Archive for the ‘Songs of 2008’ Category
Chun chun ke phool le lo
Posted on: August 15, 2022
- In: Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Lyrics contributed by readers | NFS | patriotic NFS | Patriotic song | Post by Sadanand Kamath | Protest song | Shubha Mudgal NFS | Shubha Mudgal Solo Song | Shubha Mudgal Songs | Songs of 2000s (2001 to 2010) | Songs of 2008 | Yearwise breakup of songs
- 12 Comments
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 : |
5141 | Post No. : | 17101 |
Greetings to all the readers of the Blog on the occasion of आजादी का अमृत महोत्सव on the 75th Year of Independence of India today, August 15, 2022. Independence Day is the reminder to all of us about the sacrifices a large number of Indians made during the freedom struggle to achieve independence on August 15, 1947. Thanks to the history books, the present generation is aware of the sacrifices for the independence struggle, made by Mahatma Gandhi, Jawaharlal Nehru, Netaji Subhas Chandra Bose, Sardar Vallabhbhai Patel, Lala Lajpat Rai, Lokmanya Bal Gangadhar Tilak, Bipin Chandra Pal, Shaheed Bhagat Singh, Chandra Shekhar Azad and many more. But lets us not forget to remember hundreds of other freedom fighters whose sacrifices, by and large, remained in anonymity. One such name which I came to know recently was that of Vidyadhari Bai, a tawaif (courtesan) who, apart from composing and singing patriotic songs in her musical performances, she also provided financial and logistic support to freedom fighters.
A few months back, I had purchased Amritlal Nagar’s Hindi book ‘Ye Kothewalian’ (1958) which gives an account of the life of some courtesans of the early 20th Century. In this book, there is a chapter on Vidyadhari Bai of Jesuri in Chandauli block of the then Banaras district. There is also an addenda chapter which gives an account of Mahatma Gandhi’s meeting with some courtesans of Banaras sometime in 1921 during which he advised Vidyadhari Bai to sing nationalist songs while giving her musical performances in big cities and in princely states. Accordingly, she wrote and rendered some patriotic songs in all her concerts. The courtesans of Banaras formed a Tawaif Sabha to support the independence struggle. Husna Bai, one of the prominent courtesans of Banaras chaired the meeting of the Sabha during which she acknowledged that it was at the initiative of Vidyadhari Bai that Tawaif Sabha was formed.
Saba Dewan’s recent book ‘Tawaifnama’ (2019), more or less, confirms that Vidyadhari Bai organised a series of smaller meetings at her home to enthuse other courtesans to the cause of the non-cooperation movement. She was joined in these efforts by another courtesan, Sultana who too had been closely tracking the unfolding political scenario. Both of them prevailed upon Husna Bai to call a meeting of the entire community to work out the details of the agenda. Tawaifs, who actively participated in the mutiny of 1857, would once again have to come forward and contribute their bit to the nationalist cause. This was not just their duty as daughters of India but also the need of the hour if they did not wish to be consigned to the dustbin of history. They also felt that times were changing and tawaifs too would have to keep pace with fast-changing social and political scenarios in India.
Vidyadhari Bai was a contemporary of Gauhar Jaan. She was born in Jesuri village in present Chandauli district. Her grandfather, Purushottam Rai was a musician. There is confusion as to which year she was born – 1874 or 1881? She got musical training from Pandit Ram Sumeru Mishra, a Sarangi player and later from Ustad Naseer Khan of Darbhanga. She started singing in her early teens with Jayadev’s poems. With this, she became so famous that she started getting invitations from royal courts all over India for her concerts. She became the court singer in the court of Raja of Banaras. She excelled in khayaal, taraana, thumri, dadra, tappa, ghazal and bhajans. It is said that her singing voice was so mesmerizing that even the passer-by would be tempted to attend her concerts. She was so popular that in her concerts, to witness her performances, a large number of people were perforce standing in the back due to shortage of space for sitting. Besides Hindi and Urdu, she was a proficient singer in Marathi, Gujarati, Bangla and Punjabi languages.
Vidyadhari Bai was a fashion icon for the ladies of the royal and landlords’ families. However, after Mahatma Gandhi’s call to shun foreign goods, she stopped wearing jewelries and imported cloth. In all her concerts, she would render at least one patriotic song. Probably, she was the first courtesan to perform mujra by singing patriotic songs.
In her native village, Jesuri, Vidyadhari Bai had constructed a one-story bungalow with some out-houses which became the perfect hideout for freedom fighters to avoid arrest from the British police. During this period, she used to provide financial assistance to them besides regularly donating some part of her income for the cause of India’s freedom movements.
In the early 1940s, probably when the old age had caught up with Vidyadhari Bai and with the decline of the tawaif system, she returned to Jesuri and stayed in her house with her brother’s family. Since she used to donate a large part of her earnings for the cause of freedom movements and also help financially the freedom fighters’ families, she did not have much savings during the latter part of her life. During this period, she started teaching musical lessons to students free of charge.
Vidyadhari Bai had a premonition that her end was near. So, she shifted to Mukti Bhavan in Banaras on May 9, 1971. On the very next day, May 10, 1971, she breathed her last in her 90s, unsung and in anonymity. As per her own submission, she did not get any recognition or honor from the Government.
As mentioned earlier, Amritlal Nagar’s ‘Ye Kothewalian’ (1958) included a letter from Vidyadhari Bai about her meeting with Mahatma Gandhi in Banaras. She wrote in the letter that on his suggestion, some courtesans had decided to start their musical performances with renditions of nationalist songs. Lyrics of one such song written and sung by her, “Chun Chun Ke Phool Le Lo” was included in the letter. She said in the letter that she rendered this song in all her performances despite the presence of policemen from the police stations of the areas of her performances for keeping a close watch on the visitors. The song lives on today – it was included in Hindustani classical singer Shubha Mudgal’s album, ‘Swadheenta Samar Geet’ (2008), a collection of songs from the freedom movement.
On the occasion of the 75th Independence Day, I am presenting the same song rendered by Shubha Mudgal. The music was composed by her husband, Aneesh Pradhan. While composing the song, he has used mainly harmonium and tabla probably to give a feel of the period during which Vidyadhari Bai had rendered this song. In 2011, the couple collaborated with theater director Sunil Shanbhag on a musical drama ‘Stories in a Song’, one episode of which recreated Mahatma Gandhi’s meeting with the courtesans of Tawaif Sabha.
This song takes us back to more than a century to recreate a part of the history of India’s freedom movements.
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Acknowledgements: In addition to the books I mentioned in my article, I am also thankful to ‘Sureele Dinon Ki Daastan’ and Dr. Manish Kumar Mishra for their videos on Vidyadhari Bai which gave some useful additional information on her.
Audio Clip:
Song-Chun chun ke phool le lo (Shubha Mudgal NFS)(2008) Singer-Shubha Mudgal, Lyrics-Vidyadhari Bai, MD-Aneesh Pradhan
Lyrics
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aa aa aa aa aaaa
chun chun ke phool le lo o o….o
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
aa aa aa aaaaa aa aaaa
ye wo chaman nahi hai….ai ae ae
ye wo chaman nahin hai
lene se ho ujaad
ye wo chaman nahin hai
lene se ho ujaad
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
bhar do jawaan bandon
jailon mein chaahe bhar do
bhar do jawaan bandon
jailon mein chaahe bhar do
maata pe koi hota qurbaan rah na jaaye…..ae
aa aa aa aaaaaaa aaa
aa aa aa aaaaaaa aa
maata pe koi hota qurbaan rah na jaaye
chhal-o-fareb se tum Bharat kaa maal looto
chhal-o-fareb se tum Bharat kaa maal looto
iske liye yaa koi saamaan rah na jaaye
iske liye yaa koi saamaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo….o
Bharat na rah sakega hargij ghulaamkhaana….aaaaaaa aa
Bharat na rah sakega hargij ghulaamkhaana
aazaad hoga hoga
aaya hai wo zamaana
aazaad hoga hoga
aaya hai wo zamaana..aa
khoon khaulne laga hai….ai ae
khoon khaulne laga hai ab Hindustaniyon kaa
khoon khaulne laga hai ab Hindustaniyon kaa
kar denge zaalimon ke band bas jurm dhaana
kar denge zaalimon ke band bas jurm dhaana..aa
qaumi tirange jhande pe jaan nisaar unki
qaumi tirange jhande pe jaan nisaar unki
Hindu Masih Muslim gaate hain ye taraana
Hindu Masih Muslim gaate hain ye taraana
aa aa aaaaa
parwaah ab kise hai…ai ae
parwaah ab kise hai
iss jail-o-daman ki
parwaah ab kise hai
iss jail-o-daman ki
ik khel ho raha hai
phaansi pe jhool jaana
ek khel ho raha hai
phaansi pe jhool jaana
Bharat watan hamaara
Bharat ke ham hain bachche
Bharat watan hamaara
Bharat ke ham hain bachche
maata ke waaste hai manzoor sar kataana
maata ke waaste hai manzoor sar kataana
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo….ooo
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo………o
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Hindi script lyrics (Provided by Sudhir Kapur)
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आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
आ आ आ आsss आ आsss
ये वो चमन नहीं है॰॰ऐ
ये वो चमन नहीं है
लेने से हो उजाड़
ये वो चमन नहीं है
लेने से हो उजाड़
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
भर दो जवान बंदों
जेलों में चाहे भर दो
भर दो जवान बंदों
जेलों में चाहे भर दो
माता पे कोई होता क़ुरबान रह ना जाये॰॰ए
आ आ आ आsssss आ
आ आ आ आsssss आ
माता पे कोई होता क़ुरबान रह ना जाये
छल औ फरेब से तुम भारत का माल लूटो
छल औ फरेब से तुम भारत का माल लूटो
इसके लिए या कोई सामान रह ना जाये
इसके लिए या कोई सामान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना आ आ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना
आज़ाद होगा होगा
आया है वो ज़माना
आज़ाद होगा होगा
आया है वो ज़माना॰॰आ
खूँ खौलने लगा है॰॰ऐ
खूँ खौलने लगा है अब हिंदुस्तानीओं का
खूँ खौलने लगा है अब हिंदुस्तानीओं का
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा॰॰आ
कौमी तिरंगे झंडे पे जां निसार उनकी
कौमी तिरंगे झंडे पे जां निसार उनकी
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
आ आ आssss
परवाह अब किसे है॰॰ऐ
परवाह अब किसे है
इस जेल ओ दमन की
परवाह अब किसे है
इस जेल ओ दमन की
इक खेल हो रहा है
फांसी पे झूल जाना
इक खेल हो रहा है
फांसी पे झूल जाना
भारत वतन हमारा
भारत के हम हैं बच्चे
भारत वतन हमारा
भारत के हम हैं बच्चे
माता के वास्ते है मंजूर सर कटाना
माता के वास्ते है मंजूर सर कटाना
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
Nazrein milaana nazrein churaana
Posted on: January 6, 2021
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 : |
4555 | Post No. : | 16148 |
A.R. Rehman’s 54th Birthday on 06.01.2021
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Jo pehle din hi se dil ka kaha na kartey ham
To ab yeh logon ki baatien sunaana kartey hamAgar na haath hmein uss dilrubaa ke dil detey
To dil par haathh sadaa dhar liya na kartey hamWo aafat-e-dil-o-jaan pe agar na martey
To apne marney ki duaa har dam duaa kiya na karte hamNa hosh khotey agar uss pari ki baaton par
To aap hi aap aisi baatien kiya na kartey hamNa lagti aankh to din raat sotey hi rehtey
Kisi ki chaah na karte to kya na karte hamJo ghambuton ka na hotaa teri tarah ‘Momin’
To dekhcharkh` ko hai, hai kh`udaa na kartey ham– Momin Kh`anMomin –
I heard this above ghazal recital and liked the simplicity of expressions. It was credited to Momin Khan Momin(1800–14 May 1852), so I thought there has to be more to this ghazal. I found a ‘Deewan-e-Momin’ on Rekhta and confirmed that there are few more ash’aarin the complete ghazal. He was a contemporary of Mirza Ghalib.A most famous sha’ir by MomimKh`an Momin is this:
Tum mere paas hotey ho goyaa
Jab koyi dusraa nahin hotaa
It is said that Mirza Ghalib was so impressed by this sha’ir, that he had offerred his whole “Deewan-e-Ghalib” in exchange of this one sha’ir. Of course, in true legend’s style, the exchange did not happen. Even if there was no organised law for protection of intellectual property than, the exchange would have been redundant. Because Ghalib’s work is Ghalib’s and Momin’s kalaam remains Momin’s, after all.
Here is the famous sha’ir by the underrated poet which inspired this song:
Woh jo ham mein tum mein qaraar thha, tumhen yaad ho ke na yaad ho
Wohi, ya’ani wa’adaa nibaah ka,tumhen yaad ho ke nayaad ho
I felt compelled to give some details to emphasis the significance of Momin Kh`an Momin, as there is not much written about him on this blog.
Wikipedia says
“Momin was something of a polymath, with several interests apart from medicine and poetry. He was also competent inmathematics, geomancy, astrology, chess and Hindustani music.” And that his grave is located in Delhi, near the parking lot of Maulana Azad Medical college. What I have learned is that this medical college is India’s top medical college, second only to AIIMS, Delhi, I am yet to come across a doctor who has studied there. So now I am resolving to ask him/her whenever I encounter an alumnus, about the grave of Momin Kh’an Momin.
**********
Now to the real subject of this post, i.e A. R. Rehman. Though I grew up on the average, good, very good, fabulous and fantastic hindi film music of the golden era of hindi film music, A R Rehman still came as a breath of exotic air in 1992 with his debut film ‘Roja’. The translated lyrics from Tamil was a huge drawback of the songs of that film, but the touching melody and the brand new sounds of A R Rehman’s orchestration more than overpowered it. He has come a long way from those days, as has hindi film music. He has travelled through the waves of adulations, via his music school, his acumen in being the first musician to actually own the music he creates, through Sufiana, to fusion, Western classical, via the oscars etc., he is a global celebrity. A big celebrity in a hugely populated country like india is bound to be recognised at global level, that is the power of a big market.
The song I am presenting here is from the film “Jaane tu ya jaane na” (2008), with A R Rehman’s music and lyrics by Abbas Tyrewala. Seven singers are singing this song namely Benny Dayal, Satish Chakravarthy, Sayonara, Philips, Darshana, Svetha, Bhargavi, and Anupama Deshpande.
Only one song Pappu Can’t dance saala (Jaane Tu Ya Jaane Na), is so far posted, making this the second song from the film. This is an outdoorsy song filmed on very pristine locations, near the river, where Imran Khan and Genelia D’souza with friends are picnicking, and having fun. The location of shooting is a bit away from the usual Panchgani and Mahabaleshwar, but nearby, with the long road, which goes along Krishna River. This is the other route for travelling to Mahabaleshwar.
This film is produced by A’amir Khan and his cousin Mansoor Khan. The lyricist A’bbas Tyrewala is also the director of the film for launch of A’amir Khan’s nephew, I’mran khan. Quite the family affair this is, so my assessment of locations this song is filmed is bang on target. More so, as I have recently travelled the route, remembered this song and looked up to confirm that the mountains haven’t changed much in 12 years 🙂 :-).
Audio
Video
SongNazren milaana nazren churaana (Jaane Tu Yaa Jaane Naa)(2008) Singers-Benny Dayal, Satish Chakravarthy, Sayonara, Philips, Darshana, Svetha, Bhargavi, Anupama Deshpande Lyrics-Abbas Tyrewala, MD-A R Rahman
Lyrics
Dil kabhi gandaa
kabhi hai nek bandaa
dil ka bharosa
kaise koyi kare
dil kabhi thhanda
kabhi hai atom bomb sa
yeh dhamaaka
kaise koyi sahe
dil ki ee
yehi kh`ata hai
dil ko o o
nahin pata hai
dil ki yehi kh`ata hai
dil ko nahin pata hai
ke dil chaahta hai kya
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milaana
nazrein churana
kahin pe nigaahein
kahin pe nishaana
aayi aa
aa aa aa aa
aayi ee ee
o o o
aayi yeah
o o o
aayi yeah
o o o
neeyyat
to dil ki
hamesha hi sahi thhi
dil ka iraada
bhi samjho nek thha
fitrat awaarah
to kya kare bechaara
us ka ho jaaye
jo jisko dekhta
din mein ae ae
to dil sataaye
raaton on
mein dil jagaaye
din mein to dil sataaye
raaton mein dil jagaaye
arey chaahta hai kya
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milaana
nazrein churaana
kahi pe nigaahein
kahin pe nishaana
aankhon mein koyi hai basaa
jaane kyun lage
yeh dil khaali
jaane na kyun
yeh dil bajaa raha
ek haath se taali
honthon se jaane
kya kahaa phir bhi
dil ki baat hai dil mein
yeh raah tera hamsafar
kis ko dhoonde
dilki mehfil mein
jaan hai phansi
kaise na hansi
aaye haale dil pe
hey
nazrein milaana
nazrein churaana
kahin pe nigaahein
kahin pe nishaana
nazrein milana
nazrein churana
kahin pe nigaahein
kahin pe nishaana
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 : |
4308 | Post No. : | 15580 | Movie Count : |
4289 |
Hullo Atuldom
May 3 is not any celebrities birthday going by the listings on the anniversaries page of the blog. But a more important date for followers of movies. That was the date when the first Indian movie released in the year 1913.
“Raja Harishchandra” directed and produced by Shri. Dhundiraj Govind Phalke a.k.a Dadasaheb Phalke, was a silent film that released in Bombay’s Coronation Cinematograph and Variety Hall, Girgaon on 3rd May 1913 after a Premier at Olympia Theatre on 21st April. This was the genesis of the Indian Film Industry which has been entertaining generations since then. The movies, as we have come to love, has thrown up stories that are inspired from our mythology, history, real-life experiences etc. There are fans for a “Jai Santoshi Maa” as well as “Sholay”. I remember that when the Malayalam movie “Swami Ayyappan” came to the theatres in Bombay (it had hit the marquee in 1975 in Kerala) Manoj Kumar’s “Kranti” had also released and our family chose to see the Malayalam movie as it gave us an insight into the life and times of the lord Ayyappa.
Today we are having a song, from a movie, whose title is inspired from a famous song of the late 70s. The director of the movie was a person who has grown up in the film industry (so to say) as he is the son of a famous producer-director. The cast is headed by a fan of movies who himself has a huge fan-following.
I am talking of a song from the 2008 released “Rab Ne Bana Di Jodi” (meaning “Match made in the heavens”) which was written and directed by Aditya Chopra, son of Yash Chopra who was also the producer of the film. And I need not add that Yash Chopra was a successful producer- director who began his innings in the film industry in the 50s. The movie had a cast headed by Anushka Sharma and Shahrukh Khan.
Today’s song happens when the lead pair have gone to see movie. “A cinema inside a cinema” as I would like to put it. The lady- Taani (Anushka) is bored with the proceedings on the screen. Then she imagines that one of her acquaintances has jumped on to the screen and then the whole atmosphere perks up. He says: “Taani partner do not fear when Raj is here. Humne bhi Ishq ke ustaadon se seekha hai” (I think those are his exact words). And then the song starts.
IMHO this song can claim to be fully inspired by all the preceding generations of actors and actresses. We have Shahrukh Khan and Kajol beginning the song as Raj Kapoor and Nargis, this is followed by Shahrukh as Dev Anand and Bipasha Basu as Sadhana. Then we have Lara Dutta as Helen to Shahrukh’s Shammi Kapoor act which is followed by Rajesh Khanna and Sharmila Tagore by SRK and Preity Zinta. The song has SRK and Rani Mukherjee reminding us of Rishi Kapoor and Neetu Singh. So basically we go down memory lane as we see this song and try and relive the 50s, 60s and 70s.
I must complement the lyricist Jaideep Sahni for coming up with a song that had to have pre-existing words/lyrics/thoughts. One must not miss how “Babu Moshai” has fitted beautifully into the song. Also worth mentioning the art director’s and set designer’s contributions. They have done so much detailing- we should not miss the book that Preity as Sharmila Tagore is trying to read. It is called “Amar Prem” and has a photo of Rajesh Khanna and Sharmila Tagore from “Aradhana” in the song ‘Kora kaagaz tha ye mann mera’. Also we should not miss the huge Raj Kapoor hat at the start of the song as also the Dev Anand Cap, the eye from where the Shammi Kapoor segment starts and finally the long scarfs/mufflers that Rishi Kapoor used to sport and the steps that he and Neetu were exponents of. We should not forget the choreographer too. The composers Salim-Suleiman have also showed that they have also grown up on this fodder. They had an unenviable task of making a song from the music that was tuned by the legends of Bollywood and also not make a bad rehash.
Let us also enjoy this tribute to the great Ustaads (masters).
P.S: After I wrote this post I realized that 3rd May also happens to be Nargis’s death anniversary. It is 39 years since her passing and it was Dadasaheb Phalke’s birth anniversary on 30th April 1870- 150th birthdate.
Audio
Video
Song-Hum hain raahi pyaar ke phir milenge chalte chalte(Rab ne bana di jodi)(2008) Singer-Sonu Nigam, Lyrics-Jaideep Sahni, MD-Salim Suleman
Lyrics
(awaara)
(Awaara)
(music uses awaara’s signature tune)
pyaar huwa ikraar huwa
jeena yahaan marna yahaan
inn baahon ko
inn raahon ko
chhod ye chhaliya jaaye kahaan
maana dil toh hai anaari,
yeh awaara hi sahi
are bol radha bol sangam hoga ke nahin
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hai raahi pyaar ke
phir milenge chalte chalte
(here “Yeh dil na hota bechaara” tune is used)
dil ka bhanwar kare
kare pukaar jab
pyaar kisi se hota hai
jiya o jiya kuchh bol do
ab dard sa dil mein hota hai
tidli yoo
tidli yoo
oo tere ghar ke saamne ghar banaaunga
toota hi sahi
pal bhar ke liye koi humein pyaar karle
jhootha hi sahi
jhootha hi sahi,
haay jhootha hi sahi ee
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
ham hain raahi pyaar ke ae
phir milenge chalte chalte
yaahoo
yaahoo
(here “o haseena zulfonwaali” tune is used)
oh haseena
zulfonwaali jaane jahaan
chaahe mujhko
junglee keh de saara jahaan
ho mehfil mehfil tu phire,
yaahoo yaahoo dil kare
mehfil mehfil tu phire,
yaahoo yaahoo dil kare
badan pe sitaare lapete huwe
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hain raahi pyar ke
phir milenge chalte chalte
babu moshai ( Rajesh Khanna’s voice)
(here the tune is “sapnon ki raani kab aayegi tu)
hooo hehe haaa
hey jai jai shiv shankar,
kaanta laage na kankar
chaahe kuchh kar le zamaana
mere jeevan saathi
mere sapnon ki rani
zindagi safar hai suhaana
hey kuchh to log kahenge,
na suna keejiye
hey chain aaye mere dil ko
duwa keejiye
hey har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
hey
ham hai raahi pyar ke
phir milenge chalte chalte
papa papapa paaa
papa papapa paaa
zu zu zu zuuu zuuu
zuuu zuuu zu zu zu
(here tune is from “bachna ae haseeno”)
darde dil darde jigar,
zamaane ko dikhaana hai
darde dil darde jigar,
zamaane ko dikhaana hai
hum kisi se kum nahin hai,
tujhko yeh bataana hai
ye waada raha,
oh meri chaandni ee
har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte
ham hain raahi pyar ke
phir milenge chalte chalte
hey ham hain raahi pyaar ke ae
ah ah ah
chalte chalet ae ae ae
ae ae ae ae
aa chalte chalte
hum hain raahi pyaar ke ae
phir milenge chalte chalte
Mast Mast Dar Mastam
Posted on: March 15, 2016
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
It is all about feline creatures. Cats are said to have nine lives. Who says ? Maybe some legend. It is also said that the truth is stranger than fiction. I imagine behaviorally cats are closer to humans than monkeys, theory of evolution not withstanding. Or maybe felines are the evolved human race, and in previous lives they were human, who knows. Anyway I have also heard that the civilized world is all going to cats and dogs. No kidding, this proves my hunch that truth is indeed stranger than fiction. (Note : No sleight or slander intended to cats, dogs, monkeys, humans and their assorted species).
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Chalo jaane do ab chhodo bhi
Posted on: November 13, 2015
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Socha hai ye tumne kya kabhi
Posted on: January 9, 2015
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Posted on: November 17, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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“A million greetings on the anniversary of the appearance of the shining light that is Guru Nanak Dev ji”
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Teri oar teri oar haay rabba
Posted on: July 10, 2013
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
This song won the Filmfare award for Best female playback singer of 2008, for Shreya Ghoshal. Shreya Ghoshal is one find of the decade as far as female playback singers are concerned. She is here there everywhere, in all films. She has dominated the female playback scene for some years now. With Lata and Asha both almost out of contention and singing few songs, there was a gap which is filled somewhat first by Alka Yagnik in the 90’s and than by Shreya Ghoshal. I especially like her solo songs. Of course, nobody can quite dominate a field like Lata and Asha did for 40 odd years. The field is wide open now and with more competetion from all around. But Shreya Ghoshal is most talented of the lot and sounds good in all types of songs.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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