Archive for the ‘Songs of 1994’ Category
Ho aaya dekho re salona din
Posted on: January 28, 2024
- In: "Mela" song | Antara Chaudhry Songs | Dance song | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Sonu Nigam - Antara Chaudhry Duet | Sonu Nigam Songs | Tractor song | Yearwise breakup of songs
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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.
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Blog Day : |
5672 | Post No. : | 18181 | Movie Count : |
4880 |
There are some prominent Hindi film actors whose names are mainly associated with ‘middle of the road’ and ‘off-beat’ cinemas though they have also worked in mainstream Hindi films. The names that comes to my mind are Naseeruddin Shah, Om Puri, Girish Karnad, Shabana Azmi, Smita Patil, Dipti Naval etc. Almost all of them made their Hindi film debut under the direction of Shyam Benegal. I was not aware that Rajeshwari Sachdev was also one of such actors until recently while checking her filmography. She has worked on stage, television and films. She is also a singer and a dancer.
Rajeshwari Sachdev (real name: Raj Kaur Sachdev) was born on 14/04/1975 and studied in Mumbai. Her father, Inderjeet Singh Sachdev is a Sikh while her mother, Meenakshi Iyer is a Tamilian from Pallakad. Both were associated with Indian People’s Theatre Association (IPTA). She graduated from Khalsa College and completed post graduation in English literature from Mumbai University. She learnt Bharatanatyam dance from the age of 5 and continued till 14 years. With her parents connected with IPTA, Rajeshwari was exposed to theaters in her early age as a child artist. She also participated in her school plays.
Interestingly, Rajeshwari made her debut in a Marathi Film, ‘Aaytya Gharaat Gharoba’ (1991) directed by Sachin Pilgaonkar in which she was paired with Laxmikant Berde. For this film, her name was changed from Raj Kaur Sachdev to Rajeshwari Sachdev, the name which continues in all her subsequent films. She got the Maharashtra State Government Award for the Best Actress for this film. Next, she got selected for Shyam Benegal’s ‘Sooraj Ka Saatwaan Ghoda’ (1992) which was her first Hindi film. Soon after, the film’s shooting was completed, Rajeshwari got selected for playing Yashodhara’s role in ‘Little Buddha’ (1993), an international film co-production of France, Italy and the UK. (Rajeshwari’s early prsofile is based on her interview with Aparajita Krishna which was published in The Daily Eye).
In 1994, Rajeshwari worked in two films – ‘Mammo’ (1994), directed by Shyam Benegal in which she had a small role and ‘Triyaacharitra’ (1994), directed by Basu Chatterjee in which she was in the lead role. She has so far worked in 18 Hindi films which includes, other than the films referred to above, ‘Sardari Begum’ (1996), ‘Samar’ (1999), ‘Hari Bhari’ (2000), ‘Bose: The Forgotten Hero’ (2005), ‘Welcome To Sajjanpur’ (2008), ‘Baazaar-e-Husn’ (2013), ‘Nazar Andaaz’ (2022). She has also acted in Marathi ‘middle of the road’ films such as ‘Aaramb’ (2011), ‘Samhita’ (2013), ‘Ek Saangaychay’ (2018), ‘Dombivali Return’ (2019) and ‘Firebrand’ (2019).
Rajeshwari was also active on the Television serials which included ‘Margarita’ (1997), ‘Gubbaare’ (1999), ‘Kahaani Ghar Ghar Ki’ (2003), ‘Samvidhaan’ (2014), ‘Peshwa Bajirao’ (2017) etc. In the recent period, Rajeshwari has acted in a Hindi play ‘Shabdleela’ along with her husband, Varun Badola. Varun Badola is the son of Vishwa Mohan Badola, a very famous actor on the Delhi theater circuit and Delhi AIR.
I have so far watched about half-a-dozen films in which Rajeshwari Sachdev had acted whether in small or lead roles. One of her best performance I feel she has given is in the off-beat film, ‘Triyaacharitra’ (1994). It was only her third film and that too opposite two stalwarts, Om Puri and Nasiruddin Shah.
‘Triyaacharitra’ (1994) was produced by NFDC and Doordarshan and was directed by Basu Chatterjee. The cast included Om Puri, Nasiruddin Shah, Rajeshwari Sachdev, Vijay Kashyap, Deepak Qazir, Mansi Upadhyay, Inderjeet Sachdev, Radha Asrani, Kanika Shivpuri, SM Zaheer etc. The film was based on Shivamurhty’s novel of the same title. In this film, Inderjeet Sachdev, Rajeshwari’s real father donned the role of her father in the film as well. Basu Chatterjee offered Rajeshwari to play a pivotal role in the film after watching one of her Hindi plays. The film was majorly shot in around Allahabad (now Prayagraj).
The story of the film is a heart-wrenching one. It is a commentary on the oppressive patriarchal society of the rural India. At the same time, it is not about male versus female but goes beyond by highlighting as to why such things happen. The detailed story is as under:
Bimli (Rajeshwari) is the daughter of a poor farmer (Inderjeet Sachdev) and his wife (Radha Asrani) who had been betrothed to a village boy during their childhood. Now Bimli is working in a brick kiln and earning money to take care of her parents. Her husband has been working as a laborer in Kolkata whose face she has not seen for years. There is no communication from him either to his own father, Bisram (Nasiruddin Shah) or to Bimli.
Bimli also work as a part time cook for Brick-kiln owner (Deepak Qazir) to serve food to his workers. There are some admirers of Bimli in the brick-kiln which include a manager (Vijay Kashyap), a tractor driver and a truck driver, Billar (Om Puri) who brings truck load of coal for brick making. She has a friendly disposition towards him and Billar assumes that she is attracted to him. He starts flirting with her. However, Bimli sternly reminds him that she is married and he has also a wife.
Billar is hopeful that as Bimli’s husband has not returned from Kolkata for a long time, she would eventually agree to be his wife. He also keeps Bimli’s father happy with regular supply of tobacco for chewing and bottles of liquor for his consumption. One day, Billar gives her a gift of new saaree which she refuses to accept by telling that she knows the purpose of his gift. She makes it very clear to him that though she likes his company, she will continue to be faithful to her husband.
In an adjoining village, Bimli’s father-in-law, Bisram lives alone in his hutment. He is fond of sensual pleasure having affairs with a woman. He is uncomfortable with the rumor of Bimli’s ‘affair’ with the truck driver and going out with other men for village festival. He decides to recall Bimli to his home by arranging the ‘gauna’ (consummations of marriage) ceremony. Bimli’s parents are reluctant for gauna ceremony as her husband has not yet returned from Kolkata. However, Bisram forces them to perform the gauna ceremony in the guise of her ‘rumored affair’ and returns with Bimli in his hutment.
Bimli is respectful to her father-in-law and takes care of him. Bisram on the other hand does not call his son to join Bimli as his intention is to use her as an object of satisfying his sexual desire. In one evening, after his drinks, he tries to molest Bimli. With a knife in her hand for protection, she pushes him out of the house and locks the door. Bisram goes to a temple and spends the night there. Next day morning, Bisram returns home and offers his apology for his misbehavior. Under pressure from panchaayat members, Bisram decides to stay separately in a new hutment leaving his old hutment for Bimli. He spends most of his time praying in the temple.
After a couple of days, Bisram returns from the temple bringing with him a glass of milk as offerings from the temple which he has mixed with drug. Bimli consumes the milk as offering from the temple and soon falls into a deep slumber on the floor. Bisram returns and rapes her after which he spends night in the temple.
Next day, Bisram finds Bimli missing from her hut. She has already realized what happened to her in the night. She leaves the village with the intention of going to Kolkata in search of her husband. Bisram sends his men to locate her at the railway station. In the meanwhile, Bisram has already created enough alibis after which he calls for a panchaayat meeting where his men has brought Bimli and presented before the panchaayat. The panchaayat members are not prepared to go with what Bimli’s presentation of the actual happenings but go by the circumstantial evidences presented by Bisram. The panchaayat declares Bimli guilty and awards punishment to her by way of creating scar on her body by a red-hot iron rod by Bisram who has actually raped her. What an irony!
For the viewers of the film, it is known as to what has actually happened to Bimli. But for panchaayat members, the version presented by Bisram appears to them more reliable thanks to the alibis created by him. At the end of the panchaayat meeting, the temple’s priest says “. . .it is difficult to understand triyaacharitra” and he utters a shloka, “triyaacharitram purushasya bhaagyam”. I did not understand the context of the shloka in the film. A internet search revealed that ‘triya’ means ‘woman’. I also came across a shloka which is attributed to Manu Smriti (Writings of Sage Manu)
Triya charitram purushasya bhagyam
Devo na jaanati kuto manushya
(why man, even God cannot predict a woman’s character and a man’s destiny).
I am not sure whether the shloka connotes the positive or negative traits about Bimli in the film. I found the character of Bimli (Rajeshwari) very strong until she was outmaneuvered by Bisram at the end. Bimli’s story is incomplete as what happens to her in the aftermath of the punishment is unknown to the viewers. Probably, the writer has left to the imagination of the readers of the novel and the viewers of the film. I have read another interpretation of the word, ‘triyaacharitram‘ that a woman can kill her husband or jump on the pyre of her husband. Her character is unpredictabe. So, Bimli can either take revenge against her father-in-law or meekly shifts to her parents’ house.
By the way, why not ‘purushasya charitram and triya bhagyam’?
The film had two songs written by Yogesh Gaud and set to music by Salil Chowdhury. I am presenting the first song from the film, “Ho Aaya Dekho Re Salonaa Din” to appear on the Blog. The song is rendered by Sonu Nigam and Antara Chowdhury. The song is picturised on Rajeshwari and on a dholak player. Vijay Kashyap among other travelers is also seen in the song sequence. The song has been written in colloquial Hindi, probably using Awadhi words and giving a feel of a folk song. Incidentally, the film’s story is based around Prayagraj and Yogesh Gaud, the lyricist of the song, hailed from Awadh (Lucknow).
The background of the song is that on the occasion of Makar Sankranti, Rajeshwari and her other brick-kiln workers go to a village fair on a tractor. Bimli (Rajeshwari) travels with some male workers and roams with them till late night which gets reported to her father-in-law, Bisram. He later uses this as one of the evidences aganst Bimli in panchaayat, depicting her of loose character.
Video Clip:
Audio Clip:
Song-Ho aaya dekho re salona din (Triyaacharitra) (1994) Singers-Sonu Nigam, Antara Chowdhury, Lyrics-Yogesh, MD-Salil Chaudhary
Both
Lyrics:
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora mann
dhinak dhin
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora man
dhinak dhin
ho aaya dekho re salona din
salona din
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
jikraa se nain ladey jo saayad
arre jikraa se nain ladey jo saayad
jeewan ki dagariyaa pe
jeewan ki dagariyaa pe
mahak uthhe re chandan
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
kauno chankaawe jhaanjhar kauno
arey kauno chankaawe jhaanjhar kauno
khankaawe kanganwaa re
khankaawe kanganwaa re
khanan khanan khankhan
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan mora man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
chhalak chhalak gayi rut pe ras ki gagri re
phulwaa ki aaj sugandh chaun dis bikhri re
chalak chalak gayi rut pe ras ki gagri re
phulwa ki aaj sugandh chaun dis bikhri re
ho jiyaraa hamraa besudh hoyi ke
jiyaraa hamraa besudh hoyi ke
rasiyaa kauno bhanwraa saa
rasiyaa kauno bhanwraa saa
karat hai ab gun gun
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
जिकरा से नैन लड़ें जो सायद
अरे जिकरा से नैन लड़ें जो सायद
जीवन की डगरीया पे
जीवन की डगरीया पे
महक उठे रे चन्दन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
कौनो छंकावे झाँझर कौनो
अरे कौनो छंकावे झाँझर कौनो
खंकावे कंगनवा रे
खंकावे कंगनवा रे
खनन खनन खनखन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
हो जियरा हमार बेसुध होई के
हो जियरा हमार बेसुध होई के
रसिया कौनो भँवरा सा
रसिया कौनो भँवरा सा
करत है अब गुन गुन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
Phool jahaan khilte hain
Posted on: December 21, 2023
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.
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Blog Day : |
5634 | Post No. : | 18123 | Movie Count : |
4867 |
In Hindi film industry, there are a large number of artists and technicians whose hard work contributes to the making of films. But a vast majority of them remain unknown to public at large. For example, if I want to know as to who played a particular musical instrument in prelude, interlude, or postlude music of a song which I liked, there is no way to know the names of the musicians in the film as they were not credited in the films’ credit rolls until the recent times.
In this article, I am presenting an unknown artist who was connected with the Hindi film music for nearly 5 decades. Most of us would have appreciated his works in Hindi film songs without knowing his identity because he had never been credited in the films. He is the man behind almost all the whistles one hears in many songs since 1974. He has played whistles in over 1600 films – both in the songs as well as a part of background music. There are some songs in which his whistling is remembered, like do deewaane ek shahar mein – Gharonda (1977), so gaya ye jahaan so gaya aasmaan – Tezaab (1982), ilu ilu – Saudaagar (1991), sapne mein milti hai – Satyaa (1998), chaand sifaarish jo karta hamaari – Fanaa (2008) and over one thousand more. He was a low-profile artist until the on-line media in the recent times made him known to the public. His name is Nagesh Surve.
A question that comes to my mind is what is so special about whistling by Nagesh Surve which other whistlers do not have. The answer is first, Nagesh Surve can whistle in accordance with the musical notations given by the music directors. Second, he has a God-given gift on his control over the breathing and pushing out the correct air pressure while whistling to generate variations to the sound of whistle as required without breaking the sound. Lastly, he is a Sangeet Visharad from Bhatkhande School of Music which gives him an added advantage of whistling as per the tenets of music. It is for these reasons that Nagesh Surve had almost monopoly in Hindi film music circles as a whistler since 1974 until his daughter, Rupali Surve has emerged as a professional whistler in Hindi film music in recent times.
The life-sketch of Nagesh Surve is not only interesting but it is a role model for those who wish to pursue a vocation in which one is seriously interested. Born in 1949 on Naag Panchami day (hence the name, Nagesh) in Shivaji Park area of Mumbai, his father was working in the secretariat of then Bombay State while his mother was a school teacher. None of his family members had any background of music. Nagesh was blessed with the neighborhood of persons in the music field. Pandit Ramprasad Sharma and music director, Vasant Prabhu stayed in his neighbouring buildings. Vasant Desai stayed on the third floor of his school building who would be ‘in-house’ guest at school functions. V D Savarkar who stayed in an adjoining building of the school used to visit his school for chatting with the students. At that time, Nagesh did not know much about Veer Savarkar. It was very much later he came to know that he had spent some time of his childhood with a great freedom fighter.
Nagesh used to visit Pandit Ramprasad Sharma’s house quite often to meet Pyarelal and his brothers with whom he used to play cricket. He observed that there were a good number of children who came to learn violin from him. Nagesh also join them and learnt violin from Pandit Ramprasad Sharma. Due to injury to his ring finger, Nagesh had to give up playing violin for a couple of years during which he learnt Sitar. During his school days, Nagesh often used to visit Shri Sound Studio where his classmate’s father used to work. His interest in music started with learning from Pandit Ramprasad Sharma. The frequent visits to Shri Sound Studio attracted him to the world of Hindi film music. He dreamt of becoming a music director.
After completing matriculation, Nagesh joined Bhavan’s College with music as his main subject. The college’s music faculty was attached to Bhatkhande Music University, Lucknow. Nagesh completed his Sangeet Visharad and joined as a violinist with Shankar-Jaikishan. Thereafter, he worked mostly as a free-lancer, working with Shankar-Jaikishan, S D Burman, R D Burman, Laxmikant-Pyarelal, Rajesh Roshan, Anand-Milind, Jatin-Lalit etc, playing mostly Sitar and Violin. Sometime, he had also played Taar Shehnai, for example, in ‘Chaandni’ (1989).
There is an interesting trivia as to how Nagesh became a professional whistler in the Hindi film songs. One day, a song recording session was cancelled. So, all the musicians and the arranger, Kishore Sharma who had assembled in the recording studio, decided on an impromptu picnic to Aarey Colony. All were walking in Aarey forest when Kishore Sharma, the music arranger with Kanu Roy heard Nagesh whistling. He found uniqueness in his whistling. He immediately decided that he would use his whistling in Kanu Roy’s song recording scheduled on the next day where Nagesh was to play violin. Thus, Nagesh began his career as a whistler in addition to being a musician.
Within few days after the recording of the song with his whistle, the news spread through musicians to other music directors that Nagesh’s whistling was very unique. Rajesh Roshan invited him to whistle for the song in ‘Julie’ (1975). The producer of ‘Gharonda’ (1977) wanted Jaidev to incorporate Nagesh’s whistle in all the three songs which became very popular. Thereafter, it became a trend to include whistling by Nagesh not only in songs but also in background music. In Heropanti (2014), Nagesh played the whistle in the song, ‘whistle baaja’ picturised on Tiger Shroff to the tune of a flute rendition in ‘Hero’ (1983), picturised on Jackie Shroff.
Nagesh’s greatest moment of his life was in 2006 when one of his friends took Nagesh’s recording of Raag Yaman Kalyan in his whistle and requested Ustad Bismillah Khan to listen. After his listening was over, Ustad ji was told that it was recorded in whistle. He was surprised because he thought that it was a flute recital. Nagesh has been experimenting with whistling some of the popular Hindustani classical raagdaari music. He says that there is some limitations in whistling because of its limited range. Whistling is not possible in low and very high octaves because low octaves will not produce the sound to the extent required and high octaves would break the sound of the whistle.
Nagesh had dreamt of becoming a music director. But in the event, whistling became his main profession. However, in 1977, he got a chance to compose music for a Marathi film, ‘Banya Baapu’ (1977). He gave music direction by adopting a new name, ‘Rishi Raj’. Despite the low budget for music in Marathi films, he used 80-piece orchestra in a couple of songs, thanks to the generosity of his musician-friends. The songs became very popular. Thereafter, he composed songs for about half a dozen Marathi films.
During the peak career of Laxmikant-Pyarelal, Nagesh had given background music to many of their films. However, he did not get credit. Those days, it was not the practice to mention the name of background music director as it was expected that the music director would also handle the background music. Nagesh is disappointed that despite whistling in more than 1600 films so far, he has never been credited on the films’ credit title as such while now a days even a tea boy on the set gets credited.
‘Zakhmi Dil’ (1994) was the only Hindi film for which Nagesh Surve was the music director under the pseudo name, Rishi Raj. The film was produced by Damodar Mudaliar and was directed by Raju Subramanian. The cast included Akshay Kumar and Ashwini Bhave in lead roles supported by Ravi Kishan, Anjali Mudaliar (debutant), Moon Moon Sen, Mehmood, Bindu, Dr Shriram Lagoo, Brij Gopal, Raza Murad, Sudhir Dalvi, Promod Muthu etc. It was a typical mainstream masala film which flopped at the box office.
I watched the film which was an absolute crap. The film is a love triangle with the one-sided involvement of a third girl. The gist of the story of the film is as under:
Jaidev (Akshay Kumar) and Gayatri (Ashwini Bhave) are childhood friends who love each other. However, their marriage plan is thwarted by Gayatri’s father, a landlord who wants her to marry a boy of his choice. They get separated. Akshay Kumar shifts to Mumbai and becomes a successful music director, owning a music company. Mala (Moon Moon Sen) is Jaidev’s lead singer.
Gayatri gives birth to her love child. One day, Gayatri with her child comes to Mumbai and visits Jaidev’s house. She meets Mala who falsely introduces herself as the wife of Jaidev. Gayatri is shocked and goes back to her village without Jaidev knowing that she had visited his house. Jaidev terminates the contract with Mala for her casual approach in her singing. Jaidev is scouting for a new singer, and he finds Vandana (Anjali Mudaliar) who turns out to be an excellent singer.
Jaidev falls in love with Vandana without her being aware of it. However, Vandana is already in love with Abhimanyu (Ravi Kishan) and visits him in Darjeeling. After returning from Darjeeling, both Vandana and Abhimanyu meet Jaidev. Now knowing that they both are in love, Jaidev plans to get them married. However, Jaidev’s business rival (Raza Murad) gets Abhimanyu killed and is planning to eliminate Vandana so as to affect Jaidev’s music company. In this plan, Jaidev’s ex-singer helps him.
Vandana is in a depressed mood. Jaidev reveals her that he had been in love with her and if she agrees, he will marry her. She agrees and they plan to get married. One day, Vandana accidentally meets Gayatri and comes to know the true background. However, Vandana prevents her from meeting Jaidev who is once again unaware of Gayatri’s attempt to meet him. On the wedding day, Vandana gets killed by Jaidev’s business rival. Jaidev is reunited with Gayatri.
‘Zakhmi Dil’ (1994) had 7 songs all written by Sameer which were set to music by Rishi Raj (Nagesh Surve). There is a trivia narrated by Nagesh which is the part of Bollywood politics. He was not invited to the premier of this film. Even film journalists were prevented from interviewing him on the eve of the film’s release. After the release of the film, he had got a couple of offers to compose music for Hindi films. But due to non-availability of song recording studios for month (due to monopoly of the top music directors), the offers went to other music directors. Those days, underworld had a strong grip over the Hindi film fraternity.
I am presenting the first song, ‘phool jahaan khilten hain’ from the film to appear on the Blog. The song is rendered by Kumar Sanu and Sadhana Sargam. This is the first song in the film in which Jaidev and Gayatri in their childhood rehearse the song with their teacher, Sudhir Dalvi outside the school and starts playing afterwards. This scene takes the transition from their childhood to adulthood and sing this song of mutual love. The song is picturised on Akshay Kumar and Ashwini Bhave.
Note: The life sketch of Nagesh Surve and his musical career is mainly based on his two-parts interview taken by Vividh Bharati which is available on a video sharing platform.
Video Clip:
Audio Clip:
Song-Phool jahaan khilte hain (Zakhmi Dil)(1994) Singers-Kumar Sanu, Sadhana Sargam, Lyrics-Sameer, MD-Rishi Raj (Nagesh Surve)
Both
Chorus
Lyrics (based on audio clip):
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
sa re ga
pa ga
sa re ga ma re
gaao
tum bhi gaao
re ga ma
dha ma
pa re ma ga
gaao
sab mil ke gaao
sa re ga
pa ga
sa re ga ma re
re ga ma
dha ma
pa re ma ga
phool jahaan khilte hain
premi wahaan milte hain
log yahaan jalte hain
chalo door chhup jaayen..en
nazar ham na aayen…en
phool jahaan khilte hain
premi wahaan milte hain
log yahaan jalte hain
chalo door chhup jaayen ..en
nazar ham na aayen..en
phool jahaan khilte hain
boloon main kuchh na boloon
bole mere kangnaa
tere siwaa saathhiyaa
bhaaye koi rang naa
yaad karoongi
main teri baaten
ho hoti rahegi ye mulaakaaten
doli leke aaja mere angnaa
doli leke aaja mere angnaa
phool jahaan khilte hain
premi wahaan milte hain
log yahaan jalte hain
chalo door chhup jaayen..en
nazar ham na aayen..en
phool jahaan khilte hain
maine kiya hai yahi faislaa
tujhse kabhi door rahna nahin
jo baat dil mein hai mere sanam
bairi zamaane se kehna nahin
saathh jiyenge
saathh marenge
ho pyaar kabhi kam
ham na karenge
mil ke na doori kaa dard sehnaa
mil ke na doori kaa dard sehnaa
phool jahaan khilte hain
premi wahaan milte hain
log yahaan jalte hain
chalo door chhup jaayen..en
nazar ham na aayen..en
phool jahaan khilte hain
premi wahaan milte hain
log yahaan jalte hain
chalo door chhup jaayen
nazar ham na aayen
phool jahaan khilte hain
[sargam]
haa aaa aaa
haa aaa aaa
haa aaa aaa
haa aaa aaa
haa aaa aaa
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5326 | Post No. : | 17460 |
The other day when this song from the film Takshak(1999) appeared in the blog, it invoked memories of another film song of the same actors, a similar dance song, where Tabu is dancing with a group of girls, in day light this time. The song is from the film “Vijaypath”(1994), already posted in the blogAaiye aapka intezaar thhaa.
This is the only song to appear here. But this movie had other songs which were more popular, and one song became a controversial one. My own favourite song is this song filmed in outdoors, near a magnificent waterfall, parts of the song are filmed at the famed location of Vrindavan Garden in Mysore, which was as common location as Kashmir. It could be more common due to it being in south where more and more films were being made. Shooting for lots of hindi films produced by filmmakers from Mumbai were also largely done in Madras, Hyderabad etc.
The song in question is a romantic song tastefully composed by Anu Malik, and filmed on the same two actors, Tabu and Ajay Devgan. This was early on in both of their film career. Tabu’s first movie with Sanjay Kapoor, made by Boney Kapoor got delayed by several years. As artists both Tabu and Ajay Devgan have come a long way from those early years. Both have won laurels, recognition, and awards. Ajay Devgan was just another star kid, a small star’s kid, launched as action hero cum angry young man. His father being a fight master, he was showcased as a fight and stunt Hero with a soft heart and tendency for romance. He also had to do the song and dance routine with heroines. His movies did well mainly with Kajol, or they turned out to be well. I remember films like “Dil hi to hai” and “pyar to hona hi thha”. After the release of “Kuchh Kuchh hota hai”,Kajol and Ajay Devgan got married. Kajol stopped working for a few years. Making sporadic come backs, in Karan Johar’s films and Ajay Devgan’s home productions.
In this regard, I also remember an article in a film magazine, which gave detailed forecast about the career and personal life of some of the top leading actresses of the time. I remember reading about Tabu and Rani Mukherjee, and the life and career of these two are predicted accurately. Predictions, about careers is understandable, but personal life and life’s struggles, hurdles, how could anyone predict? and they turned out to be very close to what happened to them in general. Rani Mukherjee is a recluse now, just like her husband Aditya Chopra. Both Rani Mukherjee and Tabu were ambitious and serious about their careers, and they got their name and fame, in the film industry. Tabu is active in films and OTT, also. Notable film in recent times is “Drishyam’ and its sequel, which had both Ajay Devgan and Tabu in pivotal characters, giving performances of critical acclaim.
Ajay Devgan’s remarkable films are ‘Zakhm” and ‘Hum Dil de chuke sanam”. I have other songs filmed on him, which I plan to post. But a lingering memory from “Hum Dil De Chuke Sanam”, of a scene, where Ajay Devgan sings “Chingari koyi bhadke to saawan usse bujha de”. I personally like all the songs of ‘Amar Prem” barring this one. And that scene affirmed my not liking the song. People sing and remember many RDB-Kishore-Rajesh Khanna songs, but no one goes to touch this one.
Here is the song, written by Zameer Kazmi, 8 minutes long, for only 3 stanzas, but absorbing one. The singers are Alka Yagnik and Kumar Sanu. The song talks of “mulaquat”, an interesting word in Urdu which means a magnitude of things. For the time being, I will suffice to say that it means, a meeting, an encounter, a surprising coming across, what and what not. Appropriately, there is a restaurant on the main street of a popular weekend destination for Mumbaikars named “Mulaaquat”. I personally do not know of any other place named such.
I have wanted to post this song for a long time now. So here is it, and I have hummed this one to myself many a times, visiting that restaurant.
Audio:
Video:
Song-Raah mein unse mulaaqaat ho gayee (Vijaypath)(1994) Singers-Alka Yagnik, Kumar Sanu, Lyrics-Zameer Kazmi, MD-Anu Malik
both
Lyrics (as per audio)
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
aashiqui wo hi
mere saathh ho gayi ee
aashiqui wo hi
mere saathh ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
har taraf tu nazar
aat hai mujhe
Zindagi taaron ki
Baaraat ho gayi ee
Zindagi taaron ki
Baaraat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha ha aaaa
aa ha ha haaa aaa
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
dhadkan ki tarah
har taraf pyaar ki
barsaat ho gayi ee
har taraf pyaar ki
barsaat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
- In: Amir Mohammed Khan Ather NFS | Amir Mohammed Khan Ather Solo Songs | Amir Mohammed Khan Ather Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | Radio Song | Song of Memories | Songs of 1990s (1991 to 2000) | Songs of 1994 | TV Serial Song | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5149 | Post No. : | 17112 | Movie Count : |
4618 |
The years 1980s and 90s were the golden period of TV serials which used to be telecast on National Doordarshan Channel. The TV Serials of these period might have been lacking in technical specs as compared with that of the current TV serials. But what made these Doordarshan serials very popular was that they were mostly based on down to earth story lines, the good directions, the good performances of the lead and supporting actors and above all the absence of the present TRP dominated TV industry. These factors have made the TV serials of yore unforgettable for most of the the viewers including me. And the proof is that most of these serials had repeat telecasts on a number of times keeping in view the response from the viewers.
Apart from ‘Ramayan’ and ‘Mahabharat’ TV serials which I had watched in my middle-aged years, I had, more or less, regularly watched TV serials like ‘Hum Log’ (1984), ‘Ye Jo Hai Zindagi’ (1984), ‘Karamchand’ (1985), ‘Buniyaad’ (1986), ‘Nukkad’ (1986), ‘Wagle Ki Duniya’ (1988), ‘Gul Gulshan Gulfaam’ (1991), ‘Dekh Bhai Dekh’ (1993), ‘Byomkesh Bakshi’ (1993), ‘Farmaan’ (1994) and ‘Shriman Shrimati’ (1994) etc. For me, watching these serials now on the video sharing platforms, is like reliving my old memories. Those were the days when almost entire family members would sit together in a single room to watch their favorite TV Serials.
‘Farmaan’ (1994) was one of the TV serials of the golden period which I had watched on the TV without missing any of the 14 episodes. The story of the serial was based on the Urdu novel ‘Alampanah’ written by the well-known Urdu writer-poet, Rafia Manzoorul Amin (1930-2008) on the Nawabi culture of Hyderabad which has changed after 1947 and the financial challenges they faced. The serial was produced by Gul Anand for Doordarshan who, apart from producing mainstream Bollywood films, had also produced some off-beat Hindi films such as ‘Khatta-Meetha’ (1978), ‘Chasm-e-Buddoor’ (1981) and ‘Chatran’ (1988). Lekh Tandon who had directed box office successful films like ‘Professor’ (1962), ‘Amrapali’ (1966), ‘Jhuk Gaya Aasmaan’ (1968), ‘Prince’ (1969), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Agar Tum Na Hote’ (1983) among others, directed this TV serial. This was Lekh Tandon’s 4th TV Serials for Doordarshan, the first being ‘Dil Dariya’ (1988) in which he gave Shahrukh Khan his first break as an actor.
Recently, I watched 11 of the 14 episodes of ‘Farmaan’ on a video sharing platform which were uploaded by Prasaar Bharati after re-mastering the VHS tapes of the serial. I watched the remaining 3 episodes in an old video format with less than average audio and video quality. The main cast of ‘Farmaan’ includes Kanwaljit Singh, Deepika Deshpande, Vineeta Malik, Raja Bundela, Navin Nischol, Kalpana Iyer, Neha Sharad, Savita Bajaj etc. In addition, there were about a dozen actors from Hyderabad who played the subsidiary roles in the serial.
The story starts with 23-year old Aiman Shahab (Deepika Deshpande) getting down from the train at Begumpet railway station and proceeding to a Nawabi Palace in a cycle-rickshaw for an interview with Badi Sarkar (Vineeta Malik), a widow and the matriarch of the royal family who is looking for an English knowing Assistant to help her in day-to-day work. She is selected and provided accommodation in the Palace. Azar Nawab (Kanwaljit Singh), the only son of Badi Sarkar looks after the business interest of the family. Other occupants of the Palace Estate are – Tasneem Pasha (Kalpana Iyer), the step sister of Badi Sarkar and a widow; Shahana (Neha Sharad), daughter of Tanseem Pasha; and Basharat Nawab (Raja Bundela). They are financially dependent on Badi Sarkar and mostly while away their time in a care-free manner. Both Tasneem Pasha and her daughter, Shahana have a close friend, Mukhtar Nawab who is disliked by Badi Sarkar because he was the person who induced her husband, Bade Nawab to gambling and lost a lot of money. Waqar Chand (Navin Nischol), the younger brother of Bade Nawab stays in a separate cottage within the Palace Estate. Waqar had been ordered by Bade Nawab not to visit the Palace because he had chosen the profession as an artist. But the actual reason is quite different – he was in love with Badi Sarkar before she got married to Bade Nawab. Waqar Chand also does not want any one to visit his cottage and stays as a recluse bachelor doing painting as his hobby, away from the family of Badi Sarkar.
Over a period of time, Aiman Shahab who was looking timid and unsure of her self confidence in an alien atmosphere, develops friendship with the care-free Basharat Nawab who become her informal guide for the city tour. Everyone in the Palace and in the office like her. Aiman has become indispensable for Badi Sarkar. However, she has problems with Azar Nawab. Her very first encounter with him in a wedding function where he behaves as a predator by forcefully embracing her, develops hatred for him. Her second encounter with him is also not good when he objects and pushes her out for using his estate for her hobby of doing some paintings which she was encouraged to pursue by none other than Waqar Chand. This trend continues for most of the part of the serial whenever they meet each other – professionally or personally. In fact, the aim of Azar Nawab in finding faults with Aiman and passing sarcastic comments seems to reminds her that after all she is sub-servient to Badi Sarkar and to him. But Aiman also gives back her responses to Azar in the same tone to keep him in check.
But behind the façade of the egoism, ruthlessness and sarcasm, Azar Nawab has developed a soft corner for Aiman without she being aware of it. Over a period of time, she also gets impression that inwardly, he is a good human being based on a couple of incidents. For instance, Azar takes out his jeep to follow Aiman to pick her up when he comes to know that she has gone for a walk to the forest area which is infested with wild animals. The second time, when she gets a surprise gift from Azar in which she finds a photo frame of her childhood picture with her deceased parents when he comes to know that Aiman had lost her mother when she was a child and her father when she was in college. Azar had made an all out efforts to get that picture for her from Bengaluru where she was staying with her aunt before taking the present assignment in Hyderabad. Their confrontational attitudes develop into a subtle romance.
After the death of Waqar Chand, Aiman visits Azar Nawab’s office and hands over her resignation from the employment as she did not wish to work in the palace which is embroiled with some unpleasant happenings in the past. As usual, Azar Nawab gets rude with her but later cools down when he comes to know that she has no man in her life including Basharat Nawab. He embraces her not as a predator but as a genuine lover. He asks her whether she loves him too for which she nods in agreement. And the serial ends with this scene.
In line with the story and the time period (post-independence period), director Lekh Tandon chose Hyderabad for major shootings and selected the actual royal palace and the cottage without much of grandeur to lend the reality of the situation for royal families in the post-1947 scenario. Some shooting was also done at Dandeli in Karnataka to cover Azar Nawab’s business interest in timber. The costumes for the main actors were designed by Rafia Manzoorul Amin, the author of the novel, ‘Alampanah’ who kept them very simple. All the main actors had only the light make-up. This simplicity lent credence to the characters in the serial. All the main actors gave fine performances. The sleek direction which avoided overdoing romance and melodrama and the tight editing gave the serial the repeat value for viewers.
‘Farmaan’ (1994) has 6 songs including the title song, details of which are as under:
- Har dil ko sunaate hain farmaan muhabbat kaa – Bhupendar Singh, L: K Razdan, MD: Kishore Desai
- Piya baaz pyaala piya jaaye na – Khan Ather, L: Quli Qutab Shah, MD: Khan Ather
- Rehte rehte chup jhagadna haay re – Khan Ather, L: Unknown, MD: Khan Ather
- Yaad bole to takiye mein gajre ki baas – Khan Ather, L: Sulaiman Khateeb, MD: Khan Ather
- Bujh gaya dil mera – Khan Ather, L: Unknown. MD: Khan Ather
- Iss bazm ki thhodi si mehak – Warsi Brothers, L: Unknown, MD: Khan Ather
I liked all the songs of ‘Farmaan’ which fit very well in the story situations. Since I have to choose only one song for the presentation, I have selected the song, “Yaad Bole ToTakiye Mein Gajre Ki Baas”. It is written by a well-known Dakkhini shayar, Sulaiman Khateeb (1942-1978) who has used some beautiful metaphors for ‘yaad’ (memory) in simple words.
The song is rendered by Amir Mohammed Khan Ather (1953 -13/12/2020), popularly known as Khan Ather) who had also composed music for the song. He was a well-known Hyderabad-based ghazal singer and a die-hard fan of Mohammed Rafi. Since Rafi’s death on July 31, 1980, Khan Ather would pay tributes to the him every year on July 31st by organizing ‘Yaad-E-Rafi’ concerts in which he would sing songs rendered by Rafi Sahab.
Song – Yaad Bole To Takiye Mein Gajre Ki Baas (Farmaan)(TV) (1994) Singer – Amir Mohammed Khan Ather, Lyrics – Sulaiman Khateeb, MD – Amir Mohammed Khan Ather
Lyrics
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
jaise kewade ka kaanta kaleje ke paas
yaad bole to
yaad bole to
yaad bole to bachpan mein chhode so gaaon
jaise panghat ke paani mein Radha ki chhaaon
yaad bole to khaali diwaane ka khwaab
ek bachche kaa jaise adhoora jawaab
yaad bole to palkaan po aansoo ki loat
kaale baadal po chaandi ki chamkili goat
yaad rote so aankhiaan mein gori ka roop
jaise padte so paani mein halki si dhoop
yaad bole to aansoo ki tooti ladi
ghup andhaare mein chhooti huyi phooljhadi
yaad bole to juhi ki khilti kali
sote baalak ke honthon po jaise hansi
yaad bole to akhiyaan jhukaane ka naam
ek naqsha bana ko mitaane kaa naam
yaad bole to dil mein chhupaane ki baat
chup zara soch ko muskuraane ki baat
chup zara soch ko muskuraane ki baat
yaad bole to
yaad bole to
yaad bole to
yaad bole to
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
जैसे केवड़े का काँटा कलेजे के पास
याद बोले तो
याद बोले तो
याद बोले तो बचपन में छोड़े सो गौं
जैसे पनघट के पानी में राधा की छौं
याद बोले तो खाली दीवाने का ख़्वाब
एक बच्चे का जैसे अधूरा जवाब
याद बोले तो पलकां पो आँसू की लोट
काले बादल पो चांदी की चमकीली गोट
याद रोते सो आँखों में गोरी का रूप
जैसे पड़ते सो पानी में हल्की सी धूप
याद बोले तो आँसू की टूटी लड़ी
घुप अंधारे में छूटी हुई फुलझड़ी
याद बोले तो जुही की खिलती काली
सोते बालक के होंठों पे जैसे हंसी
याद बोले तो अखियाँ झुकाने का नाम
एक नक़्शा बना को मिटाने का नाम
याद बोले तो दिल में छुपाने की बात
चुप ज़रा सोच को मुस्कुराने की बात
चुप ज़रा सोच को मुस्कुराने की बात
याद बोले तो
याद बोले तो
याद बोले तो
याद बोले तो
Translation of some Dakkhini words used in the song
baas – बास : Fragrance
khaali – खाली : Only
loat – लोट : Stream
goat – गोट : Embroidery
padte so paani – पड़ते सो पानी : Falling water (Rain)
ghup – घुप : dark
Paas wo aane lage zara zara
Posted on: September 17, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4809 | Post No. : | 16578 | Movie Count : |
4516 |
Hullo Atudom
“Main Khiladi Tu Anari” (1994) was a normal masala- action- emotion- comedy filled movie. It was directed by Sameer Malkan, produced by Champak Jain for Venus Records and Tapes. Dialogues were by Kadar Khan, story by Sachin Bhowmick, lyricists were Anwar Sagar, Maya Govind, Rahat Indori, Rani Malik, Zameer Kazmi and Hasrat Jaipuri. Anu Malik was the music director. It had Shilpa Shetty (in a double role) with Akshay Kumar, Saif Ali Khan, Raageshwari, Shakti Kapoor, Beena, Mukesh Khanna, Shiva, Johnny Lever, and Kadar Khan in the cast. The movie was largely borrowed from the 1991 Hollywood movie ‘The Hard Way’ and some reviews of MKTA said (and I quote) ‘it was a notch above the original because of the presence of one of India’s biggest action stars, martial artist Akshay Kumar’; comparing his martial arts skills to Jean-Claude Van Damme and also praising his stunt work, and concluding that it “is a fun action-comedy” film. It was the second release in 1994 of the Akshay Kumar- Saif Ali Khan duo, the other one being ‘Yeh Dillagi’. It was also Akshay Kumar’s fourth success for 1994 others being ‘Mohra’, ‘Suhaag’ and ‘Elaan’ (all of them being multi-hero movies).
The story involves two brothers -Mukesh Khanna and Akshay Kumar; imaginatively called Arjun and Karan- who are cops. They have a sister – Raageshwari (Shivangi)- who is an ardent, crazy fan of movie star Deepak Kumar (Saif Ali Khan) Then there is the drug dealer- gangster Goli (Shakti Kapoor) whose mistress is the cabaret singer Mona (another unique name 🙂 ). Mona is pumped off by Goli’s henchman (Shiva) when Goli comes to know that she is going to testify against him, and in protecting Mona Inspector Arjun also is killed. Now Karan has only one objective- to book Goli and avenge his brother’s killing. He seeks the help of Basanti -a street dancer who is the replica of Mona (Shilpa Shetty). For this, he has Deepak Kumar masquerading as someone from China Town and transporting Basanti to Goli’s gang with the age-old explanation of Amnesia after falling on the rocks and injury to head etc. Then many things occur in the course of the movie reaching its climax. In between all this, Deepak Kumar falls in love with his fan and Karan’s sister Shivangi- after all she also needs to sing a song no?
For today’s post we are going to have the song that Deepak Kumar and Shivangi sing to proclaim their love; in the voices of Kumar Sanu and Alka Yagnik. This song is one that I have always liked. Only recently I discovered that this one is from the pen of Hasrat Jaipuri: writer of the classics ‘ichak dana bichak dana’; ‘bhanwre ki gunjan hai mera dil’; ‘budtameez kaho ya kaho jaanwar’; ‘yaad kiya dil ne kahan ho tum’; ‘nain so nain naahi milao’; ‘Baat baat mein rootho na’— oh so many songs of his which I have been hearing, listening, humming, singing all along.
This lyricist who was a poet in Urdu and Hindi was a Filmfare award winner for ‘baharo phool barsaao mera mehboob aaya hai’ and ‘Zindagi ek safar hai suhana’ (my personal all time favorite and motto of life). Cannot resist mentioning the lines in ‘Zindagi ek safar hai suhana’: ‘hanste gaate jahaan se guzar, duniya ki tu parwaah na kar, muskuraate huye din bitaana, yahaan kal kyaa ho kisne jaana’.
Hasrat Jaipuri was born in Jaipur as Iqbal Hussain in 1922 (would this be his centenary year?) His education till middle school was in English medium and there after his maternal grandfather tutored him in Persian and Urdu. He began writing verses in his youth around the time when he fell in love with a neighbourhood girl named Radha. This has been the most widely talked-about anecdote in the entertainment industry and how this poem was used by Raj Kapoor in his 1964 film ‘Sangam’ as ‘yeh mera prem patra padhkar’.
As we can see from the above sample, from his long association with films (1949- 2004), it was a mixed-bag of songs, written by Hasrat Jaipuri, that are ever popular. Today, it is 23 years since his passing and we are remembering him with this song from MKTA which is making its debut.
Audio
Video
Song-Paas wo aane lage zara zara (Main Khilaadi Tu Anaadi)(1994) singers-Kumar Sanu, Alka Yagnik, Lyrics-Hasrat Jaipuri, MD-Anu Malik
Lyrics
paas woh aane lage zara zara
nazarein churaane lage zara zara
dil pe woh chhaane lage zara zara
zara zara zara zara zara zara
dhadkanen churaane lage zara zara
paas woh aane lage zara zara
paas woh aane lage zara zara
hume woh chahne lage zara zara
apna banaane lage zara zara
zara zara zara zara zara zara
dil ko dhadkaane lage zara zara
paas woh aane lage zara zara
paas woh aane lage zara zara
o o kehti hai yeh teri paayal
toone kiya mujhe ghaayal ghaayal
shaam savere dil mein mere
toone macha di hulchul hulchul
teri meri prem kahaani
hai saagar ka gehra paani
laakhon din aur laakhon raatein
khatm na hogi apni baatein
neende udaane lage zara zara
apna banaane lage zara zara
humen woh chahne lage zara zara
zara zara zara zara zara zara
dhadkanen churaane lage zara zara
paas woh aane lage zara zara
paas woh aane lage zara zara
ho o aaja mujhko paagal kar de
khushiyon se yeh daaman bhar de
hasrat hai yeh dil mein mere
mehbooba se dulhan kar de
maang mein teri taare bhar doon
chaand ko tera kangan kar doon
phoolon se tasveer banaaoon
kirnon se main roop sajaaoon
dhadkane churaane lage zara zara
saanson mein basaane lage zara zara
paas woh aane lage zara zara
hum bhi unhe chaahne lage zara zara
zara zara
haan zara zara
zara zara
zara zara
zara zara
zara zara
- In: Duet | expression of love | Feelings of heart | Lata song | Lata-S P Balasubramanyam duet | Lyrics by Prakashchandra | Lyrics contributed by readers | S P Balasubramanyam songs | Series of articles | Songs of 1990s (1991 to 2000) | Songs of 1994 | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 11 Comments
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 : |
4784 | Post No. : | 16540 | Movie Count : |
4502 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XLVIII: Year 1994
———————————————————————————————————
In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1994.
In 1994, 116 Hindi movies containing 665 songs were released. Lata Mangeshkar got to sing in 12 of these movies and she sang 39 songs in these movies. So Lata Mangeshkar’s voice was heard in 10 % of the movies released in 1994. Her voice was heard in 5 % of the songs appearing in the movies of 1994.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1994 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | 1942 A love story | R D Burman | 1 | 1 | 1 | 0 | 0 | 0 | Javed Akhtar |
| 2 | Anokha Premyudh | Manoj Saran | 0 | 2 | 0 | 2 | 0 | 0 | Manoj Saran |
| 3 | Chaand Ka Tukda | Mahesh Kishore | 1 | 3 | 2 | 1 | 0 | 0 | Saawan Kumar |
| 4 | Elaan | Shyam Surendra | 0 | 1 | 0 | 1 | 0 | 0 | Rani Malik |
| 5 | Fauj | Ram Laxman | 0 | 1 | 0 | 1 | 0 | 0 | Unknown |
| 6 | Gangster | Jatin Lalit | 0 | 1 | 1 | 0 | 0 | 0 | M G Hashmat |
| 7 | Hum Aapke Hain Kaun | Ram Laxman | 2 | 12 | 3 | 8 | 0 | 1 | Ravindra Rawal (7) Dev Kohli (5) |
| 8 | Insaaniyat | Rajesh Roshan | 0 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 9 | Kanoon | Ram Laxman | 0 | 6 | 1 | 5 | 0 | 0 | Faiz Anwar (3) Rani Malik (2) Maya Govind (1) |
| 10 | Karan | Ram Laxman | 0 | 2 | 0 | 2 | 0 | 0 | Dev Kohli |
| 11 | Prem Shakti | Ram Laxman | 0 | 4 | 1 | 3 | 0 | 0 | Ravindra Rawal(1) Dev Kohli(1) Unknown (2) |
| 12 | Ye Dillagi | Dilip Samir | 0 | 5 | 0 | 4 | 0 | 1 | Sameer |
| Total | 12 movies | 8 MDs | 4 | 39 | 9 | 28 | 0 | 2 | 11 lyricists |
Lata Mangeshkar worked with 8 music directors and 11 lyricists in these 12 movies released in 1994. Laxmikant Pyarelal were the most prolific music directors with Lata, with 661 songs in HFM with Lata Mangeshkar by the end of 1994. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (145), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Rajesh Roshan (110), Bappi Lahiri (110), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3721 songs out of 5117 songs that Lata Mangeshkar had sung in Hindi movies till end of 1994. Anand Bakshi with 693 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (405), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (155). These ten lyricists had penned 3211 songs sung by Lata Mangeshkar till that time.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1994 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 138 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 115 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 150 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 142 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 172 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 174 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 132 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 104 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 189 | 211 | 131 | 68 | 12 | 1 | |
| 1960 | 48 movies | 142 | 166 | 102 | 50 | 9 | 5 | |
| 1961 | 44 movies | 128 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 119 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 105 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 123 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 84 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 105 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 94 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 84 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 78 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 91 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 107 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 99 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 93 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 71 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 61 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 58 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 50 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 59 | 90 | 48 | 34 | 3 | 5 | |
| 1979 | 42 movies | 38 | 66 | 37 | 25 | 2 | 3 | |
| 1980 | 43 movies | 28 | 71 | 43 | 21 | 3 | 4 | |
| 1981 | 46 movies | 40 | 88 | 48 | 34 | 2 | 4 | |
| 1982 | 45 movies | 28 | 82 | 41 | 37 | 1 | 3 | |
| 1983 | 33 movies | 29 | 73 | 36 | 37 | 0 | 0 | |
| 1984 | 39 movies | 11 | 70 | 32 | 33 | 4 | 1 | |
| 1985 | 40 movies | 21 | 72 | 39 | 31 | 0 | 2 | |
| 1986 | 27 movies | 3 | 41 | 22 | 17 | 0 | 2 | |
| 1987 | 12 movies | 4 | 21 | 13 | 8 | 0 | 0 | |
| 1988 | 21 movies | 9 | 43 | 24 | 17 | 1 | 1 | |
| 1989 | 19 movies | 10 | 38 | 20 | 16 | 1 | 1 | |
| 1990 | 9 movies | 4 | 12 | 3 | 9 | 0 | 0 | |
| 1991 | 16 movies | 6 | 57 | 35 | 20 | 1 | 1 | |
| 1992 | 12 movies | 3 | 25 | 12 | 13 | 0 | 0 | |
| 1993 | 14 movies | 3 | 49 | 22 | 23 | 2 | 2 | |
| 1994 | 12 movies | 4 | 39 | 9 | 28 | 0 | 2 | |
| Total upto 1994 | 1836 movies | 3726 | 5122 | 3343 | 1455 | 208 | 116 |
It can be seen from the table of 1994 that Lata Mangeshkar sang 39 songs in 12 movies released in 1994.
4 songs sung by Lata Mangeshkar in movies of 1994 have been covered in the blog. All Lata songs (viz one) from one movie, namely “1942 A love Story” has been covered. That leaves us with 35 songs from 11 movies of 1994 that are yet to be covered.
Alphabetically “Anokha Premyudh”(1994) is the first movie of 1994 that offers us a Lata Mangeshkar song to be covered in the blog.
“Anokha Premyudh”(1994) was a Hindi remake of Telugu movie “Prema Shikharam” (1992). The movie was produced by Manoj Bhatnagar and directed by Satya Gopalram for Sameer Films and studios. The movie had Prashanth, Mamta Kulkarni, Arun Pandiyan, Sitara etc in it.
The movie had seven songs in it. Lata Mangeshkar’s voice figured in two songs (both duets).
Here is one of these duets. It is sung by Lata Mangeshkar and S P Balasubrahmaniam. Lyrics and music are by Manoj Saran.
Prakashchandra sent the lyrics and other details of the movie. He tells us this interestng fact that the lyricist cum Manoj Saan was none other than Manoj Bhatnagar, the producer himself ! Why he felt the need to use another name while composing music is a matter of conjecture. My guess is that he used a suth Indian sounding name, since he was composing in South Indian movies. Personally I find this name more Bihari than South Indian. 🙂
Only the audio of the song is available. I requst our knowledeable readers to throw light on the picturisation of the song. My guess is that it was pictursed on Prashanth and Mamta Kulkarni.
With this song, “Anokha Premyudh”(1994) makes its debut in the blog.
Song-Saajan tere seene mein meri dhadkan(Anokha Premyudh)(1994) Singers-Lata, S P Balasubrahmanyam, Lyrics-Manoj Saran, MD-Manoj Saran
Chorus
Lyrics (Provided by Prakashchandra)
o o o o
saajan n n
tere seeney mein meri dhadkan n
sajnee ee
tere seene mein meri dhadkan
baajey to mehkey
ye chandan saa badan mera tann mann
baajey to mehkey
ye dharti aur gagan n
saajan n n
tera meraa pyaar ho amar r r
sajnee ee ee
teraa meraa pyaar ho amar r r
ho oo o
ho oo
jhumm jhumm
jhumm jhumm
jhumm jhumm jhumm jhumm
jhumm jhumm jhumm jhumm
jhumm jhumm jhumm jhumm
jhumm jhumm jhumm jhumm
jhumm jhumm jhumm jhumm
jhumm jhumm jhumm jhumm
jeevan ek melaa hai
yahaan har akelaa hai
tujhko paa ke laagaa aaa
jaisey koyee meraa hai
ohho hhohhoo
hhohho ohhho
jeevan ik melaa hai
yahaan har akelaa hai
tujhko paa ke laagaa
jaisey koyee meraa hai ae
aisaa laagey aey ae (aaaa..aaa)
o o o o (aaaa..aaa)
jag bin tere aey ae
deewaali mein aen aen aen (aaaaa..aaa)
oo o oo (aaa..aaaa)
hon andherey
tera mera paawan bandhan
janm janmon ka hai sambandh
mil hee jaatey hain do panchchi
udtey udtey kaheen door gagan
saajan n n n n
tera meraa pyaar ho amar r r
sajnee ee ee
teraa meraa pyaar ho amar r r r
ho oo o
oho o ho
laaallaala
laaallaala
ho o o
ooo oo
oooo
oooo
laalallaaa lala
laalaallaa lala
laalallaaa laalaaa
laalaallaa lala
laalallaaa laalaaa
laalaallaa lala
geeton ne pukaaraa hai
phoolon ne sanwaaraa hai
teraa mera pyaar sangeet ne nikhaaraa hai
ohho ohho
ohho ohho
geeton ne pukaaraa hai
phoolon ne sanwaaraa hai
teraa mera pyaar sangeet ne nikhaaraa hai
tujhko dekhaa aa aaaa aaa (aaaa..aaa..aaa)
dil ye kehtaa..aaa (aaaa..aaaa)
tujh bin jeevan (aaaa..aaaa..aaaa)
oo o oo o (aaaa..aaaa..aaa)
banjar hotaa aaa(aaaaa)
jab se miley tosey nain sanam
tab se laagee ye prem agan
uss din ki main raah takoon
jis din banoongi teri dulhan
saajan n n n
terey seeney mein meri dhadkan
sajnee ee eee
tere seeney mein meri dhadkan
baajey
to mehkey
ye chandan saa badan mera tann mann
baajey to mehkey
ye dharti aur gagan n n
saajan n n n
tera meraa pyaar ho amar r r
o o o o o
hmmm hmmmm mmmmmmm
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4725 | Post No. : | 16439 |
Hullo Atuldom
“Andaaz Apna Apna” which released in November 1994 was a comedy, laugh riot, and a ‘comedy of errors’ which had nothing to do with the original ‘comedy of errors’. I am a huge fan of this movie and so is every member of my family. There is always a smile playing on the lips, waiting to turn into a burst of laughter, whenever we discover the movie on any channel. The comedy was in the scenes and dialogues. The movie had stand-out characters that have stayed in public memory after all the intervening 27 years.
Think of Deven Verma being hoodwinked by his ‘get-rich-quick-scheming’ son Aamir Khan (playing Amar) and you smile or grin. Specially when the son tells the father “main aaj bahut khush hoon” and the father replies “tu jab bhi khush hua hai mera kuch na kuch nuksaan hua hai” and proceeds to list a few incidents. Then we have the barber Jagdeep getting similar treatment from his son Salman Khan (playing Prem). The scene that happens between Mehmood (who plays a casting agent) and Jagdeep is another standout. One thing about this comedy movie was we had seasoned players like Deven Verma, Jagdeep, Mehmood and Aamir Khan who (imho) thought making faces (contorting is not the right word) and Salman Khan who thought saying ‘aila’ in a squeaky tone was comedy. The ladies were spared as they didn’t need to be comic as also the father character of Paresh Rawal. Shakti Kapoor’s character ‘crime-master Gogo’ was more comic than scary as was Paresh Rawal’s Teja (character). Crime-master Gogo’s oneliner (Takiya kalaam) “aaya hoon kuch na kuch leke jaoonga” used to be oft-quoted in my family. The story tried to create comedy by giving the male lead actors filmy names of Amar and Prem trying to pay tribute to the 70s classic.
To have an idea about the movie we should read this post which was written by SURPRISE! (re-visit the post to find out)
Tushar Bhatia was the music director of this movie which had 6 songs. As per this article two songs were deleted from the movie to give it a better look (I suppose). Majrooh Sultanpuri was the lyricist and Asha Bhonsle, Abhijeet, S P Balasubramanyam, were the playback singers with a few new names Behrouz Chatterjee, Mangal Singh, Vicky Mehta which were heard for the first time in Bollywood.
Today’s song has Salman Khan serenading the millionaire, heiress Raveena with a song and dance in the middle of the night but with a tiny “dholak” instead of a guitar or violin (as is the general norm for this kind of situations). It is only at the end of the song that Salman (Prem) realizes that the lady with him is Karisma and not Raveena. We have Amar (Aamir Khan) first thinking that Raveena is the one who is responding to Prem but his fears are laid to rest when he sees Raveena outside his window. Then we have Shehzad Khan (a spitting image of his father Ajit) and Viju Khote (playing helpers around the household) also enjoying this midnight entertainment.
Incidentally, the girls switch names, in the movie, to test prospective grooms so Karisma Kapoor who is the actual Raveena (daughter of the millionaire) introduces Raveena Tandon as Karisma (who is the daughter of the millionaire’s munim). So, there is a bit of confusion in the minds of Amar and Prem once the girls reveal their true names and identity. Hope the situation is clear and we now get on to the song which is sung by Asha (Tai) and SPB (Balu Sir)
With this post we also wish Lolo on turning a year younger. Lolo which is the pet name of Karisma Kapoor, the first person from the fifth generation of the Kapoor Khandan to step into Bollywood and carve a niche for herself. She made a name for herself enacting a variety of roles from plain inane to high voltage emotional characters. We saw her play a serious character in the song which was posted two years back. Today we will see her with a cute and endearing smile.
Audio
Video
Song-Ye raat aur ye doori tera milna hai zaroori (Andaaz Apna Apna)(1994) Singer-S P Balasubrahmaniam, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Tushar Bhatia
Lyrics
ye raat aur ye doori,
tera milna hai zaroori
ye raat aur ye doori
tera milna hai zaroori
ke dil mera
ke dil mera dhak dhak doley
deewana liye jaaye hichkoley
ke dil mera dhak dhak doley,
deewaana liye jaaye hichkoley
ye raat aur ye doori
tera milna hai zaroori
ye raat aur ye doori
tera milna hai zaroori
ke dil mera
ke dil mera dhak dhak doley
deewana liye jaaye hichkoley
ke dil mera dhak dhak doley
deewana liye jaaye hichkoley
ye raat aur ye doori
kehna chaahoon tumse ae
tumse main kitni baatein
iss hasrat mein kaatin
kaatin hain kitni raatein
kehna chaahoon tumse
main kitni baatein
iss hasrat mein kaatin
hain kitni raatein
tu chhat par aa bhi ja,
jhalak dikhla bhi ja
tu chhat par aa bhi ja
jhalak dikhla bhi ja
haa haaa haa haaa
haal hai jo tera
wahi haal mera
haal hai jo tera
wahi haal mera,
piya haal wahi hai mera
karoon pyaar chori chori
tauba itni majboori
karoon pyaar chori chori
tauba itni majboori
ke dil mera
ke dil mera dhak dhak doley
deewaana liye jaaye hichkoley
ke dil mera dhak dhak doley
deewaana liye jaaye hichkoley
ye raat aur ye doori
ho o o
ho o o
ho o o ho o o
sun le mere khwaabon ki,
khwaabon ki o shehzaadi
aawaazein deta hai,
deta hai kab se fariyaadi
sun le mere khwaabon ki o shehzaadi
arre aawaazein deta hai kab se fariyaadi
sitamgar aa bhi ja aa,
karam farma bhi ja
sitamgar aa bhi ja,
karam farma bhi ja
haa haa haa haa
dard hai jo tera
wahi dard mera
dard hai jo tera
wahi dard mera
piya dard wahi hai mera
karoon pyaar chori chori
tauba itni majboori
karoon pyaar chori chori
tauba itni majboori
ke dil mera
ke dil mera dhak dhak doley
deewana liye jaaye hichkoley
ke dil mera dhak dhak doley
deewana liye jaaye hichkoley
ye raat aur ye doori
tera milna hai zaroori
ye raat aur ye doori
tera milna hai zaroori
ke dil mera
ke dil mera dhak dhak doley
deewana liye jaaye hichhkoley
ke dil mera
dhak dhak doley
deewana liye
jaaye hichkoley
ke dil mera
deewaana liye
ke dil mera
deewaana liye
ke dil mera
Premika ne pyaar se jo bhi de diyaa
Posted on: June 4, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4704 | Post No. : | 16408 | Movie Count : |
4459 |
Hullo Atuldom
Today is the first birthday of Balu sir after he left us due to Covid related complications. The singer, actor, music director, dubbing artist, television presenter and film producer Sripathi Panditaradhyula Balasubrahmanyam a.k.a S.P. Balasubrahmanyam would have turned 75.
He was a huge bhakt of Mohd. Rafi. There are various video available in the public domain where he has stated this.
Last year our Nahmji had poured her heart into this post when the news of Balu sir’s passing broke on the news channels. And our Pradeepji had written his feelings in the comments to this post. Those were the feelings of practically all his fans.
But I don’t want to make this into a sad tribute as Balu Sir was a very lively person. He was a live-wire in his shows and performances on stage. He had a great hold on his art. And he was an automatic choice for giving playback when Southern superstar Kamal Haasan made his debut in Hindi films.
He played the hero’s friend (who is a singer) in the 1981 remake of the 1953 Telugu hit ‘Pakkinti Ammayi’. The remake was also called ‘Pakkinti Ammayi’. And no marks for guessing that these were the Telugu remakes of the Bengali original ‘Pasher Bari’ which was the inspiration for ‘Padosan’. ‘Pakkinti Ammayi’ was possibly Balu Sir’s acting debut. Before that he had done guest appearances in a movie or two. Hope that explains why I have listed him as an actor in the opening para. This was not his only acting assignment.
I have seen a Tamil movie in the late ’80s where he played a 40-year-old widower father to a teenage daughter. His was a natural and effortless acting. The highlight of the movie was a song in which he sings the antaras in a single breath. The director of the movie had asked Balu Sir if he could do the entire five minute song in a single breath and the singer was said to have replied that then he would have to find someone else to complete the movie as it was impossible to sing a song of that length in one shot. 🙂
There was one other movie, again in Tamil, where he played a good-natured cop and friendly father to Prabhu Deva. This was the movie with which audiences got to see Prabhu Deva the dancer for the first time and SPB as his father was simply too adorable. And he had acted in many Telugu and Tamil till 2018. He was seen in a few Kannada movies too and one Malayalam movie.
He was the default choice when it came to dubbing Tamil movies into Telugu (and the other way too) for Kamal Haasan till 2010. He had dubbed for Ben Kingsley when Gandhi was released in Telugu. He gave voice for seven characters (including the female character) in the Telugu version of Kamal Haasan’s Dasavathaaram out of the 10 characters that Kamal played.
His work in Hindi films began with “Ek Duje Ke Liye” as we all know and was the preferred voice for Salman Khan in some of his initial movies. And he has sung for many movies the last of which was ‘Chennai Express’ and the dubbed version of ‘Linga” in 2014.
He had hosted and judged the Telugu and Kannada equivalent of Indian Idol.
He was a recipient of Padma Shri (2001), Padma Bhushan (2011) and Padma Vibhushan (announced this year). He has won 6 National awards for Best Singer for songs in Tamil, Telugu, Kannada and Hindi. He has records for recording 21 songs in a day in Kannada, as also 19 Tamil songs in a day. He is said to have done something similar in Hindi also.
Personally I am a huge fan of this personality and would have loved to post that Tamil song where he has sung the Antaras in a breath. But I am settling for the dubbed version of his song/dance with Prabhu Deva from the dubbed movie ‘Humse Hain Muqabala’. It’s Tamil original was “Kadhalan” (‘Loverboy’ that released in 1994). It had a cast of Nagma, Prabhu Deva, Girish Karnad, Raghuvaran and S P Balasubrahmanyam. It was directed by S. Shankar who has made movies that had a lot of special effects of which we can see samples in the songs of this movie too. A R Rehman was the music composer. The songs for the dubbed Hindi movie were written by P K Mishra. Today’s song is in the voices of Udit Narayan, SPB and his daughter SPB Pallavi. The same trio sang this in the Tamil movie too.
Tamil original
Audio – Hindi
Video – Hindi
Song-Premika ne pyaar se jo bhi de diya (Humse Hai Muqaabla)(1994) Singers-Udit Narayan, S P Balasubrahmaniam, SPB Pallavi, Lyrics-P K Mishra, MD-A R Rahman
Lyrics
tara tara tara tara ra ra
tara tara tara tara ra ra
premika ne pyar se jo bhi de diya
tere vaaste hai neelam jaisa
premika ne pyar se jo bhi chhu liya
tere vaaste hai sone jaisa
premika ko teerth maano
pyar ko bhi swarg jaano
pyar ke sangeet mein
mm hmm mohini suraagini
pyar ke sangeet mein
mm hmm mohini suraagini
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
sa ni sa aa
sa re ga re
sa ni pa ni
sa ni sa aa
sa ga ma ma pa ga re sa
sa ni sa aa
sa re ga re
sa ni pa ni
sa ni sa aa
sa ga ma ma pa ga re sa
tara tara ra ra
tara tara ra ra
premika ne pyar se jo bhi likh diya
mere vaaste hai kavya ke samaan
dilruba ne pyar se jo bhi de diya
mere vaaste prasaad ke samaan
phool mala do rupaiya
teri zulf mein sajaa phool sau rupaiya
jo mithaai ek rupaiya
tumne munh laga ke mujhko di
toh lakh rupaiya
hmm hmm hmm
hmm hmm hmm
saajana ne pyar se chhu liya jinhe
woh shool hai phool jaise
saajana ne pyar se chhu liya jinhe
woh shool hai phool jaise
premika ko teerth maano,
pyar ko bhi swarg jaano
pyar ke sangeet mein
mm hmm mohini suraagini
pyar ke sangeet mein
mm hmm mohini suraagini
pyar kabhi waqt-faqt dekhta nahin
har ek waqt hai theek pyar mein
pyar kabhi rang-roop dekhta nahin
kaaluraam bhi hai theek pyar mein
prem-jyoti na bujhegi
aaj hamdam kuchh to prem kar le
yahaan maan apmaan to kuch bhi nahin
ye haqeeqat duniya samajhti nahin
badale yeh zameen aasmaan
par chaahaten nahin badale
laila-majnu pyaar ki woh
dastaan poochhe inn hawaaon mein
saajan teri chaahaton mein dil mera
kho gaya teri chaahaton mein kho gaya
saajan teri chaahaton mein dil mera
kho gaya ye dil tumhaara ho gaya
tara tara tara tara ra ra
tara tara tara tara ra ra
Love rap
Posted on: January 1, 2021
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 : |
4550 | Post No. : | 16136 | Movie Count : |
4398 |
Hullo Atuldom
A very Happy New Year to the followers of the blog who go by the name Atulites. Here is wishing everyone a year different from the last.
This post is not an attempt at “This day that year” or for the “blog ten year challenge” category. Out of curiosity I just checked out the closing posts of December 2010 and opening of the year 2011. Was surprised that the last post of 2010 was on 29th December. Avinashji’s post gives details of that date. The next post was on January 1st. Saajna din bahure hamaare and Mere barbaad hone ka nazaara dekhne aale were the two songs posted. Going by the lyrics of the two songs it is obvious that they were not dedicated New Year songs or even feel good or party style songs. (I am not complaining because they are melodious). I would love to know which was the first dedicated New Year song ever, posted on the blog. My guess is it could be Saal mubaarak saahib jee by Sudhirji.
My first post for this year is a dance number. It features Bindu- the brilliant dancer from my growing up years, Atul Agnihotri, Mamta Kulkarni and Nana Patekar. It is sung by Amit Kumar, Sapna Mukherjee, Sudesh Bhonsle and Poornima (who sang as Sushma Shrestha in her childhood). It is from the 1994 released Mehul Kumar directed “Krantiveer”.
The movie was the story of a young boy who runs away from home after his doting but strict mother catches him going wayward. The boy lands up in Mumbai, and ends up saving the life of a young boy (Atul Agnihotri). The boy’s father (Paresh Rawal) takes a liking towards the child and takes him under his care . The two kids grow up, the runaway lad turns out to be Pratap (Nana Patekar). From here the story meanders through the usual masala of basti, landlord, corrupt police- judges, rich girl-middle class lad love story, killers revenge etc. There is an added character of a journalist (Dimple) who is trying to expose all things wrong in the area, through her writings. There is a at times serious and sympathetic at other times relation between Pratap and Megha (Dimple).
There have been songs in Rap style in the past too but the ’90s saw a surge in their numbersand a few regular artists followed the footsteps of singers like Bally Sagoo, Bali Brahmabhatt etc. who introduced it to music lovers with songs like “amma dekh tera munda bigda jaaye”, “aaja meri gaadi mein baith jaa” etc which were patronised by some newly formed music recording companies. Today’s “Love Rap” is written by Sameer and Anand-Milind are the music composers. This type was popular on dance floors then and the turn of the century has seen bhangda style songs ruling the air waves. Let us see what the new decade holds for music lovers.
Incidentally, January 1st happens to be Nana Patekars’ date of birth. He turns 70!!!! He has been around in the entertainment business since the ’70s with “Gaman” being his Hindi debut. Nana, along with Irrfan Khan (whom we lost last year, may his soul rest in peace) is the only actor to have won the Filmfare award in the categories of Best Actor, Best Supporting Actor and Best Villain. He has won 3 National Awards and is a Padma Shri too. He does a lot of charity without tom-toming about it. Here is wishing him health and happiness in future too.
Audio
Video
Song-Love Rap (Krantiveer) (1994) Singer-Amit Kumar, Poornima , Sudesh Bhonsle, Sapna Mukherjee, Lyrics-Sameer, MD-Anand Milind
Male chorus
Female chorus
Amit Kumar + Male chorus
Sushma Shreshtha + Female chorus
All chorus
Lyrics
love rap
love rap
love rap
aaaaaaaa
o maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jaao doctor ko bulao
oye
nabz dikhao mera haal bataao
oye
jaao jaao jaldi jaao doctor ko bulao
oye
nabz dikhaao mera haal batao
oye
oooo
aaaa
(wow!)
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyar ka bukhaar
dhak dhak
my heart is beating
dhak dhak
my pulse is missing
dhak dhak
i think I am collapsing
dhak dhak
haaye re haaye re haaye main gaya
maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jaao doctor ko bulao
oye
nabz dikhaao mera haal batao
oye
jaao jaao jaldi jao doctor ko bulao
oye
nabz dikhaao mera haal bataao
oye
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyaar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin yeh hai pyaar ka bukhaar
dhak dhak
dhak dhak
dhak dhak
dhak dhak
we don’t want palace we don’t want name
we don’t want money we don’t want fame
we don’t want bungalow we don’t want car
we want only love
we want only pyaar
balle balle balle balle balle
oye kudiye
mehekti jawaani
gulaabi tere gaal
nigaahon mein nasha hai
sharaabi teri chaal
mujhe toh dil jaani
hai tera hi khayaal
na pooch bekaraari
na pooch mera haal
haal haal haal
haal haal haal
(hullo
hullo
mere saath dance karoge
nahin
ae
zara meri aankhon mein aankhen dalke baat karo
hmm
ab tum wahi karoge jo main chaahoongi)
mi paahilya tujha dolencha through
kadhi shambhar ek kadhi shambhar two
tya diwshi zaala fever suru
kadhi shambhar ek kadhi shambbhar two
you know my age
I am thirty plus nine
oh that means you are old wine
koi jaane na kahaan lad jaaye nazar
dekho dekho dil
dekho na umar
na dekh mujhe jaadugar machhali
teri baat lage mujhko nakli
tujhpe mera jadoo chal jaayega
ek din dil tera bhi machal jaayega
aaja aaja aaja aaja aaja aaja aa
chal hat baazu hat
na kar khatpat
mat lapat jhapat natkhat
na kar khatpat
mat lapat jhapat
chal hat baazu hat natkhat hat ja
o maine dekha jab teri nazron ke through
kabhi hundred one kabhi hundred two
uss din se hua fever ye shuru
kabhi hundred one kabhi hundred two
jaao jaao jaldi jao doctor ko bulaao
oye
nabz dikhao mera haal batao
oye
jao jao jaldi jao doctor ko bulao
oye
nabz dikhaao mera haal batao
oye
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin nyeh hai pyaar ka bukhaar
kyun dil karta hai dhak dhak mere yaar
kuchh aur nahin nyeh hai pyaar ka bukhaar
na ishk mein ho generation gap
hum milke karenge aaj
love rap
aaaa
love rap
aaaa
love rap
aaaaaaa
Tu cheez badi hai mast mast
Posted on: October 26, 2020
- In: Dance song | Duet | Guest posts | Kavitha Krishnamurthy Solo Songs | Kavitha Krishnamurthy Songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Multiple version song | Post by Peevesie's mom | Songs of 1990s (1991 to 2000) | Songs of 1994 | Udit Narayan Song | Udit Narayan-Kavita Krishnamoorthy duet | Yearwise breakup of songs
- 4 Comments
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 : |
4483 | Post No. : | 15996 | Movie Count : |
4381 |
Hullo Atuldom
Wishing all a happy Dassera. I know parts of India celebrated the festival on Sunday and parts are celebrating it today. I think that has something to do with the movement of the Moon from one constellation to another or mostly the phases of the moon which doesn’t necessarily follow the Gregorian calendar. I was confused as to the exact date for Vijaya Dashami or Dassehra and put the query to a group of knowledgeable friends and this is the reply I got:
October 23 Friday 7:00 onwards Ashtami
October 24 Saturday 7:00 onwards Navami
October 25 Sunday 7:45 onwards Dashami
October 26 Monday 9:00 onwards Ekadashi.
Now going by that reply we have Dashami till 9 a.m. today but for convenience sake (read working day/ holiday) there are many (in Kerala atleast) who would have celebrated the festival. But for the pandemic even Ram Leela would have come to a close yesterday (Sunday) with RavanDahan, as Dashami was present in the evening hours. Don’t know if it was held this year!!!!
But today’s post is not a lesson on the Panchang that Indians follow and neither am I the competent authority to comment on the Sun, Moon and the planetary movements. As always my post is to wish a celebrity on turning an year older.
This celebrity is the daughter of Producer/ director of ‘Anhonee’, ‘Khel Khel Mein’ ‘Khuddar’ etc.Ravi Tandon’s daughter- Raveena Tandon turns an year older today. She made her debut in 1991, at the age of 17,in a movie produced by G.P.Sippy and directed by Anant Balani “PattharKePhool” which had Salman Khan as the hero. She then went on to act with Sunny Deol, Govinda, Akshay Kumar, Shahrukh Khan, Anil Kapoor. 1994 saw her star in “Zamaane Se Kya Darna” with Sanjay Dutt, “Dilwale” with Suneil Shetty and Ajay Devgan, “Insaniyat” with Sunny Deol, “Imtihaan” with Saif Ali Khan and Sunny Deol, “Laadla” with Anil Kapoor, “Andaz Apna Apna” with Aamir Khan, “Aatish” again Sanjay Dutt and Mohra with Akshay Kumar. She also played herself in a song-cameo in Saif Ali Khan- Akshay Kumar starrer “Main Khiladi Tu Anari” and a role in a Tamil movie in 1994. She took a hiatus post marriage but was seen in a cameo in PuriJagannadh directed “Bbuddah… Hoga Tera Baap” (2011) as she got a chance to do a romantic scene with Amitaabh Bachchan whose sister she had played in “Bade MiyanChhoteMiyan” in the ‘90s. Since 2011 we see her in a movie or two per year plus she has conducted a few shows on television. On her personal front, she had adopted two young girls when they were 10 and 8 when she herself was only in her 20s. After marriage she has two children of her own.
Her most popular song of the 1994 earned her the nickname the ‘mast mast’ girl. Though she has never claimed to be ‘Mast’ meaning wonderful. So also the other birthday personality.
He is our own Rajaji. He is (to use a Hindi expression) a ‘yaaron ka yaar’. He is a devoted family man. He is deeply sensitive and touched by many current occurrences in this world of ours. But the one thing that introduced us to him or shall I say the two things that got us connected to him-Cricket and Hindi Film Music are also dear to his heart.
He can write pages and pages about his love for the works of Sahir Ludhianvi and ponder about what would have been Sahir’s take on the life in this age and time. And he can do the same when he writes posts on his favourite Rajesh Khanna, Dev Anand, Mohd Rafi. He has told me that he can keep listening to Rafi songs all day and night and not tire of it. But that doesn’t mean he doesn’t appreciate Kishore Kumar, Amitabh Bachchan etc. He claims that he is just discovering movies of the 80s which he had banished for their deteriorating quality and quantity, he gives them a “Pass” certificate only no high marks to them. But even there he may relish and enjoy individual scene of the typical masala kind. I am sure he will enjoy the visual that the accompanying song has to offer.
It has the comic cop Paresh Rawal running around trying to dance in step with Akshay Kumar and Raveena Tandon. We have Tej Sapru exchanging a briefcase with an associate (would like to know who it is). Suniel Shetty is stalking them and please keep in mind that Akshay Kumar is a cop in disguise out to catch Tej Sapru and his associate.
This is a new age song which should appeal to the other birthday girl of this group. She is not an active participant and her father is. I hope she is a “Mast” child, meaning wonderful child.
There is another person, my first playmate, who has her birthday today. I cannot imagine how I was as a toddler before she entered my family in the arms of my Mom.
With this post I wish Raveena Tandon, Rajaji and the two unnamed girls “A Very Happy Birthday” May God bless them with lots of Health and Happiness.
(duet version) (video)
(Female solo version) (video)
Song-Tu cheez badi hai mast mast (Mohra)(1994) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Anand Bakshi, MD-Viju Shah
Lyrics (Provided by Avinash Scrapwala)
———————–
Duet version
———————–
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
pa pa
ni ni
sa sa
ma ma
pa ni dh ni
dha pa sa ni
sa ni dh pa
sa ni dh pa
paa ni sa aa
paa ni sa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
ni sa ga ma ni sa ga
sa re
sa re ga ma pa dha ni
sa ni dh pa
sa ni dh pa
sa ni dh pa
bol zaraa tu jaan e mehboobi ee
mujhme aisi kyaa hai khoobi
bol zaraa tu oo
aa aa aa
jaan e mehboobi ee ee
aa aa aa
mujhme aisi kyaa hai khoobi
aa aa aa
tu ik resham ki dor dor
tu ik resham ki dor dor
teri chaal pe aashiq mor mor
teri zulf ghani ee
teri zulf ghani chitchor chor
ghanghor ghataa badmast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
pa pa
ni ni
dh dh dh
ma ma
sa sa
ma ma
pa ni dh ma pa sa ni
sa ni dh pa
sa ni dh pa
?
paa ni sa aa
paa ni sa aa
ye dil teri aankhon mein doobaa aa
ban jaa meri tu mehbooba
ye dil teri aankhon mein doobaa aa
aa aa aa
ban jaa meri tu mehbooba aa
aa aa aa
mat teer nazar ke maar maar
mat teer nazar ke maar maar
ye chot lagegi aar-paar
aasaan
aasaan samajh mat yaar yaar
ye pyaar badaa hai sakht sakht
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
aa aa
————————-
Female solo version
————————-
(sigh & laughing sound)
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera aa
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
o o aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
jaane mera kya naam naam
ho jaane mera kya naam naam
jaane tera kya naam naam
par naam se hai kya
par naam se hai kya kaam kaam
kar jaam ka bandobast mast
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon mast
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
(laughing sound)
o o
rakh yaad magar tu oo
mere deewaane ae
tera kya hogaa anjaam
na jaane ae
rakh yaad magar tu oo
mere deewaane ae ae
tera kya hogaa aa anjaam
na jaane ae
dil kitne toote baar baar
ho kitne toote baar baar
sab aashiq doobe aar paar
shaahon ke ae
shaahon ke chhoote yaar yaar
is pyaar mein taaj o takht takht
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
(laughing sound)
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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