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

Posts Tagged ‘Raj Kapoor


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

Blog Day : 4057 Post No. : 15190

Songs Repeated in Hindi Films – 10
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Blog 10-Year Challenge (2009-19) – Song No. 43
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As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .

The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.

10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.

Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai Bandi 1957 1814
O Pawan Veg Se Udne Waale Ghode Jai Chittod 1961 1815
More Ang Lag Jaa Baalmaa Mera Naam Joker 1970 1816
Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa Haseenon Ka Devta 1971 1817
Mile Mile Do Badan Khile Khile Do Chaman Blackmail 1973 1818
Pahraa Hai Yahaan Pahraa Badnaam 1975 1819

There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.

And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.

In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,

haan babu ye circus hai
aur ye circus hai show teen ghante ka

pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai

The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.

The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.

And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –

duniya mein tere teer ka
ya taqdeer ka maara hoon. . .

This verse segment is the one that I never seem to have been able to get over all my life.  “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.

This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.

An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.

A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –

haaye. . .
awaara hoon..oon..oon. . .

This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.

Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ??  Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂

Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂

Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂

And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.

I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”

And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.

No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”.  There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.

I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.

Song Repeat – Mera Naam Joker (1970)

Song Reprised at End – Awaara (1951)

Song – Aawaara Hoon. . .  (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan

Lyrics

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon

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Hindi script lyrics (Provided by Sudhir)
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आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ

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

Blog Day :

4010 Post No. : 15117 Movie Count :

4152

Songs Repeated in Hindi Films – 6
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The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.

The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines

pyaar jo toota
saath jo chhoota

receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,

chaand na chamkega kabhi

the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.

I am reminded of another quintessential song from the same film –

ramaiya vasta vaiya
maine dil tujhko diya

And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.

And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.

The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.

The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.

And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.

Um. . . kind of got carried away with the original. 🙂

25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.

In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.

Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.

This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.

In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.

The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.

This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.

Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂

A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)

Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂

Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.

Song – Pyaar Hua Iqraar Hua Hai  (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar

Lyrics

pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa

aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil

rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

raaten dason dishaaon se

kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

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

प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

 


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 : 3793 Post No. : 14779

“Khan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Satyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.

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

Here is the second song from “Khan Dost”(1976) to appear in the blog. This song is sung by Manna Dey. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a poignant song on Shatrughan Sinha who plays a prisoner and who is seen looking back at his wasted life with regret in this picturisation. The pictorisation also shows Satyen Kappu playing a jailor and Raj Kapoor playing his subordinate.

Incidentally, Hindi movie jails look like a police station where a prisoner is seen kept behind bars in a small room. That is because Hindi moviemakers cannot differentiate between a police station and a jail. 🙂

Audio

Video

Song-Meri zindagi tujhpe roye (Khan Dost)(1976) Singer-Manna Dey, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

meri zindagi mujhpe roye ae
roye

meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye

jo karz liya hai saanson ka
wo karz chuka na paaya
jo karz liya hai saanson ka
wo karz chuka na paaya
baaqi hi raha har karz mera
koi farz nibha na paaya
ab waqt kahaan kuchh kar sakoon
ab waqt kahaan kuchh kar sakoon
koi zakhm kisi ka bhar sakoon
ab pachhtaaye kya hoye
meri zindagi mujhpe roye ae
roye

kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
jisne dikhlaai duniya mujhe
us maa ka dil bhi dukhaaya
jis pe hon gunaahon ke saaye
jis pe hon gunaahon ke saaye
wo chain kahaan se paaye
dariya bhi ye daag na dhoye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
roye


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 : 3690 Post No. : 14597

“Shaarda”(1957) was produced and directed by L V Prasad for Prasad Productions. It was a Hindi remake of Tamil original original Tamil film ‘Edhir Paradhathu’ (1955). The movie had Meena Kumari, Raj Kapoor, Raj Mehra, Shyama, Gope, Manorama, Om Prakash, Agha etc.in it.

The movie had nine songs in it. Eight songs from the movie have been covered so far. Here are the details of these eight songs:-

Song Title

Post No.

Post Date

Lahraaye jiyaa balkhaaye jiyaa 2083 24-Oct-09
Chaahe zindagi se kitnaa bhi bhaag le 2814 20-Aug-10
O chaand jahaan wo jaayen 3351 15-Dec-10
Jap jap jap jap jap re 10006 22-Jul-14
Raghupati Raghav Raajaraam 11202 23-Jun-15
Bhaagwaan zara dheere bol 13322 9-Jun-17
Aaju re baaju naaju kaaju re 13629 3-Oct-17
Achcha hai mauqa kisne hai roka 14592 21-Aug-18

Here is the ninth and final song from “Shaarda”(1957) to appear in the blog. This song is picturised as a drunkard song on Raj Kapoor. Those who have seen Mukesh sing a drunkard song in “Jaagte Raho” (1959),could well expect Mukesh to sing this song, but this song is sung by Manna Dey ! Rajinder Krishan is the lyricist. Music is composed by C Ranmchandra.

The song situation in this song is rather more sombre than what was the case in “Jaagte Raho” (1959), as far as I can tell. IT is a rather lesser known drunkard song, but it can for that reason, may be regarded as a forgotten gem.

With this song, “Shaarda”(1957) joins the list of movies that have all their songs covered in the blog.


Song-Duniya ne to mujhko chhod diya (Shaarda)(1957) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

duniya ne to mujhko chhod diya
khoob kiya
arey khoob kiya
botal ki taraf munh mod diya
botal ki taraf munh mod diya
khoob kiya arrey ae khoob kiya

wo ghadiyaan khawaab ki ghadiyaan thhin een een
mai jin ghadiyo mein jaaga tha
duniya ki khushi ek saaya thhi
duniya ki khushi ek saaya thhi
main jiski lagan mein bhaaga thha
main jiski lagan mein bhaaga thha
paanvon ko jo mere tod diya
khoob kiya
arrey khoob kiya
botal ki taraf munh mod diya
khoob kiya
arrey ae khoob kiya

jab mujhse zamaana door hua aa aa aa aa
jab mujhse zamaana door hua
botal ne kaha
bataaun kya kaha
nahin bataata
achcha bataata hoon
har dard ke mare ko ek din
to padti hai zaroorat to meri
padti hai zaroorat to meri
toote huye dil ko jod diya
khoob kiya
arrey khoob kiya
duniya ne to mujhko chhod diya
khoob kiya
arrey ae khoob kiya


This article is written by Sadanand Kamath, 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 : 3670 Post No. : 14547

Is Raj Kapoor singing a song for himself?

That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).

During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.

Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.

Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.

It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:

Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).

An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:

From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.

I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.

When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.

Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.

Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.

As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :

SN Song Co Singer Movie
1. Piya milne naveli nadi jaaye re Solo Jail Yatra (1947).
2. Lehraaye mori laal chunariya with Nalini Mulgaonkar Jail Yatra (1947)
3. Jab se Dekha hai tumhen Solo Gopinath (1948)

In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.

I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.

Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.


Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re


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

Blog Day : 3606 Post No. : 14387

Hullo Atuldom

The song with this post was liked by my mother at the time when it was a regular on the radio waves. Specially the lines about aate mein mitti, chaawal mein kankar behisaab hai. I suppose those were the times when people had to rely on groceries from ration-shops (kids of the new millennium will not know what the fuss is all about). I remember people used to stand in queues to buy common things like soaps, oils, and other essentials. Aah! Those were different times and a different way of living.

The song with this post also reminds me of the discussion we had on the blog when the song Sun-Saahiba-Sun-Pyaar-Ki-Dhun/from ‘Ram Teri Ganga Maili’ (1986) was posted; about how Raj Kapoor used some of Hasrat Jaipuri’s lyrics in some of the movies he acted in post 1970. The sources that I referred to before writing this post gives credit to both Ravindra Jain and Hasrat Jaipuri for this song. We have knowledgeable followers of the blog who will enlighten us further on this.

A thought crossed my mind as I sat through the video of this song – if we see Rishi Kapoor on-screen these days it feels like we are seeing Raj Kapoor. The thought got confirmed recently after I saw ‘102 Not Out’ (2018) where Rishi plays a 75-year-old adorable, easily-irritable old man. I had to see the movie – how could I not see an Amitabh Bachchan – Rishi Kapoor movie :). Nice movie should be seen at least once.

With this post we remember the original showman of Bollywood – Raj Kapoor- on his 30th death anniversary. I remember reading about his demise in the newspaper on 3rd or 4th June – there were no instant messaging systems then and getting news about happenings in Mumbai, in local newspapers in Tamil Nadu (I had just begun my married life in a small town of TN that day) was generally a day or two late – different times and a different way of living.

Raj Kapoor had been conferred the Dadasaheb Phalke award that year. I remember seeing the event live on Doordarshan when he was assisted on to the stage. He collapsed at the event and was rushed to AIIMS New Delhi where he passed away almost a month later due to complications arising from his asthma. But his legacy lives in the form of his work as an actor, producer and director. His movies had great music and songs with meaningful lyrics. Whether it was “Sajan Re Jhooth Mat Bolo Khuda Ke Paas Jaana Hai” or “Ik Din Bik Jaayega Maati Ke Mol” – his songs conveyed truths of life. He spoke of the life of the common man in ‘Dil Ka Haal Suney Dilwaala‘  and of eternal love in “Main Na Rahoongi Tum Na Rahoge Phir Bhi Rahengi Nishaaniyan“. His songs had a worldwide appeal; it is said that his “Awaara Hoon” is remembered even today in Russia. What more do I say about this legend, it will be “chota munh aur badi baat”.

Let us get on to the song of the day. It is from the 1975 Naresh Kumar produced and directed ‘Do Jaasoos’. Raj Kapoor along with Rajendra Kumar played detectives out to trace a millionaire’s daughter and, in the process, catch a gang of smugglers led by Prem Chopra. Singer Shailendra Singh made his acting debut in this movie. Hasrat Jaipuri and Ravindra Jain are credited as lyricists and Jain was also the music director. Today’s song is in the voice of Mukesh and Rafi. Raj Kapoor considered Mukesh his singing voiceand Rafi was the chosen voice for Rajendra Kumar on a majority of occasions. The song is a take on the state of the nation at that point of time, but I think it is still relevant.

Remembering Raj Kapoortoday on his 30th anniversary of passing away.

[Ed Note: As per Geet Kosh, Hasrat Jaipuri and Ravindra Jain are jointly credited as lyricist for this song.]

 

Song – Do Jasoos Karen Mehsoos (Do Jaasoos) (1975) Singer – Mukesh, Mohammed Rafi, Lyrics – Hasrat Jaipuri/ Ravindra Jain, MD – Ravindra Jain
Mukesh + Mohammed Rafi

Lyrics

do jasoos karen mehsoos,
ke duniya badi kharaab hai
kaun hai sacha
kaun hai jhoota
har chehere pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

pyaas lagey to doodh piyo,
doodh mein paani milta hai
mandir mein bhi aaj diya
naqli ghee ka jalta hai
na asli mithaai hai
na asli malaai hai
maava hai sinhgaade ka,
kya zaalim halwaai hai
aate mein mitti chaawal mein kankar behisaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

zehar dawaa mein shaamil hai
zehar dawaa se behtar hai
zehar bhi naqli milta hai
marna bhi ab doobhar hai
desh ke sachche dushman hain
yeh jo milaawat karte hain
in ki badaulat kitne log
maut se pehle marte hain
aise logon ko pakadaana
sabse bada sawaab hai
kaun hai sacha,
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho socho
zara samajho samjho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

jab dekho hartaalen hain
jaane kiski chaalen hain
samjhaute ka naam nahi
agni mein ghee daale hain
deewaane toofan karen
logon ko hairaan karen
nehru ji ko bhool gaye
baapu ka apmaan karen
nehru ji ko bhool gaye,
baapu ka apmaan karen
apna hi ghar phoonk rahe hain
kaisa inqlaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho ho
zara samajho ho
zara sambhal ke rahiyo ji

do jasoos karen mehsoos,
ke duniya badi kharaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai
duniya badi kharaab hai

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

दो जासूस करें महसूस
के दुनिया बड़ी खराब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

प्यास लगे तो दूध पियो
दूध में पानी मिलता है
मंदिर में भी आज दिया
नकली घी का जलता है
ना असली मिठाई है
ना असली मलाई है
मावा है सिंघाड़े का
क्या ज़ालिम हलवाई है
आटे में मिट्टी चावल में कंकर बेहिसाब हैं
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

जहर दवा में शामिल है
जहर दवा से बेहतर है
जहर भी नकली मिलता है
मरना भी अब दूभर है
देश के सच्चे दुश्मन हैं
ये जो मिलावट करते हैं
इनकी बदौलत कितने लोग
मौत से पहले मरते हैं
ऐसे लोगों को पकड़ाना
सबसे बड़ा सवाब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

जब देखो हड़तालें हैं
जाने किसकी चालें हैं
समझौते का नाम नहीं
अग्नि में घी डालें हैं
दीवाने तूफान करें
लोगों को हैरान करें
नेहरू जी को भूल गए
बापू का अपमान करें
नेहरू जी को भूल गए
बापू का अपमान करें
अपना ही घर फूँक रहे हैं
कैसा इन्क़लाब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो हो
ज़रा समझो हो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी

दो जासूस करें महसूस
के दुनिया बड़ी खराब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है
दुनिया बड़ी खराब है

 


This article is written by Arunkumar Deshmukh, 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.

The song under discussion today is from film ‘Sharada’, one of the hit films of 1957. What a year 1957 was ! In the Golden Era of the Hindi Film Music, the year 1957 would go down as the best year, which provided everlasting songs from musical films. The deluge of excellent songs was such that music lovers not only enjoyed the heavy downpour, but loved every piece of Music.
Read more on this topic…


This article is written by Mahesh Mamadapur, 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.

chaman mein sab ne hi gaaya
tarana zindagani ka
magar sab se alag tha rang
meri hi kahani ka

zamanaa sun raha hai jis ko
wo meri kahani hai

 

The voice of Mukesh continues to enthral the world of music. Today (22 July) is his birth anniversary and I present here a short song from the film ‘Jis Desh Mein Ganga Behti Hai’ (1960). This film has already been Yippeee’d on the blog, but this particular rendition can as well be taken as an additional separate song.
Read more on this topic…


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.

“Paapi”(1953) was directed by Chandulal Shah for Ranjit Movietone, Bombay. The movie had Raj Kapoor and Nargis in lead roles, with Raj Kapoor playing a double role. The movie also had Dulaari, P Kailash, Maruti, Ramesh Thakur, Amarnath, Mehar Banu, Shrawan Kumar, Butaram Sharma etc in it.
Read more on this topic…


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.

Today (14 december 2016) happens to be Raj Kapoor’s birth anniversary and Shailendra’s death anniversary. We all know that Raj Kapoor and Shailendra worked together in lots of movies beginning from “Barsaat”(1949) and ending with “Mera Naam Joker”(1970) and all these had music by Shankar Jaikishan. We in this blog discuss a song only once, we have discussed all the songs in almost all these Raj Kapoor movies. In fact, the only Raj Kapoor, Shailendra, Shankar Jaikishan combination movie which is not yet YIPPEED is “Mera Naam Joker”(1970).
Read more on this topic…


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15261

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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