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

Posts Tagged ‘Mohammed Rafi


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4322 Post No. : 15610 Movie Count :

4301

During the course of my exercise to pick up Hindi songs in Bangla films, I have gone through many Bangla films with their basic details such as the director, story writer, star cast, lyricist, music director, playback singers etc. In the list of lyricists in any Bangla film, if I find the name of the lyricist from Hindi films, I am almost certain that there would be at least one Hindi song in that Bangla film. In some cases, I found that though the name of the Hindi film lyricist was not mentioned, still one or two Hindi songs were found in such Bangla films.

During one of such exercise, I got to know of a Bangla film ‘Sorry Madam’ (1962). The film was directed by Dilip Bose. Although, I could not find the name of Hindi lyricist for the film, the names of playback singers like Manna Dey, Mukesh, and Asha Bhosle gave me a glimmer of hope that there could be at least one Hindi song in the film. The music director for the Bangla film was Ved Pal. But I scored a blank on this count. However, during the searching the songs on the internet, I came across not one but three Hindi songs under the film’s title ‘Sorry Madam’ (Unreleased). Some further searches on the internet revealed a story behind this unreleased film which I was not aware of it. The film was to be a remake of Bangla film ‘Sorry Madam’ (1962) which was a box office success. Hindi remake with the same title was to be produced and directed by Dilip Bose who had also directed its Bangla version. But the film remained unfinished because the director, Dilip Bose went into deep depression after a personal tragedy.

Dilip Bose started his filmy career as actor in Bangla films ‘Kashinath’ (1943) and ‘Bichar’ (1943). I could not get any lead as to what he did during 1943-1960. In 1960, he directed his first Bangla film ‘Dui Bechaara’ (1960). The next Bangla film which he directed was ‘Sorry Madam’ (1962) with Biswajeet and Sandhya Roy in lead roles. ‘Chaandi Ki Deewar’ (1964) was his first directorial venture in Hindi film. During his filmy career, he directed 5 Bangla films, 6 Hindi films and 10 Bhojpuri films. He also acted in about a dozen Bangla films which included Satyajit Ray’s ‘Charulata’ (1964). He also did some smaller roles in a few Bhojpuri films besides story and screen-play writing.

In 1979, after directing Hindi films like ‘Chaandi Ki Deewar’ (1964), ‘Sansaar’ (1971), ‘Thokar’ (1974), ‘Badnaam’ (1975) and ‘Sikka’ (1976), he decided to produce and direct the Hindi remake of his Bangla film ‘Sorry Madam’ (1962) with Raj Kiran and Kajal Kiran in the lead roles. Six songs, all rendered by Mohammed Rafi (some with Asha Bhosle) were recorded in December 1979 under the music direction of Chitragupt. However, Dilip Bose was struck with a personal tragedy when he suddenly lost his wife. Being a sentimental person, Dilip Bose was so much devastated by this tragedy that he went into deep depression for a long time and the film remained unfinished. After recovering from the depression, Dilip Bose concentrated mainly on directing Bhojpuri films. Dilip Bose died in 2002.

Even though 6 songs of the unfinished film ‘Sorry Madam’ (1979) were recorded in December 1979, no gramophone records or CDs were issued. So, they remained unavailable to the public. It was only after the death of the music director, Chitragupt in January 1991 that the tape containing the songs were discovered.  It was decided to release the song in an album. However, by that time, Hindi film music scene had changed and composition style of these six songs sounded old to the music companies who were not interested in releasing the songs. It was only after the success of ‘Veer Zara’ (2004) in which the old-style song composition of Madan Mohan became a hit that a fresh effort was made to release the songs. A music publishing company agreed to release the songs. The tape of the songs were sent to Belgium to digitally restore them to the highest sound quality. Thus,  the songs which were recorded in December 1979 had to wait for 30 years to get them released in an album ‘Teri Adaa’ in 2009.

I am presenting one of the six songs, “Dekho Ji Waado Karo Ke Door Kabhi Tum Na Rahoge” from the unfinished film ‘Sorry Madam’ (1979). The song is written by Kaafil Aazar which is set to music by Chitragupt.

[Acknowledgements:  Some of the information about the background history of the film with 6 unreleased songs are sourced from silkrd.files.wordpress.com and about Dilip Bose, from the book, ‘Cinema Bhojpuri’ by Avijit Ghosh.]

 

Song – Dekho Ji Ye Waada Karo (Sorry Madam) (UR) (1979) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Kaafil Aazar, MD – Chitragupt
Asha Bhosle + Mohammed Rafi

Lyrics

dekho ji ye waada karo..o..o
dekho ji ye waada karo. . .
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
phoolon mein jaise khushboo
itne kareeb hain
phoolon mein jaise khushboo
itne kareeb hain
phoolon se khushboo se bhi
hum to khushnaseeb hain

ho oo
khushnaseeb hain
khaao meri aankhon ki kasam
khaao meri aankhon ki kasam
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
itna sataaya thaa kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
itna sataaya thha kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
raaten sajegi apni palkon ki chhaaon mein
raaten sajegi apni palkon ki chhaaon mein
utarega chanda mere sapnon ke gaaon mein
ho oo
sapnon ke gaaon mein
dekhega ye chaand sadaa..aa
dekhega ye chaand sadaa
ke door kabhi hum na rahenge

dekho ji ye waada karo..o..o
dekho ji ye waada karo…..
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge

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

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों से खुशबू से भी’
हम तो खुशनसीब हैं
हो ओ
खुशनसीब हैं
खाओ मेरी आँखों की कसम
खाओ मेरी आँखों की कसम
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
रातें सजेंगी अपनी पलकों की छाँव में
रातें सजेंगी अपनी पलकों की छाँव में
उतरेगा चंदा मेरे सपनों के गाँव में
हो ओ
सपनों के गाँव में
देखेगा ये चंदा सदा॰॰आ
देखेगा ये चंदा सदा
के दूर कभी हम ना रहेंगे

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे


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 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 :

4277 Post No. : 15514 Movie Count :

4276

Although not listed in the anniversaries list on our blog, a message yesterday from Mahesh ji reminded that it was the remembrance day of the music director Robin Chatterji. Some more discussion followed in which it was mentioned that Rafi Sb had never sung under the  baton of this music director. Something tickled in the memory and I searched through the Geet Kosh listings and my collection, coming up with this wonderful solo of Rafi Sb, that he has sung for Robin Chatterjee, in a Bhojpuri film.

Remembering Robin Chatterjee on the anniversary of his passing away (2nd April, 1976).

As is the fate of many such lesser known and lesser appreciated artists, there is very little information available about him. His date of birth is recorded as 8th January, 1914. No details about his family or early years is available. One name is available – his first teacher of classical music was Keshab Ganesh Dhekan. Robin started his career with the venerable New Theatres, in their music department. He sang in the chorus line for NT films like ‘Adhikar’ (1938).

Some records indicate that worked as an assistant to music director Anupam Ghatak. He and Anupam had learnt music from the same teacher (KH Dhekan). Apparently he assisted Anupam Ghatak with some of his films during 1939-40.

Information about his earliest films as an independent music director is not very specific. Based on Geet Kosh listings, the first Hindi film where we see his name appear as a music director is ‘Raaj Lakshmi’ (1945). Listings show that he shared the music direction responsibility for this film with Dhiren Mitra. This film was produced under the banner of MP Productions, Calcutta (now Kolkata). This film has the distinction of being the debut film for Talat Mehmood, as a singer in Hindi films. Prior to this, he had sung under the pseudonym of Tapan Kumar, all recordings being for Bangla films or for non-film Hindi and Bangla songs. The debut solo songs for him in this film are “Jaago Musaafir Jaago, Kholo Mann Ka Dwaar” and “Tu Sun Le Matwaale”.

Browsing through the Geet Kosh, we find the following films listed with his name as the music director –

‘Raj Laxmi’ (1945) (w Dhiren Mitra)
‘Tum Aur Main’ (1947)
‘Wo Dono’ (1947)
‘Sabyasachi’ (1948)
‘Ratnadeep’ (1952)
‘Firdaus’ (1953) (w Roshan)
‘Pehli Shaadi’ (1953)
‘Afreeka’ (1954)
‘Majboori’ (1954)
‘Shobhaa’ (1954)
‘Dhaake Ki Malmal’ (1956) (w OP Nayyar)
‘Saiyan Se Bhaile Milanva’ (1964)
‘Chimni Ka Dhuaan’ (1973)

and possiblye ‘Miss Toofaan Mail’ (1958), for which the name of the music director is given simply as Robin.

Of these, the credits for ‘Raj Lakshmi’ are shared with Dhiren Mitra, for ‘Firdaus’ are shared with Roshan and for ‘Dhaake Ki Malmal’ are shared with OP Nayyar. The film ‘Saiyan Se Bhaile Milanva’ is a Bhojpuri film. And the film ‘Chimni Ka Dhuaan’ was probably completed sometimes in the first half of 1960s, but its release was delayed by many years, finally releasing in 1973.

The above list of films shows a career with sizeable gaps. However, there is other information that says he was also active, rather very active in the Bangla film industry, as well as in the non-film and folk song genres. There are more details available about his films in Bangla. He has scored music for many films starring Suchitra Sen, for whom he has preferentially used the voice of Sandhya Mukherjee.

One additional bit of information from my own memory. I do remember seeing the name Robin Chatterjee as the sound recordist in the credits of some films. I am not sure that such credits are referring to the same person – possibly so.

My personal experience, and also preference, is that to appreciate the music and songs of lesser known and lesser discussed artists is to pull together as many songs of such an artist, as possible, and then listen to them at a stretch, within one, two, three sittings. In my humble opinion, this way one gets a much better feel for both the quality and the quantity of the body of work for the artist. This in turn provides a much better and a wider appreciation of his or her work. In my effort to pull together information and body of work about such artists, I find that I have not yet come across a single instance where I may have failed to appreciate the quality of work created by the artist. For that reason, I humbly state that I never will dismiss an artist only because he or she is lesser known and his/her body of work is obscure and not easily accessible. The same has been my experience with the songs tuned and composed by Robin Chatterjee. We already have 24 songs on our blog, for which he is the music director – please check out in case interested.

About this film, there are no details available, other than the name of the production banner – Messers Technicians Enterprise. No listings of actors is available either. Only the name of the music director, the singers and a list of 4 songs is available.

About this film – it is produced under the banner of Messers Technicians Enterprise, and is directed by PL Santoshi. The name should  be very familiar – PL Santoshi has been active in Hindi films as a lyricist, story/screenplay writer, dialogue writer and director, since the mid 1930s, all the way to his passing away in 1978. The star cast is listed as Sujit Kumar, Saeeda Khan, Sabita Chatterjee, Tarun Kumar, Jahar Rai etc. It is a story about the sacrifices the wife (Saeeda Khan) makes to care for and nurse her husband (Sujit Kumar), who is suffering from the memory loss.

The Geet Kosh lists 4 songs for this film. There are two solos by Suman Kalyanpur, one solo by Rafi Sb (today’s presentation), and one duet of Rafi Sb and Sandhya Mukherjee. Although the name of the lyricist is not specifically mentioned in any source, it is very likely that PL Santoshi has most likely written some or all songs of this film. However, it needs to be confirmed.
[Ed Note: PL Santoshi has directed 20+ films during his career, and he has written some or all songs for 15 of them.]

Regardless, it is a naughty, wonderfully playful song of appreciation – appreciation of the beauty of a young belle. Listen and enjoy.

[Acknowledgements: The above article uses information and details from the Geet Kosh, the book ‘Dhunon Ki Yatra’ by Sh Pankaj Raag, the book ‘Cinema Bhojpuri, 2010’ by Avijit Ghosh, and the web page on Anupam Ghatak at Indiancine.ma/wiki. Thanks to Sadanand ji for providing the information about the film, from the book by Avijit Ghosh.]

[Ed Note: I believe that the lyrics in the Bhojpuri dialect are not difficult to follow. As the lines are perused, there may be a little transliteration required for one line. In case there is a comment/request, the transliteration of the full lyrics can be provided. The difficult line maybe, “peear peear galba pa chhitke lallaiya” or “पीयर पीयर गलबा पे छिटके लल्लइया”. In simpler Hindi, the line says “pyaare pyaare peele peele gaalon pe laali chhitki hai” or “प्यारे प्यारे पीले पीले गालों पे लाली छिटकी है”. 🙂 ]
[Ed Note: Thanks to dear AK ji for making the correction in the above transliterated line of lyrics.]

Song – Jabse Dekh Li Suratiya Tohaar Goriya (Sainyan Se Bhaile Milanva) (1964) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – Robin Chatterjee

Lyrics

jab se dekh li

jab se dekh li suratiya tohaar goriya
jab se dekh li suratiya tohaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
ho goriyaa. . .

umariya hai baari patli kamariya
umariya haee. . .
umariya hai baari patli kamariya
najariya hai teekhi kataar goriya
mar gai lee
najariya hai teekhi kataar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya..ha

peear peear galba pa chhitke lallaiya
peear peear
peear peear galba pa chhitke lallaiya
bole to chooe ras dhaar goriya
aa haa
bole to chooe ras dhaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya

hamka lut gaili lut jaee hai nagariya
hamka. . .
hamka lut gaili lut jaee hai nagariya
jaiha na ban tthan bajaar goriya
kaise chalbu
jaiha na ban tthan bajaar goriya
bas mein na jiyara hamaar goriya
o bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
o goriyaa. . .

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

जबसे देख ली

जबसे देख ली सुरतिया तोहार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰

उमरिया हई बारी पतली कमरिया
उमरिया हई॰ ॰ ॰
उमरिया हई बारी पतली कमरिया
नजरिया है तीखी कटार गोरीया
मर गई ली
नजरिया है तीखी कटार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया॰॰हा

पीयर पीयर गलबा पे छिटके लल्लइया
पीयर पीयर
पीयर पीयर गलबा पे छिटके लल्लइया
बोले तो चूए रस धार गोरीया
आ हा
बोले तो चूए रस धार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया

हमका लुट गईली लुट जई है नगरिया
हमका॰ ॰ ॰
हमका लुट गईली लुट जई है नगरिया
जईहा ना बन ठन बजार गोरीया
कैसे चल्बू
जईहा ना बन ठन बजार गोरीया
बस में ना जियरा हमार गोरीया
ओ बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰


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 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 :

4274 Post No. : 15509 Movie Count :

4275

Songs Repeated in Hindi Films – 18
– – – – – – – – – – – – – – – – – –

So this suggestion and reminder from Anekant ji, dropped into my mail box yesterday. And I take this opportunity to present this repeat song that is so appropriate for the continuing celebrations of Navratri.

The original song – “Tu Ne Mujhe Bulaaya Sheraanwaaliye“, is from the film ‘Aasha’ (1980) and on screen it is performed by Jeetendra and others. Reena Roy is present in the picturization. Fast forward eight years to 1988 and the song has been repeated in the film ‘Do Waqt Ki Roti’ (1988), as is. Meaning, it is not a re-recording. The song has been replayed as original. The only difference is that a full antaraa is deleted. The original song has two antaraas, and this reuse song has only one.

‘Do Waqt Ki Roti’ is produced by MP Aggarwal and is directed by Satpaal. The primary cast of actors is listed as Feroz Khan, Sanjeev Kumar, Reena Roy, Sulakshana Pandit, Nirupa Roy, Amjad Khan, Shakti Kapoor, Satyendra Kappu, Ranjeet, and Jagdeep. The film has five songs, other that this reuse song.

The interesting similarity that the music directors of these two films are the same. So maybe that is why the reuse may not have been a problem. However, as usual, this reuse song is not listed in the list of songs of this film.

Today is the sixth day of Navratri celebrations. The incarnation of the Goddess Mother that is worshipped today is Maa Kaalratri or Maa Mahakaali. I would like to discuss this appearance of the Mother in a little more detail. It is quite possible that the readers may be quite familiar with this description.

The description is as per the Devi Bhagwat. As it their wont – the Devatas have been defeated by two powerful aruras (demons) – Shumbh and Nishumbh, and had lost the occupation of the Kingdom of Heavens. The commander of the asura armies was another demon named Raktbeej. Raktbeej had a boon that he had received from Brahma ji. As is usual the asuras, after long periods of penance and austerities, would always end up asking for the blessing of longevity – that they could never be destroyed. This boon has been asked for by the asuras in many different forms. Raktbeej asked for this boon in the form that in case he is in a battle, and he is wounded, then when his blood touches the ground in form of drops, every drop will immediately form a replica of the Raktbeej himself. So even if he is wounded, just by the result of this blessing, an army of Rakbeej clones will be created. By this way, Raktbeej may never be vanquished, and he would only get stronger with additional forces of clones of himself to support him.

The Devatas were in despair, and they prayed to the Mother Goddess. She appeared and asked them what were they seeking from Her. They explained the predicament in their battle against Shumbh and Nishumbh – that they, the Devatas will never be able to defeat the asuras, as long as their commander Raktbeej is leading them. The Mother Goddess assured them of help, and sent them away to wage another war on the asuras. The battle started. Devatas started to target Raktbeej, but his blessing still obstructed the Devatas to make any headway in the fight. In fact, when Devatas would inflict any blow Raktbeej, the drops of blood from his body, as they touched the ground, would sprout into another Raktbeej, thus strengthening the army of asuras.

The Mother Goddess then took on the form of Maa Kaali and joined the battle. The appearance and demeanor of the Mother in the Kaali form was frightening. Completely black in appearance from head to toe, wearing black, long black hair loose open and waving, a garland made of skulls in the neck, and wearing a skirt made from the limbs of the dead, with a khadag (a sword like weapon, curved in a different way) in one hand, and bowl made from the outer layer of a coconut, in the other hand. The fearful appearance was further enhanced with a long red tongue that perpetually remained outside the mouth, waving like a blood red serpent.

She reached close to Raktbeej and hit him with the khadag. An injured Raktbeej started to bleed from his wounds. Maa Kaali reached out with her waving tongue and started to lap up every drop of his blood that oozed out of his wounds. Working feverishly with her long tongue, she picked up very drop of blood from Raktbeej’s body, and continued to strike him. Losing blood, he started to become weak, as he continued to lose blood and his strength. And the boon was going waste because Maa Kali did not allow the drops of his blood to reach the ground. Finally, Maa Kaali cut off the head of Raktbeej with a blow from her khadag. To catch the falling blood from the dethatched neck, Maa Kali held the coconut bowl under it, once again not allowing even a drop of blood to fall on the ground. As the cup would overflow, Maa Kaali would drink from it, to make room to hold more blood.

The appearance and sight of the Mother was really frightful. She seemed to not be under Her own control. Waving the khadag in anger, she started to destroy anything and anybody that crossed her path. The army of asuras was thus decimated, but the Mother could not be stopped. The Devatas then prayed to Lord Shiv and requested him to rescue them from the wrath of Maa Kaali. Lord Shiv appeared to face Maa Kaali, but he too could not dissuade her and calm her down. She continued in her stride, destroying everything in her path. Then Lord Shiv lay down on the ground, in the path where she was headed. Maa Kaali continued in her stride and finally set a foot on Lord Shiv himself. Realizing suddenly that she had stepped on to her own consort, she came to a halt. Her anger dissipated, she stepped back and became calm.

There is a reason that describe this episode today. Today is the day of the worship of Maa Kaalratri, or Maa Kaali, and so it is appropriate to recount her legend. I remember hearing this narrative recounted to me by elders, or reading it in books, and I always used to wonder at the bizarre description of this event. Years passed and as I came to high school, I would finally get a reasonable explanation of this narrative. In the biology class, as we read about viruses and infections and deadly diseases, it suddenly came together in my mind that this description of Maa Kaali is so analogous to weeding out a deadly disease. Raktbeej is the infection that multiplies incessantly. The more you try to root it out, the more it spreads. Like the drops of blood falling on ground, it is the viruses that attack healthy cells, they multiply, and then attack more healthy cells.  Maa Kaali is likened to the antidote to the infection, that attempts to cut down the avenues for the infection to spread, not allowing it to reach more healthy cells thus depriving it of its resources to multiply.

That is quite much the situation that is faced by the world in present times. An unbridled and unknown new infection is running rampant through the human population, incurring a very high toll of fatalities. The mechanism of isolation and social distancing is analogous to not allowing the drops of blood of Raktbeej to fall on the ground, and not find newer option to breed and grow. The ideas that had formed in my mind during my high school studies of biology, are kind of getting reflected in the events of this worldwide spread of the deadly virus infection. The containment solution is in being isolated and not allowing propagation. Countries that are practicing this measure, are being somewhat successful in minimizing the fatal damage to the population. And the nations that, for whatever reason of culture or politics are failing to exercise this discipline, are on the way to incur heavy losses in terms of human life. A scenario that is described in our ancient texts is playing out in the real world with a very eerie congruence.

So, the day to pray to Maa Kaali today, is the day also to understand this mechanism of disallowing Raktbeej to replicate itself and to curtail the damage that can be done by an uncontrolled spread of this contagion.

May the Mother Goddess Maa Kaali appear once again on this earth, and destroy this Raktbeej like malady, cleanse this earth and rescue her children.

Ameen.

 

Song – Tu Ne Mujhe Bulaaya Sheraanwaaliye  (Do Waqt Ki Roti) (1988) Singer – Narendra Chanchal, Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

saanchi jyoto waali maata. . .
maata. . .
teri jai jaikaar
jai jaikaar. . .‎
jai jaikaar. . .‎
jai jaikaar. . .

‎‎tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanwaaliye
tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanvaaliye
‎o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
o o o
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
tu ne sab ko darshan de ke
tu ne sab ko darshan de ke
apne gale lagaaya sheraanvaaliye
tu ne mujhe bulaaya sheraanvaaliye
o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

‎o prem se bolo

jai maata di
o saare bolo
jai maata di
o aate bolo
jai maata di
o jaate bolo
jai maata di
o kasht nivaare
jai maata di
o paar utaare
jai maata di
devi maan bholi
jai maata di
bhar de jholi
jai maata di
o jode darpan
jai maata di
maa de ke darshan
jai maata di
o jai maata di
jai maata di
jai. . . maata di..ee..ee
‎jai maata di‎
jai maata di‎
jai maata di‎
sheraanwaali ki jai

jai maata di‎
jai maata di‎
pahaadaan vaali ki jai,

jai maata di‎
jai maata di
‎vaishno raani ki jai

jai maata di‎
jai maata di‎
ambe raani ki jai

jai maata di
‎jai maata di‎
pahadaan waali ki jai‎


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 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 :

4273 Post No. : 15506

A rain drop falls on a smoldering matchstick. And extinguishes it. A poet sees this happening. And the poet’s mind creates the lines that go on to become an iconic song that lead the on screen performer by hand to the rising heights of super-stardom. You may have already guessed it. Ah yes, I am talking about ‘Amar Prem’ (1971) and Rajesh Khanna. The song – “Chingaari Koi Bhadke To Saawan Usey Bhujaaye”. And the poet behind this hit song – Anand Bakshi.

Remembering Anand Bakshi on his remembrance day today. He passed away this day in 2002.

A career that had quite a chequered start, lasted for more than 4 decades. And continued to produce hits after hits all the way till he passed away. Chequered in that he joined the army in 1947 as a switchboard operator in the Signals Core; left the army and came to Bombay (now Mumbai) in early 1950s; made no headway and in despair, returned to join the army; but could not get rid of the film-bug. He resigned from the army again in 1956 and came to Bombay once again. This time he stuck it out. Bhagwan Dada gave him a break in his 1958 film ‘Bhala Aadmi’. The young Anand, then 27 years old, penned six songs for that film. One song by him had already appeared in an obscure 1957 film ‘Silver King’. Sadly, maybe expectedly, no songs of ‘Silver King’ are available. His debut song is probably lost forever, barring some miracle discovery.

The stumbling start led to success, slowly but surely. Popular hits came in ones and twos, and Anand continued to push his career graph, always up and up. Seven films carried his songs in 1959. Not popular hits, but surely a few are a good listen. Attention came his way in 1960, with films like ‘Air Mail’ – “Shoon Shadap Nazron Ki Jhadap” and “Tumhin Ne Mera Dil Chheen Kar”; ‘Mehlon Ke Khwab’ – “Lo Ji Bujh Gayi Bijli Pyaar Ki”; ‘Zameen Ke Taare’ – “Tinke Pe Tinka, Chhutti Ke Din Ka”; Then in 1961 came the film ‘Razia Sultana’ with Nirupa Roy and Jairaj in lead roles. The duet written by Anand went on to become an all time favorite – “Dhalti Jaaye Raat, Keh Le Dil Ki Baat”.

Then came 1962, with the perennial favorite qawwaali – “Meri Taveer Le Ke Kya Karoge”. Plus the films ‘Mehndi Lagi Mere Haath’, ‘Baanke Saanwariya’ with a good repertoire of songs by Anand. And the year was topped by the one song he wrote for ‘Vallah Kya Baat Hai’ – “Ghame e Hasti Se Bas Begaana Hota”. He was 32 years of age.

1963 was adorned with another wonderful qawwali from his pen. The film – ‘Jab Se Tumhen Dekha Hai’, and the song – “Tumhen Husn De Ke Khuda Ne Sitamgar Banaaya Banaaya”. That year, we also have from him “Taaron Ki Chhaon Taley, Shamma Parwaane Miley” in the film ‘Zaraak Khan’, and the sterling Mukesh solo – “Chaand Aaahen Bharega” from the film ‘Phool Baney Angaare’, which was otherwise loaded with a set of charming hits.

Next was 1964 (of course 🙂 ) and the film for which Anand teamed up with Laxmi-Pyaare to produce a set of songs that have remained on the lips and in the mind of music lovers since then – ‘Mr X In Bombay’. And this was the year that this young poet made it to the Binaca Geet Mala listing (at no. 6) for the first time with the song – “Mere Mehboob Qayaamat Hogi”. What a song it is, and what a set of lilting songs this film carries. Anand’s foothold in the tinsel town was now firm and very steady.

1965 – and just the sampling of films should be enough – ‘Himalay Ki God Mein’, ‘Jab Jab Phool Khile’, ‘Lutera’, ‘Shriman Funtoosh’ and ‘Teesra Kaun’ – memorable songs that are too numerous to be listed individually. Notable mentions required though, for “Hamen Kya Jo Har Su Ujaale Huye Hain” from ‘Namaste Ji’ and “Ye Dard Bhara Afsaana” from ‘Shriman Funtoosh’. And yes – “Pyaar Ka Fasaana Bana Le Dil Deewaana” from ‘Teesra Kaun’.

Going from strength to strength, Anand rounded off the year 1966 with fabulous songs in films like ‘Aasra’, ‘Aaye Din Bahaar Ke’, ‘Devar’, ‘Pati Patni’, ‘Preet Na Jaane Reet’, ‘Professor X’,  and ‘Sunehre Qadam’.

In 1967, Anand completed 10 years of his career in the Bombay film industry with top hits in films like ‘Milan’, ‘Farz’, ‘Night In London’, ‘Aamne Saamne’, ‘Milan Ki Raat’, ‘Chandan Ka Palna’, and ‘Taqdeer’. What more to say.

The remaining years of the 1960s decade – even listing a sampler would be too much space to cover. Suffice to say that the super hit “Mere Sapnon Ki Raani. . .” that truly launched Rajesh Khanna on the way to super stardom, came from the pen of Anand Bakshi.

And he would go on writing for another three and a half decades – including perennial favorites like “Hum Ko Tumse Ho Gaya Hai Pyaar Kya Karen” (‘Amar Akbar Anthony’, 1977), “Tujhe Dekha To Ye Jaana Sanam” (‘Dilwaale Dulhaniya Le Jaayenge’, 1995), and thousands more – in fact a total of 3,500 songs spread out across more than 635 films. Such a career cannot be done justice in a single blog post. 🙂

Thanks Anand Bakshi ji, for so many wonderful memories to hum and enjoy.

Coming to the song for today. As I was seeking to get one of his earliest songs to present today, I came upon this wonderful Rafi solo that has been tuned by S Mohinder. The film is ‘Sun To Le Haseena’ which belongs to his debut year 1958.

Produced under the banner of Filmistan Limited, the film is directed by SP Bakshi. The star cast is listed as Shashikala, Ravindra Kapoor, Agha, P Kailash, Badri Prasad, Randhir, Gulab, Sabita Chatterjee, Kanu Rai, Manju, Manohar Geer, Majnu, Vitthal Das Panchotia, Madhu Apte, Ramlal, Leela, Bazid Khan, Rajeshwar Singh, Noor, Chandramohan, Pathak, Shantaram, Ravi Tandon, Sundar, and Pal.

The film has a total of seven songs written by four songwriters, with Anand’s contribution tally is three. (Other songwriters are Sarshaar Sailaani, Kaif Irfaani and Raahil Gorakhpuri). This is the second song of this film, written by him to be showcased here, and the third song from the film.

Rafi Sb has rendered this call-to-the-beloved song with gusto. A very interesting listen, I am sure you will agree.

Song – De Deedar, O Dildaar (Sun To Le Haseena) (1958) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – S Mohinder

Lyrics

de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
pal chhalak chhalak jaata hai
mere armaanon ka matka
mere armaanon ka matka. . .
har aahat pe chaunk ke jaani hota hoon taiyaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

o nakhre takhre waali
ye raat hai kaali kaali..ee. . .
o nakhre takhre waali
ye raat hai kaali kaali
kar saamne chaand sa mukhda
chaahe chhup ja de kar gaali
chaahe chhup ja de kar gaali. . .
varna faand ke aa jaaunga ye oonchi deewaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

main tujh pe ho ke lattu
tere naam ka ho gaya rattu..uu. . .
main tujh pe ho ke lattu
tere naam ka ho gaya rattu. . .
tere gham ka utha ke bojha
bana aadmi se main tattu
bana aadmi se main tattu. . .
ab tadpa tadpa ke zaalim yun na mujhko maar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

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

दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
पल छलक छलक जाता है
मेरे अरमानों का मटका
मेरे अरमानों का मटका॰ ॰ ॰
हर आहट पे चौंक के जानी होता हूँ तैयार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

ओ नखरे टखरे वाली
ये रात है काली काली॰॰ई॰ ॰ ॰
ओ नखरे टखरे वाली
ये रात है काली काली
कर सामने चाँद सा मुखड़ा
चाहे छुप जा देकर गाली
चाहे छुप जा देकर गाली॰ ॰ ॰
वरना फांद के आ जाऊंगा ये ऊंची दीवार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰

मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰॰उ॰ ॰ ॰
मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰ ॰ ॰
तेरे ग़म का उठा के बोझा
बना आदमी से मैं टट्टू
बना आदमी से मैं टट्टू॰ ॰ ॰
अब तड़पा तड़पा कर ज़ालिम यूं ना मुझको मार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰


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 :

4243 Post No. : 15462

Entertaining Sales Pitch Songs – 11
—————————————————–

This post is likely the one which has been the most scrambled for. Leap day it is. So much history and folklore around this date, no doubt. But notwithstanding that, it struck us quite late in the day, as to how such a rare occasion be not celebrated, and not represented on our blog. We are all adept at combining celebrations and conjuring up milestones and reasons to post a celebratory article. So how come this leap day phenomena be left by the side. So we got going to get something in place, but it was quite late that we got started. Here is a brief about the gensis.

Time is 6:48 in the evening. An innocent query laden email from dear Arun ji lands in the mail box. He is enquiring about 29th Feb, 2016. The date seems to be blanked out on the blog, so were not posts added that day or is that an error of logging on the blog.

7:30 pm comes the response from Atul ji – yes, in 2016, the leap day actually was dot day.

Within one minute at 7.31 pm lands another follow up from Atul ji – and I quote –

“Today I wanted to post a blog leap day challenge, but my internet at home as well as office let me down. Atul”

There is radio silence for another about one hour or so. Around 8:20, I am back on my laptop, checking emails, and run into this exchange that has recently happened. It is 8:25 pm by the time I jump into the flow, and write to Atul ji, enquiring what did he have in mind.

Another 25 minutes creep by. It is 8:52 when Atul ji reply lands in the mail box. He wanted to follow up with a ‘challenge’ type post using one of the un-yippeee’d films from the list of posts from 29th Feb, 2012. Despite all the lethargy and laziness, I am stirred up to take on this challenge. Quickly I make a check of the films used on 29th Feb 2012. The list reads like,

Ban Ban Ke Bigadti Hai Taqdeer Gareebon Ki Guzaara 1954
Dil Ko Hai Tumse Pyaar Kyun NFS – Jagmohan `Sursagar` 1945
Tum Saamne Aakar Jis Dam Khazaanchi 1958
Dhal Chuki Shaam E Gham Kohinoor 1960
Bhare Hain Aankh Mein Aansoo Saara Jahaan Hamaara 1961
Manzil Ki Chaah Mein Devdas 1955

Only two films stand out as the candidates for this challenge – ‘Guzaara’ from 1954 and ‘Saara Jahaan Hamaara’ from 1961. Given the familiarity of the film and songs, I am tempted to attempt ‘Saara Jahaan Hamaara’. But then another peculiarity tries to pull my attention. The film ‘Guzaara’ from 1954 made its debut on the blog on this day – the leap – of 2012. And then – nothing else. For the past 8 years, the film has been sitting neglected, on one of the most interesting calendar days in, well, in the calendar. 🙂

And so, I decided to pick ‘Guzaara’. I sent out an email to Atul ji at 9:11 (that sounds almost sinister. . .) with the message – “‘Guzaara’ from 1954 would be an interesting candidate. Only one song, posted on leap day 2012, now second song on leap day 2020. 😀 :D”.

This time, the response is very immediate. Within a minute Atul ji confirms that he was also thinking to pick this film.

Poor ‘Guzaara’ – has been sitting on the bench for – goodness, 8 years. आते जाते हुये, the other films would ask cursorily – “How’s it going? Idling for long??”

And listlessly (pun intended) ‘Guzaara’ would reply – “गुज़ारा चल रहा है”. :D)  :D)

And then suddenly another thought passed into the mind’s channels. Debut on the leap day in 2012, no action till the leap day on 2020, when the second song gets posted. And I hope this does not lead to a typecasting (so common in the industry, no?). because if it does, then poor ‘Guzaara’ would take more than two decades to get yippeee’d for its 8 songs. (LOL)

‘Guzaara’ is a social film from the production house of Aaina Pictures, Bombay produced and directed by SM Yusuf. The star cast is listed as Karan Diwan, Paro, Jabeen, Mirza Musharraf, Chand Burque, Baby Naaz, Romi, SM Yusuf, Manju, Tiwari, Baalam, Faizi, Sangeeta, Chhagan Romeo, Mehru. Hmmm. . . Karan Dewan and Paro, this would have been an important film of its time. The eight songs of this film are written by Fauq Zami – two songs, Muneer Lakhnavi – one song, and Raja Mehdi Ali Khan five songs. The music direction is by Ghulam Mohammed. The film comes from the same year as ‘Mirza Ghalib’, one of the most well known films with music by him.

Today’s song is a “sales pitch” song, rendered by Rafi Sb. The item for sale is ‘bhajia’, and the song goes along with homilies and interesting advises, as it tries to make better of selling ‘pakodas’. 😉 Looking at the star cast, the most likely candidate for performing this song is Karan Dewan himself. I cannot bring myself to imagine that Mirza Musharraf or Baalam would take on performing this song on screen. I would request our more knowledgeable friends and readers to please add more information about this song, and the film.

Ah so, the leap challenge, at last. And the film gets its second song on the blog, on the same leap day, eight years apart. Come to think of it – do we know what is the origin of the term ‘leap’ as it applies to this date and this calendar terminology. Hmmm. . . as we look at the calendars progression from one year to the next, and given 365 days in the year and 7 days in the week, the thumb rule is that the new year starts on the weekday, next to the day on which the previous year starts. Except for this peculiar creature called ‘leap year’ when the sequence of week day ‘leaps’ ahead by one day. Oh yes, this is the simple explanation available from dictionary.com.

I am sure all are familiar with the rules of the Julian calendar, set is place by Julius Ceaser, which instituted this leap day’s concept, and the later correction by Pope Gregory, resulting in the Gregorian calendar that makes an exception for missing a leap year every 100th year, but then also not missing it every 400th year, to account for the correct number of days passing per year, given that the earth uses up 365 days, 5 hours, 48 minutes, and 45 seconds, give or take a few milliseconds here and there, to completely go once around the sun. That is being astronomically correct. Otherwise, what would we know better, just being used for waking up with sunrise every day. Leap day, leap year – what does it matter. At the end of the day, and quoting from another song by Rafi Sb – “Jitni Likhi Thhi Muqaddar Mein. . .” – the number of breaths destined are what it is. History records that in 1582, when Pope Gregory announced this correction to the calendar, the official dates were adjusted by 10 days, There were riots in the city of Vatican and the common man protested, wanting 10 days of their lives to be returned.

Ah well, as the world turns. And not very precisely so. 🙂

So listen to Rafi Sb, and enjoy the ‘bhajias’.

Song – Duniya Ki Haalat Naram Naram (Guzaara) (1954) Singer – Mohammed Rafi, Lyrics – Raja Mehdi Ali Khan, MD – Ghulam Mohammed
Chorus

Lyrics

duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

tu ne bhi muft ki khaai hai
kya tu bhi mera bhai hai
o kya tu bhi mera bhai hai
meri hi tareh honge mister
tere pichhle janam ke karam karam
ho munna pichhle janam ke karam karam
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

hum tumko kahaan se den bhiksha
o bhaiyya ja kar ke khencho riksha
ho munna ja kar ke khencho riksha
mat desh pe apne bojh bahno
hai ye hi hamaara dharam dharam
hai ye hi hamaara dharam dharam
hoye
duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

chaar aane mein insaan bikey
do aane mein imaan bikey
chaar aane mein insaan bikey
do aane mein imaan bikey
ek aane mein bhagwan bikey
ae duniya waalo shame shame shame
ae duniya waalo sharam sharam

o duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram
hoye

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

दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

तूने भी मुफ्त की खाई है
क्या तू भी मेरा भाई है
ओ क्या तू भी मेरा भाई है
मेरी ही तरह होंगे मिस्टर
तेरे जनम के पिछले करम करम
हो मुन्ना तेरे जनम के पिछले करम करम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

हुम तुमको कहाँ से दें भिक्षा
ओ भईय्या जा कर के खेंचो रिक्शा
हो मुन्ना जा कर के खेंचो रिक्शा
मत देश पे अपने बोझ बनो
है ये ही हमारा धरम धरम
है ये ही हमारा धरम धरम
होये दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

चार आने में इंसान बिके
दो आने में इमार बिके
चार आने में इंसान बिके
दो आने में इमार बिके
एक आने में भगवान बिके
ए दुनिया वालो शेम शेम शेम
ए दुनिया वालो शरम शरम

ओ दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम


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 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 :

4206 Post No. : 15399 Movie Count :

4244

Songs Repeated in Hindi Films – 16

– – – – – – – – – – – – – – – – – –

Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.

The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.

Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.

Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business.  However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.

He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.

Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.

He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).

Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.

The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.

Ah yes, this 1972 film makes its debut on our blog today.

Overall, a very casual re-use in my opinion.

Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa  (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

ho o o ho o
ho o o ho o

[dialogue]

ho o o ho o
ho o o ho o

aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja

peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa

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

हो ओ ओ हो ओ
हो ओ ओ हो ओ

[संवाद]

हो ओ ओ हो ओ
हो ओ ओ हो ओ

आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

 


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 :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda


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

Blog Day :

4030 Post No. : 15150

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————-

Remembering Mohammed Rafi Sahab on his 39th death anniversary :

No need to keep a reminder in the mobile.  I come across Rafi Sahab’s  name or reference to or one of his songs every day.  The figure is at 2955/4845 on the blog’s stats page.  The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs.  The difference between the two figures is more than 500 songs.

The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).

 

Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni
Chal Chal Ri Goriyaa Ganga Jamuna 1961 Mohd Rafi Naushad Ali Shakeel Badayuni

 

The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube.  It is debatable, if these can be treated as songs.

I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.

Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans.  I have chosen a naat as the commemorative post for today’s occasion.  I am giving the lyrics as per the recorded version.  There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same.  The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere.  Only the lyricist name is available as Nirang Sambhali.  It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.

It expresses the yearning to visit Makkah and Madina and perform Hajj.

INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.

Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.

Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.

INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.

BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.

It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’  aka ‘raah e madina’ in the ‘Naat’.

On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan.  Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts  and wonders of the Master, are you both (man and Jinn) going to be in denial of’.

I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.

Ar-rahmaan (The Beneficent):

I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.

The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?

He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?

The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?

From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?

And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?

Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?

All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?

We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?

O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?

There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?

And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?

Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?

The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?

This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?

But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?

Having (spreading) branches.
So which of the favours of your Lord would you deny ?

In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?

In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?

They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?

In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?

As if they were rubies and coral.
So which of the favours of your Lord would you deny ?

Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?

And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?

Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?

In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?

In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?

In them are found good and beautiful  –
So which of the favours of your Lord would you deny ?

Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?

Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?

Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?

Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.

The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth.  Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime.  Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).

I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :

And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.

Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.

 

(Live)

(Recorded)

Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]

Lyrics 

agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
agar mil gayee mujh ko 
raah-e-madinaa
mohammed ka naqsh-e-qadam 
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa

jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa

meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien 
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa

agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi 
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke 
qadam choom loongaa

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

अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा

जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा

मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा

अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा


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 :

4027 Post No. : 15141 Movie Count :

4159

Songs Repeated in Hindi Films – 7

– – – – – – – – – – – – – – – – – –

A birthday greeting that is now a week ago (plus one more day 😉 ). Many many happy and healthy returns Naseer ji – may we all be blessed with a few more decades of accomplished performances by yourself.

Memories do always seem to connect as if yesterday. Maybe it is the ‘me’ inside me that is never changing in this ever changing world, and so every memory, every remembrance of every person, place, happening, event, vision, hearing a song on the radio, and yes, seeing films in black and white on the TV screens in neighbor’s homes – everything seems to have happened just yesterday.

The film was ‘Manthan’ (1976). And the days were when we would just sit and watch a film on TV for no reason – just that it was a Saturday / Sunday and Doordarshan would be airing a feature. Much later in life I would surprised to find out that some of the films I had watched on TV were actually color films. But then, those black and white images in the memory are more prized and dear now, than the actual color visuals captured later in the day (yesterday, I mean – as I said, everything seems to have happened yesterday).

So, ‘Manthan’ it was. A film that was part of the earliest batch of New-Wave cinema in India. From the first viewing, the memory that I have is, that I do not remember anything about the film or its storyline, its characters, their names, performances etc. Everything that I know about this film is from later viewings. But there are two items that are stuck in the storage from that viewing – one is a visual of a man driving a jeep, a woman trying to follow him on foot, and the song playing – “Mero Gaam Kaathha Paarey”. And the second is a funny mention – a belligerent villager pronouncing the word ‘society’ as ‘sisoti’ (सीसोटी). That is the earliest data byte stored in memory about this exemplary and infinitely versatile performer – Naseeruddin Shah.

Beyond that of course, getting in later teens and going to college, it was trendy and fashionable to go see new wave films – and so a much crowded occupancy of memories related to his films. The list seems to go on and on – ‘Nishant’ (1975), ‘Bhumika’ (1977), ‘Godhuli’ (also 1977), ‘Junoon’ (1978), ‘Sparsh’ (1979), ‘Aakrosh’, ‘Albert Pinto Ko Gussa Kyon Aata Hai’, ‘Bhavni Bhavai’ (all three in 1980), then ‘Chakra’ and ‘Sazaay e Maut’ (what a solid psychological thriller this one is), both from 1981, ‘Bazaar’ (1982), then a ton of them in 1983 – ‘Katha’, ‘Mandi’, ‘Ardh Satya’ and the peerless cult classic ‘Jaane Bhi Do Yaaro’, then ‘Paar’, ‘Mohan Joshi Haazir Ho’ and ‘Khandhar’ in 1984, ‘Mirch Masala’ in 1985, and in 1986, ‘Musafir’, and ‘Genesis’ – the unforgettable film of primeval emotions and human relations, by Mrinal Sen.

On the way, his career merged into the commercial circuit, and, with some of the then current group of parallel cinema performers, he established himself as a performer at home both with ‘sisoti’ and “Oye Oye Aaaa. . . O Tirchhe Nainon Waali” (‘Tirchhi Topi Waale’, 1998). The ease with which he has straddled both the streams is really heartwarming. It simply goes to underline his openness and his versatility. Starting with ‘Hum Paanch’ in 1980, he entered into the mainstream commercial Hindi cinema and has made an enviable position for himself in the industry with creditable performances in films like ‘Umrao Jaan’ (1981), ‘Dil Aakhir Dil Hai’ (1982), ‘Masoom’ and ‘Who Saat Din’, (1983), ‘Ghulami’ and ‘Trikaal’ (1985), ‘Karma’ (1986, in the esteemed company of Dilip Kumar), ‘Ijaazat’ (1987), the fabled ‘Pestonjee’ in 1988, along with ‘Hero Hiralal’ and ‘Maalamaal’. In the 1988 Merchant-Ivory production of the crime thriller ‘The Perfect Murder’, he plays the pivotal role of Inspector Ghote. Then on to ‘Tridev’ in 1989, ‘Police Public’ in 1990. . . and then there are many, too many to be listed here. A sampler of important ones –‘Vishwatma’ (1992), ‘Sir’ (1993), ‘Mohra’ (1994), ‘Himmat’ (1996), ‘Chinagate’ (1998), ‘Sarfarosh’ (1999), ‘Hey Ram’ – the role of Mahatma Gandhi (2000), ‘Monsoon Wedding’ (2001), ‘3 Deewaarein’ and ‘Main Hiin Na’ (2004), ‘Iqbal’ (2005), ‘Omkara’ and ‘Banaras’ along with ‘Yun Hota To Kya Hota’, his debut as a director in (2006), ‘Parzania’ (2007), ‘Jaane Tu Ya Jaane Na’ in which he plays the role of a portrait on the wall, and ‘Mere Baap Pehle Aap’ in 2008. . . As I said, his notable performances are simply too numerous to be sampled.

Naseer was born in Barabanki (UP) on 20th July, 1949. His parents, Aley Mohammed Shah and Farrukh Sultan, are originally from Meerut. His school education happened at St. Anselm’s in Ajmer and St. Joseph’s College in Nainital. After doing his BA from Aligarh Muslim University, he joined the National School of Drama in Delhi. From there on, the rest is all fairly recent history. His work, on stage and on screen is the story of his life.

On the way, he has earned two National awards for the best actor – ‘Sparsh’ in 1979 and ‘Paar’ in 1984, and one National award for the best supporting actor in ’Iqbal’ (2006). He also has to his credit three Filmfare awards for Best Actor –  ‘Aakrosh’ (1981), ‘Chakra’ (1982) and ‘Masoom’ (1984). He also won the Volpi award for the best actor at the Venice Film Festival in the year 1984 for his performance in ‘Paar’. He has also been honored with the national awards of Padam Shri (1987) and Padam Bhushan (2003).

The song being presented today is a repeat category item with a slight difference. It is a medley of 6 songs, that have been strung together into a wonderful imitiation performance by Naseer. There is a specific similarity in this set of songs. All are rendered by Rafi Sb, and all are Shammi Kapoor songs on screen. The audio segments edited together are all original renditions, with no effort to re-record or improvise.

The choice of Shammi Kapoor songs all – you may ask. Yes, the interesting background to this song does indeed involve Shammi Kapoor as an important figure in the storyline, albeit in absentia.

The film is ‘Sitam’ from 1984. The film is produced by Vikram, and is directed by the husband wife team of Aruna Raje and Vikas Desai. The main cast of actors is Naseeruddin Shah, Smita Patil, Vikram. Asrani, Sulabha Deshpande, Seema Deo, Vikas Desai, Arun Sarnaik, Keith Stevenson amongst others.

Subhash Munkur (role played by Naseeruddin Shah) is a lively, jolly fellow who loves to live the life to its fullest. He is a middle income family person, working in a certain office. He is an avid football player and is the captain of the homegrown team in his company. He is also a very fervent fan of Shammi Kapoor, and imitates his acting and sings his songs. His wife, Meenakshi (role played by Smita Patil) is a home maker, and they have a small son to complete their small dream world.

One day, suddenly, this dream world is mortally shattered. Subhash passes away in a freak inadvertent accident on the football field. Meenakshi is devastated and crushed – she had a very loving relationship with her husband.

This song medley appears in the film a little while after the accident. Meenakshi is alone at home and the memories of Subhash are all around her, and she is traumatized by them. She envisions him still in the home, and singing Shammi Kapoor songs as he used to, to woo her and also to irritate her. Whichever part of the home she goes to, there is a song and a vision attached with it, and she continues to see him singing, in the balcony, in the kitchen, in the bedroom, on the dining table – everyplace in the home. She is not able to hold her grief, and is sobbing and in tears all the time, while this ‘dream of wide open eyes’ is being enacted around her.

So here is a treat of Shammi Kapoor songs, performed quite well by Naseeruddin Shah. Of course the original personality is the big difference, but still, it is a creditable imitation. Once again, this medley is not listed in the EP of the film or in the Geet Kosh and is available only on the film track.

The rest of the story is an interesting premise. Inder (role played by Vikram), the person who inadvertently caused the accident on the football field, is till then unknown to Meenakshi. He locates her and tries to become friendly with her and her son. He is guilt ridden and some how wants to make some amends, he knows not how. But then Meenakshi discovers the truth behind his visits. She further accuses him, berates him and in anger asks him to leave her home. Inder goes back and attempts to commit suicide by slashing his wrists. He is taken to the hospital and saved, but now the guilt factor in his mind has multiplied manifold. He becomes suicidal and a mental patient, and is shifted to the mental ward. The doctors understand his situation that the only remedy for him is to get forgiveness from Meenakshi. And of course, Meenakshi, in her own shattered state of mind, is in no condition or frame of mind to forgive Inder.

This is actually where the film starts. The earlier events are presented as a flashback, and the rest of the film is about how Meenakshi comes to terms with her grief, and ends up forgiving Inder. The film is a very interesting psychological narrative.

Enjoy this replay of six of the famous songs of Shammi Kapoor. I have listened to and viewed this clip so many times now, and every time, it seems to end just too soon. One does not realize that more than three minutes have passed. And the mind actually waits for yet one more song segment.

And the added bonus is the improvised performance by Naseeruddin Shah. Great performer, great actor – I am sure you will agree.

 

Song – Kisi Na Kisi Se Kabhi Na Kabhi (medley)  (Sitam) (1984) Singers – Mohammed Rafi, Lyrics – [multiple], MD – [multiple]

Lyrics

kisi na kisi se
kabhi na kabhi
kahin na kahin dil lagaana padega. . .

tum ne mujhe
dekha
ho kar
meharbaan
ruk gayi ye zameen
tham gaya aasmaan
jaan e mann
jaan e jaan
tum ne mujhe
dekha. . .

badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye. . .

kya haseen mod par aa gayi zindgani
ke haqeeqat na ban jaaye meri kahaani
jab aahen bhare ye thandi pawan
seene mein sulag uth’ti hai agan
tujhe dekh ke kehta hai mera mann
kahin aaj kisi se mohabbat na ho jaaye. . .

dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas. . .

tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar. . .

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

किसी ना किसी से
कभी ना कभी
कहीं ना कहीं दिल लगाना पड़ेगा॰ ॰ ॰

तुम ने मुझे
देखा
हो कर
मेहरबान
रुक गई ये ज़मीन
थम गया आसमान
जान ए मन
जान ए जान
तुम ने मुझे
देखा॰ ॰ ॰

बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये॰ ॰ ॰

क्या हसीन मोड़ पर आ गई ज़िंदगानी
के हक़ीक़त ना बन जाये मेरी कहानी
जब आहें भरे ये ठंडी पवन
सीने में सुलग उठती है अगन
तुझे देख के कहता है मेरा मन
कहीं आज किसी से मोहब्बत ना हो जाये॰ ॰ ॰

दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास॰ ॰ ॰

तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर॰ ॰ ॰


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 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 : 4003 Post No. : 15106

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 37
——————————————————————————————

This day, ten years ago – as such sections are generally titled in newspapers that carry a review of their news content from 50 or 100 or 150 years in the past. Well yes, our antecedents are more modest, and so we hark back 10 years into our collection on the blog. On 4th July, ten years ago, the films that got posted were,

 

Jauhri 1951
Dholak 1951
Chaand Mere Aaja 1960
Bank Manager 1959
Faulaad 1963
Jawaab 1970

 

Of these six films, three had made their debut on that date. The debut making films are ‘Jauhri’ (1951), ‘Chaand Mere Aaja’ (1960) and ‘Jawaab’ (1970).

And then, of these six films, three have been yippeee’d so far – ‘Dholak’, ‘Bank Manager’ and ‘Faulaad’. Of the remaining six, one film is on the threshold of being announced as a yippee film. And this film is ‘Chaand Mere Aaja’. So we are posting the final song of this film, to formally announce this film as being yippeee’d today.

Reminds me, it would be an interesting analysis to know, how many of the Ten Year Challenge posts are resulting in the film being yippeee’d. Meaning that the film’s debut date and the yippee date are exactly 10 years apart.

The film ‘Chaand Mere Aaja’ of 1960 has 7 songs listed in the Geet Kosh. Of these, six are already showcased on our blog. We bring on board, the final song of this film today. It is interesting to note that, as per the Geet Kosh, six of the songs of this film are available on gramophone records. And the 7th, which is today’s song, is available only in the film’s soundtrack. Thankfully, the video clip of this song is available online.

The song is written by IC Kapoor. Music composition is by Chitragupt. And the singing voice is of Mohammed Rafi. On screen, this song is performed by Bharat Bhushan. The song is presented in a party, where apparently, the tone of the song does not quite jell with the mood and ambience of a get together of the rich and well to do people.

In any case, we bring on board the last and final song of this film, adding it to the list of films with all songs covered –  over a period of ten years – exactly. 🙂

 

Song – O Duniyawaalo Kaisa Tumhaara Ye Sansaar Hai (Chaand Mere Aaja) (1960) Singer – Mohammed Rafi, Lyrics – IC Kapoor, MD – Chitragupt

Lyrics

o duniya waalo..oo
oo oo oo oo
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
jhoothe ki jeet yahaan
sachche ki haar hai
jhoothe ki jeet yahaan
sachche ki haar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

bade bade bazaar saja kar
gali gali mein dhol baja kar
sona dikhla peetal bechen
gin kar paise poore letey
dil ka sauda jaan ka sauda
hota hai imaar ka sauda
khoon pasina bik jaata hai
maut aur jeena bik jaata hai
pooch raha hai tumse bolo
kaisa ye vyohaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

aansoo le lo aanhen le lo
hasrat le lo chaahen le lo
taambe ka ik tukda phenko
toote dil ki duaaen le lo
loot chuke ho duniya saar
is par bhi taqraar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

sapnon ki duniya ko chhodo
asliyat se munh na modo
kab tak jhoothi shaan rahegi
do din to ye jaan rahegi
saaz samay ka bol raha hai
raaz ke taale khol raha hai
kaath ki handiya jal ke rahegi
khota ye vyopaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo
kaisa tumhaara ye sansaar hai
o duniya waalo..oo

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

ओ दुनिया वालो॰॰ओ
ओ ओ ओ ओ
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
झूठे की जीत यहाँ
सच्चे की हार है
झूठे की जीत यहाँ
सच्चे की हार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

बड़े बड़े बाज़ार सजा कर
गली गली में ढ़ोल बजा कर
सोना दिखला पीतल बेचें
गिन कर पैसे पूरे लेते
दिल का सौदा जान का सौदा
होता है ईमान का सौदा
खून पसीना बिक जाता है
मौत और जीना बिक जाता है
पूछ रहा है तुमसे बोलो
कैसा ये व्योहार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

आँसू ले लो आहें ले लो
हसरत ले लो चाहें ले लो
तांबे का इक टुकड़ा फेंको
टूटे दिल की दुआएं ले लो
लूट चुके हो दुनिया सारी
इस पर भी तक़रार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ

सपनों की दुनिया को छोड़ो
असलियत से मुंह ना मोड़ो
कब तक झूठी शान रहेगी
दो दिन तो ये जान रहेगी
साज़ समय का बोल रहा है
राज़ के ताले खोल रहा है
काठ की हँडिया जल के रहेगी
खोटा ये व्योपार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो
कैसा तुम्हारा ये संसार है
ओ दुनिया वालो॰॰ओ


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 ELEVEN years. This blog has more than 15600 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

15640

Number of movies covered in the blog

Movies with all their songs covered =1207
Total Number of movies covered =4307

Total visits so far

  • 13,509,113 hits

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Category of songs

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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