Posts Tagged ‘Ravi’
Samaaj ko badal daalo
Posted on: March 8, 2020
This article is written by Raja, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4251 | Post No. : | 15471 |
Back here on the blog after a fairly long break.
I daresay it would’ve been even longer if it were not a very special occasion today.
From today, we start the centenary celebrations of Sahir Ludhianvi’s birth.
Since he was born on 8th March 1921, today happens to be his 99th birth anniversary.
So yes, it is a very special occasion for Urdu poetry and classic HFM lovers. As a massive Sahir fan, I thought I owed it to him to write a post for the occasion. I’ve written so often about him here, on practically every birth and death anniversary, and have nothing new to say anymore – and yet it feels like a betrayal of sorts to let this day go by, without paying tribute to him.
So when Avinashji, an even bigger Sahir fan than myself, requested me to write a post for Sahir on this occasion, I could not, but agree. 🙂
But I must also admit that for the first time I told Avinashji that I don’t think I’d be in the right mental frame to be able to do this. For me, writing a post here is an investment of emotion – and right now, to be honest, I feel quite empty within. If it were not for Sahir, I don’t think I’d be able to pull myself together for this post.
To Avinashji’s credit, as always, he provided me with a list of songs and lyrics that I could choose from. And left it to me to see whether I could come up with a post. I owe this post to him too.
Ok, enough about myself and my “mental frame” – this post is about Sahir, not about me. 🙂
What can I say about Sahir that I haven’t said before?
Actually nothing.
But since it’s Sahir, whatever I’ve said before can hopefully be repeated, without sounding boring. 🙂
Just like whatever Sahir wrote as social messages, not once but repeatedly in different ways, was never boring, and only meant as a reminder to society, to show people a mirror.
For me, as for many others, Sahir was much more than just a poet or lyricist. Yes, he was a lyricist par excellence. But I’m pretty sure I wouldn’t have had this level of regard for him if he’d limited himself to just writing lyrics or poetry on mundane matters, however beautifully worded.
Sahir’s greatness, in my mind, has a lot to do with the topics he chose to express his views on. And the manner of such expression.
Sure, he could write about romance – “abhi na jao chhod kar” will always be one of my all-time favourite romantic songs.
Sure, he could write about heartbreak too – “jaane wo kaise log the jinke pyaar ko pyaar milaa”, another favourite.
Sure, he could write about love in its multitude of shades – is there a more exquisite ode to love than “ye ishq ishq hai ishq ishq”?
Sure, he could write bhajans with consummate ease – “tora mann darpan kehlaaye” and “aan milo aan milo shyam saanwre” are just two examples.
Sure, he could write light-hearted, fun songs too – the first song that comes to mind in this category is an all-time favourite “sar jo tera chakraaye”.
Sure, he could write, and wrote quite often, on a mother’s love for her child – “tu mere pyar ka phool hai”, “tere bachpan ko jawaani ki dua deti hoon” and “tu mere saath rahega munne” come to mind.
And yet, Sahir rises, no, TOWERS, above all others when it comes to writing on social issues.
No one, NO ONE, showed a mirror to society as earnestly as Sahir. It was as if he truly came into his own on these occasions.
Whether he was writing about injustice towards the oppressed, society’s shocking treatment of women, casteism, communalism, labor exploitation, or the futility of war, Sahir’s words were like cries of anguish, straight from the heart. You could feel the raw sincerity in them, even if they were often laced with cynicism, sarcasm or anger. Or, occasionally, even hope.
So many songs come to mind.
“Tu Hindu banega na musalmaan banega” – where Sahir calls out communalism in all its ugliness
“Cheen-o-arab hamara” – where Sahir sarcastically exposes India’s hypocrisy over wealth disparity
“Jinhe naaz hai Hind par wo kahaan hain” – Sahir at his cynical best, showing society a mirror of its ugly reality
“Khuda-e-bartar teri zameen par” – where Sahir busts the myth about the glory of war, pointing out that there are no winners in war, only bloodshed
“Ponchh kar ashq” – where Sahir exhorts the oppressed to rise and demand their rights from the oppressor, pointing out that colour, religion, caste, race can never be above humanity
“Aurat ne janam diya mardon ko” – Sahir’s famous lament about society’s treatment of women
“Wo subah kabhi to aayegi”– where Sahir, in one of his less frequent refrains, chooses hope over despair
and many more.
Every single time asking questions of society, pointing out its flaws, exhorting it to reform.
That each of his songs is STILL relevant more than 50 years after he wrote them, is truly sad, and a reflection of Indian society – but no one can ever fault Sahir for not doing his utmost to put his writing ability to good use. If society is still languishing in darkness, it certainly isn’t Sahir’s fault.
And it is for this particular trait of Sahir’s that he has a very special place in my heart.
Yes, he’d have had his own place in my heart anyway for lyrics like “wo afsaana jise anjaam tak laana na ho mumkin, use ek khoobsoorat mod dekar chhodna achha”.
But his attempt at social awareness, and his speaking truth to power, takes my regard for him to a different level altogether.
If I may say so, and no disrespect meant to any lyricists who have come since, but no one comes close to Sahir’s intensity in this one matter.
Or maybe times have changed too.
Now, coming to the song for today.
Avinashji gave me a few options – of the lot, I picked the title song of “Samaj Ko Badal Daalo” (1970). Lyrics have been provided by Avinashji, of course. 🙂
It’s a lament, not uncharacteristic of Sahir, where he lets loose on society itself, blaming it for its own ills. That it tolerates corruption and crime is the biggest reason society suffers these, in the first place. Reform cannot start unless society decides to step up, and adopt a zero tolerance policy towards these. Hence “samaj ko badal daalo”.
I honestly don’t think it’s a bad assessment of why we are the way we are.
Without coming across as too preachy, let me share a few thoughts quickly.
We Indians love to blame our politicians for everything. We blame them for corruption, for the poor state of our roads, education and healthcare, for dividing society along communal lines – basically everything.
And yes, since they are our leaders, and have power, it’s not unfair to place responsibility and accountability on them.
And yet, where do these politicians come from?
They don’t fall from the skies, they come from amongst US.
So if we’re complaining about corruption and bigotry in our politicians, we first need to acknowledge that we, as a society, are ourselves guilty of these very shortcomings in our character. We carry a lot of baggage historically, and don’t have a particularly high moral compass ourselves. Our politicians then just exploit our weaknesses.
For example, politicians pander to our base instincts, dividing us based on identity, or other group characteristic. And we fall for it. Every single time.
Then again, when it comes to governance, they manage to get away with promises because we don’t make a serious enough effort to hold them accountable anyway. We behave like slaves – and get treated as such. So our leaders end up with power, but no accountability.
This is OUR fault. If we didn’t allow them to exploit us like this, if we raised the bar and held them accountable to us, things would be very different.
So when Sahir writes “samaj ko badal daalo”, it does resonate a lot with me. And hopefully with others too.
End of “preaching”. 🙂
The song itself is sung by Rafisaab, at the start of the film, as credits roll. I remember seeing this film as a young boy – what I remember most about it from that time is that the hero (Parikshat Sahni, who was then still Ajay Sahni) gets stabbed midway in the film and dies. I’d never seen a film till then where the hero dies midway :-), so I couldn’t reconcile easily to this at all.
A few years ago, I watched this film again, just out of curiosity. I wouldn’t call it a bad film as such (I’ve seen worse), but the last 30 minutes or so, are very dark and depressing. After watching this film, it might linger in your mind – and you’re likely to feel sad for a while.
Considering people usually look towards cinema for escapist fare, and don’t want to be reminded of daily miseries of life, this film is definitely not one you should watch if you want a feel-good feeling from the film. Don’t get misled by the fun “tum apni saheli ko” song, picturised on Prem Chopra.
But none of this takes away from Sahir, who is the reason for this post. Rafisaab singing Sahir’s lines are always a joy for me – even if it’s a sad song.
I hope you will also listen to it – and possibly agree that what we need most is for society itself to reform, otherwise we will continue bad practice of the past, and only regress.
In my opinion, the greatest danger to a society is not economic bankruptcy (which, however hard, CAN be corrected through appropriate economic policy), but moral bankruptcy (which eats away at the very fabric of society, and is therefore far more difficult to correct).
Thank you for reading.
Audio
(audio) (lyrics noted are as per this link)
Video
Song-Samaaj ko badal daalo (Samaaj Ko Badal Daalo)(1970) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi
Lyrics(Provided by Avinash Scrapwala)
(Ye ek katha jo laakhon logon ke ae
Jeevan ka darpan hai
Desh pita ke charnon mein
Ham sab ki ore se arpan hai)
***
Samaaj ko badal daalo o o
Samaaj ko badal daalo o o o
Samaaj ko badal daalo
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo
Kitne ghar hai jinme aaj raushni nahin
Kitne ghar hai jinme aaj raushni nahin
Kitne ae tan-badan hai jinme zindagi ee nahin
Mulq aur kaum ke mizaaj ko badal daalo o
Mulq aur kaum ke mizaaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo o
Sainkdo ki mehnaton par
Ek kyun paley
Sainkdo ki mehnaton par
Ek kyun paley ae
Oonch neech se bharaa
Nizaam kyun chale ae
Aaj hai yahi to
Aise aaj ko badal daalo o
Aaj hai yahi to
Aise aaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo
————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————-
समाज को बदल डालो ओ ओ
समाज को बदल डालो ओ ओ ओ
समाज को बदल डालो
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो
कितने घर है जिनमे आज रौशनी नहीं
कितने घर है जिनमे आज रौशनी नहीं
कितने ए तन-बदन है जिनमे ज़िन्दगी ई नहीं
मुल्क और कौम के मिज़ाज को बदल डालो ओ
मुल्क और कौम के मिज़ाज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ
सैंकड़ो की मेहनतों पर
एक क्यूँ पले
सैंकड़ो की मेहनतों पर
एक क्यूँ पले ए
उंच नीच से भरा
निजाम क्यूँ चले ए
आज है यही तो
ऐसे आज को बदल डालो ओ
आज है यही तो
ऐसे आज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ
Aaj ki aawaaz jaag ae insaan
Posted on: January 9, 2020
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 : |
4192 | Post No. : | 15375 | Movie Count : |
4238 |
“Aaj Ki Aawaaz”(1984) was produced by B R Chopra and directed by Ravi Chopra for B R Films, Bombay. This movie had Raj Babbar, Smita Patil, Nana Patekar, Om Shivpuri, Dheeraj Kumar, Shafi Inamdar, Vijay Arora, Arun Bakshi, Ashalata, Chandrashekhar, Ifthekhar, Alok Nath, Goofi Paintal, Dalip Tahil, Dinesh Thakur, Bashir Khan, Chaandni, Deepak Kaajir, Sonika Gill, Urmila Bhatt, Raksha Chauhan etc in it.
The movie was based on Hollywood blockbuster “Death Wish”(1974).
“Aaj Ki Aawaaz”(1984) had seven songs in it.
Today (9 january 2019) is the 86th birth anniversary of Mahendra Kapoor (9 January 1934 – 27 September 2008). On this occasion, here is the title song of the movie. This song is sung by Mahendra Kapoor. This song plays in the background as the movie begins with credits appearing on the screen.
Hasan Kamaal is the lyricist. He won Filmfare best lyrics award for this song.
Ravi is the music director.
Lyrics of this song were sent to me by Avinash Scrapwala (long long ago in 2012).
With this song ,”Aaj Ki aawaaz”(1984) makes its debut in the blog.
Song-Aaj ki aawaaz jaag ae insaan (Aaj Ki Aawaaz)(1984) Singer-Mahendra Kapoor, Lyrics-Hasan Kamaal, MD-Ravi
Lyrics(Provided by Avinash Scrapwala)
Aaj ki aawaaz
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz
Zindagi kitni
Behifaazat hai
Kal bhi aayegaa
Kya jamaanat hai
Din pareshan hai raat hai hairaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz
Dar ke saaye mein
Gar jawaan hongi
Ye nayee naslen kal kahan hongi
Hosh me aa ja ab to aye nadaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz
Kya nagar hai ye
Kaisi basti hai
Ya to mitti se jaan sasti hai
Zindagi mushkil maut hai aasaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz
Dekh ghar aangan loot nahi jaayen
Pyaar ke rishtey chhut nahi jaayen
Kal bachane ka aaj hi kar dhyaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz jaag aye insaan
Waqt kehta hai waqt ko pehchaan
Aaj ki aawaaz
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Hemant Kumar solo | Hemant Kumar songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Poignant Song | Post by Raja | Public lament song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Theme song | Yearwise breakup of songs
- 4 Comments
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 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 : | 4116 | Post No. : | 15269 |
Here is that date again.
The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.
Sahir Ludhianvi.
I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.
There have been more famous figures in the industry.
And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.
And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.
They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.
A lyricist goes a step further than even a singer.
While a singer can put his heart and soul into a song, he does not create it. He only renders it.
The text comes from the lyricist.
And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.
And I feel no one did this better than Sahir.
With Sahir, what you saw was what you got.
Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.
He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.
Imagine if this had not happened. Imagine what might have been lost to us.
Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂
And Sahir never looked back.
From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.
I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.
With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.
That was when it hit me.
Oh, “aage bhi jaane na tu” was Sahir’s?
And “ye raat ye chaandni phir kahaan”?
Oh, and “udey jab jab zulfen teri” also?
And “abhi na jao chhod kar”?
And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”
And “tu Hindu banega na Musalmaan banega”?
Oh, and “jeevan ke safar mein raahi” also?
And “tadbeer se bigdi hui taqdeer bana le”?
There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.
At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.
It was only at that moment I realized what a legend Sahir had been. And what the world had lost.
After that, I paid a lot more attention to the lyricist, while listening to songs.
And often it was Sahir.
Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.
It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.
And that is when I realized that Sahir’s lyrics were different.
They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.
If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.
Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.
Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.
You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.
At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.
Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.
Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.
I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.
Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.
This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.
Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.
So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.
But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.
Clearly Sahir was a rebel, a non-conformist.
And his poetry often reflected this, since he wrote straight from the heart.
But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.
Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.
Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.
It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.
If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.
That’s a sobering thought.
Now, let’s move on to the song for today.
It’s from the 1969 film, Paisa Ya Pyaar.
As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.
I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.
I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂
But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.
Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.
The song is sung by Hemant Kumar, music composed by Ravi.
Please do listen.
I’d like to end by saying that Sahir was wrong in one respect.
He wrote
“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”
Sahir saab, I can only say you grossly underestimated our love and respect for you.
jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin
Thank you SO MUCH for what you’ve given us, Sahir saab.
And, very importantly, for just being you.
Video
Audio
Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi
Lyrics (based on audio link) (Provided by Avinash Scrapwala)
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa
Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला
दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
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 : | 4076 | Post No. : | 15214 |
“Albeli”(1955) was produced and directed by Devendra Goel for Fils and Television, Bombay. The movie had Geeta Bali, PPradeep Kumar, Johny Walker,Randheer, Rama Sharma, Brij, Ranjana Shukla, Tuntun, Om Prakash, Yogendra, Robin Kumar, Raje Kapoor, Meena, Gareeb Kumar, Kaiser Usmani, Ranjeet etc, with guest appearances by Shankar A Palav, Jankidas and Madan Puri.
The movie had seven songs in it. Four songs have been covered in the past.
Here is the fifth song from “Albeli”(1955) to appear in the blog. The song is sung by Asha Bhonsle. Raja Mehdi Ali Khan is the lyricist. Music is composed by Ravi.
The movie had three Asha Bhonsle solos, one Lata solo and one duet by Lata and Hemant Kumar. So it is difficult to be sure about the picturisation of these songs. I request our knowledeable readers to throw light on the picturisation of this song.
Song-O balma kyun na karoon main tose pyaar pyaar pyaar(Albeli)(1955) Singer-Asha Bhonsle, MD-Raja Mehdi Ali Khan, MD-Ravi
Lyrics
o balma
o o o o o balma
o balma
kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
o sainya kyun na dekhoon main tohe baar baar baar
tose preet puraani
o preet puraani
o o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
dil ki tamanna tere geeton mein khoyi re
phoolon ki aarzoo mein kaanton pe soyi re
tere liye o sainya kitna main royi re
kitna main royi re
phir bhi hui na aankhen chaar chaar chaar
main to prem deewaani
o o prem deewaani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o o prem deewaani
ho chuki tumhaari main to mujhe pehchaan lo
kya meri aarzoo hai nazron se jaan lo
main bekasoor piya baat meri maan lo
varna jee ro dongi main jaar jaar jaar
main to prem deewaani
o o prem deewani
o balma kyun na karoon main tose
pyaar pyaar pyaar
main to prem deewaani
o prem deewaani
Dil ko bachaana baabu jee
Posted on: August 17, 2019
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 : | 4047 | Post No. : | 15176 |
“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.
“Ummeed” (1971) was directed by Nitin Bose for Raja Films Bombay. The movie had Ashok Kumar, Nanda, Joy Mukherji, Leela Naidu, Tarun Bose, Leela Mishra, Chandrima Bhaduri, Hazara Singh, Parasram, Hussain, Ravikant, Nazeer Kashmiri, Ramesh, Laxmichhaaya, Jeewankala, Madhumati, Jankidas, Sabita Chatterji, Tuntun, Agha etc in it.
“Ummeed” (1971) was a movie that was started in early 1960s but it could be released only in 1971. By that time the actors figuring in the move had ended up being actors of yesteryears. A few of them had even passed away.
The movie had seven songs in it. Six of these songs have been covered in the past.
Here are the details of the songs from the movie that have been discussed in the past :-
| S N | Song | Song number in blog | Date of posting |
|---|---|---|---|
| 1 | Mujhe ishq hai tujhi se meri jaan e zindagaani | 2988 | 18-Sep-10 |
| 2 | Mera dil hai pyaar ka aashiyaan | 3366 | 17-Dec-10 |
| 3 | Insaan jee rahaa hai ummeed ke sahaare | 4886 | 25-Oct-11 |
| 4 | Aaja meri jaan tere qurbaan tera deewaana | 5975 | 18-May-12 |
| 4 | Hamne chaaha magar keh na paaye | 12268 | 26-Jul-16 |
| 5 | Thhodi si aur pi le | 15118 | 12-Jul-19 |
Here is the seventh and final song from the movie. This song is sung by Asha Bhonsle and Usha Mangeshkar. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised as a synchronised dance song on two female dancers. I am unable to identify them. I request our knowledgeable readers to help identify them.
With this song, all the songs of “Ummeed” (1971) have been covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Song-Dil ko bachaana baabu jee(Ummeed)(1971) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Shakeel Badayuni, MD-Ravi
Both
Lyrics
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen
aaj kal husn waale
rehem karna na jaanen
apni apni chalaayen
doosre ki na maanen
inko rakhna sambhaale huye zindagi
inse rakhna sambhaale huye zindagi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke
ishq waale bhi zaalim
kam nahin aaj kal ke
jab kahin husn dekha
rah gaye bas machal ke
lut gaya dil to hoti hai haalat buri
lut gaya dil to hoti hai halat buri
dil ko bachaana babu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana
pyaar wo hai ke jiska do taraf ho nishaana
husn bhi baawafa ho
ishq bhi ho deewaana
dil mile na to samjho qayaamat hui
dil mile na to samjho qayaamat hui
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
na aana tum kabhi haseenon ki gali
aankhen hain teer yahaan
zulfen zanjeer yahaan
aage tumhaari marzi
dil ko bachaana baabu ji
Bairi chhod de mera raastaa
Posted on: July 13, 2019
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 : | 4012 | Post No. : | 15119 |
“Baabul Ki Galiyaan”(1972) was directed by Satya Dev Narang for Narang Films Combines, Bombay. This “social” movie had Hema Malini, Sanjay Khan, Sonia Sahni, Jagdeep, Shatrughan Sinha, David, Asit Sen, Manmohan Krishna, Bipin Gupta, Jayshree T, Savita, Brahmchaari, Kuljeet, Chandrima Bhaduri, Satyen Kappu, Tuntun, Hiralal, S N Bannerji, Bharm Bhardwaj, C S Dubey, Johny Whisky, Dilip Dutt, Birbal, Majnu, Abhimanyu Sharma, Pal Sharma, Tiwari, Ramesh Kumar etc in it.
The movie had five songs in it. One song (the most popular song from the movie) has already been covered in the past.
Here is the second song from the movie to appear in the blog. This song appears 3904 days after the first song appeared in the blog on 3 november 2008.
The song is sung by Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by Ravi.
The song is picturised as a nagin dance song on Hema Malini. So Mushfiqur Rahim, the Bangladeshi wicketkeeper batsman has another Naagin dance song for his reference and necessary action. 🙂
The picturisation shows a snake charmer playing been and making a snake to sway (what people mistakenly believe to be snake dance), with Sanjay Khan looking on. I thought that the sapera is Bhagwan, but the star cast does not mention his name. I request our knowledgeable readers to help identify him.
Song-Bairi chhod de mera raasta (Baabul Ki Galiyaan)(1972) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Ravi
Lyrics
bairi chhod de mera raasta
tujhe baali umar ka vaasta
ab jaane de
ab jaane de
bairi chhod de mera raasta
tujhe baali umar ka vaasta
ab jaane de
ab jaane de
thhar thhar kaanpe naazuk tan mora
it ut doley bebas mann mora
thhar thhar kaape naazuk tan mora
it ut doley bebas mann mora
main to chali thhi pi ki nagariya
rok li toone kaahe dagariya
jaane de
ab jaane de
bairi chhod de mera raasta
tujhe baali umar ka vaasta
ab jaane de
ab jaane de
bedardi kyun peechhe pada hai mere
laaj ke maare painyaan padoon main tere
bedardi kyun peechhe pada hai mere
laaj ke maare painyaan padoon main tere
der bhayi to sang saheli
daal na den koi jhhoothi paheli
ab jaane de
ab jaane de
bairi chhod de mera raasta
tujhe baali umar ka vaasta
ab jaane de
ab jaane de
Thhodi si aur pee le
Posted on: July 12, 2019
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 : | 4011 | Post No. : | 15118 |
“Ummeed”(1971), though described as a 1971 release in HFGK, appears to be a movie of early 1960s, which for some reasons was released late. This movie was directed by Nitin Bose for Rajan Films, Bombay. The movie had Ashok Kumar, Nanda, Joy Mukherji, Leela Naidu, Tarun Bose, Leela Mishra, Chandrima Bhaduri, Hazara Singh, Parashram, Husaain, Ravikant, Nazeer Kashmiri, Ramesh, Laxmi Chhaya, Jeewankala, Madhumati, Jankidas, Sabita Chatterji, Tunyun, Agha etc in it.
The movie had seven songs in it. Five songs have already been covered.
Today is the birth anniversary of Bimal Roy (12 july 1909- 8 january 1966). Bimal Roy directed some memorable movies like such as Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata, Parakh, Bandini etc. All these movies are already YIPPEED in the blog.
Bimal Roy was also associated with some other movies in different capacities. For instance, he had edited “Ummeed”.
As a tribute to the famous Bimal Roy, here is a song from “Ummeed”(1971). The song is sung by Asha Bhonsle. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised as a seduction song on Madhumati, with Tarun Bose playing the seductee.
Song-Thhodi si aur pee le (Ummeed)(1971) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi
Lyrics
thhodi si aur pee le
o rangeele
phir allah hi allah
phir allah hi allah
allah hi allah khair wallah
haaye
thhodi si or pee le
o rangeele
phir allah hi allah
phir allah hi allah
allah hi allah
khair sallah haaye
thodi si aur pee le
kismat ne aaj teri mehfil sajaai hai
fasle bahar tere kadmon mein aayi hai
kismat ne aaj teri mehfil sajaai hai
fasle bahaar tere kadmom mein aayi hai
milti hai kisko aisi rang rangeeli raat wallah
thhodi si aur pee le
o rangeele
phir allah hi allah
phir allah hi allah
allah hi allah khair sallah haay haay
thhodi si aur pee le
shola hai tere aage
shabnam ko bhool ja
aaj apne hosh kho de
har gham ko bhool ja
saaqi se le le tu ik jaam badhaa ke haath wallaah
thhodi si aur pee le
o rangeele
phir allah hi allah
phir allah hi allah
allah hi allah khair sallah
thhodi si aur pee le
har shai pe aaj teri daulat ka raaz ho
kal kya ho kaun jaane
jo kuchh ho aaj ho
har shai pe aaj teri daulat ka raaz ho
kal kya ho kaun jaane
jo kuchh ho aaj ho
jeene ka maja lele maan le meri baat tu wallah
haay
thhodi si or pee le o rangeele
phir allah hi allah
phir allah hi allah
allah hi allah khair sallah
haay
thodi si aur pee le
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 : | 3905 | Post No. : | 14960 |
“Apna Ghar”(1960) was produced R Yusuf and directed by Ram Pahwa for Kaizer Films Bombay. This “social” movie had Premnath, Shyama, Nanda, Moti sagar, Mishra, Leela Mishra, Umesh Sharma, Krishn Dhawan, Kammo, S K Prem, Mirajkar, Lalit Kapoor, Deepak, Poonam Kapoor, Radheshyam, Baby Ratan, Baijnath, Sharan, Chandabai, Sharmaji, Tulsi, Rani Sachdev, Baby Reeta etc in it.
The movie had six songs in it. Three of these songs have been covered in the past.
Here is the third song from “Apna Ghar”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Ravi.
Only the audio of the song is available. The song sounds like a club dance song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Soch samajh le o parwaane (Apna Ghar)(1960) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Ravi
Lyrics
soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi main
itni to naadaan nahin
soch samajh le o parwaane
jal jaana aaasaan nahin
phir na kahna in zulfon ke phande mein hum aa gaye
bade bade dil waale in nazron ka dhokha kha gaye
phir na kahna in zulfon ke phande mein hum aa gaye
bade bade dil waale in nazron ka dhokha kha gaye
kaun sa aisa dil waala hai
kaun sa aisa dil waala hai
jo mujh par kurbaan nahin
ehe soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi
main itni to naadaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
is mehfil mein jo bhi aaya
wo deewaana ho gaya
duniya to kya
apne se bhi wo begaana ho gaya
is mehfil mein jo bhi aaya
wo deewaana ho gaya
duniya to kya
apne se bhi wo begaana ho gaya
ye bhi adaayen na jaane tu
ye bhi adaayen na jaane tu
itna to anjaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
teri nazar pehchaan gayi
main itni to naadaan nahin
soch samajh le o parwaane
jal jaana aasaan nahin
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
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