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

Posts Tagged ‘Anand Bakshi


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo to all in Atuldom

Only yesterday I saw a rather old episode of the TALK SHOW – back then they used to call it interview (simple)- “Phool Khile Hain Gulshan Gulshan” which Tabassum used to host. I am sure all movie/ music lovers would have seen at least one episode on Friday evenings (I think). I used to try and see it without fail. But the episode (https://www.youtube.com/watch?v=MFFwOfs1IWw) I saw yesterday on YouTube I don’t recollect having seen in 1983. Just as well since; when I saw it yesterday it was an eye opener. It featured Anand Bakshi the lyricist.

He spoke at length on various topics, but what stuck with me was his answer to Tabassum’s question about the shelf life of songs, why do modern songs fade from public memory as soon as the movie is out of the theatres. (I have provided the link for those interested). He gave example of one the two most famous songs of the Subhash Ghai directed “Karz” (1980). Way back in 1983, when that interview happened, he didn’t expect that “meri umar ke naujawaanon —om shanti om” would remain for long in public memory, but we know otherwise. It is still very much popular so much so that Farha Khan not only used it for her movie title but also used that entire song in her movie. complete with Subhash Ghai directing Rishi Kapoor. That sequence was in Farha Khan’s movie to introduce her protagonist Om.

There is another Subhash Ghai movie of the 80s which people don’t recall that frequently, but it was a big hit back then. It was one of the three super successful movies of Anil Kapoor that year. I know it was later remade into Tamil (Oru Taayin Shabhatham by T. Rajender) and Telugu and Kannada as well. I am talking of Meri Jung (1985) which starred Girish Karnad, Nutan and Amrish Puri (making the older generation) with Anil Kapoor leading the young brigade of Khushboo (his sister) Meenakshi Seshadri, and Javed Jaffery who made his debut in this movie as Amrish Puri’s wayward son; who has Khushboo falling in love with him; which conveniently helps the two warring advocates -Anil Kapoor and Amrish Puri.

Remember once before I had wondered how multi-talented the advocates in our movies are (In this when Vinod Khanna jumped over walls to get something from Leena Chandavarkar’s room). “Meri Jung” has Anil Kapoor just swallowing some medicine which is supposed to be poison in court to prove his client Bina’s innocence. I am sure no one is allowed to touch evidences like that in court but anything is acceptable in Indian movies. Remember one bottle collecting blood directly from three donors at the same time. (which movie I know the readers will guess. 🙂 )

Since we talked of Meri Jung (1985) let us have a song from the movie today. It is a dance number by the oh-so beautiful Meenakshi Seshadri. How I wish she had not quit movies for familial life but then it was her personal choice to leave when still on top. She has left us a treasure trove of great songs to choose from whenever we think of her.

And why am I thinking of her today? Obviously, its her birthday today (16 november 2017). And what better than a dance number. We are just floored by her beauty and why not she was a Miss India. I was a fan of her’s and loved her movie selections- Jurm, Satyamev Jayate, Daamini, Ghaayal, Swati etc and don’t mind excusing he “Shahenshah” “Ganga Jumna Saraswati” etc (who would say know to sharing screen space with the Amitabh Bachchan.) Post her retirement she is settled in the US going back to her first love – classical dances. She runs a dance academy. Here is wishing her health wealth and happiness in life.

Today’s song is sung by Anuradha Paudwal and lyrics are by Anand Bakshi and Laxmi-Pyare are the music composers. The song is a dream of Meenakshi and she gets to dance on Mumbai’s Madh Island on a giant PIANO among other things. People didn’t call Subash Ghai a showman just like that. 🙂


Song-Ae mere khwaabon ke shehzaade (Meri Jung)(1985) Singer-Anuraadha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
All chorus
Female chorus
Male chorus

Lyrics

sa sa sa ga san i ni
ni nire ni dha
dha sa dha pa
ae mere khwaabon ke
khayaalon ke shehzaade
ae mere
khwaabon ke
khayaalon ke shehzaade
ye Mausam
deta hai
aawaazen
tu aa ja re
ae mere
khwaabon ke
khayaalon ke shehzaade

aa aa aa aa aa
aa aa
aa aa aa
aa aa aa aa

pa ma ga re sa ni dha pa ma ga
toone bekraaron ko chhed diya
chhed diya
toone bekraaro ko chhed diya
chhed diya
mere dil ke taaron ko
taaron ko chhed diya aa
teri kya
marzi hai
tere kya iraade ae
ae mere
khwaabon ke
khayaalon ke shehzaade

la la la la la
la laaa
laa laa laa

dil dil dil
dil dil dil
dil dil dil
dil dil dil

dil to le liya (dil dil dil)
le liya (dil dil dil)
ab jaan na le
dil to le liya
ab jaan na le
mere sabr ka tu
imtihaan na le
ae
sheeshe ki
gudiya ko
patther se takraa de
ae mere e
khwaabon ke
khayaalon ke shehzaade
ye mausam mm
deta hai ai
aawaazen
tu aa jaa re
ae mere khwaabon ke
khayaalo ke shehzaade
music music music
dance dance dance dance
lets dance with the music
with the music
with the music

lets dance with the music
with the music
music music music
music music music
music music music

la la la laa laa (music music music)
la la laa laa laa (music music music)

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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.

‘Hero’(1983) was produced and directed by Subhash Ghai for Mukta Arts Limited, Bombay. Introducing newcomer pairs in lead roles was the in thing those day. It had started with ‘Bobby’(1973), which was followed by ‘Love Story’(1980), ‘Rocky’(1981) and then ‘Betaab’(1983).

‘Hero’(1983) introduced Jackie Shroff and Meenakshi Sheshadri. That way, ‘Hero’ differed from the above mentioned movies where well established actor fathers had produced those movies to launch their sons. As it is well known, ‘Bobby’(1973) was the launch vehicle for Rishi Kapoor (produced by Raj Kapoor), ‘Love Story’(1980) was produced by Rajendra Kumar for his son Kumar Gaurav, ‘Rocky’(1981) was produced by Sunil Dutt to launch his son Sanjay Dutt while ‘Betaab’(1983) was produced by Dharmendra for his son Sunny Deol. So full marks to Subhash Ghai for not indulging in nepotism. 🙂

All these movies had well established actors to play supporting roles, viz ladke ka baap, ladki ka baap etc. 🙂

The support cast of ‘Hero’(1983) makes for an impressive read. Former heartthrob Shammi Kapoor plays ladki ka baap and Police commissioner. Bharat Bhushan, a hero from an even earlier era, is also there. Whose who of baddies, viz Amrish Puri, Madan Puri and Shakti Kapoor are there too take care of the dirty tricks department.

Last but not the least, this movie also had Sanjeev Kumar. Unlike other actors, who would only play one kind of a role in which they were typecast, Sanjeev Kumar could play any role, without worrying how it would be received. And invariably he would pull off any kind of roles. He would play the husband, father and father in law of the same actress in different movies and he would be accepted in all three roles. He has acted opposite Jaya Bhaduri in all three kinds of roles. He would also act as the father of actors who were in his own age group or even older to him. He played father of Shahshi Kapoor in ‘Trishool’(1979) who was older to him in age. 🙂

He played not one or two, but as many as nine roles in the film ‘Naya Din Nayi Raat’ (1974).

He played lots and lots of memorable roles during his two decades long career. Thakur of ‘Sholay’ (1975) readily comes to mind. In fact, it is difficult to find a role where he failed to do justice to the role, be it a mental patient in ‘Khilona’ (1970) or as the husband of a female politician in ‘Aandhi’ (1975).

His roles won him critical acclaims from public, film industry as well as Government of India. He was nominated for Filmfare award 14 times and he won the Filmfare best lead actor for his roles in ‘Aandhi’ and ‘Arjun Pandit’ (1976). He had also won the award as the best supporting actor in ‘Shikaar’ (1968). He got the best actor award from Government of India for ‘Dastak’ (1970) as well as ‘Koshish’(1972). His role in ‘Angoor’ (1983) has been listed among the top 25 acting performance in Indian movies by the ‘Forbes’ magazine.

It is difficult to believe that Sanjeev Kumar (9 july 1938 – 6 november 1985) was only 47 years old when he passed away, with his cupboard full of awards and his cap full of feathers. His lack of discipline in taking care of his lifestyle was primarily to blame. Losing him at such a young age was a big loss to Indian cinema in general and Hindi cinema in particular.

On the occasion of the 33rd death anniversary of Sanjeev Kumar, here is a song from ‘Hero’. the song is picturised as a qawwaali song, cum villain’s den song, cum dancing under duress song etc etc. 🙂

The song is sung by Suresh Wadkar, Lata and chorus. It is lip synced by Sanjeev Kumar, Meenakshi Sheshadri and others. The occasion is graced by Shammi Kapoor as well as a galaxy of villains. 🙂

Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal. So this song, in addition to paying tribute to Sanjeev Kumar, serves as a belated greeting song for the birthday of Laxmikant as well (which fell on 3 November).

Lyrics of this song are sent to me by Peevesie’s mom, who on this occasion is unable to provide a write-up for a change as she is travelling.

 

 

Video

Audio

Song – Mohabbat ye mohabbat (Hero) (1983) Singers – Suresh Wadkar, Lata, Lyrics – Anand Bakshi, MD – Laxmikant Pyarelal
Male chorus
Female chorus

Lyrics(Provided by Peevesie’s mom)

hmmmm
qayaamat hai ye
nazaakat hai ye
sharaarat hai ye
shikaayat hai ye
qayaamat hai ye
nazaakat hai ye
sharaarat hai ye
shikaayat hai ye

sharaafat hai ye
adaawat hai ye
inaayat hai ye
ibaadat hai ye
sharaafat hai ye
adaawat hai ye
inaayat hai ye
ibaadat hai ye
shikaayat sharaafat adaawat inaayat
ibaadat baghaawat
oo oo oo oo oo

mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat

mohabbat mohabbat mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat

oo oo oo oo oo oo
oo oo oo oo oo oo
oo oo zindagi ki shaan hai ye
zindagi ki shaan hai ye
aadmi ki jaan hai

mohabbat ye mohabbat
mohabbat ye mohabbat

oo oo
kehne ko shabnam kaa katra
kehne ko shabnam kaa katra
katre mein toofaan hai
mohabbat ye mohabbat
mohabbat ye mohabbat

mohabbat ye mohabbat
mohabbat ye mohabbat

(mohabbat ye mohabbat)
(mohabbat ye mohabbat)

hmmm
is’se jo takraayega
is’se jo takraayega
wo bahut pachhtaayega
wo bahut pachhtaayega

toot kar reh jaayega
reh jaayega
oo raasta iska jo roke
raasta iska jo roke
wo bada naadaan hai

mohabbat ye mohabbat
mohabbat ye mohabbat

mohabbat ye mohabbat
mohabbat ye mohabbat

(mohabbat ye mohabbat)
(mohabbat ye mohabbat)

sa sa ga ma pa
ma ga re ga ma
ma ga sa ni
pa ni ni sa
ni sa ni sa re ga sa
sa re ga re ga ma pa re sa
dha pa da pa ma ga
pa ma pa ma ga ma ga re
ma ga ma ga re ga re sa

ho oo
dil kaa matlab ishq hai
dil kaa matlab ishq hai
kuchh nahin sab ishq hai
kuchh nahin sab ishq hai

rab hai kya
rab ishq hai
rab ishq hai
oo bas wo dil ghar hai khuda kaa
bas woh dil ghar hai khuda kaa
jismein ye mehmaan hai

mohabbat ye mohabbat
mohabbat ye mohabbat

mohabbat ye mohabbat
mohabbat ye mohabbat

(mohabbat ye mohabbat)
(mohabbat ye mohabbat)

koyi kitna ho ghareeb
koyi kitna ho ghareeb
pyaar jisko hai naseeb
pyaar jisko hai naseeb

wo bada hai khushnaseeb
khushnaseeb
oo jiski kismat mein nahin ye
jiski kismat mein nahin ye
khaak woh insaan hai

mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
(mohabbat ye mohabbat)
(mohabbat ye mohabbat)

oo zindagi ki shaan hai ye
aadmi ki jaan hai
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat

—————————————
(climax version)
—————————————
qayaamat hai ye
shikaayat hai ye
ibaadat hai ye
baghaawat hai ye

inaayat adaawat
qayaamat shikaayat
ibaadat baghaawat
oooooooo
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat ye mohabbat
mohabbat mohabbat mohabbat
mohabbat mohabbat mohabbat
mohabbat mohabbat

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

ह्म्म्म
क़यामत है ये
नजाकत है ये
शरारत है ये
शिकायत है ये
क़यामत है ये
नजाकत है ये
शरारत है ये
शिकायत है ये
शराफत है ये
अदावत है ये
इनायत है ये
इबादत है ये
शराफत है ये
अदावत है ये
इनायत है ये
इबादत है ये
शिकायत शराफत अदावत इनायत
इबादत बग़ावत
ऊ ऊ ऊ ऊ ऊ ऊ
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत मोहब्बत मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
ऊ ऊ ऊ ऊ ऊ ऊ ऊ
ऊ ऊ ऊ ऊ ऊ ऊ ऊ
ओ ज़िन्दगी कि शान है ये
ज़िन्दगी कि शान है ये
आदमी कि जान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
ओ ओ ओ ओ
कहने को शबनम का कतरा
कहने को शबनम का कतरा
कतरे में तूफ़ान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
(मोहब्बत ये मोहब्बत)
(मोहब्बत ये मोहब्बत)

ह्म्म्म
इस से जो टकराएगा
इस से जो टकराएगा
वो बहुत पछतायेगा
वो बहुत पछतायेगा
टूट कर रह जाएगा
रह जाएगा
हो ओ रास्ता इसका जो रोके
रास्ता इसका जो रोके
वोह बड़ा नादान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
(मोहब्बत ये मोहब्बत)
(मोहब्बत ये मोहब्बत)

स स ग म प्
म ग रे ग म
म ग सा नि
प नि नि सा
नि सा नि सा रे ग सा
सा रे गा रे ग म प् रे सा
ध प द प म गा
प म प म ग म ग रे
म ग म ग रे ग रे सा

हो ओ ओ
दिल का मतलब इश्क है
दिल का मतलब इश्क है
कुछ नहीं सब इश्क है
कुछ नहीं सब इश्क है
रब है क्या
रब इश्क है
रब इश्क है
ओ ओ बस वो दिल घर है खुदा का
बस वो दिल घर है खुदा का
जिसमें ये मेहमान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
(मोहब्बत ये मोहब्बत)
(मोहब्बत ये मोहब्बत)

कोई कितना हो ग़रीब
कोई कितना हो ग़रीब
प्यार जिसको है नसीब
प्यार जिसको है नसीब
वोह बड़ा है खुशनसीब
खुशनसीब
ओ ओ जिसकी किस्मत में नहीं ये
जिसकी किस्मत में नहीं ये
ख़ाक वोह इंसान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
हो ओ ज़िन्दगी कि शान है ये
आदमी कि जान है
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत

—————————————
(climax version)
—————————————

क़यामत है ये
शिकायत है ये
इबादत है ये
बग़ावत है ये
इनायत अदावत
क़यामत शिकायत
इबादत बग़ावत

मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत ये मोहब्बत
मोहब्बत मोहब्बत मोहब्बत
मोहब्बत मोहब्बत मोहब्बत
मोहब्बत मोहब्बत


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.

Hullo to Atuldom

2nd November is the birthdate of Anu Malik, son of famous yesteryear music director Sardar Malik. Sardar Malik who is one among the forgotten stars of yesteryears and is not counted among the top five, but his works are still remembered. How can one forget “main gareebon ka dil hoon watan ki zuban” or “saranga teri yaad mein” or the Talat Mehmood classic “ae gham-e-dil kya karoon”; every one of them dipped in pure emotion and melody.

As the English say Anu Malik is a “chip of the old block”. Like his multi-talented father who could sing and was also a trained dancer in addition to being a composer Anwar Sardar Malik -Anu Malik- can also sing in addition to playing a few instruments and composing music. He is the favourite punching bag of the classes who fail to see that in addition to inspired (plagiarised) music his portfolio has more or an equal number of original and melodious stuff.

He had a lack lustre debut in 1977 with a (now forgotten) “Hunterwaali” a movie produced and directed by Mohan Choti. But his next two “Aapas Ki Baat” and “Poonam” had some good compositions. It can be said that Rajiv Mehra’s (son of F. C. Mehra) “Ek Jaan Hain Hum” did wonders for Anu Malik’s career as this was his first for any major banner. There were a few melodies in that movie too- remember the title song or “dil chahe aasman pe likh doon naam tera”? But just as people remember RD Burman for “aa jaa aa jaa” and “Mehbooba mehbooba” and not “Ghar aaja ghir aayi badra sawariya” or “tumne mujhe dekha ho kar meherbaan”, people can only think of “yeh kaali kaali aankhen gore gore gaal” or “ruk ruk arre baba ruk” at the mention of Anu Malik. People forget songs from “Border”, “Refugee”, “Viraasat”, “Mard”, “Asoka” etc. Why I have tried to show a similarity between RD and Anu Malik is when RD passed away he completed Pancham’s incomplete Mazhar Khan’s much-delayed “Gang” and “Ghatak” and there was not much difference in the styles.

Today on his 57th birthday I am spoilt for choice. I have a vast collection to choose from. And I chose a song from “Chamatkar”. Why? Obvious answer- it is a Shahrukh Khan movie. Our second birthday boy today is Shahrukh Khan.

Born and brought up in New Delhi; he is one “outsider” who was accepted as one of their own by the Hindi Film Industry; what I mean is he is neither related to anyone in the industry nor is he a star son. His achievement of name and fame is his own hard work and talent and a bit of lady-luck’s benevolence. In terms of audience size and income, he has been described as one of the most successful film stars in the world. Starting his acting career with the TV series “Dil Dariya” directed by the late Lekh Tandon (he passed away on 17th October, may he rest in peace) and “Fauji” by Colonel Raj Kapoor he was noticed by Hema Malini who launched him in her directorial debut “Dil Aashna Hai”. His first release though was “Deewana” where he played second lead to Rishi Kapoor. The same year we saw him in “Chamatkar” and “Raju Ban Gaya Gentleman” as also “Dil Aashna Hai” (it released after Deewana). And then as they say “rest is history” or is there for public scrutiny.

Today’s song is in the voice of Kumar Sanu, Sukhwinder Singh and Nandu Bhende. It is written by Anand Bakshi. The song also shows us how good a dancer Naseeruddin Shah is. 🙂 Chamatkar was directed by Rajiv Mehra for eagle films.

So, let us wish Anu Malik and Shahrukh Khan all the best for ever and a very Happy Birthday.

{Editor’s note: The first couple of lines of the song are followed by multilingual lines in Punjabi, Bangla and Marathi. Readers familiar with the languages are requested to suggest corrections/ help fill in the blanks as appropriate.}

Video (partial)

Audio (Full )

Song-Taak dhin dhin taak dhin dhin dhin (Chamatkaar)(1992) Singers-Kumar Shanu, Sukhwinder Singh, Nandu Bhende, Lyrics-Anand Bakshi, MD-Anu Malik
Chorus

Lyrics (based on audio link)

dekho dekho dekho dekho chamatkaar
aaoge dekhne baar baar

(Multi language words in Punjabi, Bangla and Marathi)
ek ka do bataao
??
lage dande
?? le paiyyaajee
very pad

chomchom
lancha
paantua
chow cake
paao boley
bombai theke damdame
ude jaao chole
kolkaataaye
raat ki din
hardam mee loadshedding
chaanmaan chaanmaan
keno je ae mon ghoorchhe bon bon
ami bhaagchhi
?? hallo nakko
?? kholoo nakko boloo nakko
aayela mantar maaroon
mandir banaaooto
hansoo nakko
?? jaau ni
mantracha khucchi paahuni
kurkur kurkur kura
?? aswasth nana
basoo nakko

(multi lingual portion ends)

taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
botal se baahar aa gaya jin
aa gaya jin
aa gaya jin
aaye hain sabke achche din
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
botal se baahar aa gaya jin
aa gaya jin
aa gaya jin
aaye hain sabke achhe din
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin

jhooth mein sach mein socho toh toh toh
yaaron fark zaraa sa hai
jo kuchh dekh rahe ho tum tum
sab kuchh khel tamaasha hai

jhooth mein sach mein socho toh
yaaron fark zaraa sa hai
jo kuchh dekh rahe ho tum
sab kuchh khel tamaasha hai
duniya mein kya rakha hai
duniya mein kya rakha hai
duniya mein kya rakha hai
bas ik khel tamaashe bin
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
botal se baahar aa gaya jin
aa gaya jin
aa gaya jin
aaye hain sabke achhe din
taak dhin dhin taak dhin dhin dhin
chum le chun chum le chin chin

chhote bade sab log bane
apni apni takdeeron se se se
par hum jaise muflis achche
aise kayi ameeron se

chhote bade sab log bane
apni apni takdeeron se
par hum jaise muflis achche
aise kayi ameeron se
haath bhare hain heeron se
haath bhare hain heeron se
haath bhare hain heeron se
dil khaali khaali lekin
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
hey taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
botal se baahar aa gaya jin
aa gaya jin
aa gaya jin
aaye hain sabke achche din
taak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin
tak dhin dhin taak dhin dhin dhin
chum le chin chum le chin chin


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.

In India, a typical Indian male is likely to be interested in Hindi movies and cricket. Typical Indian females are likely to be interested in Hindi movies and TV serials. 🙂

I have been a typical Indian male for many years now. 🙂 I was interested in Hindi movies right from my childhood, viz 1960s. I became interested in cricket from early 1970s.

In those days, one needed to go to movie halls to watch movies. One followed international cricket on radio. Just a few lucky people would be able to watch the match live on the ground.

Nowadays, one can watch all kinds of movies as well as all kinds of cricket matches in the luxury of our homes on TV. One can watch/ follow them on mobile, computers etc as well. That way, following movies and cricket has come a long way from the days of 1960s.

TV channels as well as the content providers (be they movie makers or cricket boards), that dish up the fare that we watch, do not rest on their oars. They constantly reinvent themselves.

As a sports lover, I always thought that Indians needed to follow more sports than just cricket. We in India give undue importance to cricket to the detriment of other sports.

Most armchair critics like us only criticise and we do not do much to address such issues, but the good thing is that some people have actually started addressing these issues. We now have people who have started to promote other sports as well. If we have IPL in cricket, then we have similar leagues in quite a few other less popular sports as well, viz in Hockey, football, badminton, Kabaddi etc. that are being promoted and covered by a few TV networks.

I must admit that I did not watch these coverage till last year. My view was that the standard of India in these sports like say Football was abysmal and organising this football league was unlikely to help matters. About Kabbadi, my view was that it is played in India and neighbouring countries, so what was so great watching a sports that was not even a global sport.

In MP, government lady employees could take childcare leave for upto two years till their child was under 18 years old. Our daughter, then undergoing medical coaching was a few months short of turning 18, so my wife decided to avail childcare leave for the few months for which she was eligible. So she took childcare leave for those months and came over to stay with me in UP. It was supposed to be a childcare leave, but in reality, it turned out to be a husband and pets care leave for her. 🙂

It was in late 2015 that my wife joined me in UP at my place of posting.

My wife had watched the first two editions of PKL (Pro Kabaddi League) and it was on her insistence that I began to watch third season of PLK beginning in january 2016. Initially I watched it grudgingly, but soon I realised that what I was watching was a thrilling sport that required tremendous skill and that I was watcing the best practitioners of the sport in this PKL.

The rules of kabaddi in PKL were modified to make it a thrilling and fast paced sports, which was a far cry from the image of a largely dull and boring rustic sport that it was perceived to be till then. In traditional kabaddi, one could keep playing empty raids ad infinitum, making it a dull and negative spectacle. In PKL, only two empty raids in a row were allowed, and the third raid was a “do or die” raid. Other innovative modifications were bonus point for the raider when six or seven defenders were playing and super tackle for the defenders when three or less defenders were around.

I and my wife would religiously watch TV together in the evening to watch PKL matches. Both of us independently arrived at the decision to “adopt” Patna Pirates as the team to support. The eight teams, all named after various Indian cities, would move in a caravan to the cities of each of the teams in turn. Every team played every other team twice (home and away). The top fours teams advanced to the semifinals. The number one team of a group played number four, while the number two and three teams played the other semifinal.

Patna Pirates, wo looked like the strongest team in the tournament went on to become the champions when they narrowly defeated U Mumba in the final. Rohit Kumar, the Patna Pirates raider impressed everyone and he was the man of the tournament.

The fourth season of PKL was played in june and july of 2016. Patna Pirates once again proved to be the strongest team and they retained the title by defeating Pink Panthers in the final. Rahul Chaudhary of Telugu Titans was the man of the tournament though it was Pardeep Narwal of Patna Pirates who really caught the eyes of the fans with his spectacular escapes from defenders through “dubkis”.

The fifth season of PKL is in progress now. The four seasons of PKL have seen audiences growing up by leaps and bounds. Just as I joined in the third seasons, many more people have begun to follow PKL. It has in fact now become the second biggest sporting league in India after IPL.

The fifth season of PKL is a vastly expanded affair. Now there are twelve teams, grouped into two groups of six teams each. Each teams play other teams in the group thrice and play the teams of other group once. So every team plays 22 matches. The finalists are selected by a method similar to that followed by IPL.

This season was four months long. It was a calculated risk but the organisers seem to have succeeded in their gamble. They managed to keep the watches glued to their TV screen for four months.

The six teams of North (Dabang Delhi, Haryana Steelers, Jaipur Pink Panthers) and West (U Mumba, Puneri Paltan, Gujarat Fortunegiants) were placed in group A, whereas Group B had teams from East (Patna Pirates, Bengal Warriors, U P Yodda) and South (Telugu Titans, Bangalore Bulls and Tamil Thalaivas).

It was interesting to note that new teams, viz Gujarat Fortunegiants, Haryana Steelers and UP warriors did well. It is Tamil Thalaivars, another new team that failed to win much and finished at the bottom of their group.

Initial matches gave the indication that Patna Pirates, despite losing many of their players to other teams in the auction, were the team to beat. It was mainly because of the brilliance of Patna Pirates raider Pardeep Narwal who had looked unstoppable in the previous season and looked just as irrepressible in the earlier matches of the current season.

But as the matches wore on, it turned out that other teams had worked out their strategies to tame Pardeep Narwal. The implementation of their strategies was the main thing. Often the opposition wopuld keep Pardeep Narwal at bay for say 30 minutes out of 40, still he would change the match topsy turvy in the remaining ten minutes of the match.

One can see that the PKL has evolved with time. Many players have moved over to new teams. Teams have worked out new strategies.

Though most players are Indians, every team has some foreigners too. Kabaddi is the national game of Bangladesh as well, but the country which can be said to be the strongest in Kabaddi after India is Iran. They are the only other team apart from India which has a good Kabaddi set up. Most foreigners in PKL are from Iran and they are very important parts of their respective teams.

Ironically, the most popular and most successful foreigner is not an Iranian but a Korean ! Jang Kun Lee is the star raider of Bengal Warrior and he was in fact their skipper in the past. How he and a few other Koreans took to Kabaddi and became this good could be a case study. He really caught the eye of kabaddi watchers in the previous two seasons.

As mentioned earlier, there are quite a few Iranians in various teams. One of them, viz Meraj Sheikh is in fact the captain of the Dabang Delhi team. Abolfazal Maghsodlu is the other Iranian player in the team.

But the two Iranians who have had a major role in their team’s fortune are Fazal Atrachali and Abozar Mighani. Both of them are defenders and they are with Gujarat Fortunegiants. Theie robust tackles have made their team’s defence the strongest in the tournament.

Gujarat Fortunegiants, one of the four new teams in PKL, appear to have done their homework in great detail. They decided to have strong tacklers as well as tall raiders. While their defence is the strongest in the tournament, their raiders, who were largely unknown names till now have really proved out to be surprise packages in the tournament.

Gujarat Fortunegiants have also done something that no other team did ! They brought in a foreigner as their physiotherapist. This foreign physiotherapist is a female. Olivia Witek is from Poland. She is no stranger to contact sports. A trained sports medicine expert in the past, she has been the physiotherapist of Poland American rules Rugby team. She was the physiotherapist of the Polish Kabaddi team that visited India in 2016 to participate in the Kabaddi world cup that was held in Ahmedabad. Perhaps it was during this visit that she caught the eyes of Adanis, who were then recruiting staff for their soon to be launched kabaddi team. It must be said that her training regime must have done a world of good to the players of her team, seeing that Gujarat Fortunegiants are actually in the final of PKL to be played today (28 october 2017). In addition to her to putting her players through their paces, she also serves as an attractive cheergirl for her team in all their matches. I find that she, like me, has two dogs back home. That must be the secret of her success in her profession. 🙂

Patna Pirates, the two times defending champions are the other team in the final and they will seek to make it three titles in a row. It should be a grand and riveting finale seeing that the two teams are easily the best teams in the tournament. I am keenly looking forward to the final that will be played tonight (28 october 2017). And this match will be watched worldwide. Starsports, now a majority stakeholder in PKL is playing a big role in popularising Kabaddi world wide with their TV coverage of this tournament. I have certainly become a PKL fan and I cannot wait to watch the final. This tournament showcasing the native Indian sport of Kabaddi is being sponsored by Vivo, a Chinese company. So Chinese companies too recognise the potential of Kabaddi. Hindi Chini Bhai bhai. 🙂

Kabaddi is an Indian sport but it is surprising that Hindi movies do not have many Kabaddi songs in them. The most well known (some will say the only one) song on Kabaddi is from “Naseeb”(1981). This song, “Pakdo pakdo pakdo” shows two teams playing Kabaddi. The rules of this kabaddi match are much more creative and innovative than even the PKL rules. 🙂 For once, this Kabaddi match is between a male team (led by Rishi Kapoor) and a female team (led by Kim). Both teams have ten players each, far in excess of the figure of seven, but then who in Hindi movies knows how to count. 🙂 And the moves made by the players in this match cannot be found in any Kabaddi coaching manual. 🙂

The male team is coached by Jeewan and the female team by Shubha Khote. Instead of taking interest in their teams performance, the two are shown taking interest in each other throughout the song. 🙂

The song is sung by Usha Mangeshkar, Kishore Kumar and chorus. Anand Bakshi is the lyricist. music is composed by Laxmikant Pyarelal.


Song-Pakdo pakdo pakdo (Naseeb)(1981) Singers-Usha Mangeshkar, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Male Chorus
Female Chorus
All chorus

Lyrics

hey
hey
hey hey

hu tu tu tu
tu tu tu tu
tu tu tu tu tu tu tu tu
tu tu tu tu tu tu tu tu
tu tu tu tu
tu tu tu tu tu

pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho (tu tu tu tu tu tu)
jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye (tu tu tu tu tu tu)
arre pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo
hey
hey

hu tu tu tu tu tu
hu tu tu tu tu tu
pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye
ae pakdo pakdo pakdo
jakdo jakdo jakdo

hey
haa

maaro kainchi todo tangdi
hu tu tu tu tu
ye ghar jaye ho ker langdihu tu tu tu tu
bainya pakdo haath marodo hu tu tu tu tu
gori gori taang na todo hu tu tu tu tu
khel hai pyaare
pyaar nahin hai
dushman hai
dildaar nahin hai

ye tera dil dhadkaane na paaye
arre pakdo pakdo pakdo (hu tu tu tu tu)
jakdo jakdo jakdo (hu tu tu tu tu)
dekho jaane na paaye (hu tu tu tu tu)
jaaye to waapas aane na paaye (hu tu tu tu tu)
arre pakdo pakdo pakdo (hu tu tu tu tu)
jakdo jakdo jakdo
hey haa

hu
hu
hu
hu
hu
hu

koi ladki ye na bhoole
ye ladka hanske na chhoole
(hu tu tu tu)
iska mukhda to hai bhola
shabnam mein hai aag ka shola

apne dil per rahkna kaabu
iske nainon mein hai jaadu

ho nainon se nain milaane na paaye
hey pakdo pakdo pakdo
(tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye (tu tu tu tu tu tu)
hey pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
hey haa

hahahaha
ek gayi ab dooji aayi
hu tu tu tu
tauba allaah raam duhaayihu tu tu tu
ye to saans nahin chhodegi hu tu tu tu
ye maidaan mein dam todegi
hu tu tu tu
soch samjh ke zor lagaana
ye naazuk hai bhool na jaana
patli kamar bal khaane na paaye
arre pakdo pakdo pakdo (hu tu tu tu)
jakdo jakdo jakdo (hu tu tu tu)
dekho jaane na paaye (hu tu tu tu)
jaaye to waapas aane na paaye (hu tu tu tu)
arre pakdo pakdo pakdo
ae jakdo jakdo jakdo
hey haa


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.

There have been lots of articles (in this blog and elsewhere) about the festival of Deepaawali. They mostly deal with the history of the festival, stories associated with it, how it is celebrated etc.

Deepaawali, and for that matter any festival is celebrated best when near and dear ones are present. That was not very difficult to ensure in the distant past when there were joint families and most people of such families stayed at the same place. With time, some family members began to go away for the purpose of employment. A time came when joint families themselves gave way to nuclear families consisting of just one set of parents and their kids.

Even in nuclear families, we have situations when all the members stay away from each other.

Those near and dear ones need to come together to celebrate festivals. If people are located at far off places, then they may not be able to come together for all festivals. But they all try and go back to their native places for the more important festivals.

Deepaawali IS the most important festival in India for majority of people. So almost everyone, who is based away from his/her original places wants to go back home on this occasion.

As a result, the transport sector sees its peak rush on the eve of as well as on the wake of Deepaawali. Travelling on public transport on this occasion is not at all easy. It is a herculean task and is not for the feeble of hearts.

As regulars of this blog know very well, my family is as nuclear as they come and my family members are all located in different states, away from each other by more than 1000 KM each. And that has been the case for the last five years or so.

Seeing that I am unlikely to get much leave, we tend to try and come together at my place on the eve of Deepaawali these days. That means arranging for my wife and daughter’s travel to my place.

My daughter is based in Maharashtra and my wife in MP. The logistics of their travels is arranged by me, of course. 🙂

So, my daughter must travel from Mumbai to Bareilly, whereas my wife must travel from Jabalpur to Bareilly. There is no direct train/ flight to Bareilly from either of these places. No matter how one plans, one needs to change over at one place (either Delhi or Lucknow) and then catch a train to Bareilly.

I arrange for my daughter to travel from Mumbai to Delhi and then she catches a train from Delhi to Bareilly. The most suitable train from Mumbai to Delhi is Rajdhani Express of course, which leaves Mumbai Central in the evening and arrived New Delhi next morning at 8:35.

The real tough job starts at Delhi. The earliest daily trains going towards Bareilly start from Old Delhi, and the earliest daily trains from New Delhi start only in the afternoon.

There is a way around, which I have worked out with experience. Twice a week, there is Dibrugarh Rajdhani Express that leaves at 9:30 AM and passes through Bareilly, reaching there in the afternoon.

So, based on my consultation with my daughter, I got her a ticket on Mumbai Rajdhani on saturday, that arrived New Delhi on sunday morning. One hour later, she would get Dibrugarh Rajdhani on the same station that would take her to Bareilly by 1:15 PM, by lunch time.

That was the plan, of course. But as usual, you rarely get confirmed reservation in any Indian train. I had got these tickets booked in early september itself but even then the status showed waiting list 60 in AC 2 in Mumbai Rajdhani. Even Dibrugarh Rajdhani ticket was waitlisted number 9.

These days, we have apps in mobiles for all purposes. Apps related to train travels are quite useful for those planning to travel by trains. There is one app that gives your current wait listed position, if one feeds the PNR. In addition, it also serves as an online astrologer and it predicts the likelihood of the ticket getting confirmed. 🙂

This app predicted that tickets of Mumbai Rajdhani and Dibrugarh Rajdhani both had about 65 % chances of getting confirmed. I kept checking up the status regularly for six weeks till the D date. While the waiting list figure was coming down for Mumbai Rajdhani, Dibrugarh Rajdhani WL figure would not change.

Just one day before the Mumbai Rajdhani train was to leave, the WL figure for its ticket became 6, with 75 % chances of it getting confirmed. That was too tight, so that meant I needed to adopt another approach.

In railways, there is this concept of Emergency Quota (EQ). All trains have EQ of a few berths at important stations. These berths are alloted to wait listed passengers who apply for them, based on a priority list. Request of people who are higher in the priority list gets preferred over those who are lower in the priority list. Most of these EQ are at originating stations. One needs to send requisition for EQ signed by someone whose signature would carry weight with the person allotting the EQ berths. Mumbai Rajdhani is a western Railway train so EQ for this train is allotted by a commercial department officer of Western Railway. I am a Railway officer so I needed to find some Railway officer at Western Railway HQ I was acquainted with who would be kind enough to send EQ requisition on my behalf. Fortunately I knew one such person in Western Railway HQ. So I sent him an SMS with the relevant details and he sent me the acknowledgement that he would send the requisition.

For trains on saturday and sunday, one must send the requisitions on friday itself. So I had sent my request for Mumbai Rajdhani on friday itself.

For trains originating at Delhi area, EQ are allotted by Rail Bhawan. So one needs to get such EQ application signed by someone in Rail Bhawan. So, I got one EQ requisition sent to Rail Bhawan as well on friday itself.

On saturday, the train was at 5 PM from Mumbai Central. Repeated checking up at the app was not making any difference at the WL figure of 6. Then at 1:30 PM, I found that my daughter had got a berth on this train through EQ. An upper berth, but a confirmed berth nevertheless. So, I phoned my daughter and asked her to arrive the station in time.

Our daughter has set up a whatsapp group for the three of us. My wife commented in that group- “good that you have got an upper berth. No one would eye your berth hoping to get it exchanged with his/her berth”. 🙂

I also have another railway related app to keep track of train movement. With the help of this app called NTES, I would keep track of the train movement. I kept track of the movement of the train and found that it was running on time and would arrive New Delhi right on time.

At night time, checking up on the PNR app I found that my daughter had got a berth under EQ in Dibrugarh Rajdhani as well. So now she was assured to a comfortable travel upto Bareilly.

She arrived New Delhi right on time and boarded Dibrugarh Rajdhani. Another person came to her berth and claimed that the berth allotted to my daugter was her berth. My daughter was under suspense and asked me if I had informed her the correct berth number. It was indeed the correct berth number and the SMS that IRCTC sends on users mobile very much confirmed it. I forwarded her the IRCTC sms.

A few hours later, it came to notice from TTE’s chart that the other person claiming this berth was supposed to occupy this berth after Bareilly, viz at Lucknow. So her claim that this was her berth from New Delhi itself was incorrect.

It is irritants like this that help young people like my daughter to learn to face life on their own, of course with the support of their parents who are in a position to help and guide them.

So finally my daughter arrived Bareilly right on time on sunday afternoon. She came home and the two pets were extremely happy to see her again.

My wife’s travel plan was that she would travel from Jabalpur on tuesday afternoon and would arrive Hazrat Nizamuddin by early Wednesday morning. There was no Dibrugarh Rajdhani for her to catch on that day so she would have to catch either Awadh Assam from old Delhi or Garibrath from New Delhi.

My wife had a confirmed berth in the Jabalpur-Nizamuddin train but all the morning trains from Delhi/ New Delhi to Bareilly were heavily wait listed, in addition to being poor quality trains as far as their running as well as the nature of passengers in them were concerned. I got wait listed ticket on them and thought about sending EQ for one of these trains.

It turned out that my wife had to attend a function in her office at 11 AM on the day of her journey to be attended by local MPs. This function got delayed and it became certain that she would not be able to catch her 3 PM train from Jabalpur. She phoned me frantically and wondered what to do. Was there any other train that started late ? I told her that trains starting late from Jabalpur would reach Delhi so late that she would not get any connecting trains. I told her that I would try to see if I could get her an accommodation in a train going from Jabalpur to Lucknow.

I logged on to IRCTC site and found that two berths in AC 2 were available on Premium Tatkal quota o the Lucknow bound train. I quickly booked a berth for her on that train, and informed my wife that she could peacefully attend her official function and board this night train from Jabalpur towards Lucknow. This train would reach Lucknow as 9:30 and then she would get Howrah-Jammu Tawi express at 10-40 AM that would take her to Bareilly by afternoon.

So my wife attended the official function with full peace of mind, cracked jokes with the MPs (old acquaintances of her) and then boarded the night train bound for Lucknow.

Next morning, when I ckecked the punctuality position of this train, I found that the train was getting delayed and delayed after it entered UP. The train, instead of arriving Lucknow at 9:30 AM arrived there only in the afternoon and by that time the connecting train, though also delayed, had already departed from Lucknow.

It was here where being a railway person helps. Railway people get free privilege passes to travel on train for them and their family members. Most of them would travel i trains oly o passes and would be averse to spend money on buying tickets. I on the other hand mostly get my wife and daughter to travel on trains by buying tickets as it saves time. Saving time to my mind is more important than saving money.

Seeing that my wife needs to change trains at Lucknow or Delhi, I have got her a railway pass to allow her to travel on this route, to be used when she misses her designated train as was the case here. There was an extremely late superfast train which had just arrived Lucknow nearly seven hours late. She managed to get a berth in that train with that pass.

Though a superfast train, which was not supposed to stop anywhere, it kept stopping all over and arrived Bareilly at night time, some eight hours late. While I was waiting for her train to arrive at Bareilly, I found that all trains were running extremely late and jam packed. Had she come via Delhi as origially planned, then her connecting trains from Delhi/ New Delhi would have arrived Bareilly even more late than the train she was coming from. I found Garib Rath arriving from New Delhi at 7 PM at Bareilly, some six hours late. Its coaches were jam packed with passengers. Travelling in this train would have been a nightmare for my wife, had this been her train from New Delhi to Bareilly. My wife commented that all this had happened for the better. Though she arrived a few hours later, and in the process she missed two trains with confirmed berths and also the money paid for these tickets, she arrived in reasonably good shape unlike most passengers who were travelling on this route on that day.

So, just as it was night time of 18 october 2017, the three of us finally managed to come together for the festival of Deepaawali. They will stay here for nearly a week. I addition to celebrating the festival together, it will help us all to take a break from our routines and help us recharge our mental batteries.

While searching for a song about coming together/ reunion, I was unable to come up with appropriate sogs at such short notice. However, I found this modern song from “Arzoo”(1999). This song is sung by Udit Narayan. The song is picturised on Saif Ali Khan.

The tune of this song is a much plagiarized tune that Anu Malik would employ in almost every song that he “composed”.

The real star of this song are its lyrics. and it is Anand Bakshi, the old warhorse, who has penned the song. This must be one of the last lyrics of Anand Bakshi in HFM. Ad it is such a nice song to listen to, just for its lyrics and picturisation.

I take this opportuity to wish all the contributors, visitors and well wishers of this blog a very happy, prosperous and safe Deepaawali, in the company of all their near and dear ones.


Song-Main aa raha hoon waapas (Aarzoo)(1999) Singer-Udit Narayan, Lyrics-Anand Bakshi, MD-Anu Malik
Chorus

Lyrics

ru ru
ru ru ru
ru ru ru ru
ru ru ru

aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

mehbooba aa
o meri mehbooba
aa aa aa
aa aa aa
aa aa aa
aa aa aa

main aa raha hoon waapas
mera intzaar karna
main aa raha hoon waapas
mera intzaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
main aa raha hoon waapas
mera intzaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
mehbooba aa
o meri mehbooba

aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa

aankhen na mujhse churaana
karna na koi bahaana
yoon hi kai saal beete
ik pal nahin ab ganvaana
laaya main kya saath apne
sab kuchh wahaan chhod aaya
aate huye paas tere ae
ye dil ye jaan chhod aaya
meri muhabbat meri amaanat
waapas mujhe de sanam
main aa raha hoon waapas
mera intzaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna

jis roz jab ham milenge
to kis tarah ham milenge
ik doosre se lipat ke
royenge ya ham hansege
na to ye toone kaha hai
na to ye maine kaha hai
ik dooje ke ham hain lekin
ham donon ko ye pata hai
ye pyaar kaisa ikraar kaisa
waada na koi kasam
main aa raha hoon waapas
mera intzaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna
main aa raha hoon waapas
mera intzaar karna
tujhe saamne bitha ke
tujhse hai pyaar karna

aa aa aa aa aa
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa aa
aa aa
aa aa aa
aa aa
aa aa aa


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.

khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin

Greetings to Asha Parekh ji, on completing 75 illustrious years, with all but 10 of them, in the film (and TV) industry.

The years have come and gone by, but the grace, the radiance, and smile is still the same. Having made her debut as a child star at the tender age of 10, it indeed has been a very fruitful and a prolific inning that she has played. The wires carried the news today in the day that her autobiography (co-authored with Khalid Mohammed) was released today. The title of the book is ‘The Hit Girl’. I am sure no explanation needs to be rendered for the title. Starting with ‘Dil Deke Dekho’ in 1959, there is a long list of hit films in which she has played the female lead role, all the way till the mid 1970s, when she moved into senior and supporting roles. The list of films reads like the ‘Best of 1960s/70s’. The list contains a ton of favorites. And I am sure all of us have a few on this list, that we will pick as our favorite films.

My love affair with Asha ji started with the song “O Mere Sona Re Sona Re Sona Re”. Film is ‘Teesri Manzil’ (1966). Too much of a small pre-school/early school kid that I was, this is one of the earliest memories that I carry of having seen a film on big screen. Not yet trained in the discussions of the finer details of music and instruments, those were the days that the melody would fall into the ears and the mind would capture it instantaneously and store it in the neurons forever. The music of ‘Teesri Manzil’ had this first impact on my nascent mind. Soon the brainwaves would be crowded with thousands of songs that the mind soaked in from listening to the radio. But the music of ‘Teesri Manzil’ – let me ask you, what would you do with your first out-of-this-world music experience. An yes, right, you will store it forever, and play it often.

Watching the film, I had an additional impact. Most of the films memories and emotions have been built and retained from watching it again and again over the years. But that first viewing in the big and dark cinema hall, with the larger than life images thrown on to the huge white screen – the memory that is retained is of this young, very beautiful girl singing “O Mere Sona. . .”, and making an all out effort to pacify a gentleman named Shammi Kapoor, who seemed to be upset and angry.

The mind at that time was too unfamiliar with the grown up emotions, to appreciate that the two characters on screen are in the process of falling in love. All I know is that I took an intense fancy to this young lady singing on the screen. Her expressions, her vitality, her antics took my heart away, and in its place, left her own images, that I remember, I would ruminate (yes, sorry, I did not know these words at that time; I am articulating them now) and dwell upon for weeks and months. In short, if I knew then and understood the grown-up emotions, I would have happily declared that I was in love. The expressions in this song are so natural, so much in flow, so much coming from the bottom of a playful and naughty young heart, that I believed all I saw on the screen. And simply fell in love.

Being what I was, a pre school small child, I did not know what to do with that fancy. All I know is that I would think about her, and this song I witnessed in the cinema hall. I would think about her often; likely that it was more often than often. I just liked being with her thoughts, and being with her in thoughts. I would fancy that we would meet, that we would be together. I did not know then, what else to do with that fancy. Other than the thing that I quite enjoyed to be in her company in thoughts. The song and its associated images would continue to replay on the screen of the mind, all the time. Yes, that is what it felt like, being in love.

I remember it took some months for this fancy to wear off. The song, the antics, the images in the mind – all of that was intact, and still is. Just that, that unnamed craving to be with her in person, quite faded away, and settled down into a liking in the heart, that would say – she is my favorite. Maybe so – maybe it was another fancy that would steal my attention away (more about that later 😉 ). But I do know that the fancy strongly lasted well for many months.

As I was looking to replay this episode, and searching for a suitable song, I happened to chance upon this song, that was quite unfamiliar for me before I heard it with some attention earlier today. I remember that ‘Saajan’ (1969) was not one of those films that I had watched in its original run. With limited opportunities to watch new releases in the cinema hall, I had very little say in which movies to see. As i played this song today, the lines that immediately caught my attention, are the ones I have noted at the beginning of this article.

khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin

That there is none so beautiful
And so charming as you are
Faces, enchanting as much as yours
Are surely seen at times
But oh so rarely
And oh so scarcely

Oh so true, and so well in tune with that fancy of mine years ago. A face so charming as hers, a screen presence so appealing as hers, comes by quite rarely, quite once in a while.

An eminent celebration for this gorgeous milestone today, Asha ji. And I pray that there be many more such celebrations to come. May He endow good health and longevity upon you, and that you be khoobsurat haseen, forever.

Many many happy returns of today.

Song – Ae Mere Meharbaan Ae Mere Hamnasheen  (Saajan) (1969) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

ooo oooo oooo ooooooo
ooooo oooo ooooo ooo ooo ooo
oooo ooo ooo oooo oooo oooooooo
oooo oooo ooooo ooooo
ooooooo

wai wai yaa
wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa

ae mere meharbaan
ae mere hamnasheen
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

phoolon ko bahaar jaise pyaar karti hai
jaise pyaa..aar karti hai
dil ko teri yaad beqaraar karti hai
beqaraa..aar karti hai
hota hai asar. . .
hota hai asar
pyaar mein ye magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

laayi tere naam mein pyaam aankhon ka
mein pyaa..aam aankhon ka
kar le tu qubool ye salaam aankhon ka
ye salaa..aam aankhon ka
milti hai nazar. . .
milti hai nazar
dilbaron se magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen

aaa aaaa aaaa aaaaa
aaaaa aaaaa aaaaa aaaa

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ओss ओsss ओsss ओssssss
ओssss ओss ओsss ओs ओs ओs
ओsss ओs ओs ओss ओss ओssssss
ओss ओss ओsss ओsss
ओssssss

वई वई या
वई वई या
या वई वई या
वई वई या वई वई या
या वई वई या
वई वई या वई वई या

ए मेरे मेहरबान
ए मेरे हमनशीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं

फूलों को बहार जैसे प्यार करती है
जैसे प्या॰॰आर करती है
दिल को तेरी याद बेक़रार करती है
बेक़रा॰॰आर करती है
होता है असर॰॰॰
होता है असर
प्यार में ये मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं

लाई तेरे नाम में पयाम आँखों का
मैं पया॰॰आम आँखों का
कर ले तू क़बूल ये सलाम आँखों का
ये सला॰॰आम आँखों का
मिलती है नज़र॰॰॰
मिलती है नज़र
दिलबरों से मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं

आs आsss आsss आssss
आsss आssss आssss आsss


This article is written by Raja, 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.

After a fairly long break, I’m writing a post for the blog today.

There’s no particular reason for this break – it is just one of those things. I go through these periods of high-frequency posting to nil-posting every now and then.
Read more on this topic…


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hullo to all in Atuldom

Today’s post is under instructions from my husband- Peevesie’s Dad. Oh yes, he is a silent-satulite (a term coined by team Atulites when referring to spouses of Atulites, the term has no geographical or scientific connotation and will be found only in Atulite-lingo 🙂 ). He had asked me to write a post after we returned from a pilgrimage of Sabarimala, which is the abode of Swami Ayyappa. And as far as possible I fulfil every farmaish/ request of his (actually the children, Peevesie more than her brother, rag the two of us for going out of our way to fulfil each other’s requests- there have been no demands between the two of us only requests).
Read more on this topic…


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.

Hullo Atulwaasis

Today’s(3 september 2017) post is inspired by this post of Atulji. To be more exact I have been saving up this post ever since this was posted and this was mentioned in the comments by Bharatji and Maheshji.

I was saving this song to present it on the occasion of the birthdate of two people involved in this song.
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.

“Air Mail” (1960) was directed by B J Patel for People’s pictures, Bombay. The movie had Ranjan, Malini, Jyoti, Rajan Kapoor, Merajkar, Maruti etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13734

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3756

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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