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

Archive for the ‘Songs of 1986’ Category


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

Blog Day : 4050 Post No. : 15179

shaam-e-gham ki kasam aaj ghamgeen hain ham

The evening in the first line turned into a night of sadness when I came to know from ASAD Group that Khayyam saab is no more with us. His popular songs started ringing in my ears. Those were the songs with which I have grown up from a teenager to a senior citizen. I had a disturbed sleep last night as some of his songs resonated intermittently in my mind. In the morning, I thought that the best way to get out of such feeling is to write a tributary article for Khayyam saab.

With his death, we have lost the last icon among the music directors of the golden period of Hindi film music He created his own ‘gharana’ of Hindi film music and very rarely deviated from it. The melodious songs he composed were mainly based on Hindustani classical raagas.

As I said, some of his songs were often coming to my mind. The emotional support song tum apna ranz-o-gham apni pareshaani mujhe de do was the one which gave me goosebumps. Not only Khayyam saab and Jagjit Kaur were creators of this melody, I felt that the latter was actually the emotional support system for the former. I identify wo subah kabhi to aayegi as optimistic in the midst of pessimism. I remember Khayyam saab in bahaaron mera jeevan bhi sanwaaron for its a long prelude of nearly 100 seconds of santoor, sitar and flute which created the right ambiance for Raag Pahadi based melody. Among other songs, how can I forget ye kya jagah hai doston and the ‘haunted feel’ song with pauses, ae dei-e-nadaan arzoo kya hai?

Khayyam saab who was so much committed to the quality of his musical compositions, selected only films with good story line. His musical compositions had the benefit of poetry rather than the lyrics. This is reflected in his working mostly with poets of repute like Sahir Ludhianvi, Kaifi Azmi, Jaan Nisar Akhtar, Raja Mehdi Ali Khan, Nida Fazli, Shahryar etc.

There was something for his young listeners and audiences too. Like hai kali kali ke lab par from ‘Lala Rukh’ (1958), a teasing song, jis pyaar mein ye haal ho us pyaar ki tauba from ‘Phir Subah Hogi’ (1958), a jazzy number rut jawaan jawaan raat meherbaan from ‘Aakhri Khat’ (1966), an aspiring love song, aankhon mein hamne aapke sapne sajaaye hain from ‘Thhodi Si Bewafaayi’(1980) and many more.

Coming from a highly educated family from Jalandhar, Khayyam saab could not complete even his high school studies as he was smitten by his idol, K L Saigal and Hindi films. His wish was to become an actor-singer like K L Saigal. Expelled by his father from his house for neglecting his studies, Khayyam saab came to Delhi and stayed with his uncle. Realising his nephew’s interest in music, his uncle arranged his musical training under Pandit Amarnath and his brothers, Husnlal and Bhagatram.

A filmy career which spanned over 7 decades, Khayyam saab started as an apprentice to music Director, G A Chishti in Lahore in 1945. He came to Mumbai in January 1947 with Rahman Verma who was also assisting G A Chishti. Khayyam saab sang his first song ‘dono jahaan teri mohabat mein haar ke’ a duet with Zohrabai Ambalewali under Husnlal-Bhagatram for the film ‘Romeo & Juliet’ (1947). His first film as a music director in partnership with Rehman Verma was ‘Heer Ranjha’ (1948) under the pseudo name Sharmaji-Vermaji.

The song which brought Khayyam saab into limelight was akele mein wo ghabraate to honge from ‘Biwi’ (1950), his third film. This did not help him much in his career path. ‘Footpath’ (1953) was his first film in which he gave the music under his real name, Khayyam on the advice of the film’s director, Zia Sarahadi. shaam-e-gham ki kasam aaj ghamheen hain hum from this film became very popular as a ‘blue mood’ song. Khayyam saab had revealed that he had used western symphony based interlude in this song, especially the first interlude.

The high points in musical compositions of Khayyam saab were reflected in all the songs of ‘Lala Rukh’ (1958), ‘Phir Subah Hogi’ (1958), ‘Shola Aur Shabnam (1961), ‘Shagoon’ (1964), ‘Mohabbat Isko Kehte Hai,’ (1965) and ‘Aakhri Khat’ (1966). Still the success in terms of recognition and box office alluded him. By this time, he had already spent about 2 decades in Hindi film industry but was not in the reckoning in the list of top music directors.

Sometime in the latter half of 1960s, Khayyam saab decided to take a sabbatical from Hindi film industry when he felt that the films he was being offered were not his worth. The sabbatical continued for nearly 8 years. During this period, he devoted his time and energy to compose some of his finest non-film songs among 200 odd songs. Here also he did with the top playback singers like Talat Mehmood and Mohammed Rafi. Begum Akhtar who was very close to Madan Mohan, chose Khayyam saab for composing ghazals for her LP Ghazal album in 1974.

Generally, it is said that once a film artist remains out of film industry for a long time, it is difficult for that artist to make a comeback. I think, Khayyam saab is the only among music directors who made a grand come back with the success of ‘Kabhie Kabhie’ (1976) for which he got Filmfare Award. The next feather in his cap was the outstanding music in ‘Umrao Jaan’ (1981). He was bestowed with National Award for music in this film. In his second coming, he remained active for about 10 years.

It was interesting to know that some of his best music compositions had come from films like ‘Phir Subah Hogi’ (1958), ‘Kabhie Kabhie‘(1976), Umrao Jaan’ (1981) and ‘Razia Sultan’ (1983) where he was not the first choice as a music director. How much efforts and pain he must have taken to prove his credentials to the respective producers/directors to make the music of these film extraordinaire to justify their faith in him.

I have always felt that God has been unkind to Khayyam saab. At every stage of his life – from his childhood time onward, he had to struggle for survival. It took nearly 3 decades to come under the category of a successful music director when ‘Kabhie Kabhie’ (1976) became successful. He got recognition from the film industry as well as from the Government. But his success gave him company for less than 10 years. When he had everything for his modest living, he lost his only son, Pradeep in March 2012. But Khayyam saab had no complaint against God. In almost all his interviews I had read and watched, he had always said ‘Allah ki meharbaani hai, waah Guruji ki kripa hai, Ishawar ki kripa hai’.

Khayyam saab had also composed songs for about dozen unreleased films, one of which was ‘Anjuman’ (1986). As a tribute to Khayyam saab, I am presenting one of songs from this film, ‘kab yaad mein tera saath nahin kab tera haath mein haath nahin’ which is close to my heart. This ‘Faiz Ahmed Faiz’s song is rendered by Khayyam saab and his wife, Jagjit Kaur. I think, this is the only film song which they have sung together.

I offer my condolences to the bereaved family and his friends.

Khayyam saab, you will always be with us through your melodious music.

Video Clip :

Audio Clip:

Song-Kab yaad mein tera saath nahin (Anjuman)(UR)(1986) Singers-Khayyam, Jagjit Kaur, Lyrics-Faiz Ahmad Faiz, MD-Khayyam
Both

Lyrics

kab yaad mein tera saath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin

maidaan-e-wafa darbaar nahin
jaana munsab ki poochh kahaan

maidaan-e-wafa darbaar nahin
yahaan munsab ki poochh kahaan
aashiq to kisi ka naam nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
kab yaad mein tera sath nahin
kab haath mein tera haath nahin

jis dhaj se koi maqtal mein gaya
wo shaan salaamat rahti hai
jis dhaj se koi maqtal mein gaya
wo shaan salamat rahti hai

ye jaan to aani jaani hai
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin

gar baazi ishq ki baazi hai
jo chaaho laga do dar kaisa
gar baazi ishq ki baazi hai
jo chaho laga do dar kaisa
gar jeet gaye to kya kahna
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
ab hizr ki koi raat nahin

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

Blog Day :

4038 Post No. : 15163 Movie Count :

4166

Naseeruddin Shah, in a chat with a newspaper journalist sometime in early 2014, had revealed that there were about 35 Hindi which have been completed in all respect but remained unreleased till that day. If the numbers are correct, it could be some sort of a dubious record for a Hindi film actor. But I am not surprised. Naseeruddin Shah has been mostly associated with the ‘parallel’ and the ‘middle of the road cinemas. And for such types of films, it is very difficult to get distributors to release the films.

Out of curiosity, I searched for the list of Naseeruddin Shah’s unreleased films on the internet but drew a blank. I could trace out names of his few unreleased films which included one untitled film directed by Mrinal Sen some time in 1970s, ‘Musaafir’ (1986) ‘Libaas’ (1988) directed by Gulzar, ‘Time Machine’ (1992) directed by Shekhar Kapoor, ‘Eelctric Moon’ (1992, English), ‘101 Days (1992), ‘Private Detective : Two Plus Two Plus One’ (1997), ‘The Coffin Maker’ (2013) ‘Chambal Safari’ (2014), ‘Company Ustaad’ (2014), ‘Mastaan’ (2014), ‘Thaak Jhaank’ (2016) etc.

From the above list, I found the film ‘Musaafir’ (1986) an interesting one for more than one reason. First, the film was directed by Dr. Jabbar Patel, an imminent Marathi theatre and film personality known for producing and directing classic Marathi dramas and ‘middle of the road’ Marathi films. This was Dr. Jabbar Patel’s first association with Hindi film as a director. Second, the film’s star cast included Rekha besides Naseeruddin Shah, Moon Moon Sen, Mohan Agashe, Usha Nadkarni and Pankaj Kapoor. Lastly, the songs were written by Gulzar which were set to music by R D Burman.

The film was based on a Marathi play ‘Ashi Pakhre Yeti’ (Aise Aaten Hain Panchhi or Here Comes the Birds) written by Vijay Tendulkar who wrote the film’s screen-play. Gulzar wrote the dialogues. The film was certified by the Censor Board sometime in 1984 but it could not get a theatrical release.

I searched for the film on the net but could not locate the DVD of the full film. Finally, I located the film which has been uploaded on YT in parts. From the quality of the video, I guess, the uploader has uploaded the video clips of the film ripping off from VHS tape. I also noticed that some parts of the film got repeated in the clips. So it was difficult for me to know as to the proper sequence of the story in the film. With these limitations, I give below a gist of the story of the film:

The story of the film can broadly be divided into two parts. In the first part, the story revolves around Naseeruddin Shah and Moon Moon Sen who have recently married and have been staying in a posh locality in Mumbai. While Naseeruddin Shah is a reserved type of man, Moon Moon Sen is an extrovert and tomboyish. She likes to spend the free time with her male friends. Being a daughter of a wealthy parents and convent educated, she has been brought up in a liberal environment.

Naseeruddin Shah resents his wife’s association with her male friends. But he is unable to tell so to his wife. He feels that if they start a family, perhaps she will have more time to spend with him than with her male friends. But his wife is afraid of child birth because of her earlier trauma of mis-carriage. His resentment inside him about his wife’s behaviour get worsen day by day. He has now become so paranoid that he starts suspecting his wife having an affair with one of her male friends (Benjamin Gilani) and fears that one day she would leave him. With these kinds of paranoid thoughts, he kills his wife by poisoning her and gets her admitted to a hospital in an unconscious state. After few hours of her admission, she dies. The doctors and police are waiting for the post-mortem report. Naseeruddin Shah decides to run away.

The second part of the story starts in a village in Kerala where after wandering all over India, Naseeruddin Shah decides to settle in a village in Kerala. Impulsively, he visits a house of a middle class family and introduces himself as one of the past students of a local school where he had studied during his childhood and where the patriarch of the family was a teacher. He gets this idea to introduce himself from the photographs displayed in the varandah of the house. With this, a comfort level between the family consisting of father (Mohan Agashe), mother (Usha Nadkarni), daughter (Rekha) and son (Pankaj Kapoor) and himself have been established. The family allows him to stay with them for few days.

During his stays, Naseeruddin Shah comes to know that all four of them suffer from different problems arising from lack of confidence. With his wits and persuasion, he changes their lives to make them confident. In the meanwhile, the parents are scouting for a groom for their daughter (Rekha). She is presented to the prospective groom who has come to see her with his family. The groom’s family approves of her but she rejects the groom as she has fallen in love with Naseeruddin Shah who has taken shelter in her house.

Naseeruddin Shah tries to bring the rejected groom and the bride together to discuss as to the reason for her rejection of him. In this process, Naseeruddin Shah comes to know that the Rekha has developed a soft corner for him. He decides to leave the house without the knowledge of the family. But Rekha comes to know of his plans and confronts him as to why he leaving the village. Naseeruddin Shah gives many excuses but Rekha is not convinced. Finally, he reveals that he is a murderer and the police forces are looking for him. Rekha still thinks that he is lying just to justify his leaving the village. Knowing that he is determined to leave, she tells him that she would not now stop him for leaving the village.

Naseeruddin Shah returns to his apartment in Mumbai where he used to stay with his wife. He is overwhelmed with the nostalgia. While standing in front of a mirror in his bedroom watching his own reflection, images of his wife and Rekha come. The faster interchanges of images in the mirror of Moon Moon Sen and Rekha make him emotionally unstable. He commits suicide by a gun shot at his own head.

The film has three melodious songs of which I have chosen to present the song ‘thhak gaya hoon mujhe sone do’ sung by Kishore Kumar. This song is played as a background song which comes in the film at a crucial stage. Naseeruddin Shah is running away from Mumbai after killing his wife. The song symbolises the transition from his Mumbai story to the next story in a Kerala village to start his life afresh.

The song is also available in studio recording version with somewhat different orchestrations with an additional antara. I like this version more than the film’s sound track version for its orchestration. From the studio version, one can notice that before Kishore Kumar starts singing, there is a faint voice (probably of R D Burman) saying ‘1, 2, 1, 2, ‘start’. After the second antara of singing, Kishore Kumar makes a mistake by repeating the second antara. There is a faint voice saying ‘cut’ and he stops singing. Some instructions to Kishore Kumar, probably from R D Burman in faint voice can be heard after which R D Burman repeats his part of singing and Kishore Kumar takes over his singing of third antara. In the lyrics given below, I have omitted the repeat portion.

It is a melancholic song in keeping with the situation in the film. Gulzar saab’s lyrics are simple but conveys the depressing situation in his trade-mark style. The tune is melodious and the orchestration is good in the context of the song.

Audio (Studio recording version)

Video

Song-O bahut raat huyi (Musaafir)(1986)(UR) Singers-Kishore Kumar, R D Burman, Lyrics-Gulzar, MD-R D Burman

Lyrics(Based on the studio recording version)

o bahut raat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi
o chaand se keh do utar jaaye
bahut baat huyi
chaand se keh do utar jaaye
bahut baat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi

zindagi ke sabhi raaste sard hain
zindagi ke sabhi raaste sard hain
ajnabi raat ke ajnabi dard hain
yaad se keh do guzar jaaye
bahut baat huyi
yaad se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

aashiyaan ke liye chaar tinke bhi thhe
aasre raat ke aur din ke bhi thhe
dhoondhte thhe jise wo zara si zameen
aasmaan ke tale kho gayi hai kahin
dhoop se keh do utar jaaye
bahut baat huyi
dhoop se keh do utar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

o maloya….aa
chalo dheere dheere
o maloya….aa
chalo dheere dheere

yaad aata nahin ab koi naam se
yaad aata nahin ab koi naam se
sab gharon ke diye bujh gaye shaam se
waqt se keh do guzar jaaye
bahut baat huyi
waqt se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi
main thhak gaya hoon
mujhe sone do
(o maloya….aa)
main thhak gaya hoon
(chalo dheere dheere)
main thhak gaya hoon
(o maloya….aa)
mujhe sone do
(chalo dheere dheere)


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 : 3529 Post No. : 14173

There are songs that run their course during their time and are then forgotten with time. Most of these songs that end up forgotten are unlikely to get a second look in future. But there are exceptions. Some interesting developments may rekindle interest in such songs among future generations as well.

The first such song that readiliy comes to my mind is the song “April Fool banaaya to unko gussa aaya” from “April Fool”(1964). This song was a reasonably popular song of its time which then got forgotten. It was in 1980s when “Andha Kaanoon”(1983) was released that the title song of “April Fool”(1964) caught the fancy of music lovers once again. In the movie “Andha Kanoon”(1983), inspector Durga Devi Singh (Hema Malini) is trying to secretly record the confession of her brother Vijay Kumar Singh (Rajnikant) how he killed the murderers of their father. But when she plays the recording then instead of the confession, this title song “April Fool banaaya” gets played, much to the cheer of movie watchers. Many movie watchers became aware of this “April Fool”(1964) song thanks to this scene of “Andha Kaanoon”(1983). Even I began to take a second look at this song only as a result of this scene of “Andha Kaanoon”(1983).

“April Fool”(1964) title song saw a revival thanks to a movie that was released two decades later. But sometimes songs can see revivals and renewed public interest in them because of reasons that have nothing to do with films !

Take the case of the “Nagina”(1986) song, Main teri dushman dushman tu mera. This song has suddenly become quite popular these days, not only among Indians, but even among non Indians. 🙂

The reasons are non filmy, and they have to do with cricket !

Yes, indeed it is a cricketing incident involving non India players that this “Nagina”(1986) song has become popular. More than the song, it is the picturisation of the song that has caught the fancy of cricket loving public.

Let me explain the situation for those who may not be aware of the cricketing incident. A three nation T20 cricket tournament involving India, Sri Lanka and Bangladesh is in progress at the moment, where every team plays its opponents twice. The two top teams then play the final.

In the first match between Sri Lanka and Bangladesh on Sunday 11 march 2018, Sri Lanka after batting first piled up a huge total of 214. Bangladesh, who were not expected to be able to overhaul the total batted spiritedly and emerged victorious, scoring the winning runs with two balls to spare. The hero of Bangladesh win was their diminutive batsman wicketkeeper Mushfiqur Rahim who played a scintillating unbeaten knock of 72 from 35 balls to clinch a famous victory for his team. In an earlier T20 match in the past, he had celebrated prematurely thinking that his team had won, but his team ended up losing to India by one run in that match. Here Mushfiqur celebrated only after he hit the winning run. And how did he celebrate ? He did a “Naagin” dance, Sridevi style.

His “Naagin” dance celebration overshadowed even the victory of his team. Some criticised him for his immaturity, some supported him, some called for restraint, some ridiculed him. On social media, one found Mushfiqur getting trolled. On youtube, there were several videos in which his photo was superimposed over SriDevi’s in that “Main teri dushman” song.

I had watched this song and the movie in a movie hall during the time this movie was released in 1986. This song was popular but I did not take much notice of the song then. But this time, after 32 years, I took a second look at this song. For that I have to thank Mushfiqur Rahim of Bangladesh!

The fact that a Bangladeshi cricketer is aware of this song and he is in fact a fan of Sri devi’s Naagin dance movement is news to me. 🙂
In the second match between the same two opponents, Mushfiqur Rahim, after batting well for some time, threw his wicket away and this time the Sri Lankan bowler did a “sapera” dance movement, as Sapera played by Amrish Puri does in the song picturisation. So, even Sri Lankans were aware of this Hindi movie song ! The fact that the fans too were aware of it was proved when cameras showed a placard being carried by some fans showing a sketch of a sapera and a naagin. 🙂

Just imagine, a Hindi movie song of 1986 catching so much attention of non Indian cricketers. It is clear that these cricketers must have watched the movie, or at least the song picturisation.

With these two matches attracting the attention of cricket fans world wide, even non Asian cricket fans are bound to take notice of this “Naagin” song and some of them may get interested in this song. 🙂

The fact that foreign cricketers have begun to take interest in Indian movies, thanks to so many of them playing in IPL, is no secret. A few weeks ago, South African bowler Lungi Ngidi was snapped up by Chennai Super Kings in IPL auction. The bowler then tweeted

Just listened to the #LungiDance song loving it already.

The tweet was retweeted and liked thousands of time, mostly by Indians.

Foreign players are even getting interested in learning Hindi. On the eve of Deepaawali of 2017, India played New Zealand in an ODI match. New Zealand won the match, thanks to the batting of Ross Taylor of New Zealand. Sehwag tweeted:-

Well played @RossLTaylor Darji ji . Great effort after handling the pressure of Diwali orders .#indvsnz

— Virender Sehwag (@virendersehwag) October 22, 2017

Guess what ! Look at the response of Ross Taylor:-

Thanks @virendersehwag bhai agli Baar Apna order time pe Bhej dena so Mai Apko agli Diwali ke pehle deliver kardunga ….happy Diwali

So one can say that foreign cricketers are getting interested in things Indian. This is because India is now emerging as an attractive destination for opportunities in many areas, including cricket. Foreign cricketers have begun to take lots of interest in India because of IPL. Forget active cricketers, even retired cricketers are getting involved in various capacities viz mentors, coaches, commentators etc. When it comes to commentary, opportunities are increasing. The TV channels have now started to offer commentary in Hindi and some other languages as well. So ex cricketers able to speak in these languages are in demand as commentators. Ex cricketers like Sehwag and V V S Laxman have emerged as a much sought after Hindi commentary jodi. Even Gavaskar, Ganguly, Murli Kartik etc do Hindi commentary. In the present tri series underway in Sri Lanka, I found Athar Ali Khan too being called up for Hindi commentary. He understands Hindi but cannot speak in it. Hopefully he will brush up in his Hindi speaking then he can find more commentary opportunities.

The movie “Nagina”(1986) was produced and directted by Harmesh Malhotra. The movie had Rishi Kapoor, Sridevi, Amrish Puri, Komal, Prem Chopra, Sushma Seth, Pinchoo Kapoor, Viju Khote, Guddi Maruti, Lalita Kumari, Baby Guddo, Manmouji, Jagdeep, Satyadevi, Rajan, Sheetal, Suresh etc in it.

The movie had five songs in it.

Here is the first song from “Nagina”(1986). This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal. The song is picturised as a naagin-sapera song on Sridevi, playing naagin, and Amrish Puri (playing sapera). Amrish Puri is assisted by many other saperas in the picturisation. 🙂

With this song, whose song picturisation has attracted so much attention in a couple of cricket matches played in 2018 between two international teams, “Nagina”(1986) makes its debut in the blog.


Song-Main teri dushman dushman tu mera (Nagina)(1986) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

main teri dushman
dushman tu mera
main naagan tu sapera aa aa
main naagan tu sapera aa aa
main teri dushman
dushman tu mera
main naagan tu sapera aa aa
main naagan tu sapera aa
janam janam se tera mera bair
ho rabba khair
main teri dushman
dushman tu mera
main naagan tu sapera aa aa
main naagan tu sapera aa aa

aaj ka badla main bas loongi
chhed na mujhko
main das loongi
aaj ka badla main bas loongi
chhed na mujhko
main das loongi
jantar mantar jaadu tone
yeh toh mere khel khilaune
mujh par chalega na zor tera
main naagan tu sapera aa aa
main naagan tu sapera aa aa

chhed ke apni been ka lehra
chhed ke apni bean ka lehra
toone bithhaaya mujh par pehra
bas mein nahin main aanewaali
main nahin dhokha khaanewaali
aaya hai jogi ban ke lutera
main naagan tu sapera aa aa
main naagan tu sapera aa aa

sab ki jubaan par meri kahaani
mera dasa huwa maange na paani
sabki jubaan par meri kahaani
mera dasa huwa maange na paani
tera tamaasha sab dekhenge
kya hota hai ab dekhenge
dekhega tu na kal ka savera
main naagan tu sapera aa aa
main naagan tu sapera aa aa
main teri dushman
dushman tu mera
main naagan tu sapera aa aa
main naagan tu sapera aa
janam janam se tera mera bair
ho rabba khair
main teri dushman
dushman tu mera
main naagan tu sapera aa aa
main naagan tu sapera aa aa


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 Atuldom

“Asli Naqli” that was released in 1986 was directed by Sudarshan Nag. It had a star cast of Shatrughan Sinha- Anita Raaj- Raadhika- Rajnikanth- Amrish Puri- Shakti Kapoor -Ashok Kumar. It had a normal storyline wherein as boy is separated from his wealthy parents in childhood. His parents have only one clue of him- a locket that he is wearing. Upon his father’s death the mother embarks on a mission to trace out her long-lost son with the help of (typically named) Durjan Singh (Amrish Puri). Durjan Singh and his son Shakti Singh (Shakti Kapoor) plant Birju ustaad (Rajnikanth) as the son with the sole motive of plundering the wealthy widow. Then Shatrughan Sinha steps-in and the plot spices up. Further the ladies are there for the song and dance routines. Essentially what this movie had was two superstars with stylised acting and the public had a paisa-vasool feeling. It had a decent run at the box-office.
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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
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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.
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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
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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.
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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
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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?
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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’s song is a complete turn around from my style of writing on old films and music. Today’s song is from the film “Chameli ki shaadi”(1986). Usually I restrict my choice of songs to the period between 1930s to the 1960s films. But there are some films made after 1970 ( and some made even after the year 2000) which I liked very much. “Chameli ki shaadi”(1986) is one such film.
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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.

Fareed Tonki’s “Raste Alag-Alag Hain Thikaana To Ek Hai” is my all-time favourite lyrical message of religious tolerance, harmony and mutual respect. It drives home the poignant truism for the faithful that God, by whichever name, is after all One.
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

As mentioned in a few of my earlier posts I have been visiting Khandwa regularly from August 2015 onwards. In the past when I was staying at Kota (Rajasthan) I would pass through this place while going to Purna and Akola Junction from Kota, but I never got a chance of staying there and feel the ‘town’.
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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 over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15301

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4215

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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