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

Posts Tagged ‘Rajinder Krishan


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

If one were to analyse Hindi film songs by content, most of them would fall in the love-romance category. This is understandable because a very high proportion of films revolve around love and romance.

Then there are those which are based on non-romantic relationships. Parent-child, siblings, friends and so on.

Then there are inspirational songs, philosophical songs, religious songs, party songs and many other categories of songs. In fact on this blog, thanks to its fairly granular tagging, we can zoom into any specific category of songs of interest.

One particular category of songs that is not all that common is the political song. By this, I mean a song that takes on the political establishment. There are of course films depicting politicians, often in a bad light, but most of them have a romantic side to them. So the songs are also usually of the romantic type.

The first song that comes to my mind in this connection is “ye jo public hai ye sab jaanti hai “ from Roti (1974). When I checked this song on the blog just now, I could not help a wry smile as I noticed that Atul has categorized it under “ground reality”. There doesn’t seem to be a “political song” tag yet.

The song for today could also come under this “ground reality” tag. It has been sent to me by Avinashji, who has also written down the lyrics for it (both in English and Devanagari). He requested me to do a write-up on it, possibly because it lends itself to philosophical musings on politics. And Avinashji is by now familiar with my tendency to philosophise.🙂

So here goes.

First of all, I must say that my views are not specific to a particular political party. Or even limited to the Indian political environment. They could apply anywhere, at any time because they are based on first principles of citizen-government engagement.

I will try to keep this brief here because this is a song blog and not the right platform for philosophy. I don’t want to bore the readers.🙂

This song is picturised on Mehmood and a bunch of donkeys. Its core message is citizen protest against the government of the day. The donkeys supposedly represent citizen leaders who want to lead a protest to Delhi on behalf of citizen donkeys.

So what are their demands? Among others, freedom from persecution and oppression (represented by dhobi raaj). Recognition of hard work of labourers (represented by the hard-working donkey, a term sadly used as an abuse). Demand for basic necessities of life, like a roof over one’s head (a “quarter”) and food (“tamatar”).

Thus, in a nutshell, this song captures some of the most basic complaints citizens have of government. That citizens are symbolized by donkeys is a deliberate attempt to highlight their plight and thankless lives.

Although this song is almost exactly 50 years old, much of it resonates even today in Indian society.

Of course India has progressed a lot since 1967. Many more Indians lead comfortable lives today compared to people of that time.

But there are still many millions who are suffering from the plight that this song highlights.

Important in this song is the “protest” element. Mehmood not only appeals to the government but also threatens to go to the UNO, he threatens to file a case against the government (there is a picture in the background which I believe is the Bombay High Court).

Of course this is all in jest – in reality, the power imbalance between the citizen and the government makes such a course of action laughable.

And this is what I often philosophise about. And feel sad about.

The power imbalance between citizen and government.

In theory, the government, represented by the Cabinet (and the PM), and the bureaucracy which works under the government, exists for the people. In theory.

A government without people is unthinkable. If people didn’t exist, there would be no reason for a government to exist.

A government exists ONLY because there are people who need a collective force to execute tasks on their behalf. Tasks that are in common interest – like protecting people from external and internal threats. For maintaining law and order. Or providing common infrastructure that might not be feasible or practical for each individual to separately attempt for himself.

In a democracy, this is achieved through people electing leaders from amongst themselves. These leaders are vested with the right to act and decide on behalf of the population. And naturally, with such right, comes the duty to deliver to this expectation.

So, in every sense, in theory, the elected representatives are only agents of the people. Those who they appoint to work for the people (i.e the bureaucracy) are also “public servants”. So in theory, the power lies with the people.

This is also how the Constitution envisaged the situation – and provided for appropriate checks and balances in the system. This was mainly through attempting to avoid situations of conflict of interest (Executive, Legislature and Judiciary clearly separated). And through the creation of institutions that would be independent of these.

Sadly, as we all know, this is only theory.

In reality, much of this has been compromised. As a result, today, the power equation is hugely skewed in favour of the government. Citizens, supposed to be the master, often feel powerless.
Yes, they can choose to voice their views once in five years, through the ballot box. But that’s once in five years! And as long as the systemic issues are not addressed, it means, even if there’s a change of government, things are not likely to improve for the citizen.

So much of my philosophizing has to do with this. It bothers me when I see citizens behaving like slaves. We need citizens to become more aware of their rights. Duties too, of course – we often forget that too.

But if we want to have a more evolved society, we definitely need citizens to step up. We need them to not just accept a situation as it is. We need them to demand more from those in power. Make them accountable at all levels – even to the lowest level of a local project in a village or ward.

Only when we have this level of citizen engagement and empowerment, will we have the government too on its toes. The media is supposed to be the public watchdog for this purpose – but the less said about today’s media, the better.

Anyway, these thoughts crossed my mind when I listened to this song, so I thought I’d share them here on the blog. Hope I didn’t bore you too much.🙂

Once again, this has nothing to do with a specific government. It’s more about “first principles” and therefore apply in any situation.

I will now leave you to enjoy this song, starring a bunch of donkeys. And Mehmood too, of course. The song is in Rafisaab’s voice, written by Rajinder Krishan and composed by Ravi.

Enjoy!

Video

Audio

Song-Mera gadha gadhon ka leader (Meharbaan)(1967) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Aauon
aa aa aa aa aan

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas naa khaaungaa
Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa aa
O mera Gadha Gadhon ka Leader r r r r

Sabse pehli maang hamaari
Dhobi raaj hataa do
Aauon
aa aa aa aan

Sabse pehli maang hamaari
Dhobi raaj hataa do
Ab Na sahenge dandaa chaahe
Phaansi par latkaa do
Gar naa maani Sarkaar
Kiya inkaar
To U N O tak jaaungaa
Nahin to ghaas naa khaaungaa
O mera Gadha Gadhon ka Leader r r

Dooji maang ke zaat hamaari
Mehnat karnewaali
Aauon
aa aa aa aa

Dooji maang ke zaat hamaari
Mehnat karnewaali
Phir kyun ye insaan Gadhe ka naam
Samajhte gaali
Na badlaa ye dastoor
To ho majboor
Main in par case chalaaunga
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader

Teeji maang hamaari
Hamko de do ek ek quarter
Aauon
aa aa aa aa

Teeji maang hamaari
Hamko de do ek ek quarter
Hafte mein ek baar
Ghaas ke badle mile tamaatar
Gar kar do ye ehsaan
O meri jaan
Duaayein deta jaaunga
Kabhi Naa Dilli aaungaa

Mera Gadha Gadhon ka Leader
Kehta hai ke Dilli jaa kar
Sab Maangen apni kaum ki main
Manwaa kar aaungaa
Nahin to ghaas Naa khaaungaa
Mera Gadha Gadhon ka Leader r r r r r
Aauon
aa aa aa aa aan

—————————————–
Lyrics in Devnagri Script 9Provided by Avinash Scrapwala)
—————————————-
औओं आ आ आ आ आँ

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा
मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र र र

सबसे पहली मांग हमारी
धोबी राज हटा दो
औओं
आ आ आ आँ

सबसे पहली मांग हमारी
धोबी राज हटा दो
अब न सहेंगे डंडा चाहे
फांसी पर लटका दो
गर ना मानी सरकार
किया इनकार
तो यु एन ओ तक जाऊँगा
नहीं तो घास ना खाऊंगा आ
ओ मेरा गधा गधों का लीडर र र

दूजी मांग के जात हमारी
मेहनत करनेवाली
औओं
आ आ आ आ

दूजी मांग के जात हमारी
मेहनत करनेवाली
फिर क्यूँ ये इंसान गधे का नाम
समझते गाली
ना बदला ये दस्तूर
तो हो मजबूर
मैं इन पर केस चलाऊंगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
औओं
आ आ आ आ

तीजी मांग हमारी
हम को दे दो एक एक क्वार्टर
हफ्ते में एक बार
घास के बदले मिले टमाटर
गर कर दो ये एहसान
ओ मेरी जान
दुआएं देता जाऊँगा
कभी ना दिल्ली आऊंगा

मेरा गधा गधों का लीडर
कहता है के दिल्ली जा कर
सब मांगे अपनी कौम की मैं
मनवा कर आऊँगा
नहीं तो घास ना खाऊंगा आ
मेरा गधा गधों का लीडर र र र र र
औओं
आ आ आ आ आँ


This article is written by Avinash Scrapwala, 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.

Kishore Kumar – his many moods …
————————————–
In my current search for missing Kishore Kumar songs on the blog, this song fits the bill perfectly. This is a song from his earlier decades i.e. before the seventies, here Kishore Kumar is singing for himself and this is the only Kishore Kumar song from ‘Asha – 1957’ that is yet to be discussed in the blog. In addition, this song also had the added qualification of being one of the ‘lesser heard’ songs too. Personally I do not recall any occasions of listening to this song in the past.

‘Aashaa-1957’ was directed by M.V.Raman for Raman Productions, Bombay. He was also the producer of this movie. The movie had Vyjayantimala, Kishore Kumar, Pran, Lalita Pawar, Om Prakash, Raj Mehra, Minoo Mumtaz, Randhir, Naina, Shivraj, Patanjali, Jagdish, Asha Parekh, Chamanpuri, Chandabai, Dhoomal, Praveen Pal, Gajendra Singh, Rajan Kapoor, Ravikant, Nand Kishore and Uma Dutt. Sundar made a guest appearance in this movie.

This movie had total of eight songs in it(including one multiple version song which is also the most known song of this movie ‘eena meena deeka’) composed by C.Ramchandra. Rajinder Krishan penned the lyrics for all the songs. Asha Bhonsle, Kishore Kumar and Lata Mangeshkar gave their voices to these songs.

This movie was passed by the Censor Board on 31.08.1957.

Four songs from this movie (five considering the one multiple version song) have been posted on the blog so far.

Let us now enjoy this final Kishore Kumar song from this movie, which talks of a ‘egalitarian society’ for all and seeking justice for the deprived ones …

As mentioned above the song is composed by C.Ramchandra and it is written by Rajinder Krishan.

Video (Full)

Audio

Song-Ek padosi raat ko soye aur doosra roye (Aasha)(1957) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-C Ramchandra
Chorus

Lyrics

Arey chhote aur bade ka ab to
Huaa puraana qissa
Arey duniya ki jaagir hai sabka
Ek baraabar hissaa

Ek padosi raat ko soye aur doosraa roye
Ek padosi raat ko soye aur doosraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai
Arey kaho agar insaan kisi ki
Raah mein kaante boye
Kaho agar insaan kisi ki
Raah mein kaante boye
To insaaf kahaan ka hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai

Banaaya maalik ne sabke liye hai
Chaand sitaaron ko
Banaaya maalik ne sabke liye hai
Chaand sitaaron ko
To phir kyaa haq hai
Haan
To phir kya haq hai bande ko
Kare taqseem bahaaron ko
Kare taqsim bahaaron ko
Sab ke baag bagiche par
Jab ek kaa kabzaa hoye
Sab ke baag bagiche par
Jab ek kaa kabzaa hoye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur dusraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai

Banaa hai saanp khazaane ka
Ye hai insaan ki nadaani
Banaa hai saanp khazaane ka
Ye hai insaan ki naadaani
Bataao kitna kha lega
Bataao kitna kha lega
Ye daana aur hawaa paani
Ye daana aur hawaa paani
Arey paise jaisi cheez ki khaatir
Koyi sharaafat khoye
Paise jaisi cheez ki khaatir
Koyi sharaafat khoye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur dusraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan ka hai

Sabhi ek daal ke panchhi hain
Sabhi kaa ek thikaanaa hai
Sabhi ek daal ke panchhi hain
Sabhi kaa ek thikaanaa hai
Lagaao ek saath
Lagaao ek saath naara
Ke ye janta ka zamaana hai
Ye janta kaa zamaana hai
Koyi Kisi ka beej chura kar
Apni kheti boye
Koyi Kisi ka beej chura kar
Apni kheti boye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ek padosi raat ko soye aur doosraa roye
To insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai
Ye insaaf kahaan kaa hai

——————————-
Devnagri Script lyrics (provided by Avinash Scrapwala)
——————————
अरे छोटे और बड़े का अब तो
हुआ पुराना किस्सा आ आ
अरे दुनिया की जागीर है सबका
एक बराबर हिस्सा

एक पडोसी रात को सोये और दुसरा रोये
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
अरे कहो अगर इंसान किसी की
राह में कांटे बोये
कहो अगर इंसान किसी की
राह में कांटे बोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

बनाया मालिक ने सबके लिए है
चाँद सितारों को
बनाया मालिक ने सबके लिए है
चाँद सितारों को
तो फिर क्या हक है
हाँ
तो फिर क्या हक है बन्दे को
करे तक्सीम बहारों को
करे तक्सीम बहारों को
सब के बाग़ बगीचे पर
जब एक का कब्ज़ा होए
सब के बाग़ बगीचे पर
जब एक का कब्ज़ा होए
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

बना है सांप खजाने का
ये है इंसान की नादानी
बना है सांप खजाने का
ये है इंसान की नादानी
बताओ कितना खा लेगा
बताओ कितना खा लेगा
ये दाना और हवा पानी
ये दाना और हवा पानी
अरे पैसे जैसी चीज़ की खातिर
कोई शराफत खोये
पैसे जैसी चीज़ की खातिर
कोई शराफत खोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है

सभी एक डाल के पंछी हैं
सभी का एक ठिकाना है
सभी एक डाल के पंछी हैं
सभी का एक ठिकाना है
लगाओ एक साथ
लगाओ एक साथ नारा
के ये जनता का ज़माना है
ये जनता का ज़माना है
कोई किसी का बीज चुरा कर
अपनी खेती बोये
कोई किसी का बीज चुरा कर
अपनी खेती बोये
तो इन्साफ कहाँ का हैं
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
एक पडोसी रात को सोये और दुसरा रोये
तो इन्साफ कहाँ का है
ये इन्साफ कहाँ का है
ये इन्साफ कहाँ का 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.

Many of the music directors of the the Golden era and the pre- golden era were competent singers as well. They sang mostly in their own films, but sometimes they also sang under the batons of other music directors. Today’s song, a qawwaali from “Samrat”(1954), is one such song, where C Ramchandra sings for Hemant Kumar. Rafi and chorus accompany C Ramchandra in this song.

C.Ramchandra was quite fond of singing in films and he usually sang in his own films. However, he also sang for other music directors, for instance for his Mentor Anil Biswas, S D Burman, Roshan and Hemant Kumar. Today’s song is one of the two songs he sang for Hemant Kumar. The other comedy song was from film ‘Lagan’-55. Besides them, C Ramchandra also sang for Mir Saheb, Chic Chocolate, Laxmikant-Pyarelal, Usha Khanna and Kishore Kumar.

Film Samrat-54 had 9 songs. 4 songs from this film are already discussed. This will be the 5th song. All the songs of this film are very good. The best song was “sabko mubarak Naya saal’ by Asha and chorus. For a long time, Radio Ceylon used to play this song on every 31st December night / First January every year. I do not know if this is going on even now.

SAMRAT-1954 was a film by Filmistan. Those days Ajit and Premnath were very fond of roles of rebels in a kingdom,sword fighting and the likes of it.many films with stories woven around kings,wicked Vazirs,beautiful princesses,a young rebel from the Aam janata etc were the staple of those days.India had gained Independence just 7-8 years ago and the acceptance of Kings,queens,Rajkumaris etc was still there. In fact such films were made almost till 1969,when Indira Gandhi abolished the states,Rajas,and maharajas by stopping their purses paid by the Govt.

This was a film directed by NAJAM NAQVI,who started as a continuity man with Bombay Talkies.His original name of Syed Najmul husain Naqvi was changed to Najam Naqvi here only,as there was a famous actor Najmul Hasan already.

Najam Naqvi was an actor, producer and Director.He directed 12 films from punarmilan-1940 to Samrat-1954.After this film he migrated to Pakistan where also he directed 6 films till 1966(Payal ki jhankaar).He died in Lahore,Pakistan on 26-1-1982.

Nasir Hussain, who became a famous Director later had written the S/Play and Dialogues of this film,along with Hamid bhatt.The MD was Hemant Kumar,ably assisted by a future top composer-Ravi.

The cast of this film was Ajit, Rehana Kamlesh kumari(Junior) etc. KANU ROY had also acted in this film. He did the role of Kanu-the side kick of the hero.

Guman Singh(Randhir) is Diwan of the kingdom but has connections with a Pirate chief Tunda.Sagar(Ajit) and two of his friends,Kanhaiya and Kanu,learn from a wounded sailor about the activities of Guman.Bijli(Kamlesh Kumari) a dancer in a pub of pirate and a mute lover of Sagar also fives similar info.Sagar approaches the King and warns him.But he is misunderstood and jailed as Guman is engaged to the Rajkumari.The Rajkumari(Rehana) has doubts about Guman and she finds out all about him in disguise by visiting pirate’s island.After she tells her fathe,Guman is called.Sensing trouble,Guman captures King,puts him in prison,replaced by his look alike who promptly sentences Sagar to Death.Rajkumari and Sagar escape but she is captured and made to dance on the Pirate’s ship.Sagar attacks the ship.rescues her,then turns to Guman,killing him in a sword duel and releasing King from prison.
Sagar and Rajkumari marry and he is the new Diwan now.

MUMBAI GANGOUT REPORT PART 2 (Final)….
————————————————-
The meeting was on the 20th of november 2016. On the evening of the 19th, we got WhatsApp messages from Avinash ji that he had boarded the train to Mumbai. On the way, he was to be joined by our honourable guest shri Deepak Chowdhari ji from Amravati (Badnera ?). After reading the messages that the train had left Nagpur with Avinash ji on board, we heaved a sigh of relief. Now it was 99.9% sure that he was coming for the meeting !

Bharatbhai had instructed Sadanand ji to prepare a cardboard paper table of 12″ x 12″ size with 16 squares. His idea was to take Autographs of all participants on this. The table also had their favourite song Titles. Accordingly the table was prepared very nicely. They both were to reach the venue at about 8 am to check and oversee the arrangements of the Hall. By 8.30 or so I too reached the hotel.

The arrangements were excellent. Electricity connectivity, enough lighting and free WI-FI was provided. Morning Breakfast was from 9 am onwards, but we delayed it as members had not yet come. Bharat bhai was busy in connecting his Audio-Visual and computer equipment. He was looking so enthusiastic, I felt a little envious of him. If at the age of 83-84, he can be so zealous and full of life, humour and activity, every ageing person needed to follow in his footsteps. Just looking at him brightened my mood and the tension eased out. Sadanand ji was busy checking Name plates. They had made the seating arrangements with some basis. First few seats were for the Regulars and then the Guests were seated.

I was supposed to chair the meeting. The Agenda was written on a white Board. It was strategically placed so as no one could read the items except the very bold ” Agenda “, indicating what it was ! Our experience was that the Agenda was a mandatory decorative item which was never followed as planned. It always remained a wishful thinking. But we wanted to be ‘proper’, hence Agenda was on the board !

Slowly and steadily members started trickling in the hall. Khyati ji, Shishir Sharma ji and some more guests came. When there were enough number of guests to make it look like a gathering, we started the Breakfast. At around that time, Avinash ji and Deepak ji arrived with the baggage, straight from the station. Looking tired but enthusiastic, they soon disappeared into the Men’s enclosure to freshen up and change. Within half an hour, having finished the 3-S, they joined us for the breakfast. The last pair to arrive was Gajendra ji and Nishant ji.

After the Breakfast, we all went into the hall. Though the names were assigned to the seats, members cleverly adjusted themselves as per convenience and choice of neighbours. I could read the disappointment and pain on the face of Sadanand ji, to see his efforts go waste. The last guest to enter the hall was Shri Mohan Joshi ji, a knowledgeable member, for whom this was the second meeting.

The members were-
Regulars- A. Deshmukh, Bharat Upadhya ji, Sadanand Kamath ji, Ms. Khyati ji, Avinash ji, Gajendra ji and Bakshish Singh ji.
Honourable guests- Mohan Joshi ji, Shishir Krishna Sharma ji, Nishant Shah ji, Deepak Chowdhari ji, Mahendra Bafna ji, Lalit Sahni ji, and Shyam Sawant ji.

Bharatbhai informed me that as his son from USA has come to Mumbai only for a day and was to leave tonite, he would leave early to join his son. He further suggested that we conduct his programme ‘ Favourite song ‘ on priority, ahead of other item on the Agenda, to which I agreed as all members would be involved in that programme.

Finally, the meeting started. The first item was welcome speech by Bharat ji. I reproduce here his ‘ entire ‘ welcome speech.

” Good Morning. I welcome you all for this meeting. I request Mr. Deshmukh to take over as the Chairman. Thank you.”

He sat down. Everyone dutifully clapped. The next item was ‘ self introduction by the members ‘. The idea was to acquaint others about the member and we thought the best person to do this was he himself. We had estimated that this item would take at the most an hour. We forgot that people like to talk about themselves. As there was no time limit set, this exercise went on and on and on. However, it was very interesting and gave us an insight into their lives. Some of the experiences narrated were very informative, like when Mohan Jjoshi ji met famous people of the film industry, how Lalit Sahni ji recorded more that 1000 Bhajans on tunes of popular film songs or the exciting experiences of Sharma ji while interviewing famous people. By the time we finished the introduction round it was Lunch time !

The lunch arrangements were in the Hotel’s restaurant. The food spread was four times more than what was mentioned in our contract ! So nice of them. Everyone enjoyed the tasty food and the desserts. While the lunch was going on, photos were being taken by almost everyone. The atmosphere was so cordial, friendly and full of joy that I felt the purpose of meeting was fulfilled. After all we meet not only to discuss mundane matters on the agenda, but to come closer to each other and discuss matters of mutual interest, common to all,like films and music. This was clearly a case of “friendship beyond Borders “. Such Get togethers make memorable events in our life. Films and Music bind people of diverse careers and personalities.

When we re assembled after the Lunch, it was announced that the next item was ” Favourite songs “. Members were happy.I doubt if anyone remembered that originally the next item was to be some other item. The format of this programme was easy. First Bharat ji would announce the member’s name, give his favourite song details, then one stanza of the song would be played and then the member has to tell us why he liked it and what was special in it.

Among all the meets that I have attended, this programme was genuinely most enjoyable. Members were very enthusiastic and questions were asked and answered. Barring none, all the songs were excellent and justified being in the list of Favourite songs. Members became emotional while talking about their Favourite song. Halfway through the programme, we broke for Evening Tea and again started the programme. By the time we finished all 14 songs, it was nearing 5 pm.

Hurriedly, Bharat ji arranged for the Autograph and photograph session- the last item of the day. This was required for his video. The Autograph sheet was placed on the table. The member announced his name and then signed the sheet. All this was filmed by Bharat ji.

Now the time came for the closure of the meeting. We had already crossed the Hotel’s deadline of 5 pm, but the Hotel was very considerate and allowed us without any objection. I tried to sum up the day’s activities, thanked everyone heartily and declared the Meeting as over.

A question is often asked by many as to what are the gains of such meetings which have no apparent and measurable parameters of any achievement. In my opinion, such meetings work as a Tonic for the Music lovers. Most old music lovers are from the age group of 45+ and above. At such an age, it is difficult to get New friends. Such meetings convert casual and online acquaintances into good friendships. You also get the joy of adding to your knowledge. Once tasted, the attraction of such meets prompts people to try and attend more such meetings.

How else can you explain why people spend their money and time in travelling from Delhi to Mumbai or Mumbai to Bangaluru and vice versa or Nagpur to Mumbai or to Chennai ? Surely, there must be some intrinsic gain beyond measure or a parameter ! Its difficult to put it in words but I am sure you must have understood what I mean. When I put Meeting photos on my FB page, one of our regular readers, Mr. P Seshadri ji from Ahmedabad wrote, ” If I had known, I would have also come to the meeting in Mumbai “. This is the Gain !!!

All things in this world can not be measured, some are felt and some are desired irrespective of Age, Status, Distance or Language. So Hail the Meets and let’s meet again and again…sometime….somewhere….

Let us enjoy this qawwaali from “Samrat”(1954).


Song-Jaan dena aashiqon ka kaam hai (Samrat)(1954) Singers-Rafi, C Ramchandra, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Chorus

Lyrics

haan
kya kaha ustaadon ne

arre haath seene per jo rakkhe ae ae
zara sambhal ke
aur thhandi saans le ae
haaye
haath seene per jo rakkhe
aur thhandi saans le ae ae ae
husn waale cheez kya hain
udti chidiya faans len

haan
arre waah jamboora waah waah

jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

arre gair ke pehlu mein unko dekh kar ar ar
dil pe kya guzri kisi ko kya khabar

aa aa aa aa aa
gair ke pehlu mein unko dekh kar
jee haan unko dekh kar
dil pe kya guzri
kisi ko kya khabar
jee haan kisi ko kya khabar
jee haan kisi ko kya khabar

aa aa aa aa
aashiqui ke imtihaan ka waqt hai
ae ae ae ae ae ae ae
waah waah waah
dekhna hai aaj ulfat ka asar
dekh lo ustaad ji
arre dar gaya jo ishq mein naakaam hai
dar gaya jo ishq mein naakaam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai

aahe
jaan dena
waaah aahe waah
jaan dena
kya samjhe re
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

jismein qurbaani na ho o
wo ishq kya
waah waah
sach

haa aa aa
pooch parwaane se jalne ka maza
jee haan jalne ka maza
jee haan jalne ka maza

aa aa aa
rah gaya deewaana jal ke aag mein
deewaana jal ke aag mein
deewaana jal ke aag mein

aa aa aa aa aa
aa aa aa aa aa
rah gaya deewaana jal ke aag mein
deewaana jal ke aag mein

arre raakh ke zarron se aayi ye sada
kya bhala
aise jalne mein bada aaraam hai
aise jalne mein bada aaraam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
aahe
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai

aa aa aa
aa aa aa
aa aa aa
is ada se aaj wo mehfil mein hain aen aen aen
aa aa aa
door rah kar bhi hamaare dil mein hain
aa aa aa aa
is ada se aaj wo mehfil mein hain
ji aaj wo mehfil mein hain
door rah kar bhi hamaare dil mein hain
jee wo hamaare dil mein hain
jee wo hamaare dil mein hain

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
jee mein aata hai ke ye bhi dekh len
kya ustaad
zor kitna baazu e qaatil mein hai
dekh lo ustaad ji aaj
arre
ishq mein to roz qatl e aam hai
ishq mein to roz qatl e aam hai
ishq bechaara yoon hi badnaam hai
ishq bechaara yoon hi badnaam hai
badnaam hai
aahe
jaan dena

waah waah ustaad ji
jaan dena
arre waah beta
jaan dena aashiqon ka kaam hai
jaan dena aashiqon ka kaam hai


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.

“Kavi”(1954) was directed by Debki Bose for sunrise Pictures, Bombay. The movie had Bharat Bhushan, Geeta Bali, Nalini Jaywant, Chandrashekhar, B M Vyas, Jankidas, Om Prakash 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.

“Pooja Ke Phool”(1964) was a remake of Tamil movie “Kumudam”(1962) which was simultaneously made into Telugu as “Manchi Manasulu” as well. On the insistence of AV Meiyyapan, the owner of AVM Productions, the producer of thes movies, tunes of the songs of the Tamil version were reused in Hindi songs as well.
Read more on this topic…


This article is written by Avinash Scrapwala, 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.

These days I am looking for movies that have their music composed by our beloved late Pancham Da – R.D.Burman – and which are still missing from the blog. As of now I am focusing on movies from his earlier years.
Read more on this topic…


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

Today, the 30th of October 2016, is the death anniversary of Vinod Mehra, yesteryear actor.

When Vinod Mehra died in 1990 of a heart attack, at the young age of 45, it came as a shock to many, including myself. He had been a familiar figure in films for the previous two decades, with reasonable success. And at 45, still had plenty to look forward to in his career and life.
Read more on this topic…


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.

Hullo to all in Atuldom

What is special today (16 october 2016)? It is the birthday of Hema-Dream Girl- Malini. She is still a dream to look at.

I had been to this show last month here in Bangalore where she was in chat with Kabir Bedi. (I had mentioned this in the post on Dev Anand’s birth anniversary.) It made my hair stand on end (as they say in Hindi- rongte khade ho gaye!)to see my favourite, since I was a child, at such close proximity. I felt like a kid once again. They played a clip from “Seeta aur Geeta”, the one where Manorama goes to the police station with Satyen Kappu to coax a very naughty Geeta to go home with them. The scene with the dialogue-“neeche aa beti.” To which Geeta replies: “oopar aa moti”. My mother used to tell me that as a child I had caught this dialogue and kept repeating it from the time we stepped out of the theatre after seeing the movie.
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.

Yesterday (15 october 2016) was the birth anniversary of Shri Harish Raghuvanshi, HFM enthusiast etraordinaire. He was born on 15 october 1949 in Palghar. After completing his education in Mumbai, he shifted to Surat in 1967 and joined his family business there in 1968.
Read more on this topic…


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

Today, 10th October 2016, happens to be the birthday of Rekha, one of the most successful and prominent actors of the 1970s and 1980s.

This blog was started in July 2008 – which means this blog has already seen eight birthdays of Rekha since it was started.
Read more on this topic…


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(© 2008 - 2016) 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 more than eight years. This blog has over 12600 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008..

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Movies with all their songs covered =846 Total Number of movies covered =3551

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Blog Start date: 19 july 2008 Active for 3000 days.
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