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.

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.

Saigal – the divine, the inimitable, the ultimate zenith of the singing voices. He came on right in the beginning of the age of talking cinema in India, and departed all too soon. This year, it is seventy years that he left this mortal existence. And to wit – no other singer since then, has ever been able to match his singing abilities, nor has been able to achieve the quality and the depth / breadth of renditions. Saigal – is Saigal. He is a class unto himself, with none other besides him.

He appeared in 36 full length feature films (28 Hindi + 7 Bangla + 1 Tamil). The stature of his persona, and the standing of the production houses, has ensured that majority of the body of his work is available today in public domain. There are a few films in the period 1932 to 1935 – namely ‘Mohabbat Ke Aansoo’ (1932), ‘Subah Ka Sitaara’ (1932), ‘Zinda Laash’ (1932), ‘Daaku Mansoor’ (1934), ‘Rooplekha’ (1934), ‘Pooran Bhagat’ (1933), ‘Raajrani Meera’ (1933), ‘Yahudi Ki Ladki’ (1933), and ‘Kaarwaan e Hayaat’ (1935), which seem to have been lost forever. Of these nine films the first five have been erased, with even no music / songs / records traceable. A few songs of the remaining four films is the priceless legacy that has survived to attest a substantive existence of these films.

Part of that history changes today. One of the above listed films is getting introduced back into the public domain. ‘Kaarwaan e Hayaat’, so far thought to be lost forever, has been traced, and after a pursuit of more than two years, yours truly has been able to acquire a complete video copy of this film. The saga of these two years is nothing more remarkable than a persuasion, a waiting game, negotiations, and allowing time for a decision to precipitate.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I introduce one such song from the film today. This is a gypsy revelry song that is being sung at the gypsy camp. The night is falling, and the singing and dancing members of the camp are saying that sleep is the furthest from the eyes – it is a time for joy, and singing, and dancing – Oye Hoye Re. We can see Parvez, dressed as a commoner, sitting with gypsies, and singing along with them. In between, as the dancing members increase, he will get up and join the dancers. Around the start of clip, we can see one male singer enter the frame from the right, walks across the frame, and when he passes by Parvez (or Naazu), he pinches his nose in a friendly gesture. This is Raahat, one of the lead gypsies in the camp (role played by Pahadi Sanyal). Along with him, we see a lady who joins the singing and dancing and accompanies Raahat in the dancing sequence, is Sonia (role played by Molina). In the beginning of this clip, and then once again later in the clip, we see a bored looking person, busy beating mosquitoes, as he waits, guarding the horses. This is Suhail, the sidekick friend of Parvez. Then, in the dancing sequence, we see a heavy set old lady enter the frame from the left. She has a bent back, and pock marked face. She is the old woman of the gypsy camp, who has a finger in everything that goes on in the camp. The surprising twist here is that the role is played by none other than Nemo, a male actor – folks will remember him as the rich Seth Sonachand Dharmanand in the film ‘Shri 420’ (1955). More of the story in some subsequent posts.

So flows the Pageant of Life (Kaarwaan e Hayaat), describing a small sequence of events in the lives of a few characters on the stage of this world. This film is great entertainment stuff.

Produced by New Theatres, the direction of the film is credited to Premankur Atorthy and another gentleman named Hem Chandra Chunder. As I searched for more information, I came across a very interesting item – that this film was produced at the Lahore centre of New Theatres. Now this is definitely news to me, that New Theatres produced films in Lahore. When I view the credits, I see a thank you note for the Nawab of Bahawalpur for using his armed forces for some of the scenes in the film. Now the erstwhile Bahawalpur state now forms a part of what currently is Pakistan. This lends credence to info that this film could have been produced at the Lahore center. Harmandir ji (of Geet Kosh) has confirmed that New Theatres did have a distribution office in Lahore, and it is possible that this film was shot in that location.

The music is credited to Mihir Bhattacharjee. There is some discussion around this credit, since surprisingly, the available gramophone records of this film carry the name Timir Baran as the music director. This shall need a separate discussion with inputs from some stalwart historians. The name of the song writer is not specifically mentioned, but other sources identify the name as Ahmad Shuja Pasha. This name appears in the credits of the film as the dialogue writer.

This is primarily a chorus song, within which we can surmise certain individual voices (of KL Saigal, Pahadi Sanyal and Molina) as they sing some individual lines, while the chorus of other singers continues.

A century marker that records a remarkable find. Welcome to the world of ‘Kaarwaan e Hayaat’.

Song – Nindiya Mori Bairan Oye Hoye Re (Karwaan e Hayaat) (1935) Singer – Molina, Pahadi Sanyal, KL Saigal,  Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya . . .

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया॰ ॰ ॰

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे

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.

Have you ever wondered. . .

how a song gets constructed?

and why a song is termed as a tip of the iceberg?

You must now be thinking – this is a peculiar but a very interesting intro to the 134^th century post on the blog. So yes, before getting into the discussion on the proposed topic, congratulations are in order. Welcome all to the 13 thousand 4 hundredth post on our blog. The musical bandwagon rolls on – toiling, pleasing, emotionally invigorating – it continues to move tirelessly. Because. . . because music – must be there. The world, this nature – all are moving to a rhythm, and a melody. Music is instilled in everything every entity we know, we touch, we think of. But come to think of it, we do not often think of this world that way i.e. music in everything, everyday of our lives. We are so consumed with the process of existence and living day to day, that we forget to stop and smell the flowers (or smell the coffee, if you are in America). And the music of life gets hidden behind the other sundries. Often we forget to think about it.

And then, this blog and this bandwagon steps in. Reminding us of the music, each and every day of our lives. Arriving as a message in email, on the Facebook, unpredictably at any hour of the day. A constant reminder that was switched on just about nine years ago, and it has been ticking indefatigably since then. Every day, a reminder of music in our lives.

Goodness, just realized we are two weeks from the 9^th birthday of this blog.

Aah, but this thought is oh so enlivening, so wonderful. Our daily reminder of music, our daily treat of new music, coming down the electronic pipelines. Oh. . . so. . . great.

I am very sure, all of us remember ABBA. Out of their endless hit songs, there is one song that I want to present here, for Atul ji. The die-hard fans would have already guessed the song I refer to. Here are a few lines from that song, that I present for Atul ji, and I request all of us to sing it out together. Just sing it out as your are reading it, as if you are singing with all the rest of the bandwagon, imagine them to be singing as they stand just behind you.

so i say
thank you for the music, the songs i’m singing
thanks for all the joy they’re bringing
who can live without it, i ask in all honesty
what would life be?
without a song or a dance what are we?
so i say thank you for the music
for giving it to me

i’m so grateful and proud
all i want is to sing it out loud
so i say thank you for the music
for giving it to me

Congratulations Atul ji, congratulations all bandwagon members – we are on 13,400 today.

Coming back to the question that started this post. I must admit that I was completely unaware about the details, till about two months back. On 30^th April I was attending a seminar on film music – ‘Cine Music – Beyond Entertainment’. This is an annual two day seminar that is organized by our dear friend Kushal Gopalka (of Bombay). The seminar is focused on the music, the musicians, and their behind the screen activities that bring to us the finished product that we call the Hindi film song.

In this year’s seminar, there was one presentation session by Anand Sahasrabudhe, on the role of music arranger in constructing a song. Anand Sahasrabudhe is a musician himself, and is active in the Hindi film industry as a musician and a music arranger. He has learnt his trade from the famous musician and arranger, Anil Mohile. Regular film goers would be very familiar with the name Anil Mohile – it appears in credits of many films, in the list of assistants, as the assistant music director.

Yes, in most cases, the names of these arrangers show up as assistant music directors. Come to think of it, many of the famous music directors that we know, started their careers in the lower rungs as musicians and music arrangers. Their name(s) appear as assistant music directors in many films before they started appearing the credits as full music directors.

And so the presentation by Anand. He took the audience through the process of how a song is built. The basic words and flow of the tune is settled by the music director and the lyricist (note: even that work many a times involves the assistants, as they together brainstorm different options before settling down on one preferred tune). The flow of the mukhda and the antaraas are decided, and the basic structure of the tune of the song is stabilized. Then the music arranger steps in and starts building other components of the song, and starts to add to and embellish the basic structure.

First, the percussion rhythm is built for the song. It is laid out for the mukhda and the antaraas. Then a piece of initial music – the prelude is worked on. The prelude music introduces the song and should merge into the music of the mukhda and embellish it. Then the basic tune of the antaraas is revisited by adding supporting instruments, and adding small pieces of music and musical effects to enhance the presentation of the basic structure. Then, the interludes are created. As one antaraa comes to completion, it should flow into a repeat of the mukhda, or it should flow into the next antaraa. This piece of music that conjoins the segments of the basic structure, are called the interludes. Then, the closure of the song is built – how does the last of the song end and the music fades away, so that there is no abrupt silence as the vocal singing ends.

Another discussion that flows into this process is the actual situation of the song, and how it will be picturized. Umpteen factors will have to be taken into account – time of day, weather, characters, location – home, office, park, club, mountains, seashore, in a vehicle etc., age of characters in the scene, mood of the scene, the story lead in and story follow up etc. Each song and screenplay will have its own sets of factors that will play into a song. These factors will guide if any special effects are required, and how the music of the song should be presented to match the mood and the action in the scene.

One by one these components are built, and then are integrated and assimilated together to construct a seamless complete entity that will then be presented what we see and understand to be a song. The constructed entity is then reviewed, replayed again multiple times. The purpose is to iron out any kinks, any aberrations or any incompleteness in the sound. The different pieces are tweaked as required, anything to be added, is added. The final outcome should be pleasing, wholesome and pleasurable feed to the ears of the listeners.

What I have described above is a highly simplified version of what may actually happen in a real life situation of building a song. And mind you, each situation will be different, requiring different handling. It is a complex and unpredictable process. There are no fixed guidelines, other than the personal satisfaction of the music director and the team involved in the process.

As Anand was presenting this process on stage, he was also doing a demonstration of a real life construction of a song. He had a harmonium with him, and another person accompanied him with a percussion instrument. Starting from a set of lines which represent the lyrics of the song, he went through the entire process of building the song, step by step. In the process he showed us how the song looks and sounds, at each step of the process.

As the demonstration was progressing, the light was slowly coming alive in my mind, about the role of the arranger in the whole process. The debate will probably never end, on who is more important. But clearly, the amount of work and the amount of idea energy interleaved by the arranger definitely seems to be more than the music director. Conservatively, I would put it at a 60 – 40 ratio at least, in favor of the arranger, if not more.

With that thought settling down in the mind, it slowly started another thought process – an appreciation of the work done by the so called assistant music directors. Names of people who appear in small print in the list of assistants, one amongst the many on a single frame, now started to seem so much more eminent and important, with this input. And I would think, I have seen credits in which the hair stylist and the dress maker have separate frames to announce their roles, but the music arrangers and the instrumentalists who create the most beautiful part of the film, are either not shown, or are relegated to small print. And in majority of the cases, we don’t even know who did what in a song. All we know is the name on the top – a Shankar-Jaikishan, or a RD Burman, or an OP Nayyar, or an SD Burman, and we do not know the names of those who also toiled to bring to us the seamless song experience. Names like Suhrid Kar, Uttam Singh, Sebastian, Jawar Hussain, Homi Mullan, Cawas Lord, Rizbert, Franco Vaz, Kamal, Inderjeet, Gaur Ghosh, Naresh, Jeevan, Babu, Shams, Ranjit Gazmer, Jai Kumar Parte – the list is endless. Pick up the volumes 3, 4 and 5 of the Geet Kosh, and we will find the names of these true stalwarts that stand behind the screen, to give us the music we love so much.

We are familiar with many of these names, and one reason for that is some of these gentlemen graduated beyond being arrangers and came into their own as full fledged music directors. Yes, those names are very familiar – Chic Choclate, Dattaram, Ravi, Laxmikant Pyaarelal, Sapan Chakravarty, Basu, Manohari, Bipin Datta, Babul, N Datta, Dilip Dholakia, GS Kohli, C Arjun, Sanmukh Babu, Jaidev, Sapan Jagmohan, Sonik Omi, Uttam Singh. . . once again, the list is endless. For each such name, there are a score and more names that we have not even heard, but they have made some very important and crucial contributions to the construction of our beloved songs.

The tip of the iceberg phrase then became more clear in the mind. What we hear as the final product called song, came through a very lengthy process which consumed the participative effort of a very large number of musicians, all very well trained, and experts in their art. All that participation, all that team work, does not immediately register when we hear a lovely melody that strums the strings of the heart. All we know is one name that presents itself as the music director.

Now, some backfill about this post. As we were approaching this milestone, in the past week or so, Atul ji and I were in communication on what should be special about this post. So Atul ji expressed this idea that with so many thousand songs presented on this blog, we have never really touched upon the theme of the actual music makers behind the songs. What about the musicians and the instrumentalists and the arrangers who actually contribute both the mind and the sweat to embellish a song. From being just a set of lines of poetry, to a song that will become a super hit, what is the process that happens, and who all contribute. We went back and forth on this and then decided that we shall do a post focused and start the discussion on our blog, about the background work that goes on behind the screen and the people who make it happen.

Atul ji suggested to pick up this song from the 1977 film ‘Hum Kisi Se Kum Nahin’, and try to find the details of the instruments and the musicians who made this song happen. Now I have attended the seminar that I just described above, but I have no detailed insight into identifying the actual people who are the ones making this music. Our discussion went ahead towards getting help from knowledgeable sources. I decided to get help from two people who I know to carry in depth knowledge about this topic. One is Kushal Gopalka ji, whose name I mentioned above, and the second is our very own, dear Bakshish Singh ji.

As the next step, I got into some detailed discussion on email and phone with these two gentlemen, and I am able to get a lot of details, about the process and the people from them. Kushal ji, who is passionately into this research, helped me with the details of individual musicians who have contributed to this song.

The song starts with a very recognizable and signature piece of trumpet playing. In fact this trumpet sound will make the regulars recognize this song in a matter of a few seconds only. George Fernandes is the person who has played this trumpet piece in this song. George is a very well known musician, and an expert trumpet player. Regulars will recall the trumpet playing in the song from film ‘Anand’ (1970) – “Zindagi Kaisi Hai Paheli Hai. . .”. That, also is George Fernandes.

With the coming of the synthesizer keyboard, a number of traditional instruments had to make an exit from the recording studio. Good or bad of that can be a separate debate, but it is to be accepted that synthesizer has now become an all purpose fixture in the instruments portfolio of every musician and music director. With RD Burman, usually the person on synthesizer, as in this song, used to be Kersi Lord. Kersi Lord belongs to the Lord family of musicians, who are very well known in the industry. Cawas Lord, and his two sons, Kersi and Bujji have been a benchmark unto themselves in terms of innovation in music and special sound effects. Please click here to view an article about this family and a documentary that has been made on them. In this song, the synthesizer pieces are handled by Kersi Lord. With careful listening, one can decipher a pleasing combination of Indian and western music phrases, combined together to create an innovative melody.

The percussion instruments used in this song are the traditional drum set, the maadal and the congas. The person on the conga pieces is Franco Vaz. Franco Vaz is the son of Frankie Vaz, another well known musician in the industry. Here is another link you can click on to read an article about Franco Vaz, plus one more link where you can see a small percussion piece done by him.

The main drum set is being handled by Leslie Gudino, who is incidentally the father-in-law of Franco Vaz. If you wonder about his earlier very famous pieces, just rewind back to 1966 and revisit the drum playing of Rocky at the restaurant in the hotel. Yes, I am talking about ‘Teesri Manzil’. There is a solo drums piece that precedes the song “Tum Ne Mujhe Dekha Ho Kar Meharbaan. . .”. That excellent drum playing, and also the drums in other songs in the film, are by Leslie Gudino.

Besides the mainline percussion, there are secondary percussion sounds that we can hear, especially right after the mukhda line ends. This instrument is the ‘chanda’ (pronounced as चंडा) and the expert instrumentalist who is playing it in this song is Homi Mullan. Homi ji is (was) the renowned grand dad of instrumentalists in the industry. A very senior and respected musician in the industry, Kushal ji has produced a biopic on his life and works. Read about that documentary at this address online.

Another percussion instrument being played in this song is the ‘maadal’ (मादल). Maadal is the Nepali version of the traditional dholak, is extensively used in the folk music of that Himalayan kingdom. In this song, the maadal is being played by Ranjit Gazmer. Ranjit is the musician who is responsible to introduce this instrument in the Hindi film industry. Ranjit has worked extensively with RD Burman, and also with other music directors.

Regulars will recall the delightful ensemble of impromptu musical instruments played by the motley team of musicians comprising of Mukri, Keshto Mukherji and Raj Kishore. The choice of instruments made from everyday household items, is a real riot to watch. Yes, yes, I am talking about ‘Padosan’ (1969) and the song “Mere Saamne Waali Khidki Mein. . .“. The instrument that Keshto plays is scratching a comb on a broom (झाड़ू). In real life, this kisch-kisch sound is produced by an innovative instrument called Resso-Resso. This peculiar sound and the instrument is an invention by the musicians of our film industry. In this particular song, this instrument is being played by Anant Rao Katkar.

Coming to the guitars. The bass guitar is being played by Tony Vaz. We can also hear the acoustic guitar and the electric guitars, the sounds being visible throughout the song.

Then there is a lot of sound of cymbals also spread throughout the song.

Close to the end of the song, we can make out the music of vibraphone. The ‘ting’ sounding music of a few seconds close to the end of the song are the vibraphone phrases played by Bujji Lord.

The overall arrangement oversight in this song is by Basu Manohari. As regulars will be familiar, this duo has also done some films as independent music directors in the 1970s and 80s. The team is composed of Basu Deo Chakravarty and Manohari Singh. Both are excellent musicians with a mastery over a number of instruments. This dou has been responsible for the music arrangement oversight for RD Burman’s films.

This much is the information I could gather and compose from two conversations with the dear friends Bakshi ji and Kushal ji. Imagine, if we are to analyze each song in this manner, what a fantastic amount of information can be compiled. In reality, most of the music directors, and especially the music arrangers prepare a lot of detailed paperwork for constructing the complete music segment and phrases for each song. This paperwork is prepared for each individual instrument that is visualized to participate in the song. I am not aware whether such paperwork is compiled and conserved by the artists. Such a compilation can become a reference library for other artists.

Assuming familiarity, and in the interest of avoiding further escalation of words and consequent emotions from the readers, I will limit the demographics of the song. The lyrics are from the pen of Majrooh Sultanpuri, music is by RD Burman. Primary singer is Kishore Kumar, supported by chorus. In between there is an unidentified solo female voice that croons a few lines of “la la la”. Could that be Asha Bhosle? I request other knowledgeable readers and friends to help in identification. Yes indeed, it is the voice of Asha Bhosle.
[Ed Note: The confirmation of the singing voice of Asha Bhosle is provided by Sadanand ji.]

On screen, this is a stage performance by Rishi Kapoor, who plays the role of a popular singer in the film. This song is a stage show, and Rishi is accompanied by other dancers on stage. The dancers accompanying Rishi are Aparna Chaudhry, Leena Das, Aarti, Shefali, Rani and Chanda.
[Ed Note: The identification of dancers is based on information provided by Prakashchandra ji.]

In the midst of the song, we can see two bearded persons. They are Danny and One of them is clearly Amjad Khan. Also, while the song is in progress, a young couple, apparently newly married, steps into the box seats. The lady in this couple is the actress Rinku Jaiswal. The lady looks familiar, but I am not able to put a name to the face. Once again, request to others to help identify. There are some emotions involved here, because Rishi stops in his steps on seeing her arrival, and his eyes become moist.
[Ed Note: Once again, identification of Rinku Jaiswal is given by Prakashchandra ji.]

Bringing to close now, the 13400^th station on this bandwagon’s travels. Once again, celebratory congratulations to all team members and readers.

And for dear Atul ji, once again,

thank you for the music
for giving it to me (us)

Song – Bachnaa Ae Haseeno, Lo Main Aa Gaya  (Hum Kisi Se Kum Nahin) (1977) Singer – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – RD Burman
Humming in the voice of Asha Bhosle
Chorus

Lyrics

bachna ae haseeno
lo main aa gaya
hey bachna ae haseeno
lo main aa gaya
husn ka aashiq
husn ka dushman
apni adaa hai yaaron se juda
hey ho
bachna ae haseeno
lo main aa gaya
hey bachna ae haseeno
lo main aa gaya

hey duniya mein nahin hai
aaj mera sa deewaana
pyaar waalon ki zubaan par
hai mera hi taraana
sab ki rang bhari aankhon mein aaj
chamak raha hai mera hi nasha
hey ho
hey bachna ae haseeno
lo main aa gaya

la la la
la la laa laaa

jaam milte hain adab se
shaam deti hai salaami
geet uthte hain labon pe
saaz karte hain ghulaami
ho koi parda ho ya baadshah
aaj to sabhi hain mujh pe fida
hey ho
hey bachna ae haseeno
lo main aa gaya

ek hungaama utha doon
main to jaaun jidhar se
jeet leta hoon dilon ko
ek halki se nazar se
mehboob ki mehfil mein
chhaai hai chhaai hai
meri hi adaa
hey ho
hey bachna ae haseeno
lo main aa gaya

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

बचना आए हसीनों
लो मैं आ गया
हे बचना आए हसीनों
लो मैं आ गया
हुस्न का आशिक
हुस्न का दुश्मन
अपनी अदा है यारों से जुदा
हे हो
बचना आए हसीनों
लो मैं आ गया
हे बचना आए हसीनों
लो मैं आ गया

हे दुनिया में नहीं है
आज मेरा सा दीवाना
प्यार वालों की ज़ुबान पर
है मेरा ही तराना
सब की रंग भरी आँखों में आज
चमक रहा है मेरा ही नशा
हे हो
हे बचना आए हसीनों
लो मैं आ गया

ला ला ला
ला ला लाs लाss

जाम मिलते हैं अदब से
शाम देती है सलामी
गीत उठते हैं लबों पे
साज़ करते हैं ग़ुलामी
हो कोई पर्दा हो या बादशाह
आज तो सभी हैं मुझ पे फिदा
हे हो
हे बचना आए हसीनों
लो मैं आ गया

एक हँगामा उठा दूँ
मैं तो जाऊँ जिधर से
जीत लेता हूँ दिलों को
एक हल्की सी नज़र से
महबूब की महफिल में आज
छाई है छाई है
मेरी ही अदा
हे हो
हे बचना आए हसीनों
लो मैं आ गया

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.

In our discussion of HFM, words of shringaar ras like “pyaar”, “Prem”, “ishq” etc dominate, as can be seen from the category of songs in the blog. There are as many as 2635 songs (over 20 %) of the genre of “expression of love” in the blog. That tells the story.

People who are realists will tell us that cold hard facts of life, viz “money” is quite important as well. Absence of adequate money can be a serious impediment in successful perusal of activities dealing with terms like “love” and “feeling”, the terms that the lead pair of Hindi movies use a lot.

Lead pair in Hindi movies were the only people who would not do anything to make their livings. Everyone else was a realist and was engaged in some economic activity or the other.

The villains of such movies were into “idhar ka maal udhar karna”, also known as smuggling, which meant raking in money. Suave Villain Ajit always had a helicopter ready at Mad island which he would also use to try to escape to Birmingham in the last reel of the movie.

Then there was Prem Chopra who was always interested in the zaaydaad of the heroine and not in the heroine unlike what was belived by the ladki ka baap.

Kanhaiyyalal and Jeewan would be in the moneylending business and the return on their investment would be invariably astronomical. Their descendants are now found in private banking sector.

Other lesser actors in the movie too would be seen pursuing some activity or the other. Betting cum singing in trains, boot polishing (for men), sewing, mujra and cabarat dancing (for women) were some activities that were common in Hindi movies.

With so much revolving round money, we have some “money”songs in Hindi movies. It can be noticed that “money” often had evil connotations in Hindi movies, as befitting the socialist outlook prevalent in India from 1940s till 1980s. Songs deploring the effects of money are there in Hindi movies.

By 1980s, Indian movies, as well as Indian society in general had undergone a sea change in their thinking about money. Instead of passing jugdements on money from ivory towers, one found movies and also songs that just stated facts.

Money matters have touched our lives as common citizens during the last few months. “Notebandi” was a very significant happening which affected lots of Indians. Interestingly, things seem to have gone back to normal in a matter of a few months, despite lots of adverse noises emanating from opponents of the move.

Indians are faced with money matters at least once in a year, when they have to file their income tax returns. Some very interesting facts regarding income tax have emerged in the aftermath of Notebandi. It turns out that only 20 lakh people out of a population of 125 crore Indians report an annual income of over Rs 10 lakhs. Then there are about 50 lakh people who report income between 5 lakh and 10 lakh. To imagine that only 70 lakh people give income tax in a country of 125 crores was quite astonishing, especially when one finds that as many as 2 crore Indians go abroad every year. Going abroad is monetarily not an easy proposition and common sense suggests that such people should be comfortably in the tax paying bracket, which going by the figures available is not the case.

In the wake of notebandi, many bank accounts that erstwhile had low bank balance began to overflow with cash. So it shows that Indians by and large had been avoiding to pay their taxes. As a result, the tax burden for the entire nation is being borne by a small minority of people. After notebandi, an additional 90 lakh people have come under the radar of I T department, which is a good beginning.

Seeing that income tax ( direct tax) collection is low, it is a good policy to concentrate on indirect tax, because everyone has to pay them, often without realising it. There were a whopping number of indirect taxes (nearly 17 of them) and there were different tax departments to deal with them. Just imagine the havoc that they were causing. Now, after so many decades, all these indirect taxes are replaced by a single indirect tax called GST. With some initial hiccups, it is expected that GST, after its implementation, will become the major source of tax earning for the government. It should reduce tax avoidance considerably, seeing that avenues of non transparent transactions are systematically being plugged.

It is nice to see that the tax net is being spread wider to cover those who had so far managed to stay out of it despite having earnings in taxable range.

I can visualise more steps being taken in future. From this year, income tax payers are required to link their PAN with their Aadhar. It is expected that in future Aadhhar cards will be linked with immovable properties as well. That step would see the business of “benami” properties getting affected. No wonder then that some influencial people are opposing it terming it as “invasion of privacy”. “Invasion of privacy” is a term useable in connection with inter personal relations, not useable in connection with dubious financial transactions.

Almost un-noticeably, we have reached yet another century landmark for the blog. Yes, this post is the 13500th song post for the blog. On this occasion, I have chosen a “paisa” song. This song is not at all an old song from the golden era but it is a “new” song from post golden era when songs had stopped being durable and long lasting. This song is an exception that has stood the test of time.

The song on its own is superb to listen to. Lyrics are the true stars of this song. Lyrics are by Payaam Sayedi someone who is totally un familiar to me and who makes his debut in the blog with this song. Nitin Mukesh is the singer. Music is composed by Rajesh Roshan. The movie is “Kaala Baazaar” (1989).

Picturisation of this song is great fun. I have watched the picturisation of the song several times and I can never tire of watching this song. Kader Khan is a corrupt babu in a government office and he takes money for processing every paper that comes his way. The money is collected by Johny Lever.

The picturisation shows how money can help open doors that otherwise remain firmly shut. The picturisation shows honest worker Girdharilal (Sujit Kumar) and his wife (played by Anjana Mumtaz) and son Vijay(played by a child artist and later by Anil Kapoor) suffer because of lack of money whereas Kimtilal Saxena (Kader Khan), his wife (Aparajita) and son Kamal(a child artist, later Jackie Shroff) leading comfortable lives thanks to access to money. The real attraction of this song for me is Kutti (played by Johny Lever). His dance steps in this picturisation, plus his expressions can make you watch this picturisation repeatedly.

With this superb song, we now tick one more box in the blog. We now reach post number 13500. A nice round number. As always, I thank one and all for their continous support and encouragement which is enabling this musical bandwagon to keep rolling for the last nine years and more. Here is hoping that we will see many more such milestones in this musical journey.

Part I

Part II – Sad Version

song-Ye paisa bolta hai (Kaala Baazaar) (1989) Singer-Nitin Mukesh, Lyrics-Payaam Sayeedi, MD-Rajesh Roshan
Chorus

Lyrics

Part I
thhan thhan ki suno jhankaar
ye duniya hai kaala baazaar
ye paisa bolta hai
ye paisa bolta hai

main gol hoon duniya gol ol ol
main gol hoon duniya gol
jo boloon khol doon sab ki pol
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

dhan gora ho ya kaala ho
jag uska jo paise waala ho
ghaple se miley ya rishwat se
banta hai muqaddar daulat se
saccha hai yahaan kangaal
to beimaan hai maalaamal
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aaa aa aa aa aa
aa aa aa aa aa aa

bhagwaan ke ghar bhi khot chale
pooja ke liye bhi note chale
aa aa aa aa aa
aa aa aa aa aa
jo chaahe karwaa lo dhan se
har kam bane donation se
milta hai usi ko vote
dikhaye jo voter ko note
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

paison pe agar main marta hoon
batlaao bura kya karta hoon
jab bajti hai shahnaai dhan ki
tab uthhti hai doli dulhan ki
main gangu teli ko doon raaj
main gangu teli ko doon raaj
gadhon ke sar pe rakh doon taj
ye paisa bolta hai,
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

Part II – Sad Version (Lyrics provided by Prakashchandra)

jab tak naa..aaa
sifaarish ho jee
kuchch kaam nahin..een
aati degree..ee
taalim ki izzat hoti nahin
gar jeb mein daulat
hoti nahin..eeen
jab jhooth ka phailey jaal
toh hoga
desh ka phir kyaa haal
ye paisa boltaa hai
ye paisa boltaa hai ae

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 post is the 13600^th post, 600^th song of Sahir Ludhianvi and 1100^th post of Sudhir Jee in the blog.

One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.

Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600^th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).

However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand.

The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .

The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –

“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”

There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.

Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.

Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,

avasar kaudi  jo chuke,  bahuri  diye ka  lakh
duij na chanda dekhiye, udai kaha bhari pakh

That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.

The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.

Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.

Music is vintage Roshan, what a lovely and endearing melody this one is.

Song – Sajan Salona Maang Lo Ji Koi  (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus

Lyrics

o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo

sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss

सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ

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 the 13700th post for the blog and 1000th post as a lyricist for Rajinder Krishan

Century posts in this blog are quite frequent. There have been 136 such centuries already as far songs in the blog are concerned. We also have centuries by artists (quite frequent) as well as by contributors (a bit less frequent).

Thousandth post, whether they are for the blog, or the artists or the contributors are quite rare though. There have been only 13 such occasions for the blog. Only five artists and two contributors have completed their set of thousand posts in the blog.

This post today happens to be the 137th century post of songs. It also happens to be the 1000^th song of Rajinder Krishan as a lyricist in the blog. He becomes the sixth artist (after Lata, Rafi, Asha Bhonsle, Kishore Kumar and Majrooh Sultanpuri), and second lyricist (after Majrooh Sb) to notch up his 1000^th song in the blog. Regulars may recall that the previous century milestone had doubled up as the thousandth post for Majrooh Sultanpuri.

Though Rajinder Krishan is somehow not as well known as many other of his contemporary lyricists, his contributions in enriching HFM is top notch, in quality as well as quantity. He was not just a lyricist, but also a screenplay writer and more. He was a complete package and he was a man who was much sought after for his multifarious talents. He was in fact ahead of the times he lived in.

It is customary for us to discuss the biodata of the artist, and recall some of the well known songs of the artist on such occasions. I have decided to do something additional, which may not have been done in depth before, at least online, and that is to discuss the statistics of songs penned b y Rajinder Krishan.

I have compiled a moviewise list of songs that Rajinder Krishan penned during his nearly five decades long career. He career as a lyricist began in 1947 with ‘Janta’ and ‘Zanjeer’ and his last movie as a lyricist was ‘Pati Parmeshwar’ which came in 1989 after his death. I have been able to count 243 movies for which Rajinder Krishan has penned thr lyrics. In total, he has penned just over 1500 songs in these movies. So, after this song under discussion, we will have just over 500 of his songs left to be discussed. In other words, we have already covered 2/3 ^rd of the songs that Rajinder Krishan has penned in HFM.

When I analysed the list of music directors that Rajinder Krishan had worked with, I found that he has worked with just under 40 music directors. He worked with Madan Mohan in 36 movies where he wrote 280 songs. 25 of these movies are already YIPPEED in the blog. He collaborated eith C Ramchandra in 32 movies and 279 songs. I find that “only” 9 of these movies are YIPPEED in the blog. So lots of C Ramchandra movies where he collaborated with Rajinder Krishan are yet to be YIPPEED in the blog.

One can see that more than one third of Rajinder Krishan songs were with just two music directors. Rajinder Krishan also collaborated in more that 100 songs each with Ravi (135 songs in 20 movies), Kalyanji Anandji (118 songs in 23 movies), Hemant Kumar (111 songs in 13 movies) and Chitragupta (102 songs in 13 movies).

So we see that he has penned two thirds of his output, viz. 1026 songs in 137 movies with just six music directors.

Then there are seven music directors who collaborated with Rajinder Krishan for songs whose number range between 20 to 99. Rajinder Krishan penned 324 songs for these 7 music directors. They were Laxmikant Pyarelal (96 songs in 18 movies), Shankar Jaikishan (62 songs in 16 movies), S D Burman (43 songs in 5 movies), Husnlal Bhagatram (40 songs in 8 movies), R D Burman (32 songs in 5 movies), Shyam Sundar (28 songs in 4 movies) and Roshan (23 songs in 3 movies).

There were eight music directors whose collaboration with Rajinder Krishan yielded between 10 to 20 songs each, and their total adds up to 125 songs from 23 movies. They are Anil Biswas (19 songs from 5 movies), Hansraj Bahl (18 songs from 4 movies), Iqbal Qureshi (18 songs from two movies), Bulo C Rani (17 songs from 3 movies), N Datta (13 songs from 2 movies), Sajjad Hussain (11 songs from two movies) and Usha Khanna (11 songs from 2 movies).

Then there were 15 more music directors whose collaboration with Rajinder Krishan led to less that ten songs each. These songs add up to just over 60 songs. These music directors are Rajesh Roshan, Anand Milind, Krishan Dayal, Dhaniram, Pt Lachchiram, Anu Malik, Sonik Omi, Ghanshyam, K Datta, Jaidev, Gyan Dutt, Pankaj Mullick, Harishchandra Bali, Shiv Hari and S Mohinder.

So overall, Rajinder Krishan penned just over 1500 songs during his career in just under 250 movies. 104 of these movies are already YIPPEED in the blog, so we now only need to look at the remaining 140 odd movies for the remaining 500 odd Rajinder Krishan songs.

Rajinder Krishan was not just a lyricist, though. He was a screenplay writer and story writer as well. Then he was something more that that but Film Industry does have any designation for those activities.

It is like this. South Indian producers made some South Indian movies that were big hits among their target audiences. They planned to enter into the territory of Hindi movie audiences, remaking their hit movies into Hindi. It is obvious that the South Indian movies needed to be modified suitably to cater to the pan Indian tastes of Hindi movie audiences. How to do that ?

They looked for people in Hindi movie industry who would be receptive to their ideas. That is where Rajinder Krishan came in. As someone who was far ahead of the times, Rajinder Krishan was a polyglot and he had taught himself Tamil. So south Indian film makers, especially the makers of AVM found it extremely convenient to deal with him. Rajinder Krishan would watch the Tamil original, make suitable changes in the story line for its Hindi remake, and then write the Hindi screenplay. And then he would write the songs for the Hindi version as well. What more did the South Indian makers need ? They needed disciplined actors and music directors of Hindi movies who could work within tight time frame, unlike what was the norm in Bombay Film Industry. That is how disciplined actors like Sunil Dutt, Rajendra Kumar etc and disciplined music directors like C Ramchandra, Madan Mohan, Chitragupta and Ravi became the favourites of South Indian movie makers making Hindi remakes of their South Indian movies. And all these movies would have lyrics by Rajinder Krishan most of the time.

As mentioned above, bulk of Rajinder Krishan songs have been penned for the above mentioned music directors. So it can be concluded accurately that Rajinder Krishan and these music directors gave a sizeable part of their output in movies that were remakes of South Indian movies. So it can also be concluded that they in general and Rajinder Krishan in particular contributed a lot in making Hindi remakes of South Indian original movies acceptable to Hindi movie audience.

The first South Indian Hindi movie that Rajinder Krishan was associated with was AVM’s ‘Bahaar’ (1951). A remake of blockbuster Tamil movie ‘Vazhkai’ (1949), its Hindi remake was overseen by Rajinder Krishan who wrote the screenplay of ‘Bahaar’ (1951) and penned songs that were suitably tailored for Hindi audience. The songs, composed by SD Burman were huge hits as music lovers are already aware.

The other thing that I find impressive about Rajinder Krishan is that he was comfortable and competent penning songs for each and every genre that Hindi movies could come up with. Just think of the genres and the kinds of songs that Rajinder Krishan could come up with:

The above is just a sample of what Rajinder Krishan has penned in HFM. So many genre of songs. So many great songs that are iconic/ evergreen/ memorable. Some of them have even defined/ determined/changed the course of HFM.

Rajinder Krishan did not need too much time to come up with his songs. Many of his songs were written in a matter of minutes. it is something that he shared with C Ramchandra and Madan Mohan, who too couldi come up with their tunes in double quick times. No wonder then that they were able to stick to tight schedules that south Indian film makers often demanded.

After twitter like articles that I normally write these days, people may find this article rather wikipedean in comparison. Let me assure my readers that this article gives far more details about Rajinder Krishan’s songs than what the wikipedia page on Rajinder Krishan provides.

For the 1000th song of Rajinder Krishan, I have picked a rare gem from a rare movie. No, it is not a movie from 1940s or 1950s. Rather this movie is from 1973, which is a “recent” year by the standards of this blog. I was very much into HFM in 1973 but even I had never heard this song at that time. The movie is called ‘Kunwara Badan’ (1973). I had vaguely heard the title of this movie but that was all.

On checkingup in HFGK, I find that this movie was directed by Vimal Tiwari for Tulsi Films, Bombay. This “social” movie had Rakesh Pandey, Madhu Chanda, Suresh Chatwal, Aashoo, Paintal, Helen, Sudhir Desai, Mushtaq Merchant, Surendranath, Aparna Chaudhary, Baby Vinaya, Pushpa Ben, Yagnik, Ambalal Patel, Narsibhai Patel, Devyani Desai, Jagdish Patel Nishaad Pandya, Baby Shahnaz, Sulekha Patel, nalini Pandya, Vandana Mehta, Maya Pandya, Iva Maria etc in it.

In brief, this movie was a low budget movie containing small time actors who were newcomers. With no saleable actors, this movie suffered the usual fate of such movies and it flopped badly. so much so that someone like me never got to hear any songs from this movie till now.

This movie has four songs in it.

Here is the first song from the movie to appear in the blog. This song is sung by Kishore Kumar. It is picturised as a car song on Rakesh Pandey who is seen driving the car along famous landmarks in DelhiVadodara.

This song is penned by Rajinder Krishan, and this song is fitting 1000th song for him in the blog. The music is composed by someone called Ghanshyam. Little is known about him. He makes his debut in the blog as a music director with this song. And what a smashing debut it is.

If you listens to this song, you will find this song growing up on you. That is what has happened to me now that I have heard this song a few times.

The audio and video versions are three stanzaes each, but the final stanzas differ. So overall this song has four stanzas, but one needs to listen to both versions of the song to get to the fourth stanza.

Like always, I take this opportunity to thank one and all. It is the encouragement and support of all our visitors, well wishers and contributors that we keep coming up with “new” songs daily and we keep reaching newer milestones every now and them.

This is the 13700th song for the blog and 1000th song for Rajinder Krishan. We have many more centuries and more waiting in the wings. So I can assure everyone that our best in this ongoing journey is yet to come.

For now, let us enjoy this forgotten gem from 1970s.

audio

Video

Song-Kuchh bhooli huyi yaaden (Kunwaara Badan)(1973) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-Ghanshyam

Lyrics

(Based on Audio Version)

kuchh bhooli huyi yaaden
kuchh bisre huye afsaane
aane lage aise yaad
jaise kal ki ho baat
laut aayi hai
phir se wahi bahaar
kuchh bhooli huyi yaaden
kuchh bisre huye afsaane
aane lage aise yaad
jaise kal ki ho baat
laut aayi hai
phir se wahi bahaar

ye raahen
jahaan se main guzra hoon kitni baar
hawaayen fizaayen
ke jin mein basa hai pyaar
jaane pehchaane in raahon ki dhool
dhool aisi dhool jo khilaaye sada phool
kuchh bhooli huyi yaaden
kuchh bisre huye afsaane
aane lage aise yaad
jaise kal ki ho baat
laut aayi hai
phir se wahi bahaar

wo dekho
udhar se chali aa rahi hai ik haseena
hai shokhi kuchh aisi
ki phoolon ko aaya paseena
doobi huyi mastiyon mein morni si chaal
chaal aisi chaal
jo udaati hai gulaal
kuchh bhooli huyi yaaden
kuchh bisre huye afsaane
aane lage aise yaad
jaise kal ki ho baat
laut aayi hai
phir se wahi bahaar
laut aayi hai
phir se wahi bahaar

(Different 2nd Stanza from Video Version)
ye chehre ye aankhen
ye aankhon se jhaankti khushi
nigaahen nigaahon mein dil ki hai baat chhupi chhupi
main jaanta hoon jaanta hoon inki zubaan
ye poochhti hain
chhod ke gaye the kahaan
kuchh bhooli huyi yaaden
kuch bisre huye afsaane
aane lage aise yaad
jaise kal ki ho baat
laut aayi hai phir se wahi bahaar
laut aayi hai phir se wahi bahaar
la la la la
lalla la lallaa la la
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
(ऑडियो संस्करण से)
कुछ भूली हुयी यादें
कुछ बिसरे हुए अफ़साने
आने लगे ऐसे याद
जैसे कल कि हो बात
लौट आयी है
फिर से वही बहार

कुछ भूली हुयी यादें
कुछ बिसरे हुए अफ़साने
आने लगे ऐसे याद
जैसे कल कि हो बात
लौट आयी है
फिर से वही बहार

ये राहें
जहां से मैं गुज़रा हूँ कितनी बार
हवाएं फिजाएं
के जिनमें बसा है प्यार
जाने पहचाने इन राहों कि धूल
धूल ऐसी धूल  जो खिलाये सदा फूल
कुछ भूली हुयी यादें
कुछ बिसरे हुए अफ़साने
आने लगे ऐसे याद
जैसे कल कि हो बात
लौट आयी है
फिर से वही बहार

वो देखो
उधर से चली आ रही है इक हसीना
है शोखी कुछ ऐसी
कि फूलों को आया पसीना
डूबी हुयी मस्तियों में मोरनी सी चाल
चाल ऐसी चाल
जो उड़ाती है गुलाल
कुछ भूली हुयी यादें
कुछ बिसरे हुए अफ़साने
आने लगे ऐसे याद
जैसे कल कि हो बात
लौट आयी है
फिर से वही बहार
लौट आयी है
फिर से वही बहार

(भिन्न दूसरा अंतरा विडियो संस्करण से)
ये चेहरे ये आँखें
ये आँखों से झांकती ख़ुशी
निगाहें
निगाहों में दिल कि है बात छुपी छुपी
मैं जानता हूँ जानता हूँ इनकी ज़ुबां
ये पूछती हैं छोड़ के गए थे कहाँ
कुछ भूली हुयी यादें
कुछ बिसरे हुए अफ़साने
आने लगे ऐसे याद
जैसे कल कि हो बात
लौट आयी है
फिर से वही बहार
लौट आयी है
फिर से वही बहार
ला ला ला ला
लल्ला ला लल्ला ला ला

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.

Comets regularly come visiting and humans have been noticing them for the last 2000 years since 240 BC. The fact that it was the same comet that appeared again and again was first discovered by Edmund Halley, making use of his friend Isaac Newton’s law of gravity. Making use of these laws, he postulated that the comets that was seen in 1531 (reported by Petras Apanus), 1607 (reported by Johannes Keplar) and 1682 were one and the same and it was visible from earth after every 76 years. This particular comet was named Halley’s comet in honour of Edmund Halley. This comet has been reported from 240 BC onwaards. It means that the Halley’s comet has visited us 30 times from 240 BC till now.

We in this blog also regularly see an event recurring. we call this event blog century. It occurs after every 100 songs, though the periodicity of this occurence varies. Sometimes it has recurred as fast as in 11 or 12 days and sometimes it has taken 40 days or even more to recur.

Today’s occasion is the 138th such occasion for this blog. This century, which took a leisurely 36 days take us to the figure of 13800 song posts in the blog.

We often tend to combine our blog centuries with some other occurences, for instance, individual centuries of artists. This occasion is no different. The 13800^th song post of this blog happens to be the 100^th song post in the blog for Pt Govindram as a music director.

Not much is known about Pt Govindram’s personal details, including his dates of birth and passing away. What is known is that he was one of the notable HFM music directors from Punjab during the earlier decades of HFM.

According to my research, Pt Govindram gave music in 32 movies between 1937 and 1955. His debut movie was “Jeewan jyoti”(1937) that had 15 songs, all penned by Wali Sahab. Neither the songs nor the details of singers of these songs are available. So these songs are now lost. Likewise, the songs of his second movie, viz “Khooni Jaadoogar”(1939) too are not available.

Pt Govindram began to taste success in 1940s beginning with “Himmat”(1941). The most well known song from this movie was Inhin logon ne le leenha dupatta mera. This song, which is a traditional song dating from the era before taklies has since been copied a few times, and most notably in “Paakeeza”, viz. Inhi logon ne le leenha dupatta mera (Paakeeza). In fact Pt Govindram himself reused this song again in “Aabroo”(1943) as Inhin logon ne le leenha dupatta mera.

Pt Govindram composed just over 300 songs in 32 Hindi movies. Details of quite a few of his compositions are unavailable/incomplete/incorrect. After braving through the lists of all these movies and songs, I find that Pt Govindram worked with about 30 lyricists and more than 44 singers.

He was associated with Ishwar Chand Kapoor for the most number of songs, viz more than 58 songs. Rammurty Chaturvedi comes second with 20 plus songs and Wali Sahad comes next with 15 songs. Bharat Vyas, Qamar Jalalabadi, Ramesh Gupta, Aziz Kashmiri, Prem Dhawan, D N Madhok and Hasrat Lucknowi are the other lyricists who worked with Pt Govindram in more than 10 songs each.

When it comes to playback singers, Pt Govindram used Shamshad Begam in as many as 84 songs, may be more. Lata comes a distant second with 22 songs, Zohrabai Ambalewaali sang 21 songs and Rafi sang 20 songs with Pt Govindram.

Here is the breakup of Pt Govindram’s career as a music director in Hindi movies.

For Pt Govindram’s 100^th song in the blog, I have chosen a song from “Dil Ki Duniya”(1949). This movie was directed by Mazhar Khan for Noble Art Production, Bombay. The movie had Munnawwar Sultana, Mazhar Khan, Geeta Bali, Shrimati Suman, Jaswant, Madan Puri, Suraiyya Chaudhary, Aghajaan, Rajpal, Raj Adeeb, Robi, Abu Bakar etc in it.

HFGK mentions this song as sung by Mohantara Talpade. Zia Sarhadi is the lyricist. Music is composed by Pt Govindram.

I have seen a YT upload where this song is attributed to Rajkumari. I have listened to a few songs of Mohantara Talpade and I have some doubts whether it is her voice. At the same time, this voice cannot be called Rajkumari’s voice either as far as I am concerned. I request our knowledgeable readers to offer their remarks. I have gone with HFGK and I have credited Mohantara Talpade with this song.

There is no doubt about the identity of the music director though. Pt Govindram is the music director of this song and with this song, Pt Govindram joins the list of artists who have 100 songs or more in the blog. He becomes the 84^th artist and 35^th music director to achieve this feat in the blog. This century is especially satisfying because he is one artist who operated mostly in the earlier decades of HFM prior to the golden era. In fact, I was not aware of his name when I began this blog.

With this song, the blog touches the 13800^th mark. We are now just 200 songs shy of the 14k mark. We should be reaching that figure sometime in January 2018. By that time the blog visitors count will also be touching 10 millions mark.

As usual, I take this opportunity to thank all our regulars, contributors, visitors and well wishers for their continous support and encouragements which has served as high quality ful for this musical bandwagon that is going on and on for the last nine years and more for 3432 days.

One can be rest assured that we will take fresh guard the next morning and we will then begin our march for the next century. We have many more centuries left in us, and they will keep coming again and again, much like Halley’s comet, that is for sure.

For now, let us enjoy this forgotten gem of a song as the 13800^th post of this blog.

Lyrics

dil ka sahaara toda hai jisne
dil ka sahaara toda hai jisne
dil ko hai phir bhi usi ka sahaara
dil ko hai phir bhi usi ka sahaara
dil ka sahaara toda hai jisne
dil ka sahaara

tujh ko mubaarak mohabbat kisi ki
tujh ko mubaarak mohabbat kisi ki
kabhi dekh le aa ke haalat bhi meri
kabhi dekh le aa ke haalat bhi meri
ke din zindagi ka judaai mein teri
din zindagi ka judaai mein teri
mar mar ke kaata haaye
mar mar ke kaata haaye
ro ro guzaara
dil ka sahaara
toda hai jisne dil ka sahaara

jhoothhi tasalli
jhoothhi tasalli
de ke chala jaa
jhoothi tasalli
de ke chala jaa
bujhta diya dil ka
aa ke jala ja
aa aa aa
aa ke jala ja
bhoole se itna kabhi aa ke kah de
bhoole se itna kabhi aa ke kah de
ham hain tumhaare
ham hain tumhaare
tu hai hamaara
dil ka sahaara
toda hai jisne
dil ko hai phir bhi usi ka sahaara
dil ko hai phir bhi usi ka sahaara
dil ka sahaara
toda hai jisne
dil ka sahaara

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.

Every morning I walk my pets by turns. That is a good time for thinking and getting interesting thoughts. I realised that our blog centuries (when they are taking place at their normal pace) are like lunar months. In the past, we would complete our centuries in 15-16 days which was like one paksh of a lunar month. Nowadays we are taking nearly twice as long to complete a century. In other words, our centuries these days take as long as a lunar month. In other words, these days we are getting one century post per month.

It is different this month. In this month of february 2018, we had touched post number 14000 on the very first day. Today, towards the fag end of february 2018, we reach the next century, viz 14100^th post in the blog. It is rare to have two full moons in one month and that has led to the phrase “once in a blue moon”. January 2018 was a blue moon month as far as two full moons were concerned. February 2018 is a “once in a blue moon” month for the blog as far as appearance of two century posts is concerned. When I checked up, I found that the last time we had two century posts in a month was in april 2017.

Whenever one is dealing with big numbers, one cannot help but devise some statistical tools to judge one’s performance. In limited overs cricket, we have strike rate. In this blog, I have devised a term called blog strike rate. Blog strike rate is nothing but the number of songs per day. One can divide the number of song posts by the number of days in which these posts appeared. We are going at a strike rate of just over 4 songs a day throughout the existence of the blog.

Then there are other interesting statistical analysis that are possible. For instance, number of songs that were created in a year and the number of songs from that year that are covered in the blog. Another variation is number of movies that were released in a year and the number of movies of that year that are represented in the blog. For instance, the year 1964 had 99 movies and 671 songs. The blog has 90 of these movies and 422 of these songs represented in the blog. 44 of these movies are already YIPPEED. So 46 up YIPPEED movies plus nine unrepresented movies from 1964 remain to be covered in the blog.

Covering the as yet unrepresented songs may not be as simple and straightforward as it may appear to the uninitiated. For instance, the nine missing movies of 1964 are rare movies. Sudhir Jee is on a mission to cover the missing movies of 1960s. In two years and three months he has covered more than 60 missing movies of 1960s in the blog. There were 929 movies released in 1960s. As many as 808 of them are covered in the blog with 361 of them already YIPPEED. So just over one hundred movies of 1960s are yet to be covered in the blog. We are making progress regularly. Still a stage will come when we will end up a few movies and a few hundred songs short because of unavailability of the remaining movies and /or songs. In all some 6521 songs were created in 1960s. The blog has 3488 of them. Just over 3000 songs of 1960s remain to be covered.

The decade of 1950s is the most well represented in the blog. 1111 movies are 8654 songs were created during this decade. The blog has 996 movies and 4627 songs represented in the blog, with 348 of these movies already YIPPEED.

Another statistics that is of great interest to me is the number of artists represented in the blog.The lyricists, singers and music directors represented in the blog add up to over 2000. The number of artists on whom these songs were picturised, or who helped create these movies also add up to a considerable number.

Well known artists find considerable representation in the blog. In addition, the blog also gives coverage and recognition to artists who are lesser known and even obscure.

This century songs seeks to recognise the contribution of one of the lesser known artist. This artist is Johny Whisky. This name is obviously inspired from Johny Walker. Johny Whisky (8 february 1932- 7 december 2006), originally named Sheikh Zennul Abdeen, has figured in bit roles in lots of movies starting from 1960s till 1990s. He worked in bit roles and he was too insignificant an actor unlike Johny Walker who tended to have at least one song earmarked for himself in ever movie. Still, Johny Whisky’s voice has been used in a few songs. Johny Whisky got to lend his voice in a song in “Akeli Mat Jaiyyo” (1963), viz. Chal chal chal mere dil and in a song in “Anjaam”(1968) viz. Mubaarak ho tumko ye jungle puraana.

The song under discussion is one where Johny Whisky is the main singer. Johny Whisky plays a eunuch who in India tend to look for houses with newborns. They would reach that house armed with dholaks and sing “badhaai”. That is the main occupation of this third gender in India.

The song is a “badhaai” song which is sung by Johny Whisky and chorus. Though only the audio is availabble, but it is clear that the song is picturised on Johny Whisky and others playing “hijdas”. Though this song is mentioned as a traditioan song, Sahir Ludhianvi is credited as the lyricist of this song in Akshay Manwani’s ‘Sahir Ludhianvi- The People’s Poet’.

Music is composed by C Arjun.

This song is the fifth and final song from the movie so this doubles up as the YIPPEE movie of the day as well.

Here are the details of the earlier songs from the movie covered in the blog.

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

With this song, “Nawaab Saahib”(1978) joins the list of movies that have all their songs covered in the blog. The blog ofcouse clocks 14100^th song post with this song.

As always, I take this opportunity to thank one and all for their continous support, encouragement, contributions, suggestions etc which is helping this bandwagon moving along in this musical journey where we rarely halt at any stops.

Song-Ladke ki aaj main mubaarakbaadi dene aayi (Nawab Sahib)(1978) Singer-Johny Whisky, Lyrics-Sahir Ludhianvi, MD-C Arjun
Chorus
Johny Whisky + Chorus
Unknown male voice

Lyrics(Provided by Avinash Scrapwala)

Mubarak ho o
Salaamat raho o
Kahaan chale gaye sab log
Dholak nikaalo
Shurru karo

Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Mubaarak baadi dene aayi
salaamat baadi gaane aayi
Mubaarak baadi dene aayi
Salaamat baadi gaane aayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

Chandan ka palnaa laayi
aur
Resham ki dori laayi
Kurta aur topi laayi
Aur ?? laayi
Dena sarkaar more
Manmaange muraad paayi
Dena sarkaar more
Manmaange muraad paayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

Haaye ek ruppalli
Haaye
Haaye
Inke Khaalu
Daiyya re daiyya
Inki Maami
Daiyya re daiyya
Unke chaacha
Daiyya re daiyya
Bachcha jachcha pe shobhe
Heera moti panna jaise
Chaand ke aas paas
Taaramandal chamke jaise
Dena sarkaar more
Manmaange muraad paayi
Haan
Dena sarkaar more
Manmaange muraad paayi
Ladke ki aaj main
Mubaarak baadi dene aayi
Ladke ki aaj main
Mubaarak baadi dene aayi

O koi filmi gaana sunaao na
to Haan leo
Filmi gaana suno
Inhi logon ne
Inhi logon ne ae
Inhi logon ne
Le leena aa
Le leena
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera
Inhi logon ne
Le leena
Duppatta mera
Inhi logon ne ae
Inhi logon ne ae
Inhi logon ne ae
Aa hey
Inhi logon ne ae
Inhi logon ne ae
Le lina
Duppatta mera
Inhi logon ne
Le lina
Duppatta mera aa

Amaa yaar
Koyi phadakta huaa gaana sunaao

Nazar laagi raaja tore bangle pe
Nazar laagi raani tore bangle pe
Nazar laagi raani tore bangle pe
Aa aa
Tore bangle pe raaja aa
Tore bangle pe
Tore bangle pe raaja aa
Tore bangle pe
Haay haay
Nazar laagi raaja tore bangle pe
Nazar laagi raaja tore bangle pe
Nazar laagi raaja tore bangle pe

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

Yesterday (22 march 2018), the blog was having a dot day till about 8 PM and then three articles were published just as the day was getting over, duly taking care of the “debutant” movie song as well as the YIPPEE movie for the day. Today (23 march 2018), we have had four songs discussed already, and that covers the “debutant” movie song as well as the YIPPEE movie.

But we are not done for the day. People have not noticed that we are onto another landmark. These days we mention the post number in the beginning of the post. The last article had its post number as 14199. So the next article has to be the net century post for the blog, viz post number 14200.

This century post occasion must be the most uneventful as well as the most underprepared century post. I was not sure about the song I was going to pick for the occasion till very late. I thought that I had chosen the song. But that song got changed in the afternoon. In the evening that song got changed again. This song, the 14200^th song for the blog will appear at around 11 PM IST, after being finalised at about 8 PM ! In fact I discovered this song and heard it for the first time at 8 PM !

I had decided that this century post would cover a song penned by Kaifi Azmi. so the songs that I kept chosing and changing were all penned by Kaifi Azmi.

It was yesterday evening that I had decided on Kaifi Azmi as the artist to feature for the century song. So I began to research on the songs of Kaifi Azmi. I found, much to my surprise that the list of all songs penned by Kaifi Azmi is not available online, unlike the case for many other artists. Kaifi Azmi has an official site but I found that site a half hearted attempt and there I could not find what I was looking for.

So I spend my time from yesyterday evening till this evening compiling the list of all Kaifi Azmi songs that he has penned in HFM. I arrived at a figure of 351 songs from 88 movies. I was under the impression that Kaifi Azmi was on 199 in the blog and so I was hoping that this song would combine blog century will Kaifi Azmi’s 200^th song in the blog. But I found that my earlier calcutaion was incorrect. Kaifi Azmi is on 189 and not quite 199. Nevertheless, now I have a fairly good idea about Kaifi Azmi’s output in Hindi movies.

I find that the music directors with whom Kaifi Azmi worked could be broadly categorised in two categories- First category was those who were lovers of urdu. Second category were those who did not have command over Hindi/ Urdu but they realised the value of a good lyricist.

In the first category, we have music directors like Madan Mohan, Ghulam Mohammad, Khayyam, Jaidev, A R Qureshy, Pt Lachchiram, O P Nayyar, Roshan etc etc. Kaifi Azmi worked with Madan Mohan in 14 movies, which is the highest number of movies for him with one music director. On the other end of the spectrum, he worked with Roshan and O P Nayyar in just one song each. The first song in the blog was sole Roshan composition that Kaifi Azmi penned. So this blog was starged with a rare song though it was not realised at that time.

The only O P Nayyar composition that was penned by Kaifi Azmi was the lilting title song of “Bahaaren Phir Bhi Aayengi” (1966).

The other category of music directors with whom Kaifi Azmi was associated in HFM were those who had poor command over Hindi/ Urdu. They were mostly Bangla speakers. But what compositions they created with Kaifi Azmi. This category of music directors include names like S D Burman, Hemant Kumar, Kamal Mitra, Bappi Lahiri, Aparesh Lahiri, Robin, Kanu Roy, Dilip Roy etc.

For this occasion, I have chosen a song that must be regarded as a rare song on many counts. This song is a rare song per se, in the sense that I had not heard this song till now, even though this song was composed in 1970, when I as a precocious music loving kid would listen to all HFM that would get played on Radio, loudspeakers etc.

This song can also be desribed as rare because it is a club song as well as a Helen dance song. One does not associate Kaifi Azmi with a Helen dance song, but this song is very much a Helen dance song.

Though the song has dance by Helen, she does not do any lip syncing. The song is a male solo song. It is sung by Mahendra Kapoor, regarded uncharitably as poor man’s Rafi by some. The song is lip synced as a party song in Shammi Kapoor style. No, it is lip synced neither by Shammi Kapoor nor by Vishwajeet, whom many people rather uncharitably regarded as poor man’s Shammi Kapoor. the song is lip synced by Chandrashekhar who could well be described as a poor man’s Vishwajeet. That would make him poor man’s poor man’s Shammi Kapoor. The song does have such self effacing lines as

dekh ke mujhko munh pher lete hain sab
mera chehra gareebi ka hai ishtihaar

The picturisation also shows some well known villains in attendance. K N Singh and Jeewan are present on the occasion. Jeewan seems to have understood every word of this heavy duty lyrics, going by his facial expression.

I got to listen to the song a few times in the process of noting down of the lyrics. I found the song growingon me. It is that kind of song.

So here is this unsung song as the rather unnoticed 14200^th song in the blog. This century took a sedate 26 days. Hopefully we will pick up speed in the coming days and weeks.

I take this opportunity to thank one and all for their continued support, good wishes and encouragement that keep fuelling this musical bandwagon. Let us hope that this bandwagon keep on rolling, like the mythical perpetual motion machine.

Song-Chaand bhi hai sitaare bhi hain bazm mein (Daghabaaz)(1970) Singer-Mahendra Kapoor, Lyrics-Kaifi Azmi, MD-Dilip Roy

Lyrics

chaand bhi hai sitaare bhi hain bazm mein
chaand bhi hai sitaare bhi hain bazm mein
jaane kya raaz hai kyun ujaala nahin
chhed di maine dil ki ye baaten kahaan
dil ki baaten koi sun’newaala nahin
chaand bhi hai sitaare bhi hain bazm mein

dekh ke mujhko munh pher lete hain sab
mera chehra gareebi ka hai ishtihaar
dekh ke mujhko munh pher lete hain sab
mera chehra gareebi ka hai ishtihaar
apne sar pe chita apni rakkhe huye
apne sar pe chita apni rakkhe huye
thokaren khaayin duniya ke aage hazaar
thokaren khaayin duniya ke aage hazaar
aur kisi ne bhi badhke sambhaala nahin
dil ki baaten koi sun’newaala nahin
chaand bhi hai sitaare bhi hain bazm mein

sar agar phodna hai to sar phod lo
saaya dhoondho na chaandi ki deewaar mein
sar agar phodna hai to sar phod lo
saaya dhoondho na chaandi ki deewaar mein
pyaar ka geet honthon tak aaya to thha
pyaar ka geet honthon tak aaya to thha
kho gaya aa ke sone ki jhankaar mein
kho gaya aa ke sone ki jhankaar mein
dard patthar ne seene mein paala nahin
dil ki baaten koi sun’newaala nahin
chaand bhi hai sitaare bhi hain bazm mein

raat dhalti rahi
jashn hota raha
raat dhalti rahi
jashn hota raha
log hanste rahe
koi rota raha
shukriya kis jubaan se ada keejiye
shukriya kis jubaan se ada keejiye
dil mein kaanta zamaana chubhota raha
dil mein kaanta zamaana chubhota raha
mujhko mahfil se lekin nikaala nahin
dil ki baaten koi sun’newaala nahin
chaand bhi hai sitaare bhi hain bazm mein
jaane kya raaz hai kyun ujaala nahin
chhed di maine dil ki ye baaten kahaan
dil ki baaten koi sun’newaala nahin
chaand bhi hai sitaare bhi hain bazm mein

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 song is the 14300^th song post in the blog.

Series of Rafi songs-Rafi with music directors
—————————————————————-
(Pal do pal ka saath)-MD composing just one Rafi song
——————————————————————-
Part II-Chaand Pardesi
—————————-

If one thinks that posting “blog century” songs is quite a straight forward matter then think again. Though we have posted as many as 142 blog century posts, hardly any of them were easy picks. I had to think hard and long before finding songs befitting the occasion.

As the number of centuries mounted, we began to combine those blog centuries with other special occasions, viz. artist century, contributor century, artist anniversaries etc.

The post under discussion marks the 143^rd century for the blog. In other words, it is the song post number 14300 for the blog.

I just mentioned that selecting “blog century” songs is not a trivial matter. Let me describe the thought process/ behind the scene activities that took place before I settled on this particular song as the “blog century” song.

First thing first. I had made up my mind that I would author this post. The reason was simple. I realised that our other contributors, including the usual century author Sudhir Jee were hard pressed for time these days. So I decided that I needed to write this post.

Many of our special posts including century posts have tended to appear towards the midnight, which may be prime time for TV but not for the blog. Blog prime time is day time on a weekday, so I made up my plan that this article should appear by morning today (24 april 2018) which happens to be tuesday.

When the day began, the tally of posts stood at 14297, so it meant that three posts needed to be posted, including two posts prior to the century post.

Did I have any song in mind for the “blog century” post ?

Yes, I had. It was a rare song, and quite a remarkable song. I had discovered this song a few months ago and I had noted down its lyrics as well. It was a long song and noting down the lyrics took a good amount of time. I had earmarked this song as a special song, to be covered as a “blog century” post or any such occasion.

This song had another qualification. I had begun my series of Rafi songs called (Pal do pal ka saath)-MD composing just one Rafi song. I had begun this series by aiming to cover those music directors who composed just one song with Rafi. I had decided that these songs would be special occasion songs in the blog. The first (and so far only) song in the series was composed by Arun Raghavan. I had combined this song to mark several special occasions, viz. that song was the 2800^th Rafi song in the blog and the movie, which got introduced in the blog with the song was the 3800^th movie covered in the blog.

My planned song that I had earmarked also fitted the same bill. It was also the only Rafi song composed by that music director.

With time, I realised that this song could be combined to mark another extremely rare occasion which few regulars may be able to guess. It could become the 500^th Rafi-Asha Bhonsle duet in the blog !

So I had silently made sure that the tally of Rafi-Asha Bhonsle duet had gradually inched upto the 499 mark in the blog.

So, when the time arrived to post the 14300^th song article, I had every thing covered. Or that is what I thought.

When I began to search for this song in my hard disk, I was unable to locate it. I had noted down its lyrics spending several hours. I was sure it was there somewhere but where ? I managed to locate the video in my hard disk but not the lyrics.

OK, I will have to note the lyrics again, I thought.

When I began to listen to the song, I received another jolt. This song that I was remembering as a Rafi-Asha Bhonsle duet had another voice in it. So my carefully laid plans got thrown out of the window immediately.

What to do now ? Now I needed to search for songs composed by other composers who worked with Rafi in just one song. This list is fortunately very much there in my excel sheet, and show I immediately began to search for Rafi songs composed by these one Rafi song composers.

The songs that I located were just solo Rafi songs, and they somehow did not sound worthy of being the blog century song. Nevertheless, one such Rafi song, after repeated listening began to grow upon me and I decided that this song was going to be the song for the occasion. So I noted down the lyrics of the song.

On just a whim, I decided to check up another solo Rafi song composer. And guess what ? This song was very much a Rafi-Asha Bhonsle duet !

When I listened to the song, I realised that it was an suitable replacement for the song that I had originally planned and which turned out to have more than two voices.

So, I got a song which was the only occasion when this music director got to utlise Rafi’s voice in his compositions. And this song happens to be the 500th Rafi-Asha Bhonsle duet in the blog.

This song in question is from a forgotten movie called “Ban Maanush”(1979). It was directed by Kamram Khan for O K Films, Bombay. The movie had Dara Singh, Padma Khanna, Kamran, Uma Dhawan, Mohan Choti, Sundar, Ratan Mala, Monal, Rajan Kapoor, Habeeb, Hamid Khan, Sawan, Chaachi, Sabir, Ramjanam singh, Danny Junior (new discovery), Jagdep (special appearance) etc in it.

“Ban Maanush”(1979) had three songs in it. This song under discussion is the first song from the movie to appear in the blog. So “Ban Maanush”(1979) makes its debut with this rare and special song.

The video of this song is very much available. One can see that the song is picturised as a qawwaali song where a gentleman and a lady assisted by their respective teams of chorus sing this song.

Good qawwaali’s in Hindi movies always have great lyrics in them. And this qawwaali is no exception. Farooque Kaiser is done very well in penning the lyrics of this song. Music is composed by Chaand Pardesi.

Qawwaali is one genre of song where picturisation plays as important a role as the lyrics is savouring and enjoying the song. The saying “the song is better heard than seen” does not apply to qawwaalis.

Qawwaalis were normally seen in muslim social movies. In these movies, qaawwaali are one occasion where the two genders are seen interacting with each other in full public view. It is one occasion where the two genders openly use amorous terms and the public (otherwise quite conservative) do not mind. I think this kind of qawwaalis have been invented in Hindi movies and I do not think amir Khusro, the creator of Qawwaali might have imagined that the qawaalis would serve this pupropse, viz helping the two genders (who otherwise remain segregated) to interact with each other and express their feelings with each other.

To help avoid embarrassment that may result if one a male and a female were to sing the song, the lead singers are supported by friends of the same gender to lend moral support by singing in chorus.

Another thing that one notices in these filmy qawwaalis are that the lyrics of this songs are quite liberal and broadminded and not at all conservative and narrow minded. One is readily reminded of the epic qawwaali of “Barsaat Ki Raat”(1960) that covers lots and lots of topics viz. Krishna, Radha, Meera, Buddha, Maseeh etc.

The qawwaali under consideration is a nice “expression of love” genre of qawwaali. I can see that Padma Khanna lip syncs in Asha Bhonsle’s song, but I am unable to identify the gentleman who lip syncs in Rafi’s voice.

This qawwaali is a forgotten gem from my college days which I had never heard before.

In summary, here are the salient features of this song post:-

1. This song is the only Rafi song that music director Chaand Pardesi composed in his career. And what a superb song it is. This article is our way of honouring the one Rafi song music director Chaand Pardesi.

2. This song is the 500^th duet song sung by Rafi and Asha Bhonsle. What to say about this feat. These two legends have easily sung the most number of duets songs ever. I have not yet counted the number of duets sung by them, but I have read an estimate this puts this figure to over 800 ! The second most prolific duet singing pair happens to be Rafi-Lata pair. They are a “distant” second with “just” 400 plus duets.

3. This song is the 14300^th song of the blog. The previous blog century was achieved on 23 march 2018. So this century has taken 32 days.

There was a time when we used to clock centuries in 16 days. We may have slowed down, and in the course of this century we even had a dot day, but at least the musical bandwagon is still on the move. And this matters a lot.

We are on the verge of several landmarks in addition to the usual blog century landmarks. Lots of artists are closing in to their century and multiple century marks. Even a regular contributor is stuck on 199 (hint ! hint ! ). So there are lots of exciting and interesting events ahead of us.

When one considers this series (pal do pal ka saath), this was only the second episode. There are more music directors with justone Rafi song to their credit. Their time would also come and we will honour them too with similar special write ups.

As for now, I take this opportunity to thank one and all for their continuous support for nearly ten years. That reminds me, we are on the verge of completing ten years in another four months. Here is hoping that this musical bandwagon will continue to roll on and on and in the process we will find ourselves acquainted with lots and lots of great musical gems, and some of them for the first time.

This special song may well be the first time many of our music lovers will get to listen to this song. Here is this wonderful song from the golden era of HFM. Enjoy !

Song-Uthhaaye maine naina to aar paar honge(Ban Maanush)(1979) Singer-Rafi, Asha Bhonsle, Lyrics-Farooque Kaiser, MD-Chaand Pardesi
Male chorus
Female chorus

Lyrics

aa aa aa aa
aa aa aa aa
aa aa aa aa
rang bhi uda uda hai
kadam bhi ruke ruke
kaise karenge pyaar ye
naina jhuke jhuke

uthaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisaar honge
uthaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisaar honge
uthhaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisar honge
hum jisko dil de den
usi ke yaar honge
tumhaari tarah to hazaar honge
hum jisko dil de den
usi ke yaar honge
tumhaari tarah to hazaar honge
hum jisko dil de den
usi ke yaar honge
tumhaari tarah to hazaar honge
uthhaaye maine naina
to aar paar honge
tumhaari tarah to hazaar honge

ishq waale wafa nahin karte
daawe karte hain khoob badh chadhh kar
jab nibhaane ki baat aati hai
bhool jaate hain pyaar ye dilbar
bhool jaate hain pyar ye dilbar
bhool jaate hain pyar ye dilbar
aa aa aa aa
aa aa aa aa
husn waale daga nahin karte
ye hamaara yakeen hain dilbar
jinke baalon mein phool khilte hain
ho nahin sakte unke dil patthar
ho nahin sakte unke dil patthar
ho nahin sakte unke dil patthar

aa aa aa aa aa
ae mere dard e jigar
itni taareef na kar
naaz itne na uthha
humko sar pe na bithha
humko maaloom hai sab
teri chahat ka sabab
dard ye tune diya
pyaar to humne kiya
pyaar to humne kiya
pyaar to humne kiya

aaj phir tera pyar maanga hai
ik zara sa karar maanga hai
phir wahi intzaar maanga hai
phir tera etbar manga hai
dard ka razdaar maanga hai
dil ka aayina daar manga hain
jinko jannat ka shauk hai maangen aen aen
humne allaah se yaar manga hai
humne allaah se yaar maanga hain
humne allah se yaar maanga hai
sab kuch khuda se maang liya
uthte nahi hain, mere haath is dua ke baad
humne allah se yaar maanga hai
humne allah se yaar maanga hai

aa aa aa aa
aa aa aa aa
duaayen mangne se
chhaanv zulfon ki nahin milti
mohabbat zindagi ki sabse
mushqil aazmaayish hain
tadap hai dard hai aansu hain
ruswaai bhi hai ismein
magar ye aazma lene ke
kaabil aazmaayish hai
ye dil chaahe toote
padenge hum na jhoothhe
tumhare liye bekaraar honge
ye dil chaahe toote
padenge hum na jhhoothhe
tumhaare liye bekarar honge
ye dil chahe toote
padenge hum na jhhoothhe
tumhaare liye bekraar honge
uthhaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisaar honge
uthhaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisaar honge
uthhaaye maine naina
to aar paar honge
tumhi ek nahin
sab nisaar honge
hum jisko dil de den
usi ke yaar honge
tumhi ek nahin
sab nisaar honge

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

When you are young, you take many of your gifts for granted. Only when you lose those gifts that you start mising them. For instance, I took my eyesight for granted for nearly fifth years. I had perfect 6/6 vision for much of my life, but now I cannot read without glasses.

To take another telling example, I was an indefatiguable runner in my younger days. I could run around for hours without running out of breath. But today I cannot even run ten metres, forget running 1500 metres in around five minutes that I was capable of during my younger days.

Forget comparing my present self with my past younger self of 35 years ago. When I compare the blog strike rate today with the blog strike rate of six years ago, I find a similar loss of agility. During 2011 and 2012, we were clocking 100 songs every 16 days, and sometimes even faster. These days, we have become like a potbellied elderly person who can barely move. Our blog centuries these days are taking more than 30 days each. The previous century took exactly one month viz 31 days.

If one thought that we could not get any slower, then you need not look any further. This post is post number 14400 for the blog and it has taken 43 days ! I sincely hope that it is the last of such snail paced centuries and we would pick up some decent pace from now onwards.

This century post has taken almost an eternity to arrive and it will appear in the dying moments of the day (night), which means readers of the blog may not get much time to read it before the next post appears first thing in the morning.

This century post, like most of our century posts combines several landmarks, and some of these landmarks are “artificial” but real. Did I just use an oxymoron like say happily married ?

Let me count the special occasions that this song combines. This song is from a 1957 movie called “Amar Singh Rathod”(1957). This movie was directed by Jaswant jhaweri for Dinesh Films Bombay. This “historical” movie had Nirupa Roy, Jairaj, Ram singh, Al Nasir, Ramesh sinha, Sundar, Murad, Rajkumar, Shree Bhagwan, Ramlal, Sapru, Shyam Lal, Pandey, R S dubey, Devchand, Yashodhara Katju, Ratnamala, Heera, Helen, Veena. Guest artist-Minu Mumtaz etc in it.

The movie had 12 songs in it and the song under discussion is the first song from the movie. In other words, “Amar Singh Rathod”(1957) makes its debut in the blog. It is no ordinary debut though. As many as 113 movies were released in 1957. 99 of these movies were represented in the blog so far. So this movie is the 100^th movie of 1957 to find representation in the blog !

There is another even more impressive number coming up ! The decade of 1950s (from 1951 upto 1960) saw 1111 movies getting released. 999 of these movies have been covered in the blog so far. So, ladies and gentlemen, this movie happens to be the 1000^th movie of 1950s to get showcased in the blog ! We now have just 111 more movies of 1950s left to be covered in the blog. Of course songs of many of these movies may not be available. But that is for the future.

For now, let us enjoy this lovely duet from “Amar Singh Rathod”(1957). This song is sung by Sudha Malhotra, Manna Dey and chorus. It is a dance song performed in a raj darbaar. I am unable to identify the actors performing the dance. I request our knowledgeable readers to help identify them.

Bharat Vyas is the lyricist. Music is composed by Sanmukh Babu.

With this song, we now reach the landmark of 14400th song in the blog. We are just five weeks short of completing ten years of the blog which would be a REAL achievement for the blog. There would be nothing “artificial” in that massive landmark that will arrive soon.

I take this opportunity to thank one and all for their continuous support and encouragement. I hope that the blog will pick up some real steam in the coming days and we will not only regain our glory days but hopefully exceed them as well.

Song-Chori chori chori mat dekho ji bhanwar ji(Amar Singh Rathod)(1957) Singers-Sudha Malhotra, Manna Dey, Lyrics-Bharat Vyas, MD-Sanmukh Babu
Chorus

Lyrics

o o o o
o o o o
o o o o
o o o o

o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
chori chori
chori chori chori mat dekho ji bhanwar ji
hamko nigodi sharm aaye re
o bharam jaaye re
mori arji suno kanwar ji
ho o mori arji suno kanwar ji

o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
chori chori
chori chori chori mat dekho ji bhanwar ji
hamko nigodi sharam aaye re
ho bharam jaaye re
mori arji suno kanwar ji
ho o mori arji suno kanwar ji

ho gori gori
gori gori chaandni chama cham chamke
aise me kyun ji sharm aaye re o bharm jaye re
tori batiya batao gori ji
o tori batiyaan bataao gori ji
chori chori chori mat dekho ji bhanwar ji
hamko nigodi sharm aaye re o bharam jaye re
mori arji suno kanwar ji
ho o mori arji suno kanwar ji

o o o o
o o o o
o o o o
o o o o
o o o
o o o
o o o
pyaas bujhaane apne man ki tujhse nazar milaaun re
milaaun re milaaun re
ho
pyaas bujhaane apne man ki tujhse nazar milaaun re
ho o
tum ho lobhi main lajwanti
ho
nazar miley to mar jaaun mar jaaun re
aji chhodo ye bak jhak
ham gaye thhak thhak
tak tak jiya kare dhak dhak
aankhiyaan hamaari atak jaaye re o bhatak jaaye re
o mori arji suno kanwar ji
ho o
mori arji suno kanwar ji
chori chori chori mat dekho ji bhanwar ji
hamko nigodi sharm aaye re
ho bharm jaye re
mori arji suno kanwar ji
ho o mori arji suno kanwar ji
o o o
o o o
o o o

o o o o
o o o o
o o o o
o o o o
o o o
o o o
o o o
gore gore mukhde se gori ghoonghat apna hata na
ho o ghoonghat apna hata na
ho ghoonghat me julmi kya chhupa hai tera koi khazaana
ho
tera koi khazaana
aji kholo ji jhatpat
ghoonghat ka ye pat
jao ji natkhat kahe ki ye khatpat
dulhaniya teri machal jaye re
ho badal jaye re
mori arji suno kanwar ji
o mori arji suno kanwar ji
chori chori chori mat dekho ji bhanwar ji
hamko nigodi sharam aaye re ho bharm jaye re
mori arji suno kanwar ji
ho mori arji suno kanwar ji

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.

With well over fourteen thousand plus songs and counting, blog century post is a keenly looked forward to occasion for the blog. It signifies the achievement of yet another century for the blog.

With this song, we achieve one more century for the blog, namely century number 145. In other words, this post is song post number 14500 for the blog.

Under normal circumstances, a century landmark is often the main show in the blog, but this time it finds itself relegated to the status of a sideshow. The blog is completing ten years of its existence in a couple of days from now, and we are all concentrating on that mega event. It is like a grand wedding coming up in a family that everyone is concentrating on and they miss the fact that a kid in the family had just won a seat in a prestigious college. On another day, it would be a grand occasion, but it gets ignored on a occasion like this.

Well, a century is a century, as our respected Sunil Gavaskar never fails to remind us. And that is indeed the case. No century comes easy in this blog. This century has been toughgoing. This time duration of 41 days for this century had as many as four dot days including two dot days in a row, which is quite unusual for the blog. A late surge for the last few days, driven by entusiasm for the forthcoming 10th anniversary date sees us clocking a good number of posts (26) in the last six days. It looks like lightening pace by present days standard of the blog, but believe me, it would have regarded as ultra slow in olden days of yore (2011-12) when we averaged 6 to 7 songs in a day and some less enthusiastic music lovers would request us to go slow on our postings.

Coming to the song, this song, like most blog century songs, richly deserves this honour. This song is a qawwaali. Those music lover who are fans of qawwaali would know what a good qawwaali means. It means a song lasting more than seven or eight minutes and still music lovers not realising how this time flies away. Typical HFM qawwaalis has nok-jhonk between the two genders, where the lead singer of each genders has chorus to lend support to them. The lyrics of these qawwaalis are , to my mind the real stars of this genre of song. The words, word plays, the taunts, the jokes that form part of the qawwaali are hard hitting as well as amusing.

The qawwaali under discussion is from “Jungle Princess”(1958). It is an obscure song from an obscure movie. This movie was directed by A R Zameendaar for Navshakti Films, Bombay. This costume drama (veshbhoosha pradhan film) had Kamran, Shanta Kumari (Neeru), Baburao, Indira, Habeeb, Leela Gupte, Janibabu Qawwaal, Shakila Bano, Fazal, Neelofar, Amina, Sheikh, Funny Walker etc in it.

The movie had five songs in it. Full details are known only for one song, viz for the song under discussion. Singers of other songs are not known though it is mentioned in HFGK that Mubarak Begam and Jaani Babu qawwaal were the singers in the movie.

Here is this qawwaali for “Jungle Princess”(1958). It is sung by Mubarak Begam and Jaani Babu qawwaal, assisted by female and male chorus. The great lyrics are by Aziz Ghaazi. Music is composed by the duo of Bipin Mehboob.

The song is a forgotten gem. One expects a qawwaali to contain only heavey duty Persian/ Urdu stuff but it is a “modern” qawwaali far ahead of its time (1958) and it contains English words in it as well.

1958! So this qawwaali was created exactly 60 years ago !

Here is this fantastic qawwaali from “Jungle Princess”(1958) as the 14500th song in the blog. Only the audio of the song is available. Video would have been available had the movie done well like say “Al Hilal”(1958) which had also come in the same year and whose iconic qawwaali had become the 5000^th song in the blog back in 2011 !

Only the audio is available and let us be thankful for that. My guess is that this song was picturised on Shaikila Babo Bhopali and Jani Babu Qawwaal.

With this song, “Jungle Princess”(1958) makes its debut in the blog.

This song also serves as a tribute to Mubarak Begam whose remembrance day falls tomorrow (18 july 2018). We will pay our tribute to her tomorrow as well with some more of her great songs. For now, here is this 14500^th song in the blog. As always, I thank one and all for their continued support for a decade (it will be a decade two days from now). It had been a reat journey. We had achieved 145 centuries in this one decade. Let us see what the future has in store for us. Just how many more centuries do we have in store and in how many more years. Let us take it one song at a time like how we have done so far and who knows where we may end up with. It has been a great one decade for me as well as the fellow travellers of this musical bandwagon. Let this musical bandwagon continue to roll on and on !

And now, please listen to this song. If you are like me, you may find yourself listening to this song again and again. And that is what I am doing at this moment as I type out these finishing lines of this article.

Song-Adaayen teer hain andaaz barchhi bhaale hain (Jungle Princess)(1958) Singers-Mubarak Begam, Jaani Baabu Qawwaal, Lyrics-Aziz Ghaazi, MD-Bipin Mehboob
Female chorus
Male chorus
All chorus

Lyrics

adaayen teer hain
andaaz barchchi bhaale hain
sambhal ke aana muqaabil mein
husn waale hain
aji haseen jitne hain
sab apne dekhe bhaale hain
hum ahl e dil bhala kab
inse darne waale hain
adaayen teer hai andaaz barchchi bhaale hain
sambhal ke aana muqabil mein
husn waale hai
adaayen teer hai

jahaan haseen hon inke wahin pe hain dere
wahin pe hain dere
bajaake sitiyaan galiyon mein karte hain phere
ye karte hain phere
gumaan hota hai
gumaan hota hai
kauve udaane waale hain
sambhal ke aana muqabil me
husn waale hain
adaayen teer hain

na karna inpe bharosa
ye hue hain kis ke
na karna
inpe bharosa
ye huye hain kis ke
aji dikhaai ek jhalak
muskura diye khiske
muskura diye khiske
ye dhokhebaaz bhala
ye dhokhebaaz bhala
kiske hone waale hain
hum ahl e dil bhala
kab inse darne wale hain
haseen jitne hain

bataao kis’se ye ulfat ka taraana seekha
ye taraana seekha
kisne ?? jab dil ka lagaana seekha
dil ka lagaana seekha
huzur aise bahut
huzur aise bahut
hamne dekhe bhaale hain
sambhal ke aana muqabil mein
husn waale hain
adaaye teer hain

ye muskura ke bajaate hain dil ka ek taara
ye muskura ke
bajaate hain dil ka ek taara
jo inse pyar kare
uske baj gaye barah
uske baj gaye barah
ye laal pyaar mein
ye laal pyaar mein
jhandi dikhaane waale hain
hum ahl e dil bhala kab
inse darne waale hain
haseen jitne hain

bane hain aashiq e jaanbaaz jeb mein zero
hain jeb mein zero
badha ke baal samajhte hain
ban gaye hero
ye ban gaye hero
inhen bhi dekhiye
inhen bhi dekhiye
ji teer kya nikaale hain
sambhal ke aana muqabil me
husn waale hain
adaayen teer hain

hai rang pakka magar
zidd hai ke pari samjho
hai rang
pakka magar
zidd hai ke pari samjho
pataakha jaan kaho
inko phuljhadi samjho
inko phuljhadi samjho
aji andhere bol rahe
andhere bol rahe hain ki
hum ujaale hain
hum ahl e dil bhala kab
inse darne waale hain
haseen jitne hain sab

bhala hazaaro taraf ??
tera hai kya kehna
tera hai kya kehna
kameez phhaad ke majnu ne suit hai pehna
ye suit hai pehna
club mein seekhne ab
calub mein seekhne ab
dance jaane waale hain
sambhal ke aana muqabil mein
husn waale hain
adaayen teer hain

laga hai munh pe to powder
labon pe hai laali
laga hai
munh pe to powder
labon pe hai laali
zamaana badla hai
Laila nahin rahi kaali
ab nahin rahi kaali
aji kata ke baal ye
kata ke baal ye
england jaane waale hain
hum ahl e dil bhala kab
inse darne waale hain
haseen jitne hain
sab apne dekhe bhaale hain
sambhal ke aana muqabil mein
husn waale hain
hum ahl e dil bhala kab
inse darne waale hain
sambhal ke aana muqabil mein
husn waale hain
hum ahl e dil bhala kab
inse darne waale hain
sambhal ke aana muqabil mein
husn waale hain
adaaye teer hai andaz barchchi bhaale hai
sambhal ke aana muqabil mein husn waale hain

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.

Those who have followed cricket for as long as I have, old time cricket followers may recall that test cricket centuries used to be quite rare. One test Indian batsman managed to score one test century in one test series then it waas considered a major cricketing achievement. One Indian cricketer scoring more than one test century in a test series was a rarity. It was quite a rarity indeed when Sunil Gavaskar scored as many as four test centuries in one test series, and that too his debut series.

It was three years later that Gavaskar would score his next test century in 1974. After that he did not look back snce and went on to make a record breaking 34 test centuries. Subsequently we have another little master, namely Sachin Tendulkar who rewrote that hrecord by scoring more than 50 test centuries and more than one hundred internationa centuries.

In olden days, we often found batsmen batting quite slowly and taking almost one full day to score a century. Mudassar Nazar of Pakistan took 557 minutes to score a test century in 1977-78 against England. He faced 419 balls to reach his century. In contrast, we had someone like Virender Sehwag who scored a triple century against South Africa in 278 deliveries.

We in this blog also regularly score centuries of posts. We have had 146 such centuries so far. quite a few of these centuries have been Sehwag like when 100 posts were completed in 16 days or even less. Such fast centuries have been described as Sehwag like by our regulars- such as Raja.

On the other end of the scale, sometimes our centuries have been painfully slow, like Chris Tavare or Mudassar Nazar. We “fondly” remember both because they often found it easy to showcase their “talent” against India.

This post is the 14700^th song post for the blog or in other words this post marks the 147^th century for the blog. This century has come at a Mudassar Nazar like rate. It has taken us as many as 53 days to reach this century.

This song is a rare song from “Fariyaadi”(1953).

“Fariyaadi”(1953) was produced and directed by Habib Sarhadi for Habib Productions, Bombay. This “social” movie had Rehman, Shakuntala, Mirza Musharraf, Wazir Mohammad Khan, Ramesh Thakkar, Parvati Devi, H Prakash, Devraj, Sadiq, Krishn, Chaandni, Qamar, Jankidas, Shanta Kunwar, Manju, Minni etc in it.

The movie had eight songs in it. Two songs from the movie has been covered in the past.

This song, the third song from “Fariyaadi”(1953) to appear in the blog is sung by Rafi. Muzaffar Orkazai is the lyricist. Music is composed by B N Bali.

This song is a rare song, that few people may have heard before. And we have chosen this song as the 14700^thsong for a special reason. This song happens to be the 29^th century of Rafi in the blog. In other words, Rafi now has as many as 2900 songs in the blog, just 100 songs short of the magical 3000 songs mark.

Instead of taking more time than what has already been consumed while reching this century, I decided to just get on with this century without much fanfare so that we can concentrate of future posts. So here is this post that combines blog century number 147 with Rafi century number 29.

So here we are, to yet another landmark, without much fanfare. I take this opportunity to thank one and all for their support and encouragement. We have come a long way and we still have lots of songs yet to be covered. This post gives us an opportunity to take fresh guard and get down to the task of covering more songs from the teasure of HFM.

Song-Jal jal ke shama ki tarah fariyaad na karna (Fariyaadi)(1953) Singer-Rafi, Lyrics-Muzaffar Orkazai, MD-B N Bali

Lyrics

Jal jal ke shama ki tarah fariyaad na karna
main yaad bhi aaun to mujhe yaad na karna

mushqil hai bahut pyaar ki duniya ko basaana
bedard zamaane ka tareeqa hai puraana
do pyaar bhare dil kabhi aabaad na karna
main yaad bhi aaun to mujhe yaad na karna
Jal jal ke shama ki tarah fariyaad na karna
main yaad bhi aaun to mujhe yaad na karna

aakaash ki choti pe mahal hamne banaaya
duniya se bahut door jahaan apna basaaya
kismat ne magar chaaha hamen shaad na karna
main yaad bhi aaun to mujhe yaad na karna
Jal jal ke shama ki tarah fariyaad na karna
main yaad bhi aaun to mujhe yaad na karna

ab apne khayaalon mein mujhe tum na basaana
bhoole se kabhi tum mere sapnon mein na aana
gar dil mein uthhe dard to fariyaad na karna
main yaad bhi aaun to mujhe yaad na karna
Jal jal ke shama ki tarah fariyaad na karna
main yaad bhi aaun to mujhe yaad na karna

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

There was a time when Blog century used to be so common that there used to be as many as two such occasions every month. How times have changed. Now we have one blog century in two months !

Song post number 14600 was covered on August 2018. Next song post number 14700 was covered on 17 october 2018. Now more than two months (62 days) later, at a strike rate of less than two songs a day, now we reach song post number 14800 !

I am not able to specifically pinpoint the reasons for this slow progress. There may be several reasons. One reason could be that I have become “busy”. I would summarily reject this reason. I am not busy any more than what I was during 2011 and 2012 when the blog saw centuries every 16 days. I still recall some music lovers complaining that theere were far too many song notifications every day spamming the inboxes of the subscribers. And curiously enough, I used to think that the number of songs being posted those days was rather low.

One reason for slow progress these days coould be because we have become rather conscious of “records”, unlike the case in the past. During 2011 and 2012, we were not conscious about YIPPEE movies, debutant movies, count of songs in the movie etc. Yhose were simple days when we just covered songs as they occured to us, with far less planning. Today, considerable time is taken up in deciding which song to cover. Since so many thousands of songs have already been covered, searching for songs to cover also takes time now a days. So many songs from yesteryears have been covered that every new song that we discuss from those years appears like a gold dust to me. Unlike in the past, we rarely discuss songs composed by Naushad, Shankar Jaikishan, O P Nayyar, S D Burman etc mainly because bulk of the songs of these composers have already been covered and we are now scraping the bottom of the barrel, as far as remaining songs of these composers are concerned.

Same is the case for singers like say Mukesh, Talat Mehmood, Suraiyya etc. Bulk of songs sung by them have already been covered. In case of K l Saigal and Suraiyya, we have covered each and every song that is available.

During the early days of the year 2018, our new year resolution of covering one debutant song and ne YIPPEE song daily was adhered to with great discipline for the first four months before this resolution had to be abandoned.

Though we in the blog seem less prolific this days, but that is more than compensated by the research work related to HFM that goes on in the background. The well researched articles full of difficult to find information that our inhouse researchers, Mr Arunkumar Deshmuh and Mr Sadanand Kamath regularly come up with have added considerably to our knowledge of forgotten artists and movies of the past. Mr Sudhir Kapur has been digging up forgotten movies of 1960s, some of them so obscure that no details were known about them till they were discussed here. So, we many have slowed down in number of posts, but the quality of posts by our inhouse research scholars remains as high as ever.

Peevesie’s mom, despite being busy, heroically comes up with articles on the occasion of anniversaries of artists and also blog regulars. Regulars like Prakashchandra, Avinash Scrapwala, Mahesh Mamadapur etc silently keep adding value to the blog. So we continue to forge ahead, even if at a slow pace than before

Whenever we discuss a blog century song, we try to combine it with some other special occasion. This blog century post number 13800 is no different. We combine this article with the blog century of an artist. With this song, lyricist Yogesh completes one hundred songs in the blog.

I have gone through the filmography of Yogesh. Here I present the full filmography of Yogesh. This should serve as a ready reference as far as the HFM career of Yogesh is concerned.

I request reders to point out errors/ omissions in the filmography so that it can be made better and more compelete.

Filmography of Yogesh
———————

Coming to the song under discussioon, the song is from “Mazaaq”(1975). This by now forgotten movie was directed by Kumar for Indira Films Bombay. The movie had Vinod Mehra, Mausami Chatterji, Aruna Irani, Ifthikhar, Mehmood, Mridula, Bhagwan, Kanhaiyyalal, Agha, Keshto Mukherji, Mukri, Ridku, Shakeel, Ratan Gaurang, Gopal Mukherji, Samar Roy, V Gopal, Viju Khote, Asrani etc in it. The movie had guest appearances by Shubha Khote, Ravi Ghosh, Paintal, and special appearances by Basu Chatterji and S Ramnathan.

This movie had only two songs in it. First song is covered in the past.

Here is the second and final song from “Mazaaq”(1975) to appear in the blog. The song is a two part song. Part one is sung by Mohammed Rafi and it is lip synced by Vinod Mehra. Part II is a duet which is sung by Mohammed Rafi and Mehmood. It is picturised on Vinod Mehra and Mehmood. The song can be described as the title song as well as “advice” song.

Yogesh is the lyricist. Music is composed by R D Burman.

I vaguely remember having heard this song and then I forgot all about this song. It was only while searching for this song and playing it that I realised that I had last heard this song more than four decades ago ! Needless to state that I had no clue about the details of this song.

In a way, this forgotten gem of a song is a song fit to be covered as a special song in the blog.

With this song, the blog ticks one more landmark. Let us hope that this musical bandwagon, whicgh is moving at a slow pace will soon gain some momentum and will hopefully pick up the speed of train 18, if not bullet train.

I take this opportunity to thank one and all whose continued support and well wishes are the fuel on which this music bandwagon feeds.

Part I

Lyrics

Part I
—————-
paagal zamaane mein
is paagal khaane mein
sabse tu paagal jee ban ke mil
paagal zamaane mein
is paagal khaane mein
sabse tu paagal jee ban ke mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
paagal zamaane mein
is paagal khaane mein
sabse tu paagal jee ban ke mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
arre sun ae mere dil

duniya ka ye mela
hoon phir bhi main akela
aandhi mein jaise chiraag
kaisi hai ye uljhan
ke suljhaaye jitna man
utna hi uljhe dimaag
kaabil to bhookha mare
paagal jo chaahe kare
kaisa hai mazaak
paagal zamaane mein
is pagal khaane mein
sabse tu pagal jee ban ke to mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
arre sun ae mere dil

jal mein dhobi pyaasa
jab dekha ye tamaasha
tab jaa ke samjha main baat
jab tak khud na chaahen
nahin dhoonden khud hum raahen
dega nahin koi saath
matlab ka hai ye jahaan
inan hai aise yahaan
bolen din ko raat
paagal zamaane mein
is pagal khane me
sabse tu pagal jee ban ke to mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
are sun ae mere dil
——————————
Part II
——————————
samajh hai moti teri
jab ungli hogi tedhi
tab hi to niklega ghi
thheek hai
thheek hai
kya kehne hain tere
arre yaar kasam se mere
sach baat toone kahi
ham tum kya pade pade
takte hain khade khade
kar ke dillagi
arre paagal zamaane mein
is paagal khaane mein
sabse tu paagal hi ban ke mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
arre sun ae mere dil

oo oo
hahahaha
bol
bol apna thhobda khol
bol
ooohahahaha

maare kaun sa jaadu
jo bankar ghoome baabu
gadbad ghotala hain kya
gadbad ghotala hai kya
gadbad ghotala hain kya
gadbad ghotala
gadbad gadbad gadbad
gadbabd
gadbad ghotala hain kya

arey fark raha kya tujh mein
aur fark raha kya mujh mein
tujhko agar doon bata
yaaron se nahin chhupa
kha pi ke maze uda
toone sach kaha
aa toone sach kaha
paagal zamaane mein
is paagal khaane mein
sabse tu paagal hi ban ke mil
paagal ke liye hai maaf
kuchh bhi wo kare mazaak
sun ae mere dil
arre sun ae mere dil

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.

I began “Blog Ten year challenge (2009-2019)” early this year. As many as ten songs are covered in this series so far. Three other regulars (viz M/s Avinash Scrapwala, Sadanand Kamath and Sudhir Ji) have also chipped in with their articles in this series. In this series, we cover a song from a movie whose song (some other song obviously) was covered in the blog ten years ago on the same day.

There were days when no movies were eligible for “Blog Ten year challenge (2009-2019)” because all the songs covered on that day ten years ago had been YIPPEED by now.

I also noticed that those days in 2009 saw as many as six or seven songs being covered daily. That is in such sharp contrast to the present scene in 2019 where we are barely averaging one song daily thus finally living up to the blog name of “song a day”.

It basically tells us that a lot of things change in ten years. I was ten years younger in 2009. The blog too was just a few months old and I had a kind of passion and motivation for the blog that I now find impossible to summon for myself.

In one’s younger days, one is not as much in control of one’s life (professional as well as personal) as one becomes later in life. With time, one rises up the ladder in profession life. Simultaneously, ones kids also grow up.

In short, one feels far less in control of one’s life in one’s younger days. Still, that is compensated by youthful energy, passion and motivation. With time, one gains control of one’s life but begins to lose on the gifts of youthful energy, passion and motivation.

Despite being less in control of my life, I still had time and energy for online activities (which was something new those days). After spending nearly four years in various cricket forums (2004-2008), I began to try my hand in blogging in 2008. This blog was my second blog. My first blog was also related to HFM and associated topics and the articles in that blog were quite exhaustive and time consuming to write. If that blog was like test match, then this song blog was like ODI. Much easier and less time consuming.

Just like ODI is more popular than test cricket, the song blog became popular whereas the other original blog fell by the way side. I posted fifty articles in that blog and then totally stopped updating that. That blog is now lying neglected, with the last post appearing nearly ten years ago in august 2009.

I found posting in the song blog a breeze, that is why I was able to cover six to seven songs everyday in the blog.

That was then ! Today, ten years later, even posting one song a day seems like too much work. Curiously, I had far more workload on me in professional and personal fronts ten years ago. Today I am almost in full control on both fronts. Still my present blog post productivity has taken a major hit.

There are reasons for that, of course. One reason could be that I posted with an uncluttered mind, like how Sehwag used to bat with an uncluttered mind. In fact, I recall Raja commenting those days that the blog centuries were coming at Sehwag like rate (viz in 14 to 15 days).

Another cricket concept that we have in the blog is dot day, like how there are dot balls in cricket. The blog more or less lived upto its aim of posting songs everyday come rain or shine, festivals or holidays. But still there are unavaoidable circumstances due to which there have been no posts on certain days. We call those days as dot days for the blog.

When I look at the dot days in the blog, I find that the year 2008 (when this blog began), there were three dot days, viz. 22 sep, 23 sep and 25 september. 2009, the first full year for the blog had as many as 25 dot days. Year 2010 saw a whopping 61 dot days. Year 2011 had 36 dot days.

Situation “improved” in 2012 with only 5 dot days whereas 2013 saw 7 dot days.

Next three years were bad. 2014 had 27, 2015 had 22 and 2016 had 22 dot days.

Amazingly, 2017 was a year with ZERO dot days. So there was a post every day in the year 2017. What an achievement for the blog that year, though I was not aware of it till a few days back.

2018 saw 7 dot days.

So far every day of 2019 has seen at least one post in the blog.

So overall there have been 215 dot days out of 3877 days that the blog has been in existence.

I mentioned above that 2009 had 25 dot days. The first dot day of 2009 was this day ten years ago, viz 28 february 2009.

Now, I would not like today to be a day without posts as part of my ten year challenge. It only means that today is a day when blog ten year challenge cannot take place.

Today 28 february 2019 is the last day of the month. It is the day of clearing hisaab, viz that of milkman etc. It is also the day when many people whose birthday falls in the month superannuate if it was their 60^th birthday.

It is a good time for the blog to notch another century, viz century number 149, in other words song post number 14900. This century has taken a glacial 72 days to arrive. The century must have been slow , but looking at the bright side, there was no dot day during these 72 days.

The song that I have chosen for the occasion is from “Shyam Tere Kitne Naam”(1977). This movie was produced by Vinod Kumar and A Narang and directed by Shantilal Soni. The movie had Sachin, Sarika, Meena T, Manhar Desai, Bharat Bhooshan, Shyama, Jalal Agha, Sunder etc in it.

The movie had six songs in it. Two songs have been covered in the blog.

The song under discussion is sung by Hemlata. Anjaan is the lyricist. Music is composed by Ravindra Jain.

The song is picturised on Sarika and Sachin, who were a hit jodi of low budget movies in 1970s (mostly produced by Rajshree Productions).

This song marks the birth anniversary of Ravindra Jain (28 february 1944-9 October 2015). This song also happens to be the 100^th song of Ravindra Jain in the blog as a music director. So Ravindra Jain becomes the latest centurion in the blog. He is the 36^th music director and the 87^th artist overall to have one hundred (or above) of his songs showcased in the blog.

As always, I thank one and all for their continuous support and encouragement which keeps fuelling the blog which in turn continues to chug on and on relentlessly in its musical journey.

Song-Aaj tak jo kaha tumne kaha (Shyaam Tere Kitne Naam)(1977) Singer-Hemlata, Lyrics-Anjaan, MD-Ravindra Jain

Lyrics

hmm hmm hmm hmm hmm hmm
ho ho
ho ho
aaa aaa
hmm hmm

aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna
mere man ki lagi man mein rahi
ab saajna aa aa
main boloongi
main boloongi main boloongi
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna

dabe dabe bol mere geet ke
ho meri dhadkan se hotho pe aa gaye
piya mera jiya tum jeet ke
ho mere jeewan pe suraj se chha gaye
lagne lagi duniya nayi
lagne lagi duniya nayi
tumhi tumhi tumhi
meri ankhiyon ko bha gaye
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna
mere man ki lagi
man mein rahi
ab sajna aa aa aa
main boloongi main boloongi main boloongi
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna

bujhe bujhe deep jale saanwre
ho naye sukh jaage
dukh saare so gaye
mili naye sapnon ki chaaaw re
mere din kitne rangeen ho gaye
aansu bhare wo pal mere
aansu bhare wo pal mere
yahin kahin yahin kahin
abhi abhi kho gaye
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna
mere man ki lagi man mein rahi
manmohana aa aa aa
main boloongi
mai boloongi mai boloongi
aaj tak jo kaha tune kaha
aaj tak jo suna maine suna

bandhi bandhi nadi meri preet ki
ho dekho chal di kinaare tod ke
baanh mili man chaahe meet ki
ho tere rang rangi jag saara chhod ke
tumse mili to jee uthhi
tumse mili to jee uthhi
nahin nahin jaana nahin
kabhi mukh mod ke
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna
mere man ki lagi man mein rahi
ab saajna aa aa aa
main boloongi
main boloongi main boloongi

main boloongi
main boloongi main boloongi
aaj tak jo kaha tumne kaha
aaj tak jo suna maine suna

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (1 july 2019) happens to be the first day of the month (pehli taareekh). People today arev no longer as happy and bullish about pehli taareekh as they were till a few decades back, nevertheless it remains an important day for people.

This time, it happens to be monday, the first working day as well. It is as if one is beginning a new month with a clean slate, with the first working day of the week. There are people who dread mondays. I am sure regulars of this blog are not among such people.

This day happens to be quite an important day for the blog as well. Today is the 4000^th day for this blog ! 4000 days of continous vibrant existence, with posts almost every day !

Out of 4000 days, there have been 217 dot days (5.4 % days) when no posts were published, otherwise there have been posts everyday on 3783 days (94.6 %) out of these 4000 days !

The peak daily strike rate of this blog was 4.626 posts a day on 1902^th day of the blog on 2 october 2013 when 8800th post was posted. Those were the days when covering six songs in a day was considered normal in the blog. The strike rate began to fall from 2015 onwards and today on the 4000^th day of the blog we are on 15100 only !

Did I say post number 15100 ? Yes, I did. Today on the 4000^th day of the blog, we reach another century post, namely post number 15100 in the blog.

Many of our writeup contents, like our strike rate of posts have dried up as well, nevertheless we still summon enough creative juices for special occasions. Blog century post is one such special occasion.

This writeup is a labour of love (a favourite phrase for this blog) and it covers a topic that I wanted to cover on 5 june 2015, which was world environment day. Though I had considerable data on this topic, I was not able to convert all that data into useful and interesting information in the limited time that I could summon by that date. So I decided that this topic would be covered while discussing post number 15100. I discussed the matter with Sudhir Jee and requested him to find a suitable song. Finally we zeroed in on a song that is quite appropriate and suitable for the occasion as well as the topic being discussed in the song.

The topic of this writeup is environment. This writeup covers a man who has singlehandedly performed a Herculean task ( भगीरथ प्रयास) in the area of environment.

Who is this man and what he has done ?

Jitu Kalita, a Jorhat-based journalist who writes a popular column on nature in Prantik, an Assamese magazine, was stalking vultures when he found himself on the far side of Aruna sapori (sapori is the Assamese word for island), entering a forest, when a visibly perturbed tribal man practically attacked him and chased him off the land.

Later, Jitu Kalita managed to pacify the man and he convinced him that he was a journalist and not a poacher as apprehended by the tribal man. It was then that the tribal man, named Jadav Payeng, gradually opened up to Jitu Kalita and Jitu Kalita had the biggest news scoop of his career.

He is a man called Jadav “Molai” Payeng, a native of Assam. A man in his late 50s, he is an ordinary man who lives in a village near Jorhat (Assam). A tribal man of Mising tribe of Assam, he makes his living by milking his cattles and selling their milk.

When he was young, he lived with his parents and family is an island on River Brahamputra, near a small town called Kokilamukh located on south bank of the river.

In 1965, there was a big flood and that devastated the island (called Kartic sapori or Aruna sapori). Jadav Payeng’s family decided to move to another island to the north, namely Majuli island (which incidentally is the biggest river island in the world).

Before relocating, acute poverty compelled his parents to leave five-year-old Jadav in the care of Anil Borthakur, a court-master at the District Judge Court in Jorhat, who looked after his schooling.

In 1979, after he had appeared for his matriculation examination in a Jorhat School, Jadav Payeng visited his native place during summer season. What he saw there devastated him. He saw hundreds of dead snakes or the dry and hot sands. These snakes, which were washed ashore that island during rainy season, had died in summer because there was no vegetation growing in the sands that could protect and nurture these snakes. Jadav Payeng was heart broken. If snakes could die like this, then in future humans can likewise die if there is no vegetation to protect and nurture them- he thought. And he resolved to do something about that.

He approached forest department (where he had worked as a labourer in their project of afforestation), but they refused to help him and stated that it was not possible to do what he wanted.

Jadav Payeng asked the elders who lived in that area about some suitable vegetations that could be grown there. They advised him to grow world’s tallest grass. Initially confused, he later came to know that they described bamboo as world’s tallest grass. They also provided him some seeds.

Jadav Payeng began to plant seeds regularly from that day in 1979. Initially it was bamboo, and later, when Bamboo trees formed a decent enough self sustaining vegetation, he began to plant other variety of seeds as well.

Jada Payeng kept on and on for more than three decades unsung, unknown, unheralded. He obviously had genuine passion for the task that he could go on and on singlehandedly for this long without any support.

It was only thanks to the chance discovery by nature photographer Jitu Kalita that people came to know about this forest which was grown singlehandedly by one man.

This forest became so large and so thick that wild animals like Elephants (from Dibrugarh), Rhinos (from Kaziranga) and tigers (from Karbi anglong) found their way into his forest.

This jungle was named Mulai kathoni (Mulai jungle) by the local people, where Mulai was his nickname.

Jadav Payeng had built his tribal style home (known as Changghar – house on stilts in the Mising style) in the jungle where he lived with his family (wife and three kids). When the herd of elephants first arrived in the jingle in 2008, they overran his home.

He stood and watched from a distance and realised the magnitude of what he had done. While the others watched on, baffled, he was overcome with joy. And he had every reason to be – he has succeeded in bringing life (that too wildlife) back to the island.

But his celebrations were short-lived. A few days later, angry villagers, having assessed the damage to their crops, blamed Mulai Kathoni for attracting the elephants. One mob manifested their anger by cutting down trees while another set fire to a patch at the far end. He reckons he lost one tenth of the forest in that first wave of mindless violence.

Fortunately, things calmed down since. The forest department too realised that wild elephants had gone to this “new” jungle that they knew nothing about till then. The ex-gratia payment for damaged crops offered by the Forest Department, the media attention and accolades bestowed on Payeng helped in suppressing the rage of the villagers.

What was empty sandbar had transformed into a full fledged jungle spread over 1360 acres (550 hectares). The forest now had around 5000 trees of over 100 different species, all singlehandedly planted by him. The vegetation included shimloo, shishoo, bhelo, gamari, segun, jamun, aam, kathol, shirish, dimolu, kohee, koroi, arjuna, amla, kadam, krishnasure, aizar, two types of neem, bagori etc (all local names). Most he planted himself; others grew from the seeds dispersed by winds, birds and the Brahmaputra. The forest now had fullfledged fauna consisting of Elephants, tigers, rhinos , deers, monkeys, rabbits, vultures and other birds etc !

Central Park in Manhattan in New York, a famous man made jungle is spread over 843 acres (341 hectares). It was created thanks to the efforts of many men and machinery.

If Central Park is larger than countries of Monaco(202 hectares) and Vatican city (44 hectares), then this forest (now called mulai kathonibari or Mulai forest) is larger than Gibralter (area 680 hectares) of Great Britain and comparable to area cocos island of Australia (1373 hectares).

Jadav Payeng’s fame spread slowly. Initially it was confined to local media. From 2012 till 2015, he became known mainly among academic circles and he was honoured by JNU (2012) where he was hailed as Forest Man of India. In 2013, he was honoured by Indian Institute of Forest Management.

Earlier, only people have access to corridors of power used to get government awards. Now a days, public are being encouraged to nominate people for such awards. That is how many unknown and unsung people are being recognised these days. That is how someone recommended his name for Padmshree Award and he received Padmshree Award at the hands of President Pranob Mukherji in 2015.

The Padmshree recognition caught the eyes of media and gave him world wide recognition. Many TV channels of various languages have visited him and have featured him in their TV programs. Even International media have covered him. He began to be called nationwide and even abroad to attend seminars and conferences.

Though a school drop out, he has vast knowledge about nature and he talks like an environmentalists that he actually is. He has knowledge which many theoretical environmentalists may not be aware of. For instance, he knows that Rhinos, Elephants and ungulates prefer to eat three different kinds of grasses. He is not familar with the English or scientific names of these grasses though.

He gets invited all over India and also abroad. wherever he goes, he is on the lookout for seeds of plants, which he keeps in his pocket. He manages to bring all these seeds with him to his native place in Assam and then plants them in the forest.

All this fame and recognition has not changed him. he is the same humble person that he was earlier. He did all this not for awards, but because he strongly believed in the cause. That is how he could go about this tast unrecognised and unsung for three decades.

Though not formally educated, he is an environmentalist at heart. He insists that Environment schience should be made compulsory in primary schools. Every kid, when he starts schooling should be given two saplings. He should be responsible for their care. By the time he leaves school some one decade later, his two plants would be full fledged trees. As for senior people not in school, they should plant one plant and nurture it. That way everyone of us would ensure our continued survival in earth.

“Man is responsible for the well-being of all animals and birds in this world,” Payeng explains. “If man does not take care of all animals, who will?”

Jadav Payeng lived in his hut in his jungle till 2011. Then he moved to “mainland”, namely a village called Eklong Mising Gaon near Kokilamukh in Jorhat in 2011, mainly to take care of the schooling needs of his three children.

He still goes to his jungle regularly from his “mainland” home, which involves walk on foot for a few kilimeters, followed by a treacherous boat ride over a stream of River Brahmputra, then walk of a few kilometeres, then another boat ride in another treacherous stream of river Brahmputra, and finally a trek of several kilometers before he reaches his jungle. Then the same trek back home.

To appreciate the logistics, I have provided the google earth image of his forest. One can also see the vastness of the river. As mentioned above, this small island is larger than some small nations of the world. The jungle grown by Jadav Payeng itself is larger than the smallest nations of the world.

Island in River Brahmpurta with Mulai forest
———————————————

Bird’s eye view, with River Brahmputra seen- See how wide is the river. The area to the north of mulai forest is Majuli island.
——————————————————————————————————————————–

It gives me great pleasure to introduce Jadav Payeng, the great self made environmentalist of India. What he singlehandedly achieved despite absolute lack of resources, encouragement and guidance is simply astonishng and out of the world. I am happy that his efforts were finally recognised, even if it took more than three decades.

I hope that we will not just pay lip service to his contributions, but that we will actually try and do out sincere bit for nature and environment.

The song that accompanies this writeup talks about the effects of hot weather as well. So pretty lady- Helen, who else, beseeches her beau to take her to Shimla, seeing how hot it is in the city. Let us grow more threes, so the temperatures in our cities remain under control. Else, even hill cities where people like to go to during summer will become as hot as plain during summer season. We are already witnessing this.

This song is from “Mud Mud Ke Na Dekh” (1962). The song is sung by Asha Bhonsle. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl.

On the occasion to 15100^th song on 4000^th day of the blog, I thank one and all for their continued support and well wishes. We have access to much better support from our fellow music lovers, much better support than what Jadav Payeng enjoyed, so I hope that we will be able to keep our musical bandwagon rolling on and on for as many years as possible.

Song-Ye hai june ka maheena aaye bada hi paseena (Mud Mud Ke Na Dekh)(1960) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics

ye hai june ka maheena
aaye bada re paseena

ho ho ho ho
mar gayi garmi se
le chal shimle baabu
mar gayi garmi se
le chal shimle baabu
are le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
are le chal shimle baabu

kaale pad gaye gaal gulaabi
naina pad gaye peele
kaale pad gaye gaal gulaabi
naina pad gaye peele
kabhi na poochha toone re baabu
ho ho ho
kabhi na poochha tooune re baabu
thanda sharbat peele
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu

nainital mein bachpan beeta
srinagar mein jawani
nainital mein bachpan beeta
srinagar mein jawani
toone meri kadar na jaani haaye ae ae re
tune meri kadar na jaani
ja re rajasthani
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu

dekh ke kaale kaale baadal
main to nikli ghar se
dekh ke kaale kaale baadal
main to nikli ghar se
jaane kiski lagi najariya
haaye ae ae re
jane kiski lagi najariya
chale gaye
main mar gayi garmi se
le chal shimle baabu
main mar gayi garmi se
le chal shimle baabu

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Most traditional Hindi movis are formula movies. The formula keeps changing with time and the movies made during that era have same stories based on the same formula with minor variations.

Once in a while we have movies based on real life events. One finds that movie makers try to convert them to a formula movie.

Movies during the early years post independence tended to be tragic movies with sad ends. No matter what the topic, the movie would still have the usual songs. So, when movies based on true life stories were made, they followed the same formula.

“Lahore”(1949) is one example, which was made on the background of partitition. Same was the case with “Nastik”(1954). These movies had lots of songs, and the characters are seen suffering most of the time.

Then in 1960s, we had “Haqeeqat”(1964), made on the background of Indo China war. This movie was based on war, but it was mostly a musical movie with lots of hit songs, and war almost getting relegated to the background.

After many decades, Indians slowly started to have some achievemments under their belts. So, accordingly, Indian movies stories became more positive where the hero was more assertive than before.

During the last few years, several movies have been made on real life events, and most of these movies are success stories.

“Dangal”(2016) was based on a real life story of a man who despite living in a male dominated society manages to turn his daughters into international wresters. It was a real life inspiring story that caught the imagination of not only Indians but also Chinese audience ! The movie did a business of over Rs 700 crores in China !

Personally I loved “Parmanu”(2018), which was based on Pokharan II, an eventthat signalled the rise of a new and assertive India, far from the days of 1962 that “Haqeeqat”(1964) depicted.

“Uri” (2019) was based on surgical strike of 2016. There were people who left no stones unturned to tell us that surgical strike did not take place, and their supporters in India asked for proof. Believers went to the movie and turned it into a box office success. This episode, like the episode described in “Parmanu” (2018) demonstated the rise on a new and assertive India which would not take things lying down if wronged and would retaliate aggressively.

A country gains self confidence when it is doing well in economy and related fields. Indian economy is doing well for the last few years and India economy is fifth largest GDP in the world. Some media houses gleefully reported that India had slipped to seventh position, but that was on december 2018. As on today, India is again 5th biggest economy, a fact that our media is hiding from us.

A country can rise up the economy ladder only if it has high quality highly educated manpower. Low quality manpower can take an economy up to certain level, but after that level, you need top class manpower to take you forward. India at present is a low middle income group nation (per capita earning in the region of $ 1000 to $ 40000 per annum). India will need to more than double its GDP and then we can hope to break into the ranks of upper middle income nations (per capita income in the region of $ 4000 to $ 12000). Final barrier is $ 12000 and a country with per capita earning above that figure becomes a high income country.

Only those countries that invest in high quality education and high quality infrastructure can break in the league of upper middle group nations and finally into higher income nations. India has a long long way to go. But India is in the right track. I can visualise India breakin into the rank of upper middle rank nations when Indian GDP reaches about $ 6 trillions. It woulkd be sometime in the next ten years.

GDP of a nation keeps climbing at a good rate only if a country is doing high quality work which can be sold all over the world. India is a world leader in high quality research products like pharmaceuticals, health services etc. These sectors will help India grow up in future. In manufacturing sector, I hope to see some interesting world class products, like say Train 18 from Indian Railways and Tejas from HAL, which will have good market worldwide, if Indian Government can plan and execute the plans well.

ISRO, Indian space agency is a shining example of what Indian manpower is capable of. ISRO has earned tremendous name and goodwill for its stellar works. It has launched many satellites of foreign advanced nations and they have played an important role in earning respect for Indian manpower. It is not for nothing that many silicon valley big wigs are people of Indian origin.

“Mission Mangal”(2019) is based on ISRO’s mangalyaan expedition. With this mission, ISRO succeeded in sending its spacecraft (mars orbiter) to Mars successfully in thhe very first attempt, and they did it on a shoe string budget.

The movie “‘Mission Mangal” (2019) is jointly produced Cape of Good Films, Hope Productions, Fox Star Studios, Aruna Bhatia, and Anil Naidu and directed by Jagan Shakti. The movie has Akshay Kumar, Vidya Balan, Taapsee Pannu, Nithya Menen, Kirti Kulhari, Sharman Joshi, H. G. Dattatreya, Vikram Gokhale, and Sonakshi Sinha etc in it.

When this mission had actually taken place, social media was abuzz with a photograph that showed a few homely housewife looking ladies who were in reality ISRO scientists and who had played important roles in the success of the mission. The makers of this movie have been greatly influenced by this fact. The movie shows lots of female power in the movie.

The story , based on real life ISRO stories, starts by showing failure of a GSLV launch on December 25, 2010 due to an error of judgement by project director Tara Shinde (Vidya Balan). Rakesh Dhawan (Akshay Kumar) takes the responsibility of the failure on himself. As a punishment posting, he is hunted out to “Mangalyaan” mission, a mission no one has much hopes on.

Maenwhile Tara Shinde too gets herself transferred to Mangalyaan project and she has some idea about how this project can be successfully executed. Rakesh Dhawan and Tar Shinde convince the ISRO head (Vikram Gokhale) to support them by budget and staff. Budget is limited and keeps getting reduced, and the manpower asked in not what was needed. They end up with rookie scientists like Eka Gandhi (Sonakshi Sinha)the propulsion control expert, who is dying to leave ISRO and join NASA as soon as possible, spacecraft autonomy designer Neha Siddiqui (Kirti Kulhari ) whose second name causes raised eyebrows when she is looking for rented accomodation, navigation expert Krittika Agarwal (navigation expert) who has great difficulty learning to drive a car. Her husband is in Army who gets injured in an accident. Satellite designer and payload expert Varsha Pillai (Nithya Menon) has a nagging mother in law at home who taunts her for being childless.

There are two male scientists too. Astrology believing Parmeshwar Joshi (Sharman Joshi) is told by his astrologer that his “Mangal” is bhaari and that is why he is unable to get married. No wonder he is reluctant to join the mission. Then there is Anant Ayengar (H G Dattatreya) who is one year short of retirement and is already counting days.

How Rakesh Dhawan and Tara Shinde get their team to deliver and how successfully deal with major hurdles constitutes the story. While there are some critics who have found lots of weaknesses and holes in the story, I loved the movie. I find the episodes quite entertaing. When Rakesh Dhawan first goes to the mangalyaan area of ISRO, he finds that vacant and without any sings of life. Then he finds a matka with water in it. So there is water in mars- he observes. Then a cat enters the hall. So, there is life in Mars, he concludes.

The movie is based on a real life story, so we all know what hexactly happened. Still the movie keeps you glued to your seat. And it gives you goosebumps when the rocket lifts off from its launch pad.

This is a movie only Indians could have made and only Indians could have identfied with. I am happy that a movie was made on this subject. The makers have done the best they could have. insteda of finding faults (like what some people have done) I take it as glass half full and I enjoyed th movie. I think that most Indians who like to be positive about their lives and about their country will enjoy this movie.

The movie has three songs in it. My personal favourite is the theme song. The lyrics of this song are by Amitabh Bhattacharya and he has indulged in some interesting word play in this song. The song is sung by Benny Dayal , Vibha Saraf and others. Music is composed by Amit Trivedi.

This song happens to be the 15200^th song in the blog. It is the first time that this blog has a new song from the current year as the century song. I think this song fully deserves it. It is a song that I loved from the vey fist time I heard it and watched it.

These days we have two actors who are competing for making movies on nationalistic subjects. One is Akshay Kumar and another is John Abraham. I had loved John Abraham’s “Parmanu”(2018) and I loved Akshay Kumar’s “Mission Mangal”(2019). In 1960s and 1970s, we had Manoj Kumar making patriotic movies. Today we have John Abraham and Akshay Kumar. There is one cartoon which shows the two of them grabbing each other by their collars, arguing about who should take up which nationalistic story next. Then there is another cartoon showing Akshay Kumar with P M Modi. Modi tells Akshay Kumar-“Keep making movies, I will keep giving you story ideas.” It must be said that the story idea for Article 370 is something that a Frederick Forsyth or Leon Uris would have been proud to write.

So, here is the 15200 th song for the blog. It must be one of the most unnoticed century post occasion which apparently no one was looking forward to, including even I myself. Nevertheless, the needful needs to be done. So we are now 15200 song post old with this writeup. I take this opportunity to thank all our visitors and well wishers for their continued encouragement and support. May we keep scoring many more centuries in future.

With this song, “Mission Mangal”(2019) makes its debut in the blog.

Song-Dil mein Mars hai (Mission Mangal)(2019) Singers-Benny Dayal, Vibha Saraf, Lyrics-Amitabh Bhattacharya, MD-Amit Trivedi

Lyrics

Om mangalam mission mangalam
Om mangalam mission mangalam
Om mangalam mission mangalam

Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai
Om mangalam mission mangalam
Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai

Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
Kyun ki dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai
Dil mein Mars hai
Om mangalam mission mangalam
Space mangalam shuttle mangalam
Cool mangalam swag mangalam
Hash mangalam tag mangalam
Dream mangalam vision mangalam
Countdown ignition mangalam
Om mangalam mission mangalam telescope dhaari … swaaha

Om mangalam mission mangalam
Om mangalam mission mangalam
Apne brain brain brain ki hai kaarastani
Hum toh dhoondh dhoondh dhoondh len fire mein paani
fire mein paani
Apne desh desh desh mein sab kuch mumkin hai
We don’t need need need need no meherbaani
no meherbaani ee ee
Thode fail fail fail hain
phir bhi pass hain
Fulltu mood mood mood mein hum bindass hain
Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
O dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai ae
Kyun ki dil mein Mars hai

Om mangalam mission mangalam
Speed mangalam medal mangalam
Josh mangalam jashn mangalam
Style mangalam tashan mangalam
Cosmos condition mangalam
Take-off permission mangalam
Om mangalam mission mangalam
kayinaat saari … swaaha

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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is the 15300^th song post in the blog

———————————————–——————————-
Blog 10-Year Challenge (2009-19) – Song No. 50
——————————————————————————

Welcome all to this post under this series where I am presenting yet another song from the Seventies. The last post presented in this series was also presented by me that too was a song from the year 1973.

The song under discussion is also from a movie of 1973.

Ever since Atul ji started this series it has become my routine to regularly check for movies which are eligible to be discussed in the series in the forthcoming month. I try to find movies that triggers long dormant memories of those days, associated either with the movies or their songs.

I may not necessarily have watched all those movies. In some cases it is only the songs from these movies, frequently being played on the radio or loudspeakers may have left lasting memories in my mind.

The movie for today’s song is a case inn point. I have not watched this movie till now, but I remember its song ‘tere naam ka deewaana, tere dar ko dhoondhtaa hai’ which was arguably the most popular of all the songs of this movie, as it was frequently played on the radio then. I did not like this song those days. Nevertheless this was the song and not any other songs that I associate with its movie.

After many years I listened to ‘honi to hoke rahegi anhoni naa hoye’ and liked it very much.

One more song from this movie which was popular and was played on radio and loudspeakers is the song being presented today. It was only after I browsed the list for the pending songs from this movie that I get to know that this song was from this movie ‘Suraj Aur Chandaa’.

I was surprised when I find that this song has not been posted on the blog till now.

As mentioned above I had not watched this movie or its songs till now. It was during the preparation of this post that I watched the video of this song for the first time.

Despite their popularity, none of these songs made it to the annual list of ‘Binaca Geetmala’ of that year.

Before going into the song let us have a look on the movies represented on the blog ten years ago this day 16th November 2009;

Movies represented on the blog on 16.11.2009 (in descending order);

‘Sooraj Aur Chandaa-1973’ or ‘Suraj Aur Chandaa’ was directed by T. Madhava Rao for ‘Suraj Films, Madras’. (It was a costume drama movie as mentioned in HFGK Vol V). It was produced by A.V. Subramaniam. It had Sanjeev Kumar, Meeta (new discovery), Sujeet Kumar, Jagdeep, Lakshmi Chhaya, Shyama, Jairaj, Sajjan, Krishna Kant, Mukri, Ram Mohan, Herucles, Lalita Kumari, Sujata, Mona, Kamal, Bhimraj, Arun Kumar, Prem Kumar, Ravindra and others. Banda makes a special appearance in this movie.

Story of this movie was written by B. Vittalacharya, and dialogues were written by Raj Baldev Raj. Editing of this movie was done by G.G. Krishna Rao.

The movie was passed by Censor Board on 22.05.1973.

This movie had total six songs penned by Anand Bakshi and composed to music by Laxmikant-Pyarelal. Lata Mangeshkar, Mohd Rafi, Mukesh and Suman Kalyanpur had given their voices to the songs in this movie.

Three out of the six songs have been posted on the blog earlier.

Today’s song is the fourth songsfrom this movie to appear on the blog. The song is picturized on Bindu and Sanjeev Kumar where Bindu is lip syncing in Lata Mangeshkar’s voice. Also, there are snakes around in the picturisation of this song.

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

Editor’s note:-This song was quite a well known and hummable song of 1970s. It was a song which one heard without necessaily being aware of its details.

From the lyrics, one would guess that a lady is singing about her beloved who has come from far off.

When one watches the picturisation, all such assumptions get thrown out of the window. What one watches in the picturisation is something mind blowing, inadvertently so.

The song is a “naagin” song, in which a “naagin” is singing this love song to her beloved. “Naagin” is played by Bindu and Sanjeev Kumar is her beloved.

“Naagin”(1954) provided the template of all “Naagin” movies, but this movie “Suraj Aur Chanda” (1973) takes that template to a different plane altogether.

In all other “Naagin” movies, a snake charmer (Sapera) plays the been and the female snake (invariably ichhaadhaari naagin) would turn into a human female and would then perform a dance.In this song, it is different. Here it is the snakes who play the “been” (yes seriously, just watch the picturisation). The snakes do not just play the been, they play the whole orchestra including instruments like Dholak, Tabla, Sitar etc as well. And the lead snake Bindu performs the dance.

Snakes playing the music ! It is something unprecedented in the annals of Hindi movies ! I am not aware of any such instance in any other movie.

What an idea ! In my younger days, I would laugh at such a picturisation, but now, I can only be amused at the weirdly imaginative brain of the person behind the picturisation of this song.

This song deserves special recognition, especially for its picturisation.

We in this blog hereby make this song the century song of the blog.

THIS song is the 15300^th song post in the blog. This song, marking the 153th century post of the blog is a “special” song in its own way. Picturisation of this song can keep people amused for hours !

It appears that Laxmikant Pyarelal had specialised in being music directors of “Naagin” movies of that era. They would compose music for such well known “Naagin” movies like “Nageena”(1986)and “Nigaahen”(1989)” as well. These movies had Sridevi as the ichchaadhaari naagin. Remember ‘balma tum balma ho mere khaali naam ke’ ?

So, with this amusingly picturised song, the blog completes another century. An agonisingly slow century that took 72 days. Very much in line with the slowing economy.

But on a different note, as many as 35 movies made their debut and three movies got YIPPEED during this period.

Thanks are due to all the supporters, well wishers, contributors, regulars and visitors whose continues support ensures that this musical bandwagon keeps chugging along on and on.

Song-Poorab disha se pardesi aaya (Suraj Aur Chanda)(1973) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics (Provided by Prakashchandra)

Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Purab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Man ka wo meet ban ke ae
pritam ki preet ban ke
Preet ka geet ban ke
honthhon pe aaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Jab se wo aaya aa aa
neend naa aayi
Jab se wo aaya aa aa
neend naa aayi
neend jo aayi o Ram duhaayi
sapnon mein aa ke mujhe
neend se jagaaya aa aa
neend se jagaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa aa

O o o o o o o
O o o o o o o

O o o o o o o o
O o o o o o o o

jhoom ke maine ae li angdaayi
jhoom ke maine ae li angdaayi
jab sapere ne been bajaayi
naagin pe jaane kaisa jaadu chalaaya aa
jaadu chalaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Poochho naa meri ee prem kahaani
Poochho naa meri ee prem kahaani
Ban gayi main to o aisi deewaani
Saara zamaana uski yaad mein bhulaaya aa
Yaad mein bhulaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Man ka wo meet ban ke ae
preetam ki preet banke
Preet ka geet ban ke
honthhon pe aaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

—————————————————
(Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————–
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
मन का वो मीत बनके ए
प्रीतम की प्रीत बनके
प्रीत का गीत बनके
होंठों पे आया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

जब से वो आया आ आ
नींद ना आयी
जब से वो आया आ आ
नींद ना आयी
नींद जो आयी ओ राम दुहाई
सपनों में आ के मुझे
नींद से जगाया आ आ
नींद से जगाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ आ

ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ

ओ ओ ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ

झूम के मैंने ए ली अंगडाई
झूम के मैंने ए ली अंगडाई
जब सपेरे ने बीन बजाई
नागिन पे जाने कैसा जादू चलाया
जादू चलाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

पूछो ना मेरी ई प्रेम कहानी
पूछो ना मेरी ई प्रेम कहानी
बन गयी मैं तो ओ ऐसी दीवानी
सारा ज़माना उसकी याद में भुलाया
याद में भुलाया

पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
मन का वो मीत बनके ए
प्रीतम की प्रीत बनके
प्रीत का गीत बनके
होंठों पे आया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Regulars of this blog must have got used to the fact that only one or two “new” songs get discussed in this blog and that is all. But oldtimer regulars would recall days of yore when six to seven songs were discussed in a day. On occasions, I had the mortification of being admonished by a subscriber to the blog. “I am a music lover but not so much that I get a notification every hour”- he stated. He must have registered for the blog on those days when I was able to post even twelve and thirteen posts in a day.

This is the fifth post of the day. Going by the present sedate ways of the blog, it is rather unusual. The last time this blog had 5 posts in a day was on 17 march 2019. That was the only such occurrence in the blog in 2019. In comparison, 2018 saw 37 such days. In 2012, when the blog was operating at a Sehwag like strike rate, we had 60 such days. As many as eight songs were covered daily on 39 days in 2012 !

So temporarily, it is feeling like old days for me. But today the reason for this suddenly found enthusiasm is that I want to complete the 154th century writeup of the blog before the weekend, when the going will get tough as far as posting articles is concerned.

I find that the blogging mindset is different when one is posting many posts in a day vis a vis the situation when one intents to just post one write-up. In discussing just one (or two) song in a day, we take a conservative approach. We basically become status quo-ist. On the other hand, when one posts many songs in a day one acts like an adventur-ist.

A conservative man would get defeated by the weather conditions (cold foggy winters) while an adventurist man would wake up early and go on a morning walk when the entire world is hiding under razaai. I find that even on this count I have become an adventurist. For the last few days, I have started going on a morning walk come fog or cold. No, I have not done it voluntarily. It is my pet Chhote who has suddenly become fond of being taken for a walk. So he insists that I take him for a walk in the morning, in the afternoon, and in fact all the time. So now I have started to wake up early, and have started walking early morning, often in chilly low visibility foggy conditions. And after that, I have begun to feel like a million dollars. This winter weather is not so daunting, I have rediscovered. I in fact regularly used to wake up even earlier (at 5 AM) during my stay at Bareilly. So now I am rediscovering my old self when I used to be more determined, and less conservative.

And that determination may well have been getting reflected here in the blog today. It is the fifth and final song for the day. and I am realising that covering so many posts in a day is not all that tough.

In the process, I ended up listeing to lots and lots of songs yesterday night (as I used to do earlier) and I rediscovered the pleasures of l stumbling upon gems after musical gems. Yesterday, Sudhir Jee asked me if I had any particular song in mind for this century post and I replied in negative. Within a few hours, I was spoilt for choice ! I discovered so many great songs that I had never heard before. and that is the situation when I may have already heard more that 15400 plus songs !

This song is from “Choron Ka Chaor” (1970). This forgotten movie was a stunt movie which was produced and directed by Muhammad Hussain for MH Films, Bombay. The movie had Dara Singh, Shabnam, Madan Puri, Shetty, Agha, Bhagwan, Roopesh Kumar, Jayshree T, Randheer, Meena, Neelam, Paro Devi, Gul Hamid, Kamini Devi, Shefali, Jerry, Anjum, Dada Kurte, Moolchand, Dilip Dagi, Sabir, V Gopal, Vishwas Kunte, Master Ripple, Indira Bansal, Habeeb, Trilok Singh, Tiger Abdullah etc. in it.

The movie had four forgotten songs in it. Two of these songs have been covered in the past.

Here is the third song from the movie. This song is one that I had never heard before. It is sung by two female singers who are better known as sisters of their more famous singing sisters. Most of the time they used to get duets with more celebrated singers. Here these two relatively ‘unsung’ singers are given an opportunity to carry a song on their own shoulders. And I must say that the song is just FANTASTIC. Too bad that this song has been forgotten. Or may be it was not even heard by public. I know for sure that I had never heard this song before.

A fantastic song that we are covering as the 15400th song post in the blog. Only the audio of the song is available. Even the audio is quite rare to come by. This song deserves better treatment.

I request our knowledgeable readers to throw light on the picturisation of this song. This song sounds like a synchronized dance song performed by two female dancers in a ‘Villain’s den’ situation.

This song also marks the 100^th song of Farooque Kaiser in the blog as a lyricist. Quite a befitting song to bring up his 100^th song in the blog ! He becomes the 30^th lyricist and 98^th artist overall to complete a century of songs in the blog.

I take this opportunity to thank one and all for the continuous support and encouragement that has ensured continuous existence of this blog for over 4200 days (4206 days to be precise ! ). Let us hope that we will see many more such landmarks, and that the frequency of these landmarks will go up as was the case in the past.

Lyrics

dil dhadka
dil dhadka
wahi shola
phir bhadka
paas aana nahin mere jal jaaoge
baat kehti hoon patey ki lut jaaoge
dil dhadka
dil dhadka
wahi shola
phir bhadka
paas aana nahin mere jal jaaoge
baat kehti hoon patey ki lut jaaoge
dil dhadka
dil dhadka

ye akhiyaan
akhiyaan
ye akhiyaan
us pe ye mera sharmaana
haaye allah
allah
haaye allah
kar dega tumhen deewaana
zara dheere se
zara haule se
tadpaana
dil dhadka
dil dhadka

ji hamse
hamse
ji hamse
jaaoge kahaan tum bachke
o sajna
sajna
o sajna
pag pag pe kamariya lachke
zara tan tan ke
zara ban ban ke
tarsaana
dil dhadka
dil dhadka

ye jalwa
jalwa
ye jalwa
kaisa hai zara kehne do
ye parda
parda
ye parda
aankhon pe pada rehne do
zara ruk ruk ke
zara jhuk jhuk ke
lehraana

dil dhadka
dil dhadka
wahi shola
phir bhadka
paas aana nahin mere jal jaaoge
baat kehti hoon patey ki lut jaaoge
dil dhadka
dil dhadka
wahi shola
phir bhadka
paas aana nahin mere jal jaaoge
baat kehti hoon patey ki lut jaaoge
dil dhadka
dil dhadka

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

दिल धड़का
दिल धड़का
वही शोला
फिर भड़का
पास आना नहीं मेरे जल जाओगे
बात कहती हूँ पते की लुट जाओगे
दिल धड़का
दिल धड़का
वही शोला
फिर भड़का
पास आना नहीं मेरे जल जाओगे
बात कहती हूँ पते की लुट जाओगे
दिल धड़का
दिल धड़का

ये अखियाँ
अखियाँ
ये अखियाँ
उस पे ये मेरा शरमाना
हाए अल्लाह
अल्लाह
हाए अल्लाह
कर देगा तुम्हें दीवाना
ज़रा धीरे से
ज़रा हौले से
तड़पाना
दिल धड़का
दिल धड़का

जी हमसे
हमसे
जी हमसे
जाओगे कहाँ तुम बचके
ओ सजना
सजना
ओ सजना
पग पग पे कमरिया लचके
ज़रा तन तन के
ज़रा बन बन के
तरसाना
दिल धड़का
दिल धड़का

ये जल्वा
जल्वा
ये जल्वा
कैसा है ज़रा कहने दो
ये पर्दा
पर्दा
ये पर्दा
आँखों पे पड़ा रहने दो
ज़रा रुक रुक के
ज़रा झुक झुक के
लहराना

दिल धड़का
दिल धड़का
वही शोला
फिर भड़का
पास आना नहीं मेरे जल जाओगे
बात कहती हूँ पते की लुट जाओगे
दिल धड़का
दिल धड़का
वही शोला
फिर भड़का
पास आना नहीं मेरे जल जाओगे
बात कहती हूँ पते की लुट जाओगे

This article is written by Raja, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker.

Friends, I am SO honoured here to present Rafisaab’s 3000^th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000^th and 2000^th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night).

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”.

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”.

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000^th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500^th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises.

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind.

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”.

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course.

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination.

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley.

And once again, congratulations to the blog for clocking Rafisaab’s 3000^th, and the blog’s 15500^th.

Audio

Video

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai
Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai
ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye
ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil
chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane
nazar ke afsaane
anaar ek hai
aur uske do hain deewaane
deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil
mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai
kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja
oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai

This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

So we reach yet another century of posts in the blog. It appears to be a rather fast century, even though it took 45 days. It is faster in comparison to “recent” centuries though. It is the fastest century since 147th century (Song number 14601 to 14700) which took 53 days to complete. There were days when centuries in 16 days used to be the norm.

Better late than never, of course. The blog keeps movis steadily, without a pause and that gives us the confidence that our musical bandwagon in moving (however slowly) and so we are indeed inching towards our destination.

During this journey, we often find ourselves reaching individual marks of artists as well. Then we try and combine these landmarks in one write up.

It so happens that today we are reaching two individual landmarks as well, with this article.

This song is the 2700^th song of Asha Bhonsle as a playback singer. This song also happens to be the 1100^th song of Rajinder Krishan as a lyricist.

On this occasion, here is a song from “Aag Ka Darya”(1990). This movie was produced by R Venkatraman and directed by S V Rajendra Singh. The movie had Dilip Kumar, Rekha, Amrita Singh, Avtar Gill, Padmini Kolhapure etc in it.

The movie had six songs in it.

Asha Bhonsle and Rajinder Krishan worked together in 380 songs in 181 movies, including 211 solo songs. This song was the last solo song penned by Rajinder Krishan for Asha Bhonsle. Music is composed by Laxmikant Pyarelal.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this money matter song.

It is a song that grows on the listeners after one has listened to it a couple of times. It is a nice hummable song to listen to.

With this song, “Aag Ka Darya”(1990) makes its debut in the blog.

I take this opportunity to thank one and all. Let us hope that our musical bandwago will not only maintain its run, but it will pick up speed as well.

Song-Goriya uski deewaani jiski paackit garam garam (Aag Ka Darya)(1990) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Chorus

Lyrics

Ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam
paackit garam garam o jiski paackit garam garam
goriya uski deewaani jiski paackit garam garam
are batuwa kholo note dikhaao chhodo sharam varam
goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam

apni apni garaj ka sauda aa aa
ho ho ho
apni apni garaj ka sauda
ismein kya hai dhokha
ismein kya hai dhokha
aji ismein kya hai dhokha
hoga wo naadaan jo chhode haath mein aaya mauka
chadhhi javaani ki nadiyon ko bolo kisne roka
husn ki khaatir bik jaate hain bade badon ke dharam
ho muniya uska bhare paani jiski paackit garam garam
ho muniya uska bhare paani jiski paackit garam garam
arre paackit garam garam arre paackit garam garam
o jiski paackit garam garam
batuwa kholo note dikhaao aji chhodo sharam varam
ho goriya uski deewaani jiski paackit garam garam

tarah tarah ke khel yahaan hain tarah tarah ke vele
ek raat mein mit jaate hain din ke laakh jhamele
din ke laakh jhamele
aji din ke laakh jhamele
isi liye to door door se aate hain albele
kaam yahaan kya uska jeb ho jiski naram
jaani main to uski raani jiski paackit garam garam
ho jaani main to uski raani jiski paackit garam garam
are paackit garam garam ho jiski paackit garam garam
batuwa kholo note dikhaao aji chhodo sharam varam
ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam
ho goriya uski deewaani jiski paackit garam garam