Posts Tagged ‘1971’
Dum Maro Dum, Mit Jaayen Gham
Posted on: January 7, 2019
- In: "Hippy" song | "rebellion" song | "smoking" song | Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Dev Anand present without lip syncing | Dev Anand songs | Devnagri script lyrics by Sudhir | Drugged song | Drunkard song | Feelings of heart | Female drunkard song | Group Dance | Guest posts | How come this song was not posted earlier | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1970s (1971 to 1980) | Songs of 1971 | Yearwise breakup of songs
- 12 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3825 | Post No. : | 14829 |
Wonder pe Thunder !
Today’s song is from film ‘Hare Rama Hare Krishna’ (1971). When I found that this very popular and famous song of the early 70s was yet to be covered in the blog, my first reaction was to disbelieve it. I was almost sure that there was some mistake. I scanned the entire ‘H’ alphabet film list, bur could not see this song under any heading. Then I checked the year wise and MD wise lists – with same result. I was wondering how this song has escaped from the keen eyes of our contributors, who are specialists in the songs of the 70s ! At the end of it, I even checked with Atul ji, who confirmed that the song, indeed, was yet to be covered by us. This was a bonanza for me.
This is one of the songs of RD Burman, which I liked very much. Comparatively, he was one of the new composers in those times – in my opinion – though he had already done about 40 films before ‘Hare Rama Hare Krishna’ (HRHK). In last few years I had liked few songs from his earlier films like ‘Parichay’ (1972), ‘Seeta aur Geeta’ (1972), ‘Caravan’ (1971), ‘Kati Patang’ (1970) and ‘Teesri Manzil’ (1966). However, he suffered in my hands, due to my biased view of film songs of the period of 70s and beyond and except few more songs of RD Burman, I never liked his music, which in general I felt, was too loud and mostly copied from other sources (see several U-Tube videos on this issue, as a proof). However, I concede that he was a worthy son of a worthy composer compared to some other composer-son composers and that his music was much better than theirs and that he lasted for a longer period, cut short only by his sudden death in 1994, at the age of 55 years.
Today’s song is sung by Asha Bhosle and chorus and its video shows that it was sung on screen by a Hippie Girl (Zeenat Aman) amidst a smoking Hippie crowd. Somewhere in the year 1966, I had visited Goa (Panaji) to participate in a conference. During my visit, we had 2 free days and we roamed around the beautiful beaches of Goa. Goa had been liberated from the Portuguese about 6 years back and the Indian tourists did not have enough time yet to spoil the beaches and cities of Goa. So we could really enjoy our trip. During our beach visits we saw many Hippie groups, behaving in a ‘who cares’ attitude on the beaches. No wonder, many of my colleagues took their photographs to show in their respective private circles. That was a time when the Hippie culture had spread around the world.
Hippie (also spelled hippy) people were members of a counter cultural movement during the 1960s and 1970s, that rejected the mores of mainstream American life. The movement originated on college campuses in the United States, and also spread to other countries. Hippies felt alienated from middle-class society, which they saw as dominated by materialism and repression, and they developed their own distinctive lifestyle. They favoured long hair and casual, often unconventional, attire, sometimes in ‘psychedelic’ colours.
Many males grew beards, and both men and women wore sandals and beads. Long flowing granny dresses were popular with women, and rimless granny glasses with both men and women. Hippies commonly took up communal or cooperative living arrangements, and they often adopted vegetarian diets based on unprocessed foods and practiced holistic medicine. Hippies tended to be dropouts from society, foregoing regular jobs and careers, although some developed small businesses that catered to other hippies.
Hippies advocated non-violence and love, a popular phrase being “Make love, not war,” for which they were sometimes called ‘flower children’. They promoted openness and tolerance as alternatives to the restrictions and regimentation they saw in the middle-class society. Hippies often practiced open sexual relationships and lived in various types of family groups. They commonly sought spiritual guidance from sources outside the Judeo-Christian tradition, particularly Buddhism and other Eastern religions. Hippies promoted the recreational use of hallucinogenic drugs, particularly marijuana and LSD (lysergic acid diethylamide), in so-called head trips, justifying the practice as a way of expanding consciousness.
By the mid-1970s the movement had waned, and by the 1980s hippies had given way to a new generation of young people who were intent on making careers for themselves in business and who came to be known as yuppies (young urban professionals). Nonetheless, hippies continued to have an influence on the wider culture, seen, for example, in more relaxed attitudes toward sex, in the new concern for the environment, and in a widespread lessening of formality.
Film HRHK was Dev Anand’s idea. Initially, he wanted Zahida to become its Heroine. She, however rejected the offer when she learnt that in the film, she would be Dev’s sister – Jasbir. Dev Anand also wanted SD Burman to do the music. When Dada heard the original story, in which Zeenat falls in love with Dev, not knowing that he was her brother, Dada flatly refused the film and also advised Dev to change the story, as Indian public would be averse to an incest story. Eventually RD Burman was selected as MD.
Similarly, this song – “Dum Maaro Dum” was originally to be a duet of Usha Uthup and Lata Mangeshkar. Possibly Asha Bhosle, who was on the verge of leaving OPN and joining RD Burman (who had applied for a divorce with Rita – his wife) scuttled the plan and the song came to Asha as a solo and another duet with usha Uthup. RD burman then changed the whole tune of the song, using Asha’s skill of singing in higher pitches.
All songs of this film became popular, especially “Phoolon Ka Taaron Ka Sabka Kehna Hai” and “Dum Maaro Dum” were heard everywhere. The lyrics of the song “Dum Maaro Dum” were very apt to indicate and describe the philosophy and frustration of the younger generation in that period –
duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyun
sabne hamara kiya kya
All this clearly indicated what was eating the minds of young people.
Fortunately, 70s was the period when the Hippie culture was on decline worldwide. As such, this type of philosophy and such cult did not fit into the Indian mind set in any case. Therefore, this culture did not grow much here and had a natural end – like everywhere else in the world.
Two interesting anecdotes about this film. One, Dev Anand in his autobiography -“Romancing With Life “, published in 2007, had confessed that during this film, he had fallen in love with Zeenat. He was to make a confession to her, when he learnt that she had gone very close to Raj Kapoor. In one party, he also saw Raj kapoor hugging Zeenat and she was responding to him. Dev was disillusioned. He knew that Zeenat was keen to work in RK’s film ‘Satyam Shivam Sundaram’, and that all this was due to that only. He simply removed her thought from his mind.
Second is about the Burmans. In the program ‘Phool Khile Hain Gulshan Gulshan’, Pancham narrated that – “Papa used to go for morning walk everyday in Juhu. People recognised him and would say, look, SD Burman is going. One day he came back very excited. He told me, today people recognised me and said, Look RD Burman’s father is going. Papa was proud of me that my music in HRHK was famous and popular.”
Nandu Chawathe- a leading fiddler and violinist was associated with Pancham in those days. This person – Nandu Chawathe, was a guest in one of our get togethers of Atulites in Mumbai, thanks to one of our members Nitin ji Shah. He had played some songs on his violin in that meeting, Chawathe says that Dev Anand was very much upset, when Asha replaced Lata and Pancham took time to compose the new tune for Asha Bhosle. The final product, however, pleased Dev Anand.
The story of the film, as given in wiki, is –
In the background of the rise of the International Hare Krishna movement in the 1970s, is a Montreal-based family of the Jaiswals, consisting of mom, dad, son, Prashant, and daughter, Jasbir. Due to differences, Mr and Mrs Jaiswal separate, leaving Jasbir with dad, and Prashant with his mom. Eventually Prashant and his mom travel to India, leaving father and daughter behind in Montreal. Mr. Jaiswal remarries, and brings his new wife to live in his home. Jasbir is told by her nanny that her mother & brother are dead. Back in India Prashant is sent to a boarding school and his father makes sure that none of Prashant’s letters reach Jasbir, so that it would be easy on her part to get over emotional trauma. Jasbir is upset with her inconsiderate step-mother and ignorant father who is deeply immersed in his business.
Years later, Prashant has grown up to be a pilot. He has received a letter from his dad that Jasbir, who had rebelled and left home, is now located in Kathmandu, Nepal, with a group of hippies. Prashant decides to find his sister and hopefully get her back to the family. When Prashant lands in Kathmandu he does not find Jasbir, but instead finds Janice, who is indeed his sister with a new name. Janice has no recollection of her childhood, and is always in the company of hippies spending most of her time consuming alcohol & drugs with them.
Janice lives with the hippies in the property rented out by local landlord Drona. Drona’s real business is stealing ancient artifacts from Kathmandu and selling it to foreign nationals. Michael, one of the hippies, is the one who does all the dirty work for him. Janice’s boyfriend Deepak misunderstands that Prashant is trying to woo Janice, hence they exchange a few blows every time they meet. Meanwhile, Drona has an eye on Shanti, a local salesgirl working in one of the shops owned by him. Shanti has feelings for Prashant which creates one more enemy for him. Later Prashant and Shanti elope and get married. At the same time a precious idol is stolen from local temple by Michael, which he hides in Janice’s house. Prashant secretly observes all this. Drona tries to frame Shanti for theft by secretly planting another stolen artifact in her house. Later he spreads the word that since the day Prashant has arrived idols are being stolen and he is stalking local girls.
The police commissioner is a friend of Prashant’s father, and has already received a letter stating the purpose of Prashant’s visit to Kathmandu. He suspects that Drona is trying to frame Prashant because he has married Shanti. He gets a search warrant for the entire property of Drona and recovers a diary which has contact details of his friends abroad who help him sell the stolen artifacts. The police also recover the stolen artifact from Shanti’s home, squarely blaming Prashant for it. Shanti is deeply hurt by this and looks around for Prashant. Prashant meanwhile is with Janice, trying to convince her that he is her brother, who she had been told dead long back. Michael overhears the conversation & conspires to put the blame on the brother-sister duo. Taking advantage of the situation Drona and Michael instigate the locals against Prashant by framing him for the theft and duping Shanti under pretext of marriage. The hippies and the locals are now ready to bash Prashant the moment they come across him.
When Prashant again tries to meet Janice, the hippies give him a solid thrashing. The police commissioner intervenes and Prashant is saved. At the same time the true face of Drona is uncovered and he meets his end trying to run away from police. Janice sees that both her parents have arrived to meet her and realizes that Prashant is indeed her brother. Janice is deeply hurt that her parents had to see her in this state. She runs away from them and commits suicide. In her suicide note she tells Prashant how deeply she loved him and she never intended him to find her in this state and suicide was the only way out for her.
‘Hare Rama Hare Krishna’ (released on 9-12-1971) was a Landmark film for Navketan – a film production company, which could boast of a world record (yet unbeaten) that the company was run for 62 years by the same person who established it in 1949 ! The cult song “Dum Maaro Dum” became so popular that no function was complete without this song for the next 10 years! Enjoy this song here today…..
[Author’s Note: The article uses information from books ‘Gaata Rahe Mera Dil’ and ‘Music Beyond Boundaries’, Wiki, The Hindu and my notes].
Video (Partial)
Audio (Complete)
Song – Dum Maro Dum, Mit Jaayen Gham (Hare Rama Hare Krishna) (1971) Singer – Asha Bhosle, Lyrics – Anand Bakshi, Music – RD Burman
Female Chorus
Male Chorus
Lyrics (Provided by Sudhir)
hush..shh..shh..shh
dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
pa..aa pa ra pa pa tu tu tu
aa..aa ee..ee
ta raa ta raa ta raa ta raa raa..aa
duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya
duniya ne hum ko diya kya
duniya se hum ne liya kya
hum sab ki parvah karen kyon
sab ne hamaara kiya kya
aaaa aaaa aaaa aaaa
dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hush..shh..shh..shh
dum maaro dum..mm..mmaaaa
mit jaaye gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
chaahe jiyenge marenge
hum na kisi se darenge
hum ko na roke zamaana
jo chaahenge hum karenge
aaaa aaaa aaaa aaaa
dum maaro dum..mm..mmaaaa
mit jaayen gham..mm..mmaaaa
bolo subah shaa..aam
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
hare krishn hare ram
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हश॰॰शश॰॰शश॰॰शश
दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
पा॰॰आ प र पा पा तु तु तु
आ॰॰आ ई॰॰ई
त रा त रा त रा त रा रा॰॰आ
दुनिया ने हमको दिया क्या
दुनिया से हमने लिया क्या
हम सबकी परवाह करें क्यों
सब ने हमारा किया क्या
आ॰॰ आ॰॰ आ॰॰ आ॰॰
दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हश॰॰शश॰॰शश॰॰शश
दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
चाहे जिएंगे मरेंगे
हम ना किसी से डरेंगे
हमको ना रोके ज़माना
जो चाहेंगे हम करेंगे
आ॰॰ आ॰॰ आ॰॰ आ॰॰
दम मारो दम॰॰मम्म॰॰मम्मआ॰॰आ
मिट जाएँ ग़म॰॰मम्म॰॰मम्मआ॰॰आ
बोलो सुबह शा॰॰आम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
हरे कृष्ण हरे राम
Hey aayo aayo navraatri tyohaar
Posted on: October 10, 2018
- In: Devnagri script lyrics by Avinash Scrapwala | Disguise ong | Duet | Feelings of heart | Festival song | Goddess Durga song | Guest posts | Lyrics contributed by readers | Mukesh Rafi duet | Mukesh songs | Post by Avinash Scrapwala | Rafi songs | Songs of 1970s (1971 to 1980) | Songs of 1971 | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3736 | Post No. : | 14682 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 73 # Aaayo aayo Navratri tyohaar #
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Season’s greetings and best wishes to all for the Navratri Festival starting today (10 october 2018)!!!
I have mentioned in a few of my earlier write-ups that festivals too bring back many memories and they in turn bring back memories of songs which we have heard years before… in my case ‘years before’ generally means ‘in my childhood days or in those years when I was growing’ 🙂
Today’s song is one such song which normally comes to my mind during celebration of the ‘Navratri festival’ every year. I was under impression that this song must have been posted on the blog earlier, however much to my surprise, this song is mot yet covered till now. And that gives me this opportunity to share this song today on the blog.
I vaguely remember that in our colony where we were staying then (for me after my birth in 1968 to 1984 when I was in eleventh standard :)) during Navratri Festival or Durga Pooja Festival the Durga Pooja Idol would be worshipped in the Colony Club or special ‘pandals’ arranged near the ‘Club Building’ and the ‘Stage’ (meant for the various programs held during the festival). However, unlike the ‘Ganpati Festival’ during which various ‘cultural programs’ would be held, during ‘Navratri’ it was mostly the staging of ‘Ramleela’ for nine/ten days.
I do not have any more special memories except a few songs that were played on the loud speakers and the “Ramleela” which I vaguely remember. Ttoday’s song is one such song that was frequently played on loud speakers during this festival and had been lying dormant in my memories since then.
The song that I am going to present today is from the ‘1971’ movie ‘Johar Mehmood in Hong Kong’.
Going by the date of passing of this movie by the Censor Board I was almost three years old then, when the movie was released. Johar whenever he combined with Mehmood in movies and Mehmood specially for his movies were always a point of discussion among the elders in the family. I remember watching ‘Johar Mehmood in Goa’ and ‘Johar Mehmood in Hong Kong’ with my Uncles. I do not remember if I also watched ‘Johar Mehmood in Kashmir’. These movies had good songs or good entertaining songs, so the songs were also not easily forgettable given their performances on these songs.
“Johar Mehmood in Hongkong” (1971) was produced by Madan Chopra and K.Z. Sheth. It was directed by S.A. Akbar.
It was M.O. Bawazir’s presentation for Mahesh Ashish.
The movie had I.S. Johar, Mehmood, Sonia Sahni, Aruna Irani, Tiwari, Kamal Kapoor, Tuntun, Manorama, Madhumati, Haroon, and Pran. Agha, Mukri, Jr. Mehmood, Polson, Shaikh, B.B. Bhalla, Raj Kishore, Khairati, Murad appear as Guest Artistes in this movie.
This movie was written by I.S. Johar who also wrote the screenplay and dialogues for this movie. Vithal Bankar was the editor for this movie.
Music for this movie was composed by Kalyanji Anandji who were assisted by Babla and where Parte was the arranger and Frank Fernand the Conductor.
There were Six songs in this movie penned by Qamar Jalalabadi (four songs) and two songs are jointly credited to Qamar Jalalabadi and Indeevar (as per HFGK).
Asha Bhonsle, Mohd Rafi, Mukesh, Shamshad Begam, Manna Dey and Usha Timothi gave their voices to the songs in this movie.
As per HFGK Lakshmi Shankar, Usha Khanna and Usha Mangeshkar’s voice has been in one song each, however their names are not mentioned in the titles of this movie (available on YT).
This movie was passed by Censor Board on 04.01.1971.
So far two songs from this movie have been posted on the blog. Today’s song is the third song from this movie to appear on the blog.
Today’s song happens during the ‘Navratri Celebrations’ which all ‘Hindustanis’ living in Hong Kong celebrate every year and send the ‘Garba matka’ to India. Our heroes Mahesh and Ramesh (readers can easily guess who is Mahesh and who is Ramesh) who successfully flee away from jail with other accomplices after giving ‘Jamal ghota’ to Kamal Kapoor, Pran & Co and reach Murad (who is head of the Indian Embassy in the movie I guess) with the ‘secret formula’. Murad advices them that the formula can be easily sent to India in this ‘matka’.
‘Ambe maiyya’ ab hamaari aur hamaare desh ki raksha tere haath hai, desh ke drohi e pujaariyon ko Bharat bhejne se pehle hi khatm kar dena chahte hai, magar Ambe maiyya agar Ramesh aur Mahesh khatm ho jaayen to tu apni chhah bhujaaon se chhah Ramesh aur Mahesh paida kar ke desh ke drohiyon ko chakkar mein daal dena.
Jai Ho …
That is what Ramesh praises to Ambe Maa before the song …
And that is why we have this patriotic garba and seeking the blessings of the goddess to save the mother land and our country …
The movie ends with this song on a happy note where the enemies die their own death and our heroes board the flight for India dancing and enjoying with the ‘secret formula’ in the ‘Garba Pot’.
From today the auspicious festival starts all over India.In Gujarat especially the excitement and preparations for the festival had already begun much earlier when I was there. The ‘garba and dandia’ bhajans and songs had already started playing on in shops, restaurants and public places where the celebrations were to be held.
I had wiitnessed all that during my brief two weeks stay in Gujarat. I have returned back to my work place as per planning and had to travel on Sunday and reaching my destination on this Monday evening >:)I am missing all that excitement a lot now 🙂
Today’s song is sung by Mohd Rafi and Mukesh. And since it involved Singer Mukesh I thought I should consult our Mahesh ji if I can do write-up with this song and he immediately responded that I can ‘go ahead’, thanks to Mahesh ji.
I also take this opportunity to wishing all a very ‘Happy Navratri Festival’ and may it be peaceful and enjoying for all and may the Goddess blessed us all with her blessings and gives us energy to do good for all and fight the evil within and around us …
Let us now enjoy this song composed by Kalyanji Anandji and sung by Mohd Rafi and Mukesh …
Video
Audio
Song-Hey aayo aayo navraatri tyohaar (Johar Mehmood in Hongkong)(1971) Singers-Rafi, Mukesh, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Chorus
Lyrics
Hey Mai ee ee ee ee ee ee ee ee
Hey jab jab bheer padi bhaktan par
Hey toone suni ee pukaar
Ae Mai ee ee ee ee ee ee ee ee
Jiski rakshaa tu karey
Usey kya maarey sansaar
Usey kya maarey sansaar
hey ae aayo aayo navraatri tyohaar
He re aayo aayo navraatri tyohaar
Ho Ambe maiyyaa
teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Hey ae kar de kar de ae
kar de kar de ae
Bhakton ka bedaa paar
Hey ae kar de kar de
Bhakton ka bedaa paar
Ho Ambe maiyyaa
teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Ham to baalak tere maata
Aur tu jeewan daata hai
Aur tu jeewan daata hai
Koyi usko chhoo nahin paata
Teri sharan jo aata hai
Teri sharan jo aata hai
Hey ae ae ae
Aayi sinh pe sawaar teri shakti apaar
Tujhe Ambey Jagdambe jag saara jaane re
Ho jag saara jaane re
Aaj apna
Aaj apna
Dikhaa de chamatkaar
Ho o aaj apnaa dikha de chamatkaar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Kar de kar de
Bhakton ka bedaa paar
Ho kar de kar de
Bhakton ka bedaa paar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Vipadaa mein hai desh hamaara
Tu hi bachaane waali hai
Tu hi bachaane waali hai
Aanchal mein ye deep chhupaa le
Aandhi aane waali hai
Aandhi aane waali hai
Hey ae ae ae
bairi pichhe pade
Hamen ghere khade
Tujhe Ambey Jagdambe jag saaraa jaane re
Ho jag saara jaane re
Deshdrohi ka
Deshdrohi ka
Kar de bantaa dhaar
Ho o Deshdrohi ka
Kar de bantaa dhaar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Kar de kar de
Bhakton ka bedaa paar
Ho kar de kar de
Bhakton ka bedaa paar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Chaaron khaane chit hai dushman
Usne hamko maan liyaa aa
Usne hamko maan liyaa
Naacho gaao mauj manaao
Maiyya ne kalyaan kiya
Maiyya ne kalyaan kiya
Hey ae ae ae
Aisi devi ne aaj raakhi bhakton ki laaj
Tujhe Ambey Jagdambe jag saaraa jaane re ae
Ho o jag saara jaane re
Nahin bhulenge
Ho nahin bhoolenge tera upkaar
Ho o nahin bhoolenge tera upkaar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
Aayo aayo navraatri tyohaar
Ho o aayo aayo navraatri tyohaar
Ho Ambe maiyyaa teri jai jaikaar
Ho Ambe maiyyaa teri jai jaikaar
————————————————————-
Devnagri Script lyrics(Provided by Avinash Scrapwala)
————————————————————-
हे मई ई ई ई ई ई ई ई ई
हे जब जब भीर पड़ी भक्तन पर
हे तूने सुनी ई पुकार
ए मई ई ई ई ई ई ई ई ई
जिसकी रक्षा तू करे
उसे क्या मारे संसार
उसे क्या मारे संसार
हे ए आयो आयो नवरात्रि त्यौहार
हे रे आयो आयो नवरात्रि त्यौहार
हो अम्बे मैय्या
तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
हे ए कर दे कर दे ए
कर दे कर दे ए
भक्तों का बेड़ा पार
कर दे कर दे ए
हे ए भक्तों का बेड़ा पार
हो अम्बे मैय्या
तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
हम तो बालक तेरे माता
और तू जीवन दाता है
और तू जीवन दाता है
कोई उसको छू नहीं पाता
तेरी शरण जो आता है
तेरी शरण जो आता है
हे ए ए
आई सिंह पे सवार तेरी शक्ति अपार
तुझे अम्बे जगदम्बे जग सारा जाने रे
हो जग सारा जाने रे
आज अपना
आज अपना
दिखा दे चमत्कार
हो ओ आज अपना दिखा दे चमत्कार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
कर दे कर दे ए
भक्तों का बेड़ा पार
हो कर दे कर दे
भक्तों का बेड़ा पार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
विपदा में है देश हमारा
तू ही बचाने वाली है
तू ही बचाने वाली है
आँचल में ये दीप छुपा ले
आंधी आने वाली है
आंधी आने वाली है
हे ए बैरी पीछे पड़े
हमें घेरे खड़े
तुझे अम्बे जगदम्बे जग सारा जाने रे
हो जग सारा जाने रे
देशद्रोही का
देशद्रोही का
कर दे बंटा धार
हो ओ देशद्रोही का
कर दे बंटा धार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
कर दे कर दे
भक्तों का बेड़ा पार
हो कर दे कर दे
भक्तों का बेड़ा पार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
चारों खाने चित है दुश्मन
उसने हमको मान लिया आ
उसने हमको मान लिया
नाचो गाओ मौज मनाओ
मैय्या ने कल्याण किया
मैय्या ने कल्याण किया
हे ए ए ए
ऐसी देवी ने आज राखी भक्तों कि लाज
तुझे अम्बे जगदम्बे जग सारा जाने रे ए
हो ओ जग सारा जाने रे
हो नहीं भूलेंगे तेरा उपकार
हो ओ नहीं भूलेंगे तेरा उपकार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
आयो आयो नवरात्रि त्यौहार
हो ओ आयो आयो नवरात्रि त्यौहार
हो अम्बे मैय्या तेरी जय जयकार
हो अम्बे मैय्या तेरी जय जयकार
- In: Background song | Devnagri script lyrics by Sudhir | Expecting the beloved | Feelings of heart | Folk song | Guest posts | Happy song | Love song | Lyrics contributed by readers | MD-Singer Song | movie opening song | Post by Sudhir | S D Burman solo song as a singer | S D Burman song as a singer | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1970s (1971 to 1980) | Songs of 1971 | Waiting for love | Yearwise breakup of songs
- Leave a Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3727 | Post No. : | 14668 |
There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.
Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.
One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.
Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.
The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.
ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰
ये किसने गीत छेड़ा
Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD Burman
Lyrics
hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge
ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे
ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे
Toote To Toote Koi Dil Ka Sahaara
Posted on: August 25, 2018
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Pathos | Poignant Song | Post by Sudhir | Rafi duets अ से ह तक | Rafi songs | Rafi-Asha Bhonsle duet | sad song | Series of articles | Songs of 1970s (1971 to 1980) | Songs of 1971 | Yearwise breakup of songs
- Leave a Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3690 | Post No. : | 14599 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 21
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘ट’ – टूटे तो टूटे कोई दिल का सहारा ॰ ॰ ॰
– – – –
हम आस किए जाते, तुम पास नहीं आते
जाना था चले जाते, मिलने को चले आते
Everyone has to depart, someday. But this beseeching yoke of memories is now becoming an encumbering burden, that would probably be lightened only when I myself will depart.
– – – –
Presenting the next episode in this series. With close to half of Rafi Sb’s songs already posted on the blog, it is getting to be not an easy job to find songs to fit the requirements of the series. The alphabet letter for today is ‘ट’. When we scan the list of songs, we find a long list of songs starting with ‘t’, but then on closer review, one finds that majority of these ‘t’ songs are actually for the syllable ‘त’ – as in ‘तुम’, ‘तुम्हारे’, ‘तेरा’ etc. There are very few songs that will start with the sound of ‘ट’.
But then, the going is still good. In fact I found two very good songs that satisfy this criteria; the second one I found fit quite well into another series, so I kept that aside for now.
This song is from the film ‘Lagan’ from 1971. Prior to this, two other films by this same title have been made – on in 1941 and the second in 1955. This is the third one. The film is produced under the banner of RRK Combine of Madras (now Chennai), and is directed by Ramanna. The star cast of this film includes Nutan, Ajay Sahni, Prem Chopra, Farida Jalal, Jagdeep, Bindu, Sulochana, Shabnam, Jaishri T, Nazir Hussain, Beerbal, Dubey and Kailash Chopra amongst others.
The film is a family drama – a story about a mother (role played by Sulochana) and her two sons (roles played by Prem Chopra and Ajay Sahni aka Parikshit Sahni). They relocate from Burma to Bombay, and a good Samaritan soul (role played by Nazir Hussain) in the form of a friend of the lady’s late-husband, hands them over substantial assets that are the share of the late-husband. Life is comfortable, only that the elder son (Prem Chopra) is wayward, and seeks extra-marital happiness. His wife is on way for a child, and he mistreats her. When this become known to the mother, she resolves to take action against her elder son, and to set him right.
The film has six songs, all written by Anand Bakshi, and tuned to music by Laxmikant Pyaarelal. Some of the songs are well heard memories from radio listening days. I picked this song for being a duet of Rafi Sb, but could not locate its video. I even scanned the film quickly, but it seems this song has been excluded from the film.
A duet in the voice of Rafi Sb and Asha Bhosle, it seems like a sad song of separation. As I scanned the film, I really could not make out where and how this song might fit into the storyline. If it were a solo sad song, then it could have fit in well. But a sad song presented as a duet seems to have no place in the film.
And so, presenting the next in this series, a song that is presents a complaint, possibly from to a separated companion, or may be to the Almighty.
Song – Toote To Toote Koi Dil Ka Sahaara (Lagan) (1971) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Rafi + Asha Bhosle
Lyrics
toote to toote koi dil ka sahaara
toote to toote koi dil ka sahaara
sahaara
ho hi raha hai phir bhi apna guzaara
ho hi raha hai phir bhi apna guzaara
roothe to roothe koi saathi hamaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara
chaahe wafa kar chaahe kar bewafaai
chaahe wafa kar chaahe kar bewafaai
hum wo nahin jo denge teri duhaai
samjhe na samjhe zaalim tu ye ishaara
ishaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara
ro ro ke phir na tera hum naam lenge
ro ro ke phir na tera hum naam lenge
baahen kisi ki bhi hum to thaam lenge
chhoote to chhoote hamse daaman tumhaara
tumhaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
टूटे तो टूटे कोई दिल का सहारा
टूटे तो टूटे कोई दिल का सहारा
सहारा
हो ही रहा है फिर भी अपना गुज़ारा
हो ही रहा है फिर भी अपना गुज़ारा
रूठे तो रूठे कोई साथी हमारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा
चाहे वफा कर चाहे कर बेवफाई
चाहे वफा कर चाहे कर बेवफाई
हम वो नहीं जो देंगे तेरी दुहाई
समझे ना समझे ज़ालिम तू ये ईशारा
ईशारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा
रो रो के फिर ना तेरा हम नाम लेंगे
रो रो के फिर ना तेरा हम नाम लेंगे
बाहें किसी की भी हम तो थाम लेंगे
छूटे तो छूटे हमसे दामन तुम्हारा
तुम्हारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा
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.
| Blog Day : | 3679 | Post No. : | 14573 |
Hullo Atuldom
I think I should get over this habit of waking up late to dates. I remembered that today (14 august 2018) was Johnny Lever’s birthday and later, yesterday, around seven in the evening I remembered that 14th august is also Shammi Kapoor’s anniversary. He passed away this date in 2011. Its been seven years.
Shammi Kapoor the man with “Neeli aankhen” (bade hai dil ke kale haan yehi neeli si aankhon waale) were his eyes actually blue or were they light? The gora-chitta-banka naujawan. The dancer who, I am sure, made a number of choreographers cry by doing his own stuff to the rhythm of the songs and had audiences lapping it up. And IMHO Helen was one dancer who managed to follow the choreographer when Shammi did his own stuff on his cue during dance numbers – the last part of “ai ai ya karoon main kya suku suku”is the best example for this. He would have continued in this manner but for the death of his beloved wife Geeta Bali, post which he lost interest for a few years, and then when he returned to the screen he began looking older than his age. He played Vinod Khanna’s older brother in 1971 in “Preetam” and father two years later in “Zameer”. Leena Chandavarkar, his heroine in Preetam, looks very tiny in front of him.
His movies all had memorable songs, mostly sung by Mohd. Rafi in the 60s and later in the 70s & 80s Kishore Kumar sang a few songs filmed on Shammi. There is video on YouTube wherein Shammi talks of his friendship with Kishore Kumar which possibly began at the time of “Mem Sahib” (1956/57) but (in Shammi’s words) he got a chance to lip-sync to Kishore only in the late 70s and 80s. when I heard Shammi mention “Mem Sahib” I decided to see it on YouTube. First thing that struck me was all the actors played characters that we later generation audiences are not familiar with. Meena Kumari played a mod-girl, Shammi Kapoor a negative character and Kishore Kumar a brahmachari who is confused about the ways of the world.
Yesterday when I realised the significance of 14th august with regard to Shammi Kapoor I had a chat with our Atulji to find out if there were any Shammi song left, are we at the bottom of the barrel? He gave me a list of post 1970 movies and also mentioned “Preetam”. I remember having seen this movie made by Bhappi Sonie in the times when doordarshan was the sole source of entertainment. I remember Leena Chandavarkar was paired opposite Shammi and Helen was for Vinod Khanna. I remembered the songs were also decently good.
Today’s song is a typical Shammi Kapoor song in the sense it is sung by Mohd. Rafi with music by Shankar Jaikishan. Only odd man out here is the lyricist -Rajinder Krishan.
Remembering Shammi Kapoor with this song from 1971.
Song-Sher se ladne aayi dekho shahar ki ik billi (Preetam)(1971) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan
Chorus
Lyrics
sher se ladne aayi dekho
shahar ki ik billi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
maasha allaah
aankhen dekho
masha allah aankhen dekho
bilkul makdi jaisi hain
allah allaah
taangen dekho
allaah allaah taangen dekho
sookhi lakdi jaisi hai
daal ke choohe daani mein
daal ke choohe daani mein
phenk aate hain paani mein
nahin nahin
dilli thheek rahegi
sher se ladne aayi dekho shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
doodh malaai
chori ka ye
doodh malaai chori ka ye
kha kha ke gurraati hai
kad hai poore dedh haath ka
kad hai poore dedh haath ka
meri kamar tak aati hai
bilti iski karwaa den
bilti iski karwaa den
baans bareilli pahuncha den
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ek billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
yeah
dilli thheek rahegi
sher se ladne aayi dekho
aahaa
naazuk naazuk bhoore bhoore
naazuk naazuk poore bhoore
tan par haath phiraayenge
gale mein iske baandh ke ghanti
gale mein iske baandh ke ghanti
isko dance karaayenge
sabko naach dikhaayegi
sabko naach dikhaayegi
paise chaar kamaayegi
nahin nahin dilli thheek rahegi
sher se ladne aayi dekho
shahar ki ik billi
chidiya ghar mein bhej den isko
kalkatte ya dilli
dilli thheek rahegi
sher se ladne aayi dekho
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3663 | Post No. : | 14531 |
The poem, kaarwaan guzar gaya gubaar dekhte rahe and the poet Neeraj are inseparable. The poem was later adapted as a song in the film ‘Nai Umar Ki Nai Fasal’ (1965). But if I mention a verse from a ghazal, ‘kaarwaan guzra kiya raahguzar dekha kiya’ with more or less similar import, most of the readers of the Blog (barring those who have interest in the Urdu poetry) may not be aware as to who wrote this ghazal. The poet of this ghazal was Faani Badayuni. This name may not ring bell but the name will surely bring into the minds of most of us, another poet-lyricist from Badayun, Shakeel Badayuni.
I was not aware of Faani Badayuni until about 4 years back when I had started writing articles on some famous classical and modern Urdu poets for the Blog. In that, I had covered poets like Daagh Dehlvi, Firaq Gorakhpuri, Majaaz Lucknowi, Hasrat Mohoni, Sudarshan Faakir, Nida Fazli etc. I had also come across the name of Faani Badayuni in the context of Sahir Ludhinavi and Majaaz Lucknowi who were said to have been influenced by his poetry in their early writings. However, at that time, I did not make a serious attempt to know more about Faani Badayuni.
Recently, I heard the ghazal ‘misl-e-khayaal aaye thhe aakar chale gaye’ from the film ‘Aaina’ (1944). It is a tandem solo song sung by Kalyani Bai and Shama separately in the film. Pandit Phaani has been accredited as a song writer for this song in all the film songs websites. However, Kamalakar Pasupuleti’s book ‘Music and Arts in Hyderabad’ has mentioned that this ghazal was written by Faani Badayuni. I still have some doubt as to the authorship of this song. In my view, except for first she’r, the remaining 3 she’rs in the song appear more as filmy lyrics than the poetry. This issue created interest in me to know more about Faani Badayuni and his genre of poetry.
Shaukat Ali Khan ‘Faani’ Badayuni (13/09/1879 – 26/08/1941) was born in Islampur in Badayun district of the United Province (now Uttar Pradesh). Faani Badayuni’s great grandfather had come from Kabul during the reign of Mughal King, Shah Alam and had joined his darbaar. Later, he was made the Governor of Badayun and became the landlord in 144 villages. In the aftermath of the 1857 mutiny, the British confiscated most of his grandfather’s land as a punishment for supporting the 1857 rebellion. Faani’s father had to work as a sub-inspector in the Badayun police.
Faani Badayuni completed his high school in Badayun and did B.A. from Bareilly College in Bareilly. Faani was to get a job in the police but Faani’s father was keen that his son should enlist for LLB to become a lawyer to have an independent source of income. However, the young Faani was more interested in writing Urdu ghazals and attend mushairas than pursuing the vocation of a lawyer. It was the insistence from his father that forced him to take admission in a college in Allahabad for LLB and thereafter in Aligarh. After spending 6 years in these two colleges, Faani completed LLB in 1908.
Faani started law practices in Badayun, Bareilly, Agra and Lucknow but could not become a successful lawyer. With a poet in his heart, he had no interest in law practice. He had started writing ghazals from the age of 11. He used to spend much of his time in mushiaras. As a result, he did not devote sufficient time to study the court papers. His law practice failed and his father came to know that his son was devoting more time in writing Urdu poems than attending court. After his father’s reprimand, Faani stopped writing ghazals and participating in the mushiaras for few years.
In 1923, Faani came to Agra and started the law practice once again. But his practice did not flourish. During this time, he started an Urdu magazine ‘Tasneem’. But this venture also went into losses and had to be closed down in 1932. During these troubling times, Faani faced financial problems. It was during this period he had to sell his land at a pittance as a settlement of some land disputes.
Fortunately for Faani, in 1932, he got an invitation from Krishan Prasad ‘Shad’, the Diwan (Prime Minister) for the Nizam of Hyderabad to visit Hyderabad. Krishan Prasad was a poet himself beside a fan of Faani. He was provided with a furnished house in Hyderabad with free conveyance. He also got the monthly honorarium of Rs.350/- from Nizam.
In view of Faani’s educational qualification, the Diwan of Hyderabad was keen to make him a Magistrate in one of the courts of Hyderabad. However, due to some clever mechanisation of his competitors, Faani could not get any post worthy of his status. At last, he was appointed as a School Headmaster. After the death of Diwan Krishan Prasad in 1937, even his monthly honorarium was considerably reduced. During this period, Faani lost his young daughter and the wife within a span of one year. These incidences emotionally affected him.
Apart from attending to his job as a Headmaster, Faani was also required to attend the court of Nizam’s son. The music and poetry recitation sessions used to continue until the wee hours of the morning. As a result, Faani sometime could not attend to his school work or he would reach the school very late. As a punishment, Faani was transferred to a school in Nanded and later in Warangal. However, his heart was in Hyderabad for which he would often remain absent from the school. Due to this, Faani lost his job as Headmaster just few days before his death on August 26, 1941.
Faani had summed up his life as under. My guess is that he wrote this at the fag end of his life:
‘Faani’ ham to jeete ji wo maiyyat hai be-gor kafan
gurbat jisko raas na aayi aur watan bhi chooth gaya
[I am a living corpse without a tomb and the shroud (cloth on a dead body). Not wanted in a foreign (Hyderabad) land, I missed the home (Badayun)]
Faani published his poetry collections in two books – ‘Baqiyat-e-Faani’ and ‘Irfaniyat-e-Faani’. There is also a publication ‘Kuliyaat-e-Faani’ brought out after his death. In addition, there are some half a dozen published works done by some authors and editors on his poetry. All these publications are available on line in Urdu scripts only. Luckily , I could get a Hindi publication of Faani’s select poems (120 ghazals) in ‘Faani Badayuni Aur Unki Shaayari (1959) edited by Saraswati Saran ‘Kaif’ as e-book on rekhta.org.
Generally, traditional ghazals are written with a romantic theme of the poet’s unrequited love for his imagery beloved. The sequence of unrequited love poems starts with describing the husn (beauty) of the beloved. At this stae, everything looks good. Thereafter the poet feels that he has not been successful in wooing his beloved. Now his ghazals are full of pathos and melancholy. Lastly, the poet feels the pain of separation as the beloved is unresponsive.
However, almost all of Faani’s ghazals which I have read in the said publication, depict gloom, sorrow, despair, bitterness and pessimism. In his view, life is full of sorrow (gham) and only the death (maut) can relieve him from sorrow. In his ghazals, quite often words like ‘gham’, ‘maut’, ‘maiyyat’, ‘mataam’ will be found. Why Faani Badayuni’s ghazals are so gloomy?
The answer lies in the circumstances in which he had spent his life and the personal tragedies he faced. His father forced him to become a lawyer against his wishes. Even Faani’s small land holding was subject to dispute which he had to sell at a pittance. His friends left him when they were most needed at the times of his distress. In Hyderabad, his friends worked against him from getting a good job which he would have got it due to his educational qualification. After the death of his benefactor, Diwan Krishan Prasad in 1937, even his honorarium was considerably reduced. Within one year, he lost his young daughter and wife due to ill health as he had no money to spend on their medical expenses. All these events may have made him bitter about the life.
Some experts in the sphere of Urdu poetry say that Faani (means mortal, perishable) was influenced by the gloomy ghazals of Mir Taqi Mir and Mirza Ghalib. While this may be true, we have no way to know as to at what stage Faani started writing gloomy ghazals as his early works have said to be lost.
From a sample of the following she’rs of Faani, one can notice depressed he was from his day to day life. Words like ‘maut’, ‘maiyyat’, ‘maatam’ seems to be his favourite vocabulary:
ehsaas-e-mohabbat hi meri maut hai ‘Faani’
iss zindagi-e-dil ne mujhe jaan se maara
har nafs umr-e-guzashta ki hai maiyyat ‘Faani’
zindagi naam hai mar mar jiye jaane kaa
nafs=soul, spirit
umr-e-guzashta= previous age (life)
maut jis kaa hayaat ho ‘Faani’
iss shaheed-e-sitam kaa maatam kyaa
hayaat=life, existence
shaheed-e-sitam=martyr of tyranny
kisi ki gham ki kahaani hai zindagi ‘Faani’
zamaana ek fasaana hai marne waalon kaa
duniya meri balaa jaane, mehengi hai yaa sasti hai
muft miley to maut na loon, hasti ki kyaa hasti hai
It appears that over a period of time, Faani got so much used to face sorrows and pains that they had become a part of his life. In fact, he thinks that he gets relief by facing them:
‘Faani’ wo balaa-kash hoon gham bhi mujhe raahat hai
maine gham-e-hasti ki soorat bhi na pehchaani
balaa-kash= afflicted, distressed.
gham-e-hasti= life of sorrow
For me, reading Faani’s ghazals was like watching the film ‘Kaagaz Ke Phool’ (1959). Both are gloomy and depressing to my mind. But these are the classic works which no one with interests in classical Urdu poetry and films can ignore.
Unfortunately, Faani Badayuni’s ghazals have rarely been used in Hindi films. One of his famous ghazals ‘ ek muamma hai samjhne kaa na samjhaane kaa’ has been partly used in ‘Prem Nagar’ (1974). The song has already been covered in the Blog. So, I have selected one of Faani’s famous non-filmy ghazals, ‘kaarwaan guzra kiya hum rahguzar dekha kiye’ (1970). I have attempted English translation (rather transliteration) below. I will not be surprised if some different interpretations of this ghazal emerge as I feel that the ghazal has some shade of Sufiana poetry.
kaarawaan guzra kiya hum rahguzar dekha kiye
har kadam par naqsh-e-paa-e-raahbar dekha kiye
Travellers have left me and now I can only see the pathway.
At every step, I looked at the foot prints of my guide.
[The poet wished to reach his destination which is his beloved (God/Saint) but the travellers (pilgrims) have already left with the guide. Now he lacks guidance. it is said that to reach the God, one needs an intermediary in form of a saint and I think here the guide is the saint]
kaarwaan= A large group of travellers,
rahguzar= Pathway
naqsh-e-paa-e-Raahbar= Foot prints of the guide.
yaas jab chhaayi ummeeden haath mal kar rah gayin
dil ke nabzen chhut gayin aur chaaraagar dekha kiye
When the despair set in, all hopes got dashed.
My heart beats stopped and I looked for a healer to cure me.
[Again, the use of the word ‘chaaraagar’ (healer) is the typical of Sufiana poetry.
The poet is in pain and in despair as his all hopes of meeting his beloved dashed. Now he needs a healer to cure him from the pains and despair.]
yaas=despair, frustration
nabzen= pulses, beats
chaaraagar=one who cures, healer, doctor
rukh meri jaanib nigaah-e-lutf dushman ke taraf
youn udhar dekha kiye goyaa idhar dekha kiye
The beloved face is towards me but her love of glance is meant for my rival.
She is looking elsewhere but pretends as if she is glancing at me.
rukh= face
jaanib=direction, towards
nigaah-e-lutf=glance of love
goyaa= as if
dard mandaan-e-wafa ke haay re majbooriyan
dard-e-dil dekha na jaata thha magar dekha kiye
Oh! How many difficulties I have to face for the separation from my beloved. I cannot withstand the pain in my heart but I will have to bear it.
tu kahan thhi ae azal ae naa-muraadon ke muraad
marne waale raah teri umr bhar dekha kiye
O death, where were you. You were the wish of unfortunates.
Those who were desirous of death were waiting for you life long.
[It is interesting to note that Sahir Ludhianvi, in his famous qawwali in ‘Barsaat Ki Raat’ (1960), expressed somewhat similar thoughts but in a lighter vein:
‘mere naa-muraad ki junoon kaa hai ilaaj koi to maut hai’ ]
azal= death
naa-muraad=unfortunate, unlucky.
The last she’r of the ghazal not covered in the record
zeest thhi ‘Faani’ be-kadr-e-fursat-e-tamheed-e-shauq
umr bhar hum partav-e-noor-e-bashar dekha kiye
The life of Faani was limited to the extent of playing the role of the love.
Throughout the life, I remained in the shadow of the beauty of the human being.
zeest=Life
ba-kadr-e-fursat = to the extent-
tamheed-e-shauq= Role of love
partav-e-noor-e-bashar= In the shadow of the beauty of the human being.
The ghazal has been rendered by Asha Bhonsle under the music direction of Jaidev. The LP containing this ghazal was first released sometime in 1970.
—————————————————————————————————————————–
Notes:(1) For Faani Badayuni’s life profile, I have relied mostly on the Hindi book, ‘Faani Aur Unki Shaayari’ (1959): Editor, Saraswati Saran Kaif, which I gratefully acknowledge. Some additional inforamtion was drawn from interviews on Faani Badayuni in the video clips available on YT.
(2) I have selected the she’rs from the ghazals listed in the book referred to above as I felt that this was more autheticated source than those available on line.
Audio Clip:
Song-Caravan guzra kiya ham rahguzar dekha kiye(Asha Bhonsle NFS)(1971) Asha Bhonsle, Lyrics-Faani Badayuni, MD-Jaidev
Lyrics
aaa aaa aa aa aaa
aa aa aaa
aa aa aaa
kaarwaan guzra kiya
hum rahguzar dekha kiye
kaarwaan guzra kiya
hum rahguzar dekha kiye
har kadam par naqsh-e-paa-e-raahbar dekha kiye
kaarwaan guzra kiya
yaas jab chhaayi ee eee
yass jab chhaayi
ummeeden haath mal kar rah gayin
dil ke nabzen chhut gayin
aur chaaraagar dekha kiye
dil ke nabzen chhut gayin
aur chaaraagar dekha kiye
kaarwaan
rukh meri jaanib nigaah-e-lutf dushman ki taraf
rukh meri jaanib nigaah-e-lutf dushman ki taraf
youn udhar dekha kiye
goyaa idhar dekha kiye
youn udhar dekha kiye
goyaa idhar dekha kiye
kaarwaan guzra kiya
dard mandaan-e-wafa ki
dard mandaan-e-wafa ki
haay re majbooriyan
dard-e-dil dekha na jaata
thha magar dekha kiye
dard-e-dil dekha na jaata
thha magar dekha kiye
kaarwaan
tu kahaan thhi ae azal
tu kahaan thhi
tu kahaan thhi ae azal
ae naa-muraadon ki muraad
marne waale raah teri
umr bhar dekha kiye
marne waale raah teri
umr bhar dekha kiye
kaarwaan guzra kiya
hum rahguzar dekha kiye
hum rahguzar dekha kiye
hum rahguzar dekha kiye
hum rah…
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| Blog Day : | 3651 | Post No. : | 14499 |
“Man Tera Tan Mera”(1971) was directed by B R Ishara for Nitin Films, Bombay. This “social” movie had Rehana Sultan, Anil Dhawan, Shatrughan Sinha, Manmohan Krishna, Asit Sen, Dulaari, Vivek, Johny Whisky, Dilip Dutt, Pardesi, Nayantara, Abhijeet Sen, Ravi, Roopaali, Hameed, Shakeel, Madhumati, Anand Narula, S K Sinha, M abbas, C K Shetty, Ram Singh, Prakash, Satyendra, Jeetendra Sharma, R Khosla, Master Susheel, Rashmi (new discovery) and Rukhsana (new discovery) etc in it.
The movie had four songs in it. One song has been covered in the past.
Here is the second song from “Man Tera Tan Mera”(1971) to appear in the blog. The song is sung by Mukesh. Naqsh Llayalpuri is the lyricist. Music is composed by Sapan Jagmohan.
Only the audio of this song is available. Like most Mukesh songs, this song too bears the mdas touch of Mukesh, but this song somehow managed to end up becoming an obscure song. The fact that the movie failed at the box office obviously has to be the main reason why this song failed to get enough exposure among music lovers.
Song-Zindagi ke mod par ham tum miley aur kho gaye(Man Tera Tan Mera)(1971) Singer-Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics
zindagi ke mod par
hum tum miley aur kho gaye
ajnabi thhe aur phir ham ajnabi se ho gaye ae
zindagi ke mod par
pal do pal jazbaat ki ee
pal do pal jazbaat ki
lahron mein kitna josh tha
ek zara si der mein
toofaan ke dhaare kho gaye ae
kho gaye
zindagi ke mod par
hum tum miley aur kho gaye ae
zindagi ke mod par
dil ke har ek taar ne ae
dil ke har ek taar ne
kya jaaniye kya ?? hai
saaj chheda aur sabhi nagme pareshaan ho gaye ho gaye
zindagi ke mod par hum tum miley aur kho gaye
zindagi ke mod par
jis kadar nazdeek aaye
jis kadar nazdeek aaye
faasle badhte gaye ae
do musaafir kab miley hain
par pahuch kar kho gaye ae
kho gaye
zindagi ke mod par hum tum miley aur kho gaye
ajnabi thhe aur phir ham ajnabi se ho gaye ae
zindagi ke mod par
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