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

Posts Tagged ‘A Karim


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.

Blog Day :

4750 Post No. : 16485

The tale of two brothers – Hafiz Khan and Aziz Khan, sons of the Ustad Waheed Khan of Etawaha Gharana is not only saddening but also contrasting in the end. After a promising start in Hindi films as a playback singer and the music director in the 1940s, Hafiz Khan died in 1972 in extreme poverty. Aziz Khan, on the other hand, after a brief stint with Hindi film industry as a music director, reverted to playing Sitar and trained his son, Ustad Parvez Khan who is now an internationally well-known Sitar player.

Etawaha Gharana popularised the Sitar and Surbahar and Ustad Waheed Khan was a famous exponent of both these musical instruments. He appeared in Satyajit Ray’s ‘Jalsaagar (1958) in which he can be seen playing Raag Bihaag on Surbahar in one of the scenes of the film. Ustad Waheed Khan was a court musician at the court of Holkar of Indore for 18 years, in the court of Maharaja of Patiala for 3 years and later in the court of Nizam of Hyderabad until 1948. Naturally, he wanted his two sons to continue the Gharana tradition of playing Sitar and Surbahar. With this aim in mind, Ustad Waheed Khan gave extensive training in Sitar, Surbahar and vocal music to his two sons. At the age of around 12 , Hafiz Khan was sent to Kolkata to receive further training in Sitar and Surbahar from his uncle, Ustad Inayat Khan (father of sitar maestro Ustad Vilayat Khan) who found Hafiz Khan to be a promising student of Sitar and Surbahar. He used to accompany his uncle in his sitar/surbahar concerts.

In Kolkata, Hafiz Khan got mesmerised with the songs of K L Saigal and Pankaj Mullick. He was now more interested in becoming a singer in Hindi films than learning Sitar and Surbahar. On a visit to Hyderabad to spend some time with his father who had then become a court musician in the court of Nizam, Hafiz Khan got a chance to sing songs on Hyderabad Radio. Knowing fully well of his father’s strong aversion to film songs, he had to sing on the radio without revealing his name. He got some money for his singing on the radio.

Knowing that his father would never allow him to sing for Hindi films, one day Hafiz Khan ran away from Hyderabad with his money earned from radio singing to Mumbai some time in 1934. After doing some odd jobs in the film studio including small roles as actor, producer Chandrarao Kadam, who was producing ‘Bahadur Kisaan’(1938) for which Mir Sahab was entrusted with the music direction, gave him a chance to sing a solo song ‘baalam gaye pardes ri sajni’ which became his debut playback song in a film. With this song, Hafiz Khan became known as a singer. Since he wanted to hide his name associated with film songs from his father, Mir Sahab gave him a new name ‘Khan Mastana’ keeping in view his jolly nature.

After the release of ‘Bahadur Kissan’ (1938), Mir Sahab joined Minerva Movietone as the music director. He also took Khan Mastana to Minerva Movietone where he was taken as a playback singer on a 3-year contract. During this period, he sang songs in ‘Jailor’ (1938), ‘Talaaq’ (1938), ‘Pukaar’ (1939) ‘Main Haari’ (1940), etc. His songs from these films raised his popularity graph. During the last year of the contract with Minerva Movietone, Sohrab Modi wanted him to play sitar in addition to his contract as playback singer. Khan Mastana refused to play sitar as he did not wish to become a musician. He left Minerva Movietone. By that time, he had also got an offer from a film producer to work as a music director (probably for ‘Virginia’, 1940). Since Sohrab Modi did not want to lose Khan Mastana, he gave him a chance as a music director in his film ‘Vasiyat’ (1940) which he accepted as a free-lancer.

In around 1945, Khan Mastana’s younger brother, Aziz Khan had also joined Bombay film industry as a music director. To conceal his identity for his association with films, he had also changed his name to ‘Aziz Hindi’. By 1947, Khan Mastana had become a top male playback singer next only to G M Durrani and had given music direction to as many as 23 films. Everything was going very fine in his filmy career. He had money, fame and the luxury of staying in any one of his 5 flats in Mumbai. But his misfortune started when he paid a visit to Hyderabad sometime in 1947. His father who was a court musician at that time with Nizam, did not allow him to return to Mumbai. Instead, he pressurized Khan Mastana to learn classical music and sing in front of him rather than in the films. This continued for almost a year which led to delay in films for which he was committed to complete the recording of the songs as playback singer and as a music director. The producers of such films had to engage some other music directors to complete their films. Khan Mastana’s unprofessional attitude resulted in losing some prospective films as the music director.

In early 1948, Khan Mastana once again ran away from Hyderabad for Mumbai. One year of the absence from the film industry is sufficient for a film artist to be forgotten. Khan Mastana managed to get some playback singing assignments to re-establish himself in the film industry. One of the songs in which he sang with Mohammed Rafi was ‘watan ki raah pe watan ke naujawaan shahid ho’ from ‘Shaheed’ (1948) which became very popular. When Khan Mastana has just settled down in the film industry mainly as a playback singer in his second innings, his father came to Mumbai and forcibly took him ( also his brother, Aziz Khan) back to Hyderabad. This time, he was trapped in Hyderabad for about 2 years.

When Khan Mastana returned to Mumbai after 2 years – probably in 1951, he had not only faced the wrath of producers and music directors for his unprofessional behaviour, he had to face stiff competition of emerging playback singers like Mohammed Rafi, Mukesh, Talat Mehmood and Manna Dey. Some new music directors had also emerged during his absence who were happy with the emerging playback singers. Khan Mastana realised that his days as playback singer and the music director were over. In his third inning in film industry, he could get only a handful of songs to sing. He sang his last song as a playback singer, zindagi hai yaa koi toofaan hai in ‘Zindagi Yaa Toofaan’ (1958) which became his swan song.

From the mid 1950s up to his death in March 1972, Khan Mastana lived a life of extreme poverty. During his heydays, he lavishly spent money on his friends who also made him addicted to some vices including drinking. So, he had not saved money for the future. He was staying with his family in a small room mocated in a lane adjunct to Mahim Dargah. He had got afflicted with paralysis in 1966. His only son got similar affliction at the age of 14.

Khan Mastana who had sung nearly 150 songs, composed music in around 30 films besides acting in around 10 films died unsung in abject poverty in March 1972.

What a sad end of a lineage from the Etawah Gharana. His nephew, Ustad Shahid Parvez Khan (son of his brother, Aziz Khan) who is an accomplished sitar player of international repute is of the view that going by the recordings of his uncle’s Hindustani classical renditions and sitar/surbahar recitals available with the family’s archive, Khan Mastana would have become one of the leading exponents of Hindustani classical music if he had concentrated on playing Sitar/Surbahar and as a classical vocalist rather than in the Hindi film industry.

‘Muqabala’ (1942) was one of the films of Khan Mastana’s heydays for which he was not only the music director, he also sang for himself in the film and also provided playback singing for other actors. This film seems to have been produced at a time when Wadia Movietone was in the verge of a split between Wadia Brothers. The film was made under the banner of J B H Wadia Productions but it was a Homi Wadia presentation. The film was jointly directed by Batuk Bhatt (Nanabhai Bhatt) and Babubhai Mistry. The star cast included Nadia and Yaqub in the lead role supported by Srinivas, Rajni, Dalpat, Nazira, Agha, Jal Khambata, M K Hasan, Baby Madhuri etc.

The film had 9 songs of which 3 songs have been covred in the Blog. All the songs were written by A Karim. I am presenting the film’s 4th song, ‘mujrim hoon mohabbat ka jo chaahe saza dena’ which is picturised on Yaqub. Agha is also seen in the song picturization.

Almost all on-line resources mention Yaqub as the singer. But it is apparent that the voice in the song is that of Khan Mastana.

——————————————————————————————————————————————————————

Acknowledgement: Sometime last year, one of my friends sent me a photocopy of an article written by Madhup Sharma which was published in Hindi magazine, ‘Madhuri’ in 1969. This article was based on the interview the author had taken with Khan Mastana in his house. Much of the information about Khan Mastana in my article is based on this source with some updates.

Video Clip:

Audio Clip:

Song-Mujrim hoon mohabbat ka jo chaahe sazaa dena (Muqaabla)(1942) Singer-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana

Lyrics

aa aa aa
haaa haaa
aaaa aaaaa
mujrim hoon mohabbat ka
jo chaahe saza dena
mujrim hoon mohabbat ka
jo chaahe saza dena

mujrim hoon mohabbat ka aa aa
haan aan
jo chaahe saza dena aa aa
par yaad rahe itna
dil se na bhula dena
par yaad rahe itna
dil se na bhula dena

main dil tumhen deta..aa hoon
lekin kahe deta hoo..n
main dil tumhen deta hoon
lekin kahe deta hoon
mujhko to mitaaya hai
isko na mita dena
mujhko to mitaaya hai
dil ko na mita dena

aaraam na hai din ko….o o o o
aur neend na raaton ko…o o o o
aaraam na hai din ko
aur neend na raaton ko..o o o
beemaar kiya tumne
ab tum hi dawa dena
beemaar kiya tumne
ab tum hi dawa dena

wo guzri huyi baaten
raaton ki mulaakaaten
wo guzri huyi baaten
raaton ki mulaakaat..en
bhoole se jo yaad aaye
do aansoo baha dena
bhoole se jo yaad aaye
do aansoo baha dena
mujrim hoon mohabbat ka
jo chaahe saza dena
par yaad rahe itna
dil se na bhula dena


This article is written by Arunkumar Deshmukh, 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

Blog Day :

4729 Post No. : 16448 Movie Count :

4465

Not many films are made on Kashmir, though Kashmir featured in many films for filming songs etc. In the last 80 odd years, only 5 films have been made i.e. films having the name Kashmir in their titles. As such filmmakers were wary of making films on Kashmir. Being a controversial subject, they knew that the Government would surely ban the films, so as not to displease Pakistan. Thankfully, now the situation is different and films on subjects of national interest and glory are being made freely, without Government’s interference. This is true freedom for the Art. Many politically bold, revealing films, as well as films applauding our Army are being made.

The 5 films having Kashmir in their titles were- Kashmir ki Kali-1946, Kashmir hamara hai-1950, Kashmir-51, Kashmir ki kali-64 and Kashmir Hamara Hai-2001. I doubt if any of these films tackled the political aspect of Kashmir. Looks like our films had central themes of Love stories in the background of beautiful Kashmir. We all know about Shammi Kapoor and Sharmila Tagor’s film in 1964.

Today’s song is from the first film having Kashmir in the title, Kashmir ki kali-1946. An important matter connected with this film is that Geeta Roy (Dutt) sang 2 songs in it. One solo and one duet with someone called Devendra. Readers will recall that Geeta Roy made her singing Debut in film Bhakta Prahlad-1946, by singing in the chorus. So today’s song has the historical value of being her first ever solo playback song. In 1946, she sang in 12 films- an achievement for a singer in her first year of debut. This was an indication that not only the MDs, but also the public had liked her voice and style.

Film Kashmir ki kali-46 was directed by Jagannath Dhar- possibly his only film as a director. Lyrics of the 5 songs were by Matwala Panit and the music was by A. Karim. He was a multifaceted artiste. He acted in 3 films, directed 12 films, wrote 146 songs in 20 films and gave music to 5 films. The cast of this film was Master Vithal. Kavita Devi, Vasantrao Pehelwan, Omkar Devaskar, Kishen etc.etc. As we all know, Master Vithal was the Hero of the First Indian Talkie film ” Alam Ara”-1931, For him, this was his last film in Bombay.

A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films. What’s more, he even sang 3 Hindi songs in the film Bhedi Rajkumar-1934.

However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 15 talkie Hindi films till 1946, in Bombay. He , however, acted in one more Hindi film ‘ Chhatrapati Shivaji”-1952, as it was made in Kolhapur only. His last film in Bombay was Kashmir ki Kali-1946. All this after ‘Aalam Ara’.

Master Vithal is in history books as the first hero of the first Indian talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in the silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.

Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently, as he felt this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died on 25-6- 1969.

BOMBAY- The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working in a garage becomes an All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing was heard by a passing Music Director Hanuman Prasad, just by chance. She was known later as ” Geeta Dutt”. There are many such examples.

There are many such numbers of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. At Least two glaring examples are known. One is very well known to many, but the other is hardly known to anyone. First case is, Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Alam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case of how Maya scuttled the chances of fame, name and career of a small-time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film as mentioned in this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in the Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

The Imperial company decided to make a Talkie for the First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet of film was shot flawlessly. Irani was so impressed that he toyed with the idea of giving Omkar the first song in the film Alam Ara. Maya swiftly went into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He sang 3 songs in the film ” Noor E Iman “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was, perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in the film Jagriti-49. Omkar was a regular actor in many Marathi films too. ( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz, HFGK and my own notes, for this write up.)

Now let us listen to Geeta Roy’s first solo song from this film. With this song, the film Kashmir ki kali-1946 makes its Debut on our Blog.


Song-Ye kisne meri hasraton mein aag laga di (Kashmir Ki Kali)(1946) Singer-Geeta Dutt, Lyrics-Matwala Pandit, MD-A Karim

Lyrics

ye kisne meri ee ee
ee ee ee ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri ee
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri zindagi dushwaar bana di

ab tu hi bata aa aa
aa aa aa aa
ab tu hi bata
kisne shuru pyaar kiya thha
ab tu hi bata
kisne shuru pyaar kiya thha
kya maine kisi baat se inkaar kiya thha
kya maine kisi baat se inkaar kiya thha
phir kyun meri ee ee
ee ee ee ee ee ee
phir kyu meri tasveer kaleje se hata di
kaleje se hata di
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee

gar tu na sahi
gar tu na sahi
lab pe tera naam rahega
tera naam rahega
tera hi tasawwur subah o shaam rahega
gar tu na sahi
gar tu na sahi
lab pe tera naam rahega
tera hi tasawwur subah o shaam rahega

ye toone mujhe ae ae
ae ae ae ae ae
ye toone mujhe pyaar ki kya achchi saza di
kya achchi saza di
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee
ee ee ee ee ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri zindagi dushwaar bana di
ye kisne meri


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 :

4688 Post No. : 16372

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 23
———————————————————————————–

This day ten years ago (19 may 2011) saw four songs being covered in the blog. That month of may 2011 was seemingly a month when I was not in a position to discuss songs with the same regularily and rate that I used to achieve in the past. My guess is that summer vacations were on at that time. My school going daughter, my ife and our three pets had joined me at Nagpur and that as the reason for less number of posts in this month. With the benefit of hindsight, even that rate that I managed to achieve in this month ten years ago makes that month seems like a prolific month vis a vis the same month ten years later. 107 songs were covered in may 2011, whereas 18 days of the corresponsing month this year has seen only 26 songs getting covered in first 18 days of the month of may 2021.

Here are the details of the four songs covered in the blog on 19 may 2011:-

Blog post number Song Movie (Year) Remarks
3904 Ham apne dard ka kissa sunaaye jaate hain Muqabala (1942) Two songs covered by now out of nine
3905 Aasmaan se door taaraa ho gaya Darogaji(1949) Eleven songs covered out of 12. Final song unavailable
3906 Aaya re aaya re mera jaane bahaar aayaa Insaaf(1966) 2 songs covered by now out of six
3907 Naseeb hoga mera meharbaan kabhi na kabhi Chaalis Din(1959) 5 songs covered by now out of 8

We can see that all four movies remain upYIPPEED even ten years later. So potentially we can have four Blog Ten Year Challenge posts today. But realistically, it can not be that. For example, the one missing song of “Darogajee”(1949) seems to be unavailable. So another song from that movie cannot be discussed. And so, that movie cannot be YIPPEED as things stand today.

“Muqaabla”(1942) was chronologically the first movie whose song was covered ten years ago. This movie was produced by Homi Wadia and directed by Batuk Bhatt and BabuBhai Mistry. It had Fearless Nadia and Yakoob
with Sreenivas, Rajni, Dalpat, Agha, Nazira, Baby Madhuri, M.K.Hasan, Jal Khambata, Khan Mastana, A.Rehman, Azim, Habib, Kunzru etc in it.

The movie had nine songs in it. Two songs have been covered in the past.

Here is the third song from “Muqaabla”(1942) to appear in the blog. This song is sung by Khan Mastana.An unknown female voice joins in chorus for a few lines. A Karim is the lyricist. Music is composed by Khan Mastana.

The song is picturised as a dance song on a male and a female dancer. I am unable to identify the male dancer, but the ghaghra choli donning female is unmistakably fearless Nadia. It must be a rare occasion where fearless Nadia is dressed in a desi female attire and she is dancing like a desi lady. We are used to see her dressed in masculine attire and fighting baddies.

It is another man (and not the male dancer) who lip syncs the song on screen.

I request our knowledgeable readers to throw light on the picturisation of this song.

Can it be so that the female voice heard in the song is that of Fearless Nadia herself ? I request our knowledgeable readers to throw light on this matter.

Lyrics of this song were sent to me by Prakashchaadra.

video link:

audio link:

Song-Meri jholi bhar de khaali teri raam kare rakhwaali (Muqaabla)(1942) Singers-Khan Mastana, Lyrics-A Karim, MD-Khan Mastana
Khan Mastana + Unknown female voice

Lyrics(Provided by Prakashchandra)

meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

paisaa dewey paisaa paavey
paisaa dewey paisaa paavey
sunn ley rey baabaa aa
jaisaa dewey waisaa paawey
jaisaa deway waisaa paawey
diyaa liyaa tere sang chale ae
diyaa liyaa tere sang chale
ye jag ki reet niraali
ye jag ki reet niraali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

moh lobh ke tod dey phandey ae
o baaboo jee
moh lobh ke tod dey phandey ae ae
o baaboo ji
moh lobh ke tod dey phandey ae
jhoothi duniya jhoothey dhandey
le jaa dil ki duaayein
bandey kabhi na jaayein khaali
de jaa dil ki duaayein
bandey kabhi na jaayein khaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali

duniya rain baseraa hai
paapon kaa chahoon oar andheraa hai ae ae
duniya rain baseraa hai ae ae
paapon kaa chahoon oar andheraa hai
neki ka tu diyaa jalaa ley
ek paisaa dey ae
neki ka tu diyaa jalaa ley
ek paisaa dey ae
rain baney ujiyaali manwa
rain baney ujiyaali
rey teri ram karey rakhwaali
meri jholi bhar dey khaali
meri jholi bhar dey khaali
rey teri raam karey rakhwaali


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.

Blog Day :

4495 Post No. : 16025

Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).

Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai

I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.

I am giving a part of a story here:

A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.

The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.

In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.

I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.

So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.

Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.

Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.

The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.

The following three songs of Ghazab 1951 are posted:

Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda

This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.

Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.


Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus

Lyrics

Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar

aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar

aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa


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 : 3503 Post No. : 14073

“Atom Bomb”(1947) was a stunt movie which was directed by Homi Wadia for Basant Pictures, Bombay. This movie had John Cawas, Sona Chatterji, Dalpat, Sikandar, azeez, Vasant Pawar, Radha, Vijaya etc in it.

This extremely obscure movie had seven songs in it that were equally obscure.

Here is the first song from “Atom Bomb”(1947) to appear in the blog. The song is sung by a female singer. HFGK is silent about the identity of the singers of the songs. I C Kapoor is the lyricist. Music is composed by A Karim.

I request our knowledgeable readers to throw light on the movie as well as on the singer and the picturisation of this song.

I have not been able to get several words right in the lyrics. i request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Atom Bomb”(1947) makes its debut in the blog.


Song-Dard apna chhupa ke dekhenge(Atom Bomb)(1947) Singer-Unknown Female voice, Lyrics-I C Kapoor, MD-A Karim

Lyrics

Dard apna
Dard apna
chhupa ke dekhenge
Dard apna
chhupa ke dekhenge
kuchh na kuchh aur(?)
dikha ke dekhenge
kuchh na kuchh aur(?)
dikha ke dekhenge
Dard apna
chhupa ke dekhenge
dil ko shaayad
qaraar aa jaaye
dil ko shaayad
qaraar aa jaaye
aaj aansoo baha ke dekhenge
aaj aansoo baha ke dekhenge
Dard apna
chhupa ke dekhenge

dekh ??
usi ki yaadon ko o o o
apne dil se bhhula ke dekhenge
apne dil se bhhula ke dekhenge
Dard apna
chhupa ke dekhenge

??
?? kahaan dekhen
??
?? kahaan dekhen
aaj ham muskuraa ke dekhenge
aaj ham muskuraa ke dekhenge
Dard apna
chhupa ke dekhenge


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.

“Ghazab”(1951) was produced by Raja Fatehlal Shah and M Shakir Lucknowi and directed by A Karim for Chitraleela, Bombay. This stunt film had Bhagwan, Baburao, Shanta Patel, Leela Gupte, Usha Shukla, Azeem Bhai, Sheikh, Ali, Maqbool, Jaani etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Searching for songs from as yet unrepresented movies is an important activity for me. As we keep adding more and more movies to the blog, searching for songs from as yet unrepresented movies becomes increasingly difficult, especially for movies from the earlier decades.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ghazab”(1951) was produced by Raja Fatehlal Shah and M Shakir Lucknowi and directed by A Karim for Chitraleela, Bombay. This stunt film had Bhagwan, Baburao, Shanta Patel, Leela Gupte, Usha Shukla, Azeem Bhai, Sheikh, Ali, Maqbool, Jaani etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Muqabala”(1942) was directed by atuk Bhatt and Babubhai Mistry for Wadia Movietone, Bombay. The movie had Nadia, Yakoob, agha, Dalpat, Rajni, Nazeera, Baby Madhuri, Jal Khambata, Khan Mastana, Azim etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ghazab”(1951) was produced by Raja Fatehlal Shah and M Shakir Lucknowi and directed by A Karim for Chitraleela, Bombay. This stunt film had Bhagwan, baurao, Shanta Patel, Leela Gupte, Usha Shukla, Azeem Bhai, Sheikh, Ali, Maqbool, Jaani etc in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

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

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16503

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered =4483

Total visits so far

  • 14,621,398 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,940 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: