Posts Tagged ‘Rafi’
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 : |
4787 | Post No. : | 16543 |
‘Ghunghroo’ (1952) was produced under the banner of Filmkar, owned by Rajendra Jain which had produced ‘Deedar’ (1951) and later, ‘Maan’ (1954). The film was directed by Hiren Bose. The star cast included Om Prakash, Sumitra Devi, Kuldeep Kaur, K N Singh, Murad, Badri Prasad etc. A feature of the film’s casting was that Om Prakash was the lead actor in a double role – one as a shy man and the other in a role of a lead actor in a theatre.
Om Prakash, who commenced his filmy career in a small role of a villain in his maiden film, ‘Dassi’ (1944) followed by another villain role in ‘Dhamki’ (1945), had worked in lead roles in ‘Aai Bahaar’ (1946), ‘Shahar Se Door’ (1946) and ‘Pagdandi’ (1947). However, all these three films failed at the box office and with this, his dream of becoming a lead actor was shattered. The partition in 1947 further compounded his problems for he had to start afresh his career in Hindi films in Mumbai. After remaining unemployed for a year, Om Prakash accepted whatever roles that were offered to him. In about 2 years from his first film in Mumbai – ‘Lakhpati’ (1948) in post-partition period, Om Prakash had become a busy actor doing various character roles.
Against this background, it must be a pleasant surprise for Om Prakash that after a gap of 5 years, he got not only the lead role but also a double role in ‘Ghunghroo’ (1952). But the film failed so miserably that in no time, it went into the list of obscure films. It appeared that Om Prakash was destined to become a popular actor in his various typles of character actor’s roles some of which became unforgettable like in ‘Pyaar Kiye Jaa’ (1966), ‘Padosan’ (1968), ‘Gopi’ (1970), ‘Chupke Chupke’ (1975) and many more.
Having watched Om Prakash in character roles in many films, I wish, I could have watched him as a hero in ‘Ghunghroo’ (1952). Unfortunately, the film seems to have been lost forever for viewing. A few of the lobby images available on-line featuring Om Prakash with Sumitra Devi and Kuldeep Kaur looked interesting. I have incorporated a couple of them in the video of the song which I propose to present with this write-up.
As with most of the obscure films, I could not find the story and review of ‘Ghunghroo’ (1952) on the internet, After some intense searches, I could get a synopsis of the story from one of many lesser known websites on Hindi films which appers to be copied from the film’s song-synopsis booklet because it was written in typical synopsis style language without revealing the ending of the film. From what I could gather from the synopsis, I present the gist of the story as under:
Vinod (Om Prakash) is a shy person who lives in Pune. He is in love with Hema (Sumitra Devi) but does not have enough courage to disclose to her. When he comes to know that Hema also loves him he is the happiest person.
Vinod has a twin brother, Baalam (Om Prakash) who works for a theatre in Mumbai as a lead actor. He often pairs with Kamini (Kuldip Kaur) and their pair is very popular thus making them a box office attraction. Baalam gets attracted towards Kamini and she exploits this by her false love to him to keep her popularity intact at the box office. In this way, she earns fortunes by way of gifts from royal and aristocratic visitors to the theatre.
Kamini’s exploitation game is exposed to Baalam. After a quarrel, she gets Baalam killed with the help of her accomplice, Hiralal (K N Singh). The ghost of Ballam cames out and starts taking revenge on his enemies. Baalam’s ghost also appears in Vinod’s house and enters Vinod’s body. Vinod suddenly becomes Baalam Baalam’s ghosht takes Vinod to Mumbai as Baalam. Hema followes him to Mumbai. Now starts the vicious circle of chase. Heart-broken Hema ran after Vinod who, in turn, runs for his life from Baalam. Baalam runs after Kamini for his revenge. Vinod turned Baalam is dragged by Hiralal and his goons. Thus, all of them find inyolved in a chain resulting in ‘comedy of errors’.
I have no idea as to how the film ends in reality. But in such a type of the story, the villains, K N Singh and Kuldip Kaur would be exposed and arrested with Om Prakash and Sumitra Devi united.
‘Ghunghroo’ (1952) had 9 songs, all written by Rajendra Krishan which were set to music by C Ramchandra. All the 9 songs are available which I have heard and find them melodious with typical brand of C Ramchandra’s compositions.
I am presenting the 5th song from the film, ‘dil kisi ko deejiye dil kisi kaa leejiye’ sung by Zohrabai Ambalewaali, Mohmmed Rafi and chorus. The song appears to be a part of the stage show in the film.
Audio Clip:
Song-Dil kisi ko deejiye dil kisi ka leejiye(Ghunghroo)(1952) Singers-Zohrabai Ambalewaali, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both
Lyrics
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
le na jaaye dil koi aapka mazaaq mein
le na jaaye dil koi aapka mazaaq mein
ae ji zara soch ke ki soch ke
aisi baat keejiye
aisi baat keejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aaaa aa aaa
aaaa aa aaa aaa
aa aa aa aa
aaa aa aaa aa
aaa aa aaa aa
aa aa aa aa
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aapko huzoor kyon husn ka guroor hai
aapko huzoor kyon husn ka guroor hai
aaine mein dekh ke ki dekhe ke
phir se baat keejiye
phir se baat keejiye
dil kisi ko deejiye
dil kisi ka leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aaaa aa aaa
aaaa aa aaa aaa
aa aa aa aa
aaa aa aaa aa
aaa aa aaa aa
aa aa aa aa aa
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
dil hamaara thhaa kabhi
ab tumhaara ho chuka
dil hamaara thhaa kabhi
ab tumhaara ho chuka
aapki khushi huzoor
deejiye na deejiye
deejiye na deejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
Tere chaahnewaale aaye hain
Posted on: August 19, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4780 | Post No. : | 16533 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 149 # Qawwalis – 13 #
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Today’s song – a qawwali – is from the 1979 movie “Aatish”. Memories of this qawwaali were revived when I was listening to a daily programme on Vividh Bharati. I had earlier shared another song from the same movie. That song too was a result of memories coming alive when I listened to that song on Vividh Bharati. That was in March-2021, and the song was Main nehlaa thhi bas nehlaa ….
When I listened to this ‘qawwali’ I liked it because of its ‘catchy’ tune. The picturisation of this ‘qawwali’ suggests that it takes place in the movie in the ‘villain’s den’ where Neetu Singh is in double role. One of the two disguised persons trying to help is Jeetendra I guess. Also seen in the picturisation of the song are Mukri, Dheeraj Kumar, Madan Puri, Master Raju, and many others.
“Aatish-1979” was directed by Ambarish Sangal for ‘M.K. Enterprises, Bombay’. It had Jeetendra, Neetu Singh, Rinku, Dheeraj, Leena Das, Om Shivpuri, Mukri, Mumtaz Begam, Master Raju, Nirupa Roy, Madan Puri, Sujit Kumar (in special appearance), Brahm Bharadwaj, Subhash Kanwal, Kamal Deep, Ranveer Raj, Chandru, Kishan, Ashok Saxena, Raj Kumar, Ram Narayan, and others.
This movie was passed by Censor Board on 16.02.1979.
There were six songs in this movie written and composed by Ravindra Jain.
Here is the list of songs of this movie as appearing in HFGK Vol-V (1971-1980).
| S.No. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Ladke ke bhes mein ladki hoon | Asha Bhonsle, Chorus | |
| 02 | Main nehlaa thhi bas nehlaa … | Asha Bhonsle | 28.03.2021 |
| 03 | O meri laadli pyaari behnaa | Mohd Rafi, Hemlata | 13.08.2011 |
| 04 | Sharaab hai, haan, sharaab hai, | Mohd Rafi, Chorus | |
| 05 | Babu manejara ve he babu, manejara ve | Lata, Rafi, Chorus | |
| 06 | Kahin naam na apnaa likh dena … | Asha Bhonsle, Hemlata, Bhushan Mehta, Mohd Rafi, chorus | Being discussed today |
Today’s qawwali song is only the third such song composed by Ravindra Jain. We have as many as 171 qawwali songs already posted in the blog. I have tried to compile some statistics with respect to Lyricists, Composers and Years of the movies of these qawwali songs posted on the blog.
Here are the details of the Composers for 171 qawwali songs excluding the today’s song.
| Composer | No of Songs |
|---|---|
| Roshan | 12 |
| Kalyanji-Anandji | 9 |
| Madan Mohan | 8 |
| Ravi | 8 |
| Laxmikant-Pyarelal | 8 |
| Iqbal Qureshi | 7 |
| N. Datta | 7 |
| R.D. Burman | 7 |
| S. Mohinder | 6 |
| C. Ramchandra | 5 |
| Jaidev | 5 |
| Chitragupt | 5 |
| Naushad | 5 |
| Ghulam Mohammad | 4 |
| Iqbal | 4 |
| Hemant Kumar | 3 |
| Husnlal Bhagatram | 3 |
| S.D. Burman | 3 |
| Shyam Sundar | 3 |
| Jaani Babu Qawwal | 3 |
| Anil Biswas | 2 |
| Aziz Nazaan | 2 |
| Baabul/Babul | 2 |
| Dattaram | 2 |
| Hansraj Bahl | 2 |
| Jimmy | 2 |
| Khayyam | 2 |
| Ravindra Jain | 2 |
| Shankar Jaikishan | 2 |
| Sonik Omi | 2 |
| Usha Khanna | 2 |
| Nashad | 1 |
| A.R. Qureshi | 1 |
| A.R. Rehman | 1 |
| Aziz Ahmed Khan Warsi | 1 |
| B.N. Bali | 1 |
| B.T. Singh | 1 |
| Babloo Dheeraj | 1 |
| Bappi Lahiri | 1 |
| Bipin Mehboob | 1 |
| Bulo C. Rani | 1 |
| C. Arjun | 1 |
| Chaand Pardesi | 1 |
| Damodar Sharma | 1 |
| Hafeez Khan | 1 |
| Harbans | 1 |
| Jay Kumar | 1 |
| Khemchand Prakash | 1 |
| Lala Sattar | 1 |
| Nirmal Kumar (S.D. Batish) | 1 |
| Nisar Bazmi | 1 |
| Nusrat Fateh Ali Khan | 1 |
| Peter Nawab | 1 |
| Rashid Atre | 1 |
| Ravindran | 1 |
| Robin Bannerji | 1 |
| S. Kishan | 1 |
| S.N. Tripathi | 1 |
| Sajjad Hussain | 1 |
| Shankar Ehsaan Loy | 1 |
| Shankar Shambhu | 1 |
| Snehal Bhatkar | 1 |
| Sudipta Bhattacharya | 1 |
| Vasant Ramchandra | 1 |
| Vinod | 1 |
From the above table we can see that Music director Roshan is at the top in the blog as far as creating the highest number of qawwalis is concerned.
We will have details of lyricist wise number of qawwalis too in a future post in this series.
Let us now move to today’s ‘Qawwali’ and move forward in this series. I hope readers will also find this ‘qawwali’ enjoyable and entertaining.
This song is sung by Mohd Rafi, Asha Bhonsle, Hemlata, Bhushan Mehta and chorus.
Lyrics are written by Ravindra Jain who is also the music director of this movie.
Video
Audio (Longer)
Song-Tere chaahne waale aaye hain ik shor uthha ke jaayenge (Aatish)(1979) Singers-Asha Bhonsle, Rafi, Hemlata, Bhushan Mehta, Lyrics-Ravindra Jain, MD-Ravindra Jain
Male chorus
Female chorus
All chorus
Lyrics
kahin naam naa apnaa likh dena
kisi ulte seedhe kaaghaz par
ham dil ka parchaa laaye hain aen aen
naam us pe likhaa kar jaayenge
tere chaahnewaale aaye hain
aaye hain
tere chaahnewaale aaye hain
ik shor uthhaa ke jaayenge
ik shor utthaa kar jaayenge/font>
yaa dilbar lekar lautenge
lautenge
yaa dilbar lekar lautenge
yaa jaan lutaa kar jaayenge
yaa jaan lutaa kar jaayenge
tere chaahne waale aaye hain
garajte hain jo baadal
baraste nahin
baraste nahin
keh do in logon se jaayen aur kahin
ye to naam ke aashiq aaye hain
aaye hain
ye to naam ke aashiq aaye hain
bas shor machaakar jaayenge
bas shor machaakar jaayenge
hamen qasam hain apni Jawaani ki
haaye re
hamen qasam hain apni Jawaani ki
Mehboob ko paa kar jaayenge
Mehboob ko paa kar jaayenge
tere chaahne waale aaye hain
aye jaan e Wafaa chehre pe naa jaa
nazron se bhi kuchh andaazaa kar
nazron se bhi kuchh andaazaa kar
nigaahen keh rahi hain
mere dil ka fasaanaa
o tere saamne hai
jo hai tera deewaanaa
ham tujhko aankhon hi aankhon mein
ham tujhko aankhon hi aankhon mein
koi raaz bataa kar jaayenge
ye to shor machaa kar jaayenge
tere chaahnewaale aaye hain
ham jaan gaye
pehchaan gaye
kya asli hai
kya naqli hai
kya asli hai
kya naqli hai
haqeeqat hai haqeeqat
kahaani hai kahaani
tumhi se hai mohabbat
tumhi ho zindagaani
koyi kuchh bhi kahe
ham tumko hi
ho koyi kuchh bhi kahe
ham tumko hi
doli mein bithhaakar jaayenge
doli mein bitthaakar jaayenge
tere chaahnewaale aaye hain
doli ke haqdaar hain ham
aap kahaan se aa tapke
ho tapke nahin ham aaye hain
inki hi maalaa jap jap ke
kisika pyaar chheeno
kahaan ki hai sharaafat
saraasar hai dakaitee
oh qayaamat hai qayaamat
zaraa sabr karo haq donon ke
zaraa sabr karo haq donon ke
donon ko dilaa kar jaayenge
ham jaan lutaa kar jaayenge
tere chaahnewaale aaye hain
paar ho jaa
paar ho jaa
dilbar ko leke faraar ho jaa
paar ho jaa
paar ho jaa
dilbar ko leke faraar ho jaa
paar ho ja
paar ho ja
dilbar ko leke faraar ho jaa
ustaad ho tum ustaadon ke
ham chele tumhaare chelon ke
ham chele tumhaare chelon ke
wahi hamne kiyaa hai
ke jo tumne seekhaayaa
jo mantar tum se seekhaa
tumhi pe aajmaayaa
jin guruon ke aise chele hon
jin guruon ke aise chele hon
wo to naam kamaa kar jaayenge
wo to naam kamaa kar jaayenge
tere chaahnewaale aaye hain
ik tum hi ham ko samjhe ho
auron ko to ham bhi
samajhte hain
auron ko to ham bhi
samajhte hain
samajhdaari ka tum ko
chalo inaam de den
nahin jiski tavaqqo
wohi anjaam de den
kuchh hathkande ustaadi ke
ho kuchh hatkande ustaadi ke
tum ko bhi dikhaa kar jaayenge
tum ko bhi dikhaa kar jaayenge
tere chaahnewaale aaye hain
tere chaahnewaale aaye hain
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4761 | Post No. : | 16507 |
Today 31st July’2021 is the forty-second ‘Remembrance Day’ of Singer Mohd Rafi (born on 24.12.1924 and passed away on 31.07.1980).
On this occasion as a tribute to him I am presenting a song from the 1965 movie ‘Sant Tukaram’.
This was the oldest song, movie-wise, and oldest one that I had noted among the Rafi songs lying ready with me.
“Sant Tukaram-1965” was directed by Rakesh Nanda for ‘Ashok Films, Bombay’. It had Anita Guha, Shahu Modak, B.M. Vyas, Rohit Kumar, Madhu Apte, Badri Prasad, Kesari, Narmada Shankar, Vishwas Kunte, Tun Tun, Sadhna Khote, Helen, Rajpal and others.
Our respected Arun ji has given the story of this movie while discussing this song ‘Is jeewan mein jin jin se… ham to chale apne gaaon, sab ko mera raam raam’ as below.
About there centuries ago, Tukaram was born in Dehu Gaon. He was a sudra and had poor village folk take good from his shop and asked them to pay when they could afford. Mumbaji, the Pujari of the Ganesh Temple held permanent grudge against him. He instigated another grocer of the village to set fire to Tukaram’s shop. As if all these calamities were not enough one more was added to his lot in the form of famine. Tukarams old mother, his first wife and son died of starvation. Thukaram became detached from the world and spent his whole time in worship. He developed extraordinary powers. He even gave life to a dead child. But all this didn’t offer bread to his family. His surviving wife, Jeeja Bai implored him to seek some avocation. The landlord offered him the job as the watchman in his fields. Mumbaji drove cattle in the fields in order to destory the crop. By the grace of Lord Krishna, the yield was double, and the landlord gave Tukaram place for worship of the Lord.
Now Mumbaji asked Rambha a Nautch girl to spoil his reputation by enticing Tukaram with her fake love. Rambha failed. As a last resort he invited Rameshwar Bhatt the religious head to Dehu Gaon. Rameshwar Bhatt ordered Tukaram to stop writing abhang since he was born a shudra and ordered him to throw his `Gatha (Collection of Abhangs) in the Indrayani river. He did so but took a vow that he will fast unto death till his Gatha was restored to him by the Deity of the river. This miracle happened after two weeks ordeal. Shivaji Maharaj come to meet him. He offered money and gold to Tukaram, but he humbly declined to accept it. Shivaji that evening joined his keertan. Mumbaji informed the Moghuls to capture Shivaji. The Moghul Army found a thousand Shivaji’s and they returned flabbergasted. After this incident he peacefully wrote more abhangs. Mumbaji turned a leper and the village children pelted stones on him. Rameshwar Bhatt’s body felt burning sensation and even long submerging of the body in water could not heal him. At last, Tukaram received the message of the Lord to go to Heaven. The village folk thronged the streets for his Darshan. Even Mumbaji and Rameshwar Bhatt came to ask his forgiveness. They were cured of their maladies. The celestial Viman descended from the sky before the entire gathering of the village, and he went to heaven bodily.
This movie had eight songs. They ere written by Bharat Vyas (six songs) and Madhukar Rajasthani (two songs). Music for this movie was composed by Vedpal.
Here are the details of the songs in this movie.
| SNo | Song Title | Singer/s | Lyricist | Posted On |
|---|---|---|---|---|
| 01 | Bhagwaan ne janm diya manav ko | Manna Dey | Bharat Vyas | |
| 02 | Banaa sakte ho jab duniya … ab to bataa de avgun mere | Mohd Rafi | Madhukar Rajasthani | 26.12.2015 |
| 03 | Shri Krishna Govind Gopalam… Jaagaa naya sawera | Mohd Rafi | Madhukar Rajasthani | Being discussed today |
| 04 | Nandlala Gopala, baal Gopala | Manna Dey, chorus | Bharat Vyas | |
| 05 | Pehle beej akela, ankoor phoota garbh se chhoota | Manna Dey | Bharat Vyas | 01.05.2013 |
| 06 | Yah poonam ki chaandni… O bholey jogi sun meri paayliya | Asha Bhonsle,Manna Dey | Bharat Vyas | |
| 07 | Deen dayaalu hain bade… Raam jisey taarey to usey kaun maarey | Manna Dey, chorus | Bharat Vyas | |
| 08 | Is jeewan mein jin jin se… ham to chale apne gaaon, sab ko mera raam raam | Manna Dey | Bharat Vyas | 10.11.2013 |
Today’s song is sung by Mohd Rafi and it is lip-synced on screen by Shahu Modak.
There is this incidence of Rameshwar Bhatt asking Sant Tukaram to immerse all his writings – Abhangs in the river Indrayani. In the movie the today’s song seems to be happening at this incidence where Sant Tukaram immersed his writings into the river and singing this song.
Let us now listen to today’s song sung by Mohd Rafi. Lyrics are by Madhukar Rajasthani, and music is composed by Vedpal.
Video
Audio
Song-Jaaga naya sawera andhiyaara dhal gaya (Sant Tukaram)(1965) Singer-Rafi, Madhukar Rajasthani, MD-Vedpal
Lyrics
Shri Krishna govind gopalam
Shri Krishna govind gopalam
Jaaga naya sawera
Andhiyaara dhal gaya
Jaaga naya sawera
Andhiyaara dhal gaya
Toote jagat ke bandhan
Jeewan badal gaya aa
Jaaga naya sawera
Andhiyaara dhal gaya
Apnon ki moh maaya
Jhoothi baraat hai
Such dukh ka ye kabeelaa
Bande ke saath hai
Isko samajh ke bachna
Apne hi haath hai
Vedon ka saar ismein
Chhoti si baat hai
Aankhon ne jab ye parkha
Sankat hi tal gaya aa aa
Jaaga naya sawera
Andhiyaara dhal gaya
Chhal aur kapat mein uljha
Phirta hai aadmi
Karta hai jag mein jaisa
Bharta hai aadmi
Sab kuchh samajh ke kuchh naa
Samjha hai aadmi
Jaaye naa saath kuchh bhi
Jaata hai aadmi
Socha ye jisne uska
Har pal sambhal gaya aa aa
Jaaga naya sawera
Andhiyaara dhal gaya
Jhoothhe hain saare bandhan
Saanson ke taar ke
Rakh de re jag ka bojha
Jag mein utaar ke
Shamshaan ki chitaayein kehtin pukaar ke
Aana yahaan padega
Maanav ko haar ke
Oonche gagan pe chadh ke
Suraj bhi dhal gaya aa aa
Jaaga naya sawera
Andhiyaara dhal gaya
Toote jagat ke bandhan
Jeewan badal gaya aa aa
Jaaga naya sawera
Andhiyaara dhal gaya
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4761 | Post No. : | 16506 |
Hullo Atuldom
July 31st. Important date for lovers of Bollywood sangeet. This date-41 years ago- music lovers lost a singer who was a wonderful human being. He went by the name Mohammad Rafi.
We used to have pages and pages written about the greatness of this legend’s voice, singing style, kind-heartedness, etc in the pre-internet era. Then various people took up blogging as a passion and any blog on Bollywood and its music will definitely have atleast a few posts on this great singer. AM I COMPLAINING? NO NOT AT ALL. Because as our very own Rajaji has said in many of his posts ‘one cannot tire of writing or reading about Rafisaab and his persona’.
Similarly, the music channels on satellite television and FM radio will try to outdo each other in playing popular songs sung by Rafisaab. Again, I am stating a statement of fact and not complaining. Because any fan of Bollywood music can never tire of hearing and humming songs sung by this legend who had a smooth and soothing voice.
I have never tried making a personal list of favourite Rafi-songs as I fear that I might miss out on some gem which I have always loved. Maybe my list will start with ‘yaahhooo’, or ‘tel maalish’ on one day and another day may see me start listening from ‘chaand mera dil’ or ‘chura liya hai tumne jo dil ko’. Probably I may add a less heard song like ‘mann mora baawra’, ‘tumne mujhe dekha’, ‘hai duniya usiki zamaana usika’ and by the time I finish listening to all the songs in the list I may have reached ‘kaan mein jhumka taal pe thumka’ and ‘kitna pyaara vaada’ or ‘vaada karle saajna’ with a few soulful numbers in between. I think I should also clarify that the songs that I have mentioned are only a sample of the kind of songs I love to hear and not an exhaustive list.
Now I was looking for a song that would also help me wish a yesteryear actress on turning 74. She was born just as India was gaining Independence from the British rule. She was born in Mumbai to parents of Irani origin. Her sister (Malika) also was an actress and married to Randhawa (brother of Dara Singh); I think these are hints that point towards Mumtaz Askari famous as Mumtaz. Mumtaz’s journey in the movie industry was a tough one starting as a child in 1958, going on to teenage roles in early 60s. As an adult her first role in an A-grade movie was in O P Ralhan’s ‘Gehra Daag’ where she played one of Rajendra Kumar’s sister. Years later, when she was a commercially successful heroine, she was cast as Rajendra Kumar’s heroine in “Taangewala” which released in 1972.
“Taangewala” was a Dimple Films’ presentation and directed by Naresh Kumar meaning it was Rajendra Kumar’s home production. It had songs written by Majrooh Sultanpuri and tuned by Naushad. Mohd. Rafi, Mukesh, Asha Bhonsle and Lata mangeshkar were the playback singers used. The cast included Sujit Kumar, Bhagwan, Kanhaiyalal, Mohan Choti, Kumud Chuggani, I S Johar, Kaamini Kaushal Mehmood Jr. in addition to Mumtaz and Rajendra Kumar.
It had about seven songs of which the blog has four. Today we shall have the fifth one. Unfortunately I have not seen the movie or been able to lay my hands on a video link. My guess is this Asha- Rafi duet is picturised on the lead pair.
Here is Wishing Mumtaz health and happiness (heard that she is a Cancer survivor) and remembering the one and only Rafisaab who could do justice to any song and was sincere towards every composition that he sang making every song a gem.
This should be Rafi- Asha Bhonsle duet number 547.
Song-Aisa phanda maare gori dil pe tera pyaar (Taangewaala)(1972) Singers-Rafi, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Naushad
Lyrics
aisa phanda maare gori dil pe tera pyaar
ke phaansi pe latke jiyara hamaar
ke phaansi pe latke jiyara hamaar
saajan tere nainon se jab naina hue chaar
kaleje mein dans gaye bichhua hazaar
kaleje mein dans gaye bichhua hazaar
din ye judaai ka re sahaa nahin jaaye
raaton ko akele hamse rahaa nahin jaaye
din ye judaai ka re sahaa nahin jaaye
o raaton ko akele hamse rahaa nahin jaaye
jaane kab
jaane kab sunegi tu dil ki pukaar
ke phaansi pe latke jiyara hamaar
o aisa phanda maare gori dil pe tera pyaar
ke phaansi pe latke jiyara hamaar
tere bina bhatke yeh chadhti jawaani
paagal meri bindiya paayaliya deewaani
o tere bina bhatke yeh chadhti jawaani
paagal meri bindiya paayaliya deewaani
aisi bhi kya
arre aisi bhi kya aayi hai jawaani pe bahaar
kaleje mein dans gaye bichhua hazaar
saajan tere nainon se jab naina huye chaar
kaleje mein dans gaye bichhua hazaar
ab to leke chal kahin saathi mere mann ke
chal mere angana dulhan meri ban ke
ho ab to leke chal kahin saathi mere mann ke
o chal mere angana dulhan meri ban ke
doli leke ae ae
doli leke aaja re tu kal mere dwaar
kaleje mein dans gaye bichhua hazaar
ki phaansi pe latke jiyara hamaar
kaleje mein
dans gaye bichhua hazaar
ke phansi pe latke jiyara hamaar
Tere nain nashe de pyaale
Posted on: July 21, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4751 | Post No. : | 16488 |
Hullo Atuldom
I have been wanting to send this song for almost a week or ten days now. I had first thought of 12th July which was the death anniversary of Jubilee Kumar a.k.a Rajendra Kumar. But, I was unable to, due to various reasons.
Then, yesterday, 20th July the birth anniversary of Rajendra Kumar- missed that too. Why? I was too busy attending (online) birthday parties. And reading all the blog-birthday posts. That simple.
But today is another opportunity to present this song to the blog-followers. Anand Bakshi – the lyricist- has his birth anniversary today. Would have been 91.
The song from the 1972 release “Gora Aur Kala” is composed by Laxmi-Pyare and sung by Mohd Rafi. The movie had a cast of Rajendra Kumar, Prem Chopra, Jagdeep, Madan Puri, Sundar, Premnah, Rajan Haksar, and two very young beauties (my personal favourites) Hema Malini and Rekha with Sulochana playing the mother of the two Rajendra Kumars (yes he played a double role in the movie). This song is sung by the Karan Singh (the better looking and well-mannered twin) in a disguise in the court. I haven’t seen the movie but I am sure that it is an attempt to fool Madan Puri who is on the throne (I think he plays Hema’s father), along with Prem Chopra and others in the court. The power of the song is seen in the fact that the Princess Anuradha (Hema) starts dancing to the song.
On reviewing what I have written in the beginning of this post, a thought crossed my mind. If Atulji had given us such excuses this blog would not have completed 13 years – 4,749 days – 16,484 posts. (as on 19th July). A statement (in Sudhirji’s post of the 19th) “Do you know that the average daily rate of posting is upwards of three posts per day. Try doing that seven days a week, 365 days a year, and continuously at that rate for 13 years. Try writing a letter each to three friends every day, day on day, for 13 years. My, does that no yet boggle the mind.” also set me thinking.
Hatsoff to Atulji for relentlessly giving us more than one song-a-day.
Song-Tere nain nashe de pyaale (Goraa Aur Kaala)(1972) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
tere nain
tere nain
tere nain nashe de pyaale ae
tere nain nashe de pyaale
inhen piyenge naseebon wa..aa..le ae ae
tere nain nashe de pyaale
inhen piyenge naseebon wa..aa..le ae
tere nain
tere nain
kya kaha tujhe qaatil agar na kaha aa aa aa
kya kaha tujhe qaatil agar na kaha aa
kya kahoon kuchh kehna hi mushkil hua
aa aa
tauba meri zulfein teri
jaise baadal kaale
tujhe ek nazar dekha toh
tujhe ek nazar dekha toh
mere honthon pe lag gaye taale ae ae
tere nain nashe de pyaale
inhen piyenge naseebon waale ae ae
tere nain
tere nain
aa gayi yaad mujhko jawaani meri ee ee ee
aa gayi yaad mujhko jawaani meri
lut gayi aaj phir zindgaani meri ee ee
rang gulaabi chaal sharaabi
kehte hain kehne wale
thukhra de woh iss duniya ko
thukhra de woh iss duniya ko
jise roop tera apna le ae
tere nain nashe de pyaale
inhen piyenge naseebon waale
tere nain
tere nain
kya hai tu khoobsoorat kahaani hai tu oo oo
kya hai tu khoobsurat kahaani hai tu
aasmaanon ki pariyon ki raani hai tu oo oo
tu jo aaye masti chhaaye jhoom uthhe dilwaale
bin aaj piye mehfil mein
bin aaj piye mehfil mein
sab log huye matwaale ae
tere nain nashe de pyaale
inhen piyenge naseebon waale ae
tere nain
tere nain
tere nain
tere nain
Bailan ki jodiyaa
Posted on: July 10, 2021
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.
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Blog Day : |
4740 | Post No. : | 16467 |
Dilip Kumar – The Legend (1922-2021)
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Since last two days I have been watching the various videos on whatsapp and on the net and also read some articles on the net. I have tried to see and absorb as much of the information I could about the events after, when the thespian is no more. After all is said and done, I have tried various tacks on how to approach this tribute to the method actor, who some call the “Marlon Brando” of India, without the ferociousness. But I find a ferocious, peasant turned dacoit in ‘Ganga Jamuna’ and a fractioned rebel prince Salim who is equally ferocious in protecting his Anarkali. The work on the silver screen was a very important part of the personality, but by no means it was the whole personality.
The best of Dilip Kumar, the actor and star was over, well before I grew up. But the admiration for his qualities as a screen performer and as a person conscious of his social responsibilities, was an inculcation process in my conscious mind. It has not happened overnight. These are small snippets of information, fed to my mind and stored away. Many incidents and events heard and read about long ago are surfacing in the memory. The trigger is the passing away of Dilip Kumar on 07/07/2021.
I was preparing the posts thinking of some old songs which have not been posted in the blog yet, preferably a song sung by Rafi sahab, writing a para here about this, and there about that, in yahoo mail, in gmail, on my office desktop and my laptop. This is not the way I prefer to do a post, but it was happening like this in this instance, as I was not able to assimilate the thoughts and lacked the drive to concentrate on the topic, maybe.
Then, I had divine help in the shape of a TV news show. I am pretty impressed with the contents of the particular show aired on 07/07/2021, with the byline – An era ends with Dilip Kumar’s death. It is very much close to my own feelings on this occasion, so I am reproducing some parts of the text of the show in hindi – trying to do verbatim translation is beyond me at the moment.
“Apni gair haazri mein iss se adhik haazir koyi kya ho sakta hai ke aap unhen alvidaa kehte waqt iss tarah se yaad kiye jaa rahe hain, jaise woh laut kar aaye hon. Yeh desh jo har waqt hindu-musalmaan ke beech nafrat ki deewar par chal raha hotaa hai, uss desh mein aisa ek hi shakhs thha jo Dilip Kumar bhi thha aur Yusuf Khan bhi. 1947 ke vibhajan rekha ko wo jis aasaani se paat diya karte thhe, bahot kam logon mein waisi quwwat hoti hai. Unn ka ek makaan phoolon ke shehar peshawar mein aaj tak hai. Unn ka ek makaan paison ke shehar Mumbai mein bhi hai. Aaj hindustan ne jitna khoya hai, utna pakistan ne bhi khoyaa hai.
Pichhle saal sitamber mein jab pakistan ke patrakaar Shiraz Hasan ne apne twitter handle par Dilip Kumar ke puraane makaan ki tasveer sajhaa ki, tab Dilip Kumar ne apne twitter handle se jawaab diya ke Peshawar mein sabhi se guzaarish hai ke mere pushtaini makaan ki tasveeren den. Phir to tasveeron aur videon ka taantaa hi lag gayaa. Peshawar ke ‘Qissa-Khwaani’ bazaar mein unn ka makaan hai. Dilip Kumar ne apni aatma katha mein likkha hai ki aaj bhi wahan ki khushbu, rang aur mausamon ki yaaden taazi hain. Kanpwa dene wali sardiyaan yaad hain. Unhen yaad hai Wahabbat Khan ki masjid huaa karti thhi. Iss bazaar ka naam qissa khwaani bazaar iss liye bhi padaa ke yehan vyapari apne qisse sunaate thhe aur doosron ka qissa sunte thhe. Kise pataa thha ke unn tamaan anaam qisson ke beech itna bada qissa niklegaa jis ka naam Yusuf Khan se badal kar Dilip Kumar kar diya jaayegaa. Do naamon ko ek saathh jeena aur khabron se bhari iss duniyaa mein tthag ki jagah behadd imaandar aur shaaleen shakhs ke roop mein dekhaa jaanaa, yeh bhi apne aap mein ek qissa hai, jis ka bazaar aaj unn ke jaane ke baad sajaa hai.
Apni aatma khathha mein unhon ne likkha hai ke bazaar mein aag lagi thhi jis waqt unn ki paidaaish hui thhi.
“Dilip Kumar – The substance and the shadow” aap ko unn tamaam chaukhaton tak le jaati hai, ye dikhaane ke liye ke ek kalaakar apne wajood se alag ho kar ek bada kalaakar nahi bantaa hai.
Waise unn ki aatma katthaa ke shuruaat se le kar akhir ke panno par, ghar ki dadi, ammi, phuphi aur didi ke qisse bhare pade hain. Maaon aur behnon ke beech ek kumar bada ho raha thha, pata chalta hai ke khaandaani aadmi thhe.
Saira Bano se unn ki shadi 1966 mein hui. Woh apne aap mein uss waqt ki mash-hoor aur maqbool kalaakar thhin. Unn ki aakhri saans tak unn ke saath saaye ki tarah khadi rahin. Ham aur aap ek tarah se Dilip Kumar ko celebrate kar rahe hain. Unn ke hone aur na-hone ko unn ke abhinay ki katranon ko nikaal kar tukde tukde mein jiye jaa rahe hain.
Lekin Saira Bano ke liye Dilip Kumar ek video clip bhar nahin thhe. Unn ke dukh ki dahleez tak koyi nahi pahunch saktaa.
Ham ne baat peshawar ke makaan se shuru ki thhi. Bambai ke Anjuman Islam school mein padhne lagte hain Dilip Kumar. Vibhajan se pehle aa gaye thhe. Lekin school ki chhuttiyon mein unn ka Peshawar aana jaana raha, angrezi ki kavitaayen sunaane aur unn ki daad lene ke liye.1930 ke dashak ke baare mein Dilip Kumar ne likkha hai ke yehaan tab hindu chai, muslim chai, hindu paani, muslim paani milaa karta thha.
Dilip Kumar apne bachpan ko kandhe par rakh kar chalte thhe. Ek qissa hai ke jab akhbaaron mein chhapa ke bombay mein tram band hone waali hai, to unhen dard huaa 31/03/1964 ko hazaaron logon ne dadar aur parel ke beech chali uss aakhri tram ko bidaai di. Dilip Kumar likhte hain ke agar wo Dilip Kumar naam ka star na hote aur Yusuf Khan hi rehte to uss akhri tram mein zarur safar karte. Hazaaron logon ne antim tram ko vidaayi di thhi. Unn ki yaadon mein jitna peshawar thha utnaa hi bombay thaa. Koyi abhinetaa apne shehar ko unn daftaron se yaad karta hai, koyi Dilip kumar hai jo apne uss ki mohallon bason aur pedon se yaad karta hai. Yahin par unn ka makaan hain, yahin unn ko Juhu qabrastaan mein suprud-e-khaak kiya gayaa. Badi sankhya mein aam log iss shaandaar abhineta ko vidaayi dene aaye. Unhen maaloon hai yehan Dilip sahab dafan ho rahe hain. Unn ka ek makaan, jism ka har ek qatra hindustaan mein hai, lekin ek makaan peshawar mein bhi hai jis ke baahar unn ki yaad mein ek poster lagaaya gaya hai.
Ye bheed tab hai jab zamaane se unn ki koyi film nahi aayi hai, dashkon se nahi aayi. 1952 mein unn ki film “Aan’ release huyi, super hit huyi jo uss waqt ki sab se adhik kamaayi karne waali film bani. 1947 mein wo vibhajan rekha kheenchi gayi jis ke baad log udhar se idhar, aur idhar se udhar hogaye. Dilip kumar par pakistan ki oar se jaasoosi karne ke aarop lage, Deepa Mehta ki film ‘Fire’ ka samrthan karne par bhi bahot aalochna hui. In sab ke baad bhi unhen na koyi udhar dhakel paaya na idhar dhakel paaya.
Is interview mein aap inhen bolte suniye. Saamne koyi script nahi hai lekin aap parde ke Dilip Kumar aur asli jeewan ke Dilip Kumar mein farq nahi kar sakte. Patrkar Sunil Sethi ne NDTV ke liye Dilip Kumar ka interview kiya thha. Puraana interview hai. Angrezi mein iss interview ko aap bhasha, aur usse baratne ke lehje ke liye bhi suniye. Unhenn bolte huey sunne se bhi lagta hai ham ne jin i’laaqon ko, rawaayaton aur lafzon ko baant diya hai. Dilip Kumar jab bolte thhe to woh saara kuchh ek aisi zameen se aaya lagtaa thha, jis ka batwaara kabhi huaa hi nahi. Unn ka bolna uss i’laaqe ka ek mukammal chehra thha, jise aap bharatiya up-mahadweep kehte hain.
“nishaan-e-imtiyaaz’ ko le kar huey vivaad ke waqt, unhon ne ye kahaa thha ke 65 saal hindustaan mein rehne ke baad mujhe apni wafadaari saabit karni pad rahi hai.
Unn ka ghar iss waqt ghamon se bhara huaa hai. Unn ki adaakari ham sab ke hisse mein maujood hai. Dilip Kumar ne cinema mein abhinay ko adhyay mein badal diya, iss liye unhen method actor kahan jaata hai. Mughal-e-azam jaisi film mein Salim ke kirdaar ko baadshahat dene waale Dilip Kumar kam samay mein dekhna ya unn ke baare mein samjhana bahot mushkil kaam hai.”
The show goes on to talk about Dilip Kumar’s philanthropic acts. I had meant to write a bit on this facet of his personality, as I found that the Wikipedia page on him is not mentioning this part of his life. The show than goes in detail about how his biography was written and published, and what were his specifications about writing about his personal life and relations with other female stars with whom he was linked romantically.
I would like to read the book and see what he writes about his equation with Madhu Bala and what went wrong with his second marriage to Asma Rehman.
I have read the letter hand written by Dilip Kumar in urdu, to the editor of ‘Shama’ which is part of a book. The beauty of the handwriting and the dignity in the sentences, conveying his outrage, subtle yet firm, that he will not tolerate any such inferences towards his personal matters, is to be read to be believed. I have not read that much of Urdu over the years, as I could have, but the conviction about the ‘shaaistagi’ of the language, written and spoken is never in doubt. The letter vindicates my convictions about urdu, and reassured me that Urdu is a deserving heritage ofvast populations across the world. I am still talking about Dilip Kumar’s cultured, educated, wise and dignified persona.
One dialogue from Mughal-e-azam :
“ye zakhm nahi phool hain Durjan. Aur phoolon ka murjhaana bahaar ki ruswaayi hai.
Suno,
ye qaatil hi nahi dildaar bhi hai,
yeh shaakh-e-gul bhi hai talwaar bhi hai”
Yes. In classic Urdu, sentences do begin with ‘aur’.
Going back to Dilip Kumar’s acts of charity and his commitment to social causes, I know it for a fact that he was a partner in many such deeds and was a patron and supporter of educational institutes, orphanages etc. Dr.Is-haq Jamkhanawala (https://en.wikipedia.org/wiki/Ishaq_Jamkhanawala) from Belgaum was a close friend of Dilip Kumar. These two friends had been involved in many charity projects, which can be verified. In fact Dilip Kumar visited Belgaum in early 80’s accompanied by Saira Bano for inaugration of an educational institute. I have a photographe where Dr. Is-haq Jamkhanawala also can be seen alongwith another illuminous person, a doctor from Belgaum. (Photo attached).
Saahir Ludhianvi says in his inimitable way that:
duniyā ne tajrabāt o havādis kī shakl meñ
jo kuchh mujhe diyā hai vo lauTā rahā huuñ maiñ
His stature and standing in the film industry as well as the country ensured that he is a blessed and deserving of the honour of State funeral given to him. A real ‘badaa aadmi’ in the way he was blessed with the affections and respect in this world. And bigger the stature and the power bestowed in this world, the bigger is the test of the character. The toughness of the test is directly in proportion to the worldly blessings. By all accounts he seems to have fared well in this test, as far as we can see, rest all is with Allah(swt), who is the best of judges.
Lata Mangeshkar says this in her tribute:
“Yusuf bhai has gone leaving his younger sister behind. His death seems like the end of an era. I am unable to comprehend anything, I’m extremely sad, speechless, he gave me many memories and left. Yusuf bhai has been unwell for the last many years. He couldn’t recognise anyone, at such time, Saira bhabhi left everything and took care of him day and night. She had no other life. I bow down to such a woman and I pray for Yusuf bhai’s soul to rest in peace,”
What is a better celebration of this legendary actor, multi-lingual and multi-dimensional personality, than a song from the magnum opus “Ganga Jamna’ which he produced, wrote and said to have ghost directed? I am presenting two song snippets from this film.
Shakeel Badayuni-Rafi-Naushad is the team, whose association with Dilip Kumar is again a stuff of legends. Some enthusiasts can write a thesis on this topic. There is a female voice in the longer snippet, which sounds like Rajkumari Dubey, but I cant be sure. I am positive that it is not Lata Mangeshkar and sound different from Shamshad Begum.
My own favourite song from “Ganga Jamuna” is:
Nain lad jayi hain
to manwaa maa kasak hoibe kari
prem ka chhutiye patakha to dhamak
hoibe kari
The film and songs are definitely worth revisiting and so is the thespian, Gulfaam, the originial angry young man, and so much more.
Snippet I
Snippet II
Song-Bailan ki jodiyaa/ aaj bhaya re gori (Ganga Jamuna)(1961) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Naushad
Lyrics
snippet I
—————
Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Oh ho ho ooo
Ooo oooo ooooo
Hrrr rrrrrr haa
Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Dara ri da da daa ra raa
Lahaa lo laa Laha la lo laao
Snippet II
Di ra dee re ea ea
gori ee
Aaj bhaya re gori
Hamra gawanwaa
Ganga se jamna ka
hoyibe milanwaa
aa aa
neele gaganwaa ki chhaaon
oo ooo
chal chal ri goriyaa
pi ki nagariyaa aa
o chal chal ri goriyaa
pi ki nagariyaa aa
o nadiyaa kinaare moraa gaaon
ho oo nadiyaa kinaare moraa gaaon
o chal chal ri goriyaa
pi ki nagariyaa aa
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4736 | Post No. : | 16458 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 144 # Fifty years of ‘1971’ – 1
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The year 1971 completes ‘fifty’ years in this year ‘2021’. These days, we are discussing the movies released in the year ‘1971’. In this series today’s song is from the movie ‘Aag Aur Daagh-1971’.
Alphabetically ‘Aag Aur Daagh-1971’ is the first movie of the decade 1971-1980. It was passed by Censor Board on 20.01.1971. The first movie 0f ‘1971’, as per date of certification by censor board, is ‘Johar Mehmood In Hongkong’. It was passed by censor board on 04.01.1971.
Both these movies have been represented on the blog, and both are yet to be Yippeeee’ed 😊 and that gives us the opportunity for this post here.
‘Aag Aur Daagh-1971’ was directed by A. Salam for ‘Movie Temple, Bombay’. It was produced by Swarn Singh. It had Joy Mukherji, Komal, Jayant, Madan Puri, I.S. Johar, Helen, Bhagwan, Sudhir, Zeb Rehman, Rajan Haksar, Shetty, Kundan, Shefali, Paro, Majnu, Roopali, Uma Dutt, Shabana, Rajrani, Darshan, Amar, Subhash, Shaloo, Sameena, Master Rodney, Sumeet, Bipin Khosla and others.
This movie was written by Charandas Shokh. Editing of this movie was done by R.V. Shrikhande.
This movie had six songs (including one two-part song) written by Noor Dewasi (one song) and S.H. Bihari (five songs, including one two-part song).
Music for ‘Aag Aur Daagh-1971’ was composed by N. Datta.
Following is the list of songs in this movie as appearing in HFGK Vol-V (1971-1980).
| S.No. | Song Title | Singer/s | Lyricist | Posted on |
|---|---|---|---|---|
| 01 | Ye pyaar ka jhagdaa hai | Mohd Rafi | Noor Dewasi | 29.04.2012 |
| 02 | Choli bheegi, lat bheegi | Asha Bhonsle | S.H. Bihari | 16.04.2012 |
| 03 | Hamse badhkar kaun hoga aap ka deewaanaa | Mohd Rafi, Asha Bhonsle |
S.H. Bihari | |
| 04 | Aaj in haathon mein phir se zindagi…Tere is pyaar ka shukriyaa | Mohd Rafi | S.H. Bihari | 09.02.2012 |
| 05 | a) Iski ho gayi, uski ho gayi b) Naa baaba naa | Mohd Rafi | S.H. Bihari | |
| 06 | Aaj ki raat faisle ki raat hai | Asha Bhonsle | S.H. Bihari |
We can see from the above table that, so far, three songs from this movie have been posted on the blog.
Incidentally all the three songs from this movie that have been posted were posted in ‘2012’ only and after that no song from this movie have been posted on the blog.
So, it’s a long gap of more than nine years now to have the next song from this movie here.
Today we will listen to a nice duet sung by Mohd Rafi and Asha Bhonsle from this movie. On screen Joy Mukherji and Komal are seen performing on this song and they are lip syncing in the voices of Mohd Rafi and Asha Bhonsle, respectively.
I have not watched this movie and neither I remember to have listen any songs from this movie.
I like today’s song and I feel it is better heard than watched (however Joy Mukherji is as good as ever in such type of songs, but the actress in this song seems to be performing as ‘unnatural’ as possible 😊
Lyrics for today’s song are by S.H. Bihari and music is composed by N. Dutta.
(Today’s song also seems to have missed the many ‘Asha-Rafi’ duets compilation albums released by HMV in the past).
Let us now listen to the song … I am sure you like it and enjoy the composition …
Video
Audio
Song-Hamse badhkar kaun hoga aap ka deewaana (Aag Aur Daagh)(1971) Singers-Rafi, Asha Bhonsle, Lyrics-S H Bihari, MD-N Datta
Lyrics
hamse badhkar kaun hoga
aapka deewaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa
hunh achchaa
waah waah
ho hamse badhkar kaun hoga
aapka deewaanaa aa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa
chaahe jitney bhi kathin ho
zindagi ke raaste
zindagi saari hai dilbar
aap hi ke waaste ae
kya baat hai
chaahe jitney bhi kathin ho
zindagi ke raaste
zindagi saari hai dilbar
aap hi ke waaste
do kadam chal ke kahin
ruk jaaye naa deewaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa
haan hamse badhkar kaun hoga
aapka deewaanaa aa
hey kitney din ki hai mohabbat
ye zaraa farmaanaa
aaj to vaade bhi hain
kasmein bhi hain
aur pyaar bhi
pyaar ki baazi mein lekin
jeet bhi hai
haar bhi
hunh
chalegaa
aaj to vaade bhi hain
kasmein bhi hain
aur pyaar bhi
pyaar ki baazi mein lekin
jeet bhi hai
haar bhi
aag se dar jaaye jo
main wo nahin parwaanaa
hey kitney din ki hai mohabbat
ye zaraa farmaanaa aa
haan
haan
hamse badhkar kaun hoga
aapka deewaanaa aa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa
kya pataa taqdeer ko
kuchh aur hi manzoor ho
chal pade hain
ab to manzil
chaahe jitni door ho
kya pataa taqdeer ko
kuchh aur hi manzoor hon
chal pade hain
ab to manzil
chaahe jitni door ho
reh nahin saktaa adhooraa
pyaar ka afsaanaa
kitney din ki hai mohabbat
ye zaraa farmaanaa aa
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4731 | Post No. : | 16451 | Movie Count : |
4466 |
#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 143 # Kalyanji-Anandji – Year 1975 (2)
———————————————–———————————————
Yesterday 30th June 2021 was the 93rd birth anniversary of Kalyanjibhai Virjibhai Shah (30 June 1928 – 24 August 2000) of the music director duo Kalyanji-Anandji.
On this occasion I am presenting a song from the ‘1975’ movie ‘Anokhaa’.
In the year ‘1975’ there were twelve films where the music was composed by Kalyanji-Anandji.
Here is the list of these movies and their status on the blog.
| Sno. | Title (Year) | Censor certificate date | Lyricist | Represented on the Blog |
|---|---|---|---|---|
| 1 | Anokhaa(1975) | 02.04.1975 | Indeewar, Sawan Kumar | Being introduced today |
| 2 | Apne Dushman(1975) | 19.11.1975 | Verma Malik, Qamar Jalalabadi | |
| 3 | Bhoolaa Bhatkaa(1975) | 13.10.1975 | Anand Bakshi | |
| 4 | Chori Mera Kaam(1975) | 30.04.1975 | Verma Malik | Yes/Yippeeee’ed |
| 5 | Dharmaatmaa(1975) | 30.04.1975 | Indeewar | Y |
| 6 | Do Thug(1975) | 05.12.1975 | Rajinder Krishan | |
| 7 | Faraar(1975) | 11.11.1975 | Rajinder Krishan | Y |
| 8 | Himaalaya Se Ooncha(1975) | 15.04.1975 | Indeewar | Y |
| 9 | Monto(1975) | 15.05.1975 | Verma Malik | |
| 10 | Rafoo Chakkar(1975) | 02.01.1975 | Gulshan Bawra | Y |
| 11 | Uljhan(1975) | 31.10.1975 | M.G. Hashmat | Y |
| 12 | Zorro(1975) | 31.10.1975 | Verma Malik |
We can see in the above table that alphabetically ‘Anokhaa’ is the oldest movie which has so far not been represented on the blog from the year 1975 where music was composed by Kalyanji-Anandji.
Today we are going to listen to a song from this movie.
‘Anokhaa-1975’ was directed by Jugal Kishore for ‘Jugal Productions, Bombay’. It had Shatrughan Sinha, Zareena Wahab, A.K. Hangal, Imtiaz, Kanhaiyalal, Maruti, Jayshree T., Paintal, Mohan Shery, Jeevan, Hercules, Mirza Musharraf, Tulsi, Meher Mittal, Badri Prasad, Brijednra Mohan, Ved Gandhi, Vikrant, Omi Chopra, Ratnesh, Meher Banu, Chandar Singh, Mohan Jery, Bhupendra, Bipin Kumar, Bholanath, Master Kotak, Mahender Singh and others.
Meena T. makes a guest appearance in this movie.
This movie was passed by Censor Board on 02.04.1975.
This movie had five songs (including one two-part song) written by Indeevar (three songs, one of them a two-part song) and Sawan Kumar (two songs).
Here is the list of songs of this movie as given in HFGK Vol-V (1971-1980).
| S.No. | Song Title | Singer/s | Lyricist |
|---|---|---|---|
| 01 | Apna desh videsh kea age haath naa failaaye | Mukesh, chorus | Indeevar |
| 02 part 1 | Jab aayi hai wo gaaon se hamaar gori baala(part 1)1 | Mahendra Kapoor, chorus | Indeevar |
| 02 part 2 | Jab jaayega Shahar se gori ka ghar waala (part 2) | Amit Kumar, chorus | Indeevar |
| 03 | Jaaneman aap hamse muhabbat naa kijiye | Mohd Rafi, Suman Kalyanpur | Sawan Kumar |
| 04 | Meri baaton se tum bore ho gayi ho to | Kishore Kumar, Usha Timothy | Sawan Kumar |
| 05 | Dharti hai hamaari jaan, jaan lagaa kar boyen dhaan | Mohd Rafi, chorus | Indeevar |
I have not watched this movie and I have not even listened to its songs earlier, so I would request knowledgeable readers to throw more light on this movie and its songs.
Today’s song is sung by Mohd Rafi and Suman Kalyanpur and on screen it is lip synced by Shatrughan Sinha and young looking Zareena Wahab. Paintal and others are also seen in the picturization of this song.
Lyrics for the today’s song are by Sawan Kumar and music is composed by Kalyanji-Anandji.
Let us listen to the song now …
Video
Audio
Song-Arre Jaaneman aap humse muhabbat na keejiye (Anokha)(1975) Singers – Mohd Rafi, Suman Kalyanpur, Lyrics – Sawan Kumar, Music – Kalyanji-Anandji
Chorus
Lyrics (as per audio link)
ae
ae jaaneman
tumhe to sabse pehle
chaahiye tha
bazm mein aanaa
kahenge log kya
shamma parwaanon ke baad aayi
jo pehle aa gayi hoti to
tum sab jal gaye hote ae
ye achchaa hi huaa ke
shamma
parwaanon ke baad aayi
arey jaaneman
hoye jaaneman
aap hamse muhabbat naa keejiye
jaaneman
aap hamse muhabbat naa keejiye
dekhiye do din mein
aapkaa
chehra utar gayaa aa aa a
dekhiye do din mein
aapkaa
chehra utar gayaa aa aa
janaab e man
haan janaab e man
jaa ke ghar aayeenaa to dekhiye
janaab e man
jaa ke ghar aayeenaa to dekhiye
chehraa hamaaraa yaa ke
tumhaaraa utar gayaa aa aa
chehraa hamaaraa yaa ke
tumhaaraa utar gayaa aa aa
jaan e man
janaab e man
oye jaaneman
janaab e man
maine jisko pyaar se dekha
dekha kabhi
arey maine jisko pyaar se dekha
dekha kabhi
armaan ban ke
armaan ban ke uske
dil mein utar gayaa aa
hamse nazar milaane ki
hamse nazar milaane ki
aap himmat naa keejiye ae
aap himmat naa keejiye
achchaa
jo teer nazar
jo teer nazar
chal gayaa
dekhoge mar gayaa aa
jo teer nazar
chal gayaa
dekhoge mar gayaa
jaaneman
hoye jaaneman
aap hamse muhabbat naa kijiye
janaab e man
jaa ke ghar aayeenaa to dekhiye
jaaneman
janaab e man
laa laa laa laa laa
laa laa laa laa laa
la la la la
la la la la la la la laa
la la la la la la la laa
la la la la la laal aa
dekh aashiq hain
mar bhi jaayenge ae
dekh aashiq hain
mar bhi jaayenge ae
leke nayaa janam laut aayenge
milenge tumhen phir sanam ham
milenge tumhen phir sanam ham
ishq tumhi se ham farmaayenge
ishq tumhi se ham farmaayenge ae
akadte kya ho
apni jaat dekho
akadte kya ho
apni jaat dekho
chhote munh aur badi baat dekho
ishq hamse karoge kya
hoob socha hai
ishq hamse karoge kya
khoob socha hai
zaraa dekho
haan apni aukaat dekho
zaraa dekho
haan apni aukaat dekho
roti rahogi raaton ko o
arey roti rahogi raaton ko
sakhiyon se lipat
lipat ke ae
sakhiyon se lipat
lipat ke
arey ishq nahin hai
ishq nahin hai
aisaa nashaa jo chadhke utar gaya
janaab e man
haan janaab e man
jaa ke ghar aayeenaa to dekhiye
chehraa hamaaraa
yaa ke
tumhaaraa utar gayaa aa aa
oye jaaneman
ho jaaneman
aap hamse muhabbat naa keejiye
dekhiye do din mein
aapkaa
chehra utar gayaa aa aa
janaab e man
ho jaaneman
janaab e man
janaane man …
Ganga mein nahin Jamuna mein nahin
Posted on: June 22, 2021
This article is written by Arunkumar Deshmukh, 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 : |
4722 | Post No. : | 16433 |
Today’s song is from a Mythological film- Shri Krishna Bhakti-1955. Made under the banner of Combined films Traders, Bombay, it was directed by the Wizard of Trick scenes- Babubhai Mistry. MD was my favourite- Chitragupta. All the 8 songs of this film were written by G S Nepali.
Hindu religion describes how the 10 Avatars of Lord Vishnu (Dashavataar) actually represent the Evolution of the Human race. The 10 Avatars were…
| 1. | Matsya….Life started from water. |
| 2. | Kachha(Tortoise)…. First Amphibian who learned to live both in Sea and on Land. |
| 3. | Varaah (The Boar)….Life solely on Land. |
| 4. | Narsimha….Half qualities of Animal and half of Human. |
| 5. | Waman….Developing Humans. |
| 6. | Parshuram….Human ruled by Emotions |
| 7. | Shri Ram….Perfect Human being. |
| 8. | Shri Krishna….Survival amongst the opposition. |
| 9. | The Buddha….Extreme stage of Sacrifice |
| 10. | Kalki….End of Anarchy and present set up, to start a New Age all over again….Yet to come. |
The most popular among these are, of course, Ram and Krishna. But what was the necessity of these Avatars at all ? Answer to this is in Bhagwad Geeta. BHAGAVAD GITA is one of our cultural heritage books. It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.
This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happenings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.
Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter, stanzas 7 and 8 in Bhagavad Gita thus-
“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham’.Bhagavad Gita (Chapter IV-7)
“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”Bhagavat Gita (Chapter IV-8)
“For the protection of the good,
for the destruction of the wicked and
for the establishment of righteousness,
I am born in every age.”
Indian filmmakers have made several films on the stories associated with these two Avatars- Ram and Krishn. Lord Ram has always been hailed as the “Purushottam” or the complete man. Personally, I feel that Characters like Shri Ram are not suitable for this age. For today’s times, the best suited is Krishna. While Ram taught us how to rule righteously, Krishna taught us how to win over the Villains and be successful. In today’s context, Krishn-Niti is more suitable,I aver. When your righteous living is in danger due to evil forces, you can not remain like a Purshottam. You will need to adopt Krishn Niti for survival. The best difference between these two can be explained by this Shlok.
Shri Ram – Ahinsa Parmo Dharmah….There is nothing greater than Non violence.
Shri Krishna – Dharma Hinsa tathaiva cha….You are justified to pick up arms for a just cause.
For the last 100 odd years, we were taught only the first part, but now we realise the second part is more suitable for our survival, in these times. Krishna Niti says, there is nothing wrong to adopt unconventional methods if your Right Cause is facing strong opposition. Lord Krtishna’s life was full of interesting episodes and therefore I like Krishna more than Ram, for his relevance to modern times.
Today’s song is from a film which depicts the story of a Krishn Bhakt. It is about how the devotee is saved from imminent death. The story of the film is….
In a village lives a boastful Bramhin Balbhadra Shastri and Cheta-the Krishn Bhakta Harijan. One day Cheta invites several Sadhus for food, whom Balbhadra had insulted. At the time of meals, the Sadhus get more than enough food. At the same time, food from Balbhadra’s house disappears. This enrages Balbhadra Shastri. On Janmashtami day, Shanti- Balbhadra’s daughter serves Prasad to Seva, son of Cheta. Balbhadra is very angry and hits Seva. He becomes unconscious. Same time the Idol in the temple disappears miraculously. People are afraid and request Cheta to invoke God to come back. Cheta sings a Bhajan and Seva comes alive and at the same time the Temple idol returns. All the people start hailing Cheta.
Balbhadra is very angry and decides to kill Cheta, but in the melee, instead of Cheta, Balbhadra kills his own daughter Shanta. Balbhadra accuses Cheta of her murder and takes him to court. Cheta is sentenced to death. On the day of execution, when Cheta is singing a bhajan while on way to the Gallows, suddenly, Shanta comes running and explains that the killed girl was someone else and she was kidnapped. Cheta is freed. Balbhadra repents and Cheta is honoured as a Great Krishn Bhakt.
The great Editor and special effect-Trick scene expert Babubhai Mistri ( 5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood.
Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for the rest of his life, in the film industry.
Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work, encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.
Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.
This film was First in India to use Split-screen method for double roles, where both sisters could cross each others, shake hands and talk together. The other attraction was the Night club set, which, in case of police Raid, could be converted into a respected residence in few minutes. It was a great fun to watch these two things.
A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.
Today’s song is a bhajan by Mohd. Rafi and chorus.
Song- Ganga mein nahin Jamuna mein nahin (Shri Krishn Bhakti)(1955) Singer- Mohd. Rafi, Lyricist- G S Nepali, MD- Chitragupta
Chorus
Lyrics
Ganga mein nahin
Jamuna mein nahin
mehlon mein nahin
kutiyon mein nahin een een een
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
kyun naam na lekar dhan jode
kaudi ke liye naataa tode
kyun naam na lekar dhan jode
kaudi ke liye naataa tode
sone mein nahin chaandi mein nahin
sone mein nahin chaandi mein nahin
heere mein nahin moti mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
chupke se ro(?) man ki maala
chupke dekhe murli waala
chupke se ro(?) man ki maala
chupke dekhe murli waala
jantar mein nahin mantar mein nahin
jantar mein nahin mantar mein nahin
dharti mein nahin saagar mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
mandir mein nahin teerthon mein nahin
mandir mein nahin teerthon mein nahin
Geeta mein nahin Vedon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
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