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

Archive for the ‘Songs of 1980s (1981 to 1990)’ Category


This article is written by Bharat Upadhyay, 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.

Genius of Jaidev – 60
——————————–

1982 color film ‘Trikon Ka Chautha Kon’ was produced, written and directed by Madhusudan. The main actors in the film are Vijayendra Ghatge, Swaroop Sampat and Priyadarshani who formed the triangle of the story. The film has four songs, written by Mahadevi Varma, Shahryar and Maya Govind, which are set to music by our genius Jaidev. In an earlier post, it was written that the film has only three songs, but the singer of the forth song Chhaya Ganguli, herself told me that her song “Kaise Un Ko Paaun Aalee” was definitely recorded for this film only and may be, was later removed from the DVD, VCD or video cassette.

The film failed at the box office and with it, all gems of songs, both in terms of musical compositions and lyrical contents were completely forgotten. The unlucky music director was none other than our Jaidev.

Jaidevji, in his usual style has used many singers totally new to filmdom, and this beautiful ‘heer’ type singing by Shobha Joshi, in her open throat style, is the unique example.  What a song and what meaningful lyrics!  Really, ‘Hats off’ to singer, lyricist and MD.  The full song  had two antaraas, but the video on YouTube had only second antara. I have uploaded full song on Youtube with both the antaraas.

Dear Sadanand ji had seen the film and had written the synopsis of the film in his earlier article for the song “Dil Dhadakne Ki Awaaz Ki Khamoshi. . .“.

And also, with this post, all songs of this film are now represented on our musical blog. Which means that the film ‘Trikon Ka Chautha Kon’ now joins the Yippeee list.


Song – Pyaar Hai Amrit Kalash (Trikon Ka Chautha Kon) (1986) Singer – Shobha Joshi, Lyrics – Mahadevi Verma, MD – Jaidev

Lyrics

pyar hai
amrit kalash
ho o oo oo oo
ho o o o o

pyar hai amrit kalash ambar tale
pyar hai amrit kalash ambar tale
pyar banta jaye jitna baant le
pyar banta jaye jitna aa baant le
 
pyar wo kanta nahin jo paaun mein chubh jaaye
pyar wo
pyar wo kanta nahin jo paaun mein chubh jaaye
phool ye aisa nahin jo dhoop mein murjhaaye
pyar wo sikka hai jo
pyar wo sikka hai jo khota nahin hota
pyar pal bhar ki tarha chhota nahin hota
pyar ko tu pyar se
pyar ko tu pyar se sweekaar le
pyar banta jaye jitna baant le
pyar banta jaye jitna aa baant le
 
ek suraj vishw ko kiranen lutata hai
ek suraj
ek suraj vishw ko kiranen lutata hai
ek jharna pyaas kitnon ki bujhata hai
pyar jeewan ke liye
pyar jeewan ke liye vardaan hota hai
pyar maanav ke liye bhagwan hota hai
pyar ka deepak sada
han aa
pyar ka deepak sada dil me jale
pyar banta jaye jitna baant le
pyar hai amrit kalash ambar tale
pyar banta jaye
pyar bata jaye jitna baant le …
pyar banta jaye jitna baant le
ho oooo oo
ho ooo ooo oooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

प्यार है
अमृत कलश

हो ओ ओss ओss ओss
हो ओ ओ ओ ओ

प्यार है अमृत कलश अंबर तले
प्यार है अमृत कलश अंबर तले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

प्यार वो काँटा नहीं जो पाँव में चुभ जाये
प्यार वो
प्यार वो काँटा नहीं जो पाँव में चुभ जाये
फूल ये ऐसा नहीं जो धूप में मुरझाए
प्यार वो सिक्का है जो
प्यार वो सिक्का है जो खोटा नहीं होता
प्यार को तू प्यार से
प्यार को तू प्यार से स्वीकार ले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

एक सूरज
एक सूरज विश्व को किरणें लुटाता है
एक झरना प्यास कितनों की बुझाता है
प्यार जीवन के लिए
प्यार जीवन के लिए वरदान होता है
प्यार मानव के लिए भगवान होता है
प्यार का दीपक सदा
हाँ आ॰॰
प्यार का दीपक सदा दिल में जले
प्यार बांटा जाये जितना बाँट ले
प्यार बांटा जाये जितना॰॰आ बाँट ले

हो ओsss ओs
हो ओss ओss ओsss ओss

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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.

This article marks the 1000th song contribution by Prakashchandra in the blog.

We in this blog have nearly thirty odd people, may be a little more, who could be called blog regulars. They visit the blog regularly, comment on it regularly and they are contributors to the blog as well, in one way or the other.

I have met a few blog regulars over the years and I have interacted with several others on phone, e mail, whatsapp etc. Blog regulars too have met each other either personally or on whatsapp, facebook, email, phone etc. We these days have get togethers of regulars which we call “gangout”, which is a word of our own making. Nearly a dozen gangouts of blog regulars have already taken place so far.

Blog regulars report that when they finally meet another blog regular in person for the first time, it never appears to them that they are meeting for the first time. It appears that they have known each other for years.

Secondly, it is reported that the persons they meet look extremely humble and self effacing, despite possessing extraordinary abilities that we in the blog are privy to for years.

I have never met Prakashchandra. Others too have not met him. That way he is as elusive a regular as our Avinash Scrapwala used to be once upon a time till he broke his hoodoo and became quite a regular gangouter as he suddenly went on a gangout attending spree, meeting other regulars at Chennai, Bangalore and Mumbai.

Prakashchandra may not have met others face to face, but it appears to me (and to others as well) that we know him for years.

Prakashchandra started his association with the blog as a farmaish sender and he was soon hailed as a farmaish king by Peevesie’s mom. A sensitive person that he is, he once felt that his long list of farmaishes were being resented by some regulars. I had to assure him that it was not the case.

Prakashchandra reminded me so much of the Jhumri Tilaiyya farmaish senders of yore. 🙂

His farmaishes sometimes caused me to post songs that I was not aware of and which were rare songs.

Prakash Chandra once (in late 2010) mentioned about a song, which was an ideal song to listen to late at night, but he had not been able to locate the song. So he was only able to listen to this song on radio, once in six months or so. He hoped that I would be able to locate this song and discuss it in the blog.

His description made me very curious about this song, and I spent one whole day to search for this elusive song. Finally I managed to find this rare song.

Prakash Chandra was right. This song was indeed an ultimate Chhaayaageet song. Very few people may have heard this song till then. If one listens to this song twice, then from the second time onward, this song grows up on you.

And that is how I posted this song from “Girls’ Hostel” (1962) in the blog.

And pat came the effusive thanks from Prakashchandra

“Aapne woh kaam kar diya, ke main bayaan nahin kar sakta, ke main aapse kis kadar khush hoon”
thanks thanks thanks, tahank a zillion times
love you love you love you
prakash

Not just him, quite a few other music lovers exclaimed that they re discovered this forgotten gem after decades, thanks to this post. Of course, the thanks were due to Prakashchandra.

Reading prakashchandra’s comments in the blog, where he bares his heart about his feelings on the blog and his association with the blog never fails to warm the hearts of the readers.

From night 11`o clock and to 12`o clock,Now It is a compulsive habit to sit and writing the lyrics .

School ki homework bhi main itni maze lekar aur itne devotion ke saath nahin kartaa thaa 🙂

1 month ago, when I lost Internet connectivity to the blog for 5 days, I felt ,How much I am attached to you guys. I missed you guys and the blog terribly. I love you all guys.

I have silently,learnt many things from all of you guys through your writings, thoughts.I owe many a things to this blog and you people.Really I mean it.

Meri likhaawat yaa kissee aur cheez se unconsciously, koyee bhool, chhook ho toh mujhe sabhi maaf kar do, Please..

Par itnaa pyaar hameshaa aap sab logon se miltaa rahe, yehi bhagwaan se main maangtaa hoon.

Prakashchandra has indepth knowledge of songs. He knows the differences in the lengths of the audio version and movie version of a particular song. Every single second of the song matters to him. His day is made if one could provide a song link that is a few seconds longer than those available online. Just a few days back, he commented that his sunday was made when I posted a longer audio of a song of “Geet” (1970).

Prakashchandra is not just a lyrics sender. His contributions contain lots and lots of additional information about the movie, songs and artists as well. He is also an expert in identifying old forgotten actors that few people have even heard of. We have seen “CID” TV serial, where every eye witness is able to give a very accurate description of suspects, even though they may have seen them only once and that too for just a few seconds. Prakashchandra is like those “CID” TV serial witnesses with photographic memories. 🙂

Prakashchandra is also aware about Hindi movies that are remakes of South Indian movies and vice versa. His contributions contain lots of such difficult to find nuggets of information.

Prakashchandra tends to be a little unsure of himself and is always very particular to make sure that he does not hurt the feelings of others. He feels that refuting the views of others, providing incorrect information, seeking information, or making suggestions to others would somehow hurt the feelings of others, and so he is a bit apologetic while posting his comments. 🙂

He seeks pardon when he corrects others, and also when he asks for information. While giving information, he mentions that he is “only” 99.9 % sure of his identifications. 🙂 Some regulars would exhort him to be more assertive in such matters. 🙂 He is afraid of hurting the feelings of others even when he is giving a suggestion to them/ complimenting them. 🙂

Prakashchandra also regularly goes through old posts. when he finds something amiss (like say dead links, or incorrect information), he points them out in his comments.

Despite enormous knowledge of HFM and despite his considerable contributions in the blog, Prakashchandra remains humble and self effacing.

Prakashchandra has so far not met any regulars. He may be feeling that other regulars are overachievers and he himself is not. He has been very accurately described as akin to a “Kasturi Mrig” by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia. Just as a Kasturi Mrig is not aware of his own fragrance, Prakashchandra is not aware of his own over achievements in the field of HFM research. I am sure that other regulars, including myself, would count ourselves as lucky when we get to meet the person behind such enormous achievements and abilities.

We in this blog have regulars who are valuable “Ratna” (gems) in the field of HFM appreciation. Each of these individuals brings his/ her own special qualities to the blog and enriches it immensely. Prakashchandra is one of the priceless gems that we in this blog have. His immense knowledge, yet his humility is so heart warming to see. He has sent me lots and lots of contributions and many of them have not yet been covered. Some of his contributions have been covered several years after they were first sent. In addition, some of his contributions were credited to others because others had also sent lyrics of the same songs. Even when Prakashchandra feels hurt on not getting credits for some of the songs that he may have sent, he always remains magnanimous and continues to contribute to the blog with a Yogi like stoicism. These are qualities that are worth emulating, and I must say that I find these qualities highly admirable and I too try to adopt such qualities in my life.

It is a matter of privilege for this blog that Prakashchandra completes 1000 song contributions in the blog with this song. It is a tremendous achievement. He becomes the first among our song contributors to breach the four figure mark.

The 1000th song of Prakashchandra in the blog is from “Kaaran”(1981). This song is sung by Yesudas. Indeewar is the lyricist. Music is composed by Usha Khanna. The song is picturised as a romantic background song on Shoma Anand and Raj Kiran.

I, on behalf of the blog take this opportunity to congratulate him and thank him for being with us in this musical journey. I am sure that we will see lots and lots of contributions from him in the future as well. It is a great feather in the cap of Prakashchandra as well as the blog. I am sure that we will continue to have many more such landmarks from our contributors in future as well.


Song-Saawan aag lagaaye re (Kaaran)(1981) Singer-Yesudas, Lyrics-Indeewar, Md-Usha Khanna

Lyrics(Provided by Prakashchandra)

saawan aag lagaaye rey
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey ae ae
tann mann dekho jalaa jaaye rey ae
sang yaar kaa
rang pyaar kaa
daag kahin naa lag jaaye rey ae ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey

dekh ke aanchal
mann huaa chanchal
mann ko kaise manaayenge ae
dekh ke aanchal
dekh ke aanchal
mann huaa chanchal
mann ko kaise manaayenge ae
tujhko agar naa paayenge
deewaane hum ho jaayenge
deewaane hum ho jaayenge ae a ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey
sang yaar kaa
rang pyaar kaa
daag kahin naa lag jaaye rey ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey

cheer ke daaman
jhaanke yauwan
bas mein nahin dil haaye rey ae
cheer ke daaman
cheerke daaman jhaanke yauwan
bas mein nahin dil haaye rey ae ae
aaj deewaanee hoke jawaani
hadd se guzar naa jaaye rey ae
hadd se guzar naa jaaye rey ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye re ae
sang yaar kaa
rang pyaar kaa
daag kahin naa lag jaaye rey ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey

kaisee rasmein
kaisee kasmein
seemaa tootee jaaye rey ae
kaisee rasmein aen
kaisee rasmein kaisee kasmein
seemaa tootee jaaye rey ae
daudke aaye koyee aakar
hamko hamse bachaaye rey
hamko hamse bachaaye rey ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey
sang yaar kaa
rang pyaar kaa
daag kahin naa lag jaaye rey ae
saawan aag lagaaye rey
tann mann dekho jalaa jaaye rey


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 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.

Today (10 may 2017) is the third anniversary of passing away of character actor Sudhir (10 May, 2014).

Now the last I had seen him in a movie was in ‘Jhoom Barabar Jhoom’ in 2007 in a blink and miss role. Then we had also seen him in movies like ‘Dulhe Raja’ (1998) in a slightly less brief role with some comic timing thrown in. Prior to this I can remember him in Shahrukh Khan’s ‘Baadshah’ (1999) where also he had some comedy in the situation of his character. In the interim he was also seen in a few television serials. But of course if someone asked me who Sudhir was I can say that he was the smart guy (smarter than Dev Anand if I am allowed to say) in ‘Gambler’ (1971) who sits besides the heroine, Zahida, in the song “Dil Aaj Shaayar Hai Gham Aaj Naghma Hai“. But I had no material at hand to write about Sudhir. For example, I didn’t know where he was from etc. He played characters that were always behind the scenes in many of his movies like ‘Shareef Badmash’ (1973) etc. I checked online and found that his real name was Bhagwandas Mulchand Luthria. I also learnt that he is uncle to Milan Luthria who has made a few movies in recent times. Then on further googling I also saw that he had produced a movie or two (according to IMDB.com). It seems he was also an assistant director.  But nothing more that would stand out so I am leaving it to our experts in Atuldom to fill about this character artiste.

[Ed Note: Please see the post for the song “Na Maano To Koi Shikaayat Nahin” from film ‘Ustad 420’ (1969), as well as the comments therein. The comments plus the post provide a fairly detailed bio sketch of the character actor Sudhir.]

Today’s song is from the film ‘Poonam’ (1981), directed by Harmesh Malhotra, starring Raj Babbar & Poonam Dhillon with Shakti Kapoor, Madan Puri, Pinchoo Kapoor, Kalpana Iyer and all the required mother, friends and grey characters that family drama movies need to stop the lovers from getting married the minute they fall in love. The song is in the divine voice of Mohd. Rafi. It is written by Anjaan and Anu Malik was the music director. (This was one of Anu Malik’s first movies.)

[Full Song]

[Short Reprise]

Song – Laagi Lag Jaaye Logo, Lagaai Nahin Jaaye (Poonam) (1981) Singer – Mohammed Rafi, Lyrics – Anjaan, MD – Anu Malik
Chorus

Lyrics

laagi lag jaaye..e..e logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

laagi lag jaye logo
lagaayee..ee nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

jab ye bachpan kahin door jaane lagey
rut jawaani ki ye paas aane lagey
dil ki dhadkan naye geet gaane lagey
saans nagme naye gungunaane lagey
bin piye ye kadam dagmagane lagey
bin piyeyeh kadam dagmagane lagey
phir kisi din kahin aankh aise ladey
aankh aise ladey
saath dil le udey
jab mile dil jawaan
to shuru dastaan
do diwaane baney jism do ek jaan
yun mile dil to mil ke juda ho kahaan
yun mile dil to mil ke juda ho kahaan
ye mohabbat dilon se
mitaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

pyaar ke rang se phir haseen ho jahaan
phoolon ki ho zameen
taron ka ho aasman
ho sharabi hawa
ho gulabi ghata
muskuraye nazar dagmagaye adaa
har kadam pe khushi har kadam pe nasha
har kadam pe khushi har kadam pe nasha
aate aate kabhi aaye phir ye ghadi
zindagi se jude
zindagi ki kadi
preet dulhan bane
lal joda saje
pyar dulha bane sar pe sehra bandhe
hath mehandi rache aur piya thaam le
hath mehandi rache aur piya thaam le
jodi ban jaaye..e..e logo
banaai nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re

aa aaaa aaaaa
aa aaa aaaaaa
aa aaaa aaaaa
aa aaaa aaaaa aaaa

beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya
beliya beliya

par hamesha yahaan aisa hota nahin
sunte aaye hain jo waisa hota nahin
ishq ki raah mein baarhaa ye hua
ishq ki ye dua ban gayi bad-dua
pyaar bichada kahin yaar maara gaya
pyaar bichada kahin yaar maara gaya
yaar bichade jahaan
leke tanhaaiyaan
dil se lipti hui
jalti parchhaaiyaan
phir sulagne lagey
jism ke sang jaan
aag aisi lagey
chhaaye aisa dhuaan
khaak ho jaayen jal jal ke dono jahaan
khaak ho jaayen jal jal ke dono jahaan
dil ki basti lutey to

basaayi nahin jaaye re
ye agan lag jaaye to
bujhaai nahin jaaye re
beliya beliya
beliya beliya
ho o dil tera
kisi ne le liya

laagi lag jaaye..e..e logo
lagaayi nahin jaye re
ye agan lag jaayea to
bujhaai nahin jaaye re

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

जब बचपन कहीं दूर जाने लगे
रुत जवानी की ये पास आने लगे
दिल की धड़कन नए गीत गाने लगे
सांस नगमे नए गुनगुनाने लगे
बिन पिये ये कदम डगमगाने लगे
बिन पिये ये कदम डगमगाने लगे
फिर किसी दिन कहीं आँख ऐसे लड़े
आँख ऐसे लड़े
साथ दिल ले उड़े
जब मिले दिल जवान
तो शुरू दास्तान
दी दीवाने बने
जिस्म दो एक जां
यूं मिले दिल तो मिल के जुदा हो कहाँ
यूं मिले दिल तो मिल के जुदा हो कहाँ
ये मोहब्बत दिलों से
मिटाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

प्यार के रंग से फिर हसीं हो जहां
फूलों की हो ज़मीन
तारों का आसमां
हो शराबी हवा
हो गुलाबी घटा
मुस्कुराए नज़र डगमगाये अदा
हर कदम पे खुशी
हर कदम पे नशा
हर कदम पे खुशी
हर कदम पे नशा
आते आते कभी आए फिर ये घड़ी
ज़िंदगी से जुड़े
ज़िंदगी की कड़ी
प्रीत दुल्हन बने
लाल जोड़ा सजे
प्यार दूल्हा बने सर पे सेहरा बंधे
हाथ मेहंदी रचे और पिया थाम ले
हाथ मेहंदी रचे और पिया थाम ले
जोड़ी बन जाये॰॰ए॰॰ए लोगो
बनाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे

आ आss आsss
आ आs आssss
आ आss आsss
आ आss आss आss

बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया
बेलिया बेलिया

पर हमेशा यहाँ ऐसा होता नहीं
सुनते आए हैं जो
वैसा होता नहीं
इश्क़ की राह में बारहा ये हुआ
इश्क़ की ये दुआ बन गई बददुआ
प्यार बिछड़ा कहीं यार मारा गया
प्यार बिछड़ा कहीं यार मारा गया
यार बिछड़े जहां
लेके तनहाइयाँ
दिल से लिपटी हुई
जलती परछाइयाँ
फिर सुलगने लगे
जिस्म के संग जां
आग ऐसी लगे
छाए ऐसा धुआँ
खाक हो जाये जल जल के दोनों जहां
खाक हो जाये जल जल के दोनों जहां
दिल की बस्ती लुटे तो
बसाई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे
बेलिया बेलिया
बेलिया बेलिया
हो ओ दिल तेरा
किसी ने ले लिया

लागि लग जाये॰॰ए॰॰ए लोगो
लगाई॰॰ई नहीं जाये रे
ये अगन लग जाये तो
बुझाई नहीं जाये रे


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

Today (5 may 2017) is the 11th death anniversary of Naushad saab. He passed away on the 5th of May 2006.

This is the 9th opportunity for this blog to pay a tribute to Naushad saab on his death anniversary. And yet, though I’ve written tributes for many here, I don’t remember writing one for Naushad saab yet. So here goes.

Naushad saab is not just an absolute legend in the world of HFM, he is somebody whose music I have extremely high regard for.

There are some composers for whom Shakespeare’s words from Julius Caesar “He doth bestride us like a colossus…” would not be inappropriate at all. Naushad saab very comfortably fits in – such was his stature, and such is his contribution, to HFM.

I will not discuss his life or career in great detail here – this is available from other sources. Besides, there are people far more competent than me to discuss this luminary’s life and career. I will, as I usually do, give my own personal take on Naushad saab.

I was a young boy when I first heard of Naushad saab. I used to listen to AIR a lot – and his songs would play very often. Not surprisingly, considering how popular his songs were in their time. And are, to this day.

That was how I first heard of the combination Shakeel Badayuni – Naushad. The announcer would invariably say “geetkaar Shakeel Badayuni” and more often than not, it would be followed by “sangeetkaar – Naushad”.

In those days, mid-70s, I had a totally wrong impression of Naushad saab’s age.

Roughly in my head, I had the following generations:
i) My generation (current) : Rajesh Khanna & co
ii) Previous generation (Gen -1) : Shammi Kapoor, Joy Mukherjee & co
iii) Still earlier generation (Gen -2) : Raj Kapoor, Dilip Kumar
iv) Still earlier generation (Gen -3) : Naushad, KL Saigal, Pankaj Mallick, Anil Biswas etc

Before that, no generation existed in my mind.

Most of us lived in the current generation or in previous generations upto Gen-2. If anyone in my friends’ circle knew any song of Gen-3, he would be looked at with awe. 🙂

Mind you, this was, say 1975 – and “jab dil hi toot gaya” from Shahjehan (1946) was hardly 30 years earlier.
Yet, in our schoolboy minds, that was ancient!

Today, that would be the equivalent of considering “chandni, meri chandi” as ancient. 🙂
See how things are relative!

Anyway, back to Naushad saab. I think his tagging as Gen-3 came from listening to songs like “Awaaz de kahaan hai” in the voices of Noor Jehan and Surendra. Or “akhiyan milaake” by Zohrabai Ambalewaali. These type of songs would play fairly regularly – and somehow got me to get a wrong impression of Naushad saab’s age.

In fact, to be honest, I thought he was long dead. I did not remember him composing – though he might have composed for the odd film that I was not aware of. Unlike an SD Burman who I remember was active (as much as he could be) till he passed away in 1975. So for us at the time, SD Burman was “current”, Naushad was “ancient”. Now when I check, I find that SD Burman was born in 1906, Naushad in Dec 1919. So, a full thirteen years later. 🙂

What misconceptions the mind comes up with!

It was only when I happened to come across a Naushad interview (sometime probably in the late 70s/early 80s), that I even knew that he was alive. I know it sounds naïve – but those were days when I had very limited awareness of such matters. I didn’t grow up with a lot of aware people around me – almost all my knowledge came from watching movies, listening to songs and the odd article. Naushad saab wasn’t very much in the public eye in the 70s. I think it was deliberate – he had sort of mentally retired too by the end of the 60s.

And yet, his songs would play every single day. With the treasure-house that he composed, that’s only to be expected. Songs from Andaaz, Baiju Bawra, Mughal-e-Azam and Ganga Jamuna were hot favourites on AIR, but also songs from Babul, Amar and the 1960s films like Leader, Saathi and Aadmi. So he was a fixture on AIR.

I always loved his music. I couldn’t then place what exactly made me love it – later I realized it must have been the classical tunes he composed that were so soothing and pleasant to the ear. Not one false tuning, not one jarring note. And mind you, this was all in the time when composers didn’t have all the paraphernalia to correct their work. They had a few instruments – and they usually had to get it right first time, or within very few attempts. Just this itself makes me respect composers of that time so much more.

With this limited support, they delivered such fabulous music. And Naushad saad was at the forefront of it.

I do not know of any Naushad saab song that I find jarring. Or that I do not like. The classical ones (like “aaj gaawat man”) are obviously in a league of their own but even the less classical or non-classical ones are pleasant to listen to. Such was Naushad saab’s sense of music.

Today, when I think of his songs, I feel an enormous sense of gratitude towards him. The songs keep playing in my head – my childhood favourites from Andaaz (oh, how I love ALL the songs of this film!), then the two biggies from Anmol Ghadi (“awaaz de” and “jawaan hai mohabbat”), the songs of Baiju Bawra, Ganga Jamuna, Uran Khatola (“o door ke musafir”)….what can I say!

There was this “natural” sense in Naushad saab’s music which fitted perfectly with the occasion for every song he composed. When Dilip Kumar danced to Rafisaab’s rendition of “nain lad jayee hai”, the song looks just so perfect – but there’s Naushad saab (and of course Shakeel too) very much behind this gem. In fact, all songs of Ganga Jamuna are gems – hard to pick one. How can you ignore songs like “dhoondho dhoondho re saajna” or “do hanson ka joda”?

Many of the films for which Naushad saab composed music went on to become Silver Jubilee hits. How much of this is attributable to his music, cannot be gauged but I won’t be surprised if the music played a big part in the success of these films. For example, Baiju Bawra, without its songs, is hard to imagine.

So thank you, Naushad saab, for leaving us with this invaluable treasure for eternity.

Today’s song is from, what I’d like to call, post-retirement Naushad saab. By the end of the 1960s, Naushad saab felt that the changing scene of HFM was not to his liking. Music was becoming loud and too westernized for his taste. Many of his contemporaries were also struggling to deal with this change. So Naushad saab quietly withdrew from the scene. He might have composed for just the odd film (maybe finishing his assignments) but otherwise, he had “retired”.

The 1970s were therefore left to, and dominated by, the likes of RD Burman, L-P and Kalyanji Anandji.

And then, Naushad saab made a comeback in the early 80s with a film called Dharam Kaanta. I remember this was much talked about mainly (possibly only) because of Naushad saab’s comeback.

The film was a multi-starrer – but didn’t quite click. Naushad saab’s music also didn’t quite make the impact it was expected to make – although the song “ye gotedaar lehenga” was quite popular.

All in all, it was probably just a confirmation to Naushad saab that the times had truly changed. That was the disco era – Naushad saab would have felt very out of place. But like Tennyson said “the old order changeth, yielding place to new”. That was the last I remember of Naushad saab’s music, though his bio suggests he did compose a bit more.

The song is picturised on Jeetendra and Rajesh Khanna. The voices are of Rafisaab and Bhupendra. It is quite odd to watch Bhupendra sing for Rajesh – this is the first time I’m seeing this. It left me wondering why Kishore didn’t do the job – but maybe Naushad saab wanted to have Bhupendra there, instead of Kishore. Any story here about Naushad saab & Kishore?

The lyrics for this song were sent to me by Peevisie’s Mom. She has done the write-up for the one other song from this film posted on this blog already – “ye gotedaar lehenga”.

One memory of this film.

I saw this in Kolkata in a film hall in 1982. I happened to be in town with some friends, we went for this late-night (9-12) show. I don’t remember the film too well but when I returned to my hotel room, I discovered the backpocket of my trousers had been slit – I had been pickpocketed. I must have had about Rs 150 or so in it, so not a huge sum – though in those days, this was a respectable sum.

But what made me feel worse was that the trousers were brand new – they were very expensive Vimal suiting material and I was wearing it for the first time. I got it stitched again but it didn’t look good – and I never wore those trousers again.

That was also the last time I kept any money in my backpocket. Lesson learnt.

So that is my memory of Dharam Kaanta (1982).

I’ll leave you with the song – I hope you enjoy it. It is in the cadre of “ye dosti, hum nahin chhodenge”. I will leave it to you to judge whether the music is reminiscent of Naushad’s earlier tunes. I could feel it here and there, though I think Naushad saab tried to make it a bit modern too.

The video doesn’t cover the complete song, so an audio is also provided here (courtesy Peevesie’s Mom).

Video (Partial)

Audio (with complete song) :

Song-Duniya chhoote yaar na chhoote (Dharam Kaanta) (1982) Singers-Mohammad Rafi, Bhupendra, Lyrics-Majrooh Sultanpuri, MD-Naushad
Both
Rafi + Bhupinder + Chorus

Lyrics(Provided by Peevesie’s mom)

Aa ha aa
(whistling)
La la la la la la
(whisting)
La la la la la la la
(whistling)

duniya chhoote
yaar na chhoote
duniya chhoote
yaar na chhoote
jaan se badh kar yaari hai ae
dil ke dharam kaante par dekha
dil ke dharam kaante par dekha
pyaar ka palda bhaari hai ae

duniya chhoote
yaar na chhoote

kismat se tera saath mila
baat hui na haath mila
aaa aaa aaa
aaa aaa aaa aaa
kismat se tera saath mila
baat hui na haath mila
dukh jitne thhe jhel chuke
khel hum apne khel chuke
aaa aaa aaa aaa
aaaa aaa aaa aaa
dukh jitne thhe jhel chuke
khel hum apne khel chuke
aaj milan ki baari hai ae
duniya chhoote
yaar na chhoote
jaan se badhkar yaari hai
dil ke dharam kaante par dekha
pyaar ka palda bhaari hai ae
duniya chhoote
yaar na chhoote

yaari hai dildaaron ki
jodi hai talwaaron ki
yaari hai dildaaron ki
jodi hai talwaaron ki
pyaar mile to pyaar kare
waqt pade to waar kare
pyaar mile to pyaar kare
waqt pade to waar kare
ye talwaar do-dhaari hai ae
duniya chhoote
yaar na chhoote

aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa
aaa aaa aaa

pyaare agar mujhmein hai dam
tu bhi nahin hai mujhse kam
aaa aaa aaaa
aaa aaa aaa aaa
pyaare agar mujhmein hai dam
tu bhi nahin hai mujhse kam
main sooraj hoon
dhoop hai tu
mera hi ik roop hai tu
aaa aaa aaa aaa
aaa aaa aaa aaa
main sooraj hoon
dhoop hai tu
mera hi ik roop hai tu
baat ye kitni pyaari hai
duniya chhoote
yaar na chhoote
jaan se badhkar yaari hai
dil ke dharam kaante par dekha
pyaar ka palda bhaari hai ae
duniya chhoote
yaar na chhoote

Aa haa aa
(whistling)
La lala laa lalal
(whisting)
La la la la la la la
(whistling)


This article is written by Shekhar Gupta, 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.

I came across a nice number from ‘Police Public’ (1990) by chance when I happened to click here on a Lollywood number “Mein Jis Din Bhula Doon Tera Pyar Dil Se” penned by Masroor Anwar for Khushboo (1979). On that YouTube web-page, I also noticed the same mukhda under this ‘Police Public’ number.

Similar – or even identical – mukhdas are not all that rare; and Lollywood and Bollywood copying each other’s themes, tunes and lyrics was not unheard of in the yesteryears. But what struck me was almost identical lyrics – albeit in different settings and tunes.

Be it as it may be, ‘Police Public’, a Vijay Mehta production, was directed by Esmayeel Shroff. It has a crime-corruption busting theme with Raaj Kumar as a fearless senior C.B.I. inspector as its chief protagonist.

The story in brief is as follows:

Mr. Ram Swarup (A.K.Hangal) is a retired schoolteacher of modest means. His family consists of his two young daughters, Karuna (Poonam Dhillion) and Usha (Shikha Swaroop), and a son Shyam (Vijay Aidasani). Fortunately for Ram Swarup, Mr. Kishan Sharma (Prem Chopra), an eminent businessman in their vicinity, brings forth a proposal of marriage of his son Arun (Raj Kiran) with Karuna. Ram Swarup considers himself lucky to be associated with this influential family, but Mr. Sharma has different plans on his mind. He knows of some land that Ram Swarup has kept aside for his second daughter’s marriage. He convinces Ram Swarup that he needs it temporarily to serve as a guarantee for his new business venture, but later justifies it as dowry for his son’s wedding.

The situation takes a turn for the worse, when one morning Karuna is found dead. Sharma and his friend, an aspiring politician, Tiwari (Ajit Vachani), try to frame it as suicide but the investigating officer Shahnawaz Khan (Kabir Bedi) and Karuna’s family suspect a foul play. Amidst investigations, Shahnawaz Khan is suddenly transferred with the help of the corrupt home minister (Vinod Nagpal) and is replaced by a dishonest and corrupt police officer Mahar Singh Garhwal (Naseeruddin Shah). Amply bribed by Sharma and his friends, he loses no time in suppressing the case. To prevail against the police corruption, Ram Swarup and family appeal to high judicial powers, and consequently a senior C.B.I. officer Jagmohan Azad (Raaj Kumar) is sent to investigate Karuna’s case. He uncovers what had really happened on that fateful night and snares the culprits and despatches  them to face the justice.

This one is ‘romance-in-rain’ number tuned by Raamlaxman (real name: Vijay Patil) on the love birds Poonam DhillionShikha Swaroop and Raj KiranArbaaz Khan in the vocals of Lata Mangeshkar and Amit Kumar.

Song – Main Jis Din Bhula Doon Tera Pyaar Dil Se (Police Public)(1990) Singer – Lata Mangeshkar, Amit Kumar, Lyrics – Asad Bhopali, MD – Ram Laxman
Lata + Amit

Lyrics

mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka
mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka
ye aankhe usi raat ho jaye andhi
ye aankhe usi raat ho jaaye andhi
jo tere siva dekhen sapna kisi ka
mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka

mujhe apne dil se utarne na dena
mein khusbhu hu isko bikharne na dena
mujhe apne dil se utarne na dena
mein khusbhu hu isko bikharne na dena
hamesha rahun mein tere bajuon men
na toote ye bandhan kabhi dosti ka
ye aankhe usi raat ho jaaye andhi
ye aankhe usi raat ho jaye andhi
jo tere siva dekhe sapna kisi ka 
mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka

meri dhadhkno men mohobat hai teri
meri zindagi ab amaanat hai teri
meri dhadhkno men mohobat hai teri
meri zindagi ab amaanat hai teri
tamanna hai jin raaston par chale tu
nishaan ho wahaan par meri bandgi ka
ye aankhe usi raat ho jaye andhi
ye aankhe usi raat ho jaye andhi
jo tere siva dekhe sapna kisi ka 
mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka

mein jis din bhula doon tera pyar dil se
wo din aakhri ho meri zindagi ka
meri zindagi ka
meri zindagi ka

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

मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का
मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का
ये आँखें उसी रात हो जाएँ अंधी
ये आँखें उसी रात हो जाएँ अंधी
जो तेरे सिवा देखें सपना किसी का
मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का

मुझे अपने दिल से उतरने ना देना
मैं खुशबू हूँ सिको बिखरने ना देना
मुझे अपने दिल से उतरने ना देना
मैं खुशबू हूँ सिको बिखरने ना देना
हमेशा रहूँ मैं तेरे बाजुओं में
ना टूटे ये बंधन कभी दोस्ती का
ये आँखें उसी रात हो जाएँ अंधी
ये आँखें उसी रात हो जाएँ अंधी
जो तेरे सिवा देखें सपना किसी का
मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का

मेरी धड़कनों में मोहब्बत है तेरी
मेरी ज़िंदगी अब अमानत है तेरी
मेरी धड़कनों में मोहब्बत है तेरी
मेरी ज़िंदगी अब अमानत है तेरी
तमन्ना है जिन रास्तों पर चले तू
निशां हो वहाँ पर मेरी बंदगी का
ये आँखें उसी रात हो जाएँ अंधी
ये आँखें उसी रात हो जाएँ अंधी
जो तेरे सिवा देखें सपना किसी का
मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का

मैं जिस दिन भुला दूँ तेरा प्यार दिल से
वो दिन आखरी हो मेरी ज़िंदगी का
मेरी ज़िंदगी का
मेरी ज़िंदगी का


This article is written by Bharat Upadhyay, 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.

Genius of Jaidev – 59
——————————–

The 1986 film, ‘Trikon Ka Chotha Kon’, was produced and directed by Madhusudan. The main actors in the film were Vijayendra Ghatge, Swaroop Sampat and Priyadarshani, who formed the triangle of the story. The film had 3 songs, one each written by Mahadevi Varma, Shahryar and Maya Govind, and were set to music by Jaidev.  One of the songs, “Dil Dhadakne Ki Aawaaz Ki Khaamoshi“, a duet by Bhupinder and Peenaz Masani and penned by Shaharyar, and another solo “Kiya Piya Pe Kya Jaadoo“, by Chhaya Ganguli penned by Maya Govind are already showcased on this musical blog.
Read more on this topic…


This article is written by Bharat Upadhyay, 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.

Genius of Jaidev – 58
—————————-
After a gap of a month, I have resumed contributing to this blog. The main reason was that I have migrated back to my adopted country and there was a big wedding in the family there. I hope Atulites may have not forgotten me. Did anyone miss me?
Read more on this topic…


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 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.

Hullo to all in Atuldom

A very Happy Holi (today on date 13 march 2017) to all who visit this blog.

Let there be lot of colour all around you; but not on your clothes??; makes washing difficult ??! And if there is a water shortage in your region please play dry holi- with only colours. Ideally the colours should be organic; they do less harm to the skin and eyes -this is what I have read I haven’t used them ever. I don’t even remember when and where was my last holi; possibly when I had just moved to Dahisar in Mumbai back in 2000. But I still love to see others forget themselves in this game of colours. And also, I love to think of all the famous delicacies that are made at Holi. I have heard of Ghujiyas and Kaanji Vadas, Thandaai and Bhaang. Another major attraction to Holi (for me) these days are the various songs that play on the Radio and TV channels. Enough to drive one down memory lane.
Read more on this topic…


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.

“Baazaar”(1982) was produced by Vijay Talwar and directed by Sagar Sarhadi. The movie had Naseeruddin Shah, Farooq Shaikh, Smita Patil, Supriya Pathak, B L Chopra, Nisha Singh etc in it.
Read more on this topic…


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 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.

To keep up our New Year resolution of one movie getting Yippeeeed per day I found that the 1982 Manmohan Desai produced & directed “Desh Premee” falls short by a song to achieve YIPPEEHOOD.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1003 Total Number of movies covered =3703

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