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.

एक गाना सुना होगा – “बड़ा ही CID है वो नीली छतरी वाला, हर ताले की चाबी रखता हर चाबी का ताला”॰ अपने blog पर भी है॰ लगता है अब इस गाने को थोड़ा बदलना पड़ेगा, ऐसे – “बड़े ही CID हैं, ये अतुल गैंग के मेम्बर्स, गाना guess करने में हैं अव्वल नंबर”॰ काश, लेकिन नहीं, अभी ये गाना blog पर नहीं है॰  :)

(You must have heard the song – “Badaa Hi CID Hai Wo Neeli Chhatri Waala”.  It is on our blog.  Seems as if this song needs to be modified.  Like This – “Bade Hi CID Hain, Ye Atul Gang Ke Members, Gaana Guess Karne Mein Hain Awwal Number”.  Sorry, this one is not yet on the blog).

Earlier in the morning yesterday, an email from Avinash ji landed in the mailbox.  It started off with the phrase “saari kadiyaan judti nazar aa rahi hain” (all the links seem to be falling in place) – sounding very ominous and very much in line with the gangland traditions, NA Ansaari and the Mastermind.  The fun part is that the gang members have been on this secret mission for some days now.  They have been chipping away at the “cloak of mystery”, and have been quite successful at getting to the right answer – the song for this special post.

Ah yes, the special post.  ‘11111’.  ‘Paanch Ikkey’. ‘Five Aces’.  Now that is a lot to chew on as food for thought – five digits, all aces.  I believe, in terms of being lucky, it simply does not get any better.  In a game of cards, max one can be is four aces. But here, we have achieved five.  As I said, it just does not get any better with being in luck.

Yes, this unique post number has generated a lot of interesting conversation and a lot of very exacting ideas.  The story will be quite scrambled before it becomes unscrambled.  And much to my delightful surprise, I made a discovery in the sequence history of posts – a discovery that tells me that there is something at work in this blog, that goes much beyond the human efforts we put in.  I will reveal it shortly, in a later paragraph.

As we were closing in on the eleven thousandth milestone, a little rumbling was heard about this ‘Paach Ikkey’.  Going beyond the next milestone from 11K (i.e. 11k 100) I think it was Avinash ji, or Mahesh ji who pointed out that after the 11K milestone, we have a very unique number approaching – 11111.  Now we are all very familiar with three aces and four aces. When I say all, I mean all those who are card players of any ilk, will be familiar with these ideas.  Coming to think of it, being part of the Mastermind’s gang, my presumption is that all gang members are card sharps of repute.  One can even single out our special agent, ‘Déjà vu 007‘, and his famous escapades at the Casino Royale in Monaco.  And I am sure all other agents in the gang have also had their share of card sharping on the occasion of Laxmi Poojan, the celebrations of the Goddess of Wealth.  But I will take up that in detail some other time.

As this idea settled in, Atul ji reminded me of a message from Mahesh ji a while back, telling about the one unique song which has together the voices of three stalwart singers of the golden era of the Hindi film song.  We agreed that this song should be the ‘Five Aces’ song.  That was a little over a month ago, on 3^rd April.  Now started the sometimes apparent and sometime covert operation of bringing in together the number of songs of these singers to coincide their century milestones.  Some hints were available in between, but at that time we were too far off from the milestone to catch the attention.

But the singers apart, I am very sure everyone must also be wondering – how does Amitabh Bachchan fit into this scheme.  Ah ha, so that is the one trick that the cat did not teach the lion.  (I am sure all are familiar with the famous fable, where in the lion goes to his mausi (aunt), the cat, and requests her to be his teacher and mentor.  The mausi teaches him many tricks and capabilities.  One day, the lion turns on his teacher, and chases her to make a meal for the day.  The cat runs and nimbly climbs a tree, while the awe struck lion is huffing and puffing at the base of the tree, watching her climb the branches with his jaw hanging with surprise.  He asks her, how come she did not teach him to climb the trees.  ‘Job Security’, she replied. :D :D

So coming back to how does Amitabh B fits into this scheme.  Well, as the thoughts about the ‘Five Aces’ milestone were rumbling in my mind, I was kind of not satisfied with the fact that we planned to post a unique song for three stalwart singers singing together.  Come on, we are on to ‘Five Aces’, and so we should try to get five major milestones together.  I started to exlore for other options, by reviewing the artists’ stats page.  It became quickly evident that this song is really the closest and the best option.  Then I started to look at the other artists connected with this song.  And got a direct hit almost immediately.  Although Anand Bakshi, the lyricist was still some way off from a century milestone, we found that the music director Laxmikant Pyaarelal was close enough to be the fourth ace. Now the posting plan was becoming really focused, with getting the three singing voices and the music director to the century milestone.

The day of  April 3^rd needs to be remembered.  Atul ji and I were very busy on email back and forth that day.  After agreeing to bring together the three stalwart singers, it was on this day itself that we identified Laxmikant Pyaarelal as the fourth ace.  That done, I was still not satisfied.  So I started to review the actors data.  And that is where Amitabh B now came in.  This is the trick that we “cats” have up our sleeves.  Keeping the detailed data also means that we have data on the actors appearances in the posted songs.  That info is not yet posted on the blog.  So you see, how well the cat’s response of ‘Job Security’ fits into this episode. :D :D

So when I pulled out the data for Amitabh, he was not at all close to a century milestone.  In fact we still needed about 30 more of his appearances to make a milestone.  At first, Atul ji was very apprehensive.  He said – not doable.  His exact words were “. . .out of question”.  We were still about a hundred songs away from the ‘Five Aces’. He said doing 30 songs, and that too for an actor, will be too tall an order.  If it were a singer, lyricist or a music director, then we could try, but not with an actor.  It took some back and forth cajoling and convincing, and finally he agreed.  I felt he had agreed, but he was not convinced.  That is the time I suggested we will also do some of his songs from his recent films.  And an idea was born to talk about his recent films and career phase, as opposed to talking about his films and songs from the 1970s and 80s, that most of us are more familiar with. I started to post that series. But I could make out that he was nervous.  To the extent that he started to post Amitabh songs in a hurry and a flurry.  Getting to the point when on some days he posted two and even three Amitabh songs in a single day.  Gang members started to raise eyebrows and started to query and comment – what is the big Amitabh event in the offing.  Alas, but in the absence of actor’s data, no one could get to the correct guess.

Anyway, that then rounded up our five aces. So the current tally for this spectacular milestone today, is as follows,

Mohammed Rafi              –              2400
Kishore Kumar                 –              900
Mukesh                              –              700
Laxmi-Pyaare                   –              600
Amitabh Bachchan          –              200

Gosh, what a spectacular confluence this milestone has accomplished.  It is for the first time that we have so many century celebrations converge concurrently.  And the planning and execution for this journey is as interesting as the milestone itself.  Atul ji and I had to keep a very close watch as the numbers progressed, to make sure that none of the 5 artist overstepped the 99 mark.  Many regular contributors have been at the receiving end of this strategy, as we continued to hold back songs sent in to us, which could effect the numbers for individual artists.  Sincere apologies to all, for this seemingly neglectful behavior on our part, but as explained, it is all part of a bigger design.

In fact I myself was very close to upsetting the apple cart (or the songs bandwagon :) ).  I prepared a post, and was working on it online on the blog.  This post is part of my series of sales pitch songs.  In between I took a break for other things, and then returned to complete it.  I found it to be locked by Atul ji.  I was surprised.  This had never happened before.  Why is that Atul ji is blocking a post?  Suddenly it struck me, and I went to my email inbox.  Sure enough, there was a message from Atul ji, sitting there, telling me of the issue with the post.  Actually, the song I was going to post includes the voice of Rafi.  If it had got published then our scorecard for ‘Five Aces’ would have been topsy turvy.  So, saved in the nick of the time by a diligent boss ;).

As we progressed, we actually hit two other milestones. Both were on our initial list of consideration for the ’Five Aces’.  We made it to the 300^th song for music director Chitragupt on 23^rd April (“Kaahe Baansuriya Bajaule”, ‘Ganga Maiya Tohe Piyari Chadaibo’, 1962) and also to the 600^th song for music director duo Shankar Jaikishan on 26^th April (“Chalo Bhool Jaayen Jahaan Ko Yahaan Do Ghadi”, ‘Do Jhooth’,1975).

Is there another thing to add?  Maybe.  Ok yes. One more thing to add.  Ek film ka naam yaad aata hai  (I am reminded of a film name) –  ‘Bhai Ho To Aisa’ (1972).  Now we should have another film ‘Behan Ho To Aisi’.  In the back and forth guessing game that has been going on between the gang members, it is Khyati Ben who has also been tracking the number of posts by yours truly.  Yes, I make it to a personal century milestone today, reaching 900 posts.  Once again, when we started discussing the ‘Five Aces’ target, I mentioned to Atul ji that I would like to take a shot at reaching the 900 mark.  I was still more than 25 posts away. Atul ji’s first reaction was to express apprehension that I may be taking up a target much too ambitious. But then I promised him that I will do better than usual.  It has been hectic as usual on the personal and work fronts, with an unplanned travel thrown in by the circumstances, for good measure.  I have been pegging away at it. I know that the pace of reaching this milestone has been slower than how Atul ji would have liked to push it.  And I thank him with sincere emotions, for the patience and the latitude that he has allowed me.  That also meant delaying lyrics and posts by other gang members, but he allowed me to plan it my way, and do it.  It has meant quite a string of late nights for me, but the run has been worth all the effort put in.  In fact, I was working on this post last night, but after 1 am my time, I just could not keep up, and had to crash.  And with the daytime and all its distractions, I have been delayed further, more than I had planned.  A part of this post is being worked on in the car, as I am traveling with mom to visit her sister in Gurgaon (a satellite town a little distance away from Delhi).  My Mausi has undergone surgery to install a pacemaker, and today’s family visit has been overdue for some days now.

But I am digressing.  Back to, yes, I was writing about Khyati Ben. Thank you for keeping track of my personal progress.  Ah yes, that is what the good teachers do, right?  I hope my latest homework assignment is up to the mark. :)

And now about the startling discovery. Just on another thought, as I am writing this piece, I went back to the songs with post nos. with all ‘1’s. And what I discover is nothing less than providential. And by providential, I mean something that simply cannot be attributed to coincidence.  The post no. ‘1’  is “Miley Na Phool To Kaanton Se Dosti Kar Li” from ‘Anokhi Raat’ (1968).  Then after nine songs, at post number ‘11’ we have “Mere Mehboob Qayaamat Hogi” from “Mr X In Bombay” (1964).  Then at post no. ’111’ appears the song “Darpan Ko Dekha, Tu Ne Jab Jab Kiya Singaar” from film ‘Upaasna’ (1971). Jumping ahead to post no. ‘1111’, we find the song “Tera Mera Saath Rahe” from the film ‘Saudagar’ (1973).  Note the singers – the first song is a solo by Rafi Sb, the second is a solo by Kishore Kumar, the third is a solo by Mukesh, and the fourth is a solo by Lata Mangeshkar.  Exactly the four singers whose voices appear in this song, which is at ‘11111’.  If this is coincidence, then it must be the most fantastic coincidence that I have ever come across. And if this is planning, then all hats off to Atul ji, what fantastic planning. But if it is neither, then there must a natural design to things that falls in place without our contributing anything to it.  Simply unbelievable.

‘Amar Akbar Anthony’ – what to write about this iconic film from 1977.  The siblings lost and found formula, with all ingredients that ensure pure entertainment.  One of the kind of films, after seeing which, the exiting crowd would comment – “Paisa Vasool Hai Bhai” (it was worth the money spent).  With three pairs of romances to handle, personal animosities going back to decades between Kishanlal (role played by Pran) and Robert (role played by Jeevan), a family disrupted and separated, the separate ways they go make a solid integration for a communal and social harmony theme – all wonderfully spun together at a pace that is just right – slow enough to allow every moment to be enjoyed, and fast enough to make you miss the bloopers.  There is enough cliché emotions thrown in – all three sons together giving blood to their (temporarily) blind mother in the hospital, with no one wiser about the actual relationships; father, on the wrong side of the law, encountering his police officer son digging up the toy pistol he had buried twenty years earlier; and more.  And there is more than enough comic situations that keep the watching moments alive.  Of course the Big B taking the cake with his on screen performance of the song – “My Name Is Anthony Gonsalves”.

But besides all these, the thing to write home about is the songs and the music of this film.  Practically all the songs became popular hits.  And for the sentimentalists amongst the lovers, this song was created.  When we talk about the short and sweet of the sentiments expressing love for one another, no song does it better than the timeless and peerless icon from ‘Shri 420’ (1954), which simply says, “Ramaiya VastaVaiya, Main Ne Dil Tujhko Diya”.  In my humble opinion, no other song expresses this emotion better.

But as I listen to this song, I feel we are not too far.  Listening to this song, one gets a rising feeling in the heart, as the lines play themselves out.  It is the limitless submission promised in the words “Bolo To Jiyen, Bolo To Mar Jaayen”, that bunches up the emotions in the heart and bring it into a lump in the throat –

Love for you has happened in me
(I am all yours now)
Tell me, and I will even end my life at your bidding

Simple words, beautifully strung together, and tuned to such a pleasing melody. It  simply cannot be bettered.  We have Kishore Kumar singing for Amitabh Bachchan, Mukesh singing for Vinod Khanna, Rafi Sb singing for Rishi Kapoor (mind you, the youngest of the lot :) ), and Lata Mangeshkar has given her voice to all the three ladies – Parveen Babi, Shabana Azmi and Neetu Singh.

The song is picturized in three parts.  There is exuberance and energy in the first part, with Amitabh taking the lead with his antics.  The time was when in the early 70s, the tall fellow did not know what to do with his height, as he tried to act romantic. But by mid 1970s, he had quite a handle on how to leverage his height to his advantage.  As is apparent from the calisthenics one sees in this song. He is no more conscious of his height, and takes the situation in his stride, quite literally.

The second part is the calm and reserved Vinod Khanna and Shabana Azmi, both trying to find ways to express themselves beyond the bashfulness that is innate to this scene.  And the sentiments are further heightened by the voice of Mukesh that plays in this segment.  And the third part is playful naughtiness personified in Rishi Kapoor and Neetu Singh.  The scene is played out in a toy train for children, although the antics of the two main players are anything but childish.

A love song that I believe one cannot get tired of.  And a love song that I very humbly dedicate to our entire Atuldom gang, all the way from the Mastermind to Peevesie, to each and every one of you,

Humko Tumse Ho Gaya Hai Pyaar Kya Karen. . .

‘11111’ – ‘Five Aces’ – cannot be any more true than this, cannot be any more lucky than this. :)

Song – Hum Ko Tumse Ho Gaya Hai Pyaar Kya Karen (Amar Akbar Anthony) (1977) Singer – Kishore Kumar, Lata Mangeshkar, Mukesh, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Kishore Kumar + Lata Mangeshkar
Mukesh + Lata Mangeshkar
Mohammed Rafi + Lata Mangeshkar
Chorus

Lyrics

dekh ke tum ko
dil dolaa hai
God promise
hum sach bola hai
o humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen

aaaaa
aaaaaa aaaaa aaaa
aaaa
aaaaaa aaaaa aaaa
aaaaa
aaaaaa aaaaa aaaa
aaaa
aaaaaa aaaaa aaaa

kabhi bolun main
kabhi boley tu
i love you
love you love you
o love you
i love you
love you love you
maine tum pe
tumne mujh pe kar diya jaadu
i love you
love you love you
i love you
ab tak chhupaaye rakha
shola dabaaye rakha
ab tak chhupaaye rakha
shola dabaaye rakha
raaz ye hamne
ab khola hai
God promise
hum sach bola hai
o humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen

hmmm mmmm mmmm
mmmm mmmm
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen

tere sang jeevan ki dor bandhi hai
chup chup sang dolun
tere sang jeevan ki dor bandhi hai
(kaise main ye bolun)
main sapnon ka saagar
tu prem nadi hai
ab tak chhupaaye rakha
shola dabaaye rakha
ab tak chhupaaye rakha
shola dabaaye rakha
chaand chakori
jyun duniya mein
Ram kasam tu
rahe jiya mein
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen

dil mein dilbar
tu rehta hai
khuda gawaah hum
sach kehta hai
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen
humko tumse
ho gaya hai pyaar kya karen

ek to akbar ka kalaam
us mein shaamil tera naam
do lafzon mein karta hoon
mukhtsar kissa tamaam
main shaayar hoon
mera hai waasta haseenon se
teri furqat mein main soya nahin maheenon se
nahin karte ye baaten parda’nasheenon se
sar e bazaar chhodo chhed mehjabeenon
hey ab tak chhupaaye rakha
shola dabaaye rakha
ab tak chhupaaye rakha
shola dabaaye rakha
husn hamesha
rootha rehta hai
khuda gawaah hum
sach kehta hai
humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen

humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen

humko tumse
ho gaya hai pyaar kya karen
bolo to jiyen
bolo to mar jaayen

humko tumse
ho gaya hai pyaar kya karen

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

देख के तुमको
दिल डोला है
गॉड प्रॉमिस
हम सच बोला है
ओ हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें

आsss
आsss आsss आss
आsss
आsss आsss आss
आsss
आsss आsss आss
आsss
आsss आsss आss

कभी बोलूँ मैं
कभी बोले तू
आई लव यू
लव यू लव यू
ओ लव यू
आई लव यू
लव यू लव यू
मैंने तुम पर
तुमने मुझ पर कर दिया जादू
आई लव यू
लव यू लव यू
आई लव यू
अब तक छुपाए रक्खा
शोला दबाये रक्खा
अब तक छुपाए रक्खा
शोला दबाये रक्खा
राज़ ये हमने
अब खोला है
गॉड प्रॉमिस
हम सच बोला है
ओ हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें

हम्ममम मम्ममम मम्ममम
मम्ममम मम्ममम
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें

तेरे संग जीवन की डोर बंधी है
चुप चुप संग डोलूँ
तेरे संग जीवन की डोर बंधी है
(कैसे मैं ये बोलूँ)
मैं सपनों का सागर
तू प्रेम नदी है
अब तक छुपाए रक्खा
शोला दबाये रक्खा
अब तक छुपाए रक्खा
शोला दबाये रक्खा
चाँद चकोरी
ज्यों दुनिया में
राम कसम तू
रहे जिया में
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें

दिल में दिलबर
तू रहता है
खुदा गवाह हम
सच कहता है
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ
हमको तुमसे
हो गया है प्यार क्या करें

एक तो अकबर का कलाम
उसमे शामिल तेरा नाम
दो लफ्जों में करता हूँ
मुख्तसर किस्सा तमाम
मैं शायर हूँ
मेरा है वास्ता हसीनों से
तेरी फुरक़त में मैं सोया नहीं महीनों से
नहीं करते ये बातें पर्दानशीनों से
सर ए बाज़ार छोड़ो छेड़ माहजबीनों से
हे अब तक छुपाए रक्खा
शोला दबाये रक्खा
अब तक छुपाए रक्खा
शोला दबाये रक्खा
हुस्न हमेशा
रूठा रहता है
खुदा गवाह हम
सच कहता है
हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ

हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ

हमको तुमसे
हो गया है प्यार क्या करें
बोलो तो जीएं
बोलो तो मर जाएँ

हमको तुमसे
हो गया है प्यार क्या करें

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.

Two important birthdays coming together today – 8^th September.  One is music director S Mohinder and the second is Asha Bhosle.  These two have created a number of songs together. Some memorable, and others, like this one, need to be rediscovered for their sheer beauty and simplicity of pleasure. During our visit to Bombay last month, Bakshi ji and I had the good fortune to spend a whole afternoon with S Mohinder ji.  A session that lasted almost four hours – it was a wonderful trip down the memory lane, for him, as well as for us.  That meeting itself is a detailed writeup that is waiting in the drafts list.  For this occasion, I am quoting two episodes where S Mohinder ji remembered Asha ji very fondly.

S Mohinder ji is living in the US these days. He occasionally visits India, and stays in Lokhandwala area in Bombay, with his daughter and her family.  On one of his previous visits, he remembers Asha ji coming to visit him. She rang the doorbell, and as the door was opened for her, she entered singing the song “Phool Muskuraye Kyon, Chand Jagmagaye Kyon. . .” from the film ‘Sarfarosh’ (1964).  She was almost like prancing happily, like a young school girl.

Another episode that he recalled with emotion relates to the song “Mere Saahib, Mere Saahib” from the Punjabi film ‘Nanak Naam Jahaaz Hai’ (1969).  This song, a bhajan (shabad) from Sri Guru Granth Sahib ji, was composed by him in raag Kalawati.  It was sometime after the film was released.  Asha ji called him at his residence.  It was 2 am in the morning.  She was calling from Sydney. She was in happy and elated emotions; saying that she had just complete a concert in Sydney. She had sung this ‘shabad’ – and the amount of applause and appreciation that she got from the audience was unprecedented in her experience.  Then she said one more thing, that was even more wonderful.  She said that the pleasure that she is getting telling him about this, is much more than the pleasure she experienced when she was hearing the applause on the stage.  And he became silent for a moment, apparently a lump in the throat, as he reminisced that episode in his mind.

Today’s song is one of those unfamiliar and forgotten songs – items of wonderful beauty and pleasure that are lurking in the shadows, waiting to be heard again.  An exquisite and simple creation in the semi classical mould, the song appears to be a dance song, as one can make out from the musical interludes – a jugal bandi of the string and percussion instruments, accompanied with the clinking sounds of ghungroos.  A wonderful listening experience, that seems too short as it comes to an end, and the mind wants to listen to more of it.

The words are from the pen of Raja Mehdi Ali Khan. Asha ji’s voice is accompanied with chorus singing.  Simple, and full of pleasure – the words and the voice tell of the pining in the heart, as the lady likens the lightning in the clouds with the smile of her beloved.  Enchanting, charming. Listen and enjoy.

Song – Kyun Chamke Bijuriya Saawan Ki (Bekhabar) (1965) Singer – Asha Bhosle, Lyrics – Raja Mehdi Ali Khan, MD – S Mohinder
Chorus

Lyrics

aaaa aaaaaa aaaa
aaaaaaa aaaaaaaaaa
aaaa aaaaaa aaaaaaaaa
aaaaa aaaaaaa aaaaa

kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

main to kho gayi prem ki raahon mein
piya thaam le apni baahon mein
main to kho gayi prem ki raahon mein
piya thaam le apni baahon mein
piya thaam le apni baahon mein
main hosh mein ab nahin aawan ki
main hosh mein ab nahin aawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

kaahe ke kaliyon se liptun ghabraa kar
kaahe phoolon ko choomun sharma kar
kaahe ke kaliyon se liptun ghabraa kar
kaahe phoolon ko choomun sharma kar
kaahe phoolon ko choomun sharma kar
ye baat nahin batlaawan ki
ye baat nahin batlaawan ki
yaad aaye hansi
yaad aaye hansi mohey saajan ki
ho saajan ki
kyun chamke bijuriya saawan ki
kyun chamke bijuriya saawan ki

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

आss आssss आss
आsssss आssssssss
आss आssss आsssssss
आsss आsssss आsss

क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

मैं तो खो गई प्रेम की राहों में
पिया थाम ले अपनी बाहों में
मैं तो खो गई प्रेम की राहों में
पिया थाम ले अपनी बाहों में
पिया थाम ले अपनी बाहों में
मैं होश मैं अब नहीं आवन की
मैं होश मैं अब नहीं आवन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

काहे कलियों से लिपटूँ घबरा कर
काहे फूलों को चूमूँ शर्मा कर
काहे कलियों से लिपटूँ घबरा कर
काहे फूलों को चूमूँ शर्मा कर
काहे फूलों को चूमूँ शर्मा कर
ये बात नहीं बतलावन की
ये बात नहीं बतलावन की
याद आए हंसी
याद आए हंसी मोहे साजन की
हो साजन की
क्यों चमके बिजुरिया सावन की
क्यों चमके बिजुरिया सावन की

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

Mukesh and his Composers – 10
————————————————

Wishing Usha Khanna on her 74^th birth anniversary, a celebration full of all things good and happy.

For some reason, Usha Khanna never received the recognition and fame that she so rightfully deserves. She is not the first, but definitely is the most successful and talented of a handful of female composers in the Hindi film industry. Born on 7^th October 1941, she composed music for her first film at a very young age of 17 with ‘Dil Deke Dekho’ 1959. This was also after more than one year of a sort of apprenticeship and convincing the world that composing was an easy task for her.

“Hum Tumse Juda Ho Ke”, “Maanjhi Meri Kismet Ke”, “Madhuban Khushboo Deta Hai”, “Zindagi Pyar Ka Geet Hai”, “Teri Galiyon Mein Na Rakhenge Kadam”, “Chhodo Kal Ki Baatein”, “Dil Ke Tukde Tukde Kar Ke”, “Barkha Rani Zara Jamke Barso”,  “Apne Liye Jiye To Kya Jiye”, “ Tu Is Tarah Se Mere Zindagi Mein Shaamil Hai”,” Bin Phere Hum Tere”, “Jiske Liye Sabko Chhoda”, “Pyar Karte Hain Tumhe Itna”, “Shaayad Meri Shaadi Ka Khayal”, “Ajnabi Kaun Ho Tum”and many many more….

No, we are not taking here about hit songs of various composers. All the above memorable songs and many more were composed by only Usha Khanna. I am fully aware that I have missed several more hit songs in the above paragraph. Such is the legacy that she has bequeathed to us.

I began the post by saying that recognition has eluded Usha ji. There are a few interviews and articles on the net, but no dedicated blogs or articles highlighting her complete works chronologically etc. I am in possession of highly revered and celebrated author Ashok Da. Ranade’s book Hindi Film Song. However strangely there is no article on Usha ji in the ‘Later Composers’ section. The only reference is on page 134 wherein the author says in a general chapter that in 1959, with her debut film ‘Dil Deke Dekho’, Usha Khanna “fluttered” as a music composer. With so many hit songs and a long successful career, I think there should have been a more appropriative word for her debut as well as her career.

She is not only a very good composer, but a well known singer and has written a few lyrics as well. She has sung songs not only for her own music but also for other composers. One can easily notice the influence of the music of OP Nayyar and Laxmikant Pyaarelal in her tunes, but there is no denying of the fact all her songs were her own creations. Almost all the singers during that period have sung many a hit songs for her.

This blog has only 175 odd songs composed by her. The stats page says that there are about 973 songs in total. So the representation is less than 18%. I earnestly request contributors to this blog to add more of her songs with increased frequency.

For today’s discussion, I shall restrict myself to the songs that Mukesh has sung for Usha Khanna. Having already said that it is difficult to get proper classification of Usha ji’s composed songs on the web. However, as usual, my task involved just writing a mail to Shri Harish ji Raghuvanshi, who sent me the complete list, which is illustrated in the table below. I thank him on behalf of myself and all readers for sharing the list.

Mukesh has sung a total of 26 songs for Usha Khanna and 18 have been posted on the blog. So there will be another 7 songs remaining after this post.

I think it was Naushad Saab who said that all composers including himself were guilty of not using Mukesh’s voice in high pitch. However, a glance at the songs in the table will reveal that the observation may not be applicable for Usha Khanna as she came out with many hit songs for Mukesh on higher notes as well.

My first introduction to Mukesh singing for Usha ji, was the song no 15 from the above list, which I like immensely. I still remember that this was second song on Side A of HMV’s cassette titled “Dard Bhare Geet” of Mukesh. As details are usually given, I knew it was composed by Usha Khanna. I did possess several T-series cassettes also, but these were devoid of any details regarding composer and lyricist etc. As such, I always wondered who was the composer of song nos 4, 5, 6, 7, 14, 20, 25 etc. Just by reading the titles of the songs, readers can associate these romantic numbers sung with all zeal and zest by Mukesh. It’s a welcome irony that my last post featured soulful slow songs of Mukesh sung on lower notes for Roshan and the opposite effect of songs in this post, the common thread being immense popularity of the songs in both the cases.

‘Hum Hindustani’ (1960) was the second film composed by Usha ji.  Not single programme on Independence and Republic Day passes without playing the iconic “Chhodo Kal Ki Baatein”. The song sounds fresh to this day, not only with Mukesh’s voice and the composition of Usha Khanna but also the meaning of the lyrics so well penned by Prem Dhawan. Song no 2 and 13 are evergreen enchanting duets with Asha ji.

Shatrugan Sinha lip-syncing “Barkha Rani Zara Jamke Barso” in ‘Sabak’ (1973) to Poonam, who is his wife in real life, is such a great composition that the heart flutters and jumps in joy even when one is not enjoying in the rains.

Several songs of other composers were released even after Mukesh’s passing away in 1976 till the early eighties. However it’s a very curious case that we do not have any Mukesh songs for Usha Khanna after 1974 itself. One of the reasons may be her successful attempts in introducing new singers.

Today’s duet with Usha Khanna is from the 1966 released film ‘Dada’. There are several movies titled ‘Dada’. Incidentally Usha Khanna herself has composed for two films named ‘Dada’. The one from 1978 has two songs already posted on the blog. This “Dada” released in 1966 and starring Dara Singh, makes its debut on our blog today.

Before I close this post, I once again wish her many happy returns of this day, and pray for a long and healthy life for her.  Her compositions will remain in music lover’s active memory for generations.

Song – Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin (Dada) (1966) Singers – Mukesh, Lyrics – Asad Bhopali, MD – Usha Khanna
Mukesh + Usha Khanna

Lyrics

tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

sun ae hasina haathon se mere
daaman chhudaana achha nahin hai
naazuk labon ko daanton ke neeche
aise dabaana achha nahin hai
achha nahin hai
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

aakhir pasina maathe pe kyun hai
kyun kaanpte hai palkon ke saaye
chanchal jawaani khamosh kyun hai
kya sochti hai gardan jhukaaye
gardan jhukaaye
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

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

तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

सुन ए हसीना हाथों से मेरे
दामन छुड़ाना अच्छा नहीं है
नाज़ुक लबों को दांतों के नीचे
ऐसे दबाना अच्छा नहीं है
अच्छा नहीं है
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

आखिर पसीना पे क्यों है
क्यों काँपते हैं पलकों के साये
चंचल जवानी खामोश क्यों है
क्या सोचती है गर्दन झुकाये
गर्दन झुकाये
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 7
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘ऐ’
“ऐ जान ए बहारां रूह ए चमन”

Truly vintage Rafi. A song that brings to mind the times and the era of gentle romancing, and the soft songs of love. In the voice of Rafi Sb, these songs carry a heartfelt emotion that conveys a genuine feeling of love. It is a wonder that this song has so far not made it to the blog already.

The film is ‘Puraani Pehchaan’ from 1971. Once again, a lesser known and an obscure film which did not stick to the memory of the audience. Maybe the subject matter was a repeat of many films that had come around the same time. One of the most recurring themes in the genre of mystery and horror films is the story of the plight of a young lady, who is an orphan and is an heir to tremendous wealth. Certain close relatives, especially an uncle, takes care of her. With the motive to eliminate her and take over her wealth, the plan is to terrorize and frighten her, such that she is led to suicide.

I am sure many such films would immediately come to mind – ‘Tower House’ (1962), ‘Bhoot Bangla’ (1965), ‘Yeh Sach Hai’ (1975) etc. In all cases, a young man, either a friend or a doctor who is brought in to treat the young lady’s apparent mental illness, comes to her aid, finds out about the plot and exposes the real culprits. ‘Puraani Pehchaan’ has its story play out exactly on these lines.

The film is produced under the banner of Durga Films, Bombay and is directed by Kewal Mishra. The main cast of actors includes Sanjeev Kumar, Tanuja, Tarun Bose, Bela Bose, Dilip Dutt, Madan Puri, Shammi, BB Bhalla, Rajan Haksar, Rafia Sultana, Johnny Whisky, Sangeeta, Sushma, and Dhanraj etc. The film has six songs which are written by Naqsh Llayalpuri. The music director is Bhushan. On screen, the song is sung by Sanjeev Kumar, as he is serenading Tanuja at a party.

The rendering by Rafi Sb leaves nothing more to be desired. Except of course that there be many more such soft and loveable songs to discover. The soft expressions of emotions of love, can simply not be rendered any better.

Listen and enjoy. And fall in love once again.

Video

Audio

Song – Ae Jaan e Bahaaran Rooh e Chaman (Puraani Pehchaan) (1971) Singer – Mohammed Rafi, Lyrics – Naqsh Lyallpuri, MD – Bhushan

Lyrics

ae jaan e bahaaran  rooh e chaman
pehlu mein mere jab aaogi
ae jaan e bahaaran  rooh e chaman
pehlu mein mere jab aaogi
chandan ki tareh mehkega badan
tum aur haseen ho jaaogi
ae jaan e bahaaran  rooh e chaman

khwaabon ke gagan ki shehzaadi
khwaabon ke gagan ki shehzaadi
is dil mein utaara hai tumko
aagosh e mohabbat mein le kar
nazron ne sanwaara hai tumko
ye mujhko yakeen hai ab dil se
tum door na honay paaogi
ae jaan e bahaaran  rooh e chaman

jab pyaar ki shabnam barsegi
jab pyaar ki shabnam barsegi
har saans ka daaman bheegega
in rang bhari barsaaton mein
tan bheegega mann bheegega
tum pyaar ki mehki waadi mein
saawan ki pari kehlaaogi
ae jaan e bahaaran  rooh e chaman

main tumko khushi dene ke liye
main tumko khushi dene ke liye
kya kya na bahaaren laaunga
bhar doonga maang sitaaron se
maathe pe chaand sajaaunga
rangeen ujaalon mein reh kar
din raat nikharti jaaogi
ae jaan e bahaaran  rooh e chaman
pehlu mein mere jab aaogi
chandan ki tareh mehkega badan
tum aur haseen ho jaaogi
ae jaan e bahaaran  rooh e chaman

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

ऐ जान ए बहारां रूह ए चमन
पहलू में मेरे जब आओगी
ऐ जान ए बहारां रूह ए चमन
पहलू में मेरे जब आओगी
चन्दन की तरह महकेगा बदन
तुम और हसीं हो जाओगी
ऐ जान ए बहारां रूह ए चमन

ख्वाबों के गगन की शहजादी
ख्वाबों के गगन की शहजादी
इस दिल में उतारा है तुमको
आगोश ए मोहब्बत में ले कर
नज़रों ने संवारा है तुमको
ये मुझको यकीं है अब दिल से
तुम दूर ना होने पाओगी
ऐ जान ए बहारां रूह ए चमन

जब प्यार की शबनम बरसेगी
जब प्यार की शबनम बरसेगी
हर सांस का दामन भीगेगा
इन रंग भरी बरसातों में
तन भीगेगा मन भीगेगा
तुम प्यार की महकी वादी में
सावन की परी कहलाओगी
ऐ जान ए बहारां रूह ए चमन

मैं तुमको खुशी देने के लिए
मैं तुमको खुशी देने के लिए
क्या क्या ना बहारें लाऊँगा
भर दूँगा मांग सितारों से
माथे पे चाँद सजाऊँगा
रंगीन उजालों में रह कर
दिन रात निखरती जाओगी
ऐ जान ए बहारां रूह ए चमन
पहलू में मेरे जब आओगी
चन्दन की तरह महकेगा बदन
तुम और हसीं हो जाओगी
ऐ जान ए बहारां रूह ए चमन

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 8
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘ओ’
“ओ ओ ओ गोरी लाखों जनम से”

Yet one more truly vintage Rafi, if ever there was one. The songs by him simply do not cease to wonder the mind, such is the quality of expression and the depth of a seasoned rendition. The measured deliberateness of singing underscores the mastery of the singer on perfectly realizing the nuances of the emotions involved. Yes, truly vintage Rafi.

This is the third song of this film to be showcased here on this blog. It is a sad wonder this film remained unreleased, and its songs simply became a collector’s oddity. The two songs already posted are such wonders of musical creation. Just to remind you, they are “Latt Uljhi Hai Suljha De Morey Baalma” in the voice of Geeta Dutt, and another phenomenal gem by Rafi Sb – “Ae Musawwir Mere Mehboob Ki Tasweer Banaa“.

The words are from the pen of Taajdar Taj. And the music by the unsung duo of Ratandeep-Hemraj. As I was sifting through the lists to select a song for the vowel ‘ओ’ for today’s post, I had a few other options from the 1950s and 60s. But when I encountered this song, I simply knew it has to be this one.

With Rafi Sb’s voice behind this, there is simply nothing much more to add. Except that, to just listen to this wonderful song. And enjoy.

Song – O Gori Laakhon Janam Se (Insaan Aur Insaan) (1971)(UR) Singer – Mohammed Rafi, Lyrics – Tajdaar Taj, MD – Ratandeep-Hemraj

Lyrics

oo ooo ooooooo
oo oo ooo oooo
oo oo oo oo
oooo oo oo ooooo

oo oo oo gori laakhon janam se
dor tere bandhan ki uljhi hai hum se
ram karey phir ho hamra milanwa
ram karey phir ho hamra milanwa

oo oo oo gori laakhon janam se
dor tere bandhan ki uljhi hai hum se
ram karey phir ho hamra milanwa
ram karey phir ho hamra milanwa
oo oo oo oo
oooo oo oo ooooo

tere mere jeevan ki ek kahaani
tere mere jeevan ki ek kahaani
palkon mein nain jaise nainon mein paani
tere mere jeevan ki ek kahaani
palkon mein nain jaise nainon mein paani
chaahe jag chhoote na toote preet puraani
oo oo oo gori laakhon janam se
dor tere bandhan ki uljhi hai hum se
ram karey phir ho hamra milanwa
ram karey phir ho hamra milanwa

kaisa naseeb ne ye khel rachaaya
kaisa naseeb ne ye khel rachaaya
pyaar to paaya tera sang na paaya
kaisa naseeb ne ye khel rachaaya
pyaar to paaya tera sang na paaya
aansuon mein rehti hai ab teri hi chhaaya
oo oo oo gori laakhon janam se
dor tere bandhan ki uljhi hai hum se
ram karey phir ho hamra milanwa
ram karey phir ho hamra milanwa

oo oo oo oo
oooo oo oo ooooo

oo oo oo oo
oooo oo oo ooooo

oo oo oo oo
oooo oo oo ooooo

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

ओ ओss ओssssss
ओ ओ ओs ओsss
ओ ओ ओ ओ
ओss ओ ओ ओssss

ओ ओ ओ गोरी लाखों जनम से
डोर तेरे बंधन की उलझी है हमसे
राम करे फिर हो हमरा मिलनवा
राम करे फिर हो हमरा मिलनवा

ओ ओ ओ गोरी लाखों जनम से
डोर तेरे बंधन की उलझी है हमसे
राम करे फिर हो हमरा मिलनवा
राम करे फिर हो हमरा मिलनवा
ओ ओ ओ ओ
ओss ओ ओ ओssss

तेरे मेरे जीवन की एक कहानी
तेरे मेरे जीवन की एक कहानी
पलकों में नैन जैसे नैनों में पानी
तेरे मेरे जीवन की एक कहानी
पलकों में नैन जैसे नैनों में पानी
चाहे जग छूटे ना टूटे प्रीत पुरानी
ओ ओ ओ गोरी लाखों जनम से
डोर तेरे बंधन की उलझी है हमसे
राम करे फिर हो हमरा मिलनवा
राम करे फिर हो हमरा मिलनवा

कैसा नसीब ने ये खेल रचाया
कैसा नसीब ने ये खेल रचाया
प्यार तो पाया तेरा संग ना पाया
कैसा नसीब ने ये खेल रचाया
प्यार तो पाया तेरा संग ना पाया
आंसुओं में रहती है तेरी ही छाया
ओ ओ ओ गोरी लाखों जनम से
डोर तेरे बंधन की उलझी है हमसे
राम करे फिर हो हमरा मिलनवा
राम करे फिर हो हमरा मिलनवा

ओ ओ ओ ओ
ओss ओ ओ ओssss

ओ ओ ओ ओ
ओss ओ ओ ओssss

ओ ओ ओ ओ
ओss ओ ओ ओssss

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 10
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘क’
“कल मेरी तरह मुझको सलाम आप करेंगे”

We now move to the consonants, having completed the list of basic vowels. So far, the only alphabet missing is the letter ‘ ई’.

This here is a wonderful nazm from the 1973 film ‘Mere Ghareeb Nnawaaz’. A very soft expression of first love, which has been sung so softly by Rafi Sb.  I remember this nazm was quite popular in its time and was frequently heard on the radio waves.

The film is produced under the banner of Shakeel Pictures, Bombay and is directed by G Ishwar. The cast of actors includes Naazneen, Satish Arora, Veena, Nazir Husain, Agha, Mukri, Anwar Ali, CS Dubey, Mirza Musharraf, Prince Shakeel, Geeta Kaushal, Mumtaz Begum etc. with special guest appearances by Bharat Bhushan, Jagdeep and Jalal Agha. The film also had debut appearances by Renuka, Salma, Shakir Javeri and Kaajpuri.

The film has nine songs, all written by Mehboob Sarvar. Music direction is by Kamal Rajasthani. The film is a social drama, that revolves around the beneficence and the glories of Moinudin Chisti, the Khwaja of Ajmer. Khwaja Moinudin Chisti is as deeply revered Sufi saint, who is worshipped by disciples across all of the Indian subcontinent. I reproduce below a brief excrtp adapted from Wikipedia and other online sources.

Moinuddin Chishti (1141 – 1236) also known as Gharīb Nawāz (Benefactor of the Poor), was an imam, Islamic scholar and philosopher from South Asia. Chishti introduced and established the Chishti Order of Sufism in the Indian subcontinent. The initial spiritual chain or silsila of the Chishti order in India, comprising Chishti, Qutbuddin Bakhtiar Kaki, Fariduddin Ganjshakar and Nizamuddin Auliya—each successive person being the disciple of the previous—includes the great Sufi saints of Indian history. Various Mughal emperors were followers of Chishti.

Moinuddin Chishti is said to have been born in 536 AH/1141 CE in Chisht in a city between Afghanistan and Iran and is thought to be a “sayyid”, a direct descendant of Muhammad. His parents died when he was fifteen years old. He inherited a windmill and an orchard from his father. During his childhood, Chishti was different from other children and kept himself busy in prayer and meditation. He later disposed of his property and other belongings and distributed the money to the poor. He renounced the world and left for Bukhara in search of knowledge and higher education.

Chishti visited the seminaries of Samarkand and Bukhara and acquired religious learning from scholars. He visited centers of Muslim culture and acquainted himself with important trends in Muslim religious life. He became a disciple of the Chishti saint Usman Harooni. They travelled the Middle East together, including visits to Mecca and Medina.

Chishti turned towards India, reputedly after a dream in which Muhammad blessed him to do so. After a brief stay in Lahore, he reached Ajmer along with Mu’izz al-Din Muhammad, and settled down. In Ajmer, he attracted a substantial following, gaining the respect of the residents of the city. Chishti promoted understanding between Muslims and non-Muslims.

The dargah of Chishti, known as Ajmer Sharif Dargah or Ajmer Sharif, is an international waqf, an Islamic mortmain managed by the “Dargah Khwaja Saheb Act, 1955” of the government of India. The Dargah Committee, appointed by the Government, manages donations, takes care of the maintenance of the outer area of shrine, and runs charitable institutions like dispensaries and guest houses for the devotees, but does not take care of the main shrine (Astana e Alia) which is under the custody of Khadims.

There are many films made on the subcontinent that have stories built around the worship of Khwaja, and the miracles that are still attributed to him. Many films have songs that honor his name and his shrine. The period film ‘Jodha Akbar’ (2008) has a famous one “Khwaaja Mere Khwaaja”.

Of the nine songs of this film, five are religious renditions. There is one wonderful song sung by Anwar – “Kasmen Hum Apni Jaan Ki Khaaye Chale Gaye”, which is already showcased here.  Today I present this delicate expression of love, rendered by Rafi Sb. I do not recognize the actors on screen and do not want to take risks with erroneous identifications.  I request other readers and friends to kindly help with the identifications. The actor name – Satish Arora; is he anyway related to Vijay Arora. If he is the gentleman on screen, then the face seems familiar.

Listen to this delicious ‘nazm’. And the voice of Rafi Sb.

Song – Kal Meri Tarah Mujhko Salaam Aap Karenge (Mere Ghareeb Nawaaz) (1973) Singer – Mohammed Rafi, Lyrics – Mehboob Sarvar, MD – Kamal Rajasthani

Lyrics

hmmmmmmmm
hmm hmmmmm
hmmmmmmm mmmm mmmm
hmmmmmmmm
hmmm hmmm hmmm hmmmmm hmmmmm

kal meri tarah
mujhko salaam
aap karenge
kal meri tarah mujhko salaam aap karenge
khamosh rahunga main
kalaam aap karenge
kal meri tarah mujhko salaam aap karenge

dikhla ke jhalak hosh talak
chheen liya hai
saaqi ne mujhe mai ke evaz
pyaas diya hai
maikhaane mein aankhon ke jise
band kiya hai
khud pesh kisi din wo hi jaam
aap karenge
khamosh rahunga main
kalaam aap karenge
kal meri tarah mujhko salaam aap karenge

raaten na rahi meri na
ab din rahe mere
raaten na rahi meri na
ab din rahe mere
rehte hain sadaa aap
khyalaat ko ghere
rukhsaar pe bikhra ke ye
zulfon ke andhere
zulfon ke andhere
kab tak ke yun hi
subho ko shaam
aap karenge
khamosh rahunga main
kalaam aap karenge
kal meri tarah mujhko salaam aap karenge

nazren hain kisi ki yahin
aur dil bhi yahin hai
kaise kahoon chaahat ka asar
un pe nahin hai
lag jaayegi kuchh der magar
mujhko yakeen hai
mujhko yakee…een hai
lag jaayegi kuchh der magar
mujhko yakeen hai
ek roz mere ghar mein
kayaam aap karenge
khamosh rahunga main
kalaam aap karenge
kal meri tarah mujhko salaam aap karenge

salaam aap karenge

salaam aap karenge

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

हम्ममममममममम
हम्म हम्मममम
हम्ममममममममम मम्म मम्मममम
हम्मममममम
हम्मम हम्मम हम्मम हम्मममममम हम्मममम

कल मेरी तरह
मुझको सलाम
आप करेंगे
कल मेरी तरह मुझको सलाम आप करेंगे
खामोश रहूँगा में
कलाम आप करेंगे
कल मेरी तरह मुझको सलाम आप करेंगे

दिखला के झलक होश तलक
छीन लिया है
साक़ी ने मुझे मय के एवज़
प्यास दिया है
मयखाने में आँखों की जिसे बंद किया है
खुद पेश किसी दिन वही जाम
आप करेंगे
खामोश रहूँगा में
कलाम आप करेंगे
कल मेरी तरह मुझको सलाम आप करेंगे

रातें ना रहीं मेरी ना
अब दिन रहे मेरे
रातें ना रहीं मेरी ना
अब दिन रहे मेरे
रहते हैं सदा आप
ख़्यालात को घेरे
रुखसार पे बिखरा के ये
ज़ुल्फों के अंधेरे
ज़ुल्फों के अंधेरे
कब तक के यूंही
सुबहो को शाम
आप करेंगे
खामोश रहूँगा में
कलाम आप करेंगे
कल मेरी तरह मुझको सलाम आप करेंगे

नज़रें हैं किसी की यहीं
और दिल भी यहीं है
कैसे कहूँ चाहत का असर
उन पे नहीं है
लग जाएगी कुछ देर मगर
मुझको यकीं है
मुझको यकीं॰॰॰ है
लग जाएगी कुछ देर मगर
मुझको यकीं है
इक रोज़ मेरे घर में क़याम
आप करेंगे
खामोश रहूँगा में
कलाम आप करेंगे
कल मेरी तरह मुझको सलाम आप करेंगे

सलाम आप करेंगे

सलाम आप करेंगे

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 11
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘ख’
“खुली वादियों का सफर है”

Yesterday, 24^th February, a living legend of Indian cinema turned 88.  From his pen have come such haunting songs as “Kho Diye, Hain Sanam, Teri Talaash Mein, Pichhle Kai Janam” (‘Teri Talaash Mein’, 1968), “Kai Sadiyon Se, Kai Janmon Se” (‘Milaap’, 1972), and such songs of love as “Main To Har Mod Par Us Ko Doonga Sadaa” (‘Chetna’, 1970), “Phir Milengi Kahaan, Aisi Tanhaaiyaan”, (‘Bhaavna’, 1972), “Har Janam Mein Hamaara Milan” (‘Kaagaz Ki Naao’, 1975), and “Tumhe Ho Na Ho, Mujhko To, Itna Yakeen Hai” (‘Gharonda’, 1977). Starting his film career with the film ‘Jaggu’ in 1952, this poet of the off beat continues to be active on both the big and small screens.

Wishing a very happy birth anniversary to Naqsh Lyallpuri, and also wishing him many more healthy and poetical years still to come.

His birth name is Jaswant Rai Sharma. He was born in the city of Lyallpur (now in Pakistan) on 24^th Feb, in the year 1928. As a child student, his teachers were impressed with his writing skills and his propensity to write poetry. When 1947 happened, the family moved to Lukcnow. The lure of ‘shaayari’ made him adopt the pen name of ‘Naqsh Lyallpuri’, and the in search of a poetical profession, he came to Bombay. The initial months and years were a struggle, and the young Jaswant ended up in a clerical job with Post and Telegraph department.

The debut into the industry was lackluster. Hansraj Behl gave him an opportunity to write one song for the film ‘Jaggu’, released in 1952. Further breaks also came his way, once again courtesy of Hansraj Behl. He shared writing of songs for ‘Pensioner’, released in 1954 and ‘Mast Kalandar’(1955). The process was slow, but steady. Next came the break to write all songs for the film ‘Teen Sardar’ (1955). In 1956, two of his songs in the film ‘Diwali Ki Raat’ were sung by Talat Mehmood. However, he had to wait another three years before a real break of a popular hit came his way. The film is ‘Madhu’, year is 1959, music director – Roshan and the songs – “Dhaani Chunar Mori Haaye Re”, sung by Lata Mangeshkar, and “Tum Se Lagan Laagi, Haaye Aisi Agan Jaagi”, a duet by Rafi Sb and Lata.

As I scanned the list of his films and songs, one thing that struck me as very interesting. He has not worked with any of the music directors or production banners, whom we could term as ‘Big Name’. The most famous MD names we can associate with him are Madan Mohna, Khaiyaam, Jaidev, Sapan Jagmohan, GS Kohli, Snehal Bhatkar besides S Mohinder and Hansraj Behl. The remaining MDs are even lesser known – Ganesh, Sharda, Vedpal, Bhushan, Brij Bhushan, Gulshan Sufi, Harnbans, Sumant Raj and Ved Sethi etc. And yet, over the years, many of his songs have become memorable golden greats.

Once again, wishes for many more happy returns of this day to Naqsh ji.

The next Rafi Sb song in the series is from the pen of Naqsh. Interesting thing is the name of the film. Aah yes, we have a film by the name ‘Aayega Aanewaala’ from the year 1967; the name immediately reminds one of the iconic great Khemchand Prakash creation from the film ‘Mahal’ (1949). This film makes it debut on our blog today.

The film is produced under the banner of Kewalu Productions and is directed by Kewal Mishra. Lead actors are Sanjeev Kumar, Kumkum, Savita Chatterji, Agha, Bela Bose, Ram Mohan, Kundan, Rajan Haksar, Chaman Puri, Uma Khosla, and Khairati etc. The film has six songs, all written by Naqsh Sb. Music is composed by the music director duo – Sapan Jagmohan.

The song is performed on screen by Sanjeev Kumar, as he is attempting to serenade Kumkum. The locale is that of a hills station in winters, most likely either Simla or Mussourie. The song starts with the scene of an ice skating rink. One is reminded immediately of the song “Shokh Nazar Ki Bijaliyaan, Dil Pe Mere Giraye Jaa” from the film ‘Who Kaun Thi’ (1964), which also starts in a similar manner. For a moment I had a thought that it was the “Who Kaun Thi’ visual with the song overlaid from ‘Aayega Aanewaala’. However, this notion was quickly dispelled, as I could make out Sanjeev Kumar performing in the scene.

Film directors do funny things at times. Obviously it is so that Sanjeev Kumar did not know ice skating. He is the only one on the skating rink wearing shoes, while all else are wearing ice skates. So was it really so necessary to open this song on an ice skating rink. In the later stanzas, the scene shifts to snow laden hillsides, which seems the more sensible locale for the song.

Anyway, what we come looking for is another gem of a rendition by Rafi Sb. And of course, that is what we get. The voice and the expression literally makes one feel the softness of snow beneath the feet, and the playful frolic of the young hearts romancing the snow. The voice makes you feel both the intensity of youth and the delicacy of romance. Another song, another gem. That is Rafi Sb, yet once again.

Song – Khuli Waadiyon Ka Safar Hai (Aayega Aanewaala) (1967) Singer – Mohammed Rafi, Lyrics – Naqsh Lyalpuri, MD – Sapan Jagmohan

Lyrics

khuli waadiyon ka safar hai
haseen manzilon pe nazar hai
behekne lagaa
hai kyun mera dil
khuli waadiyon ka safar hai
haseen manzilon pe nazar hai
behekne lagaa
hai kyun mera dil
khuli waadiyon ka safar hai

ye naazneenon ke
mele haseenon ke
ye khule
gesu’on
ki bahaar
rangeen chehron ko
mehke saveron ko
choomti hai
nazar
baar baar
main kho gaya hoon
khuli waadiyon ka safar hai
haseen manzilon pe nazar hai
behekne lagaa
hai kyun mera dil
khuli waadiyon ka safar hai

oonche chanaaron se
bheege nazaaron se
khelti
aa rahi
hai hawaa
raahon mein lehraaye
aankhon ko behkaaye
doodhia
aanchalon ki
fizaa
main kho gaya hoon
khuli waadiyon ka safar hai
haseen manzilon pe nazar hai
behekne lagaa
hai kyun mera dil
khuli waadiyon ka safar hai

parbat ke daaman mein
chaandi ke aangan mein
doltey
jhoomte
ye badan
kya rang nikhra hai
hai khoob bikhra hai
surmai
shaam ka
baankpan
main kho gaya hoon
khuli waadiyon ka safar hai
haseen manzilon pe nazar hai
behekne lagaa
hai kyun mera dil
khuli waadiyon ka safar hai

hmmmm hmmm hmmmmmm
hmmmm hmmm hmmmmmm
hmmmm hmmm hmmmmmm

aa haa ha
aa haa haa
ha haa haa

o ho ho
ho ho ho
ho ho ho

hmmmm hmmm hmmmmmm
hmmmm hmmm hmmmmmm
hmmmm hmmm hmmmmmm

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

खुली वादियों का सफर है
हसीं मंज़िलों पे नज़र है
बहकने लगा
है क्यों मेरा दिल
खुली वादियों का सफर है
हसीं मंज़िलों पे नज़र है
बहकने लगा
है क्यों मेरा दिल
खुली वादियों का सफर है

ये नाज़नीनों के
मेले हसीनों के
ये खुले
गेसूओं
की बहार
रंगीन चेहरों को
महके सवेरों को
चूमती है
नज़र
बार बार
मैं खो गया हूँ
खुली वादियों का सफर है
हसीं मंज़िलों पे नज़र है
बहकने लगा
है क्यों मेरा दिल
खुली वादियों का सफर है

ऊंचे चनारों से
भीगे नज़ारों से
खेलती
आ रही
है हवा
राहों में लहराए
आँखों को बहकाए
दूधिया
आँचलों
की फिज़ा
मैं खो गया हूँ
खुली वादियों का सफर है
हसीं मंज़िलों पे नज़र है
बहकने लगा
है क्यों मेरा दिल
खुली वादियों का सफर है

परबत के दामन में
चांदी के आँगन में
डोलते
झूमते
ये बदन
क्या रंग निखरा है
क्या खूब बिखरा है
सुरमई
शाम का
बाँकपन
मैं खो गया हूँ
खुली वादियों का सफर है
हसीं मंज़िलों पे नज़र है
बहकने लगा
है क्यों मेरा दिल
खुली वादियों का सफर है

ह्म्म मम्म ह्म्मममम
ह्म्म मम्म ह्म्मममम
ह्म्म मम्म ह्म्मममम

आ हा हाss
हा हा हा
हा हा हा

ओ हो हो
हो हो हो
हो हो हो

ह्म्म मम्म ह्म्मममम
ह्म्म मम्म ह्म्मममम
ह्म्म मम्म ह्म्मममम

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.

Missing Films of 1960s – 19
– – – – – – – – – – – – – –

We are now getting close to the end of 1962. The next film from that year which is being introduced today is ‘Sher Khan’. The film and its songs are available on the internet, and have been for some time now. Apparently,  we just did not get around to bringing up here, the songs from this film. Probably it is the obscurity of the film and its title, and the level of unfamiliarity that the team may have with this film and its songs. With music by SN Tripathi, the songs of this film are very good. Once we get to hear them, then the mind wonders – where have these been hiding so far. But anyway, we are getting to them now, and that is a good thing.

The film is produced under the banner of Mukul Movies, Bomabay and is directed by Radha Kant. The six songs are written by Prem Dhawan. The star cast includes Kum Kum, Kamaljeet, Veena, Jayant, Ulhas, Sundar, Tabassum, Heera Lal, Majnu, Jeevan Kala, Wazir Mohammed Khan, Surekha, Samson, Rana,  Amir, Prem, Shafi Mohammed, Jagdish Bhalla and others.

The film is a period stunt drama. A particular kingdom is troubled by a ruthless dacoit Ajab Khan, role played by Jayant.  The king announces a reward to capture or kill Ajab Khan, and a young man named Sher Khan (role played by Kamaljeet) takes up the challenge. An interesting thing here is the use of the Hindi phrase, ‘beeda utha lena’ (बीड़ा उठा लेना). The use of this popular phrase is to indicate taking on an important responsibility. The word ‘beeda’ in Hindi means a ‘paan’ – a mouth freshening concoction which is made from betel leaf and a few other tasty ingredients, to be consumed after a meal. A ‘paan’ is also considered as an offering of friendship.

The manner in which this is presented in the film is interesting. On a table in the royal court, there lies a dish, on which there are lying a few ‘beedas’. The reader of the announcement points towards this dish and declares that anyone who has the courage to take on this responsibility, may pick up a ‘beeda’ from the dish – literally ‘beeda utha lena’. And when the young Sher Khan declares his intentions to take on this challenge, he actually picks up the beeda from the dish and puts it in his mouth. A most literal representation of the phrase that I have ever seen.

On being asked for his identity, the young man informs that he is the son of the former commander of the royal army, who has been wrongfully indicted for some wrongdoings, and has been banished from the kingdom many years ago. On hearing this, the king announces that if the young man is successful in his mission, then by royal decree, the father and the former commander will be pardoned and allowed to return home.

This makes for a very interesting twist in the tale. The rest of the film is about the adventures and romantic interludes of this young man, in pursuit of his objective to capture the dreaded dacoit. By the time we come to the close of the film, the dacoit is captured and brought to the royal court in chains. The surprise twist at the end is that the dacoit turns out to be the long lost father of the young man. The king, who is ready to punish the dacoit with a death sentence, is reminded of his earlier promise that if the dacoit is captured, then the father of the young man will be pardoned. Applying this logic, the dacoit, father of Sher Khan, gets a pardon, but is given the punishment to do social service for the rest of his life, and try to rebuild the fortunes of the people that he had robbed. A very interesting premise.

The first song of this film that I bring to this blog is a duet in the voices of Asha Bhosle and Mahendra Kapoor. It is a love song that is performed on screen by Kum Kum and Kamaljeet. The song variously moves from being a tonga song in the beginning, to a garden song, and ends up being a boat song. The final antaraa is sung while the romantic pair is sitting in a ‘shikaara’ – the specific boat that is used in the Dal lake in Kashmir.

The rhythm and the pace and the melody is very attractive, and I immediately liked this song when I first heard it. Lovely rendition. I am sure you will enjoy it too.

Song – Aise To Hamen Dekha Na Karo (Sher Khan) (1962) Singer – Asha Bhosle, Mahendra Kapoor, Lyrics – Prem Dhawan, MD – SN Tripathi
Asha Bhosle + Mahendra Kapoor

Lyrics

ho oo oo oo oo ooo
aa haa haa
hmmm mmm mmm
aa haa haa
haa haa haa
la ra la
ra la la la

aise to hamen
dekha na karo
ke jaan hi nikal jaaye ui allah
kya rokey isey
ke ye dil hi to hai
jab chaahe fisal jaaye vallah
aise to hamen
dekha na karo
ke jaan hi nikal jaaye ui allah
kya rokey isey
ke ye dil hi to hai
jab chaahe fisal jaaye vallah
aise to hamen
dekha na karo

zara ye to kaho phoolon ne
rangat hai kahaan se paai
zara ye to kaho phoolon ne
rangat hai kahaan se paai
kehte hain gaal gulaabi
laali hai yahin se aai
yoon na. . .
chhedo
kahin dil na fisal jaaye ui allah
o subhaan allah
aise to hamen
dekha na karo
ke jaan hi nikal jaaye ui allah
kya rokey isey
ke ye dil hi to hai
jab chaahe fisal jaaye vallah
aise to hamen
dekha na karo

hum teri tamanna kar ke
duniya ko bhula baithe hain
hum teri tamanna kar ke
duniya ko bhula baithe hain
hum bhi dil mein ulfat ki
ik shamma jalaa baithe hain
dekho. . .
koi. . .
parwaana na jal jaaye vallah
ui allah
aise to hamen
dekha na karo
ke jaan hi nikal jaaye ui allah
kya rokey isey
ke ye dil hi to hai
jab chaahe fisal jaaye vallah
aise to hamen
dekha na karo

seene mein uthi hain lehren
jaise maujen toofaani
seene mein uthi hain lehren
jaise maujen toofaani
na jaane kahaan le jaaye
ab hum ko ye behta paani
chalte. . . chalte. . .
kahin shaam na dhal jaaye ui allah
o subhaan allah
aise to hamen
dekha na karo
ke jaan hi nikal jaaye ui allah
kya rokey isey
ke ye dil hi to hai
jab chaahe fisal jaaye vallah
aise to hamen
dekha na karo

oo ho ho
oo oo oo
oo ooo ooo
aa haa haa
aa haa haa
aa..aa haa haa
aa haa haa
aa aa aa
aa..aa aa aa
aaa haa haa
aa aa aa
aaa haa haa

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

हो ओ ओ ओ ओ ओss
आ हा हा
हम्मम म्ममम म्ममम
आ हा हा
हा हा हा
ला रा ला
रा ला ला ला

ऐसे तो हमें
देखा ना करो
के जां ही निकाल जाये ऊई अल्लाह
क्या रोके इसे
के ये दिल ही तो है
जब चाहे फिसल जाये वल्लाह
ऐसे तो हमें
देखा ना करो
के जां ही निकाल जाये ऊई अल्लाह
क्या रोके इसे
के ये दिल ही तो है
जब चाहे फिसल जाये वल्लाह
ऐसे तो हमें
देखा ना करो

ज़रा ये तो कहो फूलों ने
रंगत है कहाँ से पाई
ज़रा ये तो कहो फूलों ने
रंगत है कहाँ से पाई
कहते हैं गाल गुलाबी
लाली है यहाँ से आई
यूं ना॰॰॰
छेड़ो
कहीं दिल ना फिसल जाये ऊई अल्लाह
ओ सुभान अल्लाह
ऐसे तो हमें
देखा ना करो
के जां ही निकाल जाये ऊई अल्लाह
क्या रोके इसे
के ये दिल ही तो है
जब चाहे फिसल जाये वल्लाह
ऐसे तो हमें
देखा ना करो

हम तेरी तमन्ना कर के
दुनिया को भुला बैठे हैं
हम तेरी तमन्ना कर के
दुनिया को भुला बैठे हैं
हम भी दिल में उलफत की
इक शम्मा जला बैठे हैं
देखो॰॰॰
कोई॰॰॰
परवाना ना जल जाये वल्लाह
ऊई अल्लाह
ऐसे तो हमें
देखा ना करो
के जां ही निकाल जाये ऊई अल्लाह
क्या रोके इसे
के ये दिल ही तो है
जब चाहे फिसल जाये वल्लाह
ऐसे तो हमें
देखा ना करो

सीने में उठी हैं लहरें
जैसे मौजें तूफानी
सीने में उठी हैं लहरें
जैसे मौजें तूफानी
ना जाने कहाँ ले जाये
अब हमको ये बहता पानी
चलते॰॰॰ चलते॰॰॰
कहीं शाम ना ढल जाये वल्लाह
ओ सुभान अल्लाह
ऐसे तो हमें
देखा ना करो
के जां ही निकाल जाये ऊई अल्लाह
क्या रोके इसे
के ये दिल ही तो है
जब चाहे फिसल जाये वल्लाह
ऐसे तो हमें
देखा ना करो

ओ हो हो
ओ ओ ओ
ओ ओ ओ
आ हा हा
आ हा हा
आ॰॰आ हा हा
आ हा हा
आ आ आ
आ॰॰आ आ आ
आ हा हा
आ आ आ
आ हा हा

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 17
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘झ’
“झुका झुका के नज़र यूं उठाई जाती है”

jab bhi ye dil udaas hota hai
jaane kaun aas paas hota hai

These lines tickle the strands of the mind often, when in the moods of a tranquil nothingness – sometimes in the moments just as the self is drifting into sleep, or sometimes, on a journey in a relaxed coziness with nothing particular to do, or sometimes on lonely walks in the evenings. And the mind wonders, trying to put a face to a distant thought – “jaane kaun aas paas . . . hai”. That face is almost never distinct. Whose presence it is that I feel – the mind is yet to discern, and ascribe substance to the tenuous wisps that almost form the image, but then always fails to bring into a distinct focus. And the mind wanders, continues to seek – an unfinished image, trying to capture an elusive face, and a name that keeps bumping tantalizingly close to the edges of memory, yet always remains just a breath away from my grasp.

But the voice, the rendition of these lines ringing in the mind – no effort is even applied to identify, recognize and name. The memory knows this voice, even without assigning any name to it. And the soothing comfort that it brings into the mind, and savors the feeling as this comfort permeates into the being. Just the voice, and the voice alone. The sound of these lines brings that contented solace that simply gladdens the heart. Just the sound is so soothing that the mind, does not mind that the face I am searching for is not appearing close enough to be recognized. The sound just carries me along, taking in the delight of the journey of seeking, relishing the excursion, finding more joy in just the query “jaane kaun. . .”, as if not really wanting to know. Yes, that is the magic. The magic of the voice of Rafi Sb.

Some songs are such that they will keep with you in the moments of select and exclusive flights of particular emotions. The lines and the allied emotions listed and expressed above, are now a lifetime companions of this relaxed melancholia of serene lonesomeness. And so it this voice.

Presenting the next song in this series reliving the various flavours of his singing, moving forward as per the Devnagri alphabet. The film is ‘Mere Sartaaj’ from 1975. This film makes its début on our blog today. It is produced under the banner of Shakeel Pictures, Bombay. It is directed by the legendary AR Kardar. After the celebrated ‘Dil Diya Dard Liya’ from 1966, Kardar directed this, his last film as a director, after a gap of nine long years. This film signals the last of the career of AR Kardar, who is counted amongst the troika of top film makers in Hindi cinema, known as the ‘Movie Moguls’ (along with Mehboob Khan and K Asif).

The star cast includes Satish Kaul, Zahira, Roopesh Kumar, Padma Khanna, Jagdeep, Nadira, Nazir Husain, Helen, Alka, Trilok Kapoor, Santosh Kumar, Amir Ali, Ismail, Hakim, Ramesh Raj, S Kapoor, Devendra etc. The four songs in this film are written by Mehboob Sarvar and the music is composed by Ravi.

On screen, this wonderful ghazal is performed as a stage song by Satish Kaul. Sitting in the audience are Nazir Husain, Zahira, Roopesh Kumar and Jagdeep. It is apparent that the amorous messages in these lines, are directed towards Zahira, as is evident from the bashful responses emanating from the damsel.

Another memorable ghazal. And the voice of Rafi Sb.

Song – Jhuka Jhuka Ke Nazar Yoon Uthaai Jaati Hai (Mere Sartaaj) (1975) Singer – Mohammed Rafi, Lyrics – Mehboob Sarvar, MD – Ravi

Lyrics

jhuka jhuka ke nazar
yoon uthaai jaati hai
jhuka jhuka ke nazar
yoon uthaai jaati hai
ke jaise shamma bujha kar
jalaai jaati hai
jhuka jhuka ke nazar
yoon uthaai jaati hai
jhuka jhuka ke nazar

zabaan jalti hai jis ke bayaan karne se
zabaan jalti hai jis ke bayaan karne se
wo dastaan to nazar se sunaai jaati hai
wo dastaan to nazar se sunaai jaati hai
jhuka jhuka ke nazar

anokhi baat hai
karti hai aur bhi ruswaa
anokhi baat hai
karti hai aur bhi ruswaa
dilon mein jitni
mohabbat chhupaai jaati hai
dilon mein jitni
mohabbat chhupaai jaati hai
jhuka jhuka ke nazar

ye log dekhenge kaise
dhuaan mohabbat ka
ye log dekhenge kaise
dhuaan mohabbat ka
ye aag wo hai
jo dil mein lagaai jaati hai
ye aag wo hai
jo dil mein lagaai jaati hai
jhuka jhuka ke nazar

churaa ke dil ko mere
muskuraa ke kehta hain
churaa ke dil ko mere
muskuraa ke kehta hain
churaane waali har ik
shai churaai jaati hai
churaane waali har ik
shai churaai jaati hai
jhuka jhuka ke nazar

zamaana kyon hai mohabbat ke naam ka dushman
zamaana kyon hai mohabbat ke naam ka dushman
ye cheez wo hai jo
har dil mein paai jaati hai
ye cheez wo hai jo
har dil mein paai jaati hai
jhuka jhuka ke nazar
yoon uthaai jaati hai
ke jaise shamma bujha kar
jalaai jaati hai
jhuka jhuka ke nazar
yoon uthaai jaati hai
jhuka jhuka ke nazar

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

झुका झुका के नज़र
यूं उठाई जाती है
झुका झुका के नज़र
यूं उठाई जाती है
के जैसे शम्मा बुझा कर
जलाई जाती है
झुका झुका के नज़र
यूं उठाई जाती है
झुका झुका के नज़र

ज़बान जलती है जिसके बयान करने से
ज़बान जलती है जिसके बयान करने से
वो दास्तान तो नज़र
से सुनाई जाती है
वो दास्तान तो नज़र
से सुनाई जाती है
झुका झुका के नज़र

अनोखी बात है
करती है और भी रुसवा
अनोखी बात है
करती है और भी रुसवा
दिलों में जितनी
मोहब्बत छुपाई जाती है
दिलों में जितनी
मोहब्बत छुपाई जाती है
झुका झुका के नज़र

ये लोग देखेंगे कैसे
धुआँ मोहब्बत का
ये लोग देखेंगे कैसे
धुआँ मोहब्बत का
ये आग वो है
जो दिल में लगाई जाती है
ये आग वो है
जो दिल में लगाई जाती है
झुका झुका के नज़र

चुरा के दिल को मेरे
मुस्कुरा के कहते हैं
चुरा के दिल को मेरे
मुस्कुरा के कहते हैं
चुराने वाली हर इक
शै चुराई जाती है
चुराने वाली हर इक
शै चुराई जाती है
झुका झुका के नज़र

ज़माना क्यों है मोहब्बत के नाम का दुश्मन
ज़माना क्यों है मोहब्बत के नाम का दुश्मन
ये चीज़ वो है जो
हर दिल में पाई जाती है
ये चीज़ वो है जो
हर दिल में पाई जाती है
झुका झुका के नज़र
यूं उठाई जाती है
के जैसे शम्मा बुझा कर
जलाई जाती है
झुका झुका के नज़र
यूं उठाई जाती है
झुका झुका के नज़र

This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Mohammed Rafi : The Incomparable (II) – Song No. 03
——————————————————————————–

Sometimes when I am contemplating a post and thinking about how to start and what to write in a song post, there are those long forgotten thoughts and sayings or some impressions formed in earlier decades that come to mind. Today, though was very hectic for me, since morning I was on the move, and the heat in Mumbai was not helping. Some how all these factors culminated in me getting a headache by lunch time, which kept worsening as the day wore on. But in the office I had certain urgent things to see to, plus to meet certain people. Changes and advancements in one’s career, though one actively seeks and strives to achieve, also bring about the need of all sorts of adjustments and getting acquainted with new responsibilities. It was one of those days, where the transition was for me to absorb and to look ahead with positivism. But for the headache. Eventually I did kill it with paracetamol. So tomorrow is going to be a new day, promising and bright, God willing.

I told someone I met this morning who is a housewife, that it is good for the kids if the mother is a housewife. A housewife can afford be a lot more patient with children, young or teenagers. We working women on the other hand are, on occasion, prone to losing temper or control even of how we treat the very real and crucial responsibility of raising our children. I have only the son to look after nowadays, who is mostly even tempered but he would like to change a lot of things in me. Even he is prone to have one of those bad hair days. It was his first day at a new junior college/school, but he managed not to defy me and come back by train from there. He waited out the 15-20 minutes delay in collecting him, may be because his mind was full of brand new concepts of chemistry.

So here is song no. 3, which is a endearing rendition by Rafi Sahab. I heard this song for the first time on my iphone a few months ago. One of the reasons why I thought of reviving the series is , to post this song as the incomparable Rafi song. This reminded of a saying I heard decades ago that ‘chiraag bujhne se pehle kuchh zyaada timtimata hai‘ – a sort of “A lamp shining brighter just before being extinguished”.

This is the song sung by Rafi Sahab just before 1980 or thereabouts from the movie ‘Mera Salam”(1980). It is a title song written by Kulwant Jaani. Music director is Rajkamal. I have just now found the video of the song, which nothing to look at, but the link is given along with the audio link.

This song is one of the lost melodies by the brightest shining star in skies of hindi film music.

[Audio]

[Video]

Song – Aaya Hoon Mere Dilbar Teri Anjuman Mein Le Kar (Mera Salaam)(1980) Singer – Mohammed Rafi, Lyrics – Kulwant Jaani, MD – Rajkamal

Lyrics

sijde dar-e-mehboob ke 
kaam aane lage hain
khaamosh nigaahon se ea ea
salaam aane lage hain

aaya hoon mere dilbar
teri anjuman mein le kar
ye wafaa ka jaam le lo
ye wafaa ka jaam le lo
mera salaam le lo oo
mera salaam le lo oo
mera salaam le lo

aaya hoon mere dilbar
teri anjuman mein le kar
yeh wafaa ka jaam le lo
yeh wafaa ka jaam le lo
mera salaam le lo oo
mera salaam le lo oo
mera salaam le lo

mere dil mein aarzoo ki
ek shama’a jal rahi hai
mere dil mein aarzoo ki
ek shama’a jal rahi hai
teri bandagi ki hasrat 
mere dil mein pal rahi hai
o mera sar jhuke jahaan par
mera sar jhuke jahaan par
tum wohi muqaam le lo
tum wohi muqaam le lo
mera salaam le lo 
mera salaam le lo oo
mera salaam le lo

o ooo ooo
ooo ooo ooo
oo ooo ooooo
ooooo

yahi iltijaa karungaa
aaj apne meharbaan se
yahi iltijaa karungaa
aaj apne meharbaan se
mere lab na keh sankenge
jise umr bhar zubaan se
o meri bezubaan nazar se
meri bezubaan nazar se
wo haseen payaam le lo
wo haseen payaam le lo
mera salaam le lo oo
mera salaam le lo oo
mera salaam le lo

main khudaa ko dhoond laaya
hoon tujhe talaash kar ke
main khudaa ko dhoond laaya
hoon tujhe talaash kar ke
ke banaa liya hai heera
ke banaa liya hai heera
sheesha taraash kar ke
main tumhaara naam loonga
main tumhaara naam loonga
tum khudaa ka naam le lo
tum khudaa ka naam le lo
mera salaam le lo oo
mera salaam le lo oo
mera salaam le lo

aaya hoon mere dilbar
teri anjuman mein le kar
yeh wafaa ka jaam le lo
yeh wafaa ka jaam le lo
mera salaam le lo oo
mera salaam le lo oo
mera salaam le lo
mera salaam le lo
mera salaam le lo
mera salaam le lo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

सिजदे दर ए महबूब के
काम आने लगे हैं
खामोश निगाहों से॰॰ ए॰॰
सलाम आने लगे हैं

आया हूँ मेरे दिलबर
तेरी अंजुमन में ले कर
ये वफा का जाम ले लो
ये वफा का जाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो

आया हूँ मेरे दिलबर
तेरी अंजुमन में ले कर
ये वफा का जाम ले लो
ये वफा का जाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो

मेरे दिल में आरज़ू की
एक शम्मा जल रही है
मेरे दिल में आरज़ू की
एक शम्मा जल रही है
तेरी बंदगी की हसरत
मेरे दिल में पल रही है
ओ मेरा सर झुके जहां पे
मेरा सर झुके जहां पे
तुम वही मुकाम ले लो
मेरा सर झुके जहां पे
तुम वही मुकाम ले लो
मेरा सलाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो

ओ ओsss ओsss
ओsss ओsss ओsss
ओs ओsss ओsssss
ओssss

यही इल्तिजा करूंगा
मैं अपने मेहरबाँ से
यही इल्तिजा करूंगा
मैं अपने मेहरबाँ से
मेरे लब ना कह सकेंगे
जिसे उम्र भर ज़ुबान से
ओ मेरी बेजुबां नज़र से
मेरी बेजुबां नज़र से
वो हसीं पयाम ले लो
वो हसीं पयाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो

मैं खुदा को ढूंढ लाया
हूँ तुझे तलाश कर के
मैं खुदा को ढूंढ लाया
हूँ तुझे तलाश कर के
के बना लिया है हीरा
के बना लिया है हीरा
शीशा तराश कर के
मैं तुम्हारा नाम लूँगा
मैं तुम्हारा नाम लूँगा
तुम खुदा का नाम ले लो
तुम खुदा का नाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो

आया हूँ मेरे दिलबर
तेरी अंजुमन में ले कर
ये वफा का जाम ले लो
ये वफा का जाम ले लो
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो॰॰॰
मेरा सलाम ले लो
मेरा सलाम ले लो
मेरा सलाम ले लो
मेरा सलाम ले लो

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.This is his 1000th writeup in the blog

Songs to Tickle Your Memory – 32
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hazaaron khwaahishen aisi
ke har khwaahish pe dam nikle
bahut nikle mere armaan
magar phir bhi kam nikle

roz aise hi hota hai, it happens almost every day. Every day, there is a song that comes to mind, or a song that someone reminds me of, or a ‘new’ old song that I get to hear – a song that is not yet on the blog, or maybe not yet online even. There is an immediate urge, a rush to sit down at my desk and finger type a new post on my laptop. And also upload it online, if need be. Many a time I even start it. The melody continues to hum in the mind. Always overlaid on to another melody that is now a fixture in the backdrop, a melody that you have heard me mention often in my writings – ye hansta hua kaarvan zindagi ka na poochho chala hai kidhar

And more often than not, the essence of limitations of time overpowers this rush. The realities of other things step in. And I wish I could somehow slow down the time – dheere baho, dheere dheere, dheere baho nadiya. I wish I could have another couple of hours in the day. I wish everything in life was just a song. I wish. . . for a utopia of music. A life, and times far removed from the routine of the daily rigmarole. For the only time that seems meaningfully pleasant, is the time that is spent with the tasks of this music, the posts, the uploads – the time spent on the blog. And I think of Atul ji, and the world he has created. The moments that I spend here. . . These are the moments that seem to be far away from the grind of this life. And the soft strains of the melody are reprised in the mind

zindagi jab bhi teri bazm mein laati hai hamen
ye zameen chaand se behtar nazar aati hai hamen

whenever this life brings me to this gathering
i see this earth as more beautiful than the moon

Ah yes, “chaand se behtar”, – a different, more beautiful world, a world of pleasant melodies and moments, a more wholesome time of life, the time spent with this music, the time spent on Atul-Song-a-Day – a blog that is a gift to this world. An inadvertent pastime that has evolved over the ages, into a lasting sanctuary of satisfying pleasure. A gift to the world indeed, and especially to the likes of me and others like me. A gift for which a lifetime full of thanks will not be adequate. Atul ji, my words fall too short. No matter how many times I may express this, still the sum of all my expressions will never compare to the import and the worth of what you have imparted to this world. And I say this with full sincerity, for I know, it is a slice of your own life and you own passions that you have so graciously shared with this world. Known accomplishments are many, for they make the news headlines or get featured in the Sunday pull outs. It is the unsung efforts, as this blog is, which are, by a great measure, far more worthwhile than many that capture the media limelight. But the banjaara does not seek that limelight – the purpose and the joy simply is to feel the music – basti basti parvat parvat gaata jaaye bajaara, le kar dil ka iktaara. . .

And the other rationale that makes me proud of this association, is another thought that I may have mentioned probably in one of my earlier articles. This blog is a piece of history, and as well, it is history in the making – one song at a time, one day at a time. Like a wandering minstrel, who knows not where the destination is, and yet the journey is embarked upon – taqdeer kahaan le jaayegi, maloom nahin, lekin hai yakeen, aayegi manzil. . .  What started off as a small effort to cover a few hundred favourites, has slowly transformed into a historical compendium sans comparison. A hobby that is turning out to be an effort that is slowly but surely moving to become a benchmark record of the history of Hindi cinema. Twelve thousand plus and still going strong, for there are many multiples of that number awaiting to be presented. A think about this blog in this way, and this blog takes on a whole new meaning, a whole new dimension of being – a historical document of unmatched significance and an incomparable level of detail and content. This blog, this group – it is history in the making.

And the future. A little while back, just past the 10K celebrations, I had written a post that summed up my emotions about what is going to be – hum na rahenge, tum na rahoge, ye pyaar hamaara hamesha rahega. Ah yes, days will come when we will not be here. I am reminded of the invigorating sounds of na raja rahega, na raani rahegi, ye duniya hai faani aur faani rahegi. . . The words that follow this preamble, never fail to send a reverberating and chilling shiver down my spine, just like the exhilarating drum beats that accompany these lines – na jab ek bhi zindgaani rahegi, to maati sabhi ki kahaani kahegi. Maybe, you think I am slipping off even from the fringe thoughts. But come to think of it, yes, days will come when we will not be here. But I dare, and hope, and dare to hope that this compendium will be the story teller for the generations yet to come – generations that may come seeking the love and the melody, the love of simplicity of life and the melody grounded in the dust and rust of this land, the sounds of natural beats and the strums of the actual strings; when the imperfections were the beauty; when the tribulation of single channel recording with a solitary microphone, actually induced the artists to accomplish feats of everlasting beauty – a characteristic that was lost when those generations of artists passed away. Just their recordings remain – for us to listen, to enjoy, and to wonder – they were able to create this? just by the sweat of their efforts and the guile of their innovation – they were able to create these soundscapes in the land of imaginations, which were then so painstakingly put on shellac discs. And these became everlasting legends of incomparable loveliness.

Decades later, a hundred, two hundred years from now, there still will be lovers of this art form. And for them, the definitive works and sources of information will may be a handful. Yes, I do dare to claim – that handful will include the Geet Kosh authored by Hamraaz ji, and this, Atul ji’s blog. Like the Taj Mahal, still glittering in the moonlight, centuries after it was painstakingly and lovingly built, brick by individual brick, stone by solitary stone, so will this blog, may the internet be blessed, stand tall as a beacon of lovely melodies for the seekers of this music. And the ‘About This Blog’ page will then describe how this edifice was built, post by loving post, and song by lovely song. And the visitors would then wonder about this ‘Song-a-Day’, day in and day out. From the vantage point where we stand today, we look back over the hundred years of history of Indian cinema, and we marvel. We marvel at the beauty of the storytelling through moving images, and we incredulously admire the splendid music that was created. And we say, kya log the wo deewaane, kya log the wo mastaane. So will the coming generations, see this blog, and wonder, and say the same words kya log the wo deewaane, kya log the wo mastaane. That is what the essence of the collective wisdom of hind sight describes. Today, in the thick of things, we miss seeing that aura. But the later generations will see… this aura. The sum total of all these flights of imaginations finally is – eventually it is the love which matters. Love between the people and the art, and the love between people and people.

From the vantage point where we stand today, at 12000+, there still is an ocean waiting to be uncovered. Each one, a gem in its own right. Each one having a little uniqueness about itself, and yet not losing the genre of being attractive and pleasing. Just come to think of it. Each of these songs were created, one song at a time. Today, we have a hard disk full of tens of thousands of these creations, and we are spoilt for choices. We make lists of favourites, we short list our preferred artists, we listen to selections. But have we tried to listen to it all, one song at a time? There is a small coterie of music lovers around me who are getting into just this habit now – myself, Bakshi ji, Chari sir in Chennai, and others. And as I progress slowly through this ocean, digging for and picking up what seem to be stones in the darkness, I find that they are actually gems that are layered with the grime of the dust of time.

That is when this stunning realisation came to my mind. Yes, each of these songs were created, one song at a time. And I tried to think, to picture in my mind, the team that came together to create this song – what were they thinking, what were they thinking of attempting to do, as they laboured through the steps to write, to  compose, to render and to record these melodies. And I realised – with every song, the team that came together to create it, they had just one thought, one purpose, one aspiration in mind – that this particular song is going to be the best song that was ever created. And then, with this thought in my mind, the entire perspective changes. As I am listening to a song, every other song, every other preference simply fades away. There are no comparisons, there are no benchmarks. It is this one solitary song that is playing, it is this one solitary song that is existing in the moment. And for that moment, that song is the best song ever created – har chehra yahaan chaand, to har zarra sitaara. . .

And suddenly, I am humbled. I feel it is not in my power to seek preferences and to create favourite lists. I have never created a song in my life. Who am I to judge the stalwarts. Yes, I know the histories of their careers, I know of the meteoric flights and the fading demises. All because ‘someone’ judged. Today, as I sit and listen to the songs, one song at a time, I realise there is nothing about it to judge. For that moment, that song is the best ever song, that set of artists are the best artists ever. And I find myself without choices, winning an all consuming freedom to listen to each and every song, and resonate in my heart the feeling of its creators – this is the best song ever to be created. (These are very personal perspectives and experiences, and I know probably most may not agree with me ).

And then the next consistent extrapolation – this blog, and the unstintingly zealous attempts to “YIPPEEE”, i.e. to bring on board all that is possible and feasible. Yes, with the calls of the “YIPPEEE”, here we already have this feeling creep in – har zarra sitaara. . .

Threading back to where these thoughts started from – this blog, its founder, this team, and the momentous collaboration to try and “YIPPEEE” all that we love – the music of Hindi cinema. And it is this love that has brought together this motley crew of Atul ji’s musical bandwagon – a gang that is scattered across many cities, many continents; a gang, many of whose members have not even laid eyes on each other. And yet, a gang that is strung together, inseparably now, just for that one passion that keeps bringing us back to our computers, day after day after day. That is the love that I allude to when I say – ye pyaar hamaara hamesha rahega.

There is a certain quality of the heart itself, that beats inside a lover of music. External veneers and impressions apart, it is that beating quality of the hearts that has brought us together and joins us all together. The world knows about the Big Ben in London. But for me, Big Ben is Katie who lives in Los Angeles. Many are silent soldiers, but the most endearing silent soldier in my heart is Prakash ji – so little to say otherwise, but so much to contribute in terms of artists on screen and the missing links from the YouTube. Mastermind, the dweller of the Nether Lands, the chiller boss of the gangout – I still have to meet. The Ever Happy Kamath, that I am always very happy to meet; he is the trekking master of this group, having measured many an important treks in the mountains of the north. Now, he brings to bear the wandering experience of his hikes on the mountain trails, to take us on a wonderful journey through the years of the forties, introducing us to so many unknown stations that are just a delight to hear and read about.

Treks also remind me of the legendary spirit of chaos, from whom are eagerly awaited the next pages of her Himalayan diaries. Hi Peevesie, do find some time to write, the later decades are waiting for your penmanship. And yes, the ‘YIPPEEE’ gang – Her Majesty, the dealer in antiques (these days making good the undervalued margin decade of the 1970s), Peevesie’s Mom; and Big Ben, again.  And last but not the least, led by the throwback memories of James Bond, operating from his bunker in the south.

The Bombay gang – Bharat ji, with an ever present anecdote for any and every occasion, Nitin ji, and Nahm ji. Mahesh ji, the quatarite in the group, cold water Suri in Chandigarh, Shekhar ji in Singapore, Seshadri ji and Lalitha ji in the US, Pamir Harvey in north Europe, Satyajit ji,. . . the list of such friends continues to grow.

The bulwarks remain for special memories. Bakshi ji in Delhi, his research and efforts taking us behind the screens, into the world of unnamed artists who actually created the music. And dear Jabbar Singh R.M., the oracle keeper of the encyclopedia, our touchstone for the authentic and the proven.

I have been told, and coaxed, by many to most of the above listed inhabitants of my heart, that something special is long awaited and has been delayed inordinately, apparently for no reason. (In my next post, I will write about what has happened in the interim😉 ). Yes, it may be a special occasion and a special post. And I am thinking, it is maybe special, and yet, maybe it is not. Just another post – for eventually, it is the love which matters – naukari sau ki hazaar ki, keemat nahin hoti pyaar ki.

All this love and all the happiness, that I have received, from every person on this bandwagon, it is all submitted in ‘sajda’ to all my friends – I know I love them, and I know they all love me.  Dear Jabbar Singh has couple of times mentioned in his words – getting associated with this blog, transformed his life, his daily routines, and has added a new meaning to the time spent; time that simply flows on and on.  Association with this blog and this bandwagon had brought in a whole new perspective to life. The passion inside finds a reflection, and the joy and cheer gets multiplied, many times over. I couldn’t have said this better.

This post, this offering is a ‘sajda’ to all the fellow travelers – ye hasta hua kaarvan zindagi ka na poochho chala hai kidhar. . . The minds and the voices that dreamt of these words and sang them, are no more. But this refrain continues to be alive, and it will be so till such time that there is even one heart on this planet that hums these lines. The creators of this song will be alive till then.

And so be said for this bandwagon – we shall live till such time there are other lovers of music referring to this blog and its posts – ye pyaar hamaara hamesha rahega.

To all my fellow travellers on this bandwagon – aaj un ke paa-e-naaz pe sajda karenge hum.

The sound of this unique voice will be familiar to many. Yes, to many for whom it was a routine to listen to Vividh Bharti’s evening broadcasts. The words still ring in alleyways of the mind – ‘chhaaya geet ke sabhi sun’ne waalon ko kabban mirza ka adaab’. Kabban Mirza, the master of this wondrous voice, a voice whose guttural and rasping bass simply has no peer anywhere. If one would see him, a dark complexioned persona, hanging on a thin frail physique, one would think twice before getting convinced that this deep throated heavy bass sound is coming from this frame. It is a wonder, and a regretful wonder at that, that this voice is heard just in three songs in Hindi films.

Most people are usually more familiar with Kamaal Amrohi and the ‘Razia Sultana’ of 1983. The story goes that Khayaam Sb was searching for a voice that would suit the brawny and muscular character that was supposed to be a dark slave from the deserts of Africa, and thus satisfy the perfectionist in Kamaal Amrohi Sb. Apparently, he auditioned more than a fifty singers, new and old, familiar and unknown, but Kamaal Sb would not be moved to agree. Then came the suggestion to try the voice of Kabban Mirza, whose fame as radio announcer on AIR was well established at that time. It was an instant open and shut case. Kabban Mirza came, Khayaam Sb took the voice test, Kamaal Sb heard it, and was instantly approved. The outcome was two very beautiful songs in that film “Aayi Zanjeer Ki Jhankaar Khuda Khair Karey”, and “Tera Hijr Mera Naseeb Hai”, picturized on the dark colored slave, Yaqut, role played on screen by Dharmendra.

With such an impressive rendition, it is a wonder that more music directors in Indian cinema did not follow up to have this voice sing for them. I tried to search for more information on this enigmatic persona. And I am surprised by the lack of information that is available about him – surprised because he had an active career when the radio broadcasts were at the height of their popularity, and that he had sung the above mentioned two songs that were quite popular in their times. In my search, I came across a blog posted in January 2012. The blogger, named ‘Param’ has prepared a list of his favorite ghazals/nazms type songs. The two songs in Kabban Mirza’s voice from ‘Razia Sultan’ are included in this list. What surprised me and disturbed me too, was a line written by ‘Param’ – “Who is Kabban Mirza, by the way? Looks like the Razia Sultan (1983) songs are the only two he has ever sung in Hindi films.”  The gentleman is listing these two songs as his favourites, and then also says he knows nothing about this singer. Other sources that I could locate, are also very scarce with any personal information about him.

Kabban Mirza was born in 1936, in Bagh Sher Khan area of old Lucknow. He belonged to the Sheedi or Siddi community. These people are a community that migrated from Central Asia/North Africa, during the time when India was ruled by Muslim dynasties. These people were brought in as slaves in the courts of the rulers of Delhi, Lucknow and other kingdoms in North India. They are also known as ‘habsh’ or ‘habshi’. It is curiously incidental that Yaqut, the slave in the court of Razia Sultan, also belonged to this ‘habsh’ community. It sounds almost providentially ordained that the two people, separated by more than seven centuries – the original persona, and the singer who would sing for that historical character in a film, belong to the same original ethnic community. (Another very well known personality of Indian cinema belongs to this community – real name Seedi Amjad, and screen name Kumar, the actor who played the role of the sculptor in the film ‘Mughal e Azam’ (1960)).

The child in Kabban took to music and singing very early. He was drawn to the ‘nauhaa’ style of singing – the traditional ‘marsiaa’ and ‘taaziadaari’ singing on the solemn occasion of Muharram. It is noted that the child Kabban used to practice his singing with his head inserted inside a ‘matka’ (earthen pot).

As he grew up, he was recognized as a very impressive and inspiring ‘nauha-rubaan’ – a singer of traditional Muharram renderings. His voice caught the attention, and he got his break with All India Radio, in the music department. This phase of his life is not well documented, no details are available about his training in classical music and who his teachers were. But his depth of knowledge about the detailed nuances of classical raags is well acknowledged in his presentations of the radio program ‘Sangeet Sarita’. He anchored this program for many years. He would play select film songs based on Hindustani classical music, and then described in great detail the classical basis, the raag and its variations, the sur, the taal, and their interplay. He garnered a good measure of fan following for this program.

He had joined AIR in Lucknow, but he was soon transferred to Bombay station, where he would take on the anchor role for such noteworthy programs as ‘Hawa Mahal’, ‘Sangeet Sarita’ and ‘Chhaaya Geet’, for many years. That he was called upon to sing for Khayaam Sb in the 1983 film ‘Razia Sultan’ as his first performance in Hindi films, is not wholly correct, and I will return to this point a little later. As mentioned earlier, it is quite a mystery that he did not get more opportunities to sing for Hindi films. There is some mention that he was approached to sing for music director Ravi in BR Chopra’s ‘Nikaah’ (1982), but apparently his association with AIR and his popularity as the anchor of mainline radio programs, came in the way of his further association with the world of films.

The two songs of ‘Razia Sultan’ became very popular in their time – the record sales were impressive. But as destiny would have it, this rise in popularity was accompanied by a most unfortunate health news for Kabban Mirza. He was detected with cancer of the larynx. This was a stroke of extreme bad luck from which he could never recover. His voice and his throat were his vital and essential assets. And that is where fate struck its most unkind blow. He went into prolonged treatment, but eventually he had to be operated upon. The year was 1993. He recovered from surgery and returned home. Thankfully, the malady seemed to be in remission, but then never got to use his voice for any serious and significant assignments.

The respite from the physical predicament lasted for a decade. The problem reared its painful head once again, and in May/June 2003, he had to undergo another surgery that resulted in the removal of a significant part of his larynx, leaving him practically with no sound in his throat. His vocal communications were reduced to very limited rasping utterances at the best. This regrettable fate for someone who had once been honoured with the Golden Voice Award by the AIR.

This last episode is recorded in a news item that was published in the Indian Express newspaper, in Jun 2003. Searched as best as I could, I found no further information on the net about this ill-fated recipient of the Golden Voice Award. There is a later article, as recent as 6^th March of this year (2016), which was published in the Hindi daily, ‘Amar Ujaala’. However, this article talks about parts of the information already noted above, and reminisces about the two songs of ‘Razia Sultan’. There is no definitive information about the state of his affairs after his second surgery in 2003, not even on the AIR website. What a sad disconnect it is.

All the online source just refer to the two songs of ‘Razia Sultan’ (1983) as the only songs sung by Kabban Mirza for films. At one place, another un-credited song is mentioned for a film named ‘Sheeba’. I tried to search for more details for this particular reference, but could not find anything more.

The most interesting part is that Kabban Mirza has sung in Hindi films, at least once before the two songs in ‘Razia Sultan’ (1983). I am presenting today, this rare song from the 1965 film ‘Captain Azaad’. This is a qawwaali that will fall into the rarest of rare traditions of the Hindi film songs. For one, the artists who came together for this song, apparently have no other mention in the Geet Kosh, period. The name of the music director is Peter Nawab. The lyrics are written by Mohsin Nawab. And the main singer is Kabban Mirza. Neither of these three names appear anywhere else in the Geet Kosh, neither the music director, not the lyricist, and nor the singer. Well, technically so, because the current print version of the Geet Kosh ends in 1980, and the songs of ‘Razia Sultan’ came in 1983. So technically, this qawwaali is a first of the firsts, and also their last. That makes this creation a real rare piece.

Secondly, this qawwaali is associated with some wonderful memories of the radio listening days. I had heard it often on the radio in those days, but later it simply disappeared from the radio waves. I had no other information about it, till I was to acquire the Geet Kosh, maybe eight or nine years ago. Then I was able to search out this song and identify the film name and other details. After that, it still took me many years of searching to locate the actual song itself. As far as I can search on the net, this song is not yet uploaded anywhere. (But I have been wrong before, so I admit to that caveat). Many of my friends have enquired from me about the availability of this song, and I have only requested them for patience😉. That the awareness and information about this qawwaali is very sparse, can be noted from the fact mentioned above. None of the online articles about Kabban Mirza that I am able to dig out have referred to this film and this song.

And thirdly, the qawwaali itself. What an exemplary creation it is, be it the words, the music or the renditions, it is simply superb. If I were to pick up the top five qawwaalis from Hindi films, I would surely pick this, and even then, rate it as the best. The poet has surpassed many superlatives to weave the fabric of words that makes up this song. Let me give you an example. It is quite a traditional concept in poetry, that a lonely lover in the long nights of wait and anticipation, is advised to count the stars in the sky – a metaphor that implies that neither the stars in the sky will ever be counted, and nor the wait for the beloved ever end. This refrain is encountered often in romantic poetry. But the poet of this song does one better, and goes a step beyond. He says that all the stars are now counted, and so tell me o night of long wait what should I do.

lo aaj hum ne saare sitaare bhi gin liye
ab ae shab-e-firaaq bataa kya karenge hum

This and some other wonderful plays on words make listening to this qawwaali, a very special experience.

Then, of course, is the composition. It is a wonder how the musicians and music directors of that era have composed for qawwaalis, just using a harmonium and a tabla and/or a dholak, and have come up with such a variety of wonderful melodies that stand apart as unique and striking, each one of them. This melody is also one such appealing musical creation.

And to top it, is the voice of Kabban Mirza. There is such a relaxed quality to his rendition that just listening to the first verse, the first line, brings in such a pleasant listening comfort, that is amazing. The words in the qawwaali sound very expressive and persuasively demanding. But the sounds of Kabban Mirza’s voice make them feel so effortlessly expressed. Listen to this song, and you will feel the joyful fun that the singer is having, singing these lines.

Please note, as you listen through this, that there are possibly two more distinct male voices that can be identified, although no additional names are credited in the Geet Kosh. It is only a speculation as to who these additional singers may be. But that does not take away anything from the collective quality of experience of this qawwaali.

A wondrous and rare qawwaali, and an equally rare singer. I am sure you will be delighted to listen. And as you listen, just ruminate – eventually, it is the love which matters.

naukari sau ki hazaar ki
keemat nahin hoti pyaar ki

Song – Aaj Unke Paay e Naaz Pe Sajdaa Karenge Hum (Captain Azaad) (1964) Singer – Kabban Mirza, Lyrics – Mohsin Nawab, MD – Peter Nawab
Unidentified Male Voice 1
Unidentified Male Voice 2
Chorus

Lyrics

aaj. . .
un ke paa e naaz pe
sajda karenge hum
aaj un ke paa e naaz pe
sajda karenge hum
sajda karenge
sajda karenge
sajda karenge hum. . .
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum

ye husn ye shabaab
ye behki hui nazar
bikhri hain rukh pe aap ke
zulfen idhar udhar
jaise siyaah ghataayen
nichhawar hon chaand par
parwaane shamm e husn par
marte hain bekhabar
tujhko khabar hai zauk e nazar
kya karenge hum
haan haan
tujhko khabar hai zauk e nazar
kya karenge hum
nazar kya karenge hum
wo honge benaqaab to
parda karenge hum
parda karenge
parda karenge
parda karenge hum
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum

gesu mein hain ghataayen to
aankhon mein bijliyaan
gaalon pe hai bahaar to
hothon pe gulsitaan
masti bhari adaayen hain
angdaaiyaan jawaan
aaa. . .aaan
aankhon mein bhar ke khoon e
tamanna ae jaan e jaan
tujh ko  bitha ke saamne
ae raunaq e jahaan
haan haan
tujh ko  bitha ke saamne
ae raunaq e jahaan
ae raunaq e jahaan
tasweer teri dil mein
utaara karenge hum
tasweer teri dil mein
utaara karenge hum
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum

maana shab e firaaq bhi
hoti hai is liye
har nabz e gham isi ke
sahaare guzar sakey
naqaam e ishq hijr mein
taare gina karey
hum intehaa e shauq ki
hadd se guzar gaye
lo aaj hum ne saare
sitaare bhi gin liye
ab ae shab e firaaq bataa
kya karenge hum
ab ae shab e firaaq bataa
ab ae shab e firaaq bataa
ab ae shab e firaaq bataa
kya karenge hum
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum

kaali ghataayen chhaain hain
fasl e bahaar hai
kaliyaan mehak rahi hain
gulon par nikhaar hai
saagar chhalak rahe hain
fizaa saaz e daar hai
sab aa chuken hain sirf
tera intezaar hai
sab aa chuken hain sirf
tera intezaar hai
aa tera husn aur dubaala karenge hum
haan haan
aa tera husn aur dubaala karenge hum
dubaala karenge hum
dil ki shama jalaa ke
ujaala karenge hum
dil ki shama jalaa ke
ujaala karenge hum
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum
sajda karenge
sajda karenge
sajda karenge hum
haan haan
sajda karenge
sajda karenge
sajda karenge hum
un ke bagair ji ke bhala
kya karenge hum
aaj un ke paaye naaz pe
sajda karenge hum
aaj un ke paaye naaz pe
sajda karenge hum

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

आज॰॰॰
उनके पा ए नाज़ पे
सजदा करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम
सजदा करेंगे
सजदा करेंगे
सजदा करेंगे हम॰॰॰
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम

ये हुस्न ये शबाब
ये बहकी हुई नज़र
बिखरीं हैं रुख पे आपके
ज़ुल्फें इधर उधर
जैसे सियाह घटाएँ
निछावर हों चाँद पर
परवाने शम्म ए हुस्न पर
मरते हैं बेखबर
तुझको खबर है ज़ौक़ ए नज़र
क्या करेंगे हम
हाँ हाँ
तुझको खबर है ज़ौक़ ए नज़र
क्या करेंगे हम
नज़र क्या करेंगे हम
वो होंगे बेनकाब तो
पर्दा करेंगे हम
पर्दा करेंगे
पर्दा करेंगे
पर्दा करेंगे हम
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम

गेसू में हैं घटाएँ तो
आँखों में बिजलीयाँ
गालों पे है बहार तो
होठों पे गुलसितां
मस्ती भरी अदाएं हैं
अंगड़ाइयाँ जवां
आ॰॰आं
आँखों में भर के खून ए
तमन्ना ए जान ए जां
तुझको बिठा के सामने
ए रौनक ए जहां
हाँ हाँ
तुझको बिठा के सामने
ए रौनक ए जहां
ए रौनक ए जहां
तस्वीर तेरी दिल में
उतारा करेंगे हम
तस्वीर तेरी दिल में
उतारा करेंगे हम
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम

माना शब ए फिराक भी
होती है इस लिए
हर नब्ज़ ए ग़म इसी के
सहारे गुज़र सके
नाकाम ए इश्क़ हिज्र में
तारे गिना करे
हम इंतेहा ए शौक की
हद से गुज़र गए
लो आज हमने सारे
सितारे भी गिन लिए
अब ए शब ए फिराक बता
क्या करेंगे हम
अब ए शब ए फिराक बता
अब ए शब ए फिराक बता
अब ए शब ए फिराक बता
क्या करेंगे हम
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम

काली घटाएँ छाईं हैं
फस्ल ए बहार है
कलियाँ महक रही हैं
गुलों पे निखार है
सागर छलक रहे हैं
फिजा साज ए दार है
सब आ चुके हैं सिर्फ
तेरा इंतज़ार है
सब आ चुके हैं सिर्फ
तेरा इंतज़ार है
आ तेरा हुस्न और दुबाला करेंगे हम
हाँ हाँ
आ तेरा हुस्न और दुबाला करेंगे हम
दुबाला करेंगे हम
दिल की शमा जला के
उजाला करेंगे हम
दिल की शमा जला के
उजाला करेंगे हम
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम
सजदा करेंगे
सजदा करेंगे
सजदा करेंगे हम
हाँ हाँ
सजदा करेंगे
सजदा करेंगे
सजदा करेंगे हम
उनके बगैर जी के भला
क्या करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम
आज उनके पा ए नाज़ पे
सजदा करेंगे हम

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.

Missing Films of 1960s – 21
– – – – – – – – – – – – – –

Gosh, I did not myself realize that the gap for my “nervous 999” was 52 days. When Khyati Ben specifically mentioned that number, I instinctively scrambled to check, and she is right. Somehow I was under the mistaken notion that I was within the month. But no, the gap was much more. And unhappily so. I did not intend for it to be so long – but then, as they say, the way to hell is paved with good intentions.😉

Two things have been consuming practically all my time these days. The first one – my collection. Let me share a very unfortunate incident that happened with me about two months ago. As yet, I had shared this with Atul ji only. My laptop bag was stolen from my car, in broad daylight, on a busy street, with me and my driver both just right there next to the car. A very old trick, and we fell for it. I had gotten off the car to pick up some things from a shop. The driver was waiting next to the car. When I reached back, the driver tells me that the engine is leaking oil. I asked him how does he know. He says, just few seconds back, someone passed by and pointed to the oil stains in front of the car. Sometime, the thing that has to happen, happens. I asked him to unlock the car, put the shopping things inside, and walked with him to the front of the car. We opened the bonnet to inspect. I saw some oil spilled in the front. I touched it with my fingers, and suddenly the realization flashed. I told the driver, shut down the bonnet, the oil is cold, it cannot be from inside the engine. He pulled the restraining rod and lowered the bonnet. And I saw that the rear door of the car was open. My heart sank, as the full implication struck me like ton of bricks. I rushed towards the rear windows – yes the laptop bag was gone. It was lying on the floor between two seats, and it was no longer there. Our distraction, of going to the front of the car, opening the bonnet and closing it, would have lasted maybe just a minute or minute and a half. And in that much time, the miscreant had swiped the bag, and vanished. I tried to scan the moving people around that spot. There wasn’t a single quick or suspicious movement around. I quickly ran around a few yards in all directions, but there was nothing. Definitely the work of experts, in the face of stupid minds that fall for such basic tricks.

Of course all else that had to be done was done. Lot of time that afternoon and evening was spent with policemen and police officers. FIR was registered, all the necessary bureaucracy, including offers of reward and all, were completed. But it is more than two months now, and there is no information about this robbery. I have been diligently following up for weeks, but to no avail. A laptop theft is a very minor item on the priority list of the police, in the face of murders and drug dealers, and other general upkeep and support of the local political leaders and officials. For them, it is just a statistics.

For me, it was my years of work – all gone in a split second. Besides the laptop, the bag also contained 8 hard disks that carried my entire audio and video collection, built up and organized over many many years. What it means to me, I cannot explain to the police inspector or the havaldar – they will not understand. Collector friends and music lovers will understand the enormity of this incident. For others, it is simply a matter of few thousand, to replace the hardware and move forward.

You may ask why I was carrying ALL my collection at that time. Yes, careless of me, stupidly careless of me. Actually two or three days prior to this incident, we had our monthly get together of the music lovers group. I generally tend to carry all my stuff with me to these meetings, for reference purposes. Just that I had not got around to removing them from the bag after being done with the meeting. It was just sitting there.

I am sure the person who stole the bag, was probably expecting lot of cash; some such robberies continue to happen in the city. Instead he would have found a lot of hardware, which he would probably dispose off at very low rates. The police people told me that such incidents are generally the handiwork of drug addicts, who will expect to make a few thousand in such a act, good for them to get supplies for a few weeks. And the dealer who would take such items from them, well he would first erase all traces of previous ownership and then sell them. What a frustrating thought. I have been raising the level of the reward almost on a weekly basis, just on the thought that some right person may be tempted to gain more from the reward, rather than selling. But now, hope is taking on colors of futility.

The follow up with the police is tapering down, and I have lost all hope that anything may be recovered. I had an extra laptop at home. On the night of this incident, I worked all night to set up this new laptop. The work data backups was a few weeks old, so lost some weeks of work data and emails also. Regarding the music and the films, some things I have in back up, and a lot of other material that I had received from friends over the years, had to be recycled. Over the past few weeks, I have been able to pull back almost 70% of the lost material. However, this now has to be organized into the form that I had built up over so many years – the tagging and segregation etc. That is the most tedious and time consuming effort. It was earlier applied over some years – now I am trying to compress that task as quickly as possible, but not really making great progress. A personal scheme of detailed tagging that I have evolved over the years, now has to be applied all over again. Given the urgency and the volume of work, I seem to be moving really slow with it.

The second big time stealer for me these days is the reconstruction project for our family home.  The project now has been in progress for nearly 8 months. We are on the finishing phase at this time. As it gets closer to completion, it is taking up exponentially more and more time from me, as I am trying to keep a close watch on the multiple activities that are now converging rapidly. A casual stop by at the construction site means easily a couple or three hours gone. That is the other big activity that is commanding the time of my life these days.

In the midst of all this, for the past so many weeks, it has not been easy to find a good productive stretch of some hours to work on the special post. Atul ji had suggest often that I may combine the 1000^th post with another celebration, but I had this idea in mind that I am going to specifically write about the blog, about Atul ji and our team, and not combine that with any other theme. So with all these circumstances, the special post kept getting deferred. I was continuously getting reminders, and yes, even threats, on the side for this, from many friends in the circle. And then, finally I was able to get it done. I am glad it is behind us now. It took all this wait, and also a lot of time to get it done.

And because of this wait, all else, including the anniversaries, the celebration, the ongoing series articles – everything got on to a hold. Actually I did miss some special occasions for which I had draft posts already in place. And they will now come again, when suitable.

Picking up the threads from where they were suspended from many weeks ago. Here today is the next in the series that is home work to me from Khyati Ben – the 1960s films that are still to be introduced on the blog. Today’s film is ‘Tilasmi Duniya’ from 1962.

Back in 1946, another film of the same name was released. Our primary interest in that film has been that the music direction is by Sajjaad Sb. Much else is not known about that film, except the details available in the Geet Kosh. Of the total 10 songs of that film, six are traceable, and all have been posted here on this blog.

Coming to the 1962 film, as the name suggests, it is a fantasy, ‘jaadugar sainyyaan’ type film with a cast that was kind of typical in that era for such films – Daljeet, Krishna Kumari, Shaam Kumar, Sherry, SK Sham, Meera, Rafia, Maqbool, Lambu, Abu Bakar, Fazlu etc. etc. Coming from the banner of Abdul Kareem Productions, the film is directed by AM Khan.

The film has seven songs of which so far, 4 are traceable. The lyricists associated with this film are identified as Anjaan and Sartaj Romani. However, identification of songs written by them is not completely listed in the Geet Kosh. The song being presented today is written by Anjaan.

Music for the film is composed by an unfamiliar duo of music directors – Suresh-Talwar. Unfamiliar, as in almost no information about this pair is available.  Even Pankaj Rag’s tome about ‘Dhunon Ki Yatra’ does not provide much besides a passing mention. However, it seems that this pair was reasonably active in the 1950s and 60s. On our blog, we have 9 songs from seven films already represented here. As I checked the earlier posts, I find the following brief about them, posted by our own in house encyclopedia, our dear Arun ji, in his article for the song “Reshmi Ghataaon Ke Kaafile Chaley” from the 1963 film ‘Tarzan Aur Jaadugar’.

They were supposed to be the most successful C grade Music Directors around. they limited their operations to Action films only, though they did do a few social and religious films also. Starting with Hotel and Sair e Paristan(both 1958),they did Teerthyatra, Fashionable Wife and Sahil-1959, with D C Datt, their most famous film. Geeta Dutt’s song ‘Khatm kar de dastaan’ was included in her ‘Rare Gems’ casette by HMV. Another landmark film was Lady of the lake-1960. The song ‘Zun zun baaje’ was included in the best of Sudha Malhotra’s list by HMV. They also gave music to Elephant Queen, Jungle Boy, Rashtraveer Shivaji, Tilasmi Duniya, Tarzan and jadugar and finally Char Chkramin 1965.

Suresh, the Gujrati partner of this pair, also gave music independently to many films.

Today’s song is a duet sung by Suman Kalyanpur and Shaam Kumar. Shaam Kumar is a familiar persona in Hindi films. In terms of association, the 1949 film ‘Dulari’ has him singing a duet with Geeta Bali on screen. He has appeared in many films across the decades, mostly in side villain, boss’ sidekick, or small character roles. He makes a dramatic appearance just near the climax sequence in ‘Johnny Mera Naam’ (1970).  And his best exposition has been the article by Greta Memsaab on her blog – ‘The Cracktastic Villain’

The film being an unknown, it is not possible to comment on the picturization of this song. But given that Shaam Kumar is in the star cast, it is very likely that he may have performed this song on screen, in the company of a lady character, maybe Krishna Kumari. Just speculating here.

A surprisingly wonderful duet that did not gain much attention, because it belongs to a B/C grade action / fantasy film. Listen to this gem of a song – these less heard B/C grade films are actually a great source of enjoyment. They have gems hidden within, that takes a pleasure to search for, and then the pleasure to listen to them – it is simply great.

(Note: I did find this song posted on YT, but when I listened, I find that it is truncated close the end of the song. So I pulled out the one in my collection, which is thankfully more complete and has all the lines till the end.)

Song – Dil Gaya Dil Gaya Dil Gaya Mera Sainyaan Mujhe Mil Gaya (Tilasmi Duniya) (1962) Singer – Suman Kalyanpur, Shaam Kumar, Lyrics – Anjaan, MD – Suresh-Talwar
Both

Lyrics

dil gaya dil gaya dil gaya
dil gaya dil gaya dil gaya
mera sainyaan
mera sainyaan mujhe mil gaya
ho oo oo
mera sainyaan mujhe mil gaya

mili jab se hain tujh se nigaahen
koi gul ye ajab khil gaya
koi gul ye ajab khil gaya
mera sainyaan
mera sainyaan mujhe mil gaya
ho oo oo
mera sainyaan mujhe mil gaya

haa haa haa aaa
haa haa haa
ho oo oo
hmm mmm mmm

aji ruk ruk ke thandi hawaa
aaa aaa aaa
kaho gup chup ye kehti hai kya
aaaaaa aaaaa
aji ruk ruk ke thandi hawaa
oo oo ooo
kaho gup chup ye kehti hai kya
meri dhadkan machalne lagi 
aaa aaa aaa
dil ki duniya badalne lagi
kiya kismet ne jaadu naya
kiya kismet ne jaadu naya
mera sainyaan
mera sainyaan mujhe mil gaya
ho oo oo
mera sainyaan mujhe mil gaya

haa haa haa aaa
haa haa haa
ho oo oo
hmm mmm mmm

teri surat ye bholi adaa
oo oo oo
dekhte hi mujhe kya hua
aaaaaa aaaaa
teri surat ye bholi adaa
oo oo oo
dekhte hi mujhe kya hua
koi aankhon mein chhaane laga
aaa aaa aaa
naye sapne dikhaane laga
chhaa gaya chhaa gaya kya nasha
chhaa gaya chhaa gaya kya nasha
mera sainyaan
mera sainyaan mujhe mil gaya
ho oo oo
mera sainyaan mujhe mil gaya

haa haa haa aaa
haa haa haa
oo oo oo
hmm mmm mmm

jahaan chhup chhup ke hum tum miley
ho oo oo
wahin dil dushmanon ke jaley
aaa aaa aaa
jahaan chhup chhup ke hum tum miley
oo oo oo
wahin dil dushmanon ke jaley
jo jaley un ko jalne bhi do
aaa aaa aaa
main tumhaari hoon tum mere ho
ab na tootey vacahan pyaar ka
ab na tootey vacahan pyaar ka
mera sainyaan
mera sainyaan mujhe mil gaya
ho oo oo
mera sainyaan mujhe mil gaya

dil gaya dil gaya dil gaya
mera sainyaan
mera sainyaan mujhe mil gaya

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

दिल गया दिल गया दिल गया
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया
हो ओ ओ
मेरा सैय्यां मुझे मिल गया

मिली जबसे हैं तुझसे निगाहें
कोई गुल ये अजब खिल गया
कोई गुल ये अजब खिल गया
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया
हो ओ ओ
मेरा सैय्यां मुझे मिल गया

हा हा हा आ
हा हा हा
हो ओ ओ
हम्म मम्म मम्म

अजी रुक रुक के ठंडी हवा
आ आ आ
कहो गुप चुप ये कहती है क्या
आssss आsss
अजी रुक रुक के ठंडी हवा
ओ ओ ओ
कहो गुप चुप ये कहती है क्या
मेरी धड़कन मचलने लगी
आ आ आ
दिल की दुनिया बदलने लगी
किया किस्मत ने जादू नया
किया किस्मत ने जादू नया
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया
हो ओ ओ
मेरा सैय्यां मुझे मिल गया

हा हा हा आ
हा हा हा
हो ओ ओ
हम्म मम्म मम्म

तेरी सूरत ये भोली अदा
ओ ओ ओ
देखते ही मुझे क्या हुआ
आssss आsss
तेरी सूरत ये भोली अदा
ओ ओ ओ
देखते ही मुझे क्या हुआ
कोई आँखों में छाने लगा
आ आ आ
नए सपने दिखाने लगा
छा गया छा गया क्या नशा
छा गया छा गया क्या नशा
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया
हो ओ ओ
मेरा सैय्यां मुझे मिल गया

हा हा हा आ
हा हा हा
हो ओ ओ
हम्म मम्म मम्म

जहां छुप छुप के हम तुम मिले
हो ओ ओ
वहीं दिल दुश्मनों के जले
आ आ आ
जहां छुप छुप के हम तुम मिले
ओ ओ ओ
वहीं दिल दुश्मनों के जले
जो जलें उनको जलने भी दो
आ आ आ
मैं तुम्हारी हूँ तुम मेरे हो
अब ना टूटे वचन प्यार का
अब ना टूटे वचन प्यार का
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया
हो ओ ओ
मेरा सैय्यां मुझे मिल गया

दिल गया दिल गया दिल गया
मेरा सैय्यां
मेरा सैय्यां मुझे मिल गया

This article is written by Bharat Upadhyay, 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.

Genius of Jaidev – 48
———————————

After full one month, I submit one more jewel from genius Jaidev. Whatever of Jaidev-ji’s songs I had in my khajana upto the year 1979 have now been covered. Not being a true researcher (though I worked in a research institute for forty years) for digging out songs from past decades, which are rare and not easily available, there may be some which I will present if they surface, someday, but I now enter the year 1980.

Film ‘Aayee Teri Yaad’ (1980) was a social film produced by Neo-Golden Movies, Bombay (now Mumbai) and directed by Krushna Naidu. The star-cast included a new-found leading pair, Tariq Shah and Meera. They were supported by Shashi Puri, Shammi, Rajanibala, Vishnu Kumar Vyas, Shahgul Durrani, Savita Bajaj, Baby Parveen, Birbal, Minu Khanna, Narendra, Maqbool, Sajjaad Khan, Anwar, Mukesh, Anupama Pradhan, Kalpana etc.

I have neither seen the movie nor I know how the film fared at the box-office. We, as music lovers, are concerned with the music, and the songs of this film are simply fantastic. There were four songs in this film written by Naqsh Llayalpuri and tuned by our genius Jaidev. The singers of those songs were in typical Jaidev style, not the then popular voices, but somewhat rarely used singers like Hariharan, Bhupinder and Peenaz Masani. Three out of four songs have already found place in this wonderful musical Blog.  Please enjoy this fourth song which also happens to be a so called ‘Yiiipeeeee’ song, a duet by Bhupinder and Peenaz Masani singing the love song in their uniquely different but sweet voices.

I also want to point out to the music lovers, to pay attention to the symphony type long interlude orchestra in between the stanzas. It is a striking variation to Jaidev’s usual Sitar-Flute music interludes.

Song – Sau Baar Kahaa Aankhon Ne (Aayee Teri Yaad) (1980) Singers – Bhupinder, Peenaz Masani, Lyrics – Naqsh Llayalpuri, MD – Jaidev
Chorus

Lyrics

sau baar kahaa aankhon ne yehi afsaana
sau baar kahaa aankhon ne yehi afsaana
dil jaan-e-tamanna
dil jaan-e-tamanna
aap ka hai deewaana
main teri jawaan
baahon mein chali aayi hoon
teri jawaan
baahon mein chali aayi hoon
tu meri haseen palkon mein khwaab sajaana
tu meri haseen palkon mein khwaab sajaana
dil jaan-e-tamanna aap ka hai deewaana
 
yeh phoolon ki mehki mehki si anganaayi
yeh phoolon ki mehki mehki si anganaayi
dil chhoone lagi
dil chhoone lagi jharnon ki madhur shehanai
lo seekh liya mausam ne pyaar lutaana
lo
lo seekh liya mausam ne pyaar lutaana
dil jaan-e-tamanna aap ka hai deewaana
 
main husn tera rangon mein sawanroon kaise
main teri hansi aankhon mein nihaaroon kaise
main husn tera rangon mein sawanroon kaise
main teri hansi aankhon mein nihaaroon kaise
ye baat agar tu samjhe to samjhaana
ye
ye baat agar tu samjhe to samjhaana
dil jaan-e-tamanna aap ka hai deewaana
 
chha jaaye meri duniya mein khushi ka saawan
chha jaaye meri duniya mein khushi ka saawan
naaa chhoote kabhi
naaa chhoote kabhi haathon se wafaa ka daaman
tu meri wafaa ka raaz hai jaan-e-jaana
tu
tu meri wafaa ka raaz hai jaan-e-jaana
dil jaan-e-tamanna
aap ka hai deewaana
——————————————————
Hindi script lyrics (Provided by Sudhir)
———————————–——————-

सौ बार कहा आँखों ने यही अफसाना
सौ बार कहा आँखों ने यही अफसाना
दिल जान ए तमन्ना
दिल जान ए तमन्ना
आप का है दीवाना
मैं तेरी जवां
बाहों में चली आई हूँ
तेरी जवां
बाहों में चली आई हूँ
तू मेरी हसीं पलकों में ख्वाब सजाना
तू मेरी हसीं पलकों में ख्वाब सजाना
दिल जान ए तमन्ना आप का है दीवाना

ये फूलों की महकी महकी सी अंगनाई
ये फूलों की महकी महकी सी अंगनाई
दिल छूने लगी
दिल छूने लगी झरनों की मधुर शहनाई
लो सीख लिया मौसम ने प्यार लुटाना
लो
लो सीख लिया मौसम ने प्यार लुटाना
दिल जान ए तमन्ना आप का है दीवाना

मैं हुस्न तेरा रंगों में संवारूँ कैसे
मैं तेरी हंसी को आँखों में निहारूँ कैसे
मैं हुस्न तेरा रंगों में संवारूँ कैसे
मैं तेरी हंसी को आँखों में निहारूँ कैसे
ये बात अगर तू समझे तो समझाना
ये
ये बात अगर तू समझे तो समझाना
दिल जान ए तमन्ना आप का है दीवाना

छा जाये मेरी दुनिया में खुशी का सावन
छा जाये मेरी दुनिया में खुशी का सावन
ना छूटे कभी
ना छूटे कभी हाथों से वफा का दामन
तू मेरी वफा का राज़ है जान ए जाना
तू
तू मेरी वफा का राज़ है जान ए जाना
दिल जान ए तमन्ना
आप का है दीवाना

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.

Missing Films of 1960s – 22
– – – – – – – – – – – – – –

‘Toofaani Tarzan’ – a picture with this name was produced and released way back in 1937. That film was produced by Wadia Movietone, and the title role of Tarzan was performed by John Cawas. The film had three songs, written by Pandit Gyan, and composed by Master Mohammad. All three songs are in the voice of Ahmed Dilawar. Interestingly, the film itself is available, as are the three songs on 78 rpm records published under the ‘Twin Records’ label.

Fast forward 25 years, and on to 1962. Another film with the same title, was released this year. This time, the production banner for this stunt genre film, is Navshakti Films, Bombay. The title role was performed by Azaad. The five songs of this film are written by Saba Afghani and the music is by Iqbal. As noted in some of the earlier posts which carry songs composed by this music director, almost no information is traceable him. It is quite sure that this person is not the same as the other music director, Iqbal Qureshi. Pankaj Raag presents a brief list of films and their songs, which have the music from Iqbal. The description is about one page in his book ‘Dhunon Ki Yatra’. However, the author has also stated that he has not been able to trace out any other information about this music director.

The film itself is not available. I had earlier mentioned about the 1937 film, only to compare the availability. The 1937 film, being from the house of Wadia, has had a better luck for being cared for and preserved. But this film from 1962 seems to have suffered a very different fate.

Geet Kosh lists 5 songs for this film, which possibly could have been released on three 78 rpm discs. One of the songs is a qawwaali that expectedly could have been on two sides of one record. In terms of availability, information about only one physical 78 rpm record is traceable. This rare gramophone record is not easily available.

The record has two songs both sung by Asha Bhosle. The recordings of these songs were shared with me by another dear collector friend, Deepak Chaudhry, of Amaravati. With this post, the film ‘Toofaani Tarzan’ of 1962 makes a debut on our blog, and one of the two available songs is presented here. A light romantic song of the first love, the first encounter of a young lady with her beau, and all the emotions, the aches and pains, and the joys of losing one’s heart, are flowing through in the words of this song.

An attractive delightful melody, sounds so fresh and young even today, more than five decades after its creation. Listen and enjoy.

Song – Un Se Meri Pehli Mulaqaat Ho Gai (Toofaani Tarzan) (1962) Singer – Asha Bhosle, Lyrics – Saba Afghani, MD – Iqbal

Lyrics

un se meri
un se meri pehli mulaqaat ho gai
un se meri pehli mulaqaat ho gai
ho ji aankhon hi aankhon mein baat ho gai
haan ji baat ho gai
un se meree…
un se meri pehli mulaqaat ho gai
ho ji aankhon hi aankhon mein baat ho gai
haan ji baat ho gai

ooo ooo ooooooo
oo oo ooo

chhede papiha bhi mujhe
pee kahaan boley
bhed zamaane se mere pyar ka kholey
dil ko thaam loon
un ka naam loon
dil ko thaam loon
un ka naam loon
jin ke pyaar mein ye baat ho gai
un se meri
un se meri pehli mulaqaat ho gai
ho ji aankhon hi aankhon mein baat ho gai
haan ji baat ho gai

laakh mein chaahun ke mohabbat ko chhupa loon
ek machalta hua dil kaise sambhaaloon
haaye kya karoon
un se kya kahoon
haaye kya karoon
un se kya kahoon
ab to dil se dil ki baat ho gai
un se meri
un se meri pehli mulaqaat ho gai
ho ji aankhon hi aankhon mein baat ho gai
haan ji baat ho gai

ooo ooo ooooooo
oo oo ooo

aaj adaaon ka meri dhang naya hai
haar ke dil maine unhen dekh liya hai
pehla pyar hai
pehli haar hai
pehla pyar hai
pehli haar hai
phir bhi jeet mere saath ho gai
un se meri
un se meri pehli mulaqaat ho gai
ho ji aankhon hi aankhon mein baat ho gai
haan ji baat ho gai

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

उनसे मेरी
उनसे मेरी पहली मुलाक़ात हो गई
उनसे मेरी पहली मुलाक़ात हो गई
हो जी आँखों ही आँखों में बात हो गई
हाँ जी बात हो गई
उनसे मेरी॰॰॰
उनसे मेरी पहली मुलाक़ात हो गई
हो जी आँखों ही आँखों में बात हो गई
हाँ जी बात हो गई

ओss ओss ओssssss
ओs ओs ओss

छेड़े पपीहा भी मुझे
पी कहाँ बोले
भेद ज़माने से मेरे प्यार के खोले
दिल को थाम लूँ
उन का नाम लूँ
दिल को थाम लूँ
उन का नाम लूँ
जिनके प्यार में ये बात हो गई
उनसे मेरी
उनसे मेरी पहली मुलाक़ात हो गई
हो जी आँखों ही आँखों में बात हो गई
हाँ जी बात हो गई

लाख मैं चाहूँ के मोहब्बत को छुपा लूँ
एक मचलता हुआ दिल कैसे संभालूँ
हाय क्या करूँ
उनसे क्या कहूँ
हाय क्या करूँ
उनसे क्या कहूँ
अब तो दिल से दिल की बात हो गई
उनसे मेरी
उनसे मेरी पहली मुलाक़ात हो गई
हो जी आँखों ही आँखों में बात हो गई
हाँ जी बात हो गई

ओss ओss ओssssss
ओs ओs ओss

आज अदाओं का मेरी ढंग नया है
हार के दिल मैंने उन्हें देख लिया है
पहला प्यार है
पहली बार है
पहला प्यार है
पहली बार है
फिर भी जीत मेरे साथ हो गई
उनसे मेरी
उनसे मेरी पहली मुलाक़ात हो गई
हो जी आँखों ही आँखों में बात हो गई
हाँ जी बात हो गई

This article is written 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.

For a soft and lovely and romantic expression, it probably does not get better than this delightful ghazal. The words, the music, and the rendition – all have come together to craft this wonderful expression of bashful love. Love, that wants to say many things, but remains un-speaking, when presented with the opportunity. The anxiety and hesitations tie the tongue, and the moments pass by without a word being said. Shakeel Sb has so beautifully painted the words around this emotion. Each couplet is a priceless gem. I am bowled over with how the words are knitted together.

hasraten aarzooen umangen
jaane kis raah par jaa rahi theen
un ko dekha to manzil samajh kar
ruk gaya karvaan un ke aage

Wow. And all this – without actually saying a word. The director (Nitin Bose) has so beautifully crafted the picturization of this song. The very spirit of this song would have been sullied, if the singer and the listener were together. And so this song is designed as a song being performed in the broadcasting studio at a radio station. And the intended recipient of this message is at the other end of the wave spectrum, listening to these words, as they emanate from a radio. Aah, what delicate handling, and what a discerning presentation.

The rhythm and the pace of Ravi’s music is soft and pleasant. There is a feeling of relaxed remorse, but seemingly a very satisfied and happy remorse. (‘happy remorse’ – sounds like an oxymoron. Ah yes, but all is possible in love. ) The instruments are played lightly, and do not distract from the words or from the visual. A light, flowing melody, that has been so lovingly rendered by Asha ji. All in all, a very pleasing and enchanting ghazal.

The film ‘Ummeed’ is listed in the Geet Kosh in the year 1971. However, some online sources, specifically IMDB and Wikipedia, list this film with the year 1962, which apparently seems to be an error. The film is produced by Rajan Films, Bombay and is directed by Nitin Bose. The Wikipedia and IMDB also list Bimal Roy’s name as the editor of this film.  This information also appears to be in error, since Bimal Roy had passed away in 1966. Is this a film that was started in the early 1960s, but got delayed and was finally released only in 1971? I request other knowledgeable readers and friends to please comment on and add more information if available.

The star cast is impressive – Ashok Kumar, Joy Mukherji, Nanda, Leela Naidu, Tarun Bose, Agha, Leela Misra, Chandrima Bhaduri, Hazara Singh, Parshuram, Lakshi Chhaya, Nazir  Kashmiri, Jeevankala, Madhumati, Jankidas,  Sabita Chatterji, Tuntun, Ravikant, and Hussain amongst others. The film has seven songs, which include a rare song – written and rendered by the music director Ravi himself – “Insaan Jee Raha Hai Ummeed Ke Sahaare”.

Onscreen, the song is performed by Nanda, singing in the studios at a radio station. Joy Mukherji and Leela Naidu are seen together, sipping tea, and listening to this song on the radio. There is possibly some conversation before this song starts, but once the song comes on, all conversations cease. Joy Mukherji seems to be in a trance, as he listens to the voice on the radio. And Leela Naidu, possibly misreading his silence, appears happy within.

Listen, and lose yourself in the softness of this poem of love.

Song – Hum Ne Chaaha Magar Keh Na Paaye (Ummeed) (1971) Singer – Asha Bhosle, Lyrics – Shakeel Badayuni, MD – Ravi

Lyrics

hum ne chaaha magar keh na paaye
pyaar ki dastaan un ke aage
hum ne chaaha magar keh na paaye
pyaar ki dastaan un ke aage
jab nigaahe mili sharm aayi
khul na paai zabaan un ke aage

ek uljhi hui si tamannaa
dil mein kuchh karwaten le rahi hai
ek uljhi hui si tamannaa
dil mein kuchh karwaten le rahi hai
dil mein kuchh karwaten le rahi hai
un ki baahon ka le len sahaara
itni himmat kahaan un ke aage
hum ne chaaha magar keh na paaye
pyaar ki dastaan un ke aage

hasraten aarzooen umangen
jaane kis raah par jaa rahi theen
hasraten aarzooen umangen
jaane kis raah par jaa rahi theen
jaane kis raah par jaa rahi theen
un ko dekha to manzil samajh kar
ruk gaya karvaan un ke aage
hum ne chaaha magar keh na paaye
pyaar ki dastaan un ke aage

dekh kar be-zabaani hamaari
kaash wo jaan len baat dil ki
dekh kar be-zabaani hamaari
kaash wo jaan len baat dil ki
kaash wo jaan len baat dil ki
haath phailaa ke kuchh maangti hoon
apni tanhaai’aan un ke aage
hum ne chaaha magar keh na paaye
pyaar ki dastaan un ke aage
jab nigaahe mili sharm aayi
khul na paai zabaan un ke aage

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

हम ने चाहा मगर कह ना पाये
प्यार की दास्ताँ उनके आगे
हम ने चाहा मगर कह ना पाये
प्यार की दास्ताँ उनके आगे
जब निगाहें मिलीं शर्म आई
खुल ना पाई ज़बान उनके आगे

एक उलझी हुई सी तमन्ना
दिल में कुछ करवटें ले रही है
एक उलझी हुई सी तमन्ना
दिल में कुछ करवटें ले रही है
दिल में कुछ करवटें ले रही है
उनकी बाहों का ले लें सहारा
इतनी हिम्मत कहाँ उनके आगे
हम ने चाहा मगर कह ना पाये
प्यार की दास्ताँ उनके आगे

हसरतें आरज़ूएं उमंगें
जाने किस राह पर जा रही थीं
हसरतें आरज़ूएं उमंगें
जाने किस राह पर जा रही थीं
जाने किस राह पर जा रही थीं
उनको देखा तो मंज़िल समझ कर
रुक गया कारवां उनके आगे
हम ने चाहा मगर कह ना पाये
प्यार की दास्ताँ उनके आगे

देख कर बे-ज़बानी हमारी
काश वो जान लें बात दिल की
देख कर बे-ज़बानी हमारी
काश वो जान लें बात दिल की
काश वो जान लें बात दिल की
हाथ फैला के कुछ मांगती हूँ
अपनी तनहाईआं उनके आगे
हम ने चाहा मगर कह ना पाये
प्यार की दास्ताँ उनके आगे
जब निगाहें मिलीं शर्म आई
खुल ना पाई ज़बान उनके आगे

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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 22
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘त’
“तुम्हीं से हुई है शुरू और तुम्हीं पे सनम खत्म होगी कहानी हमारी”

What a gem of a delight this song is, from the 1969 film ‘Mera Dost’. As we continue to delve and search, we continue to come across as yet un-posted songs that are simply out of this world. Such wonders will not cease, I am sure for quite some time yet.

Rafi Sb is at his soft romantic best in this song, which is written by Anand Bakshi and composed by Lakshmikant Pyaarelal. The film is apparently a Sheikh Mukhtar genre, as is clear from the star cast listing. The list of actors includes Sheikh Mukhtar, Mumtaz, M Rajan, Aruna Irani, Mukri, KN Singh, Raj Mehra, Durga Khote, Ratna and Kamal Kapoor, amongst others.

There is a total of six songs in this film. This is one of the two solo songs by Rafi Sb. I have not been able to locate any video of this song, and so I request other knowledgeable readers and friends to kindly add more information about the song and the film.

As I was listening and writing down the lyrics, I realized that this is a birthday song, as becomes apparent from the lines in the last antaraa. The thing that captures you the most is the rendition by Rafi Sb. The soft and the measured pace is so expressive, and so engaging. As are the words – so wonderfully crafted.

agar bas mein ye dil hota to chup rehte…
…  …
magar kya karen ab zubaan e nazar se
lagi bolne be-zubaani hamaari

Enjoy this lovely addition to this series.

Rafi Sb forever.

Song – Tumhin Se Hui Hai Shuru Aur Tumhin Pe Sanam Khatm Hogi Kahaani Hamaari (Mera Dost) (1969) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

tumhin se hui hai
shuru aur tumhin pe
sanam khatm hogi kahaani hamaari
tumhin se hui hai
shuru aur tumhin pe
sanam khatm hogi kahaani hamaari
kisi gair se hum
mohabbat karen to
khuda chheen le
zindgaani hamaari
tumhin se hui hai

yahi zulfen
yahi nazren
yahi dar hai hamaara
jahaan chhoden
magar chhoden
na hum daaman tumhaara
kasam le lo
kasam le lo
ye waada hai
na tootega..aa..aa..aa
kahin aur apne
ye sajde lutaaye
to ho jaaye rusvaa
jawaani hamaari
tumhin se hui hai
shuru aur tumhin pe
sanam khatm hogi kahaani hamaari
tumhin se hui hai

na tum ko bhi
khabar hoti
tumhen yun pyaar karte
guzarti hai
jo is dil pe
na hum izhaar karte
agar bas mein
agar bas mein
ye dil hota
to chup rehte..e..e..e
magar kya karen
ab zubaan e nazar se
lagi bolne
be-zubaani hamaari
tumhin se hui hai
shuru aur tumhin pe
sanam khatm hogi kahaani hamaari
tumhin se hui hai

koi heere
koi moti
koi ye phool laaya
hamaara dil
fakat naam e
mohabbat le ke aaya
mohabbat se
mohabbat se
zyaada kya
haseen hoga..aa..aa..aa
yahi hai hamaari
nigaahon ka tohfa
yahi ban sakega
nishaani hamaari
tumhin se hui hai
shuru aur tumhin pe
sanam khatm hogi kahaani hamaari
kisi gair se hum
mohabbat karen to
khuda chheen le
zindgaani hamaari
tumhin se hui hai

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

तुम्हीं से हुई है
शुरू और तुम्हीं पे
सनम खत्म होगी कहानी हमारी
तुम्हीं से हुई है
शुरू और तुम्हीं पे
सनम खत्म होगी कहानी हमारी
किसी ग़ैर से हम
मोहब्बत करें तो
खुदा छीन ले
ज़िंदगानी हमारी
तुम्हीं से हुई है

यही ज़ुल्फें
यही नज़रें
यही दर है हमारा
जहां छोड़ें
मगर छोड़ें
ना हम दामन तुम्हारा
कसम ले लो
कसम ले लो
ये वादा है
ना टूटेगा॰॰आ॰॰आ॰॰आ
कहीं और अपने
ये सजदे लुटाये
तो हो जाये रुसवा
जवानी हमारी
तुम्हीं से हुई है
शुरू और तुम्हीं पे
सनम खत्म होगी कहानी हमारी
तुम्हीं से हुई है

ना तुमको भी
खबर होती
तुम्हें यूं प्यार करते
गुजरती है
जो इस दिल पे
ना हम इज़हार करते
अगर बस में
अगर बस में
ये दिल होता तो
तो चुप रहते॰॰ए॰॰ए॰॰ए
मगर क्या करें
अब ज़ुबान ए नज़र से
लगी बोलने
बे-ज़ुबानी हमारी
तुम्हीं से हुई है
शुरू और तुम्हीं पे
सनम खत्म होगी कहानी हमारी
तुम्हीं से हुई है

कोई हीरे
कोई मोती
कोई ये फूल लाया
हमारा दिल
फकत नाम ए
मोहब्बत ले के आया
मोहब्बत से
मोहब्बत से
ज़्यादा क्या
हसीं होगा॰॰आ॰॰आ॰॰आ
यही है हमारी
निगाहों का तोहफा
यही बन सकेगा
निशानी हमारी
तुम्हीं से हुई है
शुरू और तुम्हीं पे
सनम खत्म होगी कहानी हमारी
किसी ग़ैर से हम
मोहब्बत करें तो
खुदा छीन ले
ज़िंदगानी हमारी
तुम्हीं से हुई है

This article is written 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.

Songs to Tickle Your Memory – 33
– – – – – – – – – – – – – – – – – –

wo jab yaad aaye
bahut yaad aaye

yes, bahut yaad aaye. . .  that voice – the magic, the magnetism, the feeling of surreal contentment that descends into the being, and ensconces it with a joyous delight. It is a voice, that now lives only in our memories, or in the ethereal sound waves. The memories are such, they will never be detached till the breaths last. And the sound – they say in our culture that sound is forever; it lives in the space for all times to come.  And so will this voice. This voice – of Rafi Sb. This voice that went to sleep 36 years ago, today. 36 years seem to be a long time, a third of a human life already. But it seems just like, well, recently. And the affinity and the magic of this voice has only deepened with time.

Remembering Rafi Sb today, with all humility and respect and love.

The most remarkable trait of Rafi Sb’s singing is his ability to project performance through sound. He had a natural grasp of not just the vocal and emotional expression of the on screen persona, but also a keen understanding of the physical expression. Putting these together, it is no wonder that in his singing, one is hard put to separate the voice from the on screen persona, who so ever that person may be. This amazing ability made Rafi Sb’s singing the most innately resident voice for any artist.

Atul ji has mentioned in an earlier post today, that on this blog, we are actually celebrating Rafi Sb, on every single day. And our homage is not to repeat a song. It is a new song – new, meaning a song as yet un-posted on the blog. And in the process, we keep on discovering obscure and hitherto unheard gems, or we rediscover delightful songs that made quite a stir in their days, but were soon forgotten and consigned under the sands of time. Whereas other blogs, or radio programs, or even live celebrations continue to recycle the same old ‘popular hits’, and will continue to talk about Shammi Kapoor, Rajendra Kumar, Dilip Kumar etc. Or they will talk about Rajesh Khanna and Amitabh Bachchan also, but again, in the context of ‘popular hits’ only. On this blog, we do serve more, the interest of the lesser heard, obscure and unheard songs, almost on a daily basis.

Today’s fabulous song belongs to that category. Heard often on the radio in my childhood, this song was lost for quite some time in the murk of anonymity. I had memories of it in my mind, but was able to lay hands on the actual song just about a few months ago. Online, some vested interests had post teaser versions, of just half minute or 45 seconds. The song has appeared online in its full version, just about a couple of months ago.

The film is ‘Pyaar Ki Jeet’ from 1962. The songwriter is Qamar Jalaalabaadi, the music is from the mind of Sudhir Phadke. The voice of Asha Bhosle accompanies Rafi Sb. However, Asha ji’s share of lines is lesser in comparison. On screen, this song is picturized on Mahipal and Kalpana. As the words in the song suggest, literally the scene is that the heroine ascends from within the waters of a pond (or a river). And the poet’s imagination captures the scene so beautifully, saying that a new moon has arisen from the waters.

Words, alas are words. Their impact does not go too far. It gets limited by the visual that may spring in the reader’s mind as these lines are perused. But then, frame these words in a semi classical mould, the way only Sudhir Phadke can, and have the voice of Rafi Sb to express the particular emotion. The combination leaves out very little for imagination. The next best thing is just the visual of the scene. And that too, as we have discussed many times in these pages, is at times so lackluster that the mind says, just listen to the singing expression, and do away with the visual. That is the power of performing expression that is projected by some. By some exceptional singer – like Rafi Sb.

Forever and ever, Rafi Sb.

Song – Jaane Meri Akhiyon Ne Dekha Hai Kya (Pyaar Ki Jeet) (1962) Singers – Mohammed Rafi, Asha Bhosle, Lyrics – Qamar Jalaalabaadi, MD – Sudhir Phadke

Lyrics

jaane meri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane meri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

mukhde pe nanhi nanhi boondon ke dhaare
chanda ke saath jaise
chhote chhote taare
din mein hain taare
ye jaadu hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane teri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

nain kisi ke
roop hai apna
din ke ujaale mein kaisa ye sapna
ang ang kis ne rang bhara
paani se nikla hai chaand naya
paani se nikla hai chaand naya

main hoon pujaari tu
meri kala hai
jahaan tere pag
wahaan mann bhi chala hai
kya hai ye naata
ye tu hi bataa
paani se nikla hai chaand naya
paani se nikla hai chaand naya
jaane teri akhiyon ne dekha hai kya
dekha hai kya
paani se nikla hai chaand naya
paani se nikla hai chaand naya

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

जाने मेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने मेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

मुखड़े पे नन्ही नन्ही बूंदों के धारे
चंदा के साथ जैसे
छोटे छोटे तारे
दिन में हैं तारे
ये जादू है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने तेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

नैन किस के
रूप है अपना
दिन उजाले में कैसा ये सपना
अंग अंग किस ने रंग भरा
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

मैं हूँ पुजारी तू
मेरी कला है
जहां तेरे पग
वहाँ मन भी चला है
क्या है ये नाता
तू ही बता
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया
जाने तेरी अखियों ने देखा है क्या
देखा है क्या
पानी से निकला है चाँद नया
पानी से निकला है चाँद नया

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.

Today we add one more movie in our endeavor to bring ‘movies with same titles’ on the blog. Today’s movie is ‘Chaltaa Purzaa-1958’

There is another movie with same title in 1977 which has already made a debut on the blog.  (Both movies have been spelled as ‘Chaltaa Purzaa’ in HFGK, Vol.III & V respectively).

‘Chaltaa Purzaa-1958’ (alias ‘Challenge’) was directed by Ravi Kapoor. It had Shashikala, Kamran, Krishnakumari, Sunder, Neeru, Goldstein, Habib, Shyam Kumar, Satish Batra, Nirmal, Kundan, Amrit Rana, Ahmed, Rafiq and others. This movie had seven songs penned by Jaan Nissar Akhtar and composed by Aziz Hindi.

The film was passed by censor board on 30.12.1958. As per HFGK it was a ‘costume drama’ film. (HFGK Vol III mentions that ‘it seems that this film produced by Jolly Productions was later on released by ‘Atul Chitra’ after acquiring its rights’)

HFGK Vol III mentions that the songs have the voices of Kishore Kumar, Asha Bhonsle, Talat Mehmood and Shamshad Begam. It does not mention the name of Sudha Malhotra here. However, while listing the individual songs the singer’s name is mentioned only for two songs. They are ‘Dil pe kaisi bekhudi chhaane lagi…’ by Asha Bhonsle, and ‘Mausam bahaar aaya … Nainon ke baan chale’ by Sudha Malhotra.

Today’s song is sung by Sudha Malhotra.

I would request knowledgeable readers to throw more light on this movie and its songs.

Song – Nainon Ke Baan Chaley, Nasheeley, Haan Haan Nasheeley (Chalta Purza) (1958) Singer – Sudha Malhotra, Lyrics – Jaan Nissar Akhtar, MD – Aziz Hindi
Chorus

Lyrics

mausam bahaar aaya
kya khush gawaar aaya
aa aa aa aa aa aa

gulshan hai jhoom uthha aa
gul pe nikhaar aaya
gul pe ae nikhaar aaya
gul pe ae ae nikhaar aaya

nainon ke baan chale
nasheeley
haan haan nasheeley
nainon ke baan chale
nasheeley
haan haan nasheeley
nainon ke baan chale ae
nainon ke baan chale
nainon ke baan chale

mann ki umangen
mann ko pukaare..aen
mann ko pukaaren
haan mann ko pukaaren
mann ki umangen
mann ko pukaare..aen
mann ko pukaaren
haan mann ko pukaaren
tan mann mein doley haaye
gaati bahaarein
gaati bahaarein
haan gaati bahaarein
hothon ke phool khile
raseeley
haan haan raseeley
hothon ke phool khile
nasheeley
haan haan nasheeley
nainon ke baan chale
nainon ke baan chale
nainon ke baan chale

khilta chaman hai
aye ae ae ae ae
ae ae ae ae
khilta chaman hai
khilti jawaani
khilti jawaani
haan khilti jawaani
aayi hai lab pe dil ki kahaani
dil ki kahaani
haan dil ki kahaani
aaja morey sajnaa
sajeeley
haan haan sajeeley
aaja morey sajnaa …

——————————–
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
——————————-

मौसम बहार आया
क्या खुश गवार आया
आ आ आ आ आ आ

गुलशन है झूम उठा आ
गुल पे निखार आया आ
गुल पे निखार आया
गुल पे ए ए निखार आया

नैनों के बाण चले
नशीले
हाँ हाँ नशीले
नैनों के बाण चले
नशीले
हाँ हाँ नशीले
नैनों के बाण चले ए
नैनों के बाण चले
नैनों के बाण चले

मन की उमंगें
मन को पुकारें ए
मन को पुकारें
हाँ मन को पुकारें
मन की उमंगें
मन को पुकारें ए
मन को पुकारें
हाँ मन को पुकारें
तन मन में डोले हाय
गाती बहारें
गाती बहारें
हाँ गाती बहारें
होठों के फूल खिले
रसीले
हाँ हाँ रसीले
होठों के फूल खिले
नशीले
हाँ हाँ नशीले
नैनों के बाण चले ए
नैनों के बाण चले
नैनों के बाण चले

खिलता चमन है
ए ए ए ए
ए ए ए ए
खिलती जवानी
खिलती जवानी
हाँ खिलती जवानी
आयी है लैब पे दिल की कहानी
दिल की कहानी
हाँ दिल की कहानी
आजा मोरे सजना
सजीले
हाँ हाँ सजीले
आजा मोरे सजना …

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.

Missing Films of 1960s – 26
– – – – – – – – – – – – – – –

There is a lot of discussion, heated debate, controversy etc. etc. on plagiarism. Given that the entire structure of the music world is founded on simply seven basic notes. Yes, we go on to sub notes and compound notes, and then ragas (combination of notes). But to the uninitiated, and untrained in classical music (like myself), it seems well nigh impossible that one can continue to keep on creating new songs and do not repeat a melody. Every day, hundreds, maybe thousands of new songs are born. It is really an amazing wonder that we do not find many more replications, than we already do.

But of course, yes, we do find repeats, and we call it ‘chori’. There is a lot of heat and heartburn created. But come to think of it, there is possibly one very good reason that such replications may happen. The poet has written some verses, and the music director, try as hard as he might, just cannot come up with a better or different melody that does not match another well known melody. It is the meter and the verse structure that simply cannot be sung better in any other way. So in a manner of speaking, there can be no better acknowledgement and tribute by the music director to the original creator, that try as much as he did, he could not come up with a better melody to suit the verses. After all, there are only so many ragas and it is only natural that many verse structures simply demand the same combination of notes.

One is familiar with the famous exchange between Sajjaad Husain and Madan Mohan. The melody of the song “Tujhe Kya Sunaa’un Main Dilruba” (‘Aakhri Daao’, 1958), is a clear replication of “Ye Hawa Ye Raat Ye Chandni” (‘Sangdil’, 1952). And so, when Sajjad Sb confronted Madan Mohan in a film-land party, and accused him of stealing his tunes, Madan Mohan’s reply was quite disarming. He said that he is happy that he has “stolen” from a master craftsman, and not from any Tom, Dick, Harry of the music world. That is an deserving acknowledgement, and a tribute to the skills and talent of a master.

The film ‘Jungle Boy’ from 1963 makes its debut here on our blog today.  It is one of the more obscure and unfamiliar films from 1963. But gratefully, some music of this film is available, in the form of two 78 rpm records, meaning four songs. Not well heard songs at all. As I am preparing this write up, I listened to all four songs, and my, they are all so lovely – two in the voice of Geeta Dutt and two in the voice of Sudha Malhotra.

About the film, well very limited information is available. The production banner is But-Kada (बुत कदा), Bombay and the director is S Pal. Just the cast of actors is listed – Indira, Shaam Kumar, Raj Rani, Heera Sawant, Vrinda, Lila, Ridku, Swaroop, Robert, Harun, Gulab. Except the lead pair’s names, and maybe one or two more, the entire list is quite unfamiliar.

The fours songs of this film are written by Anjaan. And the music is by the enigmatic duo Suresh-Talwar, about whom really no information is available. Except that the name Suresh, is the same person as the Gujarati music director Suresh Shah. This pair was confined mainly to C grade action and stunt films, but as it happens more often than not, their music is really catching and delightful. For this song, they have gone back a decade and picked up a well known melody from ‘Halaaku’ (1956). Listen, and you will know.

The strength of this song (given that we could easily identify the source melody) is the singing voice of Sudha ji. Sounding so sweet and fresh, her singing brings a delightful vitality of this song of first love. The lines by Anjaan are lovely. Especially, when she renders in the second antaraa, the lines

pehle ghabraayee
thoda sharmaayee
phir dil de hi diya ha..aaye

Aah, such coy innocence, she simply steals away the heart with the words and the way she sings them. Suniye, and feel, how lovely this song and this rendering is.

Song – Ye Dhak Dhak Kya Hai, Kya Dil Ko Hua Hai (Jungle Boy) (1963) Singer – Sudha Malhotra, Lyrics – Anjaan, MD – Suresh-Talwar

Lyrics

ye dhak dhak kya hai
kya dil ko hua hai
koi to samjhaaye
ye kis ka nasha hai
ho oo kya hua
ha..aaye kya hua

ye dhak dhak kya hai
kya dil ko hua hai
koi to samjhaaye
ye kis ka nasha hai
ho oo kya hua
ha..aaye kya hua

jaane kaisa teer tha nigaahon mein be-peer ke
rakh diya julmi ne dil mera chiir ke
o jaane kaisa teer tha nigaahon mein be-peer ke
rakh diya julmi ne dil mera chiir ke
thha to bhola bhola
kuchh bhi na bola
akhiyon se jaadu kiya ha..aaye
ye dhak dhak kya hai
kya dil ko hua hai
koi to samjhaaye
ye kis ka nasha hai
ho oo kya hua
ha..aaye kya hua

o jab se kisi se ye dil takra gaya
lut gaya dil haaye mujhe to mazaa aa gaya
jab se kisi se ye dil takra gaya
lut gaya dil haaye mujhe to mazaa aa gaya
pehle ghabraayee
thoda sharmaayee
phir dil de hi diya ha..aaye
ye dhak dhak kya hai
kya dil ko hua hai
koi to samjhaaye
ye kis ka nasha hai
ho oo kya hua
ha..aaye kya hua

ye dhak dhak kya hai
kya dil ko hua hai
koi to samjhaaye
ye kis ka nasha hai
ho oo kya hua
ha..aaye kya hua

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

ये धक धक क्या है
क्या दिल को हुआ है
कोई तो समझाये
ये कैसा नशा है
हो ओ क्या हुआ
हा॰॰आए क्या हुआ

ये धक धक क्या है
क्या दिल को हुआ है
कोई तो समझाये
ये कैसा नशा है
हो ओ क्या हुआ
हा॰॰आए क्या हुआ

जाने कैसा तीर था निगाहों में बेपीर के
रख दिया जुल्मी ने दिल मेरा चीर के
ओ जाने कैसा तीर था निगाहों में बेपीर के
रख दिया जुल्मी ने दिल मेरा चीर के
था तो भोला भोला
कुछ भी ना बोला
अखियों से जादू किया हा॰॰आए
ये धक धक क्या है
क्या दिल को हुआ है
कोई तो समझाये
ये कैसा नशा है
हो ओ क्या हुआ
हा॰॰आए क्या हुआ

ओ जब से किसी से ये दिल टकरा गया
लुट गया दिल हाए मुझे तो मज़ा आ गया
पहले घबराई
थोड़ा शर्माइ
फिर दिल दे ही दिया हा॰॰आए
ये धक धक क्या है
क्या दिल को हुआ है
कोई तो समझाये
ये कैसा नशा है
हो ओ क्या हुआ
हा॰॰आए क्या हुआ

ये धक धक क्या है
क्या दिल को हुआ है
कोई तो समझाये
ये कैसा नशा है
हो ओ क्या हुआ
हा॰॰आए क्या हुआ

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.

‘Basera’ (1950) was produced under the banner of Watan Pictures and was directed by Inaayat. The star cast included Ramola, Heeralal, Veena Kumari, Roopmala, Chandabai, Budho Advani etc. I have no idea about the film’s story but going by the songs, it is apparent that the film belonged to social genre.

There were six songs in the film of which 4 songs have been attributed to lyricist Sardar Ilham. The names of the lyricist for the remaining two songs are not available. All the songs have been set to music by MA Rauf Osmania who was a popular ghazal singer in Hyderabad and worked as Station Director of the erstwhile Deccan Radio, Hyderabad. ‘Basera’ (1950) was one of 3 films for which he was music director during his stay in Bombay (Mumbai) in 1945-50, the remaining two films being ‘Beete Din’ (1947) and ‘Tohfa’ (1947).

One song from the film has been covered earlier in the blog. I am presenting the second song from the film ‘Dekho Jee Baat Suno’ sung by BS Naanji and Mubarak Begum. I selected this song for the article for two reasons. First, I liked the voice of Mubarak Begum in this song in the same way as I like the voice of Lata Mangeshkar in her songs of the late 40s and early 50s. At first, I was not sure whether the female voice in the song was really of Mubarak Begum. It was only when I heard two songs of her first film ‘Aaiye’ (1949) that I was convinced that the voice is of Mubarak Begum in the song under discussion.

The second reason for selecting this song is that I had never heard of the male playback singer, BS Naanji. A glance through www.myswar.com provided me the information that he had sung only 6 songs in Hindi films. As it used to happen with many new comers, I felt that BS Naanji was one of those playback singers who could not succeed in his career and ultimately he went into oblivion. But it was not so as I came to know about him subsequently. He was active in Hindi film industry for many years as a musician, music arranger and also assistant to a few well-known music directors. His filmy career is an inspiration for those with the initial failure in the carrier.

The source of information about BS Naanji is from an article by Shri Shishir Krishna Sharma which appeared in Anmol Fankaar in Hindi. A gist from the said article  is given below:

Bahadur Sohrabji Naanji was born in Mumbai on 14^th December 1921. His father, Sohrabji Naanji was a stage actor in Imperial Theatre, Calcutta (Kolkata). He lost his mother when he was only 2 years of age. Bahadur Naanji completed his matriculation from Behram Jijibhai Charitable Institute. From the childhood, he was interested in singing. He got his primary training in music from his elder sister who was a music teacher. He learnt playing harmonium from her.

In the early 40s, he sang 7 version songs with Suraiya from the films of New Theatre . His playback singing career started with  ‘Lahiri Cameraman’ (1944) and ‘Rangeele Dost’ (1944) by joining the banner Standard Pictures. However, for ‘Bairam Khan’ (1946), Ghulam Haider rejected him during his audition test along with Mohammed Rafi. He left Standard Pictures and joined HMV as a musician and chorus singer during 1946-50. In the early years, sometime, Mohammed Rafi used to join him in the chorus singing in HMV recordings.

With the changing scenarios in Hindi film music in the 50s, Bahadur Naanji switched over his career as a musician. He became expert in playing musical instruments like organ, violin, piano, viola etc. After leaving HMV in 1950, he joined music director V Balsara as his assistant. In ‘Madmast’ (1953), V Balsara gave him chance to sing a duet with Dhan Indorewala, wife of  V Balsara. He also worked with some of the top music directors like Naushad, Shankar-Jaikishan, O P Nayyar, Roshan, Madan Mohan, Hemant Kumar, Neenu Majumdar etc.

Bahadur Naanji was also an expert in writing western musical notations in which he assisted Anil Biswas in ‘Pardesi’ (1957) and ‘Angulimal’ (1960).

Enjoy this song of sublime love.

Song – Dekho Ji Baat Suno, Hum Se Tum Aan Milo (Basera) (1950) Singer – Bahadur Nanji, Mubarak Begum, Lyrics – Sardar Ihlam, MD – MA Rauf Osmania
Both

Lyrics

dekho jee baat suno..o
ham se tum aan milo
tum humse door raho..o
door raho
door raho
door raho

duniya basaaungi
sapnon pe chhaaungi
nainon mein bas ke tere mann mein samaaungi
nazaron ke jaal se
main bach ke nikal jaaungi
binti karoge mori
paas nahin aaungi
tumse main door bhali
door bhali
mujhse ab kuchh na kaho
dekho jeei baat suno..o
ham se tum aan milo

aasha ke geet wahi
mann ka sangeet wahi
tum bhi aur main bhi wahi
ulfat ki reet wahi
chhedo na dekho
main ab tumse kaise kahoon
sakhiyaan na jaan len
achchaa hai door raho
nazaron se door sahi
door sahi
mann mein tum aan baso
dekho jee baat suno..o
ham se tum aan milo

ulfat nibhaayenge
hilmil ke gaayenge
ulfat nibhaayenge
hilmil ke gaayenge
mann ki kahaaniyaan
 jag ko sunaayenge
mann ki kahaaniyaan
jag ko sunaayenge
meet baney gair bhi
begaana koi na ho

dekho jee baat suno..o
tum mere sang raho
tum mere sang raho..o
door nahi
door nahi
door nahi

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

देखो जी बात सुनो॰॰ओ
हम से तुम आन मिलो
तुम हमसे दूर रहो॰॰ओ
दूर रहो
दूर रहो
दूर रहो

दुनिया बसाऊँगी
सपनों पे छाऊँगी
नैनों में बस के तेरे मन में समाऊँगी
नज़रों के जाल से
मैं बच के निकाल जाऊँगी
बिनती करोगे मोरी
पास नहीं आऊँगी
तुमसे मैं दूर भली
दूर भली
मुझसे अब कुछ ना कहो
देखो जी बात सुनो॰॰ओ
हम से तुम आन मिलो

आशा के गीत वही
मन का संगीत वही
तुम भी और मैं भी वही
उलफत की रीत वही
छेड़ो ना देखो
मैं अब तुमसे कैसे कहूँ
सखियाँ ना जान लें
अच्छा है दूर रहो
नज़रों से दूर सही
दूर सही
मन में तुम आन बसो
देखो जी बात सुनो॰॰ओ
हम से तुम आन मिलो

उल्फ़त निभाएंगे
हिलमिल के गाएँगे
उल्फ़त निभाएंगे
हिलमिल के गाएँगे
मन मी कहानियाँ
जग को सुनाएँगे
मन मी कहानियाँ
जग को सुनाएँगे
मीत बने गैर भी
बेगाना कोई ना हो

देखो जी बात सुनो॰॰ओ
तुम मेरे संग रहो
तुम मेरे संग रहो॰॰ओ
दूर नहीं
दूर नहीं