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Today (14 July 2020) is the 101st birth anniversary of Sagat Singh (14 july 1919- 26 September 2001). He had nothing to do with HFM, but I am discussing him today. why ? Because I think that he deserves to be known to all of us. His name should occupy a pride of place among the great sons of India.

Sagat Singh started his military career in pre independence era as a JCO (Naik) with Bikaner Ganga Risala (army of the riyasat of Bikaner). Later he was promoted as Naib Sebedar and then as second lieutenant.

On amalgamation of the State Forces into Indian Army in 1950 after independence, he joined Third Gorkha Rifles of Indian Army. He commanded the Second and Third Battalions of the Third Gorkha Rifles.

In September 1961, he was promoted to the rank of brigadier and he was posted as the brigade commander of India’s only parachute brigade, the 50th Parachute Brigade. Most army officers would scoff at joining Parachute brigade, but Sagat Singh joined it enthusiastically and became a paratrooper himself.

Goa liberation war 1961
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The first memorable event in Sagat Singh’s career came in december 1961 which was liberation of Goa. Though India had become independent on 15 August 1947, Goa continued to be under Portugal occupation. Portugal refused to leave Goa, claiming that Goa was not a colony but part of metropolitan Portugal and hence its transfer to India was non-negotiable, and that India had no rights to this territory because the Republic of India did not exist at the time when Goa came under Portuguese rule.

The public opinion in Goa was to join India, but these movements were being forcibly suppressed by Portuguese authorities. The relations between Goa and India became tense. On 24 November 1961, Sabarmati, a passenger boat passing between the Indian port of Kochi and the Portuguese-held island of Anjidiv, was fired upon by Portuguese ground troops, resulting in the death of a passenger and injuries to the chief engineer. The action was precipitated by Portuguese fears that the boat carried a military landing party intent on storming the island. The incidents lent themselves to fostering widespread public support in India for military action in Goa.

On receiving the go-ahead for military action and a mandate for the capture of all occupied territories for the Indian government, Lieutenant-General Chaudhari of the Indian Army’s Southern Command fielded the 17th Infantry Division commanded by Major-General K. P. Candeth and the 50th Parachute Brigade commanded by Brigadier Sagat Singh.

The operation for the liberation of Goa, code named ‘Vijay’, was planned for 14 December, 1961. In order to prevent international intervention, and reinforcements from Portugal reaching Goa, it was essential that the operation was quick, and decisive. After a quick appreciation, Chaudhury decided to mount a two pronged attack. The main force, comprising 17 Infantry Division, was to move into Goa from the East, while 50 Parachute Brigade, under Brigadier Sagat Singh, was to mount a subsidiary thrust from the North. Major General K.P. Candeth, GOC 17 Infantry Division, was placed in overall command of the task force.

It was decided during meeting in Delhi that 2 Para battalion of 50 para brigade would be air dropped by Air force in Goa. But airforce later backed off and this plan had to be abandoned. This 2 para moved to Belgaum where it was met by 1 para of 50 para brigade. 2 Sikh Light infantry (based at Madras) also joined them. They along with 7th cavalry and 8th cavalty were also put under the command of Sagat Singh. So in summary, Sagat Singh commanded 50th Para Brigade, which had as its units 1st para battalion, 2nd Para battalion, 2 Sikh Light Infantry battalion, 7th Light cavalry and 8th light cavalry.

The brigade moved to Savantvadi on 13 December, and thence to its assembly area East of Dodamarg on the 16th. Meanwhile, 17 Infantry Division had also commenced its move from Ambala on 2 December, and had concentrated in Belgaum by 12 December. A tactical headquarters was established by HQ Southern Command at Belgaum on 13 December, and the Army Commander with his staff began to function from here. D Day for the operation was initially decided as 14 December, but was later postponed, due to political reasons, in an attempt to avert the conflict, and resolve the problem by diplomatic means. It was finally decided that the operation would commence on the night of 18 December.

Three days before D Day, the COAS, General P.N. Thapar, accompanied by Lieut General P.P. Kumaramangalam, the Adjutant General, and Lieut General J.N. Chaudhury, the Army Commander, visited the brigade, and Sagat presented his plan for the operation. At the end of the presentation, the Army Commander expressed the view that Sagat’s timings were too optimistic, and had reservations about them being adhered to. Sagat then gave the timings in writing, and the party left, after wishing the brigade good luck. On return to his tactical HQ, The Army Commander conveyed his doubts to his staff. However, Air Vice Marshal Pinto, and the Chief of Staff, Major General P.O. Dunn, as well as Mr. G.N. Handoo, of the IB, who knew Sagat well, supported him, and he was allowed to proceed according to his plan. As it happened, Sagat had already kept a reserve of four hours, and was able to remain well ahead of the estimated timings, when the operations took place.

50 Parachute Brigade had been given a subsidiary task, of advancing from the North, primarily to tie down the Portuguese troops in that area. However, Sagat was not the type to be shackled by rigid orders, and had already visualised a larger role for himself. He had decided to move on a wide front on two axes, with a vehicle mounted battalion group on each, supported by armour and artillery. He reasoned that if he was held up on one axis, he would continue the advance on the other, and using the reserve battalion, advance deeper into Goa, either through Bicholim-Mapuca-Panjim Creek, or via Sanquelim-Usgaon-Ponda-Velha Goa, on to Panjim. 2 Sikh Light Infantry group, supported by a squadron of 7th Cavalry and a troop ex 8 Cavalry, was tasked to advance on the Bicholim axis. 2 Para, supported by rest of 7th Cavalry and a troop ex 8th Cavalry, was assigned the Sanquelim axis. 1 Para was kept in reserve.

Though the operation was to commence on the night of 18 December, Sagat had decided to launch fighting patrols the previous night, to overcome the border outposts, in order to facilitate the entry of the main column across the border the following morning. Accordingly, Sagat had tasked 1 Para to capture two border outposts, and 2 Para to proceed along the ‘smugglers route’ and capture the single span 110 feet long bridge over the Sanquelim river, on the previous night. As these preliminary operations were going on, All India Radio gave the game away, by announcing shortly after midnight, that Indian troops were crossing into Goa. This alerted the Portuguese, and the element of surprise, so important in such operations, was lost. One company of 2 Para, after a swift night approach, had reached within 200 yards of the bridge, when barking dogs alerted the defending troops, who quickly fired the demolitions and fled.

The Portuguese Governor General and C-in-C, Major General Vassalo De Silva, was from the Corps of Engineers, and had got demolition chambers made in all the bridges, with explosives attached, for rapid demolitions. However, the company of 2 Para found a crossing place, and secured the home bank, enabling the tanks, guns and vehicles to cross the river. The Portuguese had not been able to fire all the demolition charges, and only those at the two ends had exploded. The single span had fallen down but was undamaged. Using marine jacks, the span was lifted, and with the addition of abutments at both ends, the bridge was soon re-commissioned. 1 Para also managed to capture the villages of Ibrampur, Maulinguem and Doromaoga, by first light of 18 December, though it suffered some casualties.

The main force, viz 17 Infantry Division commenced from its assembly area South of Belgaum, at dawn on 18 December, with 63 Infantry Brigade in the lead. It was planned to advance up to Ponda, by way of Mollem. 48 Infantry Brigade, which was following, was to pass through at Ponda, and go for Panjim, which was the final objective. Due to the advance on foot and abnormally large bridging column which was following the leading brigade, 48 Infantry Brigade could not keep up its advance, and when it reached River Candepar in evening, it found it was already occupied by paratroopers. Two battalions of 50 Parachute Brigade, 2 Para and 2 Sikh LI, had also commenced their advance at first light, on 18 December. Moving on converging axes, they did not let the blown up bridges deter them and simply swam across. The absence of heavy equipment, and light opposition from the enemy, coupled with initiative of the leaders, made this possible. As a result, the para troopers made excellent progress, and achieved more than what was expected from them. By 8.30 a.m. 2 Sikh LI had taken Bicholim and by 10.30 a.m. 2 Para reached Sanquelim, and by 5.30 p.m., occupied Ponda. This was done in spite of two major obstacles, in the form of the rivers Usgaon and Candepar, which were crossed by means of improvised rafts and fording.

After the crossing of the wide Usgaon river, Sagat felt that there was now no need to hold 1 Para in reserve, and he ordered them to head straight for Banasterim, after crossing the ferry at Piligao. According to his initial plan, on reaching Panjim, 2 Para was to establish a firm base close to the city, and 1 Para would be tasked to clear the expected resistance in the built up area. The lack of enemy resistance, and speed of advance had altered the situation. Another development took place at tactical HQ of Southern Command, at Belgaum. A wireless intercept indicated that the Portuguese Governor General had called for a meeting next morning at 8 a.m., to consider surrender. The Army Commander, when informed of this, realised that the Portuguese had lost the battle. Seeing the slow progress of 17 Infantry Division, and the rapid advance of 50 Para Brigade, he decided to change the plan. The task of capturing Panjim, which had been earlier assigned to 17 Division, was now given to the paratroopers, who were asked resume advance during the night. Due to break down in signal communications, this order could not be passed to HQ 17 Infantry Division, which had ordered 50 Para Brigade to firm in at Ponda, and tasked 48 Brigade to capture Panjim. However, Lieut-General Chaudhury personally spoke to the Brigade Major of 50 Para Brigade, and passed these instructions, since Sagat was away from his headquarters, visiting 2 Para, at that time. Incidentally, 50 Para Brigade was able to maintain contact with Belgaum throughout the operation, thanks to a radio relay detachment, which Sagat had managed to get from Major General R.N. Batra, the Signal Officer-in-Chief, on the ‘old boy’ net.

The advance of 2 Sikh LI was initially slow, even though it was led by the squadron of 7 Cavalry, and a troop of AMX tanks. Sagat felt that they had a tendency to hug the ground, and this accounted for their slow progress. He had to personally push them hard, before they speeded up their advance, and reached the Betim ferry, on the Panjim Creek, by last light. By this time, 1 Para had reached the outskirts of Panjim. With two battalions around Panjim by the evening of 18 December, 50 Para Brigade was now poised to capture the town, from the East as well as the North. However, it was almost dark, and Sagat did not want to enter the built up area of Panjim by night. He ordered 1 Para and 2 Sikh LI to halt, and establish harbours, for the night.

On the morning of 19 December, using the Betim ferry, some troops of 2 Sikh LI crossed the Panjim Creek, and arrived in Panjim at 8 am. Shortly afterwards, 1 Para also reached Panjim. Except for some firing from the customs house, there was no effective resistance, and the city was in Indian hands by 9 a.m. By a remarkable coincidence, the COs of both battalions had the same name. 1 Para was being commanded by Lieut Colonel Sucha Singh, VrC, MC, while the CO of 2 Sikh LI was Lieut Colonel Sucha Singh. It was the latter who won the race by an hour, and had the honour of accepting the surrender of the Portuguese troops, who had assembled in the officers mess. Major General Vassalo De’ Silva, the Governor General and C-in-C, escaped to Marmagao, and surrendered later. The Navy had already taken Anjidiv island the previous day, and also sunk the Portuguese frigate ‘Albuquerque’. At 11 a.m., Lieut-General Chaudhury, accompanied by Air Vice Marshal Pinto arrived in a helicopter, and got the tri-colour hoisted on the Secretariat building. Goa had been liberated, in an operation which lasted a little over 24 hours.

So, one can say that Goa was supposed to be liberated by 17st Infantry Division commanded by Major-General K. P. Candeth, with 50th. Parachute Brigade commanded by Brigadier Sagat Singh supposed to play a supporting role. But it was the other way round. Sagat Singh’s 50th Parachute Brigade reached Panjim and accepted surrender of Goan authority, while 17th Infantry Division was still struggling to reach Panjim.

Though the result of the operations in Goa was along expected lines, the speed of the Indian advance surprised many observers. The credit for this goes to Sagat, and his troops, who exceeded their brief, and managing to reach Panjim, which they had not been asked to do. The fact that 17 Infantry Division, in spite of the vastly superior resources at their disposal, and almost no opposition from the enemy, could make little headway, goes to show that the going was not easy. If the paratroopers succeeded, it was because of better fighting spirit, morale and leadership. The ability to take risks, and seize fleeting opportunities is the hall mark of a successful military leader, and Sagat proved beyond doubt that he had these qualities in ample measure.

Bangladesh Liberation War 1971
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In 1971 war, time was of essence. As soon as Pakistan started the war, on 3 December 1971 (by carrying out what they thought was an Israeli style bombing on Indian airfields), India retaliated and Pakistan ran to the UN on 4 December 1971 (in a very un Israel like manner), requesting UN to intervene and order ceasefire. Pakistan was supported by USA and China, while USSR vetoed the proposal, Britain and France abstained. So, India had limited time in which to achieve their task before Pakistan could manage to get ceasefire, like how they had managed to force India, then on the verge of defeating Pakistan soundly, into ceasefire in 1965, thanks to Chinese aggression at Sikkim.

In 1971, The task of liberating Bangla Desh, then called East Pakistan, was given to Lieut General Jagjit Singh Aurora, GOC-in-C Eastern Command. He had four corps under him, namely- 2 Corps, commanded by Lieut General (later General) T.N. Raina; 33 Corps, commanded by Lieut General M.L. Thapan; 4 Corps, commanded by Lieut General Sagat Singh; and 101 Communication Zone Area, commanded by Major General G.S. Gill.

East Pakistan had three major rivers and that divided it into four major territories. Each of the corps was given the task of capturing one territory each. The part south of river Padma (that is known as Ganga in India) was to be captured by Corps II, advancing from West (viz from West Bengal). The part between Padma (Ganga in India) and Jamuna (known as Brahmputra in India) was to be captured by Corps XXXIII, advancing from North west. Another major river is river Meghna (combination of Barak river and Kushtia river, both originating in Assam), which flows south west and joins Padma (which is already merged with Jamuna by then). The mighty river that thus gets formed is known as Meghna from then onwards and it flows into bay of Bengal. Sagat Singh’s corps 4 was given the task of capturing the territory east of River Meghna, attacking from east. The fourth territory, viz the northern territory between Jamuna and Meghna rivers was to be captured by 101 Communication Zone Area, attacking from north.

Bangladesh is a territory full of rivers. Crossing them is tough because there are very few bridges on them.

Pakistan had three infantry divisions, comprising about 42 battalions of regular troops, and five squadrons of armour, for the defence of the region, and more than 2000 kilometres of border. Lieut General A.A.K. Niazi, who was commanding the Eastern Command of the Pakistan Army, had appreciated that the Indian advance would have to be along the major road axes, and had deployed his troops accordingly. Strong points had been created along the likely axes, and it was visualised that unless these were cleared, the advancing enemy could make little headway.

Lt General Niazi’s hunch was correct as far as corps II, corps XXXIII and 101 communication zone were concerned. They advanced in the conventional way along the predicted route where Pakistani forces awaited them. Fighting them and defeating them consumed precious time of these corps of Indian Army. As a result, these corps fell way behind schedule in achieving their targets. Time was important because the longer the war prolonged, more was the possibility that UN would force a ceasefire and like in 1965, it would end up in a stalemate, with nothing to show for by India.

Just when it looked gloomy for Indian forces, Sagat Singh employed some unconventional strategies that no military strategist had ever thought of. Realising that time was important and using the same conventional method of advancing on land was time consuming, he decided to air drop his troops across river Meghna. He had antique helicopters which were not meant for this purpose, but he made them fly hundreds of sorties, and in each sortie 17 troops were carried (about 5 more than the carrying capacity). It was a risky gamble, and these helicopters were shot at by Pakistani troops. On one occasion, one helicopter was hit by these shots. The bullets hit the pilot and grazed past Sagat Singh, also flying in the helicopter. Sagat Singh was playing for broke, and his gamble paid off big time.

When his Corps had reached the Meghna River and he was trying to cross the river to advance to Dacca, Aurora tried to restrain him. Sagat told him that he was surprised at his reluctance when he was not only fulfilling the task given to him but achieving task plus. Hesuccessfully conducted an ad hoc and impromptu river crossing operation across one of the widest rivers of the world.

The air lift began on the afternoon of December 9, and continued for the next 36 hours. A total of 110 sorties were flown, from a stadium, and crossed the Meghna, which was 4,000 yards wide, to land at helipads which had been marked by torches, with their reflectors removed. During day, the troops were landed in paddy fields, with helicopters hovering low above the ground. The first battalion of 311 Mountain Brigade, 4 Guards, was landed in Raipura. while 9 Punjab crossed the river using country boats.

Next day, the troops were landed directly at Narsingdi. Meanwhile, 73 Brigade had started to cross, using boats, which had been rounded up. The ferrying of artillery and tanks was a serious problem, and required considerable ingenuity on the part of the Engineers. By 11 December, both 311 and 73 Mountain Brigade had crossed the Meghna, and were ordered to advance to Dacca, on different axes. Using all modes of transport, including bullock carts and cycle rickshaws, both brigades advanced rapidly, and on December 14, the first artillery shell was fired on Dacca. Meanwhile, 101 communication zone too advanced towards Dacca from north. This, as well as other units that began arriving towards Dhaka were put under the command of Sagat Singh on 15 December. Shelling commenced and the message for Pakistan Army was clear, surrender or perish. One way or the other, Dacca was bound to fall to Indian forces on 16 December 1971.

Niazi surrendered on 16 december 1971. Unlike in 1965, when Pakistan avoided a humiliating defeat, this time, Pakistan could not save face. On 12 December, with Pakistan facing imminent defeat, the United States requested that the Security Council be reconvened. Pakistan’s Deputy Prime Minister and Foreign Minister, Zulfikar Ali Bhutto, was rushed to New York City to make the case for a resolution on the cease fire. The council continued deliberations for four days. By the time proposals were finalised, Pakistan’s forces in the East had surrendered and the war had ended, making the measures merely academic. Bhutto, frustrated by the failure of the resolution and the inaction of the United Nations, ripped up his speech and left the council. 🙂

So, Sagat Singh’s unconventional tactics bamboozled Pakistani army and Pakistani rulers alike. Pakistan was forced to surrender several days before than they had expected. Some “experts” thought that Niazi should have deferred his decision by another one day. But these experts forget that Niazi had no choice. There was no way he would have left Dacca alive without Indian forces’ protection. Even if there was ceasefire, Indian troops would have just handed him over to Mukti Bahini. So surrendering before Indian army was an offer that Niazi could not refuse. 🙂

Here is that famous surrender photo. Sagat Singh is seen standing immediately behind Niazi.

So, one can see that Sagat Singh caused liberation of Goa on 19 december 1961 and liberation of Bangladesh on 16 december 1971. It was almost a “ten year liberation challenge” (dec 1961-dec 1971) as far as he was concerned ! 🙂

But, neither of these two feats were the biggest achievements of his career, in my opinion. His biggest achievement, in my opinion, that had far reaching implications for India, and therefore world affairs, came about in 1967 and ironically, very few people know about it and even talk about it. and that was :-

1967 India China War
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I have mentioned it earlier that India was winning against Pakistan decisively in 1965 when China, in a bid to save Pakistan, opened a front at Sikkim, and accused India of provocation and made some unreasonable demands on India. Indian government got nervous and declared ceasefire when on the verge of victory against Pakistan. This saved Pakistan big time. On the negotiating table, Pakistan got back everything that it had lost in the war. India not only surrendered all the gains of the war, even its PM Lal Bahadur Shashtri died mysteriously at Tashkant, where this meeting was taking place. So to many Indians it felt as if the entire world ganged up against India and India was stabbed in the back for the misdeed of Pakistan and Pakistan got away scot free.

Among the threats made by China while opening the Sikkim front with India, was the unreasonable demand that India vacated the two passes that were under Indian occupation, claiming that they were Chinese territories. These passes were Nathu La pass and Jelep La pass.

Nathu La was under mountain division 17 (headed by its Division Commander Major General Sagat Singh) while Jelep La was under mountain division 27 (headed by another Major General ). Both were under Lt Gen G G Bewoor, Corps commander of corps XXXIII.

In the opinion of Corps Commander Lt Gen Bewoor, the main defences of 17 Mountain Division were at Changgu, while Nathu La was only an observation post. Likewise In the adjoining sector, manned by 27 Mountain Division, Jelep La was also considered an observation post, with the main defences located at Lungthu. In case of hostilities, the divisional commanders had been given the authority to vacate the posts, and fall back on the main defences. Accordingly, orders were issued by Corps HQ to both divisions to vacate Nathu La and Jelep La.

Sagat did not agree with the views of the Corps HQ. Nathu La and Jelep La were passes, on the watershed, which was the natural boundary. The MacMahon Line, which India claimed as the International Border, followed the water shed principle, and India and China had gone to war over this issue, three years earlier. Vacating the passes on the watershed would give the Chinese the tactical advantage of observation and fire, into India, while denying the same to our own troops. Nathu La and Jelep La were also important because they were on the trade routes between India and Tibet, and provided the only means of ingress through the Chumbi Valley. Handing it over to the enemy on a platter was not Sagat’s idea of sound military strategy. Sagat also reasoned that the discretion to vacate the posts lay with the divisional commander, and he was not obliged to do so, based on instructions from Corps HQ.

As a result of orders issued by Corps HQ, 27 Mountain Division vacated Jelep La, which the Chinese promptly occupied. However, Sagat refused to vacate Nathu La, and when the Chinese became belligerent, and opened fire, he also opened up with guns and mortars, though there was a restriction imposed by Corps on the use of artillery. Lieut-General (later General) G.G. Bewoor, the Corps Commander, was extremely annoyed, and tried to speak to Sagat, to ask him to explain his actions. But Sagat was not in his HQ, and was with the forward troops. So it was his GSO 1, Lieut Colonel Lakhpat Singh, who bore the brunt of the Corps Commander’s wrath.

The Chinese had installed loudspeakers at Nathu La, and warned the Indians that they would suffer as they did in 1962, if they did not withdraw. However, Sagat had carried out a detailed appreciation of the situation, and reached the conclusion that the Chinese were bluffing. They made threatening postures, such as advancing in large numbers, but on reaching the border, always stopped, turned about and withdrew. They also did not use any artillery, for covering fire, which they would have certainly done if they were serious about capturing any Indian positions. Indian defences at Nathu La were strong. Sagat had put artillery observation posts on adjoining high features called Camel’s Back and Sebu La, which overlooked into the Yatung valley for several kilometres, and could bring down accurate fire on the enemy, an advantage that the Chinese did not have. It would be a tactical blunder to vacate Nathu La, and gift it to the Chinese.

During the crisis, the Chinese had occupied Jelep La, but had gained nothing in the sector under Sagat’s division. This was galling for them, and they continued their pressure on the Indians, and making threatening gestures. In December 1965, the Chinese fired on a patrol of 17 Assam Rifles, in North Sikkim, at a height of 16,000 feet, killing two men. The patrol was in Indian territory, but the Chinese claimed that it had crossed over to their side. They made regular broadcasts from loudspeakers at Nathu La, pointing out to Indian troops the pathetic conditions in which they lived, their low salaries and lack of amenities, comparing these to that of officers. It was a form of psychological warfare in which the Chinese were adept, and had to be countered. Sagat had similar loud speakers installed on our own side, and tape recorded messages, in Chinese language, were broadcast every day. However, he was not satisfied with this, and kept looking for a chance to avenge the death of the Indian soldiers who had fallen to Chinese bullets.

Throughout 1966, and early 1967, Chinese propaganda, intimidation and attempted incursions into Indian territory continued. The border was not marked, and there were several vantage points on the crest line which both sides thought belonged to them. Patrols which walked along the border often clashed, resulting in tension, and sometimes even casualties.

In 1967, Sagat discussed the problem with the new Corps Commander, Lieut General J.S. Aurora. He suggested that the border at Nathu La should be clearly marked, to prevent such incidents, and offered to walk along the crest line, to test the Chinese resolve. If they did not object, the line along which he walked could be taken to be acceptable to them. This was agreed to, and Sagat, accompanied by an escort, began walking along the crest. The Chinese commander also walked alongside, accompanied by a photographer, who kept taking pictures. However, there was no confrontation, and the ‘walk’ ended peacefully.

Sagat then obtained the concurrence of the Corps Commander to mark the crest line, along which he had walked. He ordered a double wire fence to be erected, from Nathu La towards the North and South Shoulders. However, as soon as work began on the fence, on 20 August 1967, the Chinese became agitated, and asked the Indians to stop. One strand of wire was laid that day, and two more were added over the next two days. On 6 September, a patrol of 2 Grenadiers, the battalion which was holding defences at Nathula, was going towards the South Shoulder, when it was surrounded by about seventy Chinese, and threatened. The next day, the Chinese physically tried to interfere with the construction of the fence, and there was a scuffle. However, work continued on the next two days, and was almost completed on the 10th.

Since the Chinese appeared determined to prevent completion of the fence, it was decided to start early on 11th, and finish the job before first light. All available manpower, including a platoon of Engineers and another of Pioneers, was deployed for the task. A company of 18 Rajput was also brought in, to reinforce the position, and protect the men who were to construct the fence. As soon as work commenced, the Chinese came upto the fence, and tried to stop the work. There was a heated discussion between the Chinese commander, who was accompanied by the political commissar, and Lieut Colonel Rai Singh, CO 2 Grenadiers. Sagat had foreseen this eventuality, and told Lieut Colonel Rai Singh not to expose himself, and remain in his bunker, where the Brigade Commander, Brigadier M.M.S. Bakshi, was also present. But this was not heeded, and the CO, with an escort, came out in the open, to stand face to face with the Chinese officers. As the arguments became more heated, tempers rose, but both sides stood their ground. Suddenly, the Chinese opened fire, causing several casualties among the troops working on the wire fence. Lieut Colonel Rai Singh was hit by a Chinese bullet, and fell down.

Seeing their CO fall, the Grenadiers became mad with rage. In a fit of fury, they came out of their trenches, and attacked the Chinese post, led by Captain P.S. Dagar. The company of 18 Rajput, under Major Harbhajan Singh, and the Engineers working on the fence had been caught in the open, and suffered a few casualties from the Chinese firing. Realising that the only way to neutralise the Chinese fire was a physical assault, Harbhajan shouted to his men, and led them in a charge on the Chinese position. Several of the Indian troops were mowed down, by Chinese machine guns, but those who reached the Chinese bunkers used their bayonets, and accounted for many of the enemy. Both Harbhajan and Dagar lost their lives in the action, which developed into a full scale battle, lasting three days. Sagat had asked for some medium guns, and these were moved up to Kyangnosa La, at a height of over 10,000 ft.

Those day, authority to use artillery was only with Army Chief. Sagat Singh asked for permission to use artillery. His commanding officer sent the request to Delhi where the request went tthrough various channels in a proper bureaucratic manner. Seeing that it would be too late if he kept waiting for the orders from Delhi, Sagat Singh ordered firing of artillery on his own.

The artillery observation posts, which Sagat had sited earlier, proved their worth in bringing down effective fire on the Chinese. Because of lack of visibility, and the steep incline West of Nathu La, most Chinese shells fell behind the forward defences, and did not harm the Indians. Indian artillery shelling caused heavy damage on Chinese. Based on their observation of meek Indian behaviour so far, Chinese forces had never expected such a furious response.

The Indian casualties in the action were just over two hundred – 65 dead and 145 wounded. The Chinese are estimated to have suffered about three hundred casualties. Though the action taken by Sagat, in marking the border with a wire fence, had the approval of higher authorities, the large number of casualties suffered by both sides created a furore. The casualties to Indian troops would not have occurred if they had remained in their defences, and not exposed themselves by coming out of their trenches and rushing at the Chinese post. This happened in the heat of the moment, because seeing their CO fall, the troops lost their cool, and rushed forward under the orders of a young officer, who lost his life in the action.

The Corps Commander, Lieut General J.S. Aurora, visited Nathu La, to assess the situation. Sagat was advised to prevent further escalation of hostilities, and avoid casualties to Indian troops.

The Chinese had already announced that it was the Indians who started the conflict, and the large number of Indian bodies, and wounded Indian soldiers, in their possession, seemed to support their claim. However, Sagat was not perturbed. For the last two years, the Chinese had been instigating him, and had killed several Indian soldiers. The specter of Chinese attack, of 1962, still haunted the military and political leadership in India and had prevented them from taking effective action against them. This was the first time the Chinese got a bloody nose, and the myth of their invincibility was broken.

This was not the end of the face-off with the Chinese. They had suffered more than 300 casualties and seemed unwilling to let the watershed cool down. On 1 Oct, a confrontation ensued between the Chinese and 7/11 Gorkha Regiment at Chola, a pass west of Nathu La and under the responsibility of 63 Brigade. The Gorkhas had that very day taken over the post at Pt 15450 from 10 J&K Rifles. A scuffle ensued between the JCO post commander and his Chinese counterpart over a boulder which was on the watershed. The Chinese bayoneted the JCO and his men retaliated with the deadly use of the khukhri. A fierce hand to hand struggle ensued and a neighbouring post came under attack. The Gorkhas were unwilling to start their tenure with a defeat and got clearance from the Brigade Commander to raise the stakes. Pt 15450, which had been taken by the Chinese, was vigorously attacked with close quarter khukhri work and the Chinese were evicted. This was a clear signal to them that the Indians would not surrender an inch of territory and the area around the watershed stabilised, ultimately being designated as the Line of Actual Control.

These two incidents were so unexpected and demoralising for the Chinese that there has been no firing on the LAC from that time in 1967 till today (2020). They kept threatening Indian even later, but the mental scars left on them in 1967 have not healed. That has acted as a brake on Chinese aggression.

Had India surrendered Nathu La under pressure of China then China would have had a free passage to Sikkim (then an Indian protectorate). China would have occupied Sikkim in no time. From Sikkim, cutting off Indian North East through Siliguri Corridor (aka Chicken neck) would have been a piece of cake for China. Occupying Sikkim would have enabled them to occupy the entire North East part of India. And all that before 1970. So there would have been no Bangladesh war and no win for India in that war. All this was avoided just because India had the right man at the right time as the incharge of protecting the borders at Nathu La during 1965 to 1967. And he took a decision in national interest that was at variance with the decision of his superior. Obeying that wrong decision cost India Jelep La pass, but Sagat Singh ensured that he would not surrender Nathu La. And two years later, he gave China a bloody nose, once again, by taking a decision that was against rules but in national interest.

His feat at Nathu La has been downplayed and its long term significance in ensuring the morale of Indian armed forces, and also in ensuring the unity and integrity of the nation, has not been fully appreciated.

During 1971 war, China did not interfere by opening another front, unlike what they had done in 1965. For that India must be thankful to Sagat Singh. The bloody nose that Chinese had received in 1967 was only too fresh in Chinese minds, so they stayed out of this conflict even though China Sikkim border was quite close to the war zone in East Pakistan !

One army officer, who has followed his career closely rightly observed that Sagat Singh was one of the greatest army commanders of all times. He is comparable to German Army commander Rommel and US army commander George Patten. Like Patten, Sagat Singh too found his war expoits being overlooked by his superiors, but Sagat Singh would not let that stop him from giving his best for the nation.

Just as this episode of Indian forces giving China a bloody nose in 1967 has been carefully shoved under the carpet, even Hindi movies have not covered this glorious chapter of Indian Army. Or so I thought. I came to know a few months back that a movie “Paltan”(2018) has been made on this event. But unlike other war movies, few moviegoers seem to have watched it. The movie seemingly flopped, which is a great pity.

The movie is available on zee5, and I especially subscribed to zee5 to watch this movie. The movie was directed by J P Datta. It had Jackie Shroff, Arjun Rampal, Sonu Sood, Harshvardhan Rane, Esha Gupta, Sonal Chauhan etc in it. Jackie Shroff plays Sagat Singh in the movie.

Here is a song from “Paltan” (2018) in honour of Late Lt Gen (Retd)Sagat Singh, the hero of Goa Liberation war, Bangladesh liberation war and the person who gave Indians the belief that Chinese armymen were not invincible, unlike what we were told since 1962.

The song is sung by Khuda Baksh, Irfan I, Adarsh II and Divya Kumar. Jawed Akhtar is the lyricist. Anu Malik is the music director. Knowing Anu Malik’s reputation, it should come as no surprise if his tunes turn out to be “inspired” tunes. Here it is lifted from the theme music of “The bridge on the river Kwai”.

The picturisation of the song is just two minutes long. The audio version is six minutes long.

Video

Audio full


Song-Paltan o paltan (Paltan)(2018) Singers-Khuda Baksh, Irfan I, Adarsh II, Divya Kumar, Lyrics-Jawed Akhtar, MD-Anu Malik

Lyrics

chale jo apni paltan to parwat hatt jaayein
dariya rasta chhodein chattanein kat jaayein
chale jo apni paltan to parwat hatt jaayein
dariya rasta chhodein chattanein kat jaayein
ik saathi hai daayein
ik sathi hai baayein
ik sathi hai daayein
ik sathi hai baayein
hatein na hum jo kisi morche par datt jaayein
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tann-mann
paltan o paltan
paltan o paltan
vande mataram
vande mataram
vande ae mataram
vande ae mataram

tez nigaahein tez dhadkanein tez kadam hain
hilta hai aakaash bhi jab yoon chalte hum hain
pairon ko chhoone aati hain khud hi raahein
har manzil hai milti humse khole baahein
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tann-mann
paltan o paltan
paltan o paltan
vande mataram
vande mataram
vande ae mataram
vande ae mataram

aangaaron ki baarish ho ya aag ke saagar
hum badhhte hi jaate hain in sab ko o bujhaa kar
josh bhi hai aur hosh bhi hai aur taakat bhi hai
har dushman se takraane ki himmat bhi hai
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tan mann
o sathi o
o sathi o
hum bhi kahen
tum bhi kaho
hum bhi kahen
tum bhi kaho
vande maataram
vande maataram
paltan o paltan
paltan o paltan
vande ae maataram
vandee ae maataram


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 :

4296 Post No. : 15550 Movie Count :

4284

When I looked at the lyrics of this song, I quickly made some guesses about this song and its movie:-

1. This movie is directed by David Dhawan.

2. Music is by Anu Malik

3. The song is picturised as a chaalu dance song on klead pair of Govinda and Karishma Kapoor.

When I watched the picturisation and saw the details of the movie, I found that I had hit the bulls’s eye on 1 and 2. I was wrong in 3. The song was picturised not on Govinda and Karisha Kapoor but on Akshay Kumar and Juhi Chawla.

This movie was called “Mr and Mrs Khilaadi” (1997). May be I should have paid attention to the title to guess the hero. If the title had the word “Khilaadi” in it, then it used to be an Akshay Kumar starrer. If the title had the phrase “number one” in it, then that used to be Govinda starrer, duly directed by David Dhawan.

The movie “Mr and Mrs Khilaadi” (1997) was produced by Keshu Ramsey and directed by David Dhawan. The movie had Akshay Kumar, Juhi Chawla, Kader Khan, Gulshan Grover, Johny Lever, Satish Kaushik, Anjala Zaveri, Paresh Rawal, Birbal, Guddi Maruti, Mac Mohan, Himani Shivpuri, Upasna Singh, Rakesh Bedi, Anil Dhawan, Kishore Bhanushali, Jack Gaud, Raj Kishore etc in it.

The movie had six songs in it. This song is the first song from the movie to appear in the blog. This song is sung by Abhijeet and P0ornima. Dev Kohli is the lyricist. The lyrics are obviously inspired from the popular political slogan of Bihar those days that was -“Jab rak rahega samose mein aalu tab tak Bihar mein rahega Laalu.”

Thankfully that politician has proved to be more fallible than the humble aalu.

One obviously watches this song and listens to it with very low expectations, and so the song turns out to be a good fun to watch and listen to. The song has somer witty lines. In adduition to aaalu and samosa, the lyrics rope in idly and dosa as well;. 🙂

The dance that the two acors are seen performing is not disco, or ramba samba or any such known dance form. It is nothing more than aerobics exercises. 🙂

Here is this fun song from “Mr and Mrs Khilaadi” (1997) first thing in the morning. Only if I could somehow get a samosa, or even idly and dosa at this time in the morning. Alas, I have to make do with just a morning cup of tea. 🙂


Song-Jab tak rahega samose mein aalo (Mr and Mrs Khilaadi) (1997) Singers-Abhijeet, Poornima, Lyrics- Dev Kohli, MD-Anu Malik

Lyrics

lalala lalala
lalala lalala
lalala lalala
lalala lalalalaa
lalala lalala
lalala lalala
lalala lalala
lalala lalalalaa

jab tak rahega samose mein aalu
jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
jab tak rahega samose mein aalu
chipki rahegi tujhse ye shaalu

jab tak rahega samose mein aalu
tera rahoonga o meri shaalu

chatni bina pheeka laage samosa
chatni bhi aayegi kar le bharosa
haaye chatni bina pheeka laage samosa
chatni bhi aayegi kar le bharosa
main teri idli hoon tu mera dosa
ho jaaye garma garam ek bosa
na na
arre na na
arre na na
arre na na

arre haan haan
arre haan haan
arre haan haan
arre haan
jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
jab tak rahega samose mein aalu
chipki rahegi tujhse ye shaalu

jab tak rahega samose mein aalu
tera rahoonga o meri shaalu

lalala lalala
lalala lalala
lalala lalala
lalala lalalalaa
lalala lalala
lalala lalala
lalala lalala
lalala lalalalaa

tere liye ki hai sabse ladaai
toh kya dekht hai pakad le kalaai
tere liye ki hai sabse ladaai
toh kya dekhta hai pakad le kalaai
ke meri mohabbat tujhe kheench laayi
mere baap ka ban gaya tu jamaai
arre na na arre na na arre na na
arre na na
haan haan
arre haan haan
arre haan haan
arre haan haan

jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
jab tak rahega samose mein aalu
chipki rahegi tujhse ye shaalu

jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
jab tak rahega samose mein aalu
chipki rahegi tujhse ye shaalu

jab tak rahega samose mein aalu
tera rahoonga o meri shaalu
u hu hu


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4124 Post No. : 15279 Movie Count :

4204

Hullo Atuldom

Let us all wish the Baadshah of Bollywood on his 54th birthday.

Wish this was an audio post, then I would have started my post with what we used to hear on the radio Ads in the 70s and 80s. I would have first played a line “aashiq hoon main qaatil bhi hoon” then after the voice over by a Vijay Behl or Ameen Sayani or a Vinod Sharma or it could be Harish Bhimani (I don’t remember the names of all the announcers, sorry) the Radio Ad would have closed with the repeat of the last line of the mukhda of the song – “Baadshah o baadshah, baadshah hey baadshah, baadshah”.

But then this is neither an audio post nor a radio ad. But our today’s birthday boy is a huge fan of those days, when we used to hear songs on the radio. Up the volume when our favourite song was played and sat glued to hear all the details of the song viz: singer, lyricist, composer, movie name etc. And if due to some disturbance on the frequency waves or any other reason we missed the details then we would have to wait for god-knows-how-long to hear it again. Because back then, Radio Ceylon and Vividh Bharati were our sole source for HFM- Doordarshan happened much later and IMDB and other sites were not even on the horizon. Right Birthday Boy? I am talking of our Sudhirji here. We have seen him mention about his love for HFM being fed by what he heard on the Radio in many of his posts.

He is an ‘Aashiq’ of film music and is so knowledgeable about its many aspects. And he keeps discovering new angles of HFM and his posts are rich because of this constant search of his. And occasionally he also doubles up as Atulji’s most trusted aide in keeping the blog running. Thank you Atulji for introducing us to Sudhirji- the dilldaar Dilliwala. Wish you a very Happy Birthday Sudhirji, may you never run out of ideas for new posts and series.

November 2nd also happens to be the birthdate of music director/ singer Anu Malik- son of yesteryear-music director Sardar Malik. He has been around in the industry since 1980 – debuting with an obscure movie “Hunterwaali 77” (never heard of this movie before 🙂 ). He has worked his way to the A-list music directors with successful albums like “Mard”, “Sohni Mahiwal”, “Ganga Jamuna Saraswati” etc. His albums of the 90s had many melodies which got their movies a slightly long run at the box-office; movies like “Sir”, “The Gentleman”, “Vijaypath”. “Naaraz’’, “Naajayaz’’ etc. Music by Anu Malik in “Chamatkaar” was the first collaboration of SRK (the other birthday boy for today). Subsequently Anu Malik has given music to a few of SRK’s movies- “Baazigar”, ‘Ram Jaane”, “Duplicate”, “Baadshah”, “Josh”, “Asoka”, “Main Hoon Na” etc etc. Wish you a very Happy Birthday Anu Malik.

As can be seen in the list in the previous paragraph we have a huge library from which to choose a song for today. I have had suggestions from my Peevesie and Nahmji too about which could be a good choice for today’s triple birthday and I am settling for the song with which I opened the post as I have inside information about the possibility of Peevesie’s suggestion being fulfilled today.

From his debut in movies in 1992 to 1998 SRK had about 3 or 4 releases every year. 1999 had only one SRK movie- Baadshah (it was after the success of this movie that Shahrukh was given the epithet “Baadshah of Bollywood”), which was directed by Abbas – Mustan. It had him playing a bumbling detective with Sudhir, Johnny Lever, Sharad Sankhla, Harpal as his team mates and Twinkle Khanna was the female lead. It had Rakhee and Amrish Puri with Sharat Saxena, Deepshika, Sachin Khedekar etc in supporting roles and Shashikala and Prem Chopra in guest appearances. Our song today is from “Baadshah” which was written by Sameer and filmed as a disco song performed in a night club with Twinkle, Amrish Puri, Viju Khote etc as audience and Pankaj Dheer makes an entry towards the end of the song. It is sung by Abhijeet (who turned 61 on 30th October).

A very Happy Birthday to all the Birthday Boyz. Lets enjoy the party.


Song-Aashiq hoon main qaatil bhi hoon (Baadshah)(1999) Singer-Abhijeet, Lyrics-Sameer, MD-Anu Malik

Lyrics

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon

o ho o oh o ho o ho
o ho o oh o ho o ho

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
dil ko churaana,
neendein udaana
bas yahi mera kusoor
waadon se apne mukarta nahin 
marne se main kabhi darta nahin
baadshah o baadshah,  
baadshah hey baadshah
baadshah o baadshah,
baadshah 

hae ae ae ae yo
hae yo

chaaron taraf hain mere hi charche
honthon pe hai bas mera naam
rangon bhari subah meri
masti mein doobi hai meri sham
jhoothi kahaani sacchi lage
aawargi mujhe achchi lage
nagmein sunaana
sabko nachaana 
bas yahi mera kusoor
waadon se apne mukarta nahi
marne se mai kabhi darta nahi
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah

ho o ho o ho o

hai yeh mohabbat kamzori meri
chaahat ki duniya pe mera raaz
bas rab ke aage jhukta mera sar
jhukte mere saamne takhto taaj
andaaz mera sabse juda
mein baadshahon kaa baadshah
sapne sajaana
hansna hasaana
bas yahi mera kusoor
waadon se apne mukarta nahin
marne se mai kabhi darta nahin
baadshah o baadshah 
baadshah hey baadshah
baadshah o baadshah,
baadshah
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah


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 :

4095 Post No. : 15239

“Aapas Ki Baat”(1981) was produced by Salim Akhtar and directed by Harmesh Malhotra for Citizen Pictures, Bombay. The movie had Raj Babbar, Poonam Dhillon, Shakti Kapoor, Bharat Kapoor, Huma Khan, Narendranath, Asrani, Dina Pathak, Purnima, Abhi Bhattacharya, Kalpana Iyer, Madhu Malhotra, Bhushan Tiwari, Janaki Dass, Ajay, Sunder, Azad Irani, Rammurti Chatrurvedi, Sunder Taneja, Dolly, Khushboo, Moolchand, Kirti,Goga Kapoor etc in it.

The movie had five songs in it. One song from the movie has been covered in the past.

Today (4 october 2019) is the 67th birthday of Shailendra Singh (DoB 4 october 1952). It is so unbelievable to realise that he is 67 years old. It appears only yesterday that he had made his debut as a playback singer in “Bobby”(1973) as a 20 year old playback singer !

On this occasion, here is a song from “Aapas Ki Baat”(1981). This song is sung by Shailendra Singh and Lata. Dayanath Pandey is the lyricist. Music is composed by Anu Malik.

The song is picturised as an expression of love song on Raj Babbar and Poonam Dhillon.

Lyrics of this song were sent to me by Prakashchandra.


Song-Kehni hai do baaaten tumse (Aapas Ki Baat)(1981) Singers-Shailendra Singh, Lata, Lyrics-Dayanath Pandey, MD-Anu Malik

Lyrics(Provided by Prakashchandra)

kehnee hai do baatein tumse
magar kahoongaa kaanon mein
jo tum kehnaa nahin kisee se
apne yaa begaanon mein
kaanon mein toh chor hai kehte
aap bhi koyee chor hain kyaa
soorat se ho bhole bhaale
andhar se kuchch aur hain kyaa

kehnee hai
kehte raho

baat hawaayein le udti hain
abhi tujhe maaloom nahin
teri tarhaa se har koyee hai
jaan-e-mann maasoom nahin

kaun see baat pehle kahoon
dil ki yaa haseen khwaab ki
ho
baat seedhee si hamse karo
yeh paheli hai kyaa aapki

paas aao toh phir hum bataayein
dhadhkanon ki zubaan se sunaayein
kehnee hai do baatein tumse
magar kahoongaa kaanon mein
jo tum kehnaa nahin kisee se
apne yaa begaanon mein
kaanon mein toh chor hain kehte
aap bhi koyee chor hain kyaa
soorat se ho bhole bhaale
andar se kuchch aur hain kyaa

kehnee hai
kehte raho

dil ki baat hai kehnaa mushkil
khwab ki hi baat bataayein
itnaa pyaaraa thaa woh sapnaa
bhoole se bhi bhool naa paayen
aaa….haaa…aaaa…aaaa
ik paree dekhi maine utarte
taaron ki raah se dheere dheere
aankhon mein thi chamak neelam ki
thhe angoothhee mein bhi uske heere
haath se usne apne utaaree
hubahoo shakl soorat tumhaari
aaahha..haaa.haa..haa..haa…haaaa
ussne pehnaayee phir tumko hogi
ho gaye hoge pal bhar mein
jogi
ussne chaahaa hogaa jab bhi jaanaa
raah badhke wahin roki hogee

arre toone yeh sab kaise jaanaa
haath apnaa zaraa yeh dikhaanaa
naa.naa.naaa..aaa
ab kahoge yehi hai angoothhi
baat bilkul magar hai yeh jhoothhi
tum toh jhoothhe ho ek numbree
naa thaa sapnaa na koyee paree
tum chale thhe ham hi ko banaane
dekh ke mast mausam suhaane

kehnee hai do baatein tumse
magar kahoongaa kaanon mein
jo tum kehnaa nahin kissee se
apne yaa begaanon mein
kaanon mein toh chor hai kehte
aap bhi koyee chor hain kyaa
soorat se ho bhole bhaale
andar se kuch aur hai kyaa


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4069 Post No. : 15205 Movie Count :

4179

Hullo to Atuldom

Today I have a very difficult task. The task of selecting one song from a possible 5251 (7874-2623 as per the stats page of the blog) is almost like needle in a hay stack. And there will be at least a few thousand popular songs in this 5k of which many will fall in the category of “How come…?”. Some may lead to their movies getting Yyippeeeed and some may introduce a new movie onto the blog.

I never added any criteria for the song selection as I had so many songs of this singer, running through my head. Over the last few days I had heard many songs of this artist and found that most of them are yet to appear on the blog. It doesn’t help matters that she has been around since 1948 – just about 71 years of work to choose from. 71 years of work means singing for all the females who have ever graced the Bollywood firmament, of course excluding the ladies of the silent era. I thought I will take the easy way out and try and find the first ever Bollywood song recorded by her for Hansraj Behl in 1948. But, if only, life was that easy!!!! 🙂

Just then, as if Godsend, my daughter called me for getting some clarification and as soon as we finished her work with me, I told her what I was up to, and we went into overdrive about the song selection. She on her part suggested a few songs which both of us love and have music cassettes of, but I shot them down as they were non-filmy. I had my reasons for shooting them down- when there are so many movie songs left why go for non- film songs. We still have years to go before we run out of film songs. Then, after a lot of brain-storming with my dear Peevesie, I zeroed in on a song written by Gulzar.

What is unusual about this song? For one, it is one of the rare occasions where Anu Malik has given music for an album with songs written by Gulzar. This album has songs sung by Asha Bhonsle, K.S. Chitra, Jaspinder Narula, Roop Kumar Rathod, Palash Sen and KK. All the songs of the movie were well received. But the track by our birthday girl was a huge hit. I am talking of the songs from Meghna Gulzar’s directorial debut “Filhaal” of 2002. Meghna, as is well known, is the daughter of Rakhee and Gulzar. She started out her career as a free-lance writer, going on to assist Saeed Akhtar Mirza and her father before going on to direct “Filhaal”. It was not an unusual story but was handled differently.

The movie had Sushmita Sen and Tabu – as stars of commercial value and Dr. Palash Sen and Sanjay Suri as the male actors. The ladies are long-time friends but differ in their dreams and aspiration. They are different where settling into family is concerned but when one of them (Sushmita) has a problem in her family life, as she cannot conceive, the other (Tabu) steps in to be a surrogate mother to her friend’s child. Then differences crop up between the friends as the pregnancy progresses and how they resolve all the confusion forms the gist of the movie. It was critically appreciated but I am unaware of its commercial status.

Today’s song is sung by Asha Bhonsle. I hope all the readers had guessed that I want to wish our Ashaji a lot of health and good times and hope to hear more of her songs.

P.S.: Hope people have noted that I have exercised restraint and not mentioned about her lineage, family, her most popular songs and my favourite Asha Bhonsle song. Only I know how difficult it was not to mention songs. 🙂


Song-Ae zindagi ye lamha jee lene de (Filhaal)(2002) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-Anu Malik

Lyrics

ae zindagi
yeh lamha jee lene de
ho o o o
pehle se likha
kuchh bhee nahin
roz naya kuchh
likhti hai tu
jo bhee likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

maasoom si haseen bewajah hee kabhi
honthon pe khil jaati hai
anjaan si khushi
behti huyi kabhi
saahil pe mil jaati hai
ye anjaana sa darr
ajnabi hai magar
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

dil hi mein rehta hai
aankhon mein behta hai
kachcha sa ik khwaab hai
lagta sawaal hai
shaayad jawaab hai
dil phir bhi betaab hai
ye sukoon hai toh hai
ye junoon hai toh hai
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

ho o o pehle se likha kuchh bhi nahin
roz naya kuchh
ho o o likhti hai tu
jo bhi likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de


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 :

4045 Post No. : 15173 Movie Count :

4169

Today (15 august 2019) is not only the independence day, it also happens to be the festival of Rakhi.

I have managed to post one independence day song on this occasion. Now it is time I cover a Rakhi festival song as well, before the day wears off.

This raakhi festival song is from “Dav Pech”(1989). The correct spelling should be “Daanv Pench”. This movie was produced by Padmini Kolhapure and directed by Kewal Verma for Padmini Films Private Limited, Bombay. The movie had Jeetendra, BhanuPriya(south),Prem Chopra, Dinesh Hingoo, Chandrashekhar,Shakti Kapoor, Bob Christo, Sunil Dhawan, Renu Joshi,C.S.Dubey, Manik Irani,Kamaldeep, Neeta Kapoor,
Sangeeta Kapoor,Master Rinku,Gurbachchan Singh, Gauri Verma,Jugnu, Azad Irani,Umesh Khanna, Surbhi Zaveri etc in it.

This rakhi song had two versions. The duet version (happy version) was sung by Sadhana Sargam and Shailendra Singh. It was picturised on Gauri Verma, Jeetendra and Master Rinku. The sad female solo version was just one stanza long and it was sung by Sadhana Sargam.

Indeewar is the lyricist. Music is composed by Anu Malik.

Lyrics of the song were sent to me by Prakashchandra long back.

With this song, “Dav Pech”(1989) makes its debut in the blog.

I take this opportunity to wish our visitors happy Raakhi and also happy independence day.

Duet

Female solo

Song-Main har janam teri bahna banoon (Daanv Pench)(1989) Singers-Sadhana Sargam, Shailendra Singh, Lyrics-Indeewar, MD-Anu Malik
Both

Lyrics(Provided by Prakashchandra)
———————————
Duet version
———————————

hoooo…oooooo…ooooo
oooo…oooooo…….oooooo

main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
ek janam kyaa
saaton janam
teraa hi saayaa
sar pe rahe ae
main har janam teraa bhaiyyaa banoon
tu har janam meri behnaa bane

rishte naate bahut hain jag mein
koyee na rishtaa aisaa

bhai behan kaa pyaar hai paawan
gangaa jal ke jaisaa
main uss ghar ki karoon hifaazat
tu jis ghar ka gehnaa bane ae

main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane

des rahen pardes rahen hum
badlenge naa iraade

raakhi ke dhaagon mein chhupe hain
pyaar bhare kuchch vaade
buri nazar koyee
chhoo na paaye
tu meraa laaj rakhaiyyaa bane ae
main har janam teraa bhaiyyaa banoon
tu har janam meri behnaa bane

ek janam kyaa
saaton janam
teraa hi saayaa
sar pe rahe ae
main har janam teri behnaa banoon
tu har janam meraa bhaiyyaa bane
hooooo….oooooooooo…ooooo ooooo….oooooooooo…..
ooooo….hoooooooooo……….ooooooooooooo….ooooo

————————————-
Lyrics (Sad female solo version)
————————————-
main har janam teri behnaa banoon
tu har janam meraa bhaiyya bane
ek janam kyaa
saaton janam teraa hi saayaa sar pe rahe ae
main har janam teri behnaa banoon
tu har janam meraa bhaiyya bane
tu har janam meraa bhaiyya bane


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3993 Post No. : 15086 Movie Count :

4139

Hullo All

Todays’ post features a rather new song. It is only 19 years old. It is from “Fiza” (2000) which was directed by Khalid Mohammed who used to be known as a film critic before he got into film-making. He has made “Fiza”; “Zubeida”; “Tehzeeb” and “Silsilay”. He is also the son of yesteryear actress Zubeida about whom our in-house encyclopaedia has written in this article.

Before “Zubeida” Khalid Mohammed made “Fiza” with Jaya Bachchan, Karishma Kapoor, Hritik Roshan, with Neha and Bikram Saluja (in miniscule roles of the love interests of Hritik and Karishma). The movie also had Sushmita Sen, Manoj Bajpayee, Isha Koppikar and Asha Sachdev in guest appearances. If I am not wrong this was Jaya Bachchan’s comeback into commercial cinema after being away for many years. Before this she had acted in “Hazaar Chaurasi Ki Maa” but that was what is called an off-beat or art film.

The movie’s story was:

Six years after Fiza’s (Karishma Kapoor) brother, Aman (Hrithik Roshan) disappears during the 1993 Mumbai riots, she goes to look for him. When she does find him, to her horror she sees that he has joined a terrorist group. She forces him to come home, and he finally re-unites with their mother (Jaya Bachchan). However, his allegiance and thoughts make him want to join the terrorist network, led by Murad Khan (Manoj Bajpai). A confrontation with two men who harass Fiza leads to Aman revealing his involvement with the terrorist network in front of his sister, mother and the police. His mother’s grief and disappointment eventually lead her to commit suicide. Fiza tries once more to find her brother, with the help of Anirudh (Bikram Saluja). Aman has been sent on a mission to kill two powerful politicians; when he does succeed in assassinating them, his own terrorist group tries to kill him. He escapes and Fiza follows him. They confront each other and with the police closing in on him, he asks her to kill him. After much persuasion Fiza kills her brother. Aman dies saying the first Kalma in Islam, “La illa ha ill Allah, Mohammad dur Rasullalah”

Karishma Kapoor was the first Kapoor daughter to enter the film industry if one chooses to forget her paternal aunt (bua) Ritu (Kapoor) Nanda’s walk in the rain in “Shri 420” and Sanjana Kapoor’s (Shashi Kapoor’s daughter) brief film career. She managed to find her spot in the industry by her hardwork and succeeded on her own terms. She began her journey in 1991 as a teenager opposite (south actor) Harish and went on to act in close to 65 films which had her pair with Govinda in some hit comedies of the mid-nineties. Her roles in the 1996 release “Raja Hindustani” and 1997 “Dil Toh Paagal Hai” (DTPH) made audiences realise the range in her abilities. DTPH also got her a National Award and Filmfare and Zee awards for best supporting actress. “Fiza” and “Zubeida” were movies where she was the only actor who was a star. It is amazing that these movies are remembered for her work in them inspite of her fan-following for the masala movies that she worked in that period.

Today she turns a year older (girls never tell their age :)) but doesn’t look her age as she has maintained herself wonderfully. The reason I chose this lesser known song is it shows her dancing abilities, her beauty and the expressiveness of her eyes. The song is sung by Asha Bhonsle, written by Sameer and Anu Malik is the music director. The song occurs when a group of Fiza’s ex-class fellows comment on how serious a person she is and doesn’t live-life like youngsters; partying and relaxing etc. Isha Koppikar (in the lavender casuals) who is one of her friends asks Fiza to prove the others wrong. Bikram Saluja is also present.

Wish You a Very Happy Birthday Lolo a.k.a. Karishma Kapoor.

Naachoon Naachoon! Na na na naachoon!


Song-Naachoon naachoon (Fiza)(2000) Singer-Asha Bhonsle, Lyrics-Sameer, MD-Anu Malik
Chorus

Lyrics

badtameezi pe hum aa gaye toh
tum shareefon kaa phir kya hoga
hain sheeshe ke ghar tumhaare
maaraa pathhar toh phir kya hoga

naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon

aankh milaoongi
aankh churaoongi
dil dhadkaoongi
hosh udaaoongi
ai sab ko mana loongi
sab roothh gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
naachoon naachoon
na na na naachoon
nachoon naachoon
na na na naachoon

aankh milaoongi
aankh churaoongi
dil dhadkaoongi
hosh udaaoongi
ai sab ko mana loongi
sab rooth gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
naachoon naachoon
na na na naachoon
nachoon naachoon
na na na naachoon

kuchh mushqil thhi meri
zara der se aayi hoon
lekin main mohabbat ke
nazraane laayi hoon
naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon

kuchh mushqil thhi meri
zara der se aayi hoon
lekin main mohabbat ke
nazraane laayi hoon
dil kaanch ke hote hain
ye toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
naachoon naachoon
na na na naachoon
nachoon naachoon
na na na naachoon

maana ke duniya mein
har kadam pe dhokha hai
auron pe nahin lekin
mujhe khud pe bharosa hai
naachoon naachoon
na na na naachoon
nachoon naachoon
na na na naachoon

maana ke duniya mein
har kadam pe dhokha hai
auron pe nahin lekin
mujhe khud pe bharosa hai
jo kachche dhaage thhe
woh toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
main naachoon bin paayal
ghunghroo toot gaye toh kya
naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon
naachoon naachoon
na na na naachoon


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3991 Post No. : 15084 Movie Count :

4138

Has anyone seen today’s google doodle?!!!!

It is dedicated to our dear Mogambo a.k.a Durgaprasad Bharadwaj a.k.a Chaudhry Baldev Singh a.k.a Thakur Durjan Singh a.k.a Balwant Rai a.k.a Kishorilal a.k.a Amrish Puri.  He would have been 87 today.

Feels like they have appreciated some one close to our family. The doodle shows him in the look he sported for DDLJ – ‘Dilwaale Dulhaniya Le Jayenge’ (1995) as Chaudhry Baldev Singh. That movie is remembered as much for the last scene where the Chaudhry tells his daughter

jaa beta jaa. Apni Raj ke paas jaa. Jaa Simran, jee le apni zindagi jaa beta jaa

The last scene can be seen on YT at https://www.youtube.com/watch?v=eAaL5HZC5YI. The movie is remembered for this last scene, as much for all the romance and romantic songs that it had.

Can anyone forget his character ‘Dong’ in the movie ‘Tehalka’ (1992) where he kept repeating “Dong kabhi wrong nahi hota” much on the lines of “Mogambo khush hua” from ‘Mr. India’ (1987). Here I must admit that I haven’t seen ‘Tehalka’ but if I am not wrong, ‘Dong’ and his song “Shom Shom Shom Shomo sha sha” is the only thing in public memory from that movie.

There have been similar movies where this much-loved character actor, with a very distinct voice, was the only saving grace. He has played an almost equal number of benevolent characters as in the 1999 release ‘Gair’ as he has played his malevolent characters. He has tried his hand at singing (the above-mentioned song of ‘Tehalka’ was in his voice) and shaking a leg too and looked as if he enjoyed dancing.

Today’s song shows him in his dancing element. It is from the 1998 Rajkumar Santoshi produced and directed ‘China Gate’. It has music by Anu Malik with Sameer as the lyricist. The song shows him dancing in the company of the folk dancer played by Urmila Matondkar, KD Chandran, Tinnu Anand, Viju Khote, Jagdeep, Anjaan Shrivastav, Sameer Soni, and Harish Patel.

Remembering Amrish Puri in this very lively avataar

Song – Chhamma Chhamma Baaje Re Meri Painjaniya  (China Gate) (1998) Singer – Alka Yagnik, Vinod Rathor, Shankar Mahadevan, Lyrics – Sameer, MD – Anu Malik
Female Chorus
Male Chorus

Lyrics

dekha dekhi dil mera jud gaya re
leke pardesi dil ud gaya re

dekha dekhi dil mera jud gaya re
leke pardesi dil ud gaya re

chhamma chhamma (alka yagnik)
ae chhamma chhamma
chhamma chhamma baaje re meri painjaniyaan
re chhamma chhamma baaje re meri painjaniyaan
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon
teri neendein chura loon
chhamma chhamma
he chhamma chhamma
chhamma chhamma baaje re teri painjaniyaan
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon
teri neendein chura loon
chhamma chhamma
hey chhamma chhamma
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka

oy oy oy.
ooooo oooo
oohhooo oohhoo
oohhooo oohhoo
oohhooo oohhoo
oohhooo oohhoo

ye mera lehenga
bada hai mehenga
isse na haath laga
dila doon bangla
dila doon gaadi
deewani saath to aa
dila doon bangla
dila doon gaadi
deewani saath toh aa
meri baali hai umar
mujhe lagta hai darr
meri baali hai umar
mujhe lagta hai darr
na kar beimaani
chhamma chhamma baaje re teri painjaniyaan
chhamma chhamma
ae chhamma chhamma
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka

chhak chhaka chhak chhak chhaka
chhak chhaka chhak chhak chhaka

hila doon up
hila doon mp
jo maaroon main thumka
tere thumke pe
haaroon main patna
main haaroon kalkatta
tere thumke pe
haaroon main patna
main haaroon kalkatta
meri patli kamar
meri tirchi nazar
meri patli kamar
meri tirchi nazar
meri chadthi jawaani
chhamma chhamma
ae chhamma chhamma
chhamma chhamma
ae chhamma chhamma
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon raja
teri neendein chura loon
chhamma chhamma baaje re teri paijariya
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka
chhamma chhamma
ae chhamma chhamma
chhamma chhamma
ae chhamma chhamma
teri neendein chura loon
chhamma chhamma
dekha dekhi dil mera jud gaya re
oo oy chhamma chhamma
ae chhamma chhamma  aa aaa


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 :

3898 Post No. : 14944 Movie Count :

4083

India is a country of festivals. India is also a country of colours. So, it follows naturally that there should be a festival of colours as well in India. Indeed that is the case and that festival is called Holi.

Today (21 march 2019) is Holi, the festival of colour. Holi is the most favourite festival as far as Hindi aand other Indian language movies are concerned. This festival offers all the opportunities that Hindi movie makers so look forward to, viz to slip in a song and dance situation.

Hindi movie makers want a situation where both genders should be seen dancing together, teasing each other, taking liberties with each other, and yet the other party not objecting- this festival offers all these opportunities, possibilities and more. No wonder Hindi (and Indian) movie makers have utilised Holi festival opportunities to the full and continue to do so. Even new Hindi movies, who are otherwise known for forgettable songs in them continue to come up with Holi songs that manage to be longer lasting that other songs of the movie. Take the example of the Holi song that Sudhir Jee posted first thing in the morning. It is a song from 2013. I was not aware of this song and even Sudhir Jee became aware of the song only a while back, but what a song it is! Here is a song from this century where lyrics is the star just like how it used to be in the Golden era of HFM.

This is the eleventh Holi for this blog. Since this festival is the MFF (most favourite festival) of Hindi movies so one can be certain to have a steady supply of Holi festival songs to cover in the blog, even though we have already covered most well known Holi songs including timeless Holi songs.

As many as 57 Holi songs have been covered in the blog so far on 10 previous occasions, which works out to a whopping average of nearly six holi festival songs each year (5.7 per holi day, to be precise)! It is a higher average than the daily post average of the blog (3.8 songs per day) at the moment.

Different festivals remain topical for different duration of time. If we do not post a writeup within this time then the post loses its relevance. In case of Holi, it is the first half of the day mostly when people are mostly in festive mood, though it spills over to the afternoon as well. Same is the case for Republic day and Independence day as well, where Indians feel at their most patriotic during the first half of the day !

It is already afternoon, and I should have been prompt like Sudhir Jee, who scheduled his Holi festival song for posting early in the morning , after dong all the writeup earlier. I, on the other hand find myself behaving like a student who is trying hard to study his text books after the time is all but over. 🙂

I have Prakashchandra for my rescue though. He has sent so many Holi festival songs that they will easily last me a few more Holi festivals.

If Sudhir Jee chose a Holi song from 21st century, I have chosen a Holi festival song from 1981, when the Golden Era of HFM had just ended and baton was being exchanged between Golden era artists and non golden era artists so to say.

“Aapas Ki Baat”(1981) was produced by Salim Akhtar and directed by Harmesh Malhotra for Citizen pictures, Bombay. The movie had Raj Babbar, Poonam Dhillon,Shakti Kapoor, Bharat Kapoor, Huma Khan, Narendranath, Asrani,Dina Pathak, Purnima,Abhi Bhattacharya, Kalpana Iyer, Madhu Malhotra, Bhushan Tiwari,Janaki Dass,Ajay, Sunder, Azad Irani, Rammurti Chatrurvedi, Sunder Taneja, Dolly, Khushboo,Moolchand, Kirti,Goga Kapoor etc in it.

The movie had five songs in it.

This Holi song from “Aapas Ki Baat”(1981) is the first song from the movie to get covered in the blog. This song is sung by the Golden Era singers viz Kishore Kumar and Asha Bhonsle with chorus. Lyrics are by Anjaan. Music is composed by Anu Malik.

The song is picturised on Raj Babbar and Kalpana Iyer with lots of other dancers. Asrani, Moolchand, Bhooshan Tiwari etc are prominently visible alongwith others.

Lyrics of this song were sent to me by Prakashchandra, who as is his wont, specially mentioned that the audio is a bit longer than the video version. Incidentally the video of this song has ended up becoming rare to find.

With this song, “Aapas Ki Baat”(1981) makes its debut in the blog.

I take this opportunity to wish everyone a happy and safe Holi.

Audio

Video

Song-Rang ude rangon mein dil dooba (Aapas Ki Baat)(1981) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anjaan, MD-Anu Malik
Male Chorus
Female chorus
All chorus
Kishore Kumar + Chorus

Lyrics(Provided by Prakashchandra)

ho ho
ho ho
ho ho
ho ho
ho ho
ho ho

(aa aa aa aa)
ho ho
ho ho
ho ho

aa aa aa aa
ho ho
ho ho
ho ho

aa aa aa aa
ho ho
ho ho
ho ho

aa aa aa aa

hoyye ae ae ae

rang ude rangon mein dil doobaa
rangilaa dil dhoondhe mehboobaa
hey
rang ude rangon mein dil doobaa
rangeelaa dil dhoondhe mehboobaa

hey hey he he
ae hey hey ae ae ae hmm…hmmm..hmmmm
laaa laalala
lala laa aa aa
lalalala
hoyye

udaake gori gulaabi ghunghtaa tu
milaake nazar lagaa de thumkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaake nazar lagaa de thumkaa tu
chehre pe zulfein bikhraa ke
patli kamar yoon lachkaa ke
zaraa hans ke ae
zaraa hans ke bijli chamkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaa ke nazar lagaa de thumkaa tu oo
rang ude rangon mein dil doobaa
arrey rangeelaa dil dhoonde mehboobaa hoyye
rang ude rangon mein dil doobaa
hey rangeelaa dil dhoondhe mehboobaa

ho ho ho
ho ho ho
ho ho ho
ho ho ho

ho o o
na naa na na na na na na na na naaaaaaa
ghunghtaa uthhaa toh machal jaaogey

haayye
lachke kamar toh phisal jaaoge
haayye
o
ghunghtaa uthhaa toh machal jaaogey

hoyye
lachke kamar toh phisal jaaogey
nashe mein aaj ho tum (hic)
bade naadaan ho tum(hic)
nashe mein aaj ho tum
bade naadaan ho tum
takraanaa hamse sambhal ke
mere roop ke nashe mein
nashe mein
nashe mein bhatkaa tu
meri zulf mein deewaane attkaa tu

chehre pe zulfein bikhraa ke
patli kamar yoon lachkaa ke
zaraa hans ke bijli chamkaa tu…oo
rang ude rangon mein dil doobaa
arrey rangeelaa dil dhoondhe mehboobaa ( hoyye)
ha ha ha
rang ude rangon mein dil doobaa
hey rangilaa dil dhoondhe mehboobaa..aa

hey ae hum aaj hadd se guzar jaayenge
jee naa sakenge toh mar jaayenge
hum aaj hadd se guzar jaayenge (hoyye)
jee naa sakenge toh mar jaayenge ae
kissi pe jo na mare
arrey woh khaakh jiye
kissi pe jo na mare
arrey woh khaakh jiye
jeenaa hai sholon mein jal ke ae
tujhe kya pataa kaisse
kaisse
kaisse behkaa tu
haseen aag mein kaisse dehkaa tu

aanchal gulaabi lehraa ke
patli kamar yoon lachkaa ke
zaraa hans ke bijliyaan chamkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaa ke nazar lagaa de thumkaa tu..oooo
rang ude rangon mein dil doobaa
arrey rangilaa dil dhoonde mehboobaa ha ha ha(hoyye)
rang ude rangon mein dil doobaa
hoyye rangilaa dil dhoonde mehboobaa

oyye dil doobaa
arrey meri mehboobaa
hoyye hoyye hoyye hoyye
arrey dil doobaa
ae meri mehboobaa
brrrrrr…rrrrrrrr
hoo hoo
hoo hoo
hoo hoo


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

Blog Day : 3745 Post No. : 14704

Happy Dussehra Atulites

Today’s song is a modern version of the Ram- Raavan story. It is from the 2001 supernatural thriller “Aks” produced by Amitabh Bachchan and Jhamu Sughand. Director was Rakeysh Omprakash Mehra. The movie had a star cast of Amitabh Bachchan, Raveena Tandon, Nandita Das, Manoj Bajpai and Amol Palekar in a special appearance. The songs were written by Gulzar and Anu Malik was the music director. Today’s song is in the voices of Amitabh Bachchan, Nandita Das and Kavita Mundra.

I like the touches of modernism that Gulzar has written into the song:
Lanka- Bharat baant diya hai.
Communication systems have changed- the song mentions phone lines are obsolete and emails were in use. (2018 even emails are rare)
And finally- jab tak ram hai raavan rahega (a real mirror to the times we are in)

Jai Bolo Shree Ram Ki.
Jai Maa Durge. Jai Mata Di.

Video

Audio

Song-Hat jaao raavan maaroongi baan (Aks)(2001) Singers-Kavita Mundra,Amitabh Bachchan, Nandita Das, Lyrics-Gulzar, MD-Anu Malik
Kavita Mundra + Nandita Das

Lyrics

(Whole lot of gibberish)

hat jaao raavan
maaroongi baan
raam ke paas hai teer kamaan
teer kamaan
arre jaao jaao
haha ha

hat jaao raavan
maaroongi baan
raam ke paas hai teer kamaan
teer kamaan

raavan ke paas hai gyaan hi gyaan
raavan hai tujhse bada vidwaan
bada vidwaan

lanka mein ja ja ke danka bajaiyyo o o
arre ja apne ghar mein tu shekhi dikhaiyo
jaanti nahin tu
arre sorry sorry sorry
jaanta nahin tu raavan ka dabdabaa aa
khol ke rak dega duniya ka dabba

haaan
chutki mein tujhko masal denge raam
mmm mmm
mmm mmm
mmm mmm

chutki mein tujhko masal denge raam
aedi ke neeche kuchal denge raam
kuchal denge raam
hoy
bolti bahut hai tu raam ki bachchi,
haan
bolti bahut hai tu raam ki bachchi
haran dikha ke le jaaunga sachchi
haran dikha ke le jaaunga sachchi
phir dekhenge jab aayega hanuman
ha ha ha ha ha ha ha

(dance ke taal)

ae aeeee
raavan hai raavan bol na zyaada
hasti hai kya teri paaltu piyada
poonch mein aag laga ke,
teri sone ki lanka jala doongi

arre gi nahin ga ga ga
okay,
sone ki lanka jala doonga

haan
sita ko bandi banaya hai toone aee,
raam ko jaake bata doonga

hmmm ha ha ha ha ha
arre sagar kaise paar karega,
paani mein gir ke doob marega
arre lanka bharat baant diya hai
phone ka taar bhi kaat diya hai
phone ka taar bhi kaat diya hai

hanuman
hanuman
hanuman
hanuman
hanuman
hanuman
hanuman bhaiyya e-mail kar do
mmhm mmhm mmhm mmhm
hanuman bhaiyya e-mail kar do
raam ko mere jaldi khabar do
jaldi khabar do
mmhm mmhm mmhm mmhm
aa aa ha
aa aa ha
aa aa ha

raavan hey raavan yudh ho jaye
haan ho jaaye ho jaaye ho jaaye
paapiyo se duniya shudh ho jaaye
arre lanka ka danka bajta rahega
jab tak raam hai raavan rahega,
jab tak raam hai raavan rahega
jab tak raam hai raavan rahega,
jab tak raam hai raavan rahega
raavan rahega
haan raavan rahega,
raavan rahega
arre bhai raavan rahega yaar

ha ha ha ha

raam ke roop hazaaron hai raavan
raghupati raghav patit paawan
patit paawan
raam ke roop hazaaron hai raavan
raghupati raghav patit paawan
patit paawan


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 TWELVE years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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

15786

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4345

Total visits so far

  • 13,685,162 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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