Posts Tagged ‘S D Burman’
Hum chhupe Rustam hain
Posted on: January 22, 2023
- In: Dev Anand songs | Dev Anand songs by Manna Dey | Guest posts | Introduction song | Lyrics by Prakashchandra | Lyrics contributed by readers | Manna Dey solo | Manna Dey songs | Post by Avinash Scrapwala | qawwali | Songs of 1970s (1971 to 1980) | Songs of 1973 | Theme song | Title song | Yearwise breakup of songs
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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 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 : |
5301 | Post No. : | 17369 |
#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post 2)
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(A tribute to Vijay Anand – The Director)
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Today 22nd Janunary’202 is the eighty-nineth birth anniversary of Vijay Anand. He was born on 22nd January’1934 and passed away on 23rd February’2004.
Vijay Anand was one of the greatest director and editor of Hindi Cinema. He also produced movies, acted in movies, wrote movies and even wrote lyrics.
Vijay Anand left behind his legacy of movies that are called ‘Vijay Anand movies’ that would be remembered forever and will always be a part of Hindi Cinema History. He has left behind an indelible mark of his ‘art and craftsmanship’ in the movies he has directed and /or edited or both.
I am a big fan of Vijay Anand. I had earlier presented a brief post on him on the blog.
Our seniors on the blog and especially Shri Sudhir ji have written passionate posts on Vijay Anand on the blog. I am reproducing a brief about Vijay Anand that Shri Sudhir ji had mentioned in this post.
Really very few artists and film makers in the industry have been as versatile as Vijay Anand has been. Active in the industry since the early 1950s, Vijay is the youngest of the three Anand brothers. He did have an advantage of two elder siblings, Chetan Anand and Dev Anand, having made a place for themselves in the industry, when he also decided to take the plunge. And under the umbrella of his illustrious seniors, he had the opportunity to delve and develop a multi-faceted career. In a career that spans more than five decades, Vijay Anand, or Goldie as he was known to his friends, made his mark as a screenplay and dialogue writer, as a director, as a producer, as an editor, and as an actor. His works are limited, given the span of his career, but the quality of his work speaks for itself. The films he has directed are outstanding, and he is acknowledged as the best director for picturization of songs, in the Indian film industry. In this aspect of film making, which is supremely significant given the musical nature of Indian cinema, he is without a peer.
Our Shri Sadanand ji had mentioned this while writing about Vijay Anand in this post:-.
This song is our tribute to Vijay Anand whose birth day falls on January 22nd. That he was a talented person from a very young age can be gauged by the fact that at the age of 16, he became assistant director in ‘Afsar’ (1950). Due to a sudden illness of Chetan Anand, who directed the film ‘Funtoosh’ (1954), Vijay Anand directed a song ‘hey meri topi palat ke aa’ in the film at the age of 20. At the age of 23, he scripted and directed a box office hit ‘Nau Do Gyarah’ (1957).
There is one detailed post on Vijay Anand written by Shri Sudhir ji with the song ‘andhi parja andha raja takey ser bhaaji takey ser khaaja’ presented on the blog on 22nd Jaunary’2018 as a tribute to Vijay Anand on his birth anniversary.
In this post on the birth anniversary of Vijay Anand we today pay our tributes to him and listen to a song from one of the movies. He produced, directed, wrote, edited and also wrote three out of the seven songs in this movie.
We are all aware that the movies by ‘Navketans’ always had good music and they are known for their music as well. If one browse this blog and check the list of movies which are directed by Vijay Anand one can see that almost all of them have been covered with all of their songs on the blog or as we say they have already been ‘Yippeeee’ed’ on the blog, except the surprise which is the today’s movie.
Today’s movie is ‘Chhupaa Rustom-1973’.
Here is a brief about this movie mentioned by Shri Sudhir ji in his post on the blog.
‘Chhupa Rustom’ (1973) is a crime thriller from the house of Navketan. Produced by Dev Anand, the film is directed by Vijay Anand. It is for this film that Goldie shares the credits for song writing with Neeraj. The film is loosely based on the action thriller novel ‘Fear Is The Key’ by the British author Alistair MacLean. The acting credits are impressive and include Dev Anand, Hema Malini, Vijay Anand, Bindu, Prem Chopra, Ajit, Sajjan, Veena, Premnath, AK Hangal, Rashid Khan, Shyam Kumar, Sudhir, Uma Dutt, Kaamraan, Nawab, and many more. The music composition is by SD Burman.
The storyline revolves around a treasure city of gold that is discovered under the glaciers of Himalayas by an archaeologist, played by AK Hangal. The information about the probable existence of such a treasure is also with a group of gangsters led by Ajit. Weather conditions go bad, Hangal is separated from his team and lands up at the camp of gangsters. Recognizing him, the gangsters capture him. He is tortured, but refuses to give the location information to Ajit. Meanwhile, Dev Anand, who is the son of Hangal, begins to search for his father, after losing contact with him. He is actually a police officer, and Vijay Anand is an associate. The storyline follows their efforts to track his father. The trail takes them to the wedding of Hema Malini, daughter of a rich man (Sajjan). The awkward alliance is with Prem Chopra, son of Ajit, for reasons of business coercion. Dev and his team kidnap Hema Malini, and get Ajit and his henchmen after them. The ruse is to somehow get the gangsters interested in Dev Anand, as the only person who can decipher the secret diary of Hangal, who is in the Ajit’s custody. After more machinations, finally Dev Anand leads Ajit and Prem Chopra to the treasure, only to trap them in the underground vault, and extract their confessions under the fear of death.
I vaguely remember to have watched this movie with my father when was a child. I do not remember anything about this movie except the today’s song (which is a qawwali) of which the ‘mukhda’ has always been in my memory may be it has been imbibed on my mind since years. And then the other song which I am familiar is from this movie is of course ‘dheere se jaana khatiyan mein’.
Though during all these years I do not remember to have attentively listened to any songs of this movie and that is why when I checked and found that lyrics for the remaining songs of this movie have been lying shared by Prakash ji.
And what a song this is, rather a ‘qawwali’ penned by none other than Neeraj ji, composed by S.D. Burman and sung by Manna Dey.
The thrill of listening and watching this ‘qawwali’ cannot be explained in words.
Just enjoy it!!!
Dev Anand is performing on screen and we can see Sajjan, Hema Malini, Ajit, Prem Chopra and others in the picturisation of this song.
We remember Vijay Anand and pay our tributes to the DIRECTOR in him!!!
(Lyrics for thesong were sent by Prakashchandra).
Audio
video
Song-Hum chhupe Rustam hain (Chhupa Rustam)(1973) Singer-Manna Dey,L yrics-Neeraj, MD-S D Burman
Chorus
Lyrics (Provided by Prakashchandra)
Haan aan aa aa
aa aa aa aa aa
aa aa aa aa aa
poochho to yaaron
hum kaun hain
kaun hain
hum..mm…mm..mmm
chhupe rustam hain aen
chhupe rustam hain..aen
chhupe rustam hain
chhupe rustam hain..aen
chhupe rustam hain
chhupe rustam hain
qayaamat ki nazar rakhte hain
zameen to kyaa hai ae
zameen to kyaa hai
aasmaan ki khabar rakhte hain
chhupe rustam hain…aen
chhupe rustam hain
chhupe rustam hain…aen
chhupe rustam hain
chhup na paaye koyi tasveer hamaare aage
chal na paaye koyi tadbeer hamaare aage
toot jaati hai
toot jaati hai
toot jaati hai khud shamsheer hamaare aage
sar jhukaati hai har taqdeer hamaare aage
raah kaanton mein banaa lete hain
aasmaan sar pe uthhaa lete hain
hum agar taish mein aa jaayein to..o
hum agar taish mein aa jaayen to
aag paani mein lagaa dete hain
aag paani mein lagaa dete hain
aahhaan…haan
hamaare dum se ye zamaanaa hai
sharaab-o-jaam hai maikhaanaa hai
hum jahaan sar ko jhukaa dein yaaron
wahin kaabaa wahin butkhaanaa hai
wahin kaabaa wahin butkhaanaa hai
aahaan…aan
hum to insaan ke liye ae
hum to insaan ke liye
hum to insaan ke liye daar pe sar rakthe hain
zameen to kyaa hai ae
zameen to kyaa hai
aasmaan ki khabar rakhte hain
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
o o o o
tori najariyaa gori jaise
o o o o
tori najariyaa gori jaise ae ae
ras ki nadi
lehraa..aa…aaye ae ae
ek baar jo doobe ae ae ae
inn mein
pal pal
pal pal
pal pal gotaa khaaye raamaa
ho o ho o o
pal pal gotaa khaaye raamaa
nazar ye teer bhi talwaar bhi hai
nazar inkaar bhi iqraar bhi hai
nazar ye phool bhi hai
khaar bhi hai
ghataa bhi megh bhi malhaar bhi hai
nazar dil ki zubaan hoti hai
motiyon kaa makaan hoti hai
pyaar ka imtihaan hoti hai ae
zameen par aasmaan hoti hai
zameen par aasmaan hoti hai
haan aa
nazar uthhey to duaa ban jaaye
agar jhuk jaaye hayaa ban jaaye
jo tirchhee ho ho o
jo tirchhee ho ho o
jo tirchhee ho o
ho o
adaa ban jaaye
hey ye
pade seedhi to qazaa bann jaaye ae ae
pade seedhi to qazaa bann jaaye
pade seedhi to qazaa bann jaaye
nazar koyi bhi ho o o
nazar koyi bhi ho o
nazar koyi bhi ho o
hum sab pe ae nazar rakhte hain
zameen to kyaa hai ae ae
zameen to kyaa hai
aasmaan kee khabar rakthe hain aen
chhupe rustam hain aen aen
chhupe rustam hain aen
chhupe rustam hain aen aen
chhupe rustam hain aen
haan aa aa aa
aa aan aa aa
aa aa aa aa aa
aa aa aa aa aa
hum teri talaash mein jaan-e-jahaan aan aa
hum teri talaash mein jaane jahaan
jeene ka nayaa dastoor bane
kabhi Qais kabhi Farhaad kabhi
Khayyam kabhi Mansoor bane ae ae
kyaa kyaa na bane hum tere liye
par jo bhi bane bharpoor bane
ab aaye mazaa meraa khoon-e-jigar
teri maang ka jab sindoor bane
hum teri talaash mein jaan-e-jahaan aa aa
natkhat hum natwar tere liye
dar dar ghoome
bann bann bhatke
parbat pe gaye sooli pe chadhe
nit khaaye muqaddar ke jhatke ae ae
tere ghoonghat pat ki salvat mein
atpat ye more nainaa atke
jhatphat de hamein darshan hum to
pyaase hain teri kaali lat ke ae ae
hum teri talaash mein jaan-e-jahaan..aan..aan
o o o o o o o
meri aarzoo (aa)
hai teri justjoo (aa)
karoon kuchh guftagoo (aa)
zaraa to rubaaroo aa aa aa
aa aaa aa
zaraa to rubaaroo aa aa
rubaaroo aa aa
rubaroo aa aa
le hi jaayenge ae ae
le hi jaayenge ae
le hi jaayenge
uthhaa ke bhari mehfil se tujhe
churaa len aankh se kaajal
woh hunar rakhte hain
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
chhupe rustam hain aen
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4840 | Post No. : | 16627 |
‘Ye Gulistaan Hamaara’ (1972) was produced and directed by Atma Ram under the banner of Guru Dutt Films Combined. The star cast included Dev Anand and Sharmila Tagore in the lead roles supported by Pran, Iftikhar, Sujit Kumar, Johny Walker, Jaishree T, Lalita Pawar, Kanan Kaushal, Ramesh Deo, Raj Mehra, Keshav Rana, Janakidas etc.
The story is woven around a bridge which is being constructed over Dihing River in North-East India for a good connectivity. But the local tribals are oppose to it. They think that this is one way of imposing the slavery on the local tribes in the name of infrastructural development. This sentiment is exploited by some foreign agents who instigate the tribal chieftain to destroy the under-construction bridge. It is at this point, Dev Anand as an Intelligence Bureau Officer is sent to supervise the construction of the bridge without any hindrances.
How Dev Anand achieves the objective by overcoming the tribal opposition to construction of the bridge is the rest of the story that moves forward. If the film was to be made in English, it would have been apt to name the film as ‘The Bridge on the River Dihing’ on the lines of a well- known Hollywood film ‘The Bridge on the River Kwai’.
The film’s outdoor shooting was done in Assam (near Digboi where a bridge was under construction), Meghalaya, and Arunachal Pradesh. During the shooting of the film, the crew faced the hostile crowd led by the Naga Students Federation in Shillong. Some stone throwing incidences were also reported. The Naga students felt that it was a politically motivated film to insult the Naga tribal culture. Sharmila Tagore played the role of a Naga girl named ‘Sekrenyi’ which is the name of the holy festival of Angami Naga tribe. It is said that with the intervention of Bhupen Hazarika, the shooting of the film went on smoothly thereafter. The name of Sharmila Tagore’s character in the film was changed to ‘Soo Reni’.
In my younger days, I had read in the newspapers about the opposition of local tribals in laying the railway tracks in Meghalaya (Guwahati to Byrnihat). I understand that this line is yet to be operational. The same problem is faced for the railway track between Silchar and Imphal in Manipur. The main worry the local tribals is that good connectivity would lead to the influx of outsiders in their tribal belts threatening their own existence and culture. I feel that ‘Ye Gulistaan Hamaara’ (1972) was a ‘half-baked’ attempt to remove tribal population’s worries about the likely cultural dominance by the rest of India over the North-East’s tribal culture.
At the time of the release of the film, Naga Students Federation took out the protest march for banning the film on the ground of undermining the Naga tribal culture. They also felt that a couple of songs in the film sounded racial. In any case, they opposed the released of the film in Nagaland and Meghalaya. There were violent protests on the streets of Shillong. Finally, the film was released in 1973 after incorporating a notice in the film itself that ‘customs depicted in film, folk dances, dresses etc have no parallel with any of the tribes in Nagaland’. Some songs’ wordings were also changed to appease the protestors.
Initially, Danny Denzongpa was to perform the role of Dev Anand’s local associate in the film. S D Burman had already recorded a song in Danny voice along with Lata Mangeshkar. However, Johny Walker insisted with Atma Ram that he should also get a role in the film. Atma Ram agreed to take Johny Walker in place of Danny. However, Danny’s first song as a playback singer was retained which was picturised on Johny Walker. I personally feel that the role of a local person would have fitted well on Danny because of his facial feature. But at that time, Danny was a newcomer to protest. His consolation must have been the debut song he sang under the baton of S D Burman which was well appreciated.
‘Ye Gulistaan Hamaara’ (1972) had 7 songs of which six songs were written by Anand Bakshi. Six songs have been covered on the Blog, details of which areas under:
| Songs | Date of Posting | Singers |
|---|---|---|
| Gori gori gaaon ki gori re | 30/10/2008 | Kishore Kumar – Lata |
| Mera naam yaao mere paas aao | 17/01/2009 | Dany Denzongpa-Lata |
| Naina soyi soyi raina jaage jaage | 09/06/2013 | Lata Mangeshkar |
| Ho Tushima ri Tushima…aa gara toofaan | 31/10/2018 | Lata Mangeshkar |
| Hey suno meri baat chalo mere saath | 03/12/2020 | Kishore Kumar |
| Saare jahaan se achcha Hindostaan hamaara | 26/01/2021 | Sushma Shreshta and Kids -1, Chorus Version-2 |
I am presenting the 7th and the final song, ‘kya ye zindagi hai kaisi bebasi hai’ from the film which is rendered by Lata Mangeshkar, S D Burman and chorus. The song is written by Anand Bakshi. The song has its uniqueness in that when Lata Mengeshkar sings, the chorus voices parallelly sing some words which I am unable to decipher.
With this song, all the songs from the film ‘Ye Gulistaan Hamaara’ (1972) have been covered on the Blog.
Audio Clip:
Video Clip:
Song-Kya ye zindagi hai (Ye Gulsitaan Hamaara)(1972) Singers-Lata, S D Burman, Lyrics-Anand Bakshi, MD-S D Burman
Lyrics (Based on the Audio Clip):
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na
sadiyon se yoon hi
sar pe dukhon kaa
bojha uthaaye
in parbaton pe
ham chal rahen hain
bhookhe nange pyaase
laao haath
laao haath
apne saath
laao haath apne saath
chalke dekho do kadam tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kitni hai doori ee
ham bade peechhe
tum bade aage
tumhen chhoo naa paaye
tumhen chhoo bhi len to
thukraaye jaayen
apna mel
nahin khel
apna mel
nahin khel
o baabu kahaan hum kahaan tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na
hamne ye maana
ham to bure hain
hamne ki buraayi
tum to bhale ho.o o
tumne hamaari
ki hai kya bhalaayi
samjhaao
sikhlaao
samjhaao
sikhlaao
gale se lagaa ke hamen tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4616 | Post No. : | 16251 |
Rafi Sahab’s legendary associations: 02
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Saahir Ludhianvi’s 100th birth anniversary
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It is Sahir Ludhianvi’s 100th birth anniversary on 08/03/2021 and I have the good fortune of writing for the last remaining song/snippet from ‘Pyasa’ 1957 to post on this occassion. There is no better showcase then the musical canvas of this classic film, I could not ask for a better opportunity. Thank you Avinash ji for giving me this gift.
It is arguably the best of Sahir, among the very best of S. D. Burman and most intense music score by him. It was Rafi sahab’s voice that becomes the poet and the poet becomes a Rafi personified because of the voice over in playback, in romance, in confusion, in jest, in irritation, in poetic narration, in bitterness, inebriation, in rebellion, and in cursing. Sahir made the so-called curse words in urdu palpable in poetry.
This is the list of all songs of “Pyaasa(1957)” already posted in the blog:
| Song | Date of posting |
|---|---|
| Jaane wo kaise log the jinke pyaar ko pyaar mila | 21 April 2009 |
| Ham aapki aankhon mein is dil ko basaa den to | 10 september 2009 |
| Aaj sajan mohe ang lagaalo janam safal ho jaaye | 25 October 2009 |
| Ye duniya agar mil bhi jaaye to kyaa hai | 26 September 2009 |
| Sar jo tera chakraaye yaa dil doobaa jaaye | 27 September 2009 |
| Jinhe naaz hai Hind par wo kahaan hain | 16 October 2010 |
| Jaane kyaa toone kahi jaane kyaa maine suni | 5 October 2011 |
| Rut phire par din hamaare phire na | 13 January 2012 |
| Tang aa chuke hain kashmakashe zindagi se ham | 17 January 2012 |
| Ye hanste huye phool ye mehka hua gulshan | 8 June 2017 |
| Peechhe peechhe duniya aage aage hum | 9 July 2017 |
S. D. Burman was never averse to having both Lata and Asha Bhonsle sing for his song, but they are conspicuously absent in this music score. Geeta Dutt is singing for both Waheeda Rehman and Mala Sinha in this film.
My post on Sahir Ludhianvi’s remembrance day in 2020 is for the song where I have highlighted the effect of Iqbal on the Sahir and his poetry. This blog is one of the widely followed and read serious blogs on film music, and I thought, the aficionados of Sahir’s poetry would have some opinion to put forward, regarding my theory which I gave in that post.
I am reproducing a brief intro of Sahir from the book “Yeh un dinon ki baat hai” by Yasir Abbasi :
“Talkhi (bitterness) entered Sahir’s life early when his father chose to name him Abdul Ha’ee purely to spite a nieghbour. With a troubled childhood behind, he was still in his early 20’s when he stormed the literary arena with his first collection of poems, Talkhiyaan(1944). Films beckoned with Aazadi ke rahh par (1948), but it was with Naujawan and Baazi (both in 1951) – that he arrived with a bang. Widely regarded as the finest lyricist to grace Hindi cinema, he scaled dizzying heights with Pyaasa (1957). He was always vociferously critical of any kind of oppression, and in his indictment of social ills, he spared no one – be it the society(Aurat ne janam diya – Sadhna/1958), a bygone emperor (mere mehboob kahin aur – Ghazal/1964) or God (aasman pe hai khuda – Phir subah hogi/1958). Yet the same man could stir up romance like no one else when he wrote Abhi na jaao chhod kar (Hum dono/1961) or kabhi kabhi mere dil mein khayaal aata hai (Kabhie kabhie/1976). Temperamental but absolutely sublime at his craft, Sahir Ludhianvi elevated the lyricist in hindi films and raised the bench mark to a level that a few could touch.”
I have no arguments with the above introduction, but to add a few more dimensions in the expressing the intricacies of human relationship and romantic entanglements, Sahir’s intro is incomplete without these songs:
1. Tum agar mujh ko na chaaho to koyi baat nahin
2. Chalo ek baar phir se ajnabi ban jaayen
3. Zindagi bhar nahi bhulegi wo barsaat ki raat
4. Jo baat tujh mein hai teri tasveer mein nahin
There are many more, but the above should give a fair idea of the term ‘absolutely sublime’ in the above intro.
One more small para in the same book, an absolute gem, is this:
Aisa mehsoos hota hai ki Sahir ne apni shakhsiyat ka saara gudaaz shai’ri mein bhar diya hai aur sha’iri ki saari jaaduiyat apne khat-o-khaal mein jazb kar li hai. Aaine se aaina-gar ka ubharna lateefa hi sahi lekin Talkhiyaan ka mutaal’aa keejiye to uss ke musannif ki rooh bolti dikhaayi degi – musannif se baatein keejiye to ma’aloom hogaa aap us ki nazmein padh rahe hain.
Here is a list compiled by Avinash ji of the songs/films of the team of SDB and Sahir.
| S.no. | Movie | Year | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
|---|---|---|---|---|---|
| 1 | Baazi | 1951 | 8 | 8 | 8 |
| 2 | Naujawan | 1951 | 7 | 7 | 7 |
| 3 | Sazaa | 1951 | 1 | 1 | 1 |
| 4 | Jaal | 1952 | 8 | 8 | 8 |
| 5 | Laal Kunwar | 1952 | 8 | 11 | 11 |
| 6 | Armaan | 1953 | 8 | 8 | 8 |
| 7 | Baabla | 1953 | 6 | 6 | 6 |
| 8 | Jeevan Jyoti | 1953 | 8 | 7 | 7 |
| 9 | Shahenshah | 1953 | 9 | 9 | 9 |
| 10 | Angaarey | 1954 | 10 | 10 | 10 |
| 11 | Radha Krishna | 1954 | 2 | 2 | 2 |
| 12 | Taxi Driver | 1954 | 8 | 8 | 8 |
| 13 | Devdas | 1955 | 10 | 10 | 10 |
| 14 | House No.44 | 1955 | 8 | 8 | 9 |
| 15 | Munimji | 1955 | 7 | 7 | 7 |
| 16 | Society | 1955 | 8 | 8 | 8 |
| 17 | Funtoosh | 1956 | 8 | 8 | 9 |
| 18 | Pyaasa | 1957 | 11 | 8 | 12 |
| Total | 135 | 134 | 140 | ||
The list ends abruptly in 1957, as the association between Sahir and SDB ended soon after the master piece Pyaasa.
Rafi sahab’s association with both these geniuses continued independently till the end of their lives. Here is their tally in the blog:
| Name | No of songs in the blog | No of songs in the career |
|---|---|---|
| S. D. Burman | 641 | 87 movies (666) |
| Sahir Ludhianvi | 652 | 724 |
All the available songs by Rafi sahab under S. D. Burman are already posted in the blog. A few more Rafi songs written by Sahir remain to be posted.
Video
Song-Gham is qadar badhe ke main ghabra ke pi gaya (Pyaasa)(1957) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-S D Burman
Lyrics (Provided by Avinash Scrapwala)
gham is qadar badhe
ke main ghabraa ke pee gayaa
is dil ki bebasi pe taras khaa ke
pee gayaa
thhukraa rahaa thhaa mujhko
badi der se jahaan
thhukraa rahaa thhaa mujhko
badi der se jahaan
main aaj sab jahaan ko
thhukraa ke pee gayaa aa …
main aaj sab jahaan ko
thhukraa ke pee gayaa aa …
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Devnagri script lyrics (Provided by Avinash Scrapwala)
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ग़म इस क़दर बढे
के मैं घबरा के पी गया
इस दिल कि बेबसी पे तरस खा के
पी गया
ठुकरा रहा था मुझको
बड़ी देर से जहां
ठुकरा रहा था मुझको
बड़ी देर से जहां
मैं आज सब जहां को
ठुकरा के पी गया…
मैं आज सब जहां को
ठुकरा के पी गया…
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4575 | Post No. : | 16183 |
72nd Republic Day – 26/01/2021
———————————————————-
dekho kaheen barbaad na hove ye bageecha
dekho kaheen barbaad na hove ye bageecha
isko hriday ke khoon se Baapu ne hai seencha
rakkha hai ye chiraag shaheedon ne baal ke,
iss desh ko rakhna mere bachchon sambhaal ke
ham laaye hain toofaan se kishti nikaal ke
iss desh ko rakhna mere bachchon sambhaal ke
For the last 13-14 years, I have seen that always original soundtracks of patriotic songs are played on every national festival day morning for at least 2 hours in the flag hoisting ceremony held at the building, adjacent to mine. Every year I am hoping that these songs, some of them very old are being played in my building, but no, they are in the next building:-). Always it is the case of ‘dur ke dhol suhaane’ to express in the hindustani parlance.
I was not motivated enough to write a post for today, till I heard the above quoted Rafi song from the film Jaagriti (1954), in between the two flag hoisting ceremonies I attended this morning. Plus I remembered this rendition of ‘Tarana-e-hindi’ from Ye Gulistan hamaara(1972).
I am producing the complete ghazal by Dr. Allama Iqbal, which I had meant to do a post to commemorate another anniversary, but since today is the day of patriotic songs, here it is:
Saare jahaan se achchha hindostan hamaara
Ham bulbulen hain iss ki ye gulsitaan hamaara
Gurbat mein hon agar ham rehta hai dil watan mein
Samjho vahin hamen bhi dil ho jahaan hamaara
Parbat wo sab se oonchaa ham-saaya aasmaan ka
Wo santari hamaara wo paasbaan hamaaraa
Godi mein khelti hain iss ki hazaaron nadiyaan
Gulshan hai jin ke dam se rashk-e-jinaan hamaara
Aye aab-rud-e-ganga wo din hai yaad tujh ko
Utra tere kinaare jab kaarwaan hamaara
Mazhab nahin sikhaata aapas mein bair rakhnaa
Hindi hain ham watan hai hindostaan hamaara
Yunaan o misr o rumaa sab mit gaye jahaan se
Ab tak magar hai baaqi naam-o-nishaan hamaara
Kuchh baat hai ki hasti mit-ti nahin hamaari
Sadiyon rahaa hai dushman daur-e-zamaan hamaara
‘Iqbal’ koyi mahram apna nahin jahaan mein
Maalum kya kisi ko dard-e-nihaan hamaara
Ist, 3rd, 4th and 6th sha’ir of the above is so well known that there is no song in the world to compare in popularity. As poetical expression of national/regional pride also this is an international legend, and will be so till the civilization survives. Maybe someone down the line would have thought of saying it this simply, but Dr. Iqbal thought of it first. Such a quote, I don’t think would sound this natural and believable in any other language. Dr. Iqbal wrote this as a childrens song and named it ‘taraana-e-hindi”.
There are many things in our vast country that we can be proud of, but the idea of India is the core of it. This type of poetry was needed back then, in the British India, to awaken the national fervour and make people yearn for the possession of the wealth, natural resources and the artistic genius, this country possessed and still possesses.
Yunaan o Misr o Rumaa sab mit gaye jahaan se
Ab tak magar hai baaqi naam-o-nishaan hamaara
Yunaan is Greece, Misr is Egypt and Rumaa is Rome (meaning Roman Empire here).
Kuchh baat hai ki hasti mit-ti nahin hamaari
Sadiyon rahaa hai dushman daur-e-zamaan hamaara
Iqbal knew his stuff and what he was talking about and to whom he was saying it. He wrote the poem before the world wars and the British were yet to complete 50 years of total domination in this region. And some 40 years before the end of 2nd world war, which were to finally break the backbone of the British Empire. It was first published on 16th August 1904, in the weekly journal Ittehad (Unity).
I know that the roots of the idea of Pakistan or a separate nation for muslims was to stem from the ‘taraan-e-milli’ which Dr. Iqbal wrote as a sequel to ‘taraana-e-hindi’ as per some theorists. But what is supposed to happen to the core idea of India which was the cultural diversity the intellectual world still swears by, is the point to ponder. This was the pluralism Iqbal was talking about a whole concept, it was destined to end up like:
Iss dil ke tukde hazaar huye
Koyi yehaan gira koyi wahaan giraa
The fact of the matter is, the Britishers, were the foreigners who never wanted to amalgamate with this country and they had their masters back home, whose coffers they were sent to fill. They left only those places intact in their wake, which they could ensure would be ruled by the European races and their generation. With India and other vast colonies like Arab world, they did not succeed in doing it. Instead, they managed to ensure that they would leave them divided, so that they can never rise against the European powers, for generations to come. They did this with the help of vested interests in the Arab world and India. The lies may be multiple but the truth is always one. It is still a matter of conjecture, who played in whose hands and ended up losing the power of numbers, a fact which is amply demonstrated by the growth of China in our times.
The British did not just divide the real idea of India, they divided the natural and human resources of the region, whom they tried to achieve control of, for more than 2 centuries, only to relinquish the full control within 100 years of gaining it. These facts and the time lines tell their own story. ‘Break the powers you can’t control” was the name of the game.
I feel this story is yet to be told in its full inglorious detail. Because even if it is late, the truth can never be suppressed forever. And we are living the era of ‘True lies’ by our own admission.
Here is the song to commemorate the Republic day 2021. Composition is credited to SDB and Pandit Ravi Shankar in the films soundtrack and singers are Sushma Shrestha and various artists. The full rendition is in chorus, as it befits the composition.
Video – 1
Video – 2
Song-Saare jahaan se achcha Hindostan hamaara (Ye Gulistaan Hamaara)(1972) Singers-Sushma Shreshtha, Lyrics-Allama Iqbal, MD-S D Burman
Lyrics
Saare jahaan se achchha
hindostaan hamaara
aa aaa
saare jahaan se achchha
hindostaan hamaara
ham bulbulen hain iss ki
ye gulsitaan hamaara hamaara
saare jahaan se achchha
gurbat mein hon agar ham mm
rehtaa hai dil watan mein
samjho wahin hamen bhi
dil ho jahaan hamaara hamaara aa
saare jahaan se achchha
parvat wo sab se oonchaa
ham-saaya aasmaan ka
wo santari hamaara aa
wo paasbaan hamaara hamaaraa aa
saare jahaan se achchha
mazhab nahin sikhaata
aapas mein bair rakhnaa
hindi hain ham
hindi hain ham
hindi hain ham
watan hai ea
hindostaan hamaara hamaaraa
saare jahaan se achchha
saare jahaan se achchha
hindostaan hamaara
ham bulbulen hain iss ki
ye gulsitaan hamaara hamaara
saare jahaan se achchha
hindostaan hamaara
ham bulbulen hain iss ki
ye gulsitaan hamaara hamaara
saare jahaan se achchha (aa aa aa aa)
hindostaan hamaara(aa aa aa aa)
ham bulbulen hain iss ki(aa aa aa aa)
ye gulsitaan hamaara hamaara(aa aa aa aa)
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This article is the 400th writeup of Peevesie’s mom in the blog.
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Blog Day : |
4521 | Post No. : | 16080 |
Hullo Atuldom
I have been getting reminders and ‘pokes’ (a term from Facebook) in the form of personal messages from a few Atulites who are asking me why the sudden slump on my part. Now I know what Atulji goes through when all of us question him on “Blank days”. I also am feeling like the first-follower of the blog ‘Rajaji’ who took a few weeks to reach his 200th post with ghodi pe hoke sawaar.
This slump can be attributed to the festival season and having my Mom-in-law for company. I would like to copy-paste a thought that Rajaji has written in his 200th post (sorry for not taking your permission Rajaji)
“No excuses though – if Atul can write up and post songs every single day, I just cannot have an excuse for taking five weeks for one post. :-)”.
In spite of the mentioned reasons I managed to sneak in my post number 399 and that was only 10 days back.
December 3rd is one of those days in the calendar, followed by ASAD, which has two occasions to have special posts. To start of let me wish the “Raunaq-e-blog” a very happy birthday. This was a title bestowed on the recipient in a post three years ago on this date. May she have a healthy, peaceful, musical and joyful day. May her appearances on the blog and WA group be more regular. Wishing our Ben Katie a very happy birthday. On this day I present you a song of the forever PACHCHEES romantic hero of the 50s, 60s, 70s, and the better part of the 80s. May you be as Evergreen and Hyperactive as him.
I went through the filmography of the forever Pachchees Dev Anand and found a few songs of his first decade in the film industry yet to be posted here on the blog. I had almost made up my mind about the song too. One such song was from the movie “Ham Bhi Insaan Hain” (1948) of which the blog has only four from a possible nine songs. But the hurdle for me was the name of the music director “H P Das”. A name new to me; as also the names Amir Banu, Ramola Devi, German, Niharika, Pal, G. Das etc. I decided that this movie and its songs should be handled by the more knowledgeable stalwarts of ASAD. I decided that I shall tread on safe territory and have chosen a song from a movie of the 70s.
I have seen this movie ages ago on Doordarshan and recall that it had something to do with the construction of a bridge to connect India’s North East with the rest of the country. The favoured villain of those times- Pran- played a chieftain of that region who is against the bridge construction as this will lead to the betterment of the locals whom he has kept under his bondage. Sharmila Tagore played the local girl who is ready to take up arms at her Chief’s behest and goes on a mission to sabotage the bridge. Dev Anand played the engineer in-charge of the Bridge Project and also the reason for Sharmila Tagore’s change of opinion about the bridge, its construction, and her chief ‘Deng Do Rani’ (Pran). Johnny Walker, Lalita Pawar, Sujit Kumar, Kanan Kaushal, Jayshree T., Keshto Mukherjee, Asrani, Iftikaar etc played supporting characters. The movie had music by S. D. Burman and Anand Bakshi was the lyricist. The movie’s title was picked up from Allama Iqbal’s patriotic song “Saare Jahaan se Achcha”. In fact “saare jahaan se achcha” features in the movie too in the voice of Sushma Shrestha and chorus.
Gori gori gaaon ki gori re was the first song to be posted. Mera naam yaao mere paas aao was next. Then came this song Naina soyi soyi raina jaage jaage by our in-house encyclopedia who has made some interesting observations about Lata singing with Uncommon Singers. There was another uniqueness about that song- it was possibly the only time when Lata, SD Burman and RD Burman featured together.
The last song to be posted has been Ho tushima ree tushima aa gaya toofaan by Sadanand Kamathji and it was a tribute to Burmanda on his anniversary.
There are three more songs left of which the film version of “Saare Jahaan se Achcha” is one.
Before we get on to the song I must thank Atulji for allowing us as contributors on his blog and posting my mail to him giving details of the song as my first post ever as lyrics- contributor. That prompted me to send a few more lyrics as farmaishes and then the writing bug bit me and the number of days between my posts have been steadily reducing. I know my contributions are not masterpieces but my own thoughts and feelings. How I wish I had the patience of Sadanandji to write well-researched posts. Or the knowledge of Arunkumarji whom I call Guruji or even the resources (read HFGK) of people like Sudhri, Avinashji etc. I must also mention the love of Nahmji’s love for poetry and poets and her posts have been enlightening.
Today’s song is filmed on Dev Anand and a bunch of kids something on the lines wallah kya nazaara hai mausam bada pyaara hai, galiyon galiyon khaak bahut din humne chhaani; hans tu hardam khushiyaan ya-gham etc. These were the songs that followed “Ye Gulsitaan Hamaara” but all were feel-good songs where Dev Anand is trying to cheer the crowd. It is in the voice of Kishore Kumar. It is nine years since Devsaab passed away and it feels like yesterday. Thinking of the fabulously stylish and charming actor who entertained us for decades.
Once again wishing our Ben Katie on her birthday. Let us have all the birthday songs on loop for her.
Audio
Video
Song-Hey suno meri baat chalo mere saath (Ye Gulistaan Hamaara)(1972) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-S D Burman
Unknown child’s voice
Chorus
Lyrics
hey
hey ae ae
hey kareeto
ae pareeto
he teeno kheya rukka
arre o denga
ae mummun
hahahahahaah
hahahahahaaha
hey suno meri baat
chalo mere saath
hey ae ae
rakh do ye teer
chhodo ye kamaan
tum kitne pyaare
nyaare nyaare
jaise ambar ke taare
saare
aage peeche khade ho jaao
aao khelo ye naya khel
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail
arre aage peechhe khade ho jao
aao khelo ye naya khel
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail
aao
hey ahey
is ped par meethhe meethhe phal
hey ae ae
is ped par meethe meethe phal
kitne hain pakke kitne kache
bolo gin kar sab bacche acche
aye munmun tu zara gin to
ek do teen chaar
ek do teen char panch chhah saat
shaabaash
ek ke baad hai do phir teen
phir chaar phir paanch chheh saat
seekh lo ginte hain kaise
dekho aise gino mere saath
he he
ho ho
hey ae ae
kya hai sansaar
kya hai sarkaar
hey ae ae
kya hai sansaar
kya hai sarkaar
tumko bataaun main sikhaaun
jag neeti samjhaaun
gaaun
dekho tum chor ho
haan
tumne chori ki
arre baap re
tum sipaahi
achcha
main thaanedaar
hey
tum bhaago
tum pakdo
jhoomo naacho gaao khelo chor sipaahi aaj
duniya mein chalta hai kaise
dekho aise chalta hai raaj
aage peechhe khade ho jaao
aao khelo ye naya khel
arre waah re denga
chhuk chhuk chalti hai aise
dekho kaise chalti hai rail
ek baar phir se
lalalalalala
lalalalalala
lalalalalala
lalalalalala
ek baar aur
lalalalalala
lalalalalala
haha
lalalalalala
lalalalalala
Moorakh baithha aaj ki soche
Posted on: October 31, 2020
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4488 | Post No. : | 16011 |
31/10/2020 – Remembrance day of S D Burman
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Sab kahan kuchh laala-o-gul mein numaayan ho gayin
Khaak mein kya sooratien hongi jo pinhaan ho gayin
Yesterday I was at the farewell function for officers retiring in my office. Many people were there, and the officers were felicitated with customary shawl and coconut, bouquet and token gifts etc. All attendees were wearing masks and photos were clicked. While all this was going on, there flashed the second line of the above sha’ir by Ghalib. With a change of one word, the sha’ir perfectly suits the situation, as is:
Sab kahan kuchh laala-o-gul mein numaayan ho gayin
“Mask” mein kya sooratien hongi jo pinhaan ho gayin
————————————————————–
We commemorated 114th birth anniversary of the Dada Burman or Burman Da, as he was affectionately called by colleagues and friends, senior and juniors alike, a month ago. Now it is his 45th death anniversary today. He formed an immortal dynasty with son R. D. Burman, which is unparalleled. As a father, he is bound to have a bigger hand in forming RDB, the musical phenomena than vice versa.
I have been a die-hard fan of S. D. Burman’s songs, whether they are by Mohammed Rafi, Kishore Kumar, Mukesh, Talat Mehmood, Lata Mangeshkar or Asha Bhosle. I want to list my favourite by each of these singers, here it is:
| Singer | Song |
|---|---|
| Kishore Kumar | Dil aaj shaayar hai |
| Mukesh | Chal ri sani ab kya soche |
| Talat Mehmood | Jalte hain jiske liye |
| Lata Mangeshkar | Ab to hai tum se |
| Asha Bhonsle | O panchhi pyaare saanh sakhaare |
| Geeta Dutt | Waqt ne kiya kya haseen sitam |
| Hemant Kumar | Jaane wo kaise log the inke |
(Not including the favourite Rafi songs and duets, saving it for another post)
A few trivia found on the net about the song of “Pyaasa” listed above:
• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – The tune of the line “Humne to jab kaliyan maangi” in this song may have been S.D. Burman’s adaptation of the line “Punjab Sindh Gujarat Maratha” from the Indian national anthem composed by Rabindranath Tagore.
• Jane Woh Kaise Log The Jinke Pyar Ko Pyar Mila – This was the only song in the film in which the voice of a male singer other than Mohammed Rafi was used. S.D. Burman’s decision to use Hemant Kumar for this song may have been to fulfill a promise he had made to the singer to give him at least one song a year – a promise Hemant Kumar himself reminded the composer of. Additionally, the fact that the song was influenced by Rabindra Sangeet may have swung the decision in favour of Hemant Kumar, a seasoned practitioner of this form of music.
I cannot talk about S. D.Burman and not rewind immortal songs of Abhiman, Guide, Tere ghar Ke saamne, Sujata, Bandini, Bambai ka babu, Pyasa, Kaaghaz ke Phool, Sharmilee, Paying guest, kaala bazaar, Kaala Pani, Jewel thief, Prem Pujari, Gambler, Talaash, Sharmilee etc.
The total songs composed by S. D. Burman are 666 in 87 movies. Out of these 666 songs which must include non-film songs too, 637 are already posted in the blog. This tally must exclude the songs composed for Bengali/Assamese and Oriya films. 23 songs sung by S. D.Burman are posted in the blog, so they may include some Bengali songs too. With less than 30 songs to complete the tally, it was bound to be a tough task to find a song to post. Still I did find a 50’s song, a solo by Shamshad Begum from the film “Chaalis Baba ek chor”. Lyricist is Pyarelal Santoshi. Eight songs from this film are posted out of 12 songs. I have only the audio of the song, which appears with to be in two parts and it is mentioned as two separate songs elsewhere. So there may not be 12 songs in this film.
The song itself appears like a kid is singing this song, with family members. Trying to make light of the financial problems, the singers all are enjoying making fun of their own situation. This is a feat, not easy to achieve, however worse or bad are the times.
Myswar is mentioning 4 solos by Shamshad Begum. One of those songs is titled “doodhwala bhaiyya aaya maange rupaiyya”, this seems to go with the theme of this current song which refers to sethani(land lord), dhobi, darzi etc. so dhoodwala coming and asking for his money is in same vein. Some links on youtube are giving name “darji hai kapda chor”. But I couldn’t find the “doodhwala bhaiyya” song, and it is not part of the links that I heard of the current song.
Shamshad Begum, is one of the most prolific playback singers of her generation. As per the stats page, she has sung 1273 songs in her career, 695 of which are posted in the blog.
Song-Moorakh baithha aaj ki soche (Chaalis Baba ek Chor)(1954) Singer-Shamshad Begam, Lyrics-P L Santoshi, MD-S D Burman
Chorus
Unknown male voice
Lyrics
Ae ji moorakh baithhaa aa
aaj ki soche
aur kal ki soche siyaa..aanaa
kaal ke pankh pasaare dekho
udtaa aa aaa
jaaye zamaana aa
ae ji hafton se
ae ji maheenon se
ae ji barson se
apni ye gaadi rahi chal
aaj nahin kal baba
aaj nahin kal
baba aaj nahin kal
baba aaj nahi kal
shor machaati wo aayi sethhaani
naam hai baby
baby ee
haan haan baby raani
bigdi deewaani
budhiya naani
kehne lagi ee
kehne lagi ee
de do kiraaya yaa
jaao nikal
ham ne kahaa
aaj nahin kal baby
aaj nahin kal
uss ne kahaa aaj
nahin kal
aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal
baby aaj nahin kal
ae ae ae
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda chor
dil ka chhotaa
neeyat ka khotaa
kapda diya thha knicker banaane
laaya banaa ke langotaa
ultaa machaave shor
machaave shor
o kapda
chor chor chor chor
darji hai kapda chor
hamaara darji hai kapda
chor chor chor chor
dhobiye ne dhobi dhobi
dho dho dho
dho dho dho
dhote to ho betaaj (?)
ae ji dhobi ke jhoote thaathh
ghar mein
tooti taati khaat
tooti taati
tooti taati
tooti taati khaat
bichha kar
soye puraana taat
gadhe par
baitthaa jaave ghaat
gadhe par
gadhe par
gadhe par
dhobi ke dekho thhaath
kisi ki pant
kisi ka coat
pehan kar bana
governer laat
- In: Duet | expression of love | Feelings of heart | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1976 | Yearwise breakup of songs
- 1 Comment
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 : |
4458 | Post No. : | 15938 |
“Tyaag”(1976) was Produced by N S Kabir and directed by Deendayaal Sharma for Films and Films Interbnational Production, Bombay. The movie had Sharmila Tagore, Rajesh Khanna, Master Tito, Sulochana Latkar, Prem Chopra, Mukri, Asit Sen, Murad, Amrit Patel, Tuntun, Kamal Kapoor, Chandrima Bhaduri, Mohan Jerry, Mahendra Zaveri, Om prakash, Nayim, Billimoria, Anand, Lalita Kumari etc with guest appearances by Bindu, Master Satyajit, Dheeraj, Gurnam Singh, Sona, Raza Murad in it.
N S Kabir was Sharmila Tagore’s secretary, so one could reasonably guess that Sharmila Tagore was the actual producer. The movie had the same lead pair as that of the blockbuster “Aradhana”(1969). In fact, the songs of the movie were similar to the songs of “Aradhana”(1969).
There was one song that had the term “Kore kaaghaz” , seeking to recreate the magic of the song “Kora kaaghaz tha ye man mera” song from “Aradhana”(1969).
“Tyaag”(1976) had five songs in it. two songs have been covered in the blog including the above mentioned song.
Today is the birth anniversary of S D Burman (1 october 1908- 31 october 1975). On this occasion, here is a song from “Tyaag”(1976). This song is sung by Kishore Kumar and Lata. Anand Bakshi is the lyricist. Music is composed by S D Burman.
The song is picturised on Rajesh Khanna and Sharmila Tagore. Watching the picturisation, one can clearly see that this song seeks to serve the same purpose that the song “roop tera mastaana” serves in “Aradhana”(1969). 🙂
Too bad that the moviegoers did not treat the movie as the box office equivalent of “Aradhana”(1976). 🙂
Lyrics of this song were sent to me by Avinash Scrapwala.
Audio
Video
Song-Tum ham ham tum ek nadi ke hain do kinaare (Tyaag)(1976) Singers-Kishore Kumar, Lata, Lyrics-Anand Bakshi, MD-S D Burman
Both
Lyrics(Provided by Avinash Scrapwala)
Ham tum
Hmm
Tum ham
Ham tum
Ek nadi ke ae hain do kinaare
Ham tum
Hmm
Tum ham
Ham tum
Aise milenge pritam ho pyaare
Ham tum
Hmm
Tum ham
Ham tum
Aise milenge
ke dekhenge saare
Ham tum
Hmm
Tum ham
Ham tum
Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati
Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati
Door kya hai paas kya hai
Sun o jeevansaathi
Aar paar behti dhaar
Hamko hai milaati
Jeevan hai jab se
Naa jaane kab se
Jeevan hai jab se
Naa jaane kab se
Ham hain tumhaare ae
Tum ho hamaare
Ham tum
Hmmm
Tum ham
Ham tum
Aise milenge ke dekhenge saare
Ham tum
Tum Ham
Ham tum
Maan lete hain ke chalo
Tumne ye kahaa hai
Dil magar hamaara jaane
Kyun dhadak rahaa hai
Maan lete hain ke chalo
Tumne ye kahaa hai
Dil magar hamaara jaane
Kyun dhadak rahaa hai
Bheege nazaare
Jaise ye saare
Bheege nazaare
Jaise ye saare
Bheeg na jaayen aen
Yoon nainaa hamaare
Ham tum
Hmm
Tum ham
Ham tum
Aise milenge ke dekhenge saare
Ham tum
Tum Ham
Ham tum
Tum ham
Ham tum
Tum ham
Ham tum
Paayal baaj gayi aaj
Posted on: March 6, 2020
This article is written by Sadanand Kamath, 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.
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Blog Day : |
4249 | Post No. : | 15469 | Movie Count : |
4263 |
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Hindi Songs in Bangla Films – 21
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Ashapurna Devi (1909-1995) was a Bengali novelist who wrote more than 200 novels, over 2000 short stories and over 50 children’s books during her life time. It is to her credit that she could contribute so much to the Bengali literature despite being born in a very conservative Bengali joint family in which female members of the household were not allowed to attend school. For male members, private teachers were appointed who will teach them in their home. It is during this time, Ashapurna Devi learnt Bengali alphabets albeit clandestinely when her brothers were being taught in the house. She won many coveted literary awards including Jnanpith Award for her novel Prothom Protishruti (The First Promise) in 1976.
Many films have been made based on the novels and stories written by Ashapurna Devi. Some of them are ‘Agni Pariksha’ (Bangla, 1954), ‘Padikkathai Methai’ ( Tamil, 1960), ‘Chhaaya Surya’ (Bangla, 1963), ‘Mavana Magalu’ (Kannada, 1965), ‘Chhoti Si Mulaaqat’ (Hindi, 1967), ‘Baluchari’ (Bangla, 1968), ‘Prothom Protishruti’ (Bangla, 1971) ‘Anindita’ (Bangla, 1972), ‘Chaitali’ (Bangla, 1971 and Hindi, 1975), ‘Tapasya’ (Hindi, 1976), and ‘Ek Vivaah Aisa Bhi’ (2008). The list is not exhaustive.
‘Chaitali’ (1971, Bangla film) was one of the films based on a story of the same name by Ashapurna Devi. The film was directed by Sudhir Mukherjee. The main cast included Biswajeet, Tanjua, Basanta Chowdhury, Jahar Ray, Tarun Kumar, Biren Chatterjee, Manmohan etc.
Although a few of Ashapurna Devi’s novels and short stories have been translated in English and published, I could not locate the story of Chaitali on-line. Probably, this story may be a part of the collections of her stories in Bangla only which I cannot read. The film is available on a video sharing platform in three parts without English sub-titles. So, my understanding of the story of the film is based the visuals and some Hindi dialogues given to the characters of Lajjo (Tanuja), Nawab Sahab (Basanta Chowdhury) and Kumar Sahab (Manmohan) in it.
The film starts with Amitabh, (Biswajit), an engineer travelling from his home town on transfer to his new place of work to oversee the construction of new road (The outdoor shooting of the place with hills and the snow-capped mountains appears to be somewhere between Siliguri and Darjeeling). He is taken to the site office and thereafter to his quarters with a caretaker attached to it. On the very first day, Kumar Sahab (Manmohan) who is not only one of the contractors for the road work but also a notorious local bully, visits the quarter to meet Amitabh. He refuses to meet him by saying that he would prefer official meetings in the site office only. This create the first friction between Kumar Sahab and Amitabh.
Lajjo (Tanuja), an orphaned girl from Hindi heartland stays with her tyrannical aunt in the neighborhoods of Amitabh’s quarters. Because, she has no one else to share her feelings, she finds solace in spending time in the house of an old man, Nawab Sahab (Basanta Chowdhury) who is her neighbour. Nawab Sahab is an admirer of Gurudev Rabindra Tagore’s works. He has taken the task of translating some of Tagore’s works in Urdu and Persians. He is also into music.
Lajjo is a milkmaid who supplies milk to Amitabh’s quarters in the morning. There is always some friction between Lajjo and the caretaker over the late supplies of milk or the quality of milk. But Amitabh always take a sympathetic disposition towards Lajjo whenever his caretaker complains against her. Sometime, Lajjo also does household works in the quarters. Over a period of time, Amitabh develops soft corner for her. He starts teaching her Bangla alphabets and conversation in Bangla which she picks up fast. This is not liked by Nawab Sahab and he gives subtle hint to Amitabh. So, now on, he keeps a distance with Lajjo.
Simultaneously, Amitabh has problems with the quality of road work done by Kumar. So, he postpones the payments of his bills for work done until he personally inspects the road. He also orders his staff to bring out old files pertaining to Kumar’s work. This creates panic for Kumar. He engages his henchmen to intercept Amitabh while on an inspection trip in the forest. However, due to heavy rains and landslides, he is not able to visit the place. In the quarters, the caretaker is worried as he thinks that Amitabh is caught in the landslides. After hearing this news, Laajo who has also kept a distance from Amitabh due to Nawab Sahab insistence, runs to search for him. She finds Amitabh safe in a tent. The meeting ignites their love for each other. They return home after the rains have subsided.
Having failed in an attempt to immobilise Amitabh and also to make his old files missing, Kumar plans a conspiracy in which he pays money to Lajjo’s aunt to facilitate her kidnapping. While going to fetch waters from the river, Lajjo gets kidnapped by his henchmen and blames Amitabh for it since both have been last seen together while returning from his inspection duty and both are missing since then. The fact is that Amitabh has gone to his hometown to meet his brother.
When Amitabh returns from home town, police arrests him on charge of kidnapping Lajjo. He is taken to the police station. However, before he is being questioned, Lajjo’s aunt under pressure from Nawab Sahab confesses her role in Lajjo’s kidnapping. She is arrested. Lajjo runs away from the kidnappers and reaches the police station to tell her side of the story. Amitabh is released and Lajjo comes back and visit Nawab Sahab’s house only to find that Kumar and his henchmen have cornered Nawab Sahab. In the scuffle between him and Kumar, Nawab Sahab gets seriously injured from the bullet fired by Kumar. Before, he could recapture Lajjo, police forces get hold of him and he is arrested. Nawab Sahab dies and Lajjo becomes once again an orphan with her aunt in the jail and Nawab Sahab dead. The film ends with Amitabh and Lajjo meeting at the burial ground who would now take care of her.
Many internet sites refer the Hindi version, ‘Chaitali’ (1975) produced under the banner of Bimal Roy Productions, as a remake of the Bangla version of the film. But it is not so. There are subtle differences between the two versions of the film. In Bangla version, the character of the hero is that of an Engineer who is posted on the site office to oversee the road construction work. In the Hindi version, the hero is a professor in the college and stays in a joint family. Secondly, the character of Lajjo (Chaitali) in Bangla version is different than in Hindi version in which she has been shown as a kleptomaniac and she get reformed after working with a loving joint family.
Rinki Bhattacharya, the daughter of Bimal Roy in a very recent interview (February 2020) has revealed that her father had planned the film with a title ‘Sahara’ based on Ashapurna Devi’s short story ‘Chaitali’ and some shots were filmed in early 1966 with Dharmendra and Sharmila Tagore. But he fell ill on the set from which he never recovered. After a gap of 8 years, the film was started afresh under the direction of Hrishikesh Mukherjee with the ‘Chaitali’ as the title of the film replacing Sharmila Tagore with Saira Banu. The film did not fare well on the box office.
In keeping with the Hindi speaking role of Chaitali, the Bangla version of the film had 3 Hindi songs out of 8 songs. I am presenting one of the two Lata solos, ‘paayal baaj gayi aaj meri laaj gayi’ which is written by Anand Bakshi. All the songs (Hindi and Bangla) in the film were set to music by S D Burman. The tune of the song appears to be based on a Nepali folk song to me.
It is interesting to note that after ‘Samar’ (1950, Bangla film), S D Burman had not composed songs in any Bangla films until ‘Chaitali’ (1971) and this film became his last Bangla film as well.
Video Clip:
Audio Clip:
Song-Paayal baaj gayi aaj (Chaitaali)(Bangla)(1971) Singer-Lata, Lyrics-Anand Bakshi, MD-S D Burman
Lyrics (Based on Video Clip)
paayal
aa aa aa aa aa
aa aa aa aa aa
aa aa aaah
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal
ankhiyon ne to mera bhed chhupaaya aa
ankhiyon ne to mera bhed chhupaaya
honthon pe bhi tera naam na aaya
lekin ye anjaam beimaan
paayal
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aaa
laakh kaha ke tu ye kaam na karna aa
laakh kaha ke tu ye kaam na karna
dekh nigodi badnaam na karna
phir bhi ye anjaan beimaan
paayal
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal
pehle se bhi mere haal pe shaque thha
pehle se bhi mere haal pe shaque thha
badli huyi mere chaal pe shaque thha
uspe ye anjaan beimaan
paayal
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal baaj gayi aaj meri laaj gayi
main kaahe ko tere dwaar piya aaj gayi
paayal
Kore kaaghaz pe likhwaa le
Posted on: October 31, 2019
- In: Asha Bhonsle songs | Duet | expression of love | Feelings of heart | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Lyrics by Prakashchandra | Lyrics contributed by readers | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1976 | Yearwise breakup of songs
- 2 Comments
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 : | 4123 | Post No. : | 15276 |
“Tyaag”(1976) was Produced by N S Kabir and directed by Deendayaal Sharma for Films and Films Interbnational Production, Bombay. The movie had Sharmila Tagore,Rajesh Khanna,Bindu,Dheeraj Kumar, Master Tito, Sulochana Latkar, Prem Chopra, Mukri, Asit Sen,Murad,Amrit Patel, Tuntun, Kamal Kapoor, Chandrima Bhaduri, Mohan Jerry ,Mahendra Zaveri,Om prakash, Nayim, Billimoria, Anand, Lalita Kumari etc with uest appearances by Bindu, Master Satyajit, Dheeraj, Gurnam Singh, Sona, Raza Murad in it.
This movie was apparently produced by Sharmila Tagore seeing that the producer was her secretary. The movie had the same lead pair as that of the blockbuster “Aradhana”(1969).
“Tyaag”(1976) had five songs in it. One song has been covered in the blog. This movie was one of the last movies with music by S D Burman.
Today (31 october 2019) is the 44th remembrance day of S D Burman (1 October 1906 – 31 October 1975). On this occasion, here is a song from “Tyaag”(1976). This song is sung by Kishore Kumar and Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by S D Burman.
This song, containing the phrase “Kora kaaghaz”, which was there in a song of “Aradhana”(1969) as well, is picturised on Rajesh Khanna and Sharmila Tagore.
Lyrics of this song were sent to me by Prakashchandra.
Audio (Full)
Video (Partial)
Song-Kore kaaghaz pe likhwaa le (Tyaag)(1976) Singers-Kishore Kumar, Asha Bhosle, Lyrics-Anand Bakshi, MD-S D Burman
Both
Lyrics (Audio link)(Provided by Prakashchandra)
hmmm hmm hmm
hmm hmm
hmm hmmm
aaahaa haaa haaa
aa haa
aaa haaa
ohho ho o
hhaa haaa haa
ae hey hey ae ae he ae ae
kore kaaghaz pe likhwa le
kore kaaghaz pe likhwa le
jiya kiya tere hawaaley
ho ho o o
kore kaaghaz pe likhwa le ae ae
jiya kiyaa tere hawaaley
ho ho o o
kore kaaghaz pe likhwa le
kabhi sochta hoon mere sapnon ki raadhaa
kabhi sochta hoon mere sapnon ki raadhaa
kaanha se nain churaa ke
bhulaa de na waadaa
o Radhaa aa aa
bhula de na waadaa
bade be-imaan hain
bade be-imaan hain tere
naina matwaale
kore kaaghaz pe likhwa le
haan aaan jiya kiyaa tere hawaale
ho ho o
kore kagaz pe likhwa le
aa aa aa aa
aa aa aa aa
tera naam mera jeevan
teri preet pooja
tera naam mera jeevan
teri preet pooja
teri yaad bin iss mann mein
nahin koi doojaa rey mitwaa aaa
nahin koi dooja
mujhe bhool jaaye ae
mujhe bhool jaaye ab
ye duniya waale ae
kore kaaghaz pe likhwa le ae ae
jiya kiyaa tere hawaale
ho o o
kore kaaghaz pe
likhwa le
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa(hho ho oo o o o o ae hey hey ae )
badi hi niraali
dil ne likhi ye kahaani
ho o o badi hi niraali
dil ne likhi ye kahaani
galiyon ka raaja
main tu
mehlon ki raani deewaani
mehlon ki raani
ho o o
tere aagey mehlon waaley
tere aagey mehlon waaley
kyaa hain dilwaaley ae
kore kaaghaz pe likhwaa le
jiya kiya tere hawaale
ho o o
kore kaaghaz pe
likhwaa le
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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