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

Posts Tagged ‘Mahendra Kapoor


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 : 3781 Post No. : 14761

I in this blog often talk about “natural” landmarks and “artificial” landmarks for the blog. “Natutral” landmaks for the blog are those that are intuitive, viz. century of songs in the blog, and later century of songs in the blog for an artist, a contributor etc.

Later, when we began to keep track of blog related statistics, we became aware when a duo of singers completed their century of duet songs, or the blog itself completed a century (or its multiple) of days.

Many of these “artificial” (more accurately “derived” or “secondary”) landmarks went unnoticed in the early days of the blog. For instance, we completed several hundred days and also thousand days in the blog but we remain blissfully unaware. In fact, the level of blissful unawareness was such that we did not even noticed it when the blog completed one year of its existence on 19 july 2009. 🙂

We have come a long way since.

While many of these landmarks events have to be created by effort, there are some landmarks that happen on their own. Time related landmarks, viz hundreds of days or thousands of days get achieved with time.

Likewise, number of visitors in the blog also happen with time, though that is dependent on factors like ability of the blog to attract visitors.

This blog had a humble beginning on 19 july 2008. During its early days, it attracted less than 100 visitors daily. There were only 406 visitors for the blog during july 2008, the month when this blog started.

I regarded it as a “landmark” occasion when the blog clocked more than one hundred visits for the first time. It was on 16 august 2008, the day of Rakhi festival, when I covered the iconic Rakhi song Bhaiyya mere raakhi ke bandhan ko nibhaana .

The blog averaged 31 visitors a day in july 2008 and 72 visitors a day in august 2008 before breaking into the three figure region with 276 visitors per day during september 2008. 23 january 2009 was the first day when this blog received more than one thousand visitors in a day. 1145 visitors arrived on the blog on that day. The blog reached four figure a day mark for the first time during february 2009 with 1069 visitors daily. It was in june 2011 that the 2000 mark was breached for the first time. An average of 2226 visitors visited daily during this month. It took only two more months to reach the 3000 visitors a day mark. August 2011 saw 3109 visitors daily in the blog. The next peak arrived in october 2011. It was not 4000 mark or 5000 mark or even 6000 mark, rather an average of 7224 visiors per day that was achieved in this month ! On one particular day, viz 19 october 2011, as many as 10630 visitors arrived at the site !

It was too good to last though. By now we have settled at an average of over 3000 visitors daily.

In the process, the blog recorded its first one million visits on 25 october 2010, after 829 days. The subsequent million visits have come rather more quickly, as can be expected. The third millionth mark was reached the fastest- in just 152 days. Now a days, it is taking around 300 odd days (nearly ten months ) to reach one million visitos mark.

The blog clocked 10 million visits on 14 january 2018 at around 22:30 IST. The 11th million visitor was clocked on 22 november 2018 at around the same time.

Here is the summary of the eleven million visitors in the blog so far:-

Number of Visitors Date when achieved Blog day days taken for the million visits
1 million 25-Oct-10 829 days 829
2 millions 07-Nov-11 1207 days 378
3 millions 30-Apr-12 1359 days 152
4 millions 10-Dec-12 1606 days 247
5 millions 29-Oct-13 1929 days 323
6 millions 12-Oct-14 2277 days 348
7 millions 04-Jul-15 2542 days 265
8 millions 20-Apr-16 2833 days 291
9 millions 24-Feb-17 3144 days 311
10 millions 14-Jan-18 3466 days 332
11 millions 22-Nov-18 3779 days 313

I was wondering what song to discuss on the occasion. Finally I zeroed in on a joyous song from “Kaala Pathhar”(1979). This song is sung by Rafi, Lata, S K Mahan, Mahendra Kapoor and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The picturisation shows almost the entire star cast (this was a multi starrer movie !) – viz Amitabh Bachchan, Shashi Kapoor, Shatrughan Sinha, Neetu Singh, Parveen Babi etc.

The video version of this song from “Kaala Patthar”(1979) is nearly six minutes long. But the audio version is even longer (nearly eight minutes long). I have provided both version of the some here.

I take this opportunity to thank one and all for their continued support and encouragement. It goes without saying that it was the support and encouragement of music lovers that helped the blog achieve this impressive number of visits from music lovers. Here is hoping that this musical bandwagon will continue on its merry ways with many more landmarks to achieve enroute.

Video

Full audio


Song-Dhoom mache dhoom (Kaala Patthar)(1979) Singers-Rafi, Lata, S K Mahaan, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
Male chorus
Female chorus
All chorus
Rafi + Lata

chaahe koi roke re saathee
chaahe koyee toke re saathi
nav yug aayega
nav yug aayega

tanee huyi baahon kaa rela badhta hee jaayega
khoon maatee ke bhaav bik naheen paayega
khoon maatee ke bhaav bik naheen paayega

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
ho o o
subah tak ham kahen ek kahaani
jhoomati dhadkanon ki zubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak
aa aa aa
jaage jawaani
aa aa aa
dhoom mache dhoom

jab talak raat chale
pyaar kee baat chale
teri meri meri teri palken naa jhapken
rang lehraate rahen
ang tharraate rahen
tape tape chehron se shole see lapken

ho o toka tohari hi kasam
tod mat aur julam
hamka dai de angoothhi nisaani
tori hogi badi meharbaani
ae kya samajhta hai hamko re praani
hamra kaata to maange naa paani
dhoom mache dhoom
aaj ki raina
bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

masti kuchh aur badhe
nasa kuchh aur chadhe
dukh waala dhyaan koi aaj hamen aaye na
dukh jo aaye toh kya
gham sataaye to kya
aadmi ko chaahiye ke kabhi ghabraaye naa

ho o o
tootne waala hai dam
khaaye jaata hai yeh gham
bane dulhan meri bitiya raani

umr ghar mein pade naa bitaani
hai har museebat hai aani te jaani
hai yeh apne guruji di baani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

pale naa sog jahaan
sukhi hon log jahaan
hamko hai saath aisee duniya basaani
seenon mein aag liye
honthon pe raag liye
hamko andheron mein hai shamme jalaanee
ho o o
kaale patthar kee kasam
jab talak dam mein hai dam
ham yeh dekhenge rasmen puraani
kar naa paaye yahaan hukmraani
hey ae
aaj se hamne hai dil mein thhaani
laayenge ek nayi rut suhaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

ho o o
subah tak ham kahen ek kahaani
jhoomti dhadkanon ki jubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom
aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa

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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.

Blog Day : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है


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

Blog Day : 3739 Post No. : 14693

A real life funtoosh, if ever there was one. So many anecdotes from his real life are told – and they read like a story writer creating script for comic scenes.

Like the fact that he had a sign that said ‘Beware of Kishore’ on the door of his Warden Road flat – once HS Rawail came to visit him, and offered his hand for a handshake, and Kishore took his hand and bit it; when Rawail asked him why he did that, Kishore pointed to the sign on the door saying – “Didn’t you read this. . .”.

Or the time he appeared on the sets with make up on half of his face – he had not yet been paid in full by the producer.

Or the time when filming a scene in which he was driving a car, he continued driving and reached Khandala, because the director did not say ‘cut’ to end the scene.

His frolic and cheekiness is so well evident in his roles and antics onscreen, and his actions off screen. But there is a also a serious side to his personality, that gets expressed so well in his renderings of “Dukhi Mann Mere. . .” (‘Funtoosh’, 1956), “Beqaraar Dil Tu Gaaye Ja. . .” (‘Door Ka Raahi’, 1971), “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam. . .” (‘Aap Ki Kasam’, 1974), “Jin Raaton Ki Bhor Nahin Hai. . .” (‘Door Gagan Ki Chhaon Mein’, 1964), and so many more such poignant songs that only could be done by him. Listen to “Koi Hamdam Na Rahaa. . .” (‘Jeevan Naiya’, 1936) rendered by Ashok Kumar, and then its reprisal sung by Kishore in 1961 “Jhumroo”. The two renditions are dimensions apart – the depth and emotion in the 1961 rendering has no measure, in comparison to the 1936 version.

His reverence for KL Saigal is legendary. It is recounted by Ashok Kumar himself in an interview. In his teen years, Kishore would sit outside the recording studio when Saigal Sb’s recordings were in progress. Sometimes Saigal Sb would ask him to sing. And when the young Kishore finished, he was given 4 annas (25 paise) as reward. It would make the young man immeasurably happy.

Continuing, Ashok Kumar narrates that in his home, Kishore had a temple room set aside with a photo portrait of Saigal Sb, where he lighted a diya every day, and paid respects to his idol. The floor of this temple room was a platform made of wood that was raised 6 inches above the actual flooring. No one, including Kishore Kumar himself, was allowed to enter this room with any kind of footwear. Once, Ashok Kumar was passing by and he had something important about which he wanted to talk urgently with Kishore. He came in. Kishore was in the temple room, lighting the diya for his daily prayers to Saigal Sb. In the hurry of his urgency, and that the matter was just a two minutes conversation, Ashok Kumar forgot to remove his shoes and stepped into the room. As he started to speak, Kishore turned around, and saw Ashok Kumar standing there with his shoes on. He immediately threw the lighted diya itself, that was in his hands, at the legs of Ashok Kumar, and asked him to immediately exit the temple room.

Coming to today’s song. The peculiarity of Kishore Da’s career runs into multiple dimensions. His prolific engagements with films – playback singer, actor, producer, director, lyricist, music director; I would dare say that no other film persona has touched upon such a gamut of the various ways he connected with and contributed to cinema. His film ‘Badhti Ka Naam Daadhi’ (1974) is about Kishore Kumar, playing himself on screen, producing a film titled ‘Badhti Ka Naam Daadhi’ – what more to say. 🙂 🙂

His comic roles vs his serious roles – quite a handle on the entire spectrum of emotions. Going from haywire films like ‘Half Ticket’ (1962) to poignantly moving essays like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971).

There is one more peculiarity, which of course has been discussed and mentioned often on this blog. I bring forth the topic of Kishore Kumar lip syncing the playback voice of other singers, for himself on screen. Now, this is a very interesting phenomena. An accomplished singer, who is also an actor, and who almost always sings playback for himself when performing on screen, has surprisingly enough, also performed on the playback voice of other mainline singers. I present below the complete list of 18 such songs from Hindi films, in which another prominent singer is providing the playback to Kishore Da on screen. I am sure this is a record that may never be equalled by any other singer-actor. These are,

 

S.No.

Song Title Film Year MD

Playback Voice

1

Chori Chori Aana Na Khidki Taley Tum Miss Mala 1954 Chitragupt Mohammed Rafi

2

Jaane Bhi De Chhod Ye Bahaanaa Baap Re Baap 1955 OP Nayyar Asha Bhosle

3

Hamen Koi Gham Hai Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

4

Aankhon Ko Milaa Yaar Se Peene Ka Mazaa Le Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi, SD Batish

5

Chale Ho Kahaan Karke Jee Beqaraar Bhaagam Bhaag 1956 OP Nayyar Mohammed Rafi

6

Din Albele Pyaar Ka Mausam Begunaah 1957 Shankar Jaikishan Manna Dey

7

Man Mora Baawra Raagini 1958 OP Nayyar Mohammed Rafi
8 Ajab Hai Dastaan Teri Ae Zindagi Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

9

Tu Mera Copyright Main Teri Copyright Sharaarat 1959 Shankar Jaikishan Mohammed Rafi

10

Pahle Murgi Huyi Thi Ke Andaa Krorepati 1961 Shankar Jaikishan Manna Dey

11

Ho Gayee Shaam Dil Badnaam Naughty Boy 1962 SD Burman Manna Dey

12

Mohabbat Karna Hai Asaaan Daal Mein Kaala 1964 C Ramchandra Manna Dey

13

Baalma Saajna, Duniya Bhula Tere Pyaar Ne Akalmand 1966 OP Nayyar Asha Bhosle

14

Ki Jo Main Hota Hawaa Ka Jhonka Duniya Naachegi 1967 Lakshmikant Pyaarelal Manna Dey

15

Hum Ne To Dil Bichha Diya Albela Mastaana 1967 N Datta Mahendra Kapoor

16

O Mere Dilbar Jaaneman Jaaneman Haaye Mera Dil 1968 Usha Khanna Manna Dey

17

Alakh Niranjan, Bam Bam Bholenath Haaye Mera Dil 1968 Usha Khanna Manna Dey

18

Apni Aadat Hai Sabko Salaam Karnaa Pyaar Deewaana 1972 Lala-Asar-Sattaar Mohammed Rafi

As you can see, most of the honours are done by Mohammed Rafi and Manna Dey, one song in the voice of SD Batish, and then one song in the voice of Asha Bhosle (yes. . . 🙂 ). This list of 18 songs is taken from the book ‘Gaata Rahe Mera Dil. . ‘, a definitive compilation of Kishore Kumar songs by Kamal Dhiman. As you can see, of these 18, thirteen songs are already covered on our blog. Today, I bring on one more of this special category songs. And this one is a special song in itself – we have Mahendra Kapoor giving playback to Kishore Kumar. I am sure this will come as a surprise. 🙂

Of this list of 18 songs, thirteen are already showcased on our blog. The fourteenth comes on board today, leaving four more from this category to be posted.

Today’s song is from the film ‘Albela Mastaana’ from 1967. The song is a duet sung by Mahendra Kapoor and Usha Mangeshkar. On screen, the song is performed by Kishore Kumar and Asha Nadkarni. Songs of this film are written by Prem Dhawan and the music is by N Datta. And without further ado, I would suggest you listen to this song, and get this rare flavor of the one and only instance of Mahendra Kapoor giving playback to Kishore Kumar.


Song – Hum Ne To Dil Bichha Diya Tumhaari Raah Mein (Albela Mastaana) (1967) Singer – Mahendra Kapoor, Usha Mangeshkar, Lyrics – Anand Bakshi, MD – N Datta
Mahendra Kapoor + Usha Mangeshkar

Lyrics

hum ne to dil bichhaa diya
tumhaari raah mein
oo oo oo
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne utha ke rakh liya
hum ne utha ke rakh liya
is ko nigaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

baahon pe meri jhoom ke
gesu bikher do
baahon pe meri jhoom ke
gesu bikher do
dheere se koi pyaar ka
naghma chhed do
dil ko hamaare baandh lo
dil ko hamaare baandh lo
zulf e siaah mein
hum ne to dil bichhaa diya
tumhaari raah mein

meri har ik nazar mein
teri hi justju
meri har ik nazar mein
teri hi justju
har ek saans mein basi
teri hi aarzoo
tera hi dard hai chhupa
tera hi dard hai chhupa
har ek aah mein
hum ne to dil bichhaa diya
tumhaari raah mein

jo tum miley
to zindagi haseen ban gayi
jo tum miley
to zindagi haseen ban gayi
duniya hamaari pyaar ki
rangeen ban gayi
donon jahaan bhula diye
donon jahaan bhula diye
tumhaari chaah mein
hum ne to dil bichhaa diya
tumhaari raah mein
hum ne to dil bichhaa diya
tumhaari raah mein

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

हमने तो दिल बिछा दिया
तुम्हारी राह में
ओ ओ ओ
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने उठा के रख लिया
हमने उठा के रख लिया
इसको निगाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

बाहों पे मेरी झूम के
गेसू बिखेर दो
बाहों पे मेरी झूम के
गेसू बिखेर दो
धीरे से कोई प्यार का
नग़मा छेड़ दो
दिल को हमारे बांध लो
दिल को हमारे बांध लो
जुल्फ ए सियाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

मेरी हर इक नज़र में
तेरी ही जुस्तजू
मेरी हर इक नज़र में
तेरी ही जुस्तजू
हर एक सांस में बसी
तेरी ही आरज़ू
तेरा ही दर्द है छुपा
तेरा ही दर्द है छुपा
हर एक आह में
हमने तो दिल बिछा दिया
तुम्हारी राह में

जो तुम मिले
तो ज़िंदगी हसीन बन गई
जो तुम मिले
तो ज़िंदगी हसीन बन गई
दुनिया हमारे प्यार की
रंगीन बन गई
दोनों जहान् भुला दिये
दोनों जहान् भुला दिये
तुम्हारी चाह में
हमने तो दिल बिछा दिया
तुम्हारी राह में
हमने तो दिल बिछा दिया
तुम्हारी राह में


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

Blog Day : 3709 Post No. : 14636

Today, we are celebrating an eternal birth anniversary – anniversary of the One who is the First Worshipped on all occasions.

There are many tales and variations, that tell of the origins of Lord Ganesh. The telling, as per the Shiv Puraan goes like this. A time was when Lord Shiv went into meditation for a very long period of time. On one occasion, Nandi, the chief of the Ganas of Lord Shiv was not on Mount Kailash. Goddess Parvati started preparing for her bathing rituals. Nandi was not present at the abode, and the Lord Himself was in deep meditation. Wondering and waiting as to who would guard the doorways while she took her bath, Goddess Parvati fashioned a form of a boy child from the turmeric paste that she had applied on to herself. As the form took shape, she then breathed life force into him. A child, as yet un-named, was brought to life. Goddess Parvati instructed him that he is Her son, and that he would obey only her commands. She further instructed him to guard the doorways of the abode, while she was taking her bath. The newborn young child took the instructions to heart and stood vigilant at the doorways.

While Goddess Parvati was still taking her bath, Lord Shiv completed his meditation and arose. He came towards the abode, only to find a fine young child guarding the doorways. Now, the child was not familiar with who this fatherly figure was, as he had not yet been so instructed by Goddess Parvati. In the absence of that knowledge, for him, the prime duty was the last instructions he had received, to guard the doorway and not allow anyone to enter. He pleaded politely with the Lord, to wait. But of course, the Lord was only returning to his own abode an could not understand why he was being prohibited to enter his own abode. The exchange between the Lord and the child took toll of the patience of the Lord, and in a fit of piqued annoyance, threw his trishul (trident) at the child in a manner that the child was beheaded.

He entered his abode. Goddess Parvati had completed her ablutions by then and was ready. When she saw her Lord in the abode, she was happy, and made preparations to offer him something to eat. She served the items in two platters. The Lord asked her, for whom was the second platter. Then Goddess narrated the tale of how she had created a boy child from the turmeric paste from her own body, and left him to guard the doorways while she took bath. And she enquired that the Lord must have met the child as he enter the abode. The Lord now realized what had happened, and then narrated the events as they had transpired outside the doorway.

On hearing the episode of the demise of her just newborn or newly created child, Goddess was overcome with grief. Since she also is the Mother of all creation, her going to this state of grief coupled with fury, of course did not bode well for the creation. All the ferocious manifestations of the Mother Goddess started to appear, threatening destruction of everything. There was an outcry of panic and alarm amongst all living creatures in the universe. The lesser Gods went to Lord Brahma and prayed for his protection.

Lord Brahma came to Mount Kailash and pleaded with the Mother Goddess and Lord Shiv to somehow placate the extreme situation, and avoid the destruction of the universe. Goddess Parvati agreed, on the condition that the child that had been beheaded be brought back to life. In the exchange that occurred between the child and Lord Shiv, the impact of the trishul was such that the head of the child could not be seen anywhere. Lord Shiv then instructed all his adherent disciples to go and search for a head for this child. The instruction was to bring back the head of the first dead entity they encountered, who would be lying prone with its head towards the north. In this search, the first such being encountered was an elephant. And so, its head was brought back to the abode. Lord Shiva placed this head of the elephant on the headless body of the boy child, and breathed life force once again into him. The child was revived and the imminent destruction of the universe was avoided.

The child was named Ganesh, combining two words – gan + eesh. Gan is the word for the closest adherent disciples of Lord Shiv, and eesh is the word that indicates primary or the first lead – meaning the first and the most preferred and honoured amongst all the adherent disciples of the Lord. He is also known by the name Gajaanan – one with the face like an elephant (gaj – elephant; aanan – face). In reality, he is known by numerous names, all depicting certain special characteristics of his persona.

There are other events that followed, by which Ganesh also got the boon and blessing that he would be the first one to be worshipped in any auspicious activity of the humans and of the demigods.

For today’s celebration, we present her a song from the 1979 film ‘Marte Dam Tak’. The song is created by Ravindra Jain who is both the writer and the composer for this song. The singing voices are those of Shabbir Kumar, Suresh Wadkar, Hemlata and Mahendra Kapoor. On screen, the song is performed by Govinda, Shakti Kapoor, Farah Naaz and Rajkumar, while we also see Om Puri in the picturization. The lyrics of this song have been sent in by our dear Prakashchandra ji.

Once again, with plentiful greetings to all friends and readers on this occasion – may all the happinesses come your way, and all the obstacles in your paths be removed by the blessings of Lord Ganesh – the first amongst all the followers of Lord Shiv.

Ganpati Baapa Moryaa. . .

 

Song – Muqabila Muqabila Tere Bhakt Janon Ka Muqabila  (Marte Dam Tak) (1987) Singer – Shabbir Kumar, Suresh Wadkar, Hemlata, Mahendra Kapoor, Lyrics – Ravindra Jain, MD – Ravindra Jain
Chorus

Lyrics (Provided by Prakash Chandra)

ganpati bappa morya
moryaa re moryaa
ganpati bappa morya
moryaa re moryaa
mangal moorthi moryaa
moryaa re moryaa
mangal moorthi moryaa
moryaa re moryaa

muqabila muqabila
tere bhakt janon ka muqabila
muqabila muqabila
tere bhakt janon ka muqabila
hho o o kiss mein kitni bhakti hai
kiss mein kitni shakti hai
haan aan aan
kaun ye baazi maarega
kaun khel mein haarega haarega
mauka milaa mauka milaa
badi mushkil se ye mauka mila
mauka milaa mauka milaa
badi mushkil se ye mauka mila
ye mauka nahin chhodenge
aaj pataake phodenge
haan
ho o jaan ke hamne maukaa diyaa
apna waadaa pooraa kiyaa..aaaa…aaa
muqabila muqabila
tere bhakt janon ka muqabila
haan aaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

hho o o hho o hho o
ahaaaa…aaaaa

vakra tund mahakaaye hai tujh mein
koti soorya ki jyoti
koti soorya ki jyoti
shubh kaamon ke liye
pratham teri hi pooja hoti
teri hi poojaa hoti
pehle pooja kar lein phir hum doojaa kaam karenge ae
doojaa kaam karenge
lekar tera naam prabhu hum kaam tamaam karenge
kaam tamaam karenge
poojaa mein koyee bair nahin
par chhedaa to khaair nahin
kaun ye baazi maaregaa
kaun khel mein haarega haarega
muqabila muqabila
tere bhakt janon ka muqabila
haan aan aan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

burrrrrrrrrr aaahhaaaaa

shankar suvan bhawani ke nandan
bhakton ke rakhwaaley
bhakton ke rakhwaaley
tera haath ho jiss ke sar pe
koyi usey kya maarey
koyi usey kya maarey
arrey jaan booj kar jo agyaani
maut ke moonh mein jaaye ae
maut ke moonh mein jaaye
arrey kaissey usey bachaaye bhagwan
kab tak ussey bachaaye
kab tak ussey bachaaye
kiss mein kitni bhakti hai
kiss mein kitni shakti hai
ae ae kaun ye baazi maarega
kaun khel mein haarega haarega
(hhaa hhaa)
muqabila muqabila
tere bhakt janon ka muqabila
haaan…..aaaaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

jis raana ke naam ko sun kar
sajda karey zamana
dushman ke ae ghar aa pahuncha wo o o
ganpati kaa deewaana

dost se ho yaa dushman se
hum waada kabhi na bhoole
wo hathiyaar bana hi nahin jo o o
badan hamaara chhoo le

zarrey ki himmat to dekho
parvat se takraaye
parvat se takraaye
apni hasti bhool ke katraa
dariya se hodh lagaaye
dariya se hodh lagaaye
tujh par jinhein  bharosa
nahin kisi se darte
nahin kisi se darte
marte dum tak bhakt tere
tera hi dum bharte
tera hi dum bharte
kitna dum kiss jaani mein
kaun hai kitne paani mein
hum ye baazi maarenge
haarne waaley haarenge haarenge
muqabila muqabila
tere bhakt janon ka muqabila
haan…aaan
mauka milaa mauka milaa
badi mushkil se ye mauka mila

jai ganesh jai ganesh deva
jai ganesh jai ganesh deva
seva kare so paave mewa
jai ganesh jai ganesh deva
ek dant balwant vinaayak
jai ganesh jai ganesh deva
sab dukh haran sakal sukh daayak
jai ganesh jai ganesh deva
tumhri kirpa jis par hoyi
jai ganesh jai ganesh deva
uss ka shatru hai nahin koyi
jai ganesh jai ganesh deva
tu hamko praanon se pyaara
jai ganesh jai ganesh deva
kar pranaam sweekaar hamaara
jai ganesh jai ganesh deva
kar pranaa..aam sweekaa..aar hamaara


This article is written by Avinash Scrapwala, 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.

Blog Day : 3658 Post No. : 14521

ASAD 10th Anniversary Celebrations – 18
———————————————————————

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 70 #
——————————————

Congratulations to Atul ji and all team members on this tenth anniversary of this wonderful musical blog!!! Our beloved blog – ASAD – has completed ten years now and as expected the celebration has to be bigger and bigger.  And other than this being a great achievement, it’s also the time to gear up for the next bigger celebrations i.e. 15000 posts, 20000 next and more. . .

For this special occasion, and as it was expected of, all members were asked to share their joy and happiness through write ups and songs. So, when the ‘circular’ 😊 to this effect was received in mail and the deadline was given I started to look for those special subjects close to heart, which can be shared here on the blog with songs on this special occasion. I started thinking over the main reason for me to be associated with this blog – which is nostalgia and specifically related to the movies of the ‘seventies’, and the years when I was growing.

When my association with this blog started, and I started sending contribution for lyrics, they were mainly the songs which have over the years been in my memory since childhood and/or those which I have been looking for all the years during which I grown up – songs that used to be there and were listened to during those years – the seventies. . . and continuing to the initial years of the ‘eighties’. . .

There was something special there in those years. I think that the decade of seventies, from the point of view of ‘History of Hindi Cinema’ was a very important decade since it has many things happening in those years. But since it is subject of a different post I will not go into the detail (which I wish to write) in today’s article here.

Next, I started thinking about the movies which made news or hits or were popular in those years, then the stars, and the directors who ruled the roost and enthral the audiences with their charisma and talent. . .  If we look back now on this decade the very first thing that comes to our mind is the rise of Superstardom of Rajesh Khanna. But then in those years I was not the fan of Rajesh Khanna which I became much in the later years of the decade and in the starting years of the eighties.

And the movie watching years those bring back memories for me I think are 1973 (when I was five years old) to 1980 or 1981 to 1982 till I get into tenth standard. These years are very ‘nostalgic’ years for me I think, because many memories of movies and songs for me are from these years. So, what were the specialities of these years – ‘multi starrer movies’, ‘lost and found’ stories, ‘revenge stories’, ‘mythological movies too’, then we have ‘movies with dacoits looting the ‘gaon’ and the poor villagers’, etc. We were not the fan of any actor or actresses, we just loved to watch the movies whatever be the cast.

In my childhood, movies were the biggest entertainment other than outdoor sports, plays, then orchestras, radio and then there were movies. I vaguely remember that I always use to think the stars acting in movies were from a different planet and not like us. Then I used to think how a person who dies in a movie came back again in another movie?😊 And it took me sometime to understand the reality and come to know that the ‘stars’ are actually normal human beings like us.

Movies were the biggest fascination for us then and may be for many like me. From buying tickets for a movie and getting entry into the theatre and then the darkness surrounding gradually and starting the ‘newsreel’ everything was mesmerizing. Sometimes if we got delayed we had to enter in the darkness and then the gate-keeper will come and guide us the way signalling with a torch. And after the ‘newsreel’ (always in black and white 😊) finally the censor certificate of the movie which we eagerly await to the titles of the movie – all fascinating and spellbinding.

Then as I have mentioned earlier we brothers used to collect the cut pieces of films of movies and try to watch them after magnifying from a small mirror (sometimes a piece of mirror) to reflect the sunlight and finally projecting on a piece of cloth (preferably white) in a room which was covered to create darkness even in a daylight outside. I also remember that there was the advertisement for the 16mm projectors in newspapers and magazines which always attracted me and I was always thinking of buying one 😊 (which was not possible and never became possible) 😊.

Reading about movies and stars in print media and discussions about movies and the personal likes and dislikes among friends/groups was almost a routine. And yes, the ‘booklets’ for the songs of the movies, though I don’t remember to have bought many but yes we used to buy them and sing the songs reading from it 😊

Every summer vacation was special and awaited because of movie watching only. It was the main attraction of the vacations as we used to travel to stay with paternal grandparents and cousins would also gather from different places and together we used to watch movies in theatres – ah, how wonderful those were the days!!!

Sometimes on Sundays or a holiday we would even watch back to back movies to utilise the time as we have to travel back to our colony around 25 kms from the district place. The today’s movie we are discussing was passed by the Censor Board on 06.04.1979 and in all possibility, I am sure that I watched it in that ‘summer vacation’ that year. We children were very crazy about watching movies and I think this continued so far till ‘Laawaaris’ (1982) where I remember to get the tickets I joined the long queue which was I think around 500 metres from the ticket window, and it was already on the road where we sat in the queue for a long time 😊.

Recollecting it now all that happened seems to be very crazy and exciting. And I had to share this one incident when I was beaten up by my father as I was disappointed and started shedding tears for not getting ticket to watch a movie as it became house full. The movie was ‘Jaani Dushman’ from 1979. It was directed by Rajkumar Kohli who has given us many multi starrer movies and I have watched many of them viz. ‘Nagin’ (1976), ‘Jaani Dushman’ (1979), ‘Naukar Biwi Ka’ (1983), ‘Raaj Tilak’ (1984), ‘Jeene Nahin Doonga’ (1984), and ‘Insaniyat Ke Dushman’-1987’. After that I think I have not watched any movies from this production house.

At first, for this post I was thinking of a song from a Manmohan Desai movie or a song from a ‘multi starrer movie’, but selected this movie because to watch it I had to first undergo my father’s fury 😊. How is that possible? Was the movie was not for children? Yes, it was not for us – children – then to watch this movie, because it was released with an ‘A’ certificate (released with restricted viewing) 😊. But, I can now guess that may be on my insistence my father may have been somehow agreed to allow us to watch the movie.

However, we could not get the tickets as the show was house full and we – me and my younger brothers were standing watching movie posters – I got disappointed and tears rolled my eyes and the next moment was darkness in front of my eyes because my father had slapped me since I started crying for watching a movie. Later on, my father called me separately and told me to go alone next day to watch the movie and don’t take my younger brothers with me since they will be frightened, as the movie was said to be a ‘HORROR’ movie 😊. Next day I watched the movie and never feel scared while watching the movie, as the movie was making news as a ‘horror’ movie or like that. I was just above eleven years old then 😊.

I don’t remember having watched this movie again after that, either on TV or in theatre. Watching a suspense thriller again doesn’t generate the same interest and thrill. However, I think I should watch it for nostalgia and to enjoy its beautiful songs again. This movie has some very good songs and so far, only two of its songs have been posted on the blog. And when I go through these two posts by Atul ji I find he also had expressed similar feelings about this movie and he had also watched it as a ‘non-adult’, but still he was elder than me then 😊.

The song I present today is a ‘happy song’ to suit our celebration mood and reviving the nostalgia. In the movie too it occurs in celebration after Bindiya Goswami’s marriage and her ‘doli’ not being looted and the ‘dulhan’ not getting killed by the ‘Jaani Dushman’ 😊. The pitcturisation of this song has some typical specialities of that period – the village, the celebration, the grandeur and the music and the multi star cast. . . And over and above all we have Sanjeev Kumar and Shatrughan Sinha in their ‘own style’ 😊 and with so many other artists present in this song. The orchestra music by Laxmikant-Pyarelal makes it very special and nostalgic to revive those memories. . .

So, let us enjoy this song and revive some ‘bhooli bisri yaadein’. . . on this special occasion 😊

And actually, in the flow of the song I was thinking,

blog nahin koi ASAD jaisa
leader nahin koi mere ‘leader’ jaisa
editor nahin koi hamaare ‘editor’ jaisa
aur ‘contributor’. . .
nahin koi hamaari team jaisa 😊

 

Song – Mausam Na Koi Bahaar Jaisa (Jaani Dushman) (1979) Singer – Kishore Kumar, Mahendra Kapoor, Asha Bhosle, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Female Chorus
Male Chorus

Lyrics

arey sun bhai sadho
bol re madho
sun bhai sadho
arey bol re madho

ho ho ho ho ho o
ho ho ho ho ho o
chhum chhum chhanana na na
chhum chhum chhum
ho ho ho ho ho o
ho ho ho ho ho o

chhum chhum chhanana na na
chhum chhum chhum
ho ho ho ho ho o
ho ho ho ho ho o
 
mausam na koi bahaar jaisa
tohfa na phoolon ke haar jaisa
saaz na koi sitaar jaisa
raag na koi malhaar jaisa
haan aa

heera nahin kohinoor jaisa
haan
parbat nahin koh-e-toor jaisa
haan
meethha na koi khajoor jaisa
haan
meva na dekha angoor jaisa

jaanch liya parakh liya
soch liya
gaur kiya
rishte bhi dekhe
naate bhi dekhe
naata naa koi pyaar jaisa
suraj bhi dekha
chanda bhi dekha
par dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

roop tera kaagaz ki paati
dhoop lage murjhaaye
hey roop tera kaagaz ki paati
dhoop lage murjhaaye
aa tujhko palkon mein rakh loon
daal baahon ke saaye
roop gori tera patang jaisa
arey ang nahin tere ang ang jaisa
he rang nahin hothon ke rang jaisa
haan
sang nahin sajna ke sang jaisa

jaanch liya parakh liya
soch liya
gaur kiya
dil bhi dekhe dilwaale bhi dekhe
dil nahin dekha dildaar jaisa
raje bhi dekhe
mahaaraje bhi dekhe
par dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

ho
ho ho ho ho
ho
ho ho ho ho o o
ho
ho ho ho ho o o

ban ke main sapna suhaana
teri neendon mein kho jaaun
he ban ke main sapna suhaana
teri neendon mein kho jaaun
main pyaar ki chandni mein ji chaahe so jaaun
kyunki
dukh naa judaai ki maar jaisa
sukh nahin dil ke qaraar jaisa
yaar nahin koi mere yaar jaisa
haan
jantar bhi dekhe mantar bhi dekhe
jaadoo naa koi pyaar jaisa
preet bhi dekhi
preetam bhi dekhe
par dekha na saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa
naata nahin koi pyaar jaisa
dekha naa saiyyaan hamaar jaisa
dekha naa saiyyaan hamaar jaisa

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

अरे सुन भाई साधो
बोल रे माधो
सुन भाई साधो
अरे बोल रे माधो

हो हो हो हो हो ओ
हो हो हो हो हो ओ
छुम छुम छनन न न 
छुम छुम छुम
हो हो हो हो हो ओ
हो हो हो हो हो ओ
छुम छुम छनन न न 
छुम छुम छुम
हो हो हो हो हो ओ
हो हो हो हो हो ओ

मौसम न कोई बहार जैसा
तोहफा न फूलों के हार जैसा
साज़ न कोई सितार जैसा
राग न कोई मल्हार जैसा
हाँ आ
हीरा नहीं कोहिनूर जैसा
हाँ
परबत नहीं कोह ए तूर जैसा
हाँ
मीठा न कोई खजूर जैसा
हाँ
मेवा न देखा अंगूर जैसा
जांच लिया
परख लिया

सोच लिया
गौर किया
रिश्ते भी देखे
नाते भी देखे
नाता ना कोई प्यार जैसा
सूरज भी देखा
चंदा भी देखा
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा

रूप तेरा कागज़ कि पाती
धुप लगे मुरझाये
हे धुप लगे मुरझाये
आ तुझको पलकों में रख लूं
डाल बाहों के साए
रूप गोरी तेरा पतंग जैसा
अरे अंग नहीं तेरे अंग अंग जैसा
हे रंग नहीं होठों के रंग जैसा
हाँ
संग नहीं सजना के संग जैसा
जांच लिया परख लिया
सोच लिया
गौर किया
दिल भी देखा दिलवाले भी देखे
दिल नहीं देखा दिलदार जैसा
राजे भी देखे
महाराजे भी देखे
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा

हो
हो हो हो हो
हो
हो हो हो हो हो ओ
हो
हो हो हो हो हो ओ

बन के मैं सपना सुहाना
तेरी नींदों में खो जाऊं
हे बन के मैं सपना सुहाना
तेरी नींदों में खो जाऊं
मैं प्यार कि चांदनी में जी चाहे सो जाऊं
क्यूंकि
दुःख ना जुदाई कि मार जैसा
सुख नहीं दिल के करार जैसा
यार नहीं कोई मेरे यार जैसा
हाँ
जंतर भी देखे
मंतर भी देखे

जादू ना कोई प्यार जैसा
प्रीत भी देखि
प्रीतम भी देखे
पर देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा
नाता नहीं कोई प्यार जैसा
देखा ना सैंय्या हमार जैसा
देखा ना सैंय्या हमार जैसा


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 : 3646 Post No. : 14477

“Gogola”(1966) was directed by Balwant Dave for Indradhanush, Bombay. This stunt movie had starring Azad, Tabassum, Rani, Paulson, Niyampalli, Habeeb, Bhale Rao, Sharma, Chander K etc in it.

The movie had six songs in it that were sung by seven singers.

Two songs have been covered in the past.

Here is the third song from “Gogola”(1966) to appear in the blog. The song is sung by Mubarak Begam and Mahendra Kapoor with chorus. Baalkavi Bairaagi is the lyricist. Music is composed by Roy Frank.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Aaja aaja aaja aaja pyaar karen (Gogola)(1966) Singers-Mubarak Begam, Mahendra Kapoor, Lyrics-Balkavi Bairaagi, MD-Roy Frank
All chorus
Female chorus
Male chorus
Mubarak Begam + Mahendra Kapoor
All

Lyrics

lalalalalalalaa
lalalalalalalaa
lalalalalalalaa
lalalalalalalalaaa

aaja aaja aaja aaja
pyaar karen
pyaar karen
pyaar karen
jis’se chaahen jitna chaahe
us’se utni baar karen
jis’se chaahen jitna chahe
us’se utni baar karen
aaja aaja aaja aaja
pyaar karen pyaar karen pyaar karen

lalalalalalala
lalalalalaalalaa
lalalalalalala
lalalalalaalalaa
lalalalalalalala
lalalalalalalalaa

ye masti ye mast jawaani ee
ye masti ye mast jawaani
daulat hai taqdeer ki

ek nazar hamko mil jaaye
aur(?) kisi bepeer ki
is mele ki bheed mein aao
dilbar ka deedar karen
is mele ki bheed mein aao
dilbar ka deedar karen

aaja aaja aaja aaja
pyaar karen pyaar karen pyaar karen

lalalalaralalala
lalalalaralalala
lalalalaralalala
lalalalaralalala

haaye jawani in kaliyon ki haaye
haaye jawaani in kaliyon ki
kitni paneedar hain

hamko gaali mat do dear
mausam hi makkaar hai
aankhon hi aankhon mein baabu
mitva se iqraar karen
aankhon hi aankhon mein babu
mitva se iqraar karen

aaja aaja aaja aaja
pyaar karen pyaar karen pyaar karen

lalalalalalala
lalalalaaalaaa
lalalalalalala
lalalalaaalaaa
lalaaalalaaalalaaalalalala
ham albele ham mastaane haaye
ham albele ham mastaane
bichhde meet milaate hain

nafrat ki nagari me raaja
pyaar mohabbat gaate hain
ulfat ke meethe sapnon se
duniya ko gulzar karen
ulfat ke meethe sapnon se
duniya ko gulzar karen

aaja aaja aaja aaja
pyaar karen pyaar karen pyaar karen
jise chaahen jitna chaahen
us se utni baar karen
jise chaahen jitna chaahen
us se utni baar karen
aaja aaja aaja aaja
pyaar karen pyaar karen pyaar karen


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

Blog Day : 3622 Post No. : 14436

Missing Films of 1960s – 76
– – – – – – – – – – – – – – –

Hindi cinema encompasses quite a few genres and categories. It is a sad statement that the industry has almost always been controlled and driven more by the financial expectations. The earliest model of large studios as centers of film production activities, was somewhat immune to the craziness of financial pressures. The studio system had its own cons, but it provided a larger stability and sustainability to the production effort and to the team belonging to the studio.

It was all too soon that people with all kinds of mental inclinations realized both the power of this medium, and the possibility of landing a jackpot with a hit film. This awareness brought in all kinds of unscrupulous elements, as well as businessmen with an urge to invest unaccounted money in a gamble to make more money. If I recall correctly, the 1949 film ‘Kalpana’ touched upon this aspect, displaying a cruel brazen-ness with which the financiers and the touts dealt with the artists. The grossly dismal record the industry has in terms of its own record keeping and archiving, is an outcome of this ‘jackpot’ mentality – the actual owners of film actually cared a zilch for the film itself. With every venture, the financier would launch a new production banner. One can well imagine the ill effects of this lack of continuity and ownership for the artistic product itself.

But I digress – this discussion on film financing models, another time. I started with the genres and categories, with the purpose to highlight how some genres and categories have fallen by the wayside, over the decades. One of the casualties of the projected “lack of public interest” and the “lack of return on investment” has been the genre of religious pictures. Till the end of 1970s, or maybe even 1980s, there used to be quite a number of offerings of religious films produced every year. In one of his articles, our dear Arun ji has presented an analysis of this aspect – the number of religious films produced on average per year, and the progressive decline of this number over the decades. These days, one rarely hears about a religious offering coming from the mainline cinema. TV, yes, we do hear more about serials on religious themes. Or maybe the investment by the end user, in terms of time and money, is getting channelized much more towards TV productions and the live kathas (discourses) – there literally has been an explosion in the number of kathas being organized and being attended by the people.

The reason for this preamble, of course, is that today’s debut film from 1960s is a religious film of certain importance, from 1967. The film is ‘Badrinath Yatra’. Produced under the banner of Mewar Films, Bombay and is directed by Dhirubhai Desai. The star cast of this film is listed as Nirupa Roy, Abhi Bhattacharya, Sulochana, Indira, Jeevan, Sundar, Niranjan Sharma, Indira Bansal, Fazlu, Nandini Desai, and Kukku Desai amongst others.

There is a huge importance attached to pilgrimage, in our religion. Our land has been blessed from the very beginning of time itself, with famous and important temples which are the abodes of the Gods in our pantheon of worship. The origins and foundation histories of many of these temples and places is lost in the antiquity of time. For many of these temples and places of pilgrimage, there are references in our historical records – and by historical I mean our books of scriptures, which contain details of many such places of pilgrimage being established by protagonists of these histories like Sri Ram, Sri Krishna, the Pandvas, and our Rishis etc. Our histories abound with such tales in detail.

In the 8th century AD, there appeared a champion who measured the breadth and length of this sub-continent – Adi Shankaracharya. He travelled across the land with the mission to reestablish the importance of the Vedantic Dharma, and to re-ignite the lamp of worship in the temples. He established four matha (मठ) in the four regions, which became the four primary centers of learning and research into the Vedic knowledge. These four centers were placed in proximity to the four main destinations of pilgrimage of primary importance for the followers of the Dharma. These pilgrimage places are Badrinath in the north, Puri in the east, Rameshwaram in the south and Dwarka in the west. Each of these four pilgrimage places are historically important with a detailed history about their establishment and their antiquity being described in our scriptures.

Over the ages, these four have been collectively referred to as ‘Chaar Dhaam’ – literally ‘Four Destinations’. It is ordained in our teachings that a person must pay their homage and worship at each one of these pilgrimages, at least once in their life time. A significant importance is attached to completing this journey. Further, the same teachings also exhort the children to comfortably facilitate such a journey for their parents, and enable them to pay homage and complete their worship at these four centers of pilgrimage.

Since the early decades of Hindi cinema, a number of films have been produced as travelogues or “यात्रा” (yatra), covering one or more holy centers of pilgrimage. This film also covers the journey to the ‘chaar dhaam’ or the four holy destinations. This particular song appears more than once in the film, and I am including three different video clips from three different points in the storyline sequence. In the clips, we can see Abhi Bhattacharya, as the obedient son, who is taking his parents (roles played by Sulochana and Niranjan Sharma) for their journey to the ‘chaar dhaam’. The storyline belongs to a certain unspecified era in history, as we can see that Abhi Bhattacharya is even carrying his parents in a yoke shoulder carrier – a long pole with large baskets hanging at two ends, large enough for a human person to sit in. In north India, this shoulder carrier is called “वेहंगी” (wehngi). Folks familiar with the stories from the scriptures will recall the story of Shravan Kumar, the young boy who carried his old and blind parents in a wehngi for pilgrimage.

The song is written by Madan, and is composed by Pt Shivram. The singing voice is that of Mahendra Kapoor. Listening to this song evokes strong emotions in my heart. Not that I have not heard this song before, but now, as I listened to it again repeatedly for lyrics etc., the words and the tune is simply at home with me in my heart. Listen to this beautiful evocation that covers so many philosophies of life. And think.

 

 

Part 1

Part 2

Part 3

Song – Chal Chal Re Pathik Chal Re  (Badrinath Yatra) (1967) Singer – Mahendra Kapoor, Lyrics – Madan, MD – Pt Shivram

Lyrics

Part 1

chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

aaj nahin to kal jag se hai jaana
duniya musaafirkhaana re bhai
duniya musaafirkhaana hai
dhan ke liye dharam kyon beche
ik din to mar jaana hai
tyaag kapat chhal prabhu ke dhaam chal
wahin tere daag mitenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

bachpan khoya khel mein tu ne
khoyi jawaani bhog mein
bhool ke tu bhagwan ko praani
phas gaya jagat ke moh mein
aaya budhaapa ab to ram bhaj
tere dukh wahi harenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

amrit taj ke vish kyon peeta
ram naam ras pee le
kaam krodh mad moh lobh taj
hari charnon mein jee le
hari charnon mein janam maran ke
bandhan tere katenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 2

prabhu darshan ko badhe ja rahe
baalak vriddh jawaan
oonch neech sadhu sanyasi
nirdhan kya dhanwaan
ganga yamuna ki dhaara mein
jin ki mahim hai avichal
pralay ke toofaanon mein bhi jo
hain sadiyon se achal atal
yug yug se bharat bhoomi
gaaye jin ka gun gaan
woh hain naath anaathon ke
shri badrinath bahgwan
shri badrinath bahgwan
ab jeevan ki har mushkil ko
wahi aasaan karenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 3

chhaale pade chaahe paaon mein tere
suraj tapey aasmaan mein
haar na himmat badhta hi chal re
tapte registaan mein
tapte registaan mein
prabal hai bhakti ki shakti
tujhe koi kya rok sakenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १

चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

आज नहीं तो कल जग से है जाना
दुनिया मुसाफिरखाना रे भाई
दुनिया मुसाफिरखाना है
धन के लिए धरम क्यों बेचे
इक दिन तो मर जाना है
त्याग कपट छल प्रभु के धाम चल
वहीं तेरे दाग मिटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

बचपन खोया खेल में तू ने
खोई जवानी भोग में
भूल के तू भगवान को प्राणी
फंस गया जगत के मोह में
आया बुढ़ापा अब तो राम भज
तेरे दुख वही हरेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

अमृत तज के विष क्यों पीता
राम नाम रस पी ले
काम क्रोध मद मोह लोभ तज
हरी चरणों में जी ले
हरी चरणों में जनम मरण के
बंधन तेरे काटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग २

प्रभु दर्शन को बढ़े जा रहे
बालक वृद्ध जवान
ऊंच नीच साधू सन्यासी
निर्धन क्या धनवान
गंगा यमुना की धारा में
जिन की महिमा है अविचल
प्रलय के तूफानों में भी जो
हैं सदियों से अचल अटल
युग युग से भारत भूमि
गाये जिन का गुण गाँ
वो हैं नाथ अनाथों के
श्री बद्रीनाथ भगवान
श्री बद्रीनाथ भगवान
अब जीवन की हर मुश्किल को
वही आसान करेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग ३

छाले पड़ें चाहे पाँव में तेरे
सूरज तपे आसमान में
हार ना हिम्मत बढ़ता ही चल रे
तपते रेगिस्तान में
तपते रेगिस्तान में
प्रबल है भक्ति की शक्ति
तुझे कोई क्या रोक सकेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे


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 : 3583 Post No. : 14335

“Khooni Khazaana”(1965) was directed by A Shamsheer for East and West Movies, Bombay. Vijaya Chaudhary, Sudhir, Bhagwan, Sheikh Mukhtar, Madan Puri, Bela Bose, Jeewan Kala, Brahm Bhardwaj, Heera Sawant, Bhagwan Sinha, Prabhu, Jogesh Bihari, Jasminder Singh, Appa Khede, Jeewan etc in it.

This obscure movie had eight obscure songs in it. One song from the movie has been covered in the past.

Here is the second song from “Khooni Khazaana”(1965) to appear in the blog. The song is sung by Mahendra Kapoor and Kamal Barot. Khawar Zamaan is the lyricist. Music is composed by S Kishan.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Aa aa aa mere dil mein samaa (Khooni Khazaana)(1965) Singers-Mahendra Kapoor, Kamal Barot, Lyrics-Khawar Zamaan, MD-S Kishan

Lyrics

aa aa aa
mere dil mein sama
o o o
zara nazren mila
naa naa naa
jhoothhi baaten na bana
jaa jaa jaa
mera dil na jala

arre aa aa aa
oy na na na

dil ki baaten kis’se kahoon main
baalam nikla jhoothha
khoti khoti baaten bana ke
toone haaye dil loota
khoti khoti baaten bana ke
toone haaye dil loota

aa aa aa
mere dil mein sama
o o o
zara nazren mila
oye naa naa naa
oye aa aa aa

teri qasam hai
tere pyaar mein
bharta hoon main aahen
aaja gori
mere gale mein
daal de ab baahen
aaja gori
mere gale mein
daal de ab baahen
naa naa naa
jhoothhi baaten na bana
jaa jaa jaa
mera dil na jala

arre aa aa aa
oy na na na

dil se dil jab mil gaye apne
phir kaisa sharmaana
pyaar kiya to pyaar nibhaana
ham ko bhool na jaana
pyaar kiya to pyaar nibhaana
ham ko bhool na jaana

haha
aa aa aa
mere dil mein samaa
o o o
zara nazren mila
oye naa naa naa
jhoothhi baaten na bana
jaa jaa jaa
mera dil na jala

oye aa aa aa
oy na na na
oye aa aa aa
oy na na na


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 : 3562 Post No. : 14283

“Baalak Aur Jaanwar”(1975) was Nanabhai Bhatt for Usha Productions Bombay. This obscure movie had Master Alankar, Baldev Khosa, Usha Solanki, Randhawa, Mahesh Desai, B M Vyas, Dulari, Mohan Choti, Hungama, Mona,Raja Duggal, Sheel Kumar, Lala Nazeer, Yunus Bihari, Kanan Kaushal etc in it.

The movie had six songs in it. Here is the first song from “Baalak Aur Jaanwar”(1975) to appear in the blog. This song is sung by Mahendra Kapoor and chorus. Bharat Vyas is the lyricist. Music is composed by Chitragupta.

The song is a shiv bhajan/ stuti. Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Baalak Aur Jaanwar”(1975) makes its debut in the blog.


Song-Aao mil ke poojen bhole shankar ko(Baalak aur Jaanwar)(1975) Singer-Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Chitragupta
Chorus

Lyrics

om namah shivaay
om namah shivaay

aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye
nanhe kankar ko
om jay shiv omkaara
hari shiv omkaara

aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye
nanhe kankar ko
om jay shiv omkaara
hari shiv omkaara

bhakti bhaav dikha ke manvaanchhit paaye
phal manvaanchhit paaye
jal se snaan kara ke
jal se snaan kara ke
inke gun gaaye
om jay shiv omkara
hari shiv omkara

shiv ka roop suhaana sab ke man bhaaya
laal gulaal chadha ker sabne sukh paya
jay shiv omkara
devon mein mahadev ye hai bhola-bhaala
gajaanand pahnaaye pushpon ki maala
jay shiv omkaara
sacche man se pooj ke sachha sukh paaya
nav ne vaidhy chadhaya
nav ne vaidhy chadhaaya
shiv ke man bhaaya
om jay shiv omkaara
hari shiv omkaara

ghanti bajaaye
jhoome man mein harshaaye
vighn mitey sab unke
vighn mitey sab unke
aarti jo gaaye
om jay shiv omkaara
hari shiv omkaara
aao mil ke poojen shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye nanhe kankar ko
om jay shiv omkaara
aao mil ke poojen bhole shankar ko
bam bhole shankar ko
pal mein pahaad banaaye
pal mein pahaad banaaye nanhe kankar ko
om jay shiv omkaara


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 : 3560 Post No. : 14276

“Baankelal”(1972) was produced and directed by Ratan Kumar. The movie had Prithviraj Kapoor, Sulochana Chatterjee, Sheel Kumar, Abhi Bhattacharya, Sunder etc in it.

It appears that the movie was started in 1960s but it could get released only in 1972 and it flopped at the box office.

The movie had eight songs in it.

Here is the first song from “Baankelal”(1972) to appear in the blog. The song is sung by Mahendra Kapoor. Pt Madhur is the lyricist. Music is composed by Pardesi.

Video of the song is available and one can see that the song is a movie opening song which gets played as credits get displayed on screen. The video version contains only part of the song. Audio version is much longer.

With this public lament song about the misery of women in a brothel, “Baankelal”(1972) makes its debut in the blog.

Video (partial)

Audio (Full)

Song-Ye husn ka hai baazaar yahaan (Baankelal)(1972) Singer-Mahendra Kapoor, Lyrics-Madhur, MD-Pardesi

Lyrics

ye husn ka hai baazaar yahaan
aurat ki kahaani bikti hai
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
jo biwi ko thhukraate hain
wo thokar khaane aate hain
o o o
o o o
jo biwi ko thukraate hain
wo thokar khaane aate hain
is paap ki putli ke aangan mein
puny kamaane aate hain
bebas aurat ki aahen aur
dil ki kurbaani bikti hai ae
o o o
dil ki kurbaani bikti hai
ye husn ka hai bazaar yahaan

besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
o o o o o o
besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
laala ban aate raam yahaan
baabu ban aate shyaam yahaan
gokul ki gwaalin bikti hai
aur awadh ki raani bikti hai ae
o o o o

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
o o o o o
o o o o o

jis ghar mein beta aata hai
aur likhta prem ka khaata hai
o o o
o o o
jis ghar mein beta aata hai
aur likhta prem ka khaata hai
bhugtaan ko lene is jodi se
baap bhi aata jaata hai
in kaale kothon pe mardon ki
meharbaani bikti hai ae
o o o o
meharbaani bikti hai
ye husn ka hai bazaar yahaan

ye aasmaan se nahin giri
is dharti ki hi jaayi hai
o o o o
ye aasmaan se nahin giri
is dharti ki hi jaayi hai
jitne hain inke diwane
kai baap hai aur kai bhaai hain
kulvadhu ki mehandi aur choodiyaan
har ek nishaani bikti hai ae
o o o o
har ek nishaani bikti hai
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan


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(© 2008 - 2018) 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.

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 TEN years. This blog has exactly 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14800

Number of movies covered in the blog

Movies with all their songs covered =1155
Total Number of movies covered =4046

Total visits so far

  • 11,097,836 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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