Posts Tagged ‘Neelam’
Patjhar saawan basant bahaar
Posted on: September 4, 2023
- In: Duet | expression of love | Feelings of heart | Guest posts | Lata song | Lata-Md Aziz duet | Lata-Suresh Wadkar duet | Mohammad Aziz song | Multiple version song | Post by Peevesie's mom | Songs of 1980s (1981 to 1990) | Songs of 1987 | Stage song | Suresh Wadkar songs | Yearwise breakup of songs
- 16 Comments
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.
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Blog Day : |
5526 | Post No. : | 17977 |
Hullo Atuldom
‘Sindoor’ (1987) was a movie produced by A Krishnamurti & directed by K Ravi Shankar. The movie starred Shashi Kapoor, Jaya Prada, Govinda, Neelam, Kadar Khan, Shakti Kapoor, Gulshan Grover, Aruna Irani, Asrani, Baby Guddu (the pet child actor of those times), AK Hangal, Prem Chopra (if my memory is correct Prem Chopra was in a double role), & Ramesh Deo. Jeetendra & Rishi Kapoor had guest & special appearance respectively. Songs were written by Anand Bakshi & tuned by Laxmi-Pyaare.
This lyricist-music director team gave us some great songs in that period. Today’s song is no less a melody. It was very popular in its time, heard often on Doordarshan (Chhaayageet etc.) & Vividh Bharati. The song had two versions, both were on-stage performances. One version had Shashi Kapoor & Neelam while the other was a duet between Rishi Kapoor & Jaya Prada. The common link between the 2 versions were Lata Mangeshkar and most of the lyrics. The male singers used for the two heroes were Suresh Wadkar & Mohammad Aziz.
Rishi Kapoor (Kumar) played a stage artist who had Jaya Prada (Laxmi) as his singing partner. Shashi Kapoor (Vijay) who played a professor who always had doubts about being worthy of his beautiful wife Laxmi in spite of being happily married. He had a feeling that Kumar & Laxmi shared more than their love for music. The gossip among fans of the music duo hardly helps matters. Things get out of hand & eventually, Laxmi leaves her home. On the same day, Vijay comes to know that Kumar is marrying someone else when he comes to invite Laxmi & Vijay.
The film had a few flashbacks – one showed the story of Laxmi, Vijay & Kumar and the other showed how Laxmi came to wear the white saree denoting that she was a widow. I think that there was one more flashback which showed why Lalita (Neelam) is kidnapped by Shera (Shakti Kapoor) when she was a baby & Prem Kapoor (Jeetendra) requesting Laxmi to take care of Lalita as her own child.
Then the film goes through a lot of scenes where the characters use glycerine at times when there are misunderstandings (there are many in the film), lot of sermons delivered by Kader Khan and a little dishoom-dishoom (what is a Hindi movie without dishoom-dishoom specially when Govinda & Shakti Kapoor are in the cast 🙂 ) The film comes to a close with Laxmi & Vijay getting back together. Vijay accepts Lalita as a daughter, and Ravi (Govinda) & Lalita get married with parental blessings from Laxmi and Vijay. And there are smiles all around.
Jaya Prada’s first hero in Hindi films was Rishi Kapoor, this was their second film which was followed by ‘Ghar Ghar Ki Kahani’ in 1988. This was the only film which had Shashi Kapoor sharing screen space with Jaya Prada.
Incidentally, today is Rishi Kapoor’s birth anniversary. He would have turned 71. And yesterday was Pyaarelal Ramprasad Sharma’s 83rd birthday. I hope I don’t need to say that Pyaarelal Ramprasad Sharma is Pyaarelal of the Laxmi-Pyaare duo.
Wishing Pyaarelal ji a (belated) happy birthday and remembering our cute Kapoor ‘Chintu’ a.k.a Rishi Kapoor.
Version I
(picturised on Neelam and Shashi Kapoor)(Sung by Lata and Md Aziz)
Version II
(picturised on Jaya Prada and Rishi Kapoor) (Sung by Suresh Wadkar and Lata)
Song-Patjhar saawan basant bahaar (Sindoor)(1987) Singers-Md Aziz/ Suresh Wadkar, Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both
Lyrics
Version I
o o o
o o o o
o o o o o
o o o o
patjhar saawan basant bahaar
patjhar saawan basant bahaar
ek baras ke mausam chaar
mausam chaar mausam chaar
paanchwa mausam pyaar ka intezaar ka
paanchwa mausam pyaar ka intezaar ka aa
patjhar saawan basant bahaar
ek baras ke mausam char
mausam chaar mausam chaar
paanchwa mausam pyaar ka intzaar ka
paanchwa mausam pyaar ka intzaar ka aa
patjhar saawan basant bahaar
koyal kooke
ku ku ku ku
koyal kooke bulbul gaaye
har ik mausam aaye jaaye
har ik mausam aaye jaaye
lekin pyaar ka mausam aaye
lekin pyaar ka mausam aaye
saare jeewan mein ek baar ek bar
patjhar saawan basant bahaar
patjhar sawan basant bahaar
ek baras ke mausam char
mausam chaar mausam chaar
paanchwa mausam pyaar ka intezaar ka
paanchwa mausam pyaar ka intezaar ka
patjhar saawan basant bahaar
rangon ka mela ye jag saara
rangon ka mela ye jag saara
rang badalti jeewan dhaara
rang badalti jeewan dhaara
pyaar ka rang hai sabse pyaara
pyaar ka rang hai sabse pyaara
rang bhi range rang hazaar
rang hazaar
patjhar saawan basant bahaar
patjhar saawan basant bahaar
ek baras ke mausam chaar
mausam chaar mausam chaar
paanchwa mausam pyaar kaa intezaar ka
paanchwa mausam pyaar kaa intezaar ka
patjhar saawan basant bahaar
patjhar saawan
——————————–
Version II
——————————–
aaa aa aa aa aa aa
aa aa aa aa
aa aa aa aa aa aa
o o
o o
o o o o o o
patjhar saawan basant bahaar
patjhar saawan basant bahaar
ek baras ke mausam chaar
mausam chaar mausam chaar
paanchwa mausam pyaar ka aa intezaar ka
paanchwa mausam pyaar ka aa intezaar ka aa
patjhar saawan basant bahaar
ek baras ke mausam chaar
mausam chaar mausam chaar
paanchwa mausam pyaar kaa intezaar ka
o o o o o o o
panchwa mausam pyaar ka intezaar ka aa
patjhar saawan basant bahaar
koyal kooke
ku ku ku ku
ho ho ho ho ho ho
koyal kooke bulbul gaaye
har ik mausam aaye jaaye
har ik mausam aaye jaaye
ho o
lekin pyaar ka mausam aaye
lekin pyaar ka mausam aaye
saare jeewan mein ek baar ek baar
patjhar saawan basant bahaar
patjhar saawan basant bahaar
ek baras ke mausam chaar
mausam chaar mausam chaar
paanchwa mausam pyaar ka intezaar ka
paanchwa mausam pyaar ka intezaar ka aa
patjhar saawan basant bahaar
phool khile na aa aa baadal barse ae
phool khile na aa baadal barse ae
pyaar ke mausam mein dil tarse
pyaar ke mausam mein dil tarse
mere galey mein apni nazar se
mere galey mein apni nazar se
daal do tum baahon ke haar aar aar
patjhar saawan
patjhar saawan basant bahaar
patjhar saawan basant bahaar
patjhar saawan basant bahaar
patjhar saawan
Ye purnoor chehra ye dilkash adaa
Posted on: March 3, 2023
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.
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Blog Day : |
5341 | Post No. : | 17515 |
“Mohabbat Zindagi hai”(1966) was produced by K C Gulati and directed by Jagdish Nirula for Roop Chhaaya, Bombay. The movie had Dharmendra, Rajshree, Mehmood, Nazir Hussain, Chaand Usmani, Deven Verma, Badri Prasad, Sunder, Man Mohan, Madhavi, Supported by Kundan, Kesho(Keshav Rana), Parasram, Kirti aka Kirti Kumar,
Raj Dewan, Dinanath, Johnny Whiskey, Prabhuji, Neelam, Geetanjali, Thelma, Sujata, Neeta Sinha, Krishna Duggal, Sameena etc. The movie introduced Subhash, Kumar Anand, Mulkhi, Anita and Child Sweety Dutt as well.
“Mohabbat Zindagi hai”(1966) had eight songs in it. Six songs have been covered so far.
Here is the seventh song from the movie to appear in the blog. This song is sung by Rafi and female chorus. S H Bihari is the lyricist. Music is composed by O P Nayyar.
The song is picturised on Mehmood, Madhavi, Sujata(the dancer)and Neelam. The picturisation shows Mehmood in a river singing this song for the three ladies also there on the river. The movie was picturised at Dhanbad Jharia Coal Mines (and also in studios of Kardar,Rajkamal,Roop tara,Modern). So one guesses that the river showm in the picturisation could be Damodar River that flows in that Coalmines area, or its tributory, the river Katri. I request our knowledgeable readers to throw light on the matter.
The song is clearly part of comic side plot of the story. The song bears unmistakable resemblence with “Ye chaand sa raushan chehra” from “Kashmir Ki Kali”(1964) which was created by the same musical team.
Lyrics of the song and other details were sent to me by Prakashchandra.
This song is the 4000th song in the blog from the decade of 1960s (1961-1970).
Audio link:
video link: (shorter than the audio link )
Song-Ye purnoor chehra ye dilkash adaa (Mohabbat zindagi Hai)(1966) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
Female chorus
Lyrics( of audio link)(Provided by Prakashchandra)
ye purnoor chehraa
ye dilkash adaa
namoonaa ho kudrat ki kaareegaree kaa
naheen tumse behtar koyee doosraa
namoonaa ho kudrat ki kaareegaree kaa
ye purnoor chehraa
ye dilkash adaa
namoonaa ho kudrat ki kaareegaree kaa
haseenon tumhaari jo poojaa karey ae
usee ko hi duniya mein jannat miley
haseenon tumhaari jo poojaa karey ae
usee ko hi duniya mein jannat miley
na dekhaa ho o
na dekhaa ho jisne khudaa ko kabhee
khudaa ki qasam woh tumhein dekh ley
tumhee se hai jannat
tumhee se khudaa
namoonaa ho kudrat ki kaareegaree kaa
ye purnoor chehraa
ye dilkash adaa
namoonaa ho kudrat ki kaareegaree kaa
tumhaari ye patli kamar jaaneman
lachakti huyee jaise shaakh-e-chaman
tumhaari ye patli kamar jaaneman..nn
lachakti huyee jaisey shaak-e-chaman
khudaa jaaney ae huhh
khudaa jaane kiske muqaddar mein hai
ye phoolon se naazuk tumhaara badan
jisey chhoomti hai chaman ki hawaa
namoonaa ho kudrat ki kaareegaree kaa
ye purnoor chehraa
ye dilq\kash adaa
namoonaa ho kudrat ki kaareegaree kaa
chalee ho kahaan ye bataa do zaraa
liye sar pe zulfon ki kaali ghataa
chalee ho kahaan ye bataa do zaraa
liye sar pe zulfon ki kaali ghataa
kaheen par to o
kaheen par to barsengi ye badliyaan
mujh hee par jo barsein
to kyaa hai buraa
kabhi chalke dekho to sheeshaa zaraa
naheen tumsaa buddhoo koyee doosraa
namoonaa ho kudrat ki kaareegaree kaa
ye purnoor chehraa
ye dilkash adaa
namoonaa ho kudrat ki kaareegaree ka
naheen tumse behtar koyee doosraa
namoonaa ho kudrat ki kaareegaree kaa aaaa
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.
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Blog Day : |
5126 | Post No. : | 17077 |
Hullo Atuldom
“Farz Ki Jung” (1989) was a movie produced by Dalwinder Sohal and directed by R.P. Swamy. It was written by Amrit Aryan and released on 17th March 1989. It had a cast of Shashi Kapoor, Dalwinder Sohal, Raza Murad, Amrish Puri, Gita Siddharth, Iftikhar, Anjana Mumtaz, Ashalata, Padma Khanna, Bob Christo, Satyen Kappu, Master Bhagwan, etc. It had Govinda and Neelam too. Music was by Bappi Lahiri and songs were written Naqsh Lyallpuri and Anjaan. Asha Bhonsle, Chandrani Mukherjee, Alisha Chinoy, Vijay Benedict, were the playback singers used. Plus a surprise singer.
The movie was a run-of -the mill story of an honest cop (Shashi kapoor) who is falsely charged with possession of drugs. His mother dies of shock. He is imprisoned and comes out of jail a changed man and becomes a criminal. The stage is now set for his younger brother (Dalwinder Sohal), who has been assigned the task of bringing the criminal to book.
I haven’t seen or heard anything about this film so I am not in a position to know what role Govinda has. But my interest was kindled when I read that this film has a song in the voice of the legendary Mohd. Rafi. (the surprise that I mentioned in a previous paragraph). Possibly it was the only highlight of this movie. I have also read that it was recorded sometime in 1980 for another movie (“Hari Bhari”, I think) which was shelved. That song found a life when it was used in this movie. Thus Govinda became the youngest actor on whom a Mohd. Rafi was filmed.
A few years back when I was looking to see if there was any song of Anil Kapoor sung by Mohd. Rafi (as Anil Kapoor had started his journey in films sometime in 1977, acting debut came in 1980). This song was the closest I could find. But Govinda seems to have been luckier than other debutants of that period- Sunny Deol, Sanjay Dutt, Kumar Gaurav, Anil Kapoor, Jackie Shroff etc. I don’t even know the box-office fate of this film ‘Farz Ki Jung’ but let us not delve on that.
Today on the occasion of Rafisaab’s 42nd anniversary we are having this song. I am not attempting a biography of this singer, which Hindi film music lover doesn’t know about him; even the new generation cannot escape his magic -the song from “Fanney Khan” (2018) is an example. I am not even going to list out any of my favourite songs sung by the legend for fear making a long list and still not writing out all.
As Mohd. Rafi has sung in a song of his
“Tum mujhe yun bhula na paaoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gun gunaoge”
humming his songs and thinking of The Mohd. Rafi
Song-Phool ka shabaab kya husn e maahtaab kya (Farz Ki Jung)(1989) Singer-Rafi, MD-Bappi Lahiri
Lyrics
phool ka shabaab kya
husn e maahtaab kya
aap to bas aap hain
aap ka jawaab kya
aap ka jawaab kya
phool ka shabaab kya
husn e maahtaab kya
aap to bas aap hain
aap ka jawaab kya
aap ka jawaab kya
zulfon se khele mahki hawaayen
uff ye jawaani
uff ye adaayen
uff ye jawaani
uff ye adaayen
surkh lab ke saamne
shokhi ye gulaab kya
phool ka shabaab kya
husn e maahtaab kya
aap to bas aap hain
aap ka jawaab kya
aap ka jawaab kya
aankhon mein tauba
kitna nasha hai
main kya ye mausam behka hua hai
laayegi ye mastiyaan koi bhi sharaab kya
phool ka shabaab kya
husn e maahtaab kya
aap to bas aap hain
aap ka jawaab kya
aap ka jawaab kyaa aa
aap ka jawaab kya
gore badan se
lipta hua hai
paani ki dekho taqdeer kya hai
paani ki dekho taqdeer kya hai
yoonhi dekhta rahoon
main haseen khwaab kya
phool ka shabaab kya
husn e maahtaab kya
aap to bas aap hain
aap ka jawaab kya
aap ka jawaab kya aa
aap ka jawaab kya
Aaj bas mein nahin dil mera
Posted on: August 24, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4785 | Post No. : | 16541 | Movie Count : |
4502 |
The history of Hindi film songs indicates that, by and large, singers who have been formally trained (gandabandha disciples) as Hindustani classical/semi-classical vocalists had the marginal presence in the Hindi films as playback singers. They mainly concentrated on their career as public or private concert singers. Some of them like Mukhtar Begam, Begam Akhtar, Indubala, Angoorbala, Kamala Jharia etc who were actor-singer during the early phase of the sound films, later concentrated on their career as vocalists in Hindustani classical and semi-classical genres.
In the Bombay (Mumbai) film industry, after the system of playback singing was firmly established, some of the singers who had been trained as Hindustani classical vocalists, had a tryst as playback singers/actor-singers. They included Roshanara Begam, Sureshbabu Mane, Mallika Pukhraj, Wahidanbai, Khan Saraswati Rane, Menakabai (Shirodkar), Manik Dadarkar (Varma), Nirmala Devi, Nalini Mulgaonkar etc in the late 1930s to 1940s. While Wahidanbai died in harness in 1942, rest of them almost gave up the career of singing in Hindi films during the subsequent years and concentrated on their career as vocalists in Hindustani classical music.
Well-established Hindustani classical vocalists like Pandit D V Paluskar, Ustad Bade Ghulam Ali Khan, Ustad Amir Khan, Pandit Bhimsen Joshi, Hirabai Barodekar, Pandit Krishnarao Chonkar, Kishori Amonkar etc very sparingly did playback singing in Hindi films and that too for the raag-based compositions. The main reason seems to be that they were more concerned about retaining their identity as Hindustani classical vocalists than being branded as playback singers in films. The other reasons could be that in playback singing, singers are required to sing ‘made to order’ songs set to tune by the music directors while in concert the singers have lots of freedom in show-casing their creativities.
Kolkata-born Roshanara Begam (1917 – 05/12/1982) was one of the formally trained Hindustani classical vocalists who got associated with Hindi films as actor-singer in early 1930s without being her intention to do so. In Kolkata, she was trained in Hindustani classical music by Ustad Laddan Khan among others. But after listening to the renditions of Ustad Abdul Karim Khan, the doyen of Kirana Gharana, she was keen to become his disciple. With this intention, Roshanara Begum shifted to Mumbai in early 1930s.
It took some time for her to be accepted as his disciple by Ustad Abdul Karim Khan as he was based in Miraj and used to travel on his concert tours. In the meanwhile, the makers of ‘Watan Parast’ (1934) were looking for good singers to act as hero and heroine in the film. After listening to her renditions, Roshanara Begum got the role of a heroine in the film along with Professor Ramanand Sharma as a hero who was also a good singer. Incidentally, she was given a new name, Roshanara which was derived from her name, Roshan Jahan, the name given to her by a Fakir. However, her real name was Wahidunnisa.
‘Noor-E-Islam’ (1934) was her next film in which she again paired with Professor Ramanand Sharma as singer-actor. Although a few internet sites indicate that Roshanara Begum worked in about dozen films as singer-actor, in her TV interview, she revealed that she worked in only 3-4 Hindi films. This may be true as sometime in 1935, she was formally inducted as a disciple of Ustad Abdul Karim Khan and he had put a condition that during her training period, she should not work in films. She was trained under him for less than 2 years as Ustad Abdul Karim Khan passed away on 17th October 1937.
Roshanara Begam continued her training in Hindustani classical music with Ustad Abdul Wahid Khan, the brother-in-law of Ustad Abdul Karim Khan. By 1940, Roshanara Begam has become an established vocalist in Hindustani classical music and was getting invitations from all over India. During one of such concerts in Mumbai, a police officer from West Punjab who was on a transfer to Mumbai heard her singing and he fell in love with her. She married the police officer on the condition that after the marriage, she would continue her career as a vocalist.
After the partition, Roshanara Begam shifted to her husband’s place in Lalmusa in West Punjab in 1948. For about one year, she did not sing either in concert or on Radio as her in-laws were against her singing. However, after a lot of persuasion from a senior official of Radio Pakistan, she was allowed to sing on the radio. Later she also started participating in Lahore Musical Conferences and also on Television. Like in India, Roshanara Begam occasionally sang in a few films in Pakistan as a playback singer.
Roshanara Begam sang in almost all genres of Hindustani classical and semi-classical music – Khayaal, Tarana, Bandish, Thumri, Ghazal, Bhajan but her preferred genre was Khayaal. Two factors inhibited her career growth in Pakistan, First, the Hindustani classical music was losing ground in Pakistan and the semi-classical genres such as thumri and ghazal were in demand. Secondly, she was staying in a small town which was far off from the Lahore, the main cultural centre of Pakistan. Roshanara Begam kept the flag of Kirana Gharan afloat along with her ‘Guru Behan’ Hirabai Barodekar and Pandit Bhimsen Joshi.
Roshanara Begam passed away on December 6, 1982 at the age of 65 leaving behind her two adopted children, her pet dogs and cats.
In the midst of her busy schedule as a concert singer, Roshanara Begam occasionally sang in a few Hindi films as a playback singer such as ‘Pehli Nazar’ (1945), ‘Neelam’ (1945), ‘Hamjoli’ (1946), ‘Jugnu’ (1947) etc.
I was not aware that Roshanara Begam had sang a couple of songs in an obscure film, ‘Neelam’ (1945) until I came across videos of two songs uploaded by Girdharilal Vishwakarma on a video sharing platform about 3 years back. The film was made under the banner of A H Productions and was directed by Ahmed Essa. The star cast included Harish, Meena, Yashodara Katju, Jagdish Sethi, Kalyani Bai, Mehdi Raza, Satya Rani, Kanhaiyalal etc.
There were 9 songs in the film all written by C M Hunar which were set to music by Khan Mastana. I am presenting the first song, ‘aaj bas mein nahin dil mera’ a solo sung by Roshanara Begam from ‘Neelam’ (1945) to appear on the Blog. The song is written by C M Hunar which is set to music by Khan Mastana.
The song is a reflection of a girl who has just fell in love with someone for the first time. There is excitement as well as fear in the new relationship, reasons for which are unknown to her.
With this song, ‘Neelam’ (1945) makes its debut on the Blog.
Audio Clip:
Song-Aaj bas mein nahin dil mera (Neelam)(1945) Singer-Roshanara Begam, Lyrics-C M Hunar, MD-Khan Mastana
Lyrics
hmm hmm hmm hmm
hmm hmm hmm hmm
aaj bas mein nahin dil mera..aa aa
mera..aa
na jaane kyun
kyun
aaya thhaa raate sapna suhaana
sapna suhaana..aa
ek bulbul ka gul ko sataana
ek bulbul ko gul ko sataana
gul ka shabnam mein munh ko chhipaana
gul ka shabnam mein munh ko chhipaana
chhipaana….aa aa
na jaane kyun
kyun
chutkiyaan leta hai
hmm hmm hmm hmm
chutkiyaan leta hai dil mera..aa
mera
naa jaane kyun
kyun
aaj bas mein nahin dil mera
mera
na jaane kyun
kyun
aur kehta hai dil mera
chupke chupke he he he
aur kehta hai dil mera
chupke chupke
nahin achchaa hai sapna bataana
nahin achchaa hai sapna bataana
bataana..aa aa
na jaane kyun
kyun
rokta hai mujhe
hmm hmm hmm hmm
rokta hai mujhe dil mera..aa
mera..aa
na jaane kyun
kyun
aaj bas mein nahin dil mera…aa
mera..aa
na jaane kyun
kyun
kyun
O saathhiyaa ab darr kyaa
Posted on: December 21, 2020
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.
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Blog Day : |
4539 | Post No. : | 16108 | Movie Count : |
4395 |
Hullo Atuldom
21st December happens to be the birthday of an entertainer who is the son of yesteryear (meaning the ’40s and ’50s) actor-producer Arun Kumar Ahuja and singer-actress Nirmala Devi. He is part of a family of 5 children -3 sisters and 2 brothers. All the children of Arun Ahuja are connected to the entertainment industry either directly or because of their children. The oldest daughter- Pushpa’s son Vinay Anand is an actor; second daughter- Padma’s son Krushna Abhishek and Arati Singh are actors; third daughter -Kamini herself is a writer, music director, singer, anchor etc.- daughter Ragini and son Amit are actors. Next of Arun Ahuja’s children is Kirti Kumar who is a director and an occasional actor. Then comes our today’s birthday boy- Govind Ahuja who gained popularity as Govinda.
Govinda started his career as an actor doing roles that were not necessarily in the comedy genre but showcased all aspects of acting viz. action, emotion, dancing etc. I remember having read his interview in magazines at the time of his debut, about how he had circulated his VHS tape to various production house that emphasized his dancing skills. I also recall reading how he had auditioned for a character in B R Chopra’s tele-series ‘Mahabharat’ before being signed by his maternal uncle Anand Singh (who happened to be Hrishikesh Mukherjee’s assistant in movies like ‘Khoobsurat’ and also played the character of Rakesh Roshan’s doctor friend in that). But ‘Tan Badan’ released after ‘Ilzaam’ and ‘Love 86’. Neelam was his heroine in many of his movies in that period.
Then he found his comic timing when he teamed up with David Dhawan in the ’90s and we found him cast opposite Karisma Kapoor, Raveena Tandon, Juhi Chawla etc. We have seen him play second lead in movies of the late ’80s where Dilip Kumar, Raj Kumar, Rajesh Khanna, Shashi Kapoor, Vinod Khanna, Dharmendra, Amitabh Bachchan, Shatru, Jeetu etc. played main protagonists. And Govinda says that those were learning experiences for him.
Currently we see him sharing screen-time with the likes of Salman Khan and Akshay Kumar.
Govinda has received 12 Filmfare nominations including best actor, best performance in a comic role and even a Best Villain. Yes he has played a villain too and he was very good at it in the N. Chandra directed 2000 release ‘Shikaari’. He has won 3 filmfare and numerous other awards.
It looks like his favourite male co-actors have been Shakti Kapoor (42 films), Kadar Khan (41 films), Johnny Lever (22 films), Satish Kaushik and Paresh Rawal (14 films with each).
Today’s song is from a movie that was released in 1989 but is not remembered by many I suppose. It had music by Bappi Lahiri; Anjaan and Naqsh Lyallpuri were the lyricists. From what I read on IMDB.com the story appears to be the usual masala stuff of an honest cop deciding that honesty doesn’t pay and having to encounter his own brother who has grown up to be an honest cop out to nab the cop-turned-criminal.
The cast was headed by Shashi Kapoor (possibly one of his last releases), Neelam Kothari and Govinda with Amrish Puri, Bob Christo, etc were in the supporting cast.
Here is this song from this movie. It is sung by Shabbir Kumar and AnuradhaChandrani Mukherjee. Lyricist is not known.
The song is picturised on Govinda and Neelam. It is quite a hummable song to listen to, even though the song failed to get popular.
“Farz Ki Jung”(1989) makes its debut with this song.
Audio
Video
Song-O saathiyaa ab darr kya (Farz Ki Jung)(1989) Singers-Shabbir Kumar, Chandrani Mukherjee, MD-Bappi Lahiri
Both
Lyrics
o saathiyaa aake
ab darr kya aa aa
pyaar kiya aa
to pyaar kiya
o saathiyaaa aa
ab dar kya aa
pyaar kiya to pyar kiya
o saathiya aa aa
ab dar kya
pyaar kiya to pyaar kiya
dil mein aake
dil se na jaana
waada nibhaana
bhool na jaana
dil mein aake
dil se na jaana
waada nibhaana
bhool na jaana
o sathiya aa aa
ab dar kya aa
pyaar kiya to pyaar kiya
pyaar hai bandhan
do roohon ka
prem hai do saanson ka sangam
janam janam ka saath hai apna
mar kar bhi na honge juda hum
pyaar hai bandhan do roohon ka
prem hai do saanson ka sangam
janam janam ka saath hai apna
mar kar bhi na honge juda hum
ye rishta hai sadiyon puraana
rishta puraana
bhool na jaana
o sathiya aa aa
ab dar kya aa
pyaar kiya to pyaar kiya
dil mein aake
dil se na jaana
waada nibhaana aa
bhool na jaana
o o o o
o o o
aa aa aa
aa aa aa aa
roke khuda ya roke khudaayi
milne waale mil jaate hain
phool mohabbat ke to aksar
angaaron pe khil jaate hain
roke khuda ya roke khudaayi
milne waale mil jaate hain
phool mohabbat ke to aksar
angaaron pe khil jaate hain
rab roothhe ya roothe zamaana
mushqil hai ye pyaar mitaana
o saathiya aa
ab dar kya aa
pyaar kiya to pyaar kiya
pyaar kiya to pyaar kiya
Saajna main sada tere saath hoon
Posted on: August 7, 2018
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 : | 3672 | Post No. : | 14554 |
I just realized that, in the last few years, most of my posts here have been linked to a specific occasion. A birth anniversary, a death anniversary, a blog milestone or something similar.
In the past, I would write a post just for the heck of it – but my writing has gone down considerably. Not just in quality, but in quantity too. And I think there’s a correlation here – it’s a vicious circle. As with many skills, practice makes perfect. Forget perfection, but practice at least helps keep a skill alive.
The less I write, the less I find myself able to string words into sentences – and sentences into paragraphs. Words used to flow in the past, now they’re like Indian batsmen, barring Kohli, batting in English conditions. 🙂
So I thought I should write a post “ainven”. No anniversary or occasion – just writing for the heck of it.
The trigger for this post is actually a recent post by Peevisie’s Mom. On the occasion of Kishore Kumar’s birth anniversary, she posted the song “janam janam mere sanam” from Faasle (1985). I hadn’t heard this song in a while – but I remember liking this song a lot at the time the film was released. It was a fairly popular song in its time.
That got me thinking.
I’ve generally been harsh on 1980s music. And I’ve never made a secret of it. 🙂 Taste is personal, and what I like, or don’t like, might be very different from another person’s taste So I hope I don’t offend anyone here with my thoughts.
But my own experience has been that by the early 80s, I began feeling a decline in quality. Not with every song of course, but increasingly I was coming across “new” songs that I didn’t like very much. I often give the examples of “angrezi mein kehte hain” and “shaayad meri shaadi ka khayaal” but there were many more. I use these as examples only because they were massively popular, as evidenced by their topping Binaca Geet Mala in those years.
Then there was the onslaught of the Himmatwala (1983) storm. To be honest, much later in life I listened to the songs again – and didn’t mind them all that much. But at that time (in the 80s), already suffering from the “angrezi mein” attack, I didn’t need this. It was like facing Marshall and Holding from two ends – there was no escape.
So for years, I just shut off from listening to “new” songs. Movies like Ek Jaan Hain Hum, Love 86 and many more came and went – they had popular songs too, but I wasn’t interested.
That was also, again in my opinion, a lean period for Hindi cinema itself. Amitabh Bachchan seemed to be on a decline, and there was a sort of vacuum of credibility around. Yes, there were films being made – with Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor, Jackie Shroff, newcomer Govinda and others – but I stayed away from them all.
And I totally stayed away from the Jeeetendra-Sridevi-Jayaprada storm that followed the Himmatwala storm. I call this the “ice cream khaogi” period – some will recognise this as a line from a popular song of the time. 🙂
So all in all, I generally stayed away from films. During that period (1985-1990), I must have watched less than 10 films. I can remember Saagar, Meri Jung, Mera Jawaab – all in 1985. After that, I remember just Pushpak (1987) for the next few years.
That was also the time that Hindi cinema was going through a video piracy crisis. Not that it made a difference to me, because I didn’t watch “new” films even on video then. I just didn’t want to watch them. Some friends tried to persuade me – there were “big” movies being released like Jaanbaaz and Karma. I wasn’t interested.
I think Mera Jawaab (1985) sealed it for me. I’d gone to Hyderabad to visit my sister. We decided to go for a film in a nearby theater. We had no clue about the film except that it was a Jackie Shroff-Meenakshi Seshadri film – which was fine for us.
Now, in those days, violence was very much the norm in a film. Shakti Kapoor, Gulshan Grover were the ruling villains. In this film, the heroine, Meenakshi Seshadri, gets brutally raped by three men and killed halfway through the film. The rest of the film is a revenge story of how Jackie avenges her rape/murder.
My sister got a headache watching the film, I too didn’t enjoy it at all, and was glad when it was over.
That film only further reinforced my feeling that the movies and music of that period weren’t my cup of tea. Maybe it was my fault – maybe I was just out of tune with the times. Maybe audience tastes had changed, and I was stuck in an earlier era.
It wasn’t just the movies, it was the music too.
The golden period of music is generally considered to be upto the end of the 60s. Though I’m a 70s person, I will be the first to admit that the 70s were already a few notches lower than the 60s. And the 80s probably just continued the decline further.
Again, we should not get carried away by extremes. Some will point to a dozen superb songs of the 70s (probably Gulzar-RD Burman) to make a point that 70s too had great music. That’s not my point. One has to look at TOTAL output to see what proportion of songs you would consider as “great”. Again, I agree this is subjective – so I will go with popular opinion.
Popular opinion would suggest that the 1950s had a high proportion of songs that could be considered “great” or classic. There were films like Baiju Bawra, Awara, CID, Chori Chori, Madhumati, Naya Daur, Anari and many more that had multiple songs that fit this bill.
The 1960s too continued this trend. Films changed with the advent of colour, they became more “entertainment” and music began reflecting this too. But even so, its quality remained very high. Many of the composers were still the same, even if they adapted their style to new demands.
By the 1970s, many of the old composers had disappeared from the scene. And audience tastes changed yet again – it became even more loud, in my opinion. One could see this in the dress sense too – bright, loud colours, floral prints. I remember having pink, striped, bellbottoms at the time. 🙂
It is my personal opinion (I must emphasise this!) that music too became more loud than melodious. The reason we keep referring to the Gulzar-RD Burman songs is that they were largely the EXCEPTION for that period. They gave us relief from the loud music. The same reason why the Yesudas-Hemlata songs became so popular in that time. They were melodious, compared to a lot that was on offer.
Just to clarify, I am not saying 70s songs were not catchy. They were extremely catchy. But there’s a difference between being catchy, and being soft and melodious.
By the late 70s, the disco fever had fully caught on in India. It had started earlier in the decade already in the West – it was only a matter of time for it to catch on in India too.
For a good part of the 80s, disco music was popular. Bappi Lahiri, known as King of Disco Music, thrived.
I was fond of disco songs too – I fondly remember listening to “Disco Station Disco” from Hathkadi (1982) many times. 🙂
As the decade progressed, and I progressively lost interest in “new” movies and songs, I lost track of what was going on.
I’d get to listen to the odd song – maybe playing on radio, or during a festival. In those days, during festivals, the latest, most popular songs, would play loudly in the entire neighbourhood.
And this is how I listened to “janam janam mere sanam” from Faasle (1985). In those days I was in Mumbai (then Bombay) and this song used to play on radio quite often.
When I heard it now, after SO many years, it brought back memories of those years – the 80s.
Since then, though I avoided “new” movies then, I’ve seen many 80s films. In my “blanket ban”, I had missed out on films like Arth, Ardh Satya, Masoom, Ijaazat, Mr India, Agar Tum Na Hote – all of which I saw later. And Karma too. I’ve even seen Himmatwala, Tohfa, Mawaali and some others of the “ice cream khaogi” genre. And a few Amitabh Bachchan films too of that period – Aakhree Raasta and Ganga Jamuna Saraswati, and some more.
I liked some, I didn’t like some – but then, three decades later, it is easier to look back and have a different perspective on the time. And yes, one does mellow a bit too with age. 🙂
I realize that even if the overall standard had declined, there were a fair number of pleasant songs in the 80s too. I’ve written here earlier about “O yaara tu pyaaron se” from Kaash (1987). This was a film I saw much later – and I really liked this song.
In recent years, I’ve been coming across 1980s songs that I’d never heard before – beautiful songs like the Gulzar-RD song “roz roz aankhon tale” from Jeeva (1986) which someone introduced to me a few years ago. I am sure there are many more too.
Which brings me to my song for today.
When Peevisie’s Mom posted a song from Faasle (1985), I first confused it with Jawaani (1984).
Faasle has two young newcomers, Rohan Kapoor and Farha. Jawaani also had two young newcomers on the scene – Karan Shah and Neelam. That was the period of love stories with young pairs – probably following the huge success of Betaab (1983) and Hero (1983).
Jawaani is a film I happened to watch a few years ago. I don’t know how I ended up watching this film – I’d never even heard of it before. Nor had I heard of Karan Shah, the hero. But as I watched it, I found that I quite liked it. I don’t remember the story now – I think it was typical (rich girl, poor boy, girl’s father doesn’t approve of girl’s choice). But inspite of this, it held my attention. Or rather, I should say, since I watch such movies with zero expectations, it far exceeded my expectations. 🙂
But the highlight for me was the songs.
Usually in a film, I get pleasantly surprised if I come across a song that I immediately recognise as “arrey, ye gaana IS film mein hai?”. Now imagine that happening to 6 songs in a film! I realized, as I watched Jawaani, that I knew the following songs in the film but had no clue they were from this, or from the same, film.
Bheega bheega pyaara pyaara
Halla gulla mazaa hai jawaani
Gali gali dhoondha tujhe
Maana abhi ho kamsin
Saajna main sada tere saath hoon
Tu rootha to main ro doongi sanam
Much later, I got to know that this track was composed by RD Burman. At that time, he was not having too much success – but this film was among his successes.
When I got reminded of this film, I checked to see which songs had got posted here. To my surprise, not a single song has been posted yet. So, with this song, this film makes its debut on this blog.
I quite like Lata’s rendition here. Her voice is not just excellent, she also gives the necessary emphasis at different points to make the song more interesting and musical. You’d expect nothing less from her after all her years of experience. 🙂
This also happens to be the only film I have seen of Neelam. She was popular in her own way – but this was exactly the period that I stayed away from films. 🙂 I quite liked her in this film.
Hope you like the song. You’ve probably heard it before if you listened to radio in the mid-80s. It was quite popular.
P.S: While writing this post, I didn’t realize that the 7th of August is the death anniversary of Gulshan Bawra. A lyricist I will always associate with the songs of Upkaar and Zanjeer because that was when I first heard of him in my childhood. He has also acted in a few films. I remember the song “deewaane hain deewaanon ko” of Zanjeer picturised on him.
Today’s song, coincidentally, happens to be written by him and I would like it to be considered a tribute to him.
So this post which started as being an “ainven” post ends up being another anniversary post.
Audio
Video
Song-Saajna main sada tere saath hoon (Jawaani)(1984) Singer-Lata, Lyrics-Gulshan Bawra, MD-R D Burman
Chorus
Lyrics
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
ru ru ru
ru ru ru ru
aa aa aa
aa aa aa
aaja chalein wahaan
pehre na ho jahaan
na ho dushman koi
aaja chalein wahaan
pehre na hon jahaan
na ho dushman koi
aise jahaan mein hi
jaa ke basaayenge
chhota sa ik aashiyaaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
meri nigaahon mein
tu hi rahe sadaa
maine bas ye chaaha
meri nigaahon mein
tu hi rahe sadaa
maine bas ye chaaha
teri lagan mujhe
meri lagan tujhe
ye lagan yoon rahe jawaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
ru ru ru
ru ru ru
ru ru ru
tere bina meri
mere bina teri
zindagi hai adhoori
tere bina meri
mere bina teri
zindagi hai adhoori
baahen hon baahon mein
pyaar ki raahon mein
chalta chale ye kaarwaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
main sadaa tere saath hoon
ye jahaan ho ya wo jahaan
saajna
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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