This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Amaanat” (1975) was produced and directed by Shatrujit Paul. The movie had Manoj Kumar, Sadhana, Balraj Sahni, Mehmood, Achalka Sachdev, Shashikala, Keshto Mukherji etc in it. This movie began in 1960s and its songs got released much before the movie. The movie itself had a very delayed release. It finally got its censor certificate on 31 december 1975 and thus qualified as a movie of 1975!

Today (3 march 2014) is the birth aanniversary of Ravi. On this occasion, here is the title song of “Amaanat” (1975). This song has a Rafi versioon which gets played as a movie opening song. Later on, small parts of this song gets played in the movie on various occasions as befits a title cum theme song in Hindi movies. :)

This song also has an elusive female version which is sung by Meenu Purushottam. I have not been able to locate the audio of the female version. But when I checked up, I found a small portion of this song appearing in the video of the song.

Sahir Ludhianvi is the lyricist of this song.

Lyrics of this song were sent to me by Avinash Scrapwala.

Audio (Rafi version)

Video Rafi version(Part I)

Video Rafi version(Part II)

Video Rafi version (Part III)

Video (Minu Purushottam version)

Song-Har ek dil mein koi armaan hai amaanat(Amaanat) Singer-Rafi/ Minu Purushottam, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

Rafi version
—————————-
Part I
—————————-
Har ek dil mein koi ee
armaan hai amaanat

har ek dil mein koi
armaan hai amaanat
har ek dil mein koi
armaan hai amaanat
har ik nazar mein koi
pehchaan hai amaanat
har ik dil mein koi
armaan hai amaanat

toofaan ki amaanat
saahil ke khushk baaju u
toofaan ki amaanat
saahil ke khushk baaju
saahil ke baajuon ki
toofaan hain amaanat
har ek dil mein koi
armaan hai amaanat

soche agar koi to
insaan ka apna kya hai ae
soche agar koi to
insaan ka apna kya hai ae
ye jism hai amaanat
ye jaan hai amaanat
har ek dil mein koi
armaan hai amaanat

jo tujhko mil gaya hai
tera nahin hai naadaan
jo tujhko mil gaya hai
tera nahin hai naadaan
do rozaa zindagi ka
saamaan hai amaanat
har ek dil mein koi
armaan hai amaanat
har ik nazar mein koi
pehchaan hai amaanat
har ek dil mein koi
armaan hai amaanat
———————————
Part II
———————————-
Kal kiske ghar se iska
rishta ho kaun jaane ae
kal kiske ghar se iska
rishta ho kaun jaane
aangan mein palnewaali
santaan hai amaanat
har ek dil mein koi
armaan hai amaanat
—————————–
Part III
—————————–
bichhde huye mile to
hamne ye raaz jaana
har gham mein ik khushi ka
toofaan hai amaanat
har ek dil mein koi
armaan hai amaanat
har ek dil mein koi
armaan hai amaanat

——————————
Minu Purushottam version
——————————
kal kiske ghar se iska
rishta ho kaun jaane ae
kal kiske ghar se iska
rishta ho kaun jaane
aangan mein palne waali
santaan hai amaanat

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

Hullo to all Atulites

March 13th is the death anniversary of Nasir Hussain. He who gave us some memorable films like Anarakali, Munimji , Paying Guest, Caravan , Phir Wohi Dil Laya Hoon , Tumsa Nahin Dekha , Teesri Manzil, Dil Deke Dekhon, Jab Pyar Kisise Hota Hain etc. And then in my growing up years there were movies like Yaadon Ki Baaraat, Hum Kisise Kum Nahin, Zamaane Ko Dikhana Hain, Manzil Manzil, Zabardast etc. Then he switched to being a producer for films that his son Mansoor Khan directed.

So when I was going through the filmography of Nasir Hussain , I find I have seen almost all his movies except Biraj Bahu, Ek Shola (for which he was the dialogue writer according to IMDB) and Baharon Ke Sapne.

I have seen all of his other movies either on TV or in the theatre. And the one thing about his movies was that they all had nearly the same kind of story. Mostly the hero would have got separated from the heroine in childhood as in Hum Kisise Kum Nahin or Manzil Manzil. Then the rest of the movie would be devoted to how the pair get reunited again. Or the heroine would be the hero’s father’s friends’ daughter as in Manzil Manzil. I think Phir Wohi Dil Laya Hoon, Tumsa Nahin Dekha, Dil Deke Dekhon, Jab Pya Kisise Hota Hain were also like Manzil Manzil {have seen the older movies a long time back, have to see them again ;)} In this situation the hero has two jobs on hand- 1) get his parents together in the first place because the whole point is that the parents would have separated when the hero was a kid. And 2) get the heroine to love him and live happily ever after. What a lot of work for the poor chap!!!!!

Then movies like Caravan and Yaadon Ki Baaraat had some smuggler or murderer added for spice. But one ingredient that was a must in all these movies was songs. Songs that were extremely hummable and wonderful to the ears. Even his sad songs or heart break songs (Kya Hua Tera Wada or Tumne Mujhe Dekha Hokar Meherbaan) were simply out of this world.

So today (13 march 2014)on his 12th death anniversary I went through the list of Nasir Hussain movies posted here and decided that we should have a song from a not so old movie. But of course if you listen to any FM channel they will categorize this as a vintage song. So as we had discussed in our blog, a few years back, the FM channels will put Phir Wohi Dil Laya Hoon, Tumsa Nahin Dekha, Dil Deke Dekhon, and Jab Pya Kisise Hota Hain as pre historic. (But even there they have Teesri Manzil as VINTAGE). The movie in question is Zamaane Ko Dikhana Hain (1981). The movie had Nasir Saab’s favourite of that period Rishi Kapoor in the lead opposite a very young Padmini Kolhapure. It had songs by Majrooh Sultanpuri set to tune by R D B. and RD had Shailendra Singh as Rishi Kapoor’s voice for this Qawwali. Asha Bhonsle is the voice for the two chief extras in the song. Here it is for our listening pleasure.

Song-Zamaane ko dikhaana hai (Zamaane Ko Dikhaana Hai)(1981) Singers-Shailendra Singh, Asha Bhonsle, Lyrics-Majrooh sultanpuri, MD-R D Burman
Chorus

Lyrics

haan aan aan
kyaa ishq ne samajhaa hai
kyaa husn ne jaanaa hai
ham khhaak nasheenon ki
thhokar mein zamaanaa hai
pari ho aasmaani tum
magar tumko to paanaa hai

pari ho aasmaani tum
magar tumko to paanaa hai
pari ho aasmaani tum
magar tumko to paanaa hai
pari ho aasmaani tum
magar tumko to paanaa hai
haan
pari ho aasmaani tum
magar tumko to paanaa hai
muhabbat kaise karte hain
haan muhabbat kaise karte hain
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
waah waah
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai

haan aan aan haan
mohabbat kaise karte hain
karte hain kaise mohabbat
haan haan mohabbat kaise karte hain
karte hain kaise mohabbat
kaise karte hain mohabbat dikhaanaa hai
dikhaanaa hai
dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
pari ho aasamaani tum
magar tumko to paanaa hai

aaa aaa aaa aaa
usne kahaa tu kaun hai
maine kahaa shaidaa teraa
usne kahaa taktaa hai kyaa
maine kahaa soorat teri
aa aa aa
aa aa
aa aa aa aa
usne kahaa kyaa chaahiye
maine kahaa ulfat teri
usne kahaa mumkin nahin
maine kahaa yoon hi sahi
usne kahaa mumkin nahin
maine kahaa yoon hi sahi
ho meri tamannaa dilbar jaanaan khel nahin hai
ishq hai
arre saaye mein talvaar ke aanaa khel nahin hai
ishq hai
yoon hosh gaanvaanaa
ishq hai
ye haal banaana
ishq hai
is dar tak aanaa
ishq hai
aavaaz lagaanaa
ishq hai
yu hosh gavaanaa
ye haal banaana
is dar tak aanaa
sadaa lagaanaa
ishq hai
ishq hai ae ae ae ae ae ae ae ae ae ae ae
ishq vo naghma sun ke jise
aji ishq vo naghma sun ke jise
mahlon ke parde jalte hain
mahlon ke parde jalte hain
aji ishq vo naghmaa sun ke jise
sun ke jise vo naghmaa
sun ke jise
sun ke jise mahlon ke haan haan
mahlon ke parde jalte hain
jalte hain
jalte hain
jalte hain
jalte hain
tum to chale aaoge
aeji tum to chale aaoge
aise aag pe jaise chalte hain
aag pe jaise chalte hain
aag pe jaise chalte hain
aag pe jaise chalte hain

haan aan aan
karo naa meharbaani tum
magar tumko to paanaa hai
haan karo naa meharabaani tum
magar tumko to paanaa hai
mohabbat kaise karte hain haanji
mohabbat kaise karte hain
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai

aaaa aaa aaaa
aaaa
aaa aaaa aaaa
aaaaa
aaaaaaa aaa aaaa aaaa
laayaa thhaa main daave jigar
tumne to dekhaa bhi nahin
aayaa thhaa main kis pyaar se
tumne to poochhaa bhi nahin
la la la la la la la la(hummming to the tune of “poochho naa yaar kyaa hua”)
re re re ni dha
re ga re ga re ga pa ga
ho aa ho
patthar lagaa jab qais ko mashhoor-e-aalam ho gayaa
patthar lagaa jab qais ko
mashhoour-e-aalam ho gayaa
zakhmi huaa farhaad to
duniyaa mein maatam ho gayaa
zakhmi huaa farhaad to
duniyaa mein maatam ho gayaa
ho meraa zakhm koi kyaa jaane
jo seene ke neeche hai
aha
mujhpe teer chalaane vaalaa toh parde ke peechhe hai
vo pardaa nasheen hai
parde mein
vo zohraa zabeen hai
parde mein
vo sabse haseen hai
parde mein
vo aaj yahin hai
parde mein
vo pardaa nasheen vo zohraa zabeen vo sabse haseen vo aaj yahin hai
parde mein
aaa aaaaa aaaaa aaaa
aa aa aa aa
ab dikhlaaye jo bhi nazar
aji ab dikhlaaye jo bhi nazar
vo aaj deevaanaa dekhegaa
vo aaj deevaanaa dekhegaa
ab dikhlaaye
jo bhi nazar
jo bhi nazar dikhlaaye
jo bhi nazar
job hi nazar dikhlaaye
haan deevaanaa aaj dekhegaa
dekhegaa dekhegaa dekhegaa dekhegaa dekhegaa

phir jab meri ee ee shaam sajegi
arre phir jab meri shaam sajegi
saaraa zamaanaa dekhegaa
saaraa zamaanaa dekhegaa
saaraa zamaanaa dekhegaa
haan aaa aaa
chhupo ae yaar jaani tum
magar tumko to paanaa hai
haan
chhupo ae yaar jaani tum
magar tumko to paanaa hai
mohabbat kaise karte hain haanji
mohabbat kaise karte hain
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
pari ho aasmaani tum
magar tumko to panaa hai
haan
paanaa hai tumko paanaa hai
paanaa hai tumko paanaa hai
paanaa hai tumko paanaa hai
paanaa hai tumko paanaa hai
ho pari ho aasamaani tum
magar tumko to paanaa hai
paanaa hai tumko paanaa hai
paanaa hai tumko paanaa hai
mahzabeen haaye
aahaa
naazneen haaaye
aahaa
mahzabeen haaaye
aahaa
naazneen haaaye
aahaa
mahzabeen
naazneen
aahaa mahzabeen
ae haseen
mahzabeen naazneen ae haseen
tumko to paanaa hai
paana hai tumko to paanaa hai
paana hai tumko paanaa hai
paana hai tumko paanaa hai
paana hai tumko paanaa hai
mohabbat kaise karte hain
mohabbat kaise karte hain
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai
zamaane ko dikhaanaa hai

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

When I plan to write an article for any series or a song, I ensure that I gather more than necessary material,so that I can select the desired material from that.In such exercises,many times I come across some unusual songs-in the sense that sometimes the singer is uncommon,or the theme of the song is different,or the composer is special or even the song is too obscure but needs an exposure. In such cases,I keep these songs in the ‘Draft’ section of my computer,to be used in future, at an appropriate time.

I intend to present to our readers,from time to time,some such songs-which are unusual in some or the other aspect.

Today I am presenting one such song from a lesser known film-” Joru ka Bhai “-1955. This is one of those films— utterly filmy type, which was done by the great Balraj Sahni, as a compromise with life. (After all, one needs money to survive, so that one can give his best). To see Balraj Sahni-like actor( of IPTA inspired films and films like Do Bigha Zameen, Kabuliwala, Seema etc) in such hopelessly masala film was a painful task ( another such ‘compromise’ film was ‘Black Cat’ ).

Right from the Mythological and Purana period to History, it was repeatedly emphasized that there is no alternative to RAAJ HATH, BAALHATH AND STREE HATH. There are countless examples of these Haths,changing the course of History, Mythology and social lives of Humanity. Let us examine one example each of these three haths.

RAAJ HATH… The king is supposed to be next only to God. His desires are always fulfilled. A ” HATH ” is insistence on a desire which is uncommon. The best example of Raaj hath is that of king Mohammed Bin Tughlaq-a Turkish king of Delhi, in the 14th century. While on a conquering trip, he reached DEVGIRI or Daulatabad (in Maharashtra). He was so impressed with this city that he decided to shift his Capital from Delhi to Devgiri. All his ministers and wise people of Kingdom tried to dissuade him from this thoughts, but he would not listen to anyone. Finally the whole population of Delhi was shifted to Devgiri. During this process, Historians say, ONE Lakh people died. Midway through the process the King decided to go back to Delhi and thousands more died again. This is because of RAAJ HATH.

BAAL HATH…The well known case of Baal Hath is that of King Uttanpada. He had two queens- Suruchi with her child Dhruv and Suniti with her child Uttama. Just to fulfil the Baal Hath of Uttama,the King removed Dhruva from his lap. This hurt Dhruv so much that he went to the jungle, did hard saadhna and got a boon from Lord Vishnu for a place in the sky (Dhruva-Taara or the North Star), for ever from where no one can remove him.

The most famous STREE HATH is that of Queen Kaikeyi in Ramayana, which sent Rama to Vanavaas for 14 years and gave the Kingdom to her son Bharat. However, but for this Stree Hath, we would not have had Ramayana !

In addition to these three Haths, I would like to add one more Hath and that is SHAALAK HATH. Now, what is Shaalak ? It is the Sanskrit name for Brother in law, or Joru ka Bhai or a Saala, in common language. In English there is a common word ‘ Brother in Law ‘ for both sister’s husband and wife’s brother. In Hindi-and most Indian languages- there are two separate words…Jeeja and Saala.

For the married people, the role of the Shaalak ( I am not using the word Saala, which has gained an ungentlemanly connotation ! ) is too well known. I would not elaborate..as I too have a Shaalak and I value conjugal peace. ( I am not a Shaalak to anybody, as I do not have a sister.)

Right from the ancient times, we find that in Sanskrit Literature, the role of Shaalak is invariably that of a trouble maker. The Sanskrit dramatist BHASA had written ” Charudatta ” in or around 100 B.C. In this drama, the character of ” Shakaar” is that of a Shalak of Charudatta, who creates trouble and is punished at the end. Similarly, another dramatist SHUDRAK wrote “Mrichhakatik” or “The Earthen Chariot”‘, in the 1st to 5th century AD. In it too, the character of Shaalak is known as ” Sansthanak “,who is actually the villain in the drama.

Besides this, many Hindi and regional films have shown wife’s brothers as trouble makers. Many readers may recall the popular TV serial of the 80s-” ye jo hai Zindagi ” featuring Shafi Inaamdar, Swarup Sampat and her brother Rakesh Bedi-who creates several problems for them.( Satish Shah had done 52 different roles in 52 episodes of this serial ). Finally, someone showed courage to make a film with an open Title ” Joru ka Bhai ” in 1955. The producer and director was Chetan Anand. The composer was Jaidev, with assistance from Prabhakar and Coutinho. Lyrics were by Vishwamitra Aadil, Sahir and Narendra Sharma. There were 10 songs, 5 of which have already been discussed on this Blog.

Today we will enjoy a qawwaali-type song by S.Balbir and S.D.Batish. By coincidence the debut song of S.Balbir, in film ‘Karwat’-49 was also with S.D.Batish. The song mukhada is ” Saari khudai ek taraf aur Joru Ka Bhai ek taraf”.

The cast of the film was Balraj Sahni, Sheila Ramani, Vijay Anand, Johnny Walker, Kumkum etc. The story is…

As the Assembly elections were fast approaching, there was a great commotion in Daana Paani Party to elect a leader and candidate of the party. After a long discussion, Chowdhary Ramchand (Balraj Sahni), a clerk was chosen the leader and as the candidate of the party. Surely, after this he could not continue to be a mere clerk. But when next day he went to the office with a resignation in his pocket, he found to his surprise that “the boss” had offered him the post of the Manager, as the Manager had died previous day without intimation. Now, but for the secret meetings of his sister(Sheila Ramani) with Kanhaiya (Vijay Anand), son of the Seth who was standing as a rival candidate, there was nothing to worry Ramchand.

Fate was very kind to him until the arrival of his wife’s brother. Now he felt that Fate was playing a cruel joke with him. For though Murlidhar ( Johnny Walker), who played trombone had come just for holiday, Ramchand found that his brother-in-law’s holiday would never end. Murlidhar did not have any reservation or formality of a guest; he made Chowdhary’s house his own and used his things as if they belonged to himself. So much so that once when he needed money he had no compuction to sell Chowdhary’s by-cycle for five rupees! And as if all this was not enough, he helped Chowdhary’s sister and her lover Kanhaiya, in their secret meetings.

But the climax came when Murlidhar went to Chowdhary’s office and robbed him of five thousand rupees. Just when two children had been born to Chowdhary’s wife and the event was being celebrated with great joy, this incident occurred- endangering Chowdhary’s job as well as leadership. Chowdhary knew the thief; but how could he catch him ? He wished that Murlidhar would return the money and the whole affair would be hushed. But Murlidhar had different plans. Now he was anxious to go away; and Chowdhary had to use all possible tricks to stop him from going and to make him confess his crime. When the tricks failed, he took him to see a magician’s hand. The magician hypnotised not only Murlidhar but Chowdhary Ramchand and Urmila, Seth and his son Kanhaiya and other people as well. There was commotion in the city as under the influence of magic, these crazy people wandered into the streets. At last normalcy was restored and Murlidhar admitted to the theft. He was sent to jail but Ramchand had to take care of Murlidhar’s family comprising his wife, six children and his wife’s brother “Joru Ka Bhai”.

Let us now enjoy the song….

Song-Saari khudaai ik taraf Joru ka Bhai ik taraf (Joru Ka Bhai)(1955) Singers-S D Batish, S Balbir, Lyrics-Viswamitra Adil, Md-Jaidev

Lyrics

aaa aaa aaa
joru ka bhai hai magar
kehlaaye ye saala mera
bhai bahan ke pyaar ne
ghar-baar khhaa daala mera
aa aa aa
botal piye ye doodh ki ee ee ee
khaali rahe pyaala mera aa
o o
o o o
iski malaayi ik taraf
iski malaayi ik taraf
aur meri kamaayi ik taraf
joru ka bhaai ik taraf
joru ka bhaai ik taraf
saari khudaai
o saari khudaayi
sari khudai ik taraf
joru ka bhaai ik taraf

kismat ka sab ye khel hai
taqdeer ka ye pher hai
kutta bhi dekho doston
apni gali mein sher hai
aa aa aa
aa aa aa
aa aa aa
mehmaan ki ye gat bane
ae ae ae ae
andher hai andher hai ae ae
ho o o o o
andha kasaayi
haaye
haaye
andha kasaai ik taraf
bakre ka bhaai ik taraf
joru ka bhaai ik taraf
joru ka bhaai ik taraf
saari khudaai
haan saari khudaai
sari khudai ik taraf
joru ka bhai ik taraf
sari khudai ik taraf
joru ka bhai ik taraf

akde hai kya sookhi hui roti
hai tu tandoor ki
achchaa to aaja samne
?? teri manjur ki
bola to doonga tod main gardan teri amchoor ki
hat door ho aaya bada soorat bana langoor ki
?? mar ja tu
???
inki ladai ik taraf
haaye inki ladai ik taraf
aur apni duhai ek taraf
joru ka bhaai ik taraf
joru ka bhaai ik taraf
saari khudai ik taraf
joru ka bhai ik taraf
saari khudai ik taraf
joru ka bhai ik taraf
sari khudai ik taraf
joru ka bhai ik taraf

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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The lyricist, the music director and the singer are the trinity who are involved in the making of film songs, making their own contributions in popularising the song. However, right from the early days of talkies films 1931, the lyricists have remained in the shadows of music directors and singers. I have some 78 RPM records of films of 40s which do not contain the names of lyricists. Even All India Radio and Radio Ceylon (Sri Lanka Broadcasting Corporation) rarely used to announce the name of the lyricists while airing Hindi film songs.

It was due to untiring efforts of Sahir Ludhianvi that All India Radio began to give credit to lyricists as well alongwith singers and music directors sometime in early 1950s. However, even today, lyricists are still regarded as the poor cousins of singers and music directors when it comes to getting credits for the creation of songs. Many of my VCDs/DVDs of films of the golden era of Hindi film music do not even display the names of lyricists on their covers.

It appears that music lovers too are to be blamed for this sorry state of affairs vis a vis lyricists as compared to singers and music directors. Most of my friends and relatives who are music lovers are interested in finding out about the names of singers and music directors but do not care to know about the lyricists of those songs. I was also like them at one time. When I developed interest in Hindi film songs in early 70s, I would be always interested in finding out the names of the singers and music directors of the songs I liked in that order and it was seldom that I inquired about the lyricist of the songs.

It was only in respect of a few popular songs like main zindagi ka saath nibhaata chala gaya and kisi ki muskurahaton pe hi nisaar that I became interested in knowing the names of the lyricist. Now, in my scheme of the things, lyricists stand first in the trinity of Hindi film songs irrespective of whether or not the lyrics of the songs are poetic.

My revised outlook towards lyricists has led me to stumble upon some of the lesser known lyricists who, by and large, had short stints in Hindi film industry after which they went into oblivion. Some of such unfortunate lyricists whom I admire for their sheer poetry in some of the songs they penned are Kaif Irfani, Shewan Rizvi, Saba Afghani, Kafil Azar, Irshad and many more. Even lyricist like Madhukar Rajasthani who had penned many unforgettable non-filmy songs remained unsung in the Hindi film industry. All these lyricists seem to be poets who got associated with Hindi film industry mostly during the golden era of Hindi film music. I guess that some of them may have migrated to Pakistan in 50-60s. I find the name of Shewan Rizvi as lyricist in a couple of Pakistani films.

Recently, I was searching for information on one such ‘unsung’ lyricist viz. A Irshad who had written lyrics for 8 films out of which four films were of Kishore Kumar’s home productions. I was impressed by his lyrics of two songs from ‘Door Ka Rahi’ (1971) – beqaraar dil tu gaaye jaa and panthhi hoon main uss path ka. Unfortunately, not much information is available about him. In fact, when I searched for him in Google, the name of Irshad Kamil, the lyricist of the new generation Hindi films cropped up quite often. Having won Filmfare Awards for best lyricist thrice he is one of the most discussed lyricists on the internet as well as in the film magazines/news papers these days.

It was during my searches on Irshad that I came across a hitherto unheard song ‘ye to pattharon ka shaher hai yahaan kisko apna banaaiye’ sung by Mohammed Rafi from an equally unheard film PATTHARON KA SHAHER (1972). The lyrics of the song was written by Irshad and set to music by Usha Khanna. I could not get any information on the film except that in a couple of websites, names of Saira Banu and Suresh Chatwal appeared as actors. A search on http://www.myswar.com revealed that there was another song ‘jo zubaan e dil na samajh sake’ sung by Mahesh Chander. Fortunately, both these songs were available on YT. It turned out that both the songs had the same lyrics making them different versions of the same song.

The film was not released but as per Saregama website, the two songs recorded were released by HMV in 1972 on EP. It appears some dialogues of the film were also given as a prelude to the songs to fill the recording space in EP. After carefully listening to both the songs, I guess that both these songs may have been picturised on different situations in the film. Even the musical interludes of these two versions are different. I also guess that while the Rafi’s version of the song may have been picturised on Suresh Chatwal, Mahesh Chander’s version of the song may have been picturised on a different actor. I will not be surprised if the second version of the song turns out to be the background song being played at the time of showing credit title of the film, it being a title song.

Mahesh Chander is a ghazal singer of 60s who went into oblivion once Jagjit Singh made a foray into ghazal singing. He was the son of legendary singer and composer of Sindhi songs, Master Chander. Later Mahesh Chander concentrated mainly in Sindhi songs which he composed himself. Recently, I came across a LP album, ‘Jigar Se Jigar Tak’ (2013) in which he composed ghazals of Jigar Moradabadi and also sang three ghazals for this album. His other Hindi film song which I am aware of is ik shab ke musaafir hain ham to.

As it often happens in cases of unreleased and flop films, these two beautifully worded and rendered songs got lost in history when the film itself was not released. With this, the song’s lyricist Irshad also remained unsung.

Audio (Rafi’s Version)

Audio(Mahesh Chander’s version)

Song-Ye to paththaron ka shahar hai (Pathharon Ka Shahar)(1972)(UR) Singer-Rafi/ Mahesh Chandar, Lyrics-A Irshad, MD-Usha Khanna
Chorus

Lyrics (based on Rafi’s version)

hmm hmm hmm hmm
hmm hmm hmm hmm

jo zubaan e dil na samajh sakey
jo na keh sakey kabhi dil ki baat
wohi but hai harsu nighaah mein
jahaan dekhiye jahaan jaayiye
thhi nazar ko chaah ki aarzoo
yehi ek apni thhi justaju
ye to pattharon ka shaher hai
yahaan kisko apna banaaiye

wohi walwale wohi marhale
wohi subah o shaam ke silsile
wohi ham rahe wohi tum rahe
wohi zindgaani ke gham rahe
na naseeb apna sambhal saka
na hi waqt hamko badal saka
yahaan zindagi ek zaher(/) hai
ye to ek paraaya shaher hai
kise daag dil ke dikhaaiye
kise daag dil ke dikhaaiye
ye kahaani kisko sunaaiye
ye to pattharon ka shaher hai
yahaan kisko apna banaaiye

aaa aa aaaaa
aaa aa aaaaa
aaa aa aa aaaaa
hmm hmm hmm hmm
hmm hmm hmm

mujhe chod kar wo chale gaye
mere dil ki dil mein hi reh gayi
ik ummeed thi jo bujhi bujhi
mere aansuon mein wo bah gayi
mere dard e dil ka ho kya bhala
mera chaaragar hi chala gaya
main jiyun to aakhir kis liye
ke nahin hai koi mere liye
kahaan jaake maut ko dhoondhiye
kahaan jaake maut ko dhoondhiye
kahaan jaan apni ganwaaniye
ye to pattharon ka shaher hai
yahaan kisko apna banaaiye

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Piya Milan Ki Aas” (1961) was directed by S N Tripathi for Vijay Films. J S Cashyap was the producer. The movie had Ameeta, Manoj Kumar, Sunder, Pratima Devi, Jeevan, Nalini Chonker, Daisy Irani, Indira Bansal, Polson, S. N. Tripathi etc in it.

Four songs from this movie have been discussed in the past.

Today (28 march 2014) is the 26th death anniversary of S N Tripathi (14 march 1913- 28 march 1988). On this occasion, here is the title song of “Piya Milan Ki Aas” (1961). The song is sung by Lata. It is lip synced by Ameeta. Jeevan and Sundar are also visible in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

video

audio

Song-Piya milan ki aas (Piya Milan Ki Aas)(1961) Singer-Lata, Lyrics-Bharat Vyas, MD-S N Tripathi

Lyrics(Provided by Prakashchandra)

kaagaa sab tann khaaiyo
ke chhunn chhunn khaaiyyo maans
do nainaa mat khaaiiyo
mohey piyaa milan ki aas

piyaa milan ki aas
piyaa milan ki aas rey
mohey piyaa milan ki aas rey
piyaa milan ki aas

baat takti
ek birahan
mann ke deep jalaaye ae
bujh na paati praan baati
jaane woh kab aaye
unnke darshan bin na nikley
unnke darshan bin na nikley
tann se bairan saans rey
piyaa milan ki aas rey
mohey piyaa milan ki aas rey
piyaa milan ki aas

jab se bichchde
aisse bichhde
nainan neend na aaye ae
yaad jagti
main sulagti
aisi aag lagaaye
sau sau saawan baras gaye ae
sau sau saawan baras gaye
par bujhi na mann ki pyaas rey
piyaa milan ki aas rey
mohey piyaa milan ki aas rey
piyaa milan ki aas

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

“Be imaan” (1972) had bagged as many as seven filmfare awards, and that included the best actor award for Manoj Kumar for his performance in the film.

No Manoj Kumar film was released the next year. In 1974, Manoj Kumar hit the jackpot with the blockbuster ‘Roti Kapada aur Makaan’. ‘mehangaayi maar gayi’ of this movie toped the ‘Binaca Geetmala’ final list and the film was ranked no.1 at the ‘box office’. This movie was followed by ‘Sanyasi’ in 1975. Some songs of this movie were popular during its time. The film also turned out to be a hit ranking 5th in the list of ‘top Hindi films of 1975’.

The Manoj Kumar movie of 1976 that hit the movie halls was produced by Madan Mohla.

In his career, Madan Mohla produced films like ’Aasra-1966’, ‘Sharafat-1970’, ‘Raja Jani-1972’,’Humlaa-1992’ and ‘Chhupa- Rustam-A musical thriller-2001’. Except the 2001 film ‘Chhupa Rustam …’ all his films have music composed by Laxmikant-Pyarelal. While I am not much aware of the box office performance or musical performance of ‘Aasra-1966’, one song from ‘Sharafat-1970’ –‘sharafat chhod di Maine …’ was very popular. ‘Raja Jani-1972’ was a ‘hit’ and its songs had been popular too.

Of the films Madan Mohla produced, ‘Aasraa-1966’ was directed by Satyen Bose, ‘Sharafat-1970’ was directed by Asit Sen, and ‘Raja Jani-1970’ was directed by Mohan Segal.

For this 1976 movie, Madan Mohla teamed up with his regular music composers Laxmikant Pyarelal and his regular heroine Hema Malini (‘Sharafat’ and ‘Raja Jani’). He signed up Manoj Kumar as the hero of this movie.

This movie was the first and only occasion where Madan Mohla directed a movie in his career.

The film turned out to be a Hit and its music was also popular.

This movie was ‘Dus Numbri’!!

***
The film had Manoj Kumar, Hema Malini, Pran, Bindu, Premnath, Kamini Kaushal, etc. Produced by Madan Mohla and Pradyuman Mohla and Directed by Madan Mohla, it was written by Dhruva Chatterjee and S.Ali Raza.

As far as my vague memory allows me to remember, posters of Manoj Kumar wearing the classic ‘goggles’, the ‘beret’ hat, the jersey having number 10 on it, and jacket worn over it, is what immediately comes to mind when this movie is discussed.

The film was ranked seventh among the top hit films of 1976 (no.1 was ‘Kabhi-Kabhi). As per information on ‘wiki’ – The film was the top hit of 1976. The film ranked #10 for the 1970s decade and is also ranked #47 among all time hits.

To recreate the nostalgia and bring back memories of ‘moviegoers’ and for those who grew up in the ‘seventies’, today we mark the debut of this film on our blog.

Earlier I had thought about introducing this film with another song from this movie. However when I shared two title songs from the 70’s viz. ‘Kahaani Kismat Ki’ and ‘Fakira’ (which fall in my favorite category of ‘philosophical’, ‘song with a messasge’) I thought that I should share this title song of “Dus Numberi” too.

BTW, we tend to have a title song in a typical Hindi movie. My personal feeling is that this trend was there in majority of the films produced in the Seventies (regulars of the blog can correct me/share their comments on this), and many title songs had been popular also (here ‘title song’ means having the ‘title name’ in the lyrics of the song’)

‘Dus Numbri’ was released on 17th April 1976- exactly 38 years ago. I think I must have watched it during the summer vacations then, and since the film was a ‘hit’, it must have at least 100 days or 15 weeks run at the theatres as it used to during those years.

Today’s song stood 10th in the annual list of ‘Binaca Geetmala’ of that year and it was the only Laxmikant Pyarelal composition among the top 10 songs on Binaca Geetmala that year. In fact this was the only Laxmikant Pyarelal composition among the top 20 songs of Binaca Geetmala that year. The next popular song from the movie, viz. ‘mujhe dard rehta hai, dil mein dard rehta hai’ s stood 24 th in the annual Binaca Geetmala ratings of 1976.

Dus Numbri was Manoj Kumar’s last major hit before ‘Kranti’ came in 1981. (in 1977 there were two Manoj Kumar releases ‘Shirdi Ke Sai Baba’ and ‘Amaanat’.)

Those who have watched ‘Pehchaan’ and ‘Be-imaan’ would find the picturisation of Part-II of this song similar to ‘sabse badaa naadaan wahi hai’ and ‘Ek ek ginwaata hoon’ (which is yet to be posted on our blog), which happens to be at party/function, where Manoj Kumar challenges and takes on the corrupt-big-wigs in the society, and the pseudo-seculars, pseudo-socialists, and the hypocrites of the society, and threatens to expose them.

Let us enjoy Marjrooh Saab’s words, Laxmikant Pyarelal’s composition and wonderful singing of Mukesh Saab. This is a title song that was meant to be a “timepass” song but the song has managed to remain dormant in the recesses of one’s memory. Listening to this song certainly brings back memories of 1970s for those who had lived through that era.

So here is this title song of “Dus Numberi” (1976)- A movie that was released exactly 38 years ago !

Part I

Part II

Song-Ye duniya ek numbri to main Dus numbri (Dus Numberi)(1976) Singer-Mukesh, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Chorus

Lyrics(Provided by Avinash Scrapwala)

—————————-
Part I
—————————-
Kahat kabir suno bhai saadho
baat kahoon main kharee
ke duniya ek numbri to main dus numbri
ye duniya ek numbri to main dus numbri
arre kahat kabir suno bhai saadho
baat kahun main kharee
ke duniya ek numbri to main dus numbri
ye duniya ek numbri to main dus numbri

ek number kaa hath dikhaaya jab keh ke jay kaali
arre ek number kaa hath dikhaaya
jab keh ke jay kaali
kitne hi sethon ki bhaari jeb ho gayi khaali
do number hai aur niraala
dekhoon aur khul jaaye taala
udd ke paakit mein aa jaaye
hare note ki pari
ke duniya ek numbri to main dus numbri
ye duniya ek numbri to main dus numbri

number teen kaa chamatkar
dekho jab phenkoon patta
arre number teen kaa chamatkar
dekho jab phenkoon patta
sabki tabeeyat karoon saaf
Dilli ho ya Kalkatta
chauthe mera ghazab kaa jhaansa
aap kiya dooje ko phaansa
kabhi kabhi to police ko ulte dikhlaaun hathkadi
ke duniya ek numbri to main dus numbri
ye duniya ek numbri to main dus numbri

paanchwaa number zulm kaa dushman
main dukhiyon kaa saathi ee ee
paanchwaa number zulm kaa dushman
main dukhiyon kaa saathi
chhathha desh ke gaddaaron se
chheen loon ghar ki baati
number saat kare jo dangaa
ek haath mein kar du changaa
Langdi tangdi chhuri kataari
sab rah jaaye dhari
ke duniya
ek numbri
to main
dus numbri
ye duniya
ek numbri
to main
dus numbri

kalaa aathveen ye hai ki
main pyaar se milta sabse
arre kalaa aanthavi ye hai ki
main pyaar se milta sabse
pyaar ki khaatir insaan kya hai
Lad jaaun main rab se
navaan jo mujhse mile haseena
nau din tak na ruke paseena
aur number
dus
dus
dus
aur number Dus Dus Dus
Likha hai ye to har thaane mein
sifat hai kya kya deewaane mein
jitni ungliyaan inn haathon mein
utni jaadugari
ke duniya ek numbri
to main dus numbri
ye duniya ek numbri
to main dus numbri
arre kahat kabir suno bhai saadho
baat kahun main kharee
ke duniya ek numbri
aa aa aa
to main dus numbri
aa aa aa
ye duniya ek numbri
aa aa aa
to main dus numbri
———————————–
Part II
Hema Malini, Manoj Kumar
Mukesh+Hema Malini
————————————

kya hai mera naam na poochho
gir jaayenge jaam na poochho
kaun hoon main ye jaan ke sabko
Lag jaayegi thhar thhari

ye duniya ek numbri
to main dus numbri
ye duniya ek numbri
to main dus numbri
arre kahat kabir suno bhai saadho
baat kahun main kharee
ye duniya ek numbri
to main Dus numbri
ye duniya ek numbri
to main dus numbri

Wow!
arre mazaa aa gaya numbri seth
kya gaayela hai
Kasam se!
Christmas ke baad
aaj hi gaana suna hai tumhaara
ye lo nota (?)
arre is ghar mein bahot kuchh hai
baadaam, pista, kaaju,
garma garam samose!

main is ghar ka namak nahin khaaoonga

arre namak nahin khaaoonga
to mat khaao
is ghar mein bahot kuchh hai
Cake bhi hai, halwaa, baadaam, pista,
kyun Pappa!

is mehfil mein kis par kya kya
rang chadha sab jaanoon
is mehfil mein kis par kya kya
rang chadha sab jaanu
kaun chhupa kis bhes mein pyaare
main sabko pehchaanoon
kya hai mera naam na poochho
gir jaayenge jaam na poochho
kya hai mera naam na poochho
gir jaayenge jaam na poochho
kaun hoon main ye jaan ke sabko
Lag jaayegi thhar thhari

ye duniya
ek numbri
to main
dus numbri
ye duniya
ek numbri
to main
dus numbri

Loot ke jiska ghar baithhe ho
mahal sajaaye apnaa
Loot ke jiska ghar baithhe ho
mahal sajaaye apnaa
uska lahoo pukaar rahaa hai ae ae
uska lahu pukaar rahaa hai
yaar bachoge kitna
zulm hain jitney raat aur din ke
Loonga badle sab gin gin ke
zulm hain jitney raat aur din ke
Loonga badle sab gin gin ke
tum to kya are bade badon ki
kar di tabeeyat hari
ke duniya ek numbri
to main dus numbri
ye duniya ek numbri
to main dus numbri
arre kahat kabir suno bhai saadho
baat kahoon main kharee
ke duniya
ek numbri
to main Dus numbri
ye duniya ek numbri
to main dus numbri

—————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————

(PART-I)
——————-
कहत कबीर सुनो भाई साधो
बात कहूँ मैं खरी
के दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

अरे कहत कबीर सुनो भाई साधो
बात कहूँ मैं खरी
के दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

एक नम्बर का हाथ दिखाया
जब कह के जय काली
अरे एक नम्बर का हाथ दिखाया
जब कह के जय काली
कितने ही सेठों कि भारी जेब हो गयी खाली
दो नम्बर हैं और निराला
देखूं और खुल जाए ताला
उड़ के पाकिट में आ जाए
हरे नोट कि परी
के दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

नम्बर तीन का चमत्कार
देखो जब फेंकूं पत्ता
अरे नम्बर तीन का चमत्कार
देखो जब फेंकूं पत्ता
सबकी तबियत करूँ साफ़ दिल्ली हो या कलकत्ता
चौथे मेरा गज़ब का झांसा
आप किया दूजे कों फांसा
कभी कभी तो पुलिस कों उलटे दिखलाऊं हथकड़ी
के दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

पाँचवां नम्बर ज़ुल्म का दुश्मन
मैं दुखियों का साथी ई ई
पाँचवां नम्बर ज़ुल्म का दुश्मन
मैं दुखियों का साथी
छठा देश के गद्दारों से
छीन लूं घर कि बाज़ी
नम्बर सात करे जो दंगा
एक हाथ मैं कर चंगा
लंगडी टंगड़ी छुरी कटारी
सब रह जाए धरी
के दुनिया
एक नम्बरी
तो मैं
दस नम्बरी
के दुनिया
एक नम्बरी
तो मैं
दस नम्बरी

कला आठवीं ये हैं कि
मैं प्यार से मिलता सब से
अरे कला आठवीं ये हैं कि
मैं प्यार से मिलता सब से
प्यार कि खातिर इंसान क्या है
लड़ जाऊं मैं रब से
नवां जो मुझसे मिले हसीना
नौ दिन तक न रुके पसीना
और नम्बर
दस
दस
दस
और नम्बर
दस
दस
दस
लिखा है ये तो हर थाने में
सिफत है क्या क्या दीवाने में
जितनी उंगलियां इन हाथों में
उतनी जादूगरी
के दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

कहत कबीर सुनो भाई साधो
बात कहूँ मैं खरी
के दुनिया एक नम्बरी
आ आ आ
तो मैं दस नम्बरी
आ आ आ
ये दुनिया एक नम्बरी
आ आ आ
तो मैं दस नम्बरी
—————————–
(PART-II)
—————————–
क्या हैं मेरा नाम न पूछो
गिर जायेंगे जाम न पूछो
कौन हूँ मैं ये जान के सब कों
लग जायेगी थर थरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी

अरे कहत कबीर सुनो भाई साधो
बात कहूँ मैं खरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी
ये दुनिया एक नम्बरी तो मैं दस नम्बरी
इस महफ़िल में किस पर क्या क्या
रंग चढ़ा सब जानू
इस महफ़िल में किस पर क्या क्या
रंग चढ़ा सब जानू
कौन छुपा किस भेस में प्यारे
मैं सब कों पहचानू
क्या हैं मेरा नाम न पूछो
गिर जायेंगे जाम न पूछो
कौन हूँ मैं ये जान के सब कों
लग जायेगी थर थरी
ये दुनिया
एक नम्बरी
तो मैं
दस नम्बरी
ये दुनिया
एक नम्बरी
तो मैं
दस नम्बरी

लूट के जिसका घर बैठे हो
महल सजाये अपना
लूट के जिसका घर बैठे हो
महल सजाये अपना
उसका लहू पुकार रहा हैं…

उसका लहू पुकार रहा है
यार बचोगे कितना
ज़ुल्म हैं जितनी रात और दिन के
लूँगा बदले सब गिन गिन के
ज़ुल्म हैं जितनी रात और दिन के
लूँगा बदले सब गिन गिन के
तुम तो क्या
अरे बड़े बड़ों कि
कर दी तबियत हरी
के दुनिया एक नम्बरी
तो मैं दस नम्बरी
ये दुनिया एक नम्बरी
तो मैं दस नम्बरी

अरे कहत कबीर सुनो भाई साधो
बात कहूँ मैं खरी
के दुनिया
एक नम्बरी
तो मैं दस नम्बरी
ये दुनिया एक नम्बरी
तो मैं दस नम्बरी

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

THE VIBRANT 40s.(Episode No. 8)
———————————–
This post is coming after a break of almost 10 days or so. It was not a ‘Commercial Break’, but was a ‘Duty break’ ! We like to engage ourselves in the olden times, but the newer generation wants to enjoy Today’s life Today…or even earlier, if possible. Everyone seems to be in a hurry these days. I had to bow down to family pressures and go on a trip, down to KERALA. Of course it did a lot of good to me. Away from the Computer, FB and the Whatsapp, the days were spent in the company of family members, in ” The God’s Own Country”-Kerala. It did refresh me to the extent that after a gap of almost 60 years, I tried swimming again. To my own surprise, I could swim comfortably and the family heaved a sigh of relief ! All of them were unitedly against my determination of swimming with grandchildren ” at THIS age ” !!!. (My swimming Video is posted on my FB page).

The song under discussion today is from a film almost 70 years old-Hum Ek Hain-1946. This was a Prabhat film. Its films always had music based on classical or Natya sangeet. This film was the First film of Prabhat in which Punjabi style and Rhythm was used successfully, in spite of opposition from the old timers of the company. The composers who achieved this breakthrough was none other than the leading pair of HUSNLAL-BHAGATRAM.

I am also happy to announce that this is the 200th song composed by Husnlal-Bhagatram, to be posted on this Blog.

Husnlal-Bhagatram was one of the most popular composer pair of their times. They started in 1944 with Chand. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 49 films and most films’ music became popular. Although Bhagatram was the Elder of the two brothers, their name was famous as Husnlal – Bhagatram. During the peak of their career, the handsome,good looking Husnlal’s name was linked to the upcoming singer of those days-Lata Mangeshkar. This episode is described by C. Ramchandra in his autobiography in Marathi.

Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.

Pandit Husn Lal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.

Pandit Husn Lal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husn Lal was a performer par excellence in Khyal, Thumri, Dadra, Gazal, and Bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of Taans, like his Guru Vedi Ji.

Pandit Husn Lal was an accomplished Violinist, a renowned Classical singer and an ace Music Director. He, along with his elder brother Bhagat Ram (an ace harmonium player, born in 1914), were the first Hindi film music directors to work as duo and went by the name of “Husn Lal-Bhagat Ram”. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with the range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named Chand, after which they never looked back. They gave super hit melodies for more than 80 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.

Their film Badi Behan (1949) was a classic in the history of Indian cine music. Besides the most popular song, ‘Chup chup kharey ho…‘ there are other seven numbers which gave the audiences the pleasure of music as an art form – ‘Wo pass rahein, ya door rahein‘, ‘Tum mujhko bhool jaao, ab hum naa mil sakeinge‘, ‘Likhnein waley ney likh dee meri taqdeer mein barbaadi likhnein waley ney‘ and ‘Bigree bananey waley, bigree banaa dey‘ (Suraiya) and ‘Muhabbat ke dokhe mein koyee naa akey‘ (Mohammed Rafi).

In ‘Chaley janaa nahin‘ and ‘Jo dil mein khushi ban kar ayey‘ Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husan Lal on her 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husan Lal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!

The song “Suno Suno Aiy Duniyaan Walo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi was the milestone in the history of music. This song was composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of a set of two 78 rpm discs of this recording were sold, within one month.

Husn Lal-Bhagat Ram worked with famous playback singers like Ameerbai Karnataki, Suraiyya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, amongst others. He also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.

Pandit Husn Lal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s,this pair parted company with each others. Husnlal’s father in law was an influential person. With his help,Husnlal settled in Delhi and started teaching music to aspirants.

One day morning,while on a morning walk, he fell dead in a garden. Someone recognised him and informed his family. The day was 28-12-1968.

Bhagatram too spent his last days in pathetic condition,working for other composers.one day in 1973,he died in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan. ( I had the opportunity to speak to shri Ashok Sharma ji, about his father,few months back).

Once Lady Luck turns her back on someone,Destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny..

“some things happen in life differently……for example, as Shankar was a good dancer, he danced with ‘dholak’, in ”pyar ki jeet”, for which , story, screenplay, dialogues and few songs were written by the song writer, Rajendra Krishan, under the banner of famous pictures….. and the music directors were the then first pair of hindi film music, Husnlal Bhagatram, and incidentally both were brothers to join the film industry……Husnlal was a good violinist and Bhagatram was a harmonium master……when they were assigned the film ”pyar ki jeet”, Shankar was their assistant and played on dholak and tabla and being a dancer himself, danced in the film as stated above……

….it is the destiny, that Shankar made pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time….
…Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director, with Bhagatram…..and then Husnlal took to play violin….and Bhagatram…..sorry to say….being alone , started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction………what would you call it….destiny? “

Here is their Filmography yearwise– 1944: Chand; 1946: Hum Ek Hain; Nargis; 1947: Heera; Mirza Sahiban; Mohan; Romeo and Juliet; 1948: Aaj Ki Raat; Lakhpati; Pyar Ki Jeet; 1949: Amar Kahani; Balam; Badi Bahen; Bansaria; Hamari Manzil; Jal Tarang; Naach; Raakhi; Sawan Bhadon; 1950: Adhi Raat; Apni Chhaya; Birha Ki Raat; Chhoti Bhabhi; Gauna; Meena Bazaar; Pyar Ki Manzil; Sartaj; Surajmukhi; 1951: Afsana; Sanam; Shagun; Stage; 1952: Kafila; Raja Harishchandra; 1953: Aansoo; Farmaish; 1954: Shama Parwana; 1955: Adle- Jehangir; Kanchan; Mr Chakram; 1956: Aan Baan; 1957: Dushman; Jannat; Krishna Sudama; 1958: Trolley Driver; 1961: Apsara; 1963: Shaheed Bhagat Singh; 1965: Tarzan And The Circus; 1966: Sher Afghan.

Film Hum Ek Hain-46 was a milestone in many ways. This was one film in which several artistes made their Debuts… Dev Anand, Rehman, Rehana and Kamala Kotnis as Actors and P.L.Santoshi as Director. This was the first film from which Prabhat accepted music of a different type. This was also the First film from which Durga Khote started acting as Mother of some adults and also stopped getting Heroine roles. With this film P L Santoshi developed an obsessive love for actress Rehana, producing many films for her in later years and finally getting destroyed in the process after she migrated to Pakistan.

Hum ek Hain was truly a precursor to films featuring Hindu, Muslim and Christian sons. Probably Manmohan Desai got inspiration for his films from here only. 1946 was a time when the Independence of India was on the anvil and many films tried to give a message of Unity for a stronger India. The detailed review and synopsis of this film is available here, done by my FB friend Nivedita Ramkrishnan, on 27-9-2010.

Durga Khote is one of the first lady actors from respectable families of Bombay into Hindi films. This was a period when working in films was seen as the domain of only Tawaifs, professional singers and the likes of them. She was also the first to break the Studio system and start working as a free lancer at a time when sticking to a studio was the best bet for financial security.

Durga Khote was born on 14-1-1905. Her father Pandurang Shyamrao Laud was a solicitor. While studying for her B.A., she got married to Vishwanath Khote, but became a widow-with 2 sons- when she was 26 years of age. She decided to act in films and her first film was Farebi jaal-1931, a silent film. Her role as heroine in ‘ Ayodhya ka Raja”-1932- the First Marathi Talkie film (both in Marathi and Hindi), was much applauded . After a few films she left Prabhat, worked in Calcutta for New Theatres and East India Film company, later shifting to Bombay to work in Prakash Pictures films. She had a scandal free career of more that 50 years, working in over 200 films. She wrote her Autobiography ” Mee Durga Khote ” in Marathi which was translated in English also. She spent her last years in Alibaug, but died in Bombay on 22-9-1991. She was awarded Phalke award in 1983.

Another luminary associated with this film was the legendary classical singer of Kirana Gharana- Manik Dadarkar or Manik Verma,after her marriage with Amar Verma, a dialogue and lyric writer,in 1947. She was more into Classical singing and marathi Bhavgeet rendering than Hindi film singing. She sang in very few films. As per one estimate she sang only 43 songs in Hindi and Marathi films from 1946 (first film bein Hum Ek Hain-46. Her debut song from this film is already posted on this blog earlier.) to 1955. She won several awards. She had 4 daughters. Two of them, viz. Bharati Achrekar and Vandana Gupte are famous as Hindi/marathi film/drama/TV serial artistes. Rani Verma is a singer and Aruna is a Painter. Manik Verma died on 10-11-1996.

Today’s song is sung by Manik Verma and Chorus and is it filmed on Durga Khote and other actors. P L Santoshi is the lyricist. Music is composed by Husnlal Bhagatram.

Song-Qila hai buland dekho (Hum Ek Hain)(1946) Singer-Manik Verma, Lyrics-P L Santoshi, MD-Husnlal Bhagatram
Chorus
Unknown voice

Lyrics

qila hai buland dekho
darwaje hain band dekho
qila hai buland dekho
darwaje hain band dekho
qila hai buland dekho
darwaje hain band dekho
qila hai buland dekho
darwaje hain band dekho

idhar se aayenge
apne munh ki khaaoge
udhar se aayenge
apne munh ki khaaoge
talwaar lekar aayenge
apne munh ki khaaoge
bandook le kar aayenge
apne muh ki khaaoge
hum top lekar aayenge
apne munh ki khaoge
qila hai buland dekho
darwaje hain band dekho
qila hai buland dekho
darwaje hain band dekho
qila hai buland dekho
darwaaje hain band dekho

meri aankhon ke ae ae ae
ujiyaare ho tum
meri aankhon ke ae ae ae
ujiyaare ho tum
apne is ghar ke ae ae ae
rakhwaale ho tum
apne is ghar ke ae ae ae
rakhwaale ho tum
tum hi karoge maan ki god nihaal
tum hi karoge maan ki god nihaal
ek sur mein
bolo bolo mere laal
bolo bolo mere laal
bolo bolo mere laal

hum ek hain
hum ek hain
hum ek hain
ek hamaara ghar hai
ek hamaari maata
ek hamaara ghar hai
ek hamaari maata
bhai bhai ka hamne
joda aapas mein nata
bhai bhai ka hamne
joda aapas mein naata
naam bhale anek hain
hum ek hain hum ek hain
hum ek hain hum ek hain
hum ek hain hum ek hain
hum ek hain hum ek hain

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

BHAJAN MALA – GOLDEN 50s (Pushp- 1)
——————————————

I grew up in a joint family of about 20 people including children. My childhood memories are vivid and I remember playing with cousins and enjoying Festivals with the elders. By coincidence ,by 1947-48 our joint family was fragmented, not because of the Partition, but because One Uncle joined Army, the other joined Navy and the third one joined Police. My own father had to go underground to evade arrest, after Gandhi ji’s assassination..He was an RSS worker. We shifted coolly to Banaras and stayed there for an year. Ultimately father was traced and arrested and we were escorted by the police to mother’s town in Maharashtra.

Father was released along with Sawarkar and others soon and by 1950 we joined together again in Hyderabad as a joint family of about 12 people. My grandfather was a religious person and he liked to see Mythological films. I was neither a big man nor a child at that time, but I had to take 3-4 adults and 3-4 children to these Mythological films. Going to the movies used to be a big event and a challenge for me to look after all people and arrangements. May be, I developed a liking for Religious films from here onwards. I enjoyed the trick scenes and the costumes of the actors in the films. I used to see Mythological films regularly.

The decade of the 50s was indeed a decade of Religious films. From 1951 to 1960, there were about 120 such films, averaging 1 religious film every moth for 10 years. Those were the times when even Big stars did not hesitate to act in Mythologicals. Ashok Kumar, Prithviraj Kapoor, Meena Kumari,Durga Khote, Leela Chitnis, Nalini Jaywant , Shanta Apte etc used to act in religious films without any complex. It was much much later that a few artistes were branded as “Mythological actors’,like Mahipal, Manhar Desai, Trilok Kapoor, Nirupa Roy, Prem Adib, Shobhana Samarth etc. etc.

There was a fixed and permanent audience for these films. Prakash pictures was famous for making many religious films. But other studios like Prabhat, New Theatres, Ranjit, Sagar, Basant pictures or Wadia movietone, Bombay talkies, Filmistan etc too made mythological films. Besides the eye catching scenes, another attraction of these films used to be its music. Very melodious and memorable Bhajans were composed for these films by S N Tripathi, Bulo C Rani, Avinash Vyas, Shankarrao Vyas, Hemant Kumar, Vasant Desai etc. Some of the famous Bhajans were sung by Rafi,Hemant Kumar, Geeta Dutt and others.

Bhajan is one genre of the HFM which is generally overlooked, neglected or snubbed. Being a fan of these Bhajans, I thought why not present a series of such Bhajans from the 50s to our readers and so, we are starting a New Series ” BHAJAN MALA – GOLDEN 50s ” from today. The decade of the 50s is most ideal for such a series, because maximum number of Religious films came from this decade, thereby creating maximum Bhajans too. I do hope our readers will enjoy these nostalgic Bhajans from the past.

In our Puranas, there are stories about the SAMUDRA MANTHAN. It is believed that Kamala or Laxmi emerged from this churning and Narayan married her. In all, 14 unique, magical and invaluable things came out of the ocean after this Samudra Manthan or Churning of the Ocean. For your information,here are these 14 objects-

1. Halahal-The Poison 2.Varuni-The wine 3.Kamdhenu-Magical Cow 4. Airawat-The Flying Elephant 5. Uchhaiswas-The 6 Headed Horse 6. Apsaras like Rambha,Urvashi, Menaka etc. 7. Kaustubh Mani- A powerful Diamond 8. Kalpvriksha-The Magical Tree 9. a Divine Bow 10. Chandra-The Moon 11. Ratnas or Gems 12. Laxmi or Kamala 13. Dhanwantari with a book of Ayurveda-The Gods’ Physician and 14. The Amrit- the drink that makes one immortal.

There are variations in the list depending on its sources. Here is some information on Samudra Manthan-
The great sage, Durvasa Muni, once offered a garland to Indra, who ignored it and put it on the tusk of his elephant, which trampled it. Seeing Indra’s disregard, the revered sage became furious. He cursed Indra saying that he and the other gods would lose all their powers. In due course, Indra and the other gods began losing all battles against the demons, and the demons led by Bali took control of the universe. Seeing no other way, the helpless Indra rushed to Vishnu for help.

Vishnu had a plan. He said that to get back their powers the gods would have to churn the oceans and bring out the magical nectar-amrita. Only after consuming it could they regain their powers. This great churning is known as samudra manthan. But as the gods were powerless now, they sought the help of the demons to accomplish this huge task.

The gods and demons got together for the the herculean task. The huge mountain, Mandara, was used as the pole to stir the waters. But as the pole entered the water it kept sliding into the depths of the ocean. To stop this, Vishnu quickly transformed himself into a tortoise and supported the mountain on his back. This image of Vishnu as the tortoise was his second avatar called ‘Kurma.’

Once the pole was balanced, it was tied to the gigantic snake, Vasuki, and the gods and demons started pulling it from either side. As the churning began and the massive waves whirled, an extremely poisonous drink called halahal came out. The gods became scared because this blue drink could destroy creation.

They all got together and prayed to the powerful Shiva to help him them. Shiva appeared before all and gulped the entire poison. But, he did not swallow it. He kept the poison in his throat. Since then, Shiva’s throat became blue, and he became known as Neelkantha or the blue-throated one.

The churning continued and poured forth a number of gifts and treasures. They included Kamdhenu, the wish-fulfilling cow; the goddess of wealth, Laxmi; the wish-fulfilling tree, Kalpavriksha; and finally, came Dhanvantari carrying the pot of amrita and a book of medicine called Ayurveda.

Once the amrita was out, the demons forcefully took it away. Two demons, Rahu and Ketu, disguised themselves as gods and drank the amrita. The sun and moon gods recognised it to be a trick and complained to Vishnu, who in turn, severed their heads with his Sudarshan Chakra. As the divine nectar did not get time to reach below the throat, the heads remained immortal, but the body below died. This helps Rahu and Ketu take revenge on the Sun and Moon by devouring them every year during solar and lunar eclipse.

A great war between the gods and demons followed. Finally, Vishnu disguised as the enchanting Mohini tricked the demons and recovered the nectar. While fleeing the clutches of the demons, Vishnu gave the amrita to his winged charioteer, Garuda. But the demons caught up and a tussle followed. During this tussle few drops of the drink fell at Ujjain, Nasik, Allahabad, and Haridwar. The drops are said to have purified the land and it is here that every year devotees come to wash away theit sins in the famous assembly called Kumbh Mela.

Once Garuda got back and the Gods drank the nectar, they became immortal. But as some demons had managed to taste a few drops of the drink, they too became immortal and to this day the fight between good and evil continues.

The film ” Laxmi Narayan”-51 was made by Homi Wadia’s Basant pictures. The Direcctor was Nanabhai Bhatt( father of Mahesh and Mukesh Bhatt). The composer was S N Tripathi,who also acted in the film and sang a few songs as well-as was his habit always. The cast included Meena Kumari (this was her second Mythological film, after earlier working in Shri Ganesh mahima aka Sri krishna Vivah-51), Mahipal, Amarnath, Dalpat, Sulochana etc. The story of this film was-

Arishtanemi, the king of Danavas was ruining Mother Earth for his own sadistic enjoyment. He had polluted the waters of the rivers. All the Gems were thrown away in the sea and every where there was a tale of suffering. At the same time Bhuwanmohini, daughter of Bhrigu Rishi was in the bloom of her youth and many Kings and Gods were aspiring to marry her. Indra, the King of Gods and Arishtanemi were two aspirants competing with each other, while Bhuwanmohini herself wished to marry Lord Vishnu, thanks to the praise of the Lord by Narad. Indra took away Bhuwan with him against her wishes. To take advantage of this situation, Arishtanemi started a Yagna with Bhrigu as his Purohit. From the holy fire of the Yagna emerged Vritasur with whose help Arishtanemi conquered the kingdom of Gods. There Arishtanemi searched for Bhuwan but she had left Indra’s palace and sat alone on the top of a mountain and prayed the Lord to come to her rescue. Having lost his kingdom Indra prayed to God Shankar for help to conquer Arishtanemi. God Shankar told him that only one weapon could kill Vritasur and that was to be made from the bones of Sage Dadhichi. Indra went to Dadhichi and served him while power-mad Arshtanemi attacked Sage Dadhichi only to be burnt down by the Sage. Indra got the weapon he wanted and won the battle with Vritasur. Indra then went in search of Bhuwanmohini but unwilling to surrender to Indra she jumped down to the sea. When Bhrigu learnt about this mishap he went to Lord Vishnu who was asleep and kicked him in the chest to wake him up. In anger he called out “How can you sleep sound when my daughter died crying out ” lord Vishnu said,” dont worry, Oh Sage She will come to me when time is ripe for the same. In the meanwhile let me massage your foot which must have been hurt when you struck me”. . Later the Gods and the Danavas churned the great sea when Bhuwanmohini emerged out as Laxmi radiant with wealth and Lord Vishnu accepted her as his consort. This union is famous in the Hindu mythology by the name LAXMI NARAYAN.

let us now enjoy this video song depicting the Samudra Manthan and marriage of Laxmi Narayan. The song is sung and composed by S N Tripathi. The song is written by Ramesh Pandey.

Song-Kaisi anokhi maaya hari ki (Laxmi Narayan)(1951) Singer-S N Tripathi, Lyrics-Ramesh Pandey, MD-S N Tripathi
Chorus

Lyrics

laakh jatan kar jab sab haare
bhed samajh na aaya
saagar manthan rachkar prabhu ne ae
kartab naya dikhaaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
manthan shuru hua saagar ka
dharti nabh tharraaye
laga doobne mandar parwat
dekh sabhi ghabraaye

le kachchap avtaar vishnu ne
chamatkaar dikhlaaya
jal mein paith peethh par apni
saara bhaar uthhaaya
shankh chakr aur gada padm ka
roop shikhar par aaya
dekh prabhu ki leela sabne
jaijaikaar manaaya aa
jai jaikaar manaaaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
vishdhar naag raaj ki saansen
hain agni ki jwaala
phhan ki taraf asur hain
unka rang pad gaya kaala
sabse pehle kaal koot vish
lahron par utraaya
jisko peekar bhola shankar
neel kanth kahlaaya
jagmag karta nikla chanda
khila madhur ujiyaara
shiv ke sir ka mukut bana
wo laga sabhi ko pyaara
ichcha pooran karne waali
kaamdhenu bhi aayi
gaumaata paakar rishiyon ne
hari ki mahima gaayi
uchchaiswas albela
jal ke baahar aaya
veer daanawon ne wo ghoda khush hokar apnaaya
airaawat haathi nikla
jo sabke man ko bhaaya
de gajraaj indr ko prabhu ne swarg ka maan badhaaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya

kalp vriksh nikla samudr se
le kanchan si kaaya
parijaatak se dev ganon ne
apna swarg sajaaya
kaustubh padm raag mani nikli
sab maniyon se pyaari
use swayam le gaye chaturbhuj
chakr sudarshan dhaari
rambha aadi apsaraa niklin
liye chhata matwaali
devlok sab gayin saloni
chanchal chitwan waali
madira ka ghhat ooper aaya
masti ki ritu laaya
peekar sura dusht daityon ka ang ang lahraaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya

saawdhaan
saawdhaan
saawdhaan
jaag uthhe hain bhaag hamaare
dekh rahe hain ham nainon se
adbhut chamatkaar
nikli kamla kamal par a
magan hua sansaar
saagar manthan se hua aa aa aa
laxmi ka aa aa avtaar
laxmi ke sundar swaroop se
soorya chandr sharmaaye
unko dekh dev daanav sab man hi man lalchaaye
bhrigu boley varmaala dekar
beti charan badhaao
poora hai adhikaar tumhe
jisko chaaho apnaao
mahalaxmi ne keshav se apni lagn lagaayi
jag ke paalahhaar prabhu ko varmaala pahnaayi
naaraayan ne bhi laxmi ko prem sahit apnaaya
ek huye laxmi naaraayan
jag mein mangal chhaaya
ek huye laxmi naaraayan
jag mein mangal chhaaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
kaisi anokhi maaya hari ki
kaisi anokhi maaya
ek huye laxmi naaraayan
jag mein mangal chaaya
ek huye laxmi naaraayan
ek huye laxmi naaraayan
ek huye laxmi naaraayan
ek huye laxmi naaraayan
jag mein mangal chaaya
jag mein mangal chaaya

This article is the 700th article written in the blog by Sudhir, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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The Many Colors of Love #15 – The Tales of Love
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And so wrote the scribe

darr laagey duniya se balmaa ho
ulfat naa baney afsaana

In the matters of heart, when the blossoming emotions of love come to a head, then there comes a day when this precious secret of the lovers comes to be known. Sometimes it is known within a close circle, and sometimes it comes to the lips of all and sundry. A matter that was securely hidden in the two hearts now forms the grist for gossip mills. And thus are born the tales of love.

Sometimes these tales of love are very local to a neighborhood, and at other times these tales capture the attention of a much wider audience. I remember as a child, one would come across gossip and rumors – such and such boy is seeing that such and such girl. Sometimes that would be an episode at school, and the gossip mills would be working full time during lunch breaks and the daily bus trips. There would be a sudden silence as soon as the boy or the girl in the rumor was seen to be around. Sometimes these rumors would die down quickly. And sometimes they would last for months or years, taking on the form of romancing sweethearts.

Sometimes that would be an episode in the neighborhood. As the kids would gather to play in the alley or in the park, if the rumors were floating, then they would definitely be discussed. All kinds of speculations would be aired, no matter that the parties involved may be much older than the bunch of kids discussing their lives.

Sometimes these matter would be serious enough that the discussions would get up to the level of seniors and parents. When we would inadvertently or on purpose, overhear such conversations, that would give us more reason to return to our group of playmates with added ‘cannon-fodder’, presented more authoritatively.

Sometimes these gossips and tales were laced with derision and mockery. And sometimes they would be expressed with sentiments of respect and sympathy.

Getting into teens and later years, and as the films became a more important part of lifestyle, and the minds grew mature enough to appreciate now the sentiments involved in such episodes, the tales of love took on a whole new dimension. Since most films always carry a thread of a girl-boy romance, in various settings and situations, these tales and gossips would come into a better focus. Although the all knowing elders would always comment that film is film, and what happens in a film does not happen in real life. But for the adolescent minds, the charm and the enthrallment of these tales of love – filmi or from real life – continued to increase.

Hidden beneath the interest in these tales of romance was an everlasting notion that someday, the self would also be entangled into such an affair, and there would be gossip and tales in which the self would figure prominently. I dare say that over the years, I have been a witness and a participant on both sides of the fence. And when the experience became personal, it is only then that one would comprehend the actual sentimental value and the emotional fall out of being part of such stories of love. Why is it that the hearts involved in the matter, are afraid that their matter will be known? Why is it that the people around who come to know these stories, react in the ways they do? Sometimes the young hearts will be in despair and depression. Other times they will be defiant and daring. They would keep the secret inside and simply weather the emotional storms privately. Or at times they would not mind anyone knowing and talking about them.

And why is it that poets and writers of all ilk and colors have written about this ‘afsaana’ in a variety of ways that defy any enumeration, and across centuries and ages of written literature. There are stories that are famous for they became part of literary works and, in our age, have become part of films. There are stories that are legends now, that get into the cultural lexicon and everyone is aware of them, without being taught in schools. And as the years pass and the ages get added on, these tales of romance and infatuation keep springing up all around, as newer generations come of age and start to discover newer meanings into these emotions.

Aah, these lovely tales of love. There is a matter of experience that one needs to endure, to understand what makes these hearts tick, and what makes the time and place inconsequential. It is all there in these tales.

For this special emotion and this special write up, is a song so very special, that I am sure many a heart would perk up as they listen to this long lost friend. This lovely and enchanting song has been sitting far away from attention, for oh so long now. Blessed were the days of radio when these gems would be aired frequently. But over the decades, these fabulous gems have become obscure, covered with dust of passing years, slowly taking on the mantle of rarities. A huge favorite of mine, I was dismayed that this song has not yet made appearance online anywhere.

The pedigree of is this precious treasure is undefined, as it belongs to a film that was never completed or released. Sometimes in the 1960s, a production banner named Seven Eight Six Films, Bombay launched this film called ‘Pyaar Banaa Afsaana’. And then, it seems, that the project simply went into oblivion. No other details are available for this film. Except of course the music. Thankfully, the music was recorded and released on 78 rpm records. Outside of that, I have not been able to locate any other information about this film.

The songs recorded are a set of 5 absolutely fabulous gems that have been created by the team of Aziz Qaisi as the songwriter and Iqbal Qureshi as the music director. The musical quality of these songs is of the highest category that one can imagine. And hence the surprise that these songs are not available for being heard. I posted one song from this film earlier in this series – “Mere Jahaan Mein Tum Pyaar Le Ke Aaye” . Today, I present the song that can also be termed as the title song of the film. It is a long, almost six minutes duration, of wonderful singing by Krishna Kalle. In my books, this is probably the best song rendered by her.

The words of this song are simply exquisite. Truly the stuff that the tales of love are made of.

nain uthe
aur nain miley
ik duniya hum ne basaa li

The eyes, they rose up
The glances met
And a whole new world got created

Goodness, what an expression. In these two lines the poet has captured all the burgeoning emotions and more, that arise within, when the glances meet, with someone with whom lies the destiny of love together.

The music and he melody is marvelous. Listen to the swiftly paced prominent sound of tabla that plays all through the song, and the interludes of sitar and sarod, that capture the strumming strings of heart. And listen to the voice of Krishna Kalle – never been so full of passion.

Oh listen, listen and listen to it again.

And enjoy.

shamma jali to jalaa parwaana
pyaar banaa afsaana

As burns the flame in the heart
So does burn the insistent moth
Singed with the excitement of attraction
Thus is how
The tale of love comes to be

jalwaa dhoondh rahe the kab se, pyaase nain sawaali
nain uthe aur nain miley, ik duniya hum ne basaa li
ab to yahi duniya hai apni, saans ka aana jaana
pyaar banaa afsaana

It seems as if forever
The longing in eyes and minds
Searched for that one image
That would stir the heart
And when they did
The eyes, they rose up
The glances met
And a whole new world got created
This new world now
Is all that is consequential in life
Just as the life breath is
Thus is how
The tale of love comes to be

shabnam hai ya angaara hai, sach hai ya koi sapna
aankh khule to koi naa jaane, kya anjaam ho apna
mera naam hai dard bhara dil, us ka naam zamaana
pyaar banaa afsaana

Is it the cool solace of the midnight dew
Or is it the fiery embers that incite, and then burn
Is it what the truth of life is
Or is it just a dream, so ever wishful
Wondering what the outcome would be
When the eyes open and the dream ends
No one knows
All I know of this state is
That I am a heart full of pain
And an unkind thing that is this world
Confronts me
Thus is how
The tale of love comes to be

chaand utar aaya seene mein, tan mann bheega ras mein
main duniya ke bas mein hoon aur, duniya us ke bas mein
main hoon pyaar ki deewaani aur wo mera deewaana
pyaar banaa afsaana

It felt as if the moon descended into me
And my being soaked with flowing contentment
I am restrained, being of this world and in this world
But this world, I know, is under His spell
I am crazy for love
And I know, he is crazy for me
Thus is how
The tale of love comes to be

dard ki andhi raat hai duniya, dil ki shammaa jalaaye
pyaar bhi paaya hum ne jaise, mil ke bichhudte saaye
sau haathon mein dil hai jaise, dard suney paimaana
pyaar banaa afsaana

Tis a dreadful dark night of agony
This world, it is
Only the light from the burning heart
Shows the way
I found love
But alas, it was to be
Like two shadows crossing paths in the night
And then breaking away again
Like a hundred, holding the heart in hands
It is the goblet only
That has ears to listen
The heart’s cry of pain
Thus is how
The tale of love comes to be

Song-Shama Jali to jala parwaana (Pyaar Bana Afsaana)(UR)(1960) Singer-Krishna Kalle, Lyrics-Aziz Qaisi, MD-Iqbal Qureshi

Lyrics

shamma jali to
jalaa parwaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
shamma jali to
jalaa parwaana
shamma jali to
jalaa parwaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana

jalwaa dhoondh rahe thhe kab se
pyaase nain sawaali
nain uthhe
aur nain miley
ik duniya hum ne basaa li
ab to yahi duniya hai apni
saans ka aana jaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana

shabnam hai ya
angaara hai
sach hai ya koi sapna aa aa
aankh khule to
koi naa jaane
kya anjaam ho apna
mera naam hai
dard bhara dil
us ka naam zamaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana

chaand utar aaya
seene mein
tan mann bheega ras mein
main duniya ke
bas mein hoon aur
duniya us ke bas mein
main hoon pyaar ki deewaani aur
wo mera deewaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana

dard ki andhi
raat hai duniya
dil ki shammaa jalaaye ae ae
pyaar bhi paaya
hum ne jaise
mil ke bichhadte saaye
sau haathon mein
dil hai jaise
dard suney paimaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
shamma jali to
jalaa parwaana
shamma jali to
jalaa parwaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
shamma jali to
shamma jali to
shamma jali to
jalaa parwaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
banaa afsaana
pyaar banaa afsaana
——————————————-
Hindi script lyrics (Provided by Sudhir)
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शम्मा जली तो
जला परवाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

शम्मा जली तो
जला परवाना
शम्मा जली तो
जला परवाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

जल्वा ढूंढ रहे थे कबसे
प्यासे नैन सवाली
नैन उठे
और नैन मिले
इक दुनिया हमने बसा ली
अब तो यही दुनिया है अपनी
सांस का आना जाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

शबनम है या
अंगारा है
सच है या कोई सपना
आँख खुले तो
कोई ना जाने
क्या अंजाम हो अपना
मेरा नाम है
दर्द भरा दिल
उसका नाम ज़माना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

चाँद उतर आया सीने में
तन मन भीगा रस में
मैं दुनिया के
बस में हूँ और
दुनिया उसके बस में
मैं हूँ प्यार की दीवानी और
वो मेरा दीवाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

दर्द की अंधी
रात है दुनिया
दिल की शम्मा जलाए
प्यार भी पाया
हमने जैसे
मिल के बिछुड़ते साये
सौ हाथों में
दिल है जैसे
दर्द सुने पैमाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

शम्मा जली तो
जला परवाना
शम्मा जली तो
जला परवाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

शम्मा जली तो
शम्मा जली तो
शम्मा जली तो
जला परवाना
शम्मा जली तो
जला परवाना
शम्मा जली तो
जला परवाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना
बना अफसाना
प्यार बना अफसाना

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

GEMS FROM THE MIGRATORS….Song no. 7
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Last time I wrote about my earlier series which I posted her. Here are the details..

,

I have covered 192 songs out of 310 songs posted by me, which is almost 62%,but these are songs with a purpose and a link to the theme. Few days back, I got an idea, why not make an Index of personalities and topics that I have discussed on this Blog through my posts in last 3-4 years. This would help me as the readers to get the desired information at a click. Very enthusiastically and patting myself for this original idea, I started the work and then I realised that this was a mammoth project requiring lot of time and patience !

OK, Time I can manage, but where from will I bring the patience? Anyway, I am at it, whenever I find time, but it is anybody’s guess when this will be completed. Let us hope for the best.

Coming to our topic, I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? one example is Nisar Bazmi. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, Filmbirth…

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “

Due to shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music -

Anyway, Nisar Bazmi migrated to Pakistan during the Golden Age period and got all the benefits.

Nisar Ahmed was born in 1925, in Naseerabad, Khandesh, Bombay Presidency, in an orthodox family where there was no Musical background. However, Nisar was keen on learning music. By singing Saigal’s songs he won his teacher’s mind, who convinced his father and he was sent to Bombay to live with his Uncle. Due to his singing he soon joined the ‘Yaseen Kawwal Group’ and became famous as ‘Yaseen ka chhokra’. Meanwhile he learnt classical music from ustad Amaan ali khan for 4 years. He joined AIR on a temporary basis and started singing. The then music director of AIR Dinkar Rao Amembal made him permanent on a salary of Rs. 45 pm. When his father learnt this he was overjoyed that without studies also he was earning more than educated people ! This was 1940.

Those days a drama ‘Nadir Shah Durrani’ was running on Radio. Nisar composed music for it and also gave background music. Impressed with his work he got his first Film,” Jamna paar”-1946 as a MD. he left AIR,changed his name to Nisar Bazmi and for got his dream of becoming a singer. In the next 15 years, he composed music for about 40 films,but only 27 films were released. Most of these films were C grade stunt films. Though he gave reasonably good music,he remained a C grade composer throughout. For film ‘Khoj’-53,the assistant producer had not much money. For singing a song he could only offer Rs.50/- to Mohd. Rafi (who was charging almost 1000/- per song those days). Rafi liked the song and he magnanimously sang the song ” chand ka dil toot gaya ” by taking just ONE rupee as fees !

For film ‘Bhala Adami’-58, he gave chance to Anand Bakshi as a Lyricist for the first time. His last film in India was ” Mister Toofan”- released in 63. Nisar migrated to Pakistan in 1962. Producer Fazal Karrem Fazli of Fazli brothers offered him first film ” Aisa bhi hota hai “. The music of this film became Hit and very popular and there was no looking back for Nisar Bazmi. He gave music to 57 Pak films. He won Nigar Awards 7 times and also won ‘Pride of performance’ award from the President.

His last film was in 1981. He came back to Karachi and started teaching aspiring singers, but only one of them became a famous singer. He regreted that the younger generation looked for quick money and did not put hard work. None of his 8 sons loved music. They all followed different avocations. In his later life he was famous for learning Quran by heart.

His filmography was- Jamna par, Jeb katara, Dagabaj Dost, Khoufnak aankhen, Hamari kismat, Jiyo Raja, Roop lekha, Bade saheb, Gazab baama, Kyun ji, Gorilla, Khoj, Halla gulla, Sitamgar, Adamkhor, Pyara Dushman, Fighting queen,Jungle queen, Kar bhala, Bhala Admi, kal kya hoga, Sachhe ka bolbala, Teer aur Talwar, Shola jo bhadke, Zareena and Mister Toofan.

Bazmi sahib taught music to up-and-coming youngsters, but only Faisal Latif managed to become somewhat popular. When asked why his students like Shafiq-ur-Rehman, Tanveer Afridi, Shabana and Shazia Kausar are unable to reach the top, he said, “My job was to train them, which I did. Now it is up to the musicians to utilize them as I am sure they have the talent to be the best.” When asked if our youth going in the right direction, Bazmi sahib felt that it was because of our youths’ lack of interest that our music is not what it used to be.

“A youngster today doesn’t want to be taught like the legendary singers. His only interest is to become rich and famous in a short time, which is certainly the wrong way.”

He died on 22-3-2007 at Karachi.

Today’s song is from stunt film “Hamari kismat”-1949. It was a Justice pictures, Bombay production. Directed by Nari Ghadiyali, the Lyricist was Rajjan, who too migrated to Pakistan later.

Rajjan wrote songs for Chhed chhad-43, Aabroo-43, 11 o’clock-45, Dhoomketu ,Jiyo Raja and Hamari Kismat (all in 1949).

(My thanks to Shri Harish Raghuvanshi ji and information in Listener’s Bulletin)

Let us now hear a song from this film, sung by Uma Devi…

Song-Hamaari kismat mein jo likha hai (Hamaari Kismat)(1949) Singer-Uma Devi, Lyrics-Rajjan, MD-Nisaar Baazmi

Lyrics

hamaari kismat mein jo likha hai
wo aansuon se mita rahe hain
hamaari kismat mein jo likha hai
wo aansuon se mita rahe hain
nahin hai koi jahaan mein apna
ye unse dil ko ?? rahe hain

bahut machalte thhe dil ke armaan
bahut machaaye thhi shor umangen
bahut machalte thhe dil ke armaan
bahut machaaye thhi shor umangen
bahut machaaye thhi shor umangen
sitam se duniya ke tang aakar
sitam se duniya ke tang aakar
wo roti aankhon se jaa rahe hain
hamaari kismat mein jo likha hai
wo aansuon se mita rahe hain

chahak rahi thhi jo kal chaman mein
wo aaj pinjre mein hai phadakti
chahak rahi thhi jo kal chaman mein
wo aaj pinjre mein hai phadakti
wo aaj pinjre mein hai phadadki
sunega teri na koi bulbul
sunega teri na koi bulbul
zamaane waale bat rahe hain
hamaari kismat mein jo likha hai
wo aansuon se mita rahe hain

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

English Vinglish (2012) was a movie directed by Gauri Shinde. It was a sort of come back movie for Sridevi. Why I say comeback is because she was never out of sight. Prior to that she was seen in a few ads selling soap or some such thing. Also she was very much visible at various awards functions. But when I saw the promos for the movie I decided I had to see it come what may. And I was not disappointed. Mind you I will not say I am her greatest fan. It is just that I liked the theme on which it was based. It had no preaching to it. It was not a family drama in the traditional sense of the term. It talked about how a mother, whatever she does to please the family, is still considered secondary as she was not conversant in English. Then the movie proceeds to show that how half the world is not English conversant and how the other half treats them. Also what I liked about the movie is that the mother in law of the character played by Sridevi is very supportive of her in her endeavor of commercially showing off her skill of making laddoos. (I should say that she reminded me of my mom in law).

Oh and the promos showed a few punch lines from the movie—American officer at the visa counter to Sridevi-“ so you don’t know English? How will you manage in New York?” (Am not sure of the exact words used but this is what was implied). And Sridevi replies—“like you live in India and don’t know Hindi!!” But of course what clinched my decision in favour of the movie was Amitabh Bachchan’s 5 minute guest appearance. And it was very nicely incorporated in the movie. Also not a blink and miss appearance. Also the movie’s title clearly was by someone like us who says Chai-Vai, Padhna Vadhna, etc etc. And then when the movie came on TV I made my mom in law see it with me. (I must have seen it at least 10 times till now. And every time as if it is the 1st time). Here I must also mention that I have seen many movies on TV with her and she will explain the Malayalam movies where I don’t follow them and I explain the Hindi movies for her. Similar is the case when we sit to see serials—language no bar. God bless her.

The song in question for Sridevi’s 51st birthday (13th August 2014) is written by Swanand Kirkire. Music is by Amit Trivedi. Playback is in the voices of Shilpa Rao and Amit Trivedi. So here is wishing Sridevi a very Happy Birthday.

Audio

Video

Song-Coffee woffee sugar wugar(English Vinglish)(2012) Singers-Shilpa Rao, Amit Trivedi, Lyrics-Swanand Kirkire, MD-Amit Trivedi
Chorus

Lyrics

coffee voffee
sugar vugar
paper vaper
news views
clock vock
time vime
run vun run vun
train vain
pass wass
late vate
class vass
friendship vendship
bonding vonding
fun vun fun vun

badla nazara yoon yoon yoon
saara ka saara new new new
main happy vappy kyun kyun kyun
main busy vusy hoon hoon hoon
dheeme dheeme slowly slowly
I’m learning vearning
sikhoon vikhoon nayi zubaan
dheeme dheeme slowly slowly
I’m learning vearning
sikhoon vikhoon nayi zubaan

aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
its all about english vinglish
oh oh oh o o
morning noon english vinglish
oh oh oh o o o oh o

tedha lagta hai sab kuchh yoon
achcha lagta hai phir bhi kyun
I’m trying vying dekho to o
I’m liking viking this that wo
this that wo
dheeme dheeme slowly slowly
I’m learning vearning
sikhoon vikhoon nayi zubaan
dheeme dheeme slowly slowly
im learning vearning
sikhoon vikhoon nayi zubaan
aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
its all about english vinglish
oh oh oh o o o o o
morning noon english vinglish
oh oh oh o o oh o

kaisa asar chadha hai sar
ke chalte chale hum bekhabar
rukne ko na kaho
chalte hi jaane do
oh oh
qatra hai darr
qatra fikar
kahi raahon mein hum kho na jaye
raahon ko mod do
rukne ko na kaho
oh oh

badla nazaara yoon yoon yoon
sara ka sara new new new
main happy vappy kyun kyun kyun
main busy vusy hoon hoon hoon
aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
aflatoon (English vinglish)
hai junoon (English vinglish)
morning noon (English vinglish)
its all about english vinglish
oh oh oh o o
morning noon english vinglish
oh oh oh o o o ho o

hurry vurry
walk shock
train vain
clock vock
late vate
home vome
run vun run vun
hello vello
food vood
call vall
talk valk
tv shivi
slip vip
num num num num
num num num num

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Jhoola” (1962) was produced by N Vasudeva Menon and directed by K Shankar for Vasu Films, Madras. The movie had Sunil Dutt, Vyjayanthimala, Rajendranath, Pran, Sulochana Latkar, Tuntun, Manmohan Krishna, Indira Bansal, Mohan Choti, Raj Mehra, Leela Mishra, Randhir, Achala Sachdev, Kusum Thakur, Ravikant, Kesari, Ganapati Bhatt, Wahab Kashmiri, Master Shahid etc in it.

Six songs from this movie have been discussed in the past.

Here is the seventh and final song from “Jhoola” (1962). This song is a rare song in the sense that this song is sung by Rafi ! As it is, Salil Chaudhary, the music director of “Jhoola” (1962) used Rafi’s voice quaite sparingly. Out of 178 Salil Chaudhary compositions in the blog, Rafi’s voice figures in only twenty of them.

This song is quite a brief song, only four lines long and lasting barely one minute. Only the audio of this song is available. Perhaps this song is used in the movie as a background song sometime towards the end of the movie. Even then this song may have been recorded as a full fledged song at least as a record. I request our knowledgeable readers to throw light on this song.

Rajinder Krishan is the lyricist.

With this song, “Jhoola” (1962) joins the list of movies that have all their songs covered in the blog.

Song-Insaan ki zindagi hai(Jhoola)(1962) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Salil Chaudhary

Lyrics

insaan ki zindagi hai
dukh-sukh kaa ek jhoolaa
anjaam uskaa dukh hai
ae ae
sukh mein jo dukh ko bhoolaa
aa aa aa

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

Greetings to all on the anniversary of India’s independence.

When the British Rule ended in India sixty seven years ago, the entire nation of India was not yet free of the foreign rule, by other alien invaders. There were two pockets of colonies one the east and west coasts which were still under alien control. On the east coast, it was the enclaves of Pondicherry, Karaikkal, Mahe and Yanam that were under the French control, and on the west coast, there were the areas of Goa, Daman, Diu, Dadra and Nagar Haveli that were under the control of the Portuguese rule. The movement of the liberation of these colonies had been underway even as the freedom struggle was in progress against the British. However, liberation to these colonies held by the French and the Portuguese did not come for more than a decade and half later.

The process in the French colonies was more political in nature. After facing the protests and the representations from the people of these colonies, and of the people of India, the French government acceded to take the referendum route for self determination by the people. The first round of this referendum held in 1948, was intensely rigged, and the results were in favor of the French government. Although the French continued their hold and control over these territories, the protests by the people started to mount, after the recognition of the obvious fact of rigging of the referendum. Over a period of five years thereafter, a transition occurred, and a majority of the local councilors and mayors, earlier in favor of the French rule, veered towards a merger with India. Then in 1954, another referendum was held which returned the results overwhelmingly in favor of merger with India. In 1956, a treaty of cession was signed between France and India. It took another six years before the French Parliament ratified this treaty in 1962. And finally on 1st July, 1963, the French territories became an integral part of India.

The story of Goa and its sister enclaves on the west coast is very different. Portugal and its government decided to take a very strong stand to continue their rule over these territories. The history of the liberation of Goa is more intense and violent in comparison. The Portuguese Government continued to challenge the logic of history and world evolution by expressing its determination to have their hold on what was recognized by all as purely Indian territory, inhabited by Indians. It simply refused to discuss the transfer of their settlements in India to the Republic of India. Even International opinion failed to move the Portuguese Government. India, who was in favor of a peaceful settlement, had maintained a delegation in Lisbon up to 1953, and also made efforts through the United Nations. These efforts, however, failed to evoke a response from the Portuguese regime.

Meanwhile, on the ground, a popular public moved for freedom had already taken roots long before 1947. Many groups, both political as well as revolutionary, were formed within Goa. These political parties and revolutionaries got anchor support from the people of mainland india, especially from the neighboring states of Maharashtra and Karnataka (then known as the state of Mysore). The Portuguese rulers came down very heavily on the protestors. There were open firing on peaceful demonstrations, and many leaders were arrested and deported to Portugal.

In July / August 1954, the United Front of Goans with the help of volunteers from the National Movement Liberation Organisation, an umbrella organization involving revolutionary groups Rashtriya Swayamsevak Sangh and Azad Gomantak Dal, led an attack on Dadra and the nearby Nagar Haveli, and liberated it. This success added momentum to the movement in Goa. On 15th August 1954, hundreds of protestors from the Indian side, crossed into the Portuguese held territories, and hoisted the Indian national flag. Many died in the firing by the Portuguese army. The Indian government, which had been somewhat reticent so far, under pressure from the western powers, now came out with a policy of open support to the freedom movement in Goa. The period from 1955 to 1961 saw escalation in the protests by the people, as well as efforts for political solutions with the help of the international community. Finally in August 1961, the government of India announced its preparations for an army takeover of Goa, if all other avenues failed. Finally in December 1961, the Indian Army marched into Goa, and in an operation that lasted just two days, forced the Portuguese governor to sign an instrument of surrender.

The final onslaught may have been the army’s prerogative, but the people’s struggle that lasted more than half a century, is a tale that is no less important to be told. After the event of liberation in December 1961, this struggle for the liberation of Goa became a topic featured in a few films in Indian cinema. The films ‘Johar Mehmood in Goa’ and ‘Tu Hi Meri Zindagi’ came in 1965, and in 1969, came the film ‘Saat Hindustani’ by Khwaja Ahmed Abbaas.

‘Tu Hi Meri Zindagi’ is a film produced by S Mukherjee under his banner of ‘Filmalaya’. I recall some very early discussions about this film – that the title of the film led many to the theatres thinking this to be a romantic love story. Love story it indeed turns out to be, but of a very different type.

The story revolves around Rocky, the last surviving heir to a Goan family that has been dedicated to the cause of liberation for three generations. Almost all members of this family have laid down their lives in this struggle. Rocky’s grandmother takes away the infant child after his mother passes away in childbirth, and tries to raise him, away from the influences of the movement for freedom. But of course, destiny has its ways to reach out to the protagonist, and bring him into the required circumstances. Rocky was born to be a freedom fighter, and the circumstances would lead him to it. His beloved, Maria, loses her life as results of the atrocities of the Portuguese army men. Rocky turns berserk and kills the perpetrators. He is on the run, and in this sequence of events he is drawn into the revolutionary movement. Circumstances lead him to identify himself as the keeper of his family’s legacy and ideals of Goa’s freedom. He lays down his life, but in the process inspires and influences the intensification of the movement that finally destroys the foundations of the foreign rule.

The title role of Rocky is performed by Deb Mukherjee. The film is directed by Rono Deb Mukherjee, who is also the music director of this film. The songs are penned by Neeraj and Raja Mehdi Ali Khan. This particular song is written by Neeraj. In the film, this song appears as the title song, and is played as the credits are rolling on the screen. The credits presentation is punctuated with clips of a group of ‘satyagrahis’ (demonstrators) led by Rocky, moving towards the barricades erected by the Portuguese army. In this march we can also see Gajanan Jagirdar and Nivedita, leading the protestors along with Rocky

A song, that is sung by Mohammed Rafi, is a reminder and a remembrance of all the great and noble souls who dared the might of the alien powers. They walked that path on which the ultimate sacrifice was the only fruit for their labor of love for the nation. On this day, as we celebrate the anniversary of freedom, I pay my tributes to all the unnamed and unsung men and women of this country, who fought this battle of freedom, but their names do not appear anywhere in the history as we read it. My salutations and dedications to these warriors, who did not remain to enjoy the breath of freedom.

May their memory be everlasting.

Song-Ae mere watan pyaare watan (Tu Hi Meri Zindagi)(1965) Singer-Rafi, Lyrics-Yogesh, MD-Ronodeb Mukherji
Chorus

Lyrics

Ae mere watan
mere pyaare watan
tu hi meri zindagi
ho oo oo
tu hi meri zindagi
aa aa aa aa aa aaa
aaa aaaa aaaa aaaaa
aaaaa aaaaa aaaa aaa aaaa
aaaaa aaaaaaaaaaaaaa aaaa aaaa
sar par mukut himalay ka hai
seena tera vindyachal
sar par mukut himalay ka hai
seena tera vindyachal
baalon mein bangaal ki badly
aankhon mein hai gangajal
baalon mein bangaal ki badly
aankhon mein hai gangajal
dil gulab ke gumche jaisa
mukhda tera taj mahal
dil gulab ke gumche jaisa
mukhda tera taj mahal
tu karwat badle to mach jaaye
saare jag mein hulchul
ae mere watan
ae mere watan
mere pyaare watan
mere pyaare watan
tu hi meri zindagi
ho oo oo tu hi meri zindagi

ek haath mein Geeta tere
dooje haath Quraan hai
ek haath mein Geeta tere
dooje haath Quraan hai
Holi hansi khushi Deewaali
Eid teri muskaan hai
Holi hansi khushi Deewaali
Eid teri muskaan hai
mazhab tera pyaar sachaai
aan aur imaan hai
mazhab tera pyaar sachaai
aan aur imaan hai
dushman tak ko gale lagaaye
tu aisa insaan hai
ae mere watan
ae mere watan
mere pyaare watan
mere pyaare watan
tu hi meri zindagi
ho oo oo tu hi meri zindagi

Buddh ne teri kuti banaai
Akbar ne seencha hai vann
Buddh ne teri kuti banaai
Akbar ne seencha hai vann
Krshn ne tujhko bansi saunpi
Tulsi ne di Ramaayan
Krshn ne tujhko bansi saunpi
Tulsi ne di Ramaayan
Gandhi aur Subhaash ne tera
kiya lahoo se hai vandan
Gandhi aur Subhaash ne tera
kiya lahoo se hai vandan
teri azaadi ki khaatir
hum baandhenge sheesh kafan
ae mere watan
ae mere watan
mere pyaare watan
mere pyaare watan
tu hi meri zindagi
ho oo oo tu hi meri zindagi
——————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————-

ए मेरे वतन
मेरे प्यारे वतन
तू ही मेरी ज़िंदगी
हो ओ ओ तू ही मेरी ज़िंदगी
आ आ आ आ आ आss
आs आsss आsss आssss
आsss आsss आss आs आss
आsss आssssssssss आss आss आss

सर पर मुकुट हिमालय का है
सीना तेरा विंध्याचल
सर पर मुकुट हिमालय का है
सीना तेरा विंध्याचल
बालों में बंगाल की बदली
आँखों में है गंगा जल
बालों में बंगाल की बदली
आँखों में है गंगा जल
दिल गुलाब के गुमचे जैसा
मुखड़ा तेरा ताज महल
दिल गुलाब के गुमचे जैसा
मुखड़ा तेरा ताज महल
तू करवट बदले तो मच जाये
सारे जग में हलचल
ए मेरे वतन
ए मेरे वतन
मेरे प्यारे वतन
मेरे प्यारे वतन
तू ही मेरी ज़िंदगी
हो ओ ओ तू ही मेरी ज़िंदगी

एक हाथ में गीता तेरे
दूजे हाथ क़ुरान है
एक हाथ में गीता तेरे
दूजे हाथ क़ुरान है
होली हंसी खुशी दिवाली
ईद तेरी मुस्कान है
होली हंसी खुशी दिवाली
ईद तेरी मुस्कान है
मज़हब तेरा प्यार सच्चाई
आन और ईमान है
मज़हब तेरा प्यार सच्चाई
आन और ईमान है
दुश्मन तक को गले लगाए
तू ऐसा इंसान है
ए मेरे वतन
ए मेरे वतन
मेरे प्यारे वतन
मेरे प्यारे वतन
तू ही मेरी ज़िंदगी
हो ओ ओ तू ही मेरी ज़िंदगी

बुद्ध ने तेरी कुटी बनाई
अकबर ने सींचा है वन
बुद्ध ने तेरी कुटी बनाई
अकबर ने सींचा है वन
कृष्ण ने तुझको बंसी सौंपी
तुलसी ने दी रामायण
कृष्ण ने तुझको बंसी सौंपी
तुलसी ने दी रामायण
गांधी और सुभाष ने तेरा
किया लहू से है वंदन
गांधी और सुभाष ने तेरा
किया लहू से है वंदन
तेरी आज़ादी की खातिर
हम बांधेंगे शीश कफ़न
ए मेरे वतन
ए मेरे वतन
मेरे प्यारे वतन
मेरे प्यारे वतन
तू ही मेरी ज़िंदगी
हो ओ ओ तू ही मेरी ज़िंदगी

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Bedard Zamaana Kya Jaane” (1959) was directed by Babubhai Mistry for Subhash Pictures, Bombay. The movie had Ashok Kumar, Nirupa Roy, Pran, Helen, Sudesh Kumar, Neelam, ratnamala, Ameerbai Karnataki, Ifthikar etc in it.

This movie had seven songs in it. Five of these songs have been discussed in the blog.

Here is the sixth song from the movie. This song is sung by Rafi and chorus. The song is the title cum theme song of the music.

Bharat Vyas is the lyricist. Music is composed by Kalyanji.

Lyrics of this song were sent to me by Nitin Shah.

song-Lakdi jal koyla bhayi…bedard zamaana kya jaane (Bedard Zamaana Kya Jaane)(1959) Singer-Rafi, Lyrics-Bharat Vyas, MD-Kalyanji
Chorus

Lyrics (Provided by Nitin Shah)

lakdi jal koylaa bhayi ee ee ee )(aa aa aa
koylaa jal bhayi raakh (aa aa aa)
yeh dukhiyaa aisi jali ee (aa aa aa)
koylaa bhayi naa raakh

aa aa aa
aa aa aa

koi aansoo peekar jeeta hai
koi toote dil ko seeta hai
kahin shaam dhale kahi chitha jale,
kahin ghum se tadpate deewane
bedard zamanaa kya jaane
bedard zamanaa kya jaane
bedard zamanaa kya jaane
bedard zamanaa kya jaane

o maalik teraa kaisaa aalam
o o o
o o o o
o maalik teraa kaisa aalam
yahaan ek khushi aur laakho hain gham
baaraat kahin toh kahin maatam,
kismat ke anokhe afsaane
bedard zamanaa kya jaane
bedard zamanaa kya jaane
bedard zamanaa kya jaane
bedard zamanaa kya jaane

iss shaam kaa hogaa saveraa kahaan
iss shaam kaa hogaa saveraa kahaan
aa aa aa
aa aa aa aa
yeh panchhi legaa baseraa kahaan
yeh panchhee legaa baseraa kahaan
yeh pawan hai agan aur garazta gagan
dharti bhi lagi jab thhukraane
bedard zamanaa kyaa jaane
bedard zamanaa kyaa jaane(aa aa aa aa aa aa aa aa)
bedard zamanaa kyaa jaane

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

= = = == == = = = = = = = = = = = =
Rafi Sb – In The Seventies – 14
– – – – – – – – – – – – – – – – – – – – – -

(1977 – Duet)

Come 1977 and Shatrughan Sinha had been around in films for about 8 years now. He already had two Filmfare awards for best supporting actor under his belt – in 1971 for ‘Paaras’ and 1975 for ‘Dost’. On screen, majority of his roles have a style – freewheeling, assertive and emphatic, whether being the smug good guy or the abrasive bad guy. In the seventies, Shatrughan Sinha was one of the busier actors in the industry, averaging 8 to 9 films a year.

This sampling of the Rafi Sb duet from 1977, brings together Shatrughan Sinha and Neetu Singh in young lover’s romance story – ‘Ab Kya Hoga’. Usha Khanna composed the music for this film and in this song, she has Rafi Sb singing for Shatrughan Sinha and Asha Bhosle singing for Neetu Singh. A party song with the lead pair appearing at their dazzling best, the video clip also includes Asrani, Pichoo Kapoor and a (then) new comer Ferita Bayas seen in the company of Asrani.

The lyrics are written by Saawan Kumar (aka Saawan Kumar Taak), who is also the director of this film. Saawan Kumar is known better for being a producer and director, and has directed about 20 films in his career since the early 1970s. Besides that, he has also penned some wonderful songs, mostly for his own films. Numbers like “Barkha Raani Zaraa Jam Ke Barso” from ‘Sabak’ (1973) and “Teri Galiyon Mein Naa Rakhenge Kadam” from ‘Hawas’ (1974) are favorites that make the selection lists from the 1970s.

Listen to this wonderful duet from 1977. The voice of Rafi Sb – sounding fresh as ever.

Enjoy.

Song-Sar e mehfil mera imaan beimaan ho gaya(Ab Kya Hoga)(1977) Singers-Rafi, Asha Bhonsle, Lyrics-Sawan Kumar, MD-Usha Khanna

Lyrics

Sare mehfil
mera imaan
beimaan ho gaya
o yaaron ab kya hoga
yaaron ab kya hoga
mera qaatil
mere ghar mein
mera mehmaan ho gayaa
o yaaron ab kya hoga
yaaron ab kya hoga
wahi hoga
jo manzoor e khuda hoga
khuda hoga
o yaaron ab kya hoga
yaaron ab kya hoga

zameen par paanv mat rakhnaa
kahin maila na ho jaaye
na jaana chaandni mein ye
badan maila na ho jaaye
zameen par paanv mat rakhnaa
kahin maila na ho jaaye
na jaana chaandni mein ye
badan maila na ho jaaye
khudaaya bhej de jannat se tu apni bahaaron ko
sajaa de aasmaan tu raah mein inki sitaaron ko
shareeq e zindagi hona
tera ehsaan ho gayaa
o yaaron ab kya hoga
yaaron ab kya hoga
wahi hoga
jo manzoor e khuda hoga
khuda hoga
o yaaron ab kya hoga
yaaron ab kya hoga

nahin thhe hum kisi qaabil
jagah de di hamen dil mein
karen hum shukriya kaise
ke rakhh li laaj mehfil mein
na phoolon ki tamanna hai
na chaahat hai sitaaron ki
tumhaare pyaar ke aage
zaroorat kya bahaaron ki
tumhaari baahon mein rehna
mera armaan ho gaya
o yaaron ab kya hoga
yaaron ab kya hoga
wahi hoga
jo manzoor e khuda hoga
khuda hoga
o yaaron ab kya hoga
yaaron ab kya hoga

zameen ki tum nahin lagtin
kahaan se aayi ho bolo
meri jaan husn pariyon saa
kahaan se laayi ho bolo
zameen ki tum nahin lagtin
kahaan se aayi ho bolo
meri jaan husn pariyon saa
kahaan se laayi ho bolo
khudaa ne khud banaaya hai
hamen to aap ki khaatir
ghazal mujh ko banaaya hai
banaa kar aap ko shair
milan par jaaneman apne
khuda hairaan ho gayaa
o yaaron ab kya hoga
yaaron ab kya hoga
sare mehfil
mera imaan
beimaan ho gaya
o yaaron ab kya hoga
yaaron ab kya hoga
——————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————-

सरे महफिल
मेरा ईमान
बेईमान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा
मेरा क़ातिल
मेरे घर में
मेरा मेहमान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा
वही होगा
जो मंजूर ए खुदा होगा
खुदा होगा
ओ यारों अब क्या होगा
यारों अब क्या होगा

ज़मीन पर पाँव मत रखना
कहीं मैला ना हो जाये
ना जाना चाँदनी में ये
बदन मैला ना हो जाये
ज़मीन पर पाँव मत रखना
कहीं मैला ना हो जाये
ना जाना चाँदनी में ये
बदन मैला ना हो जाये
खुदाया भेज दे जन्नत से तू अपनी बहारों को
सजा दे आसमान तू राह में इनकी सितारों को
शरीक ए ज़िंदगी होना
तेरा अहसान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा
वही होगा
जो मंजूर ए खुदा होगा
खुदा होगा
ओ यारों अब क्या होगा
यारों अब क्या होगा

नहीं थे हम किसी काबिल
जगह दे दी हमें दिल में
करें हम शुक्रिया कैसे
के रख ली लाज महफिल में
ना फूलों की तमन्ना है
ना चाहत है सितारों की
तुम्हारे प्यार के आगे
ज़रूरत क्या बहारों की
तुम्हारी बाहों में रहना
मेरा अरमान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा
वही होगा
जो मंजूर ए खुदा होगा
खुदा होगा
ओ यारों अब क्या होगा
यारों अब क्या होगा

ज़मीन की तुम नहीं लगती
कहाँ से आई हो बोलो
मेरी जां हुस्न परियों सा
कहाँ से लाई हो बोलो
ज़मीन की तुम नहीं लगती
कहाँ से आई हो बोलो
मेरी जां हुस्न परियों सा
कहाँ से लाई हो बोलो
खुदा बे खुद बनाया है
हमें तो आपकी खातिर
ग़ज़ल मुझको बनाया है
बना कर आप को शायर
मिलन पर जानेमन अपने
खुदा हैरान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा
सरे महफिल
मेरा ईमान
बेईमान हो गया
ओ यारों अब क्या होगा
यारों अब क्या होगा

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

Continuing on my series of articles on some of the offbeat films (also called parallel or middle cinemas), I have taken up for discussion an NDFC promoted film ‘Thhoda Saa Roomaani Ho Jaaye’ (1990). The film was produced and directed by Amol Palekar. The main roles were played by Nana Patekar, Anita Kanwar and Vikram Gokhale with actors like Banwari Taneja, Dilip Kulkarni, Riju Bajaj, Arun Joglekar and Deepa Lagoo donning the supporting roles. The film was extensively shot in and around Pachmadi in Madhya Pradesh. The film was critically acclaimed but flopped miserably on the box office. I get an impression from the films clips in two parts available on YT that the it was later released on Doordarshan.

As per the credit titles, the film was broadly based on a successful American play ‘Romance of Rainmaker‘ written by Richard Nash which Amol Palekar has beautifully adapted to suit the Indian context. The film revolves around a family of four residing in a small town. The patriarch of the family is Papa (Banwari Taneja), a widower who has three siblings, Bade Bhaiyya (Dilip Kulkarni), Bim (Riju Bajaj) and Binni (Anita Kanwar). Binni lives a life of an unconventional girl who is at ease with the kinds of work which is normally the domain of man’s world like car repairing. She is an ordinary looking girl. As a result, she is still unmarried and is in her 3Os. Her status becomes the talk of the town in a negative way.

While Papa, her father and Bim, her younger brother are very supportive of her, Bade Bhaiyya though caring about her, takes a realistic view about Binni and often reminds her in a realistic way that she should get reconciled to the fact that she is an ordinary looking girl and she may have to remain a spinster all her life. According to him, what Papa and Bim say about her is only to keep her happy. Bade Bhaiyya is only concerned with the impending drought conditions which is looming large. He is worried that if it does not rain in the next few days, his agricultural fields would dry up and there would be loss of income for the family.

Papa’s family has an excellent relationship with JD (Vikram Gokhale), a divorcee and the district collector. One day Papa invites JD to his house for a dinner which would give an opportunity for him to interact with Binni for a possible marriage alliance. Binni is happy with this development. However, JD does not come for dinner. Now this development really set in the inferiority complex in her. While Bade Bhiayya is worried about the drought condition, Binni is already facing drought like condition in her life.

Bim has a different problem. He is turning 18 and wants to become a pilot. But he is afraid of height and night. He is also fond of drum playing. But Bade Bhaiyya often taunts him for his grandiose wishes. So he also develops a low self esteem and thinks that he would have to abide by whatever Bade Bhaiyya says , even if it means sacrificing his own dream.

At this juncture, a traveller enters their house in the night to take shelter for a day or two. He is a conman but introduces himself as Barishkar (Nana Patekar). He promises the family that he can bring the rain within 48 hours but this would cost them Rs. 5OOO which will have to be paid in advance. With his sweet talk he convinces Papa and Bim of his prowess while Bade Bhaiyya and Binni brand him as a Natwarlal like fraud and cheat. However, Papa parts with Rs.5OOO to him.

During his 48 hours of stay, Barishkar, through his own method and in his dialogues full of inspirations delivered in a dramatic way instils confidence in Bim by making him to walk on ledge of his house in the night to overcome his height and night fears. But it takes him longer to convince Binni that she is beautiful. Slowly, Binni becomes close to Barishkar. She even decides to move with him wherever he goes for, it is Barishkar who has instilled confidence in herself. But Bade Bhaiyya always thinks of him as a conman cheating his father of Rs.5OOO.

In the meanwhile, JD comes to know about a swindler Natwarlal who is at large and roaming in the town. JD comes to Papa’s house to warn him about Natwarlal. But his actual intention is to meet Binni. When Binni comes to know about it, she runs away to inform Barishkar about Natwarlal. JD, Papa and her brothers also run behind her and notice that she is walking towards Barishkar. Bade Bhaiyya confronts him and asks him to refund Rs.5OOO as it has not rained. Barishkar gives back the money and walks away bidding good bye to all of them. As he walks, some drops of water fall on all of them heralding the arrival of rains. Everybody is happy. Barishkar comes back, takes Rs.5OOO from Bade Bhaiyya and walks away. The film ends with JD, Papa, Bade Bhaiyya, Binni and Bim enjoying the rain dancing and all are in high spirits. The self esteem of Bim and Banni is restored.

I liked the film immensely which gives message of hopes, aspirations and self confidence. I have read that this film is a part of curriculum in some management schools and also for behavioral science. There was not a single moment of boredom in watching the film. The film has superb acting by all the actors especially Nana Patekar, Anita Kunwar and Vikram Gokhale. For the first time, I have seen Nana Patekar delivering his dialogues in somewhat lower than shouting pitch he is known for. But my choice of best actor’s awards goes to Anita Kanwar who has admirably withstood a tough competition from Nana Patekar. Kudos to her.

A unique feature of this film is that it is a musical film not only because of songs but also for some of the dialogues which are in rhymes. Dialogues, written by Kamlesh Pandey who is also the lyricist for this film are hard hitting in some places. Take for instance the hard hitting dialogues in rhymes rendered by Papa in response to the criticism of his daughter Binni for not getting married:

ped kaat kaat kar shaher nangaa ho gaya
suhar aur gaay ke naam pe dangaa ho gaya
sattar saal ke Gaganlal ne solaah saal ki Kusumlata se vivaah rachhaya
aur shaddi ke doosre din hi Shantibai ne apne bahu ko jalaaya
magar hamaara shaher pareshaan hai ke Binni Binni kyon hai
arre jahaan Mahatma Gandhi road pe bhikti sharaab hai
wahaan sirf Binni ki wajah se shaher ka hazma kharaab hai

There are many short dialogues in rhymes in this film which reminds me of musical English films like ‘My Fair Lady‘ and ‘Sound of Music‘.

The film has 12 songs including a version song. But barring 3 songs which are of full length, rest of the songs are short and are substitutes for dialogues. I have chosen one of 3 full length songs which is a title song ‘thhodaa saa roomaani ho jaaye‘ penned by Kamlesh Pandey and sung by Chhaya Ganguly. All songs are set to music by Bhaskar Chandavarkar ably assisted by Enoch Daniel. This song has a shorter version sung by Vinod Rathod and picturised on Nana Patekar. This version of song is once again repeated as a chorus song for rain dance towards the end of the film.

I could get only the audio clip of the song of female version. The reason could be that this song is sung in driblets on multiple times in the film as a background song starting with titles. The audio clip starts with an introduction to the film by Amol Palekar. There is no separate video clip of shorter male version of the song available except as a part of about 8 minutes of the movie clip for which I have given the link. The song starts from 6:3O onwards.

Enjoy the inspirational and motivational song in the beautiful voice of Chhaya Ganguly. A ghazal singer and the disciple of Madhurani, Chhaaya Ganguly retired from a senior position in All India Radio on July 31, 2O12 after 36 years of service.

Audio(full female version):

Video(part male version)

Song-Thhoda sa roomaani ho jaayen (Thhoda Sa Roomaani ho jaayen)(1990) Singer-Chhaaya Ganguly/ Vinod Rathod, Lyrics-Kamlesh Pandey, MD-Bhaskar Chandawarkar

Lyrics
————————————-
Female Version (Chhaaya Ganguly) (based on audio)
————————————-
baadalon kaa naam na ho
ambar ke gaaon mein
jaltaa ho jangal khud
apni chhaanv mein
yahi to hai mausam
yahi to hai mausam
aao tum aur ham
baarish ke naghme gungunaayen
thhodaa saa roomaani ho jaayen

mushkil hai jeeaa
mushkil hai jeena
ummeed ke binaa aa
thhode se sapne sajaayen
thhodaa saa roomaani ho jaayen
thhodaa saa roomaani ho jaayen

raastaa akelaa ho
har taraf andheraa ho
raat bhi ho ghaat ki
din bhi luteraa ho
yahi to hai mausam
yahi to hai mausam
aao tum aur ham
yahi to hai mausam
aao tum aur ham
dard ko baansuri banaayen
thodaa saa roomaani ho jaayen
mushkil hai jeenaa
ummeed ke binaa
mushkil hai jeena
ummeed ke binaa
thhode se sapne sajaayen
thhodaa saa roomaani ho jaayen
thhodaa saa roomaani ho jaayen
—————————————-
Male Version (Vinod Rathod)
—————————————-
raastaa akelaa ho o
har taraf andheraa ho o
raat bhi ho ghaat ki
din bhi luteraa ho
yahi to hai mausam
yahi to hai mausam
aao tum aur ham
yahi to hai mausam
aao tum aur ham
dard ko baansuri banaayen
thhodaa saa roomaani ho jaayen
mushkil hai jeenaa
ummeed ke binaa
mushkil hai jeena
ummeed ke binaa
thhode se sapne sajaayen
thhodaa saa roomaani ho jaayen
thhodaa saa roomaani ho jaayen

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Kasturi” (1954) was directed by Vrajendra gaur for Sargam Pictures, Bombay. The movie had Nimmi, Sajjan, Bipin Gupta, Anand Prasad, Nakul Mullick, Shammi, Alka, Samson, Amrit Rana, Indira, Helen, Radheshyam, P C Sinha etc in it.

Here is the fourth song from this movie. This song is sung by Pankaj Mullick. Vrajendra Gaur is the lyricist. Music is composed by Pankaj Mullick.

This song has the word “Kasturi” figuring in it and that makes it the theme cum title song of the movie. But still then,this song, after getting released on records was cancelled and the song was subsequently deleted from the movie as well.

This song with such history is superb to listen to. Its lyrics are difficult to decipher at places and I request our knowledgeable readers with keener ears to point out the missing/ incorrect words in the lyrics.

Lyrics of this song were sent to me by Nitin Shah.

Song-Apni preet ko dhoondh raha hoon(Kasturi)(1954) Singer-Pankaj Mullick, Lyrics-Vrajendra Gaur, MD-Pankaj Mullick

Lyrics(Provided by Nitin Shah)

apni preet ko dhoond raha hoon oon oon
duniya ke aangan mein
duniya ke aangan mein
jaise hiran bechain bhatakta aa aa aa
jaise hiran bechain bhatakta
phirta aa hai
phirta hai bann bann mein aen aen
duniya ke aangan mein

arre baawre ae ae ae
ae ae
kab samjhega
mehki kahaan kasturi ee
dil mein base hain
phir bhi tu pehchaan na paaya dil ko
aise ?? raat ko
raat na jaane din ko
ye nazdeeki bani huyi hai kyun oon
kyun jeewan mein doori ee
mehki kahaan kasturi

arre baawre ae ae
ae ae ae
kab samjhega
mehki kahaan kasturi ee
kya na milega aa aa
aa aa
kya na milega
man chaaha haq(?)
chaahe jitna chaahe
kya duniya mein aen mil na sakegi
hum donon ki raahen
bheegi rahen nigaahen
kab tak
aahen aen aen
aahen bhare majboori
majboor kahaan tak ??
arre baawre ae ae
ae ae ae
ae ae
kab samjhega aa
mehki kahaan kasturi
ee ee
ee ee

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (24 october 2014) is the first death anniversary of Manna Dey (1 may 1919- 24 october 2014). Blessed with the longest life among all the major playback singers of the golden era, Manna Dey sang some memorable songs in his long and illustrious career as a playback singer.

This blog has 355 Manna Dey songs which work out to just over 25 % of all Manna Dey songs that he sung in his career.

On the occasion of Manna Dey’s death anniversary, here is the title song from “Darpan” (1970). This song is sung by Manna Dey. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Sunil Dutt as a car song.

Lyrics of this song were sent to me by Prakashchandra. Here is this song including the full audio version of the song as well for the listening pleasure of music lovers.

Video

Audio (Full)

Song-Darpan jhooth na boley (Darpan)(1970) Singer-Manna Dey, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (Provided by Prakashchandra)

darpan jhoothh na boley ae
darpan jhoothh na boley
darpan jhoothh na..aaa boley
darpan jhoothh na boley
jo sach tha tere saamne aayaa
hans le chaahe ro le ae
darpan jhoothh na boley ae
darpan jhoothh na boley
darpan jhoothh na boley

bandhan toda jaa sakta hai
jag to chhoda ja sakta hai
bandhan toda jaa sakta hai
jag to chhoda ja sakta hai
apne aap se bhaag rahe ho o
apne aap se bhaag rahe ho
tum ho kitne bholey ae
darpan jhoothh na boley ae
darpan jhoothh na boley

door kinaara tooti naiyya
lekin poochhe ye purwaiyya
door kinaara tooti naiyya
lekin poochhe ye purwaiyya
apne aap bane tum maanjhi ee
apne aao bane tum maanjhi
phir kaahe man doley ae
darpan jhoothh na boley ae
darpan jhoothh na boley

aisi jeevan ki batiyaan aan
yaa to ye man meench le ankhiyaan
aisi hain jeevan ki batiyaan
yaa to ye man meench le ankhiyaan
yaa phir na ghabraaye jab
sachchaayee ghoonghat kholey ae
darpan jhoothh na boley ae
darpan jhoothh na boley
jo sach thha tere saamne aayaa
hans le chaahe ro le ae ae
darpan jhoothh na boley ae
darpan jhoothh na boley ae
darpan jhoothh na boley
darpan jhoothh na boley

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

Today is Raja Swaminathan’s second birthday! On this blog, I mean! I don’t know Raja’s age, but what I see and hear from him, he must be very young and very active. As many of you must already know, Raja is a passionate blogger. Yes, passionate is the word, which I would use to describe Raja in one word. Raja is passionate about politics, social politics and not party politics. Yes, he has a keen sense of justice and injustice. He is aware of the many wrong things going on in this world. I admire this quality in him very highly. What I admire about him is also his ability to put all his wonderful thoughts in words. When I sit and torture myself with the composition of each sentence. To him his nouns, verbs, adjectives and adverbs flow with an ease which would put a bubbling stream to shame. What’s more they flow in perfect syntax. Then he also has a wonderful sense of humour, particularly his PJs are very funny. And going by all his posts and comments on fb, Raja comes across as a very nice person. Now, you must have realized that I have not met him, although I’ve a feeling I already know him quite well. Dearest Raja, please try to always remain the person you are, Happy Birthday!

Well, before I go ahead and write some words about the song below, I should say Raja is a very modest person and never in his wildest dreams would he even think of being boastful like the hero of the film does in this song below. Maybe if Dheeraj Kumar had been a bit modest he would have succeeded as a hero. Yes, my dear readers, Dheeraj Kumar of “Kahan Gaye Woh Log”-fame started as a hero. He plays a thief with James Bond like gadgets and a penchant to sleep around with women or at least boast about it. And then there are the bad guys headed by turned-bad-to-rescue-daddy Jayshree T, Shatrughan Sinha, Hitler-like Jeevan and a mysterious ‘madam’, who are all set to destroy India. They are served in this purpose by big machines with colourful bulbs and pulsating o-meters. Even though all of these are enticing stuff, I have managed to stop myself being lured to watch this film.

Enjoy this song and raise a toast to the rightful Raja, Raja Swaminathan!

Song-Raaton kaa raajaa hoon main (Raaton Ka Raja)(1970), Singer-Rafi, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

Mere liye aati hai shaam
chandaa bhi hai
meraa gulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

mehfil saje
doloon jidhar se
saaqi behke
meri nazar se
mehfil saje
mehfil saje
doloon jidhar se
saaqi behke
meri nazar se
chaahoon to abhi
khud aaye chalke jaam
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa
hoon main

khidki khule
mujhe bulaaye
mehlon mein hai
mere hi saaye
khidki khule
khidki khule
mujhe bulaaye
mehlon mein hai
mere hi saaye
sote jaagte ae
sab jaane meraa naam
mere liye
aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main

maine jawaan
honthon ki laali
aksar palkon se hi churaa le
maine jawaan
maine jawaan
honthon ki laali
aksar palkon se hi churaa le
saare gulbadan
mujhe karte hain salaam
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main
mere liye aati hai shaam
chandaa bhi hai
meraa ghulaam
dharti se sitaaron tak hai
meraa intejaam
raaton kaa raajaa hoon main
raaton kaa raajaa hoon main

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ishq Par Zor Nahin”(1970) was produced by Suresh Saigal and directed by Ramesh saigal for Twinkle Stars productions. The movie had Sadhana, Dharmendra, Biswajeet, Kamini Kaushal, Madhumati, Nadira, Randhir, Meena.T, Udayachandrika(south), Leela Mishra, Jagdeesh Raj, Abhi Bhattacharya, Jagdeep etc in it.

Today (31 october 2014) is S D Burman’s 39th death anniversary. Here is a song from “Ishq Par Zor Nahin”(1970) as a tribute to S D Burman. This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by S D Burman.

The song is the title song of the movie. It is sung by Lata and lip synced by Sadhana who is seen singing this song is a mine for us beloved (Dharmendra) who is embarrassed because his boss (Biswajeet) is also around. A dhoti clad Jagdeep (obviously Dharmendra’s comical side kick) is also seen in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

The audio link contains the full link whereas the video of the movie is partial and even the sequence to stanzas differe from their sequence in the audio version of the song.

Video(Partial)

Audio(full)

Song-Sach kehti hai duniya Ishq par zor nahin (Ishq Par Zor Nahin)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics(Provided by Prakashchandra)

sach kehti hai duniya
ishaq pe zor nahin
ye pucca dhaagaa hai
ye kachchi dor nahin
ishaq pe zor nahin
ishaq pe zor nahin
sach kehti hai duniya
ishaq pe zor nahin
aaa aaa
aaa aaa aaa

jhoothh hai ye to phir
julmi sanwariyaa
khhaa ke kasam meri
beech bajariyaa
jhooth hai ye to phir
julmi sanwariyaa
khhaa ke kasam meri
beech bajariyaa
keh de koyee aur hai tu
mera chit-chor nahin
sach kehti hai duniya
ishaq pe zor nahin

jo mit jaaye rey woh daag nahin ye
jo bujh jaaye woh aag nahin ye
jo mit jaaye rey woh daag nahin ye
jo bujh jaaye woh aag nahin ye
jo thham jaaye woh ye
ghataa ghan-ghor nahin
sach kehti hai duniya
ishaq pe zor nahin
aaa aaa
aaa aaa aaa

hum donon is prem ke rogi
chhod ke jag
aa jaa ban jaayein jogi
hum donon is prem ke rogi
chhod ke jag
aa jaa ban jaayein jogi
is rog ki duniya mein
dawaa kuchch aur nahin
sach kehti hai duniya
ishaq pe zor nahin
ishaq pe zor nahin
ishaq pe zor nahin
sach kehti hai duniyaa
ishaq pe zor nahin
ishaq pe zor nahin
issaq pe zor nahin
hmm hmm hmmm hmmm hmm hmm hmmm hmm