by Prakashchandra)
(crying sound of a child)
o ho ho o ho o
hmm….hmmm pchh pchh
basssh bass bass bass
hmm…hmmmm
hmm… hmmmmm
hmm…hmmm
hmmm…hmmm
hmmm….hmmm…hmm
lallalaa lallalaaa lala
hmmm…hmmm lallalaaa la
(laughing sound)
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
maangta hai tu kya
chaahta hai tu kya
bol kaisa khilona main laaun
pyaar ki paalki mein
bithaa ke tujhe
apni duniya ka raja banaaun
mere sapnon ka..aa..aa
tu hai savera
mera jeevan bhi..ee..ee (infant crying sound)
ab to hai tera
tera
tera
ho o ho o oo o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
apni aankhon ki main
neend de doon tujhe
aur aanchal se tujh ko hawa doon
apne kaajal ki main
doriyaan daal ke
dil ki dhadkan ka jhoola bana doon
tujh pe sadqe hai..ae ae
meri jawaani
meri jaissi ho o ho o o (infant crying sound)
teri bhi raani
raani
raani
ho o o ho o o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
mera mann ghabraaye ae
hmm…hmmm
lallalaaa la
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————
हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममममम
हम्म॰॰॰हम्मम
हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममम॰॰॰हम्म
लल्लाला लल्लाला लाला
हम्म॰॰॰हम्मम लल्लाला ला
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मांगता है तू क्या
चाहता है तू क्या
बोल कैसा खिलौना मैं लाऊं
प्यार की पालकी
में बिठा के तुझे
अपनी दुनिया का राजा बनाऊँ
मेरे सपनों का॰॰आ॰॰आ
तू है सवेरा
मेरा जीवन भी
अब तो है तेरा
तेरा
तेरा
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
अपनी आँखों की मैं
नींद दे दूँ तुझे
और आँचल से तुझको हवा दूँ
अपने काजल की मैं
डोरियाँ डाल के
दिल की धड़कन का झूला बना दूँ
तुझपे सदक़े है॰॰ए॰॰ए
मेरी जवानी
मेरी जैसी हो॰॰ओ॰॰ओ
तेरी भी रानी
रानी
रानी
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मेरा मन घबराए
हम्म॰॰॰हम्मम
लल्लाला ला
- In: "Recording" song | Aarti Mukherji songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Manna Dey Aarti Mukherjee duet | Manna Dey songs | Post by Sadanand Kamath | Song from regional movies | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 6 Comments
This article is written by Sadanand Kamath, a fellow enthusaist 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 : |
4314 | Post No. : | 15593 | Movie Count : |
4293 |
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Hindi songs in Bangla Films: 27
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One of the many Bangla films in which Uttam Kumar paired with Supriya Devi was ‘Bilambita Loy’ (1970). The film was directed by Agragami. The star cast included Uttam Kumar, Supriya Devi, Nirmal Kumar, Deepa Chatterjee, Asit Baran, Tarun Kumar, Bimal Mitra etc. I have watched the film with English sub-titles on an OTT platform. The film’s English sub-titles are not as good as they ought to be. They are also not properly synchronized with the scenes. Within these limitations, I could make out the story of the film as under:
Mriganka (Uttam Kumar), an upcoming painter, falls in love with Aditi (Supriya Devi), the singer during their college days. After the completion of college, they decide to get married. Aditi belongs to Christian family with a good financial status in the society whereas Mriganka belongs to an orthodox Hindu middle class family. There is opposition from both the families due to different religious and social status. Both of them get married against the wishes of their respective family. However, Aditi’s father gives some initial financial support to set up the house and also send with them Judith (Deepa Chatterjee), an orphan who has been staying with Aditi’s family since childhood, to support the newly married couple in household work.
With the help of the initial financial support from Aditi’s father, Mriganka gets a large house at a very high rent. He also furnishes the house by buying costly furniture and fixtures. In a short period of their marriage, Mriganka has spent all the money his father-in-law has given to his daughter. He has no income as he is yet to establish himself as a painter of repute. Hence his paintings remain unsold in the exhibitions. Soon, there is a financial crisis for the newly married couple.
Both Mriganka and Aditi meet their common friend Subroto (Nirmal Kumar) to get his guidance as to how to come out of their financial mess. Based on his advice, they move to a smaller house to reduce the rent outgo. Aditi who has been trained in Hindustani classical music decides to take singing as a career and becomes the radio singer. She earns her fees but not enough to run the house. Mriganka is not able to sell his paintings. So, Subroto helps him getting a job in the office. However, being a painter at heart, office work does not interest him. Within short time, he leaves the office job.
In the meanwhile, Aditi has become a famous singer. The gramophone records of her songs are sold like hot cake. She becomes very busy in her singing assignments. She has now become a celebrity. Both are now comfortable on their financial front. However, Mriganka is not able to sell any of his paintings despite getting favourable critical reviews of his paintings. He is not prepared to compromise on the subject of his paintings by which the art lovers can be enticed. Out of frustration, there is constant frictions between Mriganka and Aditi on trivial issues. Mriganka who has been a teetotaler and a non-smoker becomes an alcoholic. The matter reaches a stage when Aditi misunderstands Mriganka in the company of a female model in her house as a muse for his painting. In the background of intense arguments, Mriganka decides to leave the house. Eventually, Mriganka and Aditi get divorce.
While Aditi’s singing career is on the upper trajectory, Mriganka’s luck is not in his favour. He decides to try his luck out of India by participating in the painting exhibitions in Europe. Despite having differences with his father, Mariganka was fortunate that at the time of the death, his father has left him his share of savings which has come handy now to finance his trip to Europe. However, Mriganka returns to India without any success in Europe. His health has already started deteriorating forcing him to give up painting.
One day, while coming out of the church, Judith sees Mriganka walking on the road looking very sick. She takes him to her house and nurses him for few days until he recovers from his ill health. Even after that Judith visits Mriganka’s house daily to take care of his food and other daily routine. This information gets passed on to Aditi when Subroto meets her. She gets upset over the ‘scandalous’ relations between Judith and Mriganka but dismisses this information as of no concern to her.
Mriganka gets married to Judith and he is back to painting due to her encouragement. But at the back of her mind, Judith feels that she is indirectly responsible for the separation of Aditi and Mriganka as she had given a false testimony to the divorce court that she had affairs with Mriganka in order to hasten the divorce proceedings under instructions from him. Judith suffers a miscarriage and she dies in the hospital. Aditi attends the burial of Judith where Mriganka and his friend Subroto are present.
The film ends with a scene in which Aditi and Mriganka come out of the burial ground. He is about to go his way when Aditi stops him. Mriganka crosses the road with the support of Aditi holding his hand.
This film is one more example in Bangla films of ending scene being indeterminate leaving it to the audience to interpret in their own way. The first interpretation could be that it was a mere courtesy to help Mriganka to cross the road and drop him in his house in her car. Another interpretation could be that by supporting him to cross the road by holding his hand, they are united as a couple. The third interpretation which looks more probable to me is that Aditi has decided to extend her emotional support to Mriganka after the death of Judith and they remain friends.
At the outset, I thought that the story of the film is akin to Hindi film ‘Abhimaan’ (1973) in which the husband and wife who are professional singers get separated because of ego clashes. But at the end, there is an emotional reunion between the two.
In my view, in ‘Bilambita Loy’ (1970), there are no explicit ego clashes between their respective professions or between man and woman. Even if it is there, the director has kept that at the low key. The friction points between Mriganka and Aditi arise because the former is not able to spend much time with the latter as she is quite busy in her professional work. Aditi has problem with Mriganka because he spends money on things which are not priorities like alcohol when his own earnings are not enough to get two meals a day. Neither Mriganka has problem with Aditi’s professional pursuit nor Aditi is concerned about Mriganka not able to earn income.
In the height of their frictions, it is Mriganka who decides to go for divorce to give Aditi the space in her professional pursuit. He also knows that she will not divorce him. So, he creates an impression that he has affairs with Judith to get the divorce faster. In sums, I feel that the director has handled the subject with delicate balance, avoiding the label of a feminist to Aditi and a male chauvinist to Mriganka.
‘Bilambita Loy’ (1970) has 5 songs of which one is in Hindi. The song which I am presenting is “Mann Kahaan Laago Mora Chain Ganwaayi Diyo Re’ which is a duet sung by Manna Dey and Aarti Mukherjee. The song is written by Gulzar which is set to music by Nachiketa Ghosh.
The situation of the song is that after becoming popular singer in Bangla songs, a new music director has taken Aditi for the first time to sing a Hindi song to test it in the market. His idea is that if successful, he wants her to accompany him to Mumbai to make her popular in Hindi songs which will also benefit the music director in pursuing his career in Mumbai. However, with so much happening with her in personal front, Aditi finally declines to move out of Kolkata. In real life also, Supriya Devi, after working in Mumbai for 3 films – Begaana’ (1963), ‘Aap Ki Parchhaayian’ (1964) and ‘Door Gagan Ki Chhaaon Mein’ (1964), she bid farewell to Bollywood. It is said that she refused Raj Kapoor’s offer to her of a role in ‘Mera Naam Joker’ (1970) which eventually went to Simi.
(Video)
(Audio)
Song – Mann Kahaan Laago Mora Chain Gawaai Diyo Re (Bilambita Loy)(Bangla) (1970) Singer – Manna Dey, Aarti Mukherji, Lyrics – Gulzar, MD – Nachiketa Ghosh
Manna Dey + Aarti Mukherji
Lyrics
taap chadhe to
baid bulaayi ke. . .
tan ke rog utaare
arre mann ka rog na jaaye raama
laakh jatan kar haare
mann kahaan laago
aiyyo. . .
arre mann kahaan laago
mora chain ganwaayi diyo re
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
mann kahaan laago
ho o
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
kehte naina
sunte naina
preet ki andhi do batiyaan
haan
jhooth si kaari
laagi raama
veham se lambi
ye ratiyaan
kaisa rog lagaayi diyo re. . .
o mann kahaan laago
uyi ammaa
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
kaahe chhalken
bheegi phalken
rote hanste sapanon mein
rog lage hai
jogan jaisi
do sansaari akhiyon mein
kaun ye paath padhaayi gayo re..
mann kahaan laago
haaye
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae ae
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
man kahaan laago
mora chain ganwaayi diyo re
hey ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ताप चढ़े तो
बैद बुलाइ के॰ ॰ ॰
तन के रोग उतारे
अरे मन का रोग ना जाये रामा
लाख जतन कर हारे
मन कहाँ लागो
अइओ॰ ॰ ॰
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
हो ओ
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
कहते नैना
सुनते नैना
प्रीत की अंधी दो बतियाँ
हाँ
झूठ सी कारी
लागि रामा
वहम से लंबी
ये रतियाँ
कैसा रोग लगाई दियो रे॰ ॰ ॰
ओ मन कहाँ लागो
ऊई अम्मा
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
काहे छलकें
भीगी पलकें
रोते हँसते सपनों में
रोग लगे है
जोगन जैसी
दो संसारी अखियों में
कौन ये पाठ पढ़ाई गयो रे॰ ॰ ॰
मन कहाँ लागो
हाए
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
हे ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
Samaaj ko badal daalo
Posted on: March 8, 2020
This article is written by Raja, a fellow enthusaist 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 : | 4251 | Post No. : | 15471 |
Back here on the blog after a fairly long break.
I daresay it would’ve been even longer if it were not a very special occasion today.
From today, we start the centenary celebrations of Sahir Ludhianvi’s birth.
Since he was born on 8th March 1921, today happens to be his 99th birth anniversary.
So yes, it is a very special occasion for Urdu poetry and classic HFM lovers. As a massive Sahir fan, I thought I owed it to him to write a post for the occasion. I’ve written so often about him here, on practically every birth and death anniversary, and have nothing new to say anymore – and yet it feels like a betrayal of sorts to let this day go by, without paying tribute to him.
So when Avinashji, an even bigger Sahir fan than myself, requested me to write a post for Sahir on this occasion, I could not, but agree. 🙂
But I must also admit that for the first time I told Avinashji that I don’t think I’d be in the right mental frame to be able to do this. For me, writing a post here is an investment of emotion – and right now, to be honest, I feel quite empty within. If it were not for Sahir, I don’t think I’d be able to pull myself together for this post.
To Avinashji’s credit, as always, he provided me with a list of songs and lyrics that I could choose from. And left it to me to see whether I could come up with a post. I owe this post to him too.
Ok, enough about myself and my “mental frame” – this post is about Sahir, not about me. 🙂
What can I say about Sahir that I haven’t said before?
Actually nothing.
But since it’s Sahir, whatever I’ve said before can hopefully be repeated, without sounding boring. 🙂
Just like whatever Sahir wrote as social messages, not once but repeatedly in different ways, was never boring, and only meant as a reminder to society, to show people a mirror.
For me, as for many others, Sahir was much more than just a poet or lyricist. Yes, he was a lyricist par excellence. But I’m pretty sure I wouldn’t have had this level of regard for him if he’d limited himself to just writing lyrics or poetry on mundane matters, however beautifully worded.
Sahir’s greatness, in my mind, has a lot to do with the topics he chose to express his views on. And the manner of such expression.
Sure, he could write about romance – “abhi na jao chhod kar” will always be one of my all-time favourite romantic songs.
Sure, he could write about heartbreak too – “jaane wo kaise log the jinke pyaar ko pyaar milaa”, another favourite.
Sure, he could write about love in its multitude of shades – is there a more exquisite ode to love than “ye ishq ishq hai ishq ishq”?
Sure, he could write bhajans with consummate ease – “tora mann darpan kehlaaye” and “aan milo aan milo shyam saanwre” are just two examples.
Sure, he could write light-hearted, fun songs too – the first song that comes to mind in this category is an all-time favourite “sar jo tera chakraaye”.
Sure, he could write, and wrote quite often, on a mother’s love for her child – “tu mere pyar ka phool hai”, “tere bachpan ko jawaani ki dua deti hoon” and “tu mere saath rahega munne” come to mind.
And yet, Sahir rises, no, TOWERS, above all others when it comes to writing on social issues.
No one, NO ONE, showed a mirror to society as earnestly as Sahir. It was as if he truly came into his own on these occasions.
Whether he was writing about injustice towards the oppressed, society’s shocking treatment of women, casteism, communalism, labor exploitation, or the futility of war, Sahir’s words were like cries of anguish, straight from the heart. You could feel the raw sincerity in them, even if they were often laced with cynicism, sarcasm or anger. Or, occasionally, even hope.
So many songs come to mind.
“Tu Hindu banega na musalmaan banega” – where Sahir calls out communalism in all its ugliness
“Cheen-o-arab hamara” – where Sahir sarcastically exposes India’s hypocrisy over wealth disparity
“Jinhe naaz hai Hind par wo kahaan hain” – Sahir at his cynical best, showing society a mirror of its ugly reality
“Khuda-e-bartar teri zameen par” – where Sahir busts the myth about the glory of war, pointing out that there are no winners in war, only bloodshed
“Ponchh kar ashq” – where Sahir exhorts the oppressed to rise and demand their rights from the oppressor, pointing out that colour, religion, caste, race can never be above humanity
“Aurat ne janam diya mardon ko” – Sahir’s famous lament about society’s treatment of women
“Wo subah kabhi to aayegi”– where Sahir, in one of his less frequent refrains, chooses hope over despair
and many more.
Every single time asking questions of society, pointing out its flaws, exhorting it to reform.
That each of his songs is STILL relevant more than 50 years after he wrote them, is truly sad, and a reflection of Indian society – but no one can ever fault Sahir for not doing his utmost to put his writing ability to good use. If society is still languishing in darkness, it certainly isn’t Sahir’s fault.
And it is for this particular trait of Sahir’s that he has a very special place in my heart.
Yes, he’d have had his own place in my heart anyway for lyrics like “wo afsaana jise anjaam tak laana na ho mumkin, use ek khoobsoorat mod dekar chhodna achha”.
But his attempt at social awareness, and his speaking truth to power, takes my regard for him to a different level altogether.
If I may say so, and no disrespect meant to any lyricists who have come since, but no one comes close to Sahir’s intensity in this one matter.
Or maybe times have changed too.
Now, coming to the song for today.
Avinashji gave me a few options – of the lot, I picked the title song of “Samaj Ko Badal Daalo” (1970). Lyrics have been provided by Avinashji, of course. 🙂
It’s a lament, not uncharacteristic of Sahir, where he lets loose on society itself, blaming it for its own ills. That it tolerates corruption and crime is the biggest reason society suffers these, in the first place. Reform cannot start unless society decides to step up, and adopt a zero tolerance policy towards these. Hence “samaj ko badal daalo”.
I honestly don’t think it’s a bad assessment of why we are the way we are.
Without coming across as too preachy, let me share a few thoughts quickly.
We Indians love to blame our politicians for everything. We blame them for corruption, for the poor state of our roads, education and healthcare, for dividing society along communal lines – basically everything.
And yes, since they are our leaders, and have power, it’s not unfair to place responsibility and accountability on them.
And yet, where do these politicians come from?
They don’t fall from the skies, they come from amongst US.
So if we’re complaining about corruption and bigotry in our politicians, we first need to acknowledge that we, as a society, are ourselves guilty of these very shortcomings in our character. We carry a lot of baggage historically, and don’t have a particularly high moral compass ourselves. Our politicians then just exploit our weaknesses.
For example, politicians pander to our base instincts, dividing us based on identity, or other group characteristic. And we fall for it. Every single time.
Then again, when it comes to governance, they manage to get away with promises because we don’t make a serious enough effort to hold them accountable anyway. We behave like slaves – and get treated as such. So our leaders end up with power, but no accountability.
This is OUR fault. If we didn’t allow them to exploit us like this, if we raised the bar and held them accountable to us, things would be very different.
So when Sahir writes “samaj ko badal daalo”, it does resonate a lot with me. And hopefully with others too.
End of “preaching”. 🙂
The song itself is sung by Rafisaab, at the start of the film, as credits roll. I remember seeing this film as a young boy – what I remember most about it from that time is that the hero (Parikshat Sahni, who was then still Ajay Sahni) gets stabbed midway in the film and dies. I’d never seen a film till then where the hero dies midway :-), so I couldn’t reconcile easily to this at all.
A few years ago, I watched this film again, just out of curiosity. I wouldn’t call it a bad film as such (I’ve seen worse), but the last 30 minutes or so, are very dark and depressing. After watching this film, it might linger in your mind – and you’re likely to feel sad for a while.
Considering people usually look towards cinema for escapist fare, and don’t want to be reminded of daily miseries of life, this film is definitely not one you should watch if you want a feel-good feeling from the film. Don’t get misled by the fun “tum apni saheli ko” song, picturised on Prem Chopra.
But none of this takes away from Sahir, who is the reason for this post. Rafisaab singing Sahir’s lines are always a joy for me – even if it’s a sad song.
I hope you will also listen to it – and possibly agree that what we need most is for society itself to reform, otherwise we will continue bad practice of the past, and only regress.
In my opinion, the greatest danger to a society is not economic bankruptcy (which, however hard, CAN be corrected through appropriate economic policy), but moral bankruptcy (which eats away at the very fabric of society, and is therefore far more difficult to correct).
Thank you for reading.
Audio
(audio) (lyrics noted are as per this link)
Video
Song-Samaaj ko badal daalo (Samaaj Ko Badal Daalo)(1970) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi
Lyrics(Provided by Avinash Scrapwala)
(Ye ek katha jo laakhon logon ke ae
Jeevan ka darpan hai
Desh pita ke charnon mein
Ham sab ki ore se arpan hai)
***
Samaaj ko badal daalo o o
Samaaj ko badal daalo o o o
Samaaj ko badal daalo
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo
Kitne ghar hai jinme aaj raushni nahin
Kitne ghar hai jinme aaj raushni nahin
Kitne ae tan-badan hai jinme zindagi ee nahin
Mulq aur kaum ke mizaaj ko badal daalo o
Mulq aur kaum ke mizaaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo o
Sainkdo ki mehnaton par
Ek kyun paley
Sainkdo ki mehnaton par
Ek kyun paley ae
Oonch neech se bharaa
Nizaam kyun chale ae
Aaj hai yahi to
Aise aaj ko badal daalo o
Aaj hai yahi to
Aise aaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo
————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————-
समाज को बदल डालो ओ ओ
समाज को बदल डालो ओ ओ ओ
समाज को बदल डालो
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो
कितने घर है जिनमे आज रौशनी नहीं
कितने घर है जिनमे आज रौशनी नहीं
कितने ए तन-बदन है जिनमे ज़िन्दगी ई नहीं
मुल्क और कौम के मिज़ाज को बदल डालो ओ
मुल्क और कौम के मिज़ाज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ
सैंकड़ो की मेहनतों पर
एक क्यूँ पले
सैंकड़ो की मेहनतों पर
एक क्यूँ पले ए
उंच नीच से भरा
निजाम क्यूँ चले ए
आज है यही तो
ऐसे आज को बदल डालो ओ
आज है यही तो
ऐसे आज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ
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